Thursday, November 8, 2012

THE 2012 TRU LOVE BENEFIT: MAKING THE IMPOSSIBLE POSSIBLE!


THE 2012 TRU LOVE BENEFIT
MAKING THE IMPOSSIBLE POSSIBLE!
Sunday, November 11, 2012 at 12 noon

Theater Resources Unlimited (TRU) organizes events to help producers, writers and other develop their careers.  It presents events that are valuable for beginners and sophisticates, and for OOB to Broadway. TRU complements the Commercial Theater Institute (which has an extraordinarily important program of courses and events that are almost a prerequisite for becoming a Broadway Producer). 

I’ve attended TRU events and they were excellent!

TRU is expanding its work and holding a benefit on Sunday, Nov 11.  The cause is good, and the event is very interesting!

Here’s some of what’s happening:

Cocktails at noon.
Luncheon at one
Performances and Awards at two.

It all takes place at the wild and notorious Lucky Cheng’s, which only just recently opened its new branch at 240 W. 52nd Street in New York’s theater district.

Now in its 21st year as a not-for-profit service organization, TRU is proud to recognize one of their own by presenting the 2012 TRU Spirit of Theater Award to Van Dean in recognition of his rise from first-time producer in the TRU Voices reading series in 2005 (Saint Heaven) to a current Tony Award winner (Porgy & Bess) and prolific Broadway producer and creator of The Broadway Consortium, a new investment model that helped bring Bonnie & Clyde, Ching•lish, revivals of Evita and The Best Man and more to the Broadway stage.  

TRU will present the annual TRU Humanitarian Award to Broadway director-choreographer Jerry Mitchell (Hairspray, Catch Me If You Can, Legally Blonde and the upcoming Cyndi Lauper musical Kinky Boots) for his selfless work and passionate, generous spirit as the creator of Broadway Bares, raising over 9.9 million dollars for Broadway Cares/Equity Fights AIDS.  

This year’s TRU Entrepreneur Award will be given to Edith O’Hara in celebration of the 40th anniversary of the 13th Street Repertory Company, which for four decades has provided a valuable first home for so many artists who move to New York to pursue theater.

Stark Sands, star of TV (Six Feet Under), movies (Pack of Dogs, Shall We Dance) and stage (American Idiot, Tony nominee for the Broadway revival of Journey’s End) will be offering up a preview of the new incoming musical Kinky Boots by Cyndi Lauper and Harvey Fierstein.

Andrea McArdle (Annie, Les Miserables, Beauty and the Beast, State Fair), as well as an array of talent that has appeared – or is appearing - in Dean and Mitchell productions will perform.

Laura Osnes will sing a song from Dean-produced Bonnie & Clyde as well as the upcoming first ever Broadway production of Rodger and Hammerstein’s classic Cinderella;

Kerry Butler (Xanadu, The Best Man) will be featured in her star turn solo from Catch Me If You Can, which Dean produced and Mitchell choreographed;

Celina Carvajal (Disney’s Tarzan) will  be singing a song with composer Paul Scott Goodman from his musical Rooms: A Rock Romance, Dean’s first off-Broadway venture before forming The Broadway Consortium;

Tanesha Ross (Hair) and Darren Ritchie (Wonderland) will sing a duet from Saint Heaven, Dean’s very first musical production which he found through the TRU Voices New Musicals Reading Series;

Lauren Zakrin (Legally Blonde, Wicked) and D.B. Bonds (Legally Blonde, Dirty Rotten Scoundrels, The Last Five Years, associate director of incoming Kinky Boots) will be recreating their roles of Elle and Emmett in Legally Blonde, which Mitchell directed and choreographed;

and young Isabela Moner (Evita) will be singing a song from Dean-produced Evita.

The event promises a few more firsts, with a kick: Lucky Cheng’s and sponsor Absolut Vodka have created special cocktails named for the honorees. Attendees will be the first to sample the Vandini, the Cherry Mitchell and Mama Hare’s Tea.

The event will include a Silent Auction whose more than 60 items include

  • A weekend stay at the Trump International Hotel in New York;
  • VIP tickets to the Macy’s Thanksgiving Day Parade;
  • Tickets to Kinky Boots, Evita, War Horse, The Anarchist, Who’s Afraid of Virginia Woolf?, Peter & the Starcatcher and much more;
  • Plus over 50 gift items and services.

Bidding will start Friday 11/9 online, and continue at the event itself; items that do not reach their guarantee bid will continue bidding online during the following week. 

For information about being a bidder, email TRUAuction@gmail.com.

 The proceeds from this event directly benefit the programs of Theater Resources Unlimited, a not-for-profit service organization that educates people in the business of the arts, with a focus on producers, emerging theater companies and self-producing artists.

Programs include

  • monthly panels, 
  • workshops, 
  • a Producer Development and Mentorship Program, 
  • a new plays and new musicals reading series 
  • and a community e-newsletter of jobs, services, resources and theater events. 


Tickets for the event are

  • $175 Premium Patron Level reserved seating on the first tier near the stage and 
  • $150 for Patron Level reserved seating on the first tier sides and second tier. 
  • Non-reserved General Admission tickets may be purchased for $100. 
Details are available at www.truonline.org/TRULove12.htm,
and tickets are available through the TRU Store at www.truonline.org/store-new.html.

For inquiries about the event, email TRUnltd@aol.com or call 212-714-7628.

Programs of Theater Resources Unlimited are supported in part by public funds awarded through the New York State Council on the Arts (NYSCA), as well as generous support from the Friar’s National Foundation Association and the Montage Foundation. Additional sponsorship for TRU Love is provided by Peroni Beer, The Players Theatre and Pure Audio Systems, with open captioning for people with hearing loss provided by Lauren Schecter and C2 Caption Coalition.

 For more information about TRU membership and programs, visit www.truonline.org or call (212) 714-7628.

Monday, September 24, 2012

THE RED HANDED OTTER



Ethan Lipton's
Quirky New Comedy

Red-Handed Otter

Directed by Mike Donahue


THE RED HANDED OTTER
Rebecca Henderson, Gibson Frazier, Bobby Moreno,
Quincy Tyler Bernstine, Matthew Maher
Photo By Carol Rosegg 

CAST: 
Matt Maher (Soho Rep’s Uncle Vanya),
Rebecca Henderson (Playwrights Horizons' The Retributionists),
Bobby Moreno (Ensemble Studio Theatre’s Hand to God),
Gibson Frazier (13P’s Internationalist),
Quincy Tyler Bernstine (Manhattan Theatre Club’s Ruined).

DESIGNERS:
Andrew Boyce (scenery),
Moria Sine Clinton (costumes),
Lucrecia Briceño (lighting),\
Jill BC DuBoff (sound).


The Red Handed Otter is a "simple" play about people and pets.  Jessica, the center of Paul's life, died when she was 17.  Jessica was one of the five best cats, ever.

Paul, his ex-girlfriend Angela, her current boyfriend, Donald, together with Estelle and Randy are security guards. They watch security camera TVs. Paul has worked there watching security camera images for 15 years.

The show is a delight.  It is funny, witty, and very well acted.  The drab people are funny. The drab set is witty and funny. You come out of there, whether you are a pet or people lover, feeling good.

It is the sort of "simple" play, dealing with ordinary people talking mostly about their pets, that could spawn several PhD theses somewhere down the line, each with a completely different take on the metaphorical meaning of the play.  I just laughed.

The Red Handed Otter was developed by The Playwrights Realm.  It is playing in a small studio theater at the Cherry Lane, and only runs through October 6.

It is an impressive accomplishment to bring a new script to this level of sophistication in production, outside of the commercial theater, and then to get rave reviews from media as diverse as the Daily News and the New York Times.

When a play which has no big jokes gets laughs every few moments, and you identify with and recognize both the people and the pets, you have to credit the director with making a major contribution to the success of the play.  There's an "auteur" theory for film; I think the director may be even more of a critical factor in the success of theatrical productions. The director, Mike Donahue, with credits and training from Harvard to Yale and experience in opera, classics and new works, is a guy to watch.


Here's some more about the author, Ethan Lipton, from the production notes...

Red-Handed Otter  was developed by Ethan as a 2011 Playwrights Realm Writing Fellow. He won a 2012 OBIE for his music-theatre piece No Place To Go which premiered earlier this year at Joe's Pub.  Lipton’s play Luther was acclaimed this spring as part of the Clubbed Thumb Summerworks 2012 Festival at Here Arts Center. 

Mr. Lipton's plays have been seen and heard in New York, LA, Seattle, Edinburgh (Scotland) and Berne (Austria) at theaters including the Public, Lark, 3LD, HERE, the Ohio, New York Stage and Film, Dixon Place, WPA, Complex, and Powerhouse, with companies including Clubbed Thumb (of which he is a member of the Writers Group), Gotham Stage, Buffalo Nights, New Century, and Rude Mechanicals.  

Mr. Lipton is winner of a New York Foundation for the Arts grant and a Drama-Logue Award for playwriting. He has been a Kesselring nominee, an O’Neill Conference finalist, and a member of the Public Theater’s Emerging Writers Group. 

As a musician, he has sung backup for Laurie Anderson and as an actor he originated the role of Klipspringer in Elevator Repair Service's award-winning production Gatz.


In rehearsal for 
THE RED HANDED OTTER
Bobby Moreno, Matthew Maher, Rebecca Henderson



LINKS

RED HANDED OTTER
http://www.redhandedotter.com/

THE PLAYWRIGHTS' REALM
http://playwrightsrealm.org/


ETHAN LIPTON
http://www.facebook.com/ethan.lipton
@ethanlipton on twitter

MIKE DONAHUE
http://www.mikemdonahue.com/Portfolio.html



Review: DAILY NEWS
http://www.nydailynews.com/entertainment/music-arts/theater-review-red-handed-otter-article-1.1163819?localLinksEnabled=false

Review: BACKSTAGE
http://www.backstage.com/review/ny-theater/off-off-broadway/ethan-liptons-red-handed-otter-playwrights-realm/

Review: NY THEATER.COM
http://www.nytheatre.com/reviews

Review: THE NEW YORK TIMES
http://theater.nytimes.com/2012/09/21/theater/reviews/ethan-liptons-red-handed-otter-at-the-cherry-lane-theater.html?_r=0


Sunday, August 19, 2012

BETWEEN THE SEAS - 2012

 

BETWEEN THE SEAS FESTIVAL 

OF MEDITERRANEAN

PERFORMING ARTS

Aug 20-26, 2012 

 

Aktina Stathaki, creator and artistic director of the BETWEEN THE SEAS FESTIVAL of Mediterranean performing arts has put together a terrific program for 2012, the second year of this new, annual project.

For a view of Aktina in 3D (or 2D) talking about putting the festival together, see:

http://www.youtube.com/watch?v=inD2bcusJ3c&feature=plcp

 

For complete information, see: 

http://betweentheseas.org/home/

 

Here is this year's program:

PROGRAM

Dance

Rachel Erdos / Ido Tadmor: And Mr (the choreographer's cut) (Israel)

The international premiere of the work And Mr (the choreographer's cut) is an extended version of the solo 'and Mr' commissioned and performed by Israeli dancer and choreographer Ido Tadmor which was originally premiered in August 2011. Since then the piece has been performed in New York, Israel, Korea and Cyprus with upcoming performances in Brazil, Budapest and Hong Kong. This extended version had its Israeli premiere as part of Intima Dance Festival and Summer Dance Festival, Tel Aviv. www.rachelerdos.com.
Presented with the generous support of the Office of Cultural Affairs, Consulate of Israel in NYC. Additional support by Between the Seas Festival
(Monday August 20th at 7pm ; Tuesday August 21st at 6.30pm - USA premiere)

Vanessa Tamburi / Flusso Dance: Lost Rights (Italy/USA)

Lost Rights was created by FLUSSO dance project in collaboration with Visa2dance Festival and premiered at the Visa2dance Festival, Dar es Salaam in October 2010. The piece is specifically designed for four young dancers as a combination of movements taking roots in different cultures. The choreography articulates nine vignettes of the life of children in Africa: stories of lost rights and dignity. The piece is inspired by The sky of the last ones, a book that collects articles written by Maria G. Cutuli, an Italian reporter killed in Afghanistan in 2001. Her reporting brought her to Africa, the continent that she loved the most, then to Afghanistan, Pakistan and the Middle East. Her articles cover stories of life, and interviews with witnesses. Tales of women, children and war: "those that we forget because we do not belong to it. www.flussodanceproject.com
(Monday August 20th at 7pm ; Tuesday August 21st at 6.30pm - USA premiere)

Celli Contemporary Ballet: Irritante (Vexatious) (Italy)

What is vexatious? Sometimes the ignorance is vexatious, the stupidity is vexatious, the arrogance is vexatious. The soul is vexed when is tied to routine. The soul is vexed when is destroyed, when it is abandoned. The man is vexed when he doesn’t know how to express himself, when he’s repressed. Vexatious is the repressed necessity to make art, the only way for hope in a better society. Vexatious deals with the story of an Italian artist who crossed the ocean in search of fame and fortune. The new world gave him a warm welcome and everything he wanted. But soon the success he gained became greed and he forgot what counts most in a man’s life: the capacity to love. After losing everything he had, even his talent, he learned that only love can make you build a bridge across the ocean. www.cellicontemporaryballet.com
(Thursday August 23rd at 7pm ; Friday August 24th at 7pm )

Noa Dar: Arnica (Israel)

Arnica is an observation of the fluctuating connection between the world of the mind and the reality outside of it in what becomes an intensely personal and intimate work. In its original form Arnica is a collage of 17 solos, each between one and five minutes long performed by three women. For its international premiere at Between the Seas Noa Dar will perform 4 solos set to music by Tom Waits. “In Arnica Dar turns inwards to create a retrospective of ten years worth of choreography, in which she is the centerpiece...The physicality of her movement vocabulary, combined with an incredible sense of composition and balance, marked her as an important force in the dance community.” (Ori J. Lenkinski , The Jerusalem Post). www.noadar.com
Presented with the generous support of the Office of Cultural Affairs, Consulate of Israel in NYC.
(Thursday August 23rd at 7pm ; Friday August 24th at 7pm - USA premiere)

Sublime Dance Company: [+=1] (Albania/USA)

A new dance work that revolves around a broad investigation of Life's richness and abundance with respect to Relationships. Relationships here understood and investigated within an abstract level of consciousness. The work tries to explore its multifaceted realm and possibilities of consciousness by multiplication of perspectives.Finding 'Life' in the beginnings of relationships by exploring our drives, needs and capacities to maintain ourselves and survive within the constant fight for establishing a connection with the 'Other'. Finding 'Life' in the endless transitional moments wherein two persons start to recognize each other and decide to share grounds. Finding 'Life' at the end of a relationship's journey where emotions, passions, drives, and thoughts manifest themselves differently , and the need for a higher, richer, and more a meaningful experience is at the heart of Life. www.sublimedancecompany.com
(Thursday August 23rd at 9pm ; Friday August 24th at 9pm -  USA premiere)

Mancopy Dance Company: EVERY last BREATH (Denmark/Egypt/Lebanon/Palestine)

Four dancers from the Arab world seek out freedom and identity whenever possible. Through their stirred up history, constantly shaken by social and political instabilities, each one of them reveals a personal physical and artistic reality. EVERY last BREATH is a reflection on living in a place where every breath risks to be the last. “The piece [...] combines contemporary European choreography with the aspirations of those emerging from unending revolutions, wars and crises” (Sawsan Al Abtah - The Middle East Newspaper). Created in 2005 by Danish choreographer Jens Bjerregaard and open to cross-cultural research and collaboration, Mancopy's repertoire is built on Bjerregaard's choreography as well as that of acclaimed choreographers from around the world, including choreographers from Singapore, France, Hungary, and Italy and presenting both stage and site-specific productions. www.mancopy.dk
(Thursday August 23rd at 9pm ; Friday August 24th at 9pm - USA premiere)

Korhan Basaran and Artists: RAu (Turkey/USA)

RAu: a work created to open a new door to the unknown and undefined. In this experimental work, acclaimed Turkish choreographer and dancer Korhan Basaran focuses on challenging and questioning the aesthetic idea of the day and uses revision to explore and invent a new vocabulary in a new language which is aimed to be accessible to all.
(Sunday August 26th at 8.30pm )

Rebeca Tomás / A Palo Seco: Tradiciones Nuevas (USA/Spain)

The phrase a palo seco refers to the "a cappella" style of flamenco music, typically consisting of singing or percussion alone. That stripped-down aesthetic characterizes some of the company's biggest departures from tradition, featured in this production of Tradiciones Nuevas. While implementing typical Flamenco props, such as the bata de cola (long-train dress) and abanico (Spanish fan), the repertoire in this production will feature the company’s penchant for unconventional fare with an innovative and edgy New York feel. www.rebecaflamenca.com
(Saturday August 25th at 7pm )

Theater

Olga Pozeli / Noiti Grammi: When the red Toyota went off the road and sank in black water (Greece)

A prominent politician meets, at a party, a young woman who works for his party’s campaign. After several drinks and a solitary walk on the beach, the politician expresses his interest in the woman. Towards the end of the evening they leave the party together. While driving his car, the politician loses control and the car falls into a dark swamp and immediately sinks into black water. He manages to escape the sinking vehicle, leaving the woman to drown. We follow the story through her eyes -an impressionistic jumble of memories and voices from the past intersected by images from the day of her death. These images, stretched in time and constantly repeated, try to give an explanation for the tragic accident that leads to her slow and agonizing death. A performance on the corruption of power, as well as on our attitude towards the absurdity of a violent and unjust death. Olga Pozeli is the founder of critically acclaimed Noiti Grammi theater company in Athens, Greece, and has directed original devised works as well as plays by Berkoff, Bennett, Mamet, Ives and more. This show is supported by the Greek Ministry of Culture. www.noitigrammi.gr
(Tuesday August 21st at 9pm , and Wednesday August 22nd at 9pm - USA premiere)

Lina Abiad / Amahl Kouri: I.D. (Lebanon)

4 transgender people from around the Mediterranean set sail and dock in their own new bodies. I.D. is their voyage. With this new work that is having its USA premiere at Between the Seas Festival, director Lina Abiad and performer Amahl Kouri continue their mission of expanding the boundaries of Lebanese theater, bringing new works to communities outside of the mainstream. Presented with the generous support of the Lebanese American University.
(Saturday August 25th at 9pm ; Sunday August 26th at 2pm - USA premiere)

Sabine Choucair / Chantal Mailhac: Whispered Tales, from door to door (Lebanon)

A road trip from village to village, looking for Lebanese tales, ordinary people's extraordinary stories. Stories of love, hatred, neighborhood, life and death. Although they capture details of people's survival during tough times of the wars in Lebanon, the stories also reflect on the humane and humorous aspects of life. Whispered Tales is a 40min performance, with traditional music and songs, some thyme and oil and Lebanese coffee...
(Saturday August 25th at 9pm ; Sunday August 26th at 2pm -  USA premiere)

Special Events

Screening: The Glass Wall

Between the Seas will host a free screening of The Glass Wall, a documentary by Iranian-American filmmaker, theatre artist, educator, and scholar, Mahmood Karimi-Hakak. In 2009 Mr. Hakak spent a year in Israel and Palestine, on a mission to create a theatrical collaboration with participants on both sides of the decades-old conflict in that region. What he discovered was a 760 km (472 mi) concrete Wall that currently makes any such artistic collaboration meaningless, if not impossible. Karimi-Hakak had theatre artists from each side, Palestine and Israel, express their thoughts and feelings towards The Wall, its effect on their creative work and their day-to-day life. They are also asked to imagine The Wall as transparent, hence The Glass Wall, and comment on what they see on the other side. With candid interviews of theatre artists,enhanced by footage of their theatre productions, this film takes us to the heart of one of the most impassioned cultural divides in our time. theglasswallfilm.weebly.com
(Wednesday August 22nd at 6.30pm )

Family: A Visit from Victoria

The Lower East Side Tenement Museum presents: A Visit from Victoria Based on the Life of Victoria (Confino) Cohen who grew up at 97 Orchard Street, currently home to the Lower East Side Tenement Museum. Meet Victoria Confino, a 14 year old Greek Sephardic immigrant who will take you through her immigration story and life on the Lower East Side in 1916. Written by Elly Berke.
(Saturday August 25th at 11)

Staged readings

Benedictus

An ambitious international collaboration, Benedictus, brings together acclaimed artists from Iran, Israel and the United States: Motti Lerner, one of Israel's most provocative contemporary playwrights, Torange Yeghiazarian, Artistic Director of Golden Thread, Iranian-American director Mahmood Karimi-Hakak of Siena College and American designer Daniel Michaelson of Bennington College, and dramaturg Roberta Levitow, founder of Theatre Without Borders.
(Sunday August 26th at 12 pm)

This Time

This Time is a new play written by Sevan Kaloustian Greene and directed by Kareem Fahmy. It was developed through a series of exploratory workshops beginning in the fall of 2011 as part of director Kareem Fahmy’s “Emerging Artist of Color Fellowship” at New York Theatre Workshop. The key source material was the memoir Not So Long Ago, by Zeinab Allam which tells the story of Zeinab’s departure from Egypt in the 1960s because of an affair she was having with an American professor.
(Sunday August 26th at 4pm)

PULP SHAKESPEARE

If you like Quentin Tarantino's films... And, perhaps, memorized Pulp Fiction... And

Like hearing iambic pentameter
Elizabethan, or just written now

Then you should enjoy Pulp Shakespeare, currently at FringeNYC, after a successful run last year at the Hollywood Fringe Fest.

Remaining performances: Sun., Aug. 19, 5:30 p.m.; Thu., Aug. 23, 9:15 p.m.; Fri., Aug. 24, 2 p.m. (866) 468-7619 or www.fringenyc.org.


Directed by Jordan Monsell, founder and Artistic Director of Her Majesty's Secret Players. The play is based on an adaptation by Ben Tallen, Aaron Greer, Brian Watson-Jones, and Jordan Monsell.

Cast:  Cast: Hannah Beck, Curtis D. Davis, Liza de Weerd, Nathaniel Freeman, John Klopping, David Lautman, Christian Levatino, Aaron Lyons, Juan Perez, BrIan Weiss, Dan White, Justine Woodford and Jordan Monsell.



LINKS

Official Site:
www.pulpshakespeare.com

FringeNYC :
 www.fringenyc.org


Review:
http://www.backstage.com/bso/reviews-ny-theatre-off-off-broadway/ny-review-pulp-shakespeare-1007825752.story





Friday, July 6, 2012

BETWEEN THE SEAS FESTIVAL - SEEKING PRODUCTION TEAM MEMBER

BETWEEN THE SEAS
THEATER FESTIVAL

August 20-26th 2012

At the Wild Project
New York City

Between the Seas is a unique cultural initiative in the city, being the very first and only festival promoting contemporary culture from the Mediterranean. This year's program includes artists from NYC, Greece, Israel, Denmark, Lebanon, Italy and more.

"Between the Seas Festival of Mediterranean Performing Arts is seeking an enthusiastic and motivated student or young professional specializing in technical theater, to join our team. The intern will have the opportunity to assist with the organization of the festival and get a hands on experience in providing production support in a festival setting.

Responsibilities include: overseeing the smooth and timely run of rehearsals for the participating artists; assist with artists' technical needs as they may arise; communicate effectively with the Technical Director, Production Director and theater manager to ensure that the everything is in order for the smooth running of performances. The incumbent will work with an enthusiastic and experienced team of organizers, will have the opportunity to meet and work with artists from NYC and abroad, get free access to all of the festival's shows and receive a small stipend.

This is a one-week commitment (August 20th to the 26th) and most of the work will be during daytime (9-5pm) although some evening work may be required.

"It is a fast growing organization and we like to meet students and young professionals with whom we can establish long standing collaborations."

For more information visit

Friday, June 15, 2012

COWBOY MOUTH


ONE OLD CROW PRODUCTIONS PRESENTS 
COWBOY MOUTH 
BY SAM SHEPARD & PATTI SMITH 
A SITE SPECIFIC PLAY WITH MUSIC
JUNE 7-22 
THE SALON APARTMENT ABOVE LUCKY CHENG’S 
IN THE HEART OF THE LOWER EAST SIDE

COWBOY MOUTH
Diana Beshara 
As Cavale... With her pet dead-crow
Photo by Leah Benavides
 
COWBOY MOUTH is an early play by Sam Shepard and Patti Smith, that developed from the real life affair of Shepard -- who had recently left his wife and child -- and Smith.

The structure of the play seems to be a series of small mini set pieces of passionate love/anger with overtones of absurdity and suicidal despair between Slim and Cavale, which escalate rather abruptly into powerful monologues with metaphorical overtones based on the need to be free.

The play is presented in a grungy apartment in a grungy neighborhood. The audience sits on chairs in the apartment, which gives the play something of the flavor of immersive, site-specific theater. However, the audience does not participate in the play (except for unscripted interruptions by errant theater-goers). This setting has been compared to Sleep No More, but an apt comparison between the two is:  Watching a stick-ball game in the street compared to attending the first game of the World Series and possibly catching a home-run ball: Watching stick-ball can be fun, but the nature of the audience participation is really part of the game at the World Series -- and the scale of the event and the skill level of the participants are vastly (almost incomparably) different. (Note: In Sleep No More, the audience participation is an integral part of the experience, and the expertise and skill level of every aspect of the show is breathtaking.)

One important facet of a director's job is to make every moment of a play clear in its context. I had trouble with that at this production: The characters did not seem to me to be clear about what they were really fighting about, or how much they really cared about -- or hated -- each other. In a play with more subtext than text, clarity of intention is essential.

I also found myself distracted in many other ways -- the accents were inconsistent: sometimes the actors seemed to be trying to talk like cowboys, but mostly not; the characters kept changing clothes for no explicable reason; the bizarre costuming of the Lobster Man did not seem to fit with what was suggested about him; and the dead-crow pet never gained a life of its own. I also had a bit of a problem with watching lovers on a bed who are over-dressed for making love on a bed.

The drums were the best, but overall the music was not impressive.

Aside from the set, the strongest aspect of the production was the final set-pieces by each of the characters. Had they been well set up by a strong lead-in they would have rounded out a powerful play.

All in all, while this is not a definitive production of Cowboy Mouth, it had no major faults, just possibilities not fully realized. The production is still a revealing and interesting presentation of an early Sam Shepard play that is not too frequently performed. Plus... there is free cheap wine, and a chance to hang out in Cavale's grungy apartment and watch her and Slim love, fight, and deal with Lobster Man.

(Note: The play takes place in an apartment above Lucky Cheng's, (LC), but the entrance is separate, around the corner from the entrance to LC. The night I was there, the Lobster Man was on the corner with fortune cookies with directions to the apartment. -- LC, that night, by the way, was hosting an LGBT/Drag  Karaoke.)

(Note: Come early to find a good comfortable seat with clear sight-lines. But a Cautionary Note: Front row seats might get splashed!)

Below is some information about the production from the producers and some links to more information:

"One Old Crow Productions presents a site-specific production of COWBOY MOUTH, the play born out of the actual relationship between America’s most celebrated dramatist, Sam Shepard and the godmother of Punk, Patti Smith. 

This play with original music composed in collaboration with the cast and director takes place in a grungy space above the bar, Lucky Cheng's, in the Lower East Side and will incorporate elements from the streets of New York.

One Old Crow invites the audience into Cavale's apt, where she has been holed up with Slim. 

The production is directed by Leah Benavides (The 4th Graders Present an Unnamed Love-Suicide at The Tank; Member of the 2011 Lincoln Center Director Lab) and will feature Diana Beshara (The Love Letter You’ve Been Meaning to Write New York at 3LD) as Cavale, Geoffrey Pomeroy (Two Days ‘til Dawn at the 2011 Planet Connections Festivity) as Slim,and Matthew Mark Stannah (2011 AADM graduate) as Lobster Man. 

The cast, in collaboration with the director, created the set, artwork, and original music. Slim, a musician, is in the apartment of the young Cavale, who dreams of making him the next rock n’ roll savior. What follows is a hypnotic meditation on art, desire, music, the state of the world, the place of dreams, and “two big dreamers who came together but were destined to come to a sad end.” (Patti Smith, 1974). 

The production, presented by One Old Crow Productions plays a three-week engagement in an apartment above Lucky Cheng’s (24 1st Avenue at 2nd Street) June 7-22; 

June 7 & 8, 11-14, & 20 & 21 at 8pm, 
Friday, June 15 & 22 at 8pm and 10pm, and 
Sunday, June 10 & 17 at 5pm. 

TICKETS($15) may be purchased 
or by calling 1-800-838-3006. 

ONE OLD CROW PRODUCTIONS is a new company dedicated to producing works across multiple mediums that highlight and celebrate an experimental nature and an explorative use of space and place. We are not interested so much in Naturalism as REALISM; in exploring the reality and truth in situations that exist outside of daily life yet illuminate our existence. "

LINKS: 

Note: There is a band called COWBOY MOUTH which is not related to this production or this play. 

ONE OLD CROW PRODUCTIONS -- THE OFFICIAL SITE FOR THIS PLAY www.oneoldcrowproductions.com
http://www.oneoldcrowproductions.com/up-next.html

COWBOY MOUTH - WIKIPEDIA
http://en.wikipedia.org/wiki/Cowboy_Mouth_(play)

SAM SHEPARD - WIKIPEDIA
http://en.wikipedia.org/wiki/Sam_Shepard

PATTI SMITH - WIKIPEDIA
http://en.wikipedia.org/wiki/Patti_Smith

SLEEP NO MORE - QPORIT
http://qporit.blogspot.com/2012/05/sleep-no-more-review-guide.html

LUCKY CHENG's
http://luckychengsnyc.com/


Thursday, April 5, 2012

THE TAMING OF THE SHREW


Theatre for a New Audience Presents...
Andy Grotelueschen and Maggie Siff 
THE TAMING OF THE SHREW
Photo by Henry Grossman

The Taming of the Shrew
By William Shakespeare
The Duke on 42nd Street

Maggie Siff is a shrew! In all too many productions of THE TAMING OF THE SHREW, the "shrew" is not a shrew, but just a bit cross with her language, and the play makes no sense: there is no shrew to tame. In this production, Maggie bursts onto the stage in an obnoxious roar. Katharina is a shrew. It justifies, explains, and humanizes the whole play.

Andy Grotelueschen appears on stage announcing he's there to find a woman. When he hears that Katharina is available, has a rich dad and a fine dowry, he's pleased; and when he hears she's feisty and more, and worse, (and more worser! still), he's delighted. It's a challenge, a game he's happy to play. And he spells out his method, so there's no question he's about to play a game he's going to enjoy... and is playing to win.

This production of Shakespeare's The Taming of The Shrew, with Maggie Siff as Katharina and Andy Grotelueschen as Petruchio, directed by Arin Arbus at Theater For A New Audience (TFANA) is enjoyable, understandable, entertaining and generally excellent.



Andy Grotelueschen and Maggie Siff
 THE TAMING OF THE SHREW
Photo by Gerry Goodstein


The Taming of The Shrew (TTOTS) is one of Shakespeare's early plays, based on several sources from which different plot elements of the play are taken (including a whole tradition of plays about "taming" women). It was published long after it was written, and there is only one version of the play. (This, of course, leaves open the possibility that the play we have is not exactly what Shakespeare wrote -- that it might contain parts he did not write, and that parts he did write might be missing.)

Another play, published anonymously (close to the time when TTOTS was first written), called THE TAMING OF A SHREW (TTOAS), contains both similarities and differences to Shakespeare's play.

Structurally, both plays begin with a section, called the "Induction," in which a passed-out drunk is discovered by a rich man, who decides to play a prank: he dresses the drunk, Sly, as a rich man and instructs his attendants to convince Sly when he awakes that Sly has just awoken from a years-long drunken madness, and that he is really a rich man. Then the rich man arranges to have a play, namely "The Taming of The Shrew" performed for Sly. So TTOTS is actually the play within the play, introduced by the "Induction".

The Taming of the Shrew, The Merchant of Venice, and Othello, are all politically incorrect plays. Shrew is about misogyny, Merchant is about a merciless money-lending Jew, and Othello is about a black man drawn to jealous murder of his innocent white wife.

Modern stage directors typically deal with these unPC themes in some combination of three ways:

-- most often, they emphasize the humanity that Shakespeare gives his character ("Hath not a Jew eyes?");

-- least often, they embrace the slur ("And if you wrong us, do we not revenge?" ... "Even now, now, very now, an old black ram / Is tupping your white ewe.");

-- and sometimes, they deny the obvious political incorrectness and try to create an interpretation of the play that enables a politically correct production.

-- less typically, they find a way to finesse the incorrectness of the story.

Arin Arbus uses a combination of all these techniques.

Most obvious, in this production, is denial: the play in this production is not misogynist: Petruchio does not "tame" Kate, but rather allows her to find herself. Petruchio is playing a game; Katharina is an obnoxious shrew only out of frustration with her inability to communicate with her family and her dislike for any apparently available suitors; and when she warms up to his game and realizes she is in tune with Petruchio (impressed, though skeptical, that he says everything he is doing is for her benefit), Katharina and Petruchio truly fall in love and Katharina can dispense with the bad behavior and become herself. She is not changed, not tamed, but allowed to self-realize her true nature.

As for the other techniques, the production embraces Katharina's early shrewishness, and the production gives all the characters their full measure of humanity and realistic behavior.

Moreover, this production includes the "Induction," the first scene of the play (often omitted from a staging) which establishes "The Taming of the Shrew" as a play with a play, finessing its unPC theme by giving it an extra measure of distancing, or plausible deniability as to its intrinsic misogyny.

The production does have some problems: while the lead characters are terrific, and speak clearly and understandably; and most all the acting is excellent, some of the speeches of some of the characters are at times completely incomprehensible.

Also, Bianca, (played nicely by the pretty -- tho' improbably tall for her character -- Kathryn Saffell, in her OB debut), and the Widow (Owen Fouere) rather suddenly and without dramatic justification turn from ostensible models of "good" behavior at the beginning, to models of truculence against whom Katharina can then rail at the end.

As mentioned before, in the script of The Taming of The Shrew that has come down to us from some years after Shakespeare's time, there is an "Induction," an opening scene which sets up the play, "The Taming of The Shrew" as a play within a play, performed to a drunk who has been dressed up by a rich prankster.

The "Induction" is the only scene in which the framing characters appear. In this production, the characters from the framing -- which is placed inexplicably in the Wild West -- sit in the audience throughout the evening to watch the performance of TTOTS , and even have a few words borrowed from the other play ("The Taming of A Shrew"), in which there is also a framing device.

But then there is nothing more. It would have been more satisfying at the end of the play, even if the framing characters had no more words, to -- at least -- give them a bit of business (perhaps a spotlight on the character, Sly, at the end as he applauds the play he's seen, or show him walking away from the scene thoroughly confused, or still drunk and fast asleep), to complete the framing.

A talk-back after the show (there's another after the Saturday April 14 matinee) made some interesting points. Julie Crawford, from Columbia University stressed the idea that the play as written by Shakespeare embraces simultaneous and conflicting interpretations, while Robert Michels, a Professor of Psychiatry at Cornell was interested in the interpretation of this production which centered -- as described above -- on the way that Katharina and Petruchio find love with each other.

The prominence of discussions of the terms of marriage contracts between men and women in this play was also emphasized.

There was also considerable discussion at the talk-back of the framing device of the Induction which, in addition to serving to distance the play from its presumptive misogyny, also casts a spotlight on the fact that in the original productions of this and Shakespeare's other plays, the roles of women were played by boys and men; and that the role one plays in society can seem to change so easily, here just by dressing up in better clothes.


For more information and tickets:
THE TAMING OF THE SHREW
http://www.tfana.org/season/taming-shrew/overview

SOME INTERESTING LINKS:

THEATRE FOR A NEW AUDIENCE (TFANA) is one of New York's most important theaters for the consistently excellent production of Shakespearean plays.
TFANA has put together a detailed analysis of the play and this production:
http://www.tfana.org/wp-content/uploads/2011/11/The-Taming-of-the-Shrew-360-A-Viewfinder-2012.pdf
 
THE TAMING OF THE SHREW - WIKIPEDIA
http://en.wikipedia.org/wiki/The_Taming_of_the_Shrew 
 
The Taming of A Shrew (Anonymous), similar in some ways to The Taming of The Shrew (TTOTS), is often taken to be a garbled version of  (a possibly early draft of) TTOTS,  with elements, perhaps, of other plays as well:


MAGGIE SIFF (Katharina) ON WIKIPEDIA
MAGGIE SIFF ON IMDB
http://www.imdb.com/name/nm1745019/
 
ANDY GROTELUESCHEN (Petruchio)

KATHRYN SAFFELL (Bianca)
HERE ARE SOME LINKS TO    
SCRIPTS AND VIDEOS





TAMING OF THE SHREW
 


ALL VARIATIONS:
(Note: Please check that you are getting the format and version you want; 
the same play comes in many variations!)

Friday, February 24, 2012

DAUGHTERS OF LOT

Brain Melt Consortium Presents
DAUGHTERS OF LOT
Kraine Theater 
85 E 4th Street, between 2nd Ave & Bowery
Part of the 2012 FRIGID New York Festival.

Written by Alexis Roblan
Directed by Rachel Kerry
Featuring Marlena Kalm, Stav Meishar, Caitlin Mehner, Naomi Bland,and Rebecca Gray Davis

 director’s note in haiku form:
Are you man enough?
For tonight’s entertainment?
...Do enjoy the show.

DAUGHTERS OF LOT is a brilliant idea for a play, with a brilliant conception for its style.

It has a terrific cast. (It's fun to see young actors that will be stars at an early stage of their careers!)


 
Caitlin Mehner, Marlena Kalm, Stav Meishar
DAUGHTERS OF LOT 
Photo by Nicholas Grant


It does not have a fully developed script, or the energy, ferocity and conviction to live up to its premise, or the promises made in the promos (see the director's haiku above) and even the introduction to the audience: After "threatening" the audience with the promise that they will be disturbed, and that the play is for adult audiences only, and that anyone squeamish should leave right away, the play wimps out and is less sexual, explicit, or daring than 9 PM TV.

Let's start at the beginning: DAUGHTERS OF LOT uses the biblical story of Lot's daughters, in the context of a burlesque show, to comment on the role of women and provide a "vexing exploration of the way women are taught to be 'women'."

Here's a little background: In Genesis, after the world is created in seven days, Adam and Eve are thrown out of the Garden of Eden, and Noah and his animals survive the flood, we come to Abraham (the Patriarch of the Israelites). Lot is Abraham's nephew. Lot lived in Sodom, which together with Gomorrah were "exceeding grievous" in their sinning. Lot was said to be the only righteous man in Sodom. Lot had lots of daughters (at least 4: two married, two virgins).

And here's the interesting part of this story: Although Lot was said to be righteous, there were some things that happened that raise modern eyebrows...

First, the Lord sends men to visit Sodom to see how many righteous men live there, to determine if the town is worth saving. When townsmen come to attack these messengers, Lot offers his virgin daughters to the crowd: "Behold now, I have two daughters that have never known man; let me, I pray you, bring them out unto you and do ye to them as is good in your eyes, only unto these men do nothing, for as much as they are under the shadow of my roof."

Then, Lot escapes the destruction of Sodom and the death of his wife (who is turned into a pillar of salt) with his two virgin daughters, and they -- the only survivors of the destruction -- live in a cave in the mountains. Alone in the mountains and imagining they are the last people on earth, Lot's older daughter one night, and his younger daughter the next -- to preserve the seed of their father -- get Lot drunk and sleep with him. Later, each has a child that grows up to be the Patriarch of another tribe.

So, Rape and Incest (of biblical proportions) by the only righteous man in Sodom, with the background of Sodom -- a city renowned for its sinning -- in the context of a modern burlesque, as a platform to discuss the education of women, by an acting troupe of 5 highly talented & beautiful women, playing all the roles of modern and ancient men and women... This should be a fierce play.

But it was bland. There was no sex (just a little talking about the sex and sin that would be but never happened). No nudity. The burlesque was not real -- no singing, no dancing, just a few jokes. The daughters of Lot were on stage, in the burlesque(?) or not(?), but though there was talk about "educating" them, it was not clear what was taught, or what they learned, or what they did with their knowledge, or how, exactly, what they learned in the burlesque was brought back to their own time. The play ends with Lot kind of apologizing for having sex with his daughters -- but aside from the revisionism (the bible blames the girls -- not Lot -- for the sex) its an interesting, but not a very strong scene. And he's just talking; nothing's happening. And the play ends there. After just an hour.

Plays at an early stage are interesting because it's possible and fun to think about how they might develop.

Here are some ideas...

The conception is terrific. Just strengthen it and make it fierce, real, clear, personal, political and sexual.

Dramatize the incendiary scenes in the story of Lot's daughters. Don't just talk about them.

Use members of the audience. Involve the audience physically! (If necessary, put shills in the audience.) Make the audience (safely and comfortably) uncomfortable.

Instead of beginning with the burlesque girls stretching (while people are walking in), have them in the more intimate setting of their dressing room, and have the stretches choreographed with the grace of a kind of abstract dance. (Note/disclosure: I just saw PINA; now all dramatic physicality seems like it should be colored by dance.)

Make the burlesque real with sex, jokes, dance and song. Note that mesh stockings and cleavage alone do not burlesque make. The costumes are excellent, but the burlesque costume is over-used, and there's lots more burlesquing to be done.

Make Sodom real with sex, sin and nudity (on stage, not just talked about).

Make the differences between the time of Sodom, the present day, and the present day burlesque of Sodom real (and clear).

Be clear about what the daughters are learning, and how they change with what they have learned.
When interacting with the daughters in the burlesque, make it clear how that is part of the burlesque.  When they are in Sodom, make that real, clear, and explicit; and connect it to what they have "learned" in the burlesque.

The older daughter initiates the rape of the father. Make her role stronger and clearer.


Extend the length of the play to full length theater (100-120 min running time).  That should allow ample time to include songs, music, jokes, sex, sinning and the rest of these ideas.


This play was intriguing. I like theater that makes me think, and makes me think about how I would approach it if I could reshape and direct it.

DAUGHTERS OF LOT  plays at the Frigid Festival, which is a great place to bring a new play to be put on its feet, to be tried out and to be seen by an audience. The Frigid Festival is created by the Horse Trade Theater Group, which is shaping up as one of the most prolific and important OOB theater companies.




DAUGHTERS OF LOT
Kraine Theater 
85 E 4th Street, between 2nd Ave & Bowery

Performance times are as follows: Thursday, Feb 23rd, 7:30 PM; Saturday, Feb 25th, 5:30 PM;
Tuesday, Feb 28th, 9:00 PM; Friday, Mar 2nd, 5:30 PM; and Sunday, Mar 4th, 4:00 PM. Tickets
are $15 and may be obtained through ...


SMARTTIX
www.smarttix.com .




DAUGHTERS OF LOT OFFICIAL SITE
http://www.brainmeltconsortium.com/daughters-of-lot.html

BRAIN MELT CONSORTIUM
http://www.brainmeltconsortium.com

FRIGID FESTIVAL - FRIGID NEW YORK
http://frigidnewyork.info/

HORSE TRADE THEATER GROUP
http://horsetrade.info/

CAITLIN MEHNER ON IMDB
http://www.imdb.com/name/nm2790561/


STAV MEISHAR
http://www.stavmeishar.com



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2011 TOPICAL INDEX OF STORIES IN QPORIT  

PLEASE VISIT OUR OSCAR COVERAGE!
http://qporit.blogspot.com/2012/01/oscar-nominations.html



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Tuesday, January 10, 2012

HOW THE WORLD BEGAN


Women's Project Presents 
New York Premiere 
Catherine Trieschmann's 
How The World Began  
Directed by Daniella Topol 
With Heidi Schreck, Adam LeFevre and Justin Kruger

Tuesday through Sunday evenings at 7:30pm 
with matinees Sundays at 3:00pm through January 29.
The Peter Jay Sharp Theater, 416 West 42nd Street



Justin Kruger, Heidi Schreck, and Adam LeFevre
HOW THE WORLD BEGAN
Photo by Carol Rosegg


HOW THE WORLD BEGAN is a simple play about moderately simple people and fairly complex issues. Specifically, it is about small-town (Kansas) attitudes toward religion and big-city attitudes about science.

That's attitudes, because the play is about attitudes not substance.

A teacher, not that well prepared for the job, several months pregnant and sans guy, comes -- from the big-city to a Kansas town devastated by a tornado  -- to teach biology.
The play begins when a student confronts the teacher over her use (before the play begins) of the term BOBBLEDYGOOK, apparently to describe Biblical views of (spontaneous -- God-given) creation.

The play is worth seeing for its attempt at portraying ordinary people in a situation that is getting out of hand, and for the performance of Justin Kruger.  Although he is too big, too hunky, and many years too old to play a high school biology student; he is a big, hunky, strong actor in his New York debut, who captures convincingly the manifold aspects of his character's character, and he could have a nice career ahead of him.

Heidi Schreck and Justin Kruger
HOW THE WORLD BEGAN
Photo by Carol Rosegg
 
 

The set design is interesting.  Suggesting a schoolroom reconstructed after the old school was destroyed, a complete biology classroom is constructed on top of a set of cinder blocks.  The light for the room comes from what appear to be skylight windows on the top of the schoolroom (with the theatrical lights out of sight).

Heidi Schreck, Adam LeFevre and Justin Kruger in the schoolroom set
HOW THE WORLD BEGAN
Photo by Carol Rosegg
 




SPOILER ALERT
THE NEXT SECTION CONTAINS SPOILERS:



Here are some notes/observations about the play:

The play gets off to a somewhat rocky start, because the first scene seems stagey and unnatural.  Aside from the fact that the boy seems too old to be in the class, the whole scene does not feel like any encounter that could happen in the real world of a high school.

There is something unreal and vague about the whole situation of the play -- it doesn't seem grounded: Does the teacher teach anything else? Why would she be hired to teach only biology? What part of the school year is this? The first class? What level is the class? A first class in science for seniors? How much preparation did the teacher have before she came to teach?  Where are all the other teachers? the other classrooms?

The teacher (Heidi Schreck) is presented -- most likely with a deliberate intention -- as confused, unprepared, with personal baggage, and without "poetry" in her language.  Adam LeFevre, as the boy's guardian, plays the role of "mediator" with straightforward reasonableness.

There is something admirable and important about trying to create "minimal" "normal" characters. I did not find, however, very much in the character of the teacher -- as it evolved over the course of the play -- that was very different, or more interesting, than the single sentence description above.

This play, of course, evokes memories of Oleanna -- student vs teacher  -- and Inherit The Wind -- evolution vs. religion.  This is a much more casual play than either of those.

I was most concerned, however, by the fact that the only objective of the teacher seems to be to keep her job.  She does not ever confront (though they are briefly mentioned) the deeper issues of  science and religion.  Also, it is disappointing that any serious dealing with the religious views of the boy are undercut by revealing that he is very, very disturbed. His religious "convictions" are trumped by his profoundly troubled soul.

The final scene is most interesting.  When the student reveals both tender feelings for the teacher, and how profoundly mentally shaken he is, suffering something like a seizure -- recalling the first scene -- the teacher comes to comfort him in a way that is almost inappropriate. But when he politely reacts to her joy that her baby is moving, she shuts him down immediately. Were this the beginning of the play, it would suggest a very promising dynamic, but at the very end, it just seems like an arbitrary piece of scripting to put a finish on the play.

Perhaps -- I mean this seriously -- the play is most interesting for how it dodges the serious issues and real questions that are raised in the first scene: teacher/student science/religion.  For in the real world, most of the time, the truth is, these issues are dodged, not confronted, and never solved.


Here is a prizewinning film made by Justin at Rutgers: