Wednesday, April 30, 2014

MAY 2014 EVENTS @ HORSE TRADE THEATER GROUP

MAY EVENTS @ 
HORSE TRADE THEATER GROUP

COMEDY

Stand Up and Take Your Clothes Off 
Sunday, May 4 @ 9pm $15 ($10 in advance)
The Kraine Theater (85 East 4th Street) 
Stand Up and Take Your Clothes Off is a fast paced, sexy show, bursting with talent. Each month will feature NYC's funniest female comics and sassiest burlesque acts.

Sketch Block 
Wednesday, May 14 @ 9pm $8 
Sketch Comedy meets Block Party. This monthly show features a guest host comedian, three guest sketch troupes and drinking. Come meet, mingle, and perform! 

Thank You, Robot
Friday, May 16 @ 10:30pm $5
A showcase for independent and established improv teams. For each show, two teams join Thank You, Robot to perform sets of unscripted comedy, never seen before and never to be seen again. 

The Skinny
Hosted by Peter DeGiglio
Wednesday, May 28 @ 9pm $10 
The Skinny is a political comedy talk show with a twist: The host, Peter DeGiglio, is just an average schnook struggling to wrap his head around the events that shape our world. Joining him is a discussion panel of real life experts and a plethora of wacky variety acts. 

STORYTELLING

The Adam Wade Show
Featuring Moth StorySLAM Champion, Adam Wade
Monday, May 12 @ 7pm $5 
Moth storytelling favorite, Adam Wade, has put together many of his winning heartfelt and humorous stories for a special show. He’ll also sing a few songs, and play video shorts. No two shows will be the same. A different featured guest will start the evening off. 

BURLESQUE

An Evening with Handsome Brad and his Naked Friends
Presented by The Nefarious Laboratory 
Wednesday, May 7 @ 9pm $10
Nefarious Laboratory has decided to kick off its partnership with Horse Trade by lying to the paying public: Only some of Brad’s friends are naked. The others are brilliant musicians, comics, and sideshow performers. Together with the finest in New York Burlesque they present an evening of variety entertainment. Part Carson era tonight show, part Addam’s Family, and entirely uncensored.

The Wasabassco Hellfire Club
Wednesday, May 14 @ 9pm $40 
The Kraine Theater (85 East 4th Street) 
It’s Wasabassco’s wildest, wickedest and most adult evening, curated to cater to the most sophisticated and lustful desires of a select group of curious and enlightened guests. 

Naked Girls Reading
Wednesday, May 21 @ 9pm $25 (2 for $40) 
A monthly nude literary salon featuring in-the-buff readings by local burlesque luminaries, professional librarians, authors and other Naked Girls.

VARIETY & OPEN MIC

The Open Mic Downstairs 
Hosted by Dan Ricker, Mike Milazzo, & Kaitlyn O’Connor  
Every Tuesday @ 9pm  $3 
At The Open Mic Downstairs the focus is the stage! Sign-ups get seven minutes to try anything in one of the most supportive rooms in New York. Whether it be a performance art piece, comedy, music, storytelling, dance, something entirely off the top of your head, or you just would like to have a drink and watch the show, you'll find a home in the welcoming community every Tuesday night at UNDER St. Marks

Pulp Variety Streamcast
Presented by RadioTheatre
Friday, May 26 @ 7pm $10
AshcanDepot, a new media production company, will be releasing its new series: The Pulp Variety Streamcast, an original RadioTheatre showcase, recorded live in front of a studio audience then released as a Audio Podcast and Video series for New Media listeners and viewers to consume and share.

Ten-Foot Rat Cabaret
Thursday, May 8 @ 10:30pm $10
Ten-Foot Rat Cabaret is Gotham’s Premiere Variety Show hosted by Canadian import Jillian Thomas; featuring Bill Chambers and Gregory Levine - and a rotating cast of the entertainment cream of NYC, America and Canada. 

Your Musical Trivia Jukebox Show! 
Monday, May 12 @ 9pm $5
Singer and comic Kyle Supley and Paulie "Fingerz" Leschen (Scissor Sisters, Bedbugs the Musical) bring you "Your Musical Trivia Jukebox Show!" which lets you the audience answer themed trivia questions, and choose the songs we perform.

Cabaret Showdown
Hosted by Mark McDaniels 
Sunday, May 11 @ 7pm $12 (includes a free drink)
Do you have what it takes to be a cabaret champion? Contestants compete for the chance to star in their own show or cabaret. Come out and join the fun! Whether you are a contestant or in the audience you are guaranteed to have a blast. 

Radical Vaudeville
Thursday, May 29 @ 10:30pm $12
The Kraine Theater (85 East 4th Street) 
Join Surf Reality and Faceboy as we celebrate NYC’s counterculture and the downtown Art Stars. While Manhattan has been relentlessly transformed into a corporate strip mall these intrepid entertainers are the cultural vanguard that leads by example. We welcome you to come enjoy the nights of sex, comedy and eclectic music that are Radical Vaudeville.

All shows are at UNDER St. Marks (94 St. Marks Place between 1st Avenue and Avenue A) unless otherwise noted. Tickets may be purchased in advance at www.horseTRADE.info or by calling 212-868-4444. 

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Preview: CAROLE GREEP's HAPPY NEW YEAR (Meilleurs Voeux)


HAPPY NEW YEAR
by CAROLE GREEP
Directed by Mark Blum

Adapted (in English) and Performed by 
Constance Labbe and Christopher Heard

4TH STREET THEATER
83 EAST FOURTH STREET
MAY 27 TO JUNE 1


Constance Labbe and Christopher Heard have teamed up to bring a "very French" play by a very hot French playwright to New York in an English adaptation.

 
CAROLE GREEP
Carole Greep is one of Paris’ most successful playwrights. Her very first play, 'J'aime beaucoup ce que vous faites' has been running in Paris uninterruptedly since 2003. Her next play, 'post-­‐it', was played over 500 times, including at the Palais des Glaces, one of Paris' most famous and popular theaters. Starting in 2008, her play "la Bombe" -­in which Constance Labbe played the title role-­was in production in Paris and on tour all over France for over two years.

Carole also writes for stand-­‐up comedians and has written short films and TV scripts.



CONSTANCE LABBE
Constance LabbĂ© is an up-­and-­coming French actress and adopted New Yorker. Before moving to the US, Constance played the title role in Carole Greep’s ‘La Bombe’ in Paris and on tour all over France. Constance was recently featured in the “Women we love” edition of NY and Paris based Art magazine: CRUSH (www.crushfanzine.com), alongside Daryl Hannah, Chloe Sevigny and Beatrice Dalle, to name a few! (It's the Auxiliary Issue #3 "Women We Love" Collectors Issue)


CHRISTOPHER HEARD
Christopher Heard is originally from Southern California. He now resides in New York City where he has become a budding member of the theatre scene. Having started in stand-­up comedy, he then spent a year studying Uta Hagen's technique at HB Studio. Christopher played the title role in the feature film The Curse of Duncan Carbunkle and most recently starred in plays Balm in Gilead and Beach Trip, both directed by Amy Wright.


MARK BLUM
Mark Blum is a Broadway veteran. As an actor, he has appeared on Broadway in Twelve Angry Men, The Graduate, A Thousand Clowns, Gore Vidal's The Best Man, Lost In Yonkers, My Thing of Love, and The Merchant. Off-­‐Broadway, he won an Obie Award for his performance as Al in the Playwrights Horizons production of Albert Innaurato’s play Gus and Al. Mark has extensive credits in film and television.

He teaches at HB Studio in NY, and in the graduate training program at Brooklyn College. Mark also writes, directs and produces for the stage and the screen.



LINKS

CAROLE GREEP

CAROLE GREEP - IMDB
http://www.imdb.com/name/nm1955626/

MORE ABOUT CAROLE GREEP (in French)
http://evene.lefigaro.fr/celebre/biographie/carole-greep-26896.php


LA BOMBE

LA BOMBE (also in French) INCLUDING A 'TRAILER' WITH CONSTANCE LABBE
http://www.placedesprods.com/productions/la-bombe


CONSTANCE LABBE

CONSTANCE LABBE - IMDB
http://www.imdb.com/name/nm3952521/


CHRISTOPHER HEARD

CHRISTOPHER HEARD - IMDB
http://www.imdb.com/name/nm1651089/


MARK BLUM

MARK BLUM - IMDB
http://www.imdb.com/name/nm0089685/

MARK BLUM - WIKIPEDIA
http://en.wikipedia.org/wiki/Mark_Blum



TICKETS AT

Monday, April 28, 2014

Preview: FLUX THEATRE ENSEMBLE's JANE THE PLAIN

FLUX THEATRE ENSEMBLE
PRESENTS 
JANE THE PLAIN

WRITTEN BY AUGUST SCHULENBURG
DIRECTED BY KELLY O’DONNELL

WORLD PREMIERE 

MAY 9-24 
@ 4TH STREET THEATRE

www.fluxtheatre.org

Flux Theatre Ensemble will present the World Premiere of August Schulenburg’s (Lesser Seductions of History; DEINDE) JANE THE PLAIN, May 9-24 at the 4th Street Theatre (83 East 4th Street between 2nd Avenue and Bowery). The production will be directed by Kelly O’Donnell (NYIT Award nomination for Hearts Like Fists) with Assistant Director Emily Hartford (Co-founder, Rabbit Hole Ensemble) and will feature Becky Byers* (NYIT Award nomination for Hearts Like Fists), Sol Crespo (nytheatre.com 2012 Person of the Year; August Schulenburg’s DEINDE), Chester Poon (Job at The Flea; Adam Szymkowicz’s Hearts Like Fists), Alisha Spielmann* (Johnna Adams’ Sans Merci), Isaiah Tanenbaum* (August Schulenburg’s Honey Fist), and Chinaza Uche* (Indie Theatre Now 2013 Person of the Year; Ellen McLaughlin’s Ajax in Iraq). The creative team will include Sound Design by Janie Bullard (2014 USITT/LDI Rising Star Award; Indie Theatre Now 2013 Person of the Year), Set Design by Will Lowry (Ajax in Iraq), Costume Design by Stephanie Levin (Hearts Like Fists), and Lighting Design by Kia Rogers (2012 nytheatre.com Person of the Year). The Production Stage Manager will be Jodi M. Witherell*Actor appears courtesy of the Actors’ Equity Association. 

Football, popularity and the clash of the gods: it's all going down at Plainview High School's homecoming game in the comic fairy tale Jane the Plain. Jane's status takes a sudden rise after she saves the mysterious Glowing Girl and is given the gift of beauty. Everyone starts falling for her: quarterback Scotty the Hotty, second-stringer Lesson the Decent, even the most popular girl in school, Lexi the Sexy. As the jealous Betty the Pretty seeks to eliminate her newfound rival, Leonard the Awkward tries to win his best friend Jane back. But when another mysterious god, the Mirror Man, starts haunting Scotty, this battle of love and social status takes a dangerous turn of cosmic proportions. What if the wrong choice in high school really could end the world?

Jane the Play was the Winner of the Full Length Play Category for The Chameleon Theatre Circle’s 13th Annual New Play Festival, a Finalist for the Bloomington Playwrights Project’s 2013 Woodard/Newman Drama Award, a Finalist for the 2013 Theatre Conspiracy New Play Contest, and was featured in Stella Adler Studio of Acting’s 2013 First Breath Playwriting Festival, the Brick Theatre’s Oven Series and Purple Rep's Dark Night Serials Series. This production will be the play’s World Premiere. 

Jane the Plain will be presented by Flux Theatre Ensemble at the 4th Street Theatre (83 East 4th Street between 2nd Avenue and Bowery) May 9-12, 15-17 & 19-23 at 7:30pm; Saturday, May 24 at 2:30pm & 7:30pm. Tickets ($18; $15 students) may be purchased online at www.fluxtheatre.org or by calling 866-811-4111 beginning Monday, March 31

AUGUST SCHULEBURG (Playwright) August’s plays include Carrin Beginning, Kidding JaneRueRiding the Bull, Good Hope, Other BodiesHoney FistDark Matter, Jacob’s House, DEINDE, Dream Walker, Denny and Lila, Encryption, Jane the Plain and The Lesser Seductions of History. His plays have been produced and developed at the Lark Play Development Center, Bay Area Playwrights Festival, Ensemble Studio Theatre, Chelsea Playhouse, Theater for the New City, Portland Stage Company, Dayton Playhouse, Colonial Players, Pennsylvania Shakespeare Festival, Contemporary Stage Company, Abingdon Theater Company, Gideon Productions, New Amerikan Theatre, Penobscot Theatre, Impetuous Theater Group, Decades Out, Soundtrack Series, Reverie Productions, Wolf 359, Blue Box Productions, Piper McKenzie, Boomerang Theatre Company, Adaptive Arts, Hall High School, Nosedive Productions,  MTWorks, Purple Repertory, Valley Repertory Company, The Brick Theater, CAPS LOCK Theatre, Chameleon Theatre Circle, Retro Productions, Elephant Run District, TheatreLAB and Flux Theatre Ensemble, where he is the Artistic Director. He is a 2013-14 Lark Playwrights Workshop Fellow and a member of the Propulsion Lab for Mission to (dit)Mars. His work has also been published in the New York Theater ReviewStage and Screen, Indie Theater Now, Midway Journal, NoPassport Press and in two issues of Carrier Pigeon. He also writes for film and television with MozzleStead Productions.

KELLY O’DONNELL (Director) is a co-founder of Flux Theatre Ensemble. For Flux, Kelly has directed Honey Fist, Hearts Like Fists (NYIT Nomination for Outstanding Direction), Dog Act, Jacob’s HouseRiding the Bull, Life is a Dream and Rue. She also directed readings of Liz Duffy Adams’ Wet Or, Isabella the Pirate Queen Reaches the Horse Latitudes and Jason Grote’s This Storm is What We Call Progress for Flux’s Food:Soul. Kelly has worked as an actor or director at The Pennsylvania, Orlando and Utah Shakespeare Festivals, the Walnut Street Theatre, Alchemy Theatre Company, the West End Shakespeare Players, the Cape Playhouse, The Orlando Fringe Festival and the Arden Theatre.

FLUX THEATRE ENSEMBLE produces transformative theatre that explores and awakens the capacity for change. As an ensemble-artist driven company, Flux believes that long-term collaboration and rigorous creative development can unite artists and audiences to build a creative home in New York.

Flux is the proud recipient of two NYC Fringe Festival Awards (2007 Village Voice Audience Favorite Award for Riding the Bull; 2008 Outstanding Direction Award for Other Bodies) and a fifteen-time New York Innovative Theatre Award nominee between 2008-2013, including wins for The Angel Eaters Trilogy and Ajax in Iraq. In 2011 The New York Innovative Theatre Awards also awarded the prestigious CaffĂ© Cino Fellowship Award to Flux for "consistently producing outstanding work." Flux received a Citation for Excellence in Off-Off Broadway Theatre from the Independent Theater Bloggers Association and was named one of nytheatre.com's 2008 “People of the Year”.

Jane the Plain will be presented by Flux Theatre Ensemble at the 4th Street Theatre (83 East 4th Street between 2nd Avenue and Bowery) May 9-12, 15-17 & 19-23 at 7:30pm; Saturday, May 24 at 2:30pm & 7:30pm. Tickets ($18; $15 students) may be purchased online at www.fluxtheatre.org or by calling 866-811-4111 beginning Monday, March 3 

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Preview: STRANGEDOG THEATRE's ENCHANTED ARMS

HORSE TRADE THEATER GROUP
PRESENTS A
STRANGEDOG THEATRE
PRODUCTION OF
ENCHANTED ARMS

Michelle Lupo and Tony K. Knotts Photo credit: Anthony Gusevich

WRITTEN BY BEN CLAWSON, STACIE LENTS, JOSEPH PALESTINA & JOHN WOOTEN
CREATED BY BEN CLAWSON
DIRECTED BY ARTEM YATSUNOV

NYC PREMIERE
MAY 15 - 31 @ UNDER ST. MARKS
Horse Trade Theater Group and StrangeDog Theatre will present the New York Premiere of ENCHANTED ARMS written by Ben Clawson, Stacie Lents, Joseph Palestina, and John Wooten, May 15-31 at UNDER St. Marks (94 St. Marks Place between 1st Avenue and Avenue A). This evening of new plays is 
  • conceived by Ben Clawson (The High Water Mark, Luna Stage) and directed by Artem Yatsuov (Basic Help, Sell Out Award Winner, FRIGID NYC 2014) 
  • with choreography by Annalisa Ledson (NACHMO 4 NYC). 
  • Featuring: Tony K Knotts (Master Harold…and the Boys!, Luna Stage), Michelle Lupo, Tracy Shar, Annalisa Ledson, Gary MartinsShannon Sullivan, Seth Michael, Lee Ann Hoover, and David Hoffman. 
  • Lighting and Sound Design by Harrison J. Adams,
  • Original Art Work by Sara Sciarrabbarasi, and
  • Press Photography by Anthony Gusevich.
  • Stage Managed by Rachael Tucker. 
Four screwed-up fairy-tales: The Big Bad Wolf wears a short, short skirt, Rumpelstiltskin is tenured in the Ivy league, and Rapunzel is bleeding heavily from the scalp. Plus, Prince Charming seems to be developing a drinking problem.
Hot off a nearly sold-out run at Luna Stage in New Jersey, the nomadic bi-state StrangeDog Theatre Company is coming across the Hudson with their evening of new plays that grab four age-old fairy-tales and throw them into a modern dilapidated apartment building.
Featuring new works from four New Jersey powerhouse playwrights – John Wooten, Stacie Lents, Joseph Palestina, and Ben Clawson.
  
The production will run May 15-31 at UNDER St. Marks (94 St. Marks Place between 1st Avenue and Avenue A); Thursday through Saturday at 8pm. Tickets ($15) are available online at www.horseTRADE.info or by calling Smarttix at  212-868-4444. The production is 70 minutes long, with no intermission.
  
BEN CLAWSON (Creator, Playwright) received his B.F.A. in Theater from Montclair State University. He is the author of numerous full-length plays, short comedies, and evenings of thematically connected one acts.  His plays have had professional productions, readings, and workshops throughout New York, New Jersey, Washington D.C. and New Orleans. He has written commissioned works for the Luna Stage Company, The Montclair State University School of the Arts, and the Contagious Drama Theatre Workshop. He has been an evening winner and finalist in the Samuel French Short Play festival, national finalist for the American College Theater Festival's John Cauble One-Act Award, finalist for the Princess Grace Award in playwriting, and recipient of the Kennedy Center's David Mark Cohen award. He is a member of the Dramatist Guild, and a founder of the StrangeDog Theatre Company, with whom he has produced many of his plays.

STACIE LENTS (Playwright) is working with StrangeDog Theatre Co. for the second time after their reading of her play Written on Her Face last year. A Semi-Finalist in the Premiere Stages New Play Festival in 2010, it opened the Playwrights Theatre of New Jersey “Soundings” reading series in December and has also received a staged reading at Luna Stage. Stacie’s play Henry’s Law was featured in Mile Square Theatre’s Fall Fest last season and toured to New Jersey area high schools as part of an anti-bullying initiative through Fairleigh Dickinson University. Henry’s Law received a workshop at Playwrights Theatre of New Jersey this month and a tour is planned for 2014. Stacie returned to Mile Square Theatre’s Fall Fest this year with Laugh Out Loud (cry quietly), which Peter Filichia of TheaterMania called “the best comedy of the year” in 2008. Stacie wrote the book and lyrics for Daisy in Disguise, which ran off-Broadway through Vital Theatre Company with an original cast recording released during the run. Stacie’s play College Colors has received readings at Luna Stage and at Manhattan Theatre Club produced by coLAB Arts. Other writing credits include plays in the 2011 and 2012 New Jersey One-Minute Play Festivals, Tidal Waves in the Neighborhood, Focus, and Just in Case (a commission). 
Stacie is also an actor who has performed in both New York and regional theatre and is currently a member of the Jewish Plays Project’s Development Company. Stacie is an assistant professor of theater at Fairleigh Dickinson University where she originated the Black History, Black Voices series which she writes and directs. She previously taught at Rutgers University. 
Stacie is a member of Actors’ Equity Association, the Screen Actors Guild, and the Dramatists Guild of America. Stacie received her MFA from Rutgers, Mason Gross School of the Arts and her B.A. in Theatre from Yale University.
JOSEPH PALESTINA (Playwright) is the creator of “Joe Pal & Eggs”, a webseries that 'mock'uments the multiple facets of his life. He graduated Montclair State University with a BFA in Acting and an MA in Counseling. He recently won Best Actor for Spincach Quesadilla, a film he wrote and directed for the 48 Hour Film Project NYC. His last play, Bits was winner of Strangedogs Beer Battered Play Festival. 
He's toured the country with indie rock band Thing-One. Their music has been played on WOXY, FUV, and several college radio stations.  He's a production assistant for “The Following”, “Boardwalk Empire”, and “The Americans”.

JOHN WOOTEN (Playwright) John’s plays have been produced in New York, internationally and in numerous regional theaters across the United States. Commercial: Trophies (Off-Broadway at the Cherry Lane); International: The Mission Home (King’s Head Theatre/London) and The Role of Della (Venues in France, England, Serbia, India, Australia, Ireland, Montenegro, and Canada); Regional: Kiss the Bride (Forum Theatre), Hannah (Premiere Stages), Happy Hour (Twelve Miles West), Uncommon Enemies (TheatreFest), UnCivil War (Theatre at Lime Kiln), The Role of Della (ATL finalist and over 300 Regional productions) and Humbug (Premiere Stages). His film Cat in the Pan premiered at the Montreal Film Festival and has been screened across North America. 
Awards/Nominations: New Jersey State Council on the Arts Fellowship, Best New Play nomination from the American Theatre Critics Association, Semi-finalist for a Nicholls Fellowship, sponsored by the Academy Awards, and multiple Best New Play nominations from the Newark Star-Ledger. Published in/by: Dramatists Play Service, Samuel French, Inc., Playscripts, Inc., Dramatic Publishing Company, Plays for Actresses, 
Playing Contemporary Scenes, and Millennium Monologues. John is the Producing Artistic Director of Premiere Stages and teaches Playwriting at Kean University.

ARTEM YATSUNOV (Director) received his B.F.A. in Theatre from Montclair State University. Along with playwright Ben Clawson and a handful of irresponsibly creative individuals he co-founded StrangeDog Theatre in 2008. In just six years StrangeDog has produced over 30 evenings of mild mayhem and honest to goodness pieces of theatre. NYC: Writopia Worldwide Playwriting Festival 2014, Basic Help by Ben Clawson (FRIGID NYC 2014, Sell Out Award), Israela Margalit’s Night Blooming Jasmine (Under St Marks), The Virilogy (Horse Trade), The StrangeDog Eat Dog and Pony Show (The Tank). NJ: Kitty Kitty Kitty by Noah Haidle (Tierney’s Tavern), Omnivores by Ben Clawson (PTNJ, World Premiere).
Artem will be seen next on stage the Edmonton and Winnipeg Fringes alongside Antonia Lassar (The Godbox; Tina and Amy: Last Night In Paradise) with the World Premiere of Pair of Animals want to marry YOU! – a two-person musical-comedy co-written with Ms. Lassar.
STRANGEDOG THEATRE COMANY is a nomadic troupe intent on creating new plays for both avid theatre-lovers and people who mistakenly think they don't like plays.

The production will run May 15-31 at UNDER St. Marks (94 St. Marks Place between 1st Avenue and Avenue A); Thursday through Saturday at 8pm. Tickets ($15) are available online at www.horseTRADE.info or by calling Smarttix at  212-868-4444. The production is 70 minutes long, with no intermission.
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Thursday, January 23, 2014

WE WERE NOTHING - AN "APARTMENT THEATER" PRODUCTION


WE WERE NOTHING!

A Site-Specific Theater Event
About Long-Distance Friendship
Performed Up Close

January 17 - February 9, 2014

Written by Will Arbery
In Collaboration With
Shelley Fort, Elly Smokler, Emilie Soffe, 
& Lisa Szolovits

Directed by Lisa Szolovits




Emilie Soffe and Elly Smokler 
Photo credit Crystal Arnette

Following our notes is a description of the play as seen by the creators, with credits for the writer and director (lightly edited and in dark blue italics). 

The story, as I see it, is about a relationship between people who want to be friends and want to communicate, but have few common interests and nothing much to communicate, except to try to understand their "friendship" (which is more about conflict than resolution). 

It’s not so much a “failure to communicate” as a failure to have anything that can be successfully communicated. We learn a lot about their communications with each other, but little about the characters themselves, or, for that matter, exactly why they were ever friends (or BFF's for that matter). They mostly communicate about communicating.

The best and most striking feature of the production is the high energy and great spirit the two actresses put into the performance.

For the first part of the play, the characters are separated and tele-communicating remotely by phone and Internet; the actors, however, are next to each other and interacting. Their physical life was interesting to me because although I could not discern any literal interpretation of what they were doing, (especially when the actors were physically interacting), yet it seemed appropriate to the play, to their words, and to their characters. That ability (to make something which is literally incomprehensible seem nevertheless appropriate) is one of the mysterious facilities of a good director paired with fine actors.

The play is performed in a private apartment. For the first part of the play, the essence of the apartment is screened off; for the second part the screen is removed and the action is played in a little bit of the apartment. The audience is on folding chairs (and a few lounge chairs). It is a friendly and comfortable space, in close proximity (at least in the first few rows) to the actors and the action.

As it says in the title of the show above, this play is about “a distant relationship performed up close”. The performance is not, however, really “site-specific,” since there is literally nothing specific about the way the site is used. (Indeed, some very interesting furnishings are completely ignored.)

This kind of presentation is more accurately called "Apartment Theater" (a term I thought I just made up, but a Google search reveals there's already an Amazon Kindle book on the subject – see the link below). For a long time now (millennia, actually) people have had musical concerts in their homes – “House Concerts”. “Apartment Theater” is essentially the same, using a private space to stage a play.

The restaging of COWBOY MOUTH not too long ago, was also better described as Apartment Theater than as “site specific” or “immersive theater,” because (as in this play) – the audience sat on folding chairs and lounging chairs, close to the action, but the space itself was not really used at all, and the set decoration could just as well have been on a stage.

The term, “site specific theater” should really refer to a production which either uses an existing space in an essential way because the production fits in perfectly, or one where the space is constructed to be used in its entirety in an essential way by the production.

For example, the Gotham Opera performed an opera that takes place on the moon and staged it at the Hayden Planetarium; one that takes place outdoors at the Botanical Gardens; an erotic opera at The Box; and other operas in -- well -- sites that were specific to each production. Examples of the other kind of site specific theater, where the entire space is constructed to be immersive and specific to the production include, from a long time ago, TONY ‘N’ TINA’S WEDDING -- staged as if it were really happening, with the audience as guests; TAMARA, a mystery which takes place all over a house; and currently the epic production of SLEEP NO MORE, in a large space in which each room is intricately and meticulously and very specifically designed and decorated, and the action takes place all over the space, with each room used in its own specific way.


Here's the description of WE WERE NOTHING from the play's creators: 

People used to send telegrams. They'd end every sentence in "STOP.” Drawing from actual emails, chat transcripts, and text messages, WE WERE NOTHING is an intimate site-specific theater experience about two childhood friends staying connected and losing touch. 

The piece was written by playwright Will Arbery in collaboration with Shelley Fort, Elly Smokler, Emilie Soffe, and Lisa Szolovits. The production, directed by Lisa Szolovits, stars Elly Smokler (STOP THE VIRGENS at St. Ann’s Warehouse; member of The Bats) and Emilie Soffe (IN THE BLOOD at the Kennedy Center). 

The creative team includes Lighting Design by Isabella Byrd (Assoc. on 13P/Sarah Ruhl's MELANCHOLY PLAY) and Costume Design by Clara Fath. 

WILL ARBERY
(Playwright) 

WILL ARBERY (Playwright) is a writer, filmmaker, and theater artist who is working towards an MFA in Writing for the Stage and Screen at Northwestern University. 

He lived for two years in New York, and his plays there included: THE CONFESSION (reading at The Creek and Cave/Platform Group, semi-finalist for Princess Grace Award, O’Neill Playwrights Conference), YOU’RE SADDER THAN YOU REALIZE (Dixon Place, dir. Lisa Szolovits), YIELD, BITCH! (Communal Spaces, dir. Stella Powell-Jones), THE DUST VEIL OF 536 A.D. (#serials@theflea, dir. Nathan Shreeve), BLEAK (Tiny Rhino, dir. Jess Chayes), PAULA & STROM (co-written with Elena Belyea, NextFest in Alberta, Canada), HOW KIM SA-RANG GOT HER NAME (Hearth Gods, dir. Knud Adams), a site-specific performance of WE WERE NOTHING! (dir. Lisa Szolovits), and Six Windows Presents A HERO OF OUR TIME with Calliope Theatre Company (dir. Will Dagger). 

He's performed at the Kennedy Center, Invisible Dog, Jimmy’s No. 43, Nylon Fusion, and Dixon Place, and for the Institute for Psychogeographic Adventure and Good Cop/Great Cop. 

 His writing has been published by Better: Culture and Lit, decomP, Thickjam, Every Day a Century, Snow Monkey, Chronogram, The Awl, The New Professional, Red Branch, Hypervocal, Defenestration, and D Magazine. Two of his short pieces, HOW TO BE A MAN and THE LOGIC, were recently part of Teatro Vista's Late Night series. 

He grew up in Dallas, Texas, the only boy with seven sisters. 


LISA SZOLOVITS
(Director) 

LISA SZOLOVITS (Director) is a Brooklyn-based director and developer of new plays. She has worked on the East Coast with the Playwrights Horizons Resident Workshop, Ars Nova, Dixon Place, Columbia University, NYU, The Assembly, UglyRhino, Tugboat Collective, Lost Theater, Manhattan Shakespeare Project, and Williamstown Theatre Festival, as well as with Theatre of NOTE and Circle X Theatre Co. in Los Angeles. In New York, Lisa has assisted Leigh Silverman, Trip Cullman, and Emily Mann as a directing resident at Playwrights Horizons, as well as Thomas Kail (Lincoln Center: American Songbook), Jean-Michele Gregory and Michael Sexton (The Public). 

In addition to WE WERE NOTHING! and YOU'RE SADDER THAN YOU REALIZE, about Justin Bieber and an 18th century French cannibal, with Will Arbery, Lisa is currently developing THE EXQUISITE CORPSE PROJECT, a transnational collaborative theater piece performed in Google Hangout, with Amy Clare Tasker and Wolfgang Wachalovsky, Dido & Venus, an adaptation of Virgil’s AENEID and Shakespeare’s VENUS AND ADONIS poem devised with Aubrey Saverino, and a social psychology experiment employing laser tag technology in a performance about the power of the Gaze with NYU's Social Perception, Action, & Motivation Lab. 


WE WERE NOTHING! plays a three-week engagement January 17 - February 9, Fridays and Saturdays at 8pm and Sundays at 5pm. The show is performed inside a private residence near Union Square. Exact address and directions will be released only to ticket holders. Tickets ($20) are available online at




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Tuesday, May 21, 2013

THE WILD PROJECT – Preview: Clubbed Thumb's SUMMERWORKS 2013


THE WILD PROJECT

Clubbed Thumb's
SUMMERWORKS 2013 

Friday, May 24 - Sunday, June 29 


The OBIE Award-winning Clubbed Thumb's annual summer festival of new plays features three fully mounted new plays that each run for a total of nine performances.

Produced by Clubbed Thumb.

Tickets are $18; Students $15 Flex passes available: Any 3 shows for $39


The SUMMERWORKS 2013 shows are:


Friday, May 24 - Sunday, June 2
BABY SCREAMS MIRACLE
by Clare Barron, directed by Portia Krieger

With Susannah Flood, Ismenia Mendes, Caitlin O’Connell, Danielle Skraastad and Danny Wolohan 

A freak storm knocks down all the trees in town and a prodigal daughter is taught a new way to pray. But the weird weather's not over yet. 

All performances at 8 PM
No performance on Tuesday, May 28


Friday, June 7 - Sunday, June 16
PHOEBE IN WINTER
by Jen Silverman, directed by Mike Donahue

With Gerry Bamman, Christopher Ryan Grant, Bobby Moreno, Chris Meyers, Chinasa Ogbuagu and Jeanine Serralles.

The Creedy brothers trickle home from the war but knock knock! There's someone at the door looking for payback and your place at the table. 

All performances at 8 PM
No performance on Tuesday, June 11.


Friday, June 20 - Sunday June 29
LA BREA
by Gregory S. Moss, directed by Adam Greenfield

With Bill Buell, Crystal Finn, Rebecca Henderson, and Gabriel King

Two 'Masshole' siblings, amid a Hollywood vortex of strip malls and scientologists, square off over how to live like a grown-up. 

All shows at 8 PM
No performance on Monday, June 24


All performances are at The Wild Project (195 E. 3rd Street, between Avenues A & B).

Tickets can be purchased from

OvationTix on 212.352.3101 or
online at www.thewildproject.com

The Box Office opens one hour prior to curtain.

The Wild Project is a production company and venue (Note: available for rental and some co-productions) for contemporary theater, film, and visual art.

"The Wild Project creates community by inspiring and entertaining art from emerging artists, exploring green technologies, and finding innovative ways to help our world and each other."

THE WILD PROJECT
www.thewildproject.com

CLUBBED THUMB
http://www.clubbedthumb.org/

Saturday, February 9, 2013

ISAAC'S EYE AT EST

Ensemble Studio Theatre & The Alfred P. Sloan Foundation
Present the World Premiere of
ISAAC'S EYE
By Lucas Hnath
Directed by Linsay Firman


Kristen Bush as Catherine and Haskell King as Isaac Newton
ISAAC'S EYE
Photo by Jerry Goodstin
 

The acting is excellent. The show is funny and well written. I enjoyed the show.

I enjoyed the show, but I did not like the play.  The story is fundamentally dishonest, and not in a good way.

In Isaac’s Eye, a young Isaac Newton (portrayed as a young, shallow, hyper, vain, lying blackmailer with really stupid ideas about scientific experimentation), is close friends with an older, attractive and friendly woman. Through her connections he meets the established scientist, Robert Hooke, (portrayed as a shallow, sex-obsessed, dog killing, vain blackmailer) for the purpose of obtaining membership in the Royal Society and a fellowship at Trinity College, Cambridge, UK.  That this meeting never happened (and the play is upfront about the fact that this never happened) is not the problem. (Note…Copenhagen, about Heisenberg & Bohr, is a dramatic, invented description of encounters between two physicists and it is terrific.)

The problem is that all the true facts about Newton are trivial and incidental to the dramatic action of the play, and the rest is not just fictional, but seems to represent Newton in a fundamentally false way. It seems to be inaccurate in its details and completely wrong in its spirit.

The “Newton” of the play is a fool and a bully and a liar, all of whose early ideas were discovered earlier by others, who believes his ideas are true because they come from God, and who resorts to blackmail to try to become famous. And the one idea in physics pursued in the play is an idea which is not true and which Newton finally investigates with a preposterous (fictional) “experiment”. 

The play does not “suspend disbelief” it generates disbelief.


There is no interpretation, and apparently no understanding, in the play of how genius works when it is solving real mathematical and scientific problems. The play presents a libelous fiction… as if that contributes to understanding the nature of mathematical and scientific and intellectual research.

Note: The play more or less completely ignores all the brilliant and profound work that we identify with Newton, including the most important principle that Newton articulated: namely that a body in uniform motion remains in uniform motion unless acted on by a force.  Aristotelian physics, previously, had always insisted that a body always tends to come to its “natural” state: rest.  That forces are responsible -- and necessary -- for the changes in motion of an object is the fundamental discovery that provides the portal from ancient science to modern science. (To be fair, this discovery comes after the period depicted in the play. However, it is difficult to see any way that the character of Newton in this play could become the genius whose scientific work provided the foundation for virtually all the scientific developments that followed. And, without connecting the character in the play with the fundamental work of the real Newton, the real Newton is unrecognizable in the “Newton” of the play.)

This kind of misrepresentation of history, science, research, mathematics, genius and inspiration is not a valuable contribution to literature. Nor is there any recognition of the fundamental values of science: honesty, and a sincere, honest search for an understanding of nature.

The “Newton” of the play looks a bit like Steve Jobs and talks a bit like Jesse Eisenberg playing Mark Zuckerberg.  (The characterization is probably intended to suggest that Newton had Asperger’s syndrome or something like that – which may be true – and to suggest Newton’s genius by evoking these familiar figures – but the real Newton was a great genius of a completely different order.) 
The play is very simply staged, aggressively modern and American in style and language, and it makes no effort to find anything of the late 1600’s British spirit in the characters, nor does it find something in the American, modern spirit to replace it.


To better understand the action of the play, we’ll use made-up names in a summary of the plot:
WARNING – THIS PLOT SUMMARY CONTAINS SPOILERS
 Isaac’s Eye is a play about two men, one of whom (“Izzy”) is a liar, and the other (“Hank”) a womanizer who seduced his niece – a treachery that would kill the girl’s father if he found out.
  • The first man, Izzy (we’ll call him “Izzy” in this plot summary… and we’ll call his woman friend “Cathy”) asks the other (we’ll call him “Hank”) to get for him a prestigious scientific position.
  • Hank, afraid Izzy will upstage him scientifically, (and with some real doubts about his work) refuses. 
  • Discovering Hank’s sexual adventures, Izzy blackmails Hank to obtain a promise of the position.
  • Then Hank, on discovering that Izzy has broken up with Cathy, flirts with her, and Hank and Cathy swing from mutual hatred to a marriage proposal in one short scene.
  • Cathy tells Hank about material he can use to counter-blackmail Izzy.
  • Then, Cathy discovers Izzy stuck in a chair with a needle in his eye from which he has been unable to move, eat or drink for several weeks (sic).
  • Izzy, thinking he is ruined anyway, renounces science and proposes to Cathy offering to be a farmer. 
  • She accepts, and agrees to burn the information she had provided Hank for counter-blackmailing Izzy.
  • But when Izzy makes some remarks suggesting less than an ironclad conviction to become a farmer, she leaves him once and for all, and leaves the other guy too.
This is complete fiction, nonsense, and a ridiculous and shabby plot; ascribing it to real people just makes it worse, but calling them Newton and Hooke is an outrage.

Calling the characters “Newton” and “Hooke” does not make this a play about those scientists.  (As Lincoln is said to have said, “If you call a pig’s tail a leg, how many legs does a pig have? Answer, it has four: Calling a pig’s tail a leg does not make it one.”)

Anyone who thought this play was about two important scientists has been, I’m afraid, hoodwinked...

Giving these despicable characters heft by calling them by the names of famous scientists is a literary/dramatic version of identity theft.
 
Notes and links...
ISAACS EYE

Featuring Jeff Biehl+, Kristen Bush*+, Haskell King*+ & Michael Louis Serafin-Wells*+

*denotes EST Member
+denotes Equity Member.
All actors appear courtesy of Actors' Equity Association.

 FROM EST: "As an experiment, young Isaac Newton inserted a long needle "between my eye and the bone, as near to the backside of my eye as I could." Why take such a risk? A comic exploration of how a rural farm boy in contentious, plague-ridden England willed himself to become one of the greatest thinkers in modern science."


Tickets: $30 | Student/Senior: $20
Runs: Wednesdays - Sundays @ 7pm
Pick Your Price Matinees: Saturdays & Sundays @ 2pm  

ENSEMBLE STUDIO THEATER (EST) HOME PAGE
http://www.ensemblestudiotheatre.org  

EST FIRST LIGHT FESTIVAL OF NEW PLAYS RELATED TO SCIENCE http://www.ensemblestudiotheatre.org/first-light-2013 

THE EST PASS
http://ensemblestudiotheatre.org/est-pass  

THE EST CHANNEL ON YOUTUBE
http://www.youtube.com/ensemblestudiotheatr/  

EST ON FACEBOOK
https://www.facebook.com/ensemblestudiotheatre  

 EST ON TWITTER
@ESTnyc


ISAAC NEWTON ON WIKIPEDIA