Sunday, February 26, 2012

FRIGID Festival Interview - Jeff Woodbridge of "Stripper Lesbians"

By Byrne Harrison

Name: Jeff Woodbridge
Show: "Stripper Lesbians"
Website: www.risingsunnyc.com

How did you first get involved in theatre?

Way back in the 2nd grade I was cast in a reading of a Christmas play written by the school principal. I was hooked. I began looking for scripts at the local library and convincing my friends to give up their recesses to rehearse, then cajoling my teachers into letting us perform in front of the class. I've pretty much been doing the same thing ever since.

Who are your biggest influences?

Robin Lynn Smith and George Lewis, both from Freehold Theatre in Seattle where I studied. They both gave me the confidence in myself to direct and provided stellar examples on how to do it well.

Tell me a little bit about your show.

It's got a little bit of everything - it's funny, it's moving, there's a little bit of a socio-political message regarding views on sex work. There's music and dancing and women in tiny little costumes. Plus, the cast is incredible.

What led to your directing it?

Kate Foster, the playwright, just asked me to. I had directed a reading of a short play of Kate's last year and loved the complexity and humor in her writing, so I said yes. It was also a chance to work with some actors I love.

Who are your collaborators and how long have you been working with them?

I had directed Amanda Berry in a staged reading in Spring 2011 and Joe Beaudin in a play for Rising Sun Performance Comany's One-Act Play Festival in Summer 2011, and really enjoyed it. Samantha Cooper is also a Rising Sun member and I hadn't had a chance to work with her on a production, yet, but really wanted to and "Stripper Lesbians" provided the perfect opportunity.

What's next for you after FRIGID?

I'm directing "Spring Tides" by Melissa Gawlowski for Boomerang Theatre Company which opens in March, we are working on several projects at Rising Sun including a new play about Henry VIII's wives, a late-night variety show called "Crapshoot," and a group of hotel-themed plays to be presented this fall. I will also be directing "And Ms. Reardon Drinks a Little" by Paul Zindel for Long View Theatre Company in June.

And finally, if you could say anything to your potential audience, what would it be?

Stripper Lesbians is going to be a hot ticket. Get yours NOW!

"Stripper Lesbians"
By Kate Foster
Directed by Jeff Woodbridge

The Red Room
85 E. 4th Street

Wed Feb 22nd 11:00 PM
Sat Feb 25th 6:30 PM
Mon Feb 27th 11:00 PM
Thu Mar 1st 8:00 PM
Sat Mar 3rd 3:30 PM
$15/$12 with student ID

"The Agony and The Ecstasy of Steve Jobs"- A Powerful Mixture of Humor and Truth

Review by Judd Hollander
Photo by Kevin Berne

If you want to enjoy a good steak, don't visit the slaughterhouse. An old American proverb mentioned in the show program of the solo piece The Agony and The Ecstasy of Steve Jobs, as brilliantly performed by Mike Daisey at the Public Theater. In between Daisey's nostalgic and humorous tale of Apple Computer and its founder, Steve Jobs, Daisey also ends up telling a tale you may not want to hear.

A storyteller and self-described computer geek, Daisey's idea of relaxation includes field-stripping his computer when he's on the road, or checking out the latest on-line rumors, gossip and computer articles regarding upcoming technical innovations. A lover of all things Apple, and a worshipper at the altar of Steve Jobs, Daisey does admit to straying at times, noting "I've spent time with a P.C., but haven't we all"? Daisey also tips his hat to Jobs' business acumen, acknowledging the man was a genius for his ability to create an entire universe of products people simply could not live without. Ones they never even knew they needed before Jobs introduced them.

Yet if Daisey has done his job, no audience member will ever look at a computer the same way again; a seemingly innocuous series of events leading him to uncover Apple's dirty little secret. That just about every piece of the company's technological innovations is made not by soullessly efficient machines, but rather by hand. In a massive factory in a province in China to be specific, often by people working 16-hour shifts and who can be much younger than 18 years old. Daisey learned these facts and others, such as the high suicide rate among the workers, by traveling to China and talking to those who labored on the assembly lines. He also met with factory officials and, through the use of a bit of chicanery and deception, was able to see both the public and hidden side of the assembly process.

However The Agony and The Ecstasy of Steve Jobs is not meant to be a searing indictment against big business through a burst of idealism, but rather an offering of information in an attempt to remove blinders the audience never realized they had on in the first place. Daisey also avoids the trap of so many message theatre pieces; that of hitting the audience over the head with the same point time and again. Instead he also fills his story with numerous moments combining humor and familiarity, pointing out issues all computer users can relate to. Such as the problem of forced upgrades, "just when you have everything on your computer synched the way you like it," or Jobs' habit of discontinuing one popular product and replacing it with another, leaving the faithful no choice but to follow him to the next big thing. It's Daisey's amiability and quiet manner that gives him a sort of everyman quality, making him the prefect guide on this sometimes sobering journey. Daisey also talks directly to the audience at points, discussing theatre and its cultural impact while charting Jobs' rise, fall and rise again in the world of Apple. One of the funniest moments in the play occurs when Daisey imagines what it was like when Apple executives asked Jobs to return to the fold and save the company, after his being previously forced out.

Direction by Jean-Michele Gregory is quite good, letting the story unfold under Daisey's cadence, with moments shifting from the hysterically funny to the quite serious and back again. The lighting by Seth Reiser is nicely appropriate - though there's an interesting reason for the techniques used, as the show explains.

Funny, shocking, and at times painful to hear, The Agony and The Ecstasy of Steve Jobs is a story that all computer lovers, human rights advocates and everyone else should make a point of seeing. Daisey notes at one point how people often bemoan the fact that so many things aren't made by hand anymore. Correcting this assumption, Daisey explains that there are indeed more items made by hand today than by machines. It's just not something people really like to think about.

The Agony and The Ecstasy of Steve Jobs
Created and performed by Mike Daisey
Directed by Jean-Michele Gregory
Scenery and Lighting Design: Seth Reiser
Production Stage Manager: Alison DeSantis

The Public Theater
425 Lafayette Street
Tickets: or 212-967-7555 or www.publictheater.org
Running Time: 1 hour 45 minutes, no intermission

Closes: March 18, 2012


Saturday, February 25, 2012

FRIGID Festival Interview - Jason Morneau of "Aerial Allusions"

By Byrne Harrison

Jason Morneau (Co-Producer/ Performer/ Stage Manager): Born in the blue collar city of Windsor, ON, Jason knew at a young age that he wanted to be in the entertainment industry. Performing in school plays, later joining Theatre Alive, he discovered that his passion was best served in Toronto, ON where he studied Film/TV Production. Jason has been in Toronto for almost nine years and has produced, directed, stage managed or performed for over three hundred shows. Jason is thrilled to be in New York for the first time and performing a show no less. Jason is also currently working on a one man show called "Rambo vs. MacGyver: the Musical."

Show: "Aerial Allusions"
Website: www.byazana.com

How did you first get involved in theatre?

As early as grade one, I was involved with a French speaking play and played a main role, which motivated me to become more involved. It was not until the age of 16 when I started to audition for theatre productions in my home town that I got really involved. Was part of the drama club, Improv teams in high school and moved to Toronto, ON to study production. In the last ten years I have registered my production company Agawa Sapphire and have produced/directed/wrote and performed in well over twelve productions and stage managed many shows.

Who are your biggest influences?

Learning about Shakespeare in high school English and Drama classes gave me influence to start writing but my favorite play of all time would be Samuel Beckett’s Waiting for Godot is what put the icing on the cake for me to pursue the arts.

Tell me a little bit about your show.

The show is a very heavy dance and clown style show. It looks into the roles people play in relationships and how it has changed over the years. It also looks at the patterns in relationships and the cycle it produces in humanity.

What inspired you to create it?

Well this is going to be fun to answer. I convinced Azana who is the director/producer of the show to apply for the CAFF lottery and so when we found out she won we had to come up with the show. She wanted to do a show that showcased her dance and aerial performance style, and well I come from a stand-up/sketch comedy background, but always love dancing, so I decided to tag along for this tour. We chose the content and plot because we both feel that the World has changed a lot when it comes to relationships and wanted to do a show that reflects that.

Who are your collaborators and how long have you been working with them?

Well Azana is the main brain behind the production and then there is myself. We met in Ottawa at the fringe festival in 2011. We hung out and even went to Montreal for a night. When she came to visit in the fall we talked about doing a show together and well here we are talking about how we met and talking about the show we are doing together.

What's next for you after FRIGID?

Well for me it’s killing time until we start our 5fringe festivals in less than 3months. Also trying to find a new city to live in because I do not want to live in Ottawa anymore. I am also working on another production that I am writing called Deadliest Heroes: Rambo v. MacGyver which hopefully will be presented by the end of the year.

And finally, if you could say anything to your potential audience, what would it be?

Please come with an open mind and ready to be entertained, and leaving with thought provoking messages.


"Aerial Allusions"
Company: AGAWA SAPPHIRE
By Azana Productions

The Kraine Theater
85 E. 4th Street

Feb 25, 1:00PM
Feb 26, 5:30PM
Feb 28, 7:30PM
Feb 29, 6:00PM
Mar 03, 2:30PM
$15.00

FRIGID Festival Interview - Chris Harcum of "Rabbit Island"

By Byrne Harrison
Photo by Cathryn Lynne

Chris Harcum is one of NYTheatre's People of the Year and his play, "Green," was published in the Indie Theatre Now Best of 2011 Collection. His full-length plays include "G. Dot’s Revenge," "Trading Lunches," "Rabbit Island," "Milk & Shelter," "Instant Gratification" and "The Devil in Ms. Spelvin." Chris co-adapted and played the title role in a modern version of Moliere’s "The Hypochondriac." As a solo performer, he has created and performed "Green," "Some Kind of Pink Breakfast," "Gotham Standards," "Anhedonia Road," "Mahamudra," "The Monster and the City," "Weight and Weightlessness" and "American Badass (0r 12 Characters in Search of a National Identity)." Along with his play "We Haven't Told Anyone About This," these pieces have been published on Indie Theatre Now. "American Badass" was also published in the Plays and Playwrights 2009 anthology and The Best of the Frigid Collection. His writing has also appeared in The New York Times and NYTheatre. He is co-writing the screenplay for Meet the Hammernickys, a feature-length comedy, with the director Jason Cusato. Chris is a member of Actors’ Equity, Dramatists Guild and the League of Independent Theater. chrisharcum.com.

Show: "Rabbit Island"
Website: elephantrundistrict.org

How did you first get involved in theatre?

I did school plays and a few local productions growing up. When I was 14, I didn’t get cast in community theater productions of "You’re a Good Man Charlie Brown" or "On Golden Pond" so I thought I was washed up. I couldn’t bring myself to audition at my high school the rest of the year and focused on playing electric guitar. My teacher, Teresa Fowler, wrote in my year book how she hoped I would try out for things my sophomore year because the drama club needed “more handsome leading men.” How do you say no to that?

Who are your biggest influences?

As an actor I feel a kinship to Gary Oldman and Bill Irwin. As a playwright, I connect with Moliere, Pinter, O’Neil, and Williams. Jazz and rock music also swirl into my influences. I like things to have punch, humor, some darkness, and really be about something.

Tell me a little bit about "Rabbit Island."

It’s a comedy about a Canadian who wants to become a real New Yorker. I think a lot of people who come to the city can relate to the experience of identifying one’s self as a New Yorker for the first time. He has an aggressive therapist and relationships with women who have been made a little nutty from being here too long.

What inspired you to write it?

I had a character from a solo show who kept whispering to me after it closed. The opening of this play is based on actual experience of seeing a guy do something kind of impolite one evening on 52nd Street. It led me to ask bigger questions about how we function as people on several levels. The more I watch rehearsals, the more I see where the play echoes moments from my life. But everything is turned on its ear.

Who are your collaborators and how long have you been working with them?

This production has a mix of people I’ve worked with several times and some new collaborators. This is Elephant Run District’s third production. It’s my seventh work with the director Aimee Todoroff; my fifth with Carrie Heitman (actor); my third with Joel Nagle (actor); my second with Heather Olmstead (stage manager), Scott Garapolo (original music) Ethan Angelica (actor) and Mel House (actor); and my first with Laura Butler and Mariko Iwasa (actors). Maryvel Firda (lighting design) and I have worked together five times. It’s really beneficial to have a mix of people who get what you do and others who come in with fresh questions. You don’t want to re-invent the wheel but you don’t want to get complacent.

What's next for you after FRIGID?

We’re working on making Elephant Run District a non-profit. I’m working on a feature-length screenplay with Jason Cusato for Park Slope Films. I have two plays that are on their way and a solo piece that’s poking me in the brain.

And finally, if you could say anything to your potential audience, what would it be?

The cast is first-rate and the show has been directed with a lot of care. We’ve worked hard to bring you something that will make you laugh and think a bit about life. We’re really proud of what we’re putting in front of you and hope that you will enjoy it. We want you to come back to our next production and bring a few more people. We hope to keep seeing you over the next five years and beyond. Keep in touch with us through our web site elephantrundistrict.org.

"Rabbit Island"
Written by Chris Harcum
Company: Elephant Run District
Directed by: Aimee Todoroff

The Kraine Theater
85 E. 4th Street

Feb 25, 8:30PM
Feb 27, 7:30PM
Mar 01, 6:00PM
Mar 03, 5:30PM
$16.00

FRIGID Festival Interview - Kevin P. Hale of "Poe-Dunk - A Matchbox Entertainment"

By Byrne Harrison
Photo by Kate Erin Gibson

In 2008, Kevin P. Hale founded with Jennifer Wilcox Playlab NYC, a theater company dedicated to taking fun way too seriously. Recent directing credits include: "Macbeth" for Socrates Sculpture Park’s Halloween Harvest Festival, "Perfectly Natural" at Midtown International Theatre Festival, as well as both "Professor Ralph’s Loss of Breath" and "The Altoona Dada Society Presents: The Velvet Gentleman" at FringeNYC. Prior to his appearance at last summer’s FringeNYC, Kevin hadn’t been seen on stage since Oscar Wilde’s Wife at the Dayton Playhouse in 1995.

Show: "Poe-Dunk – A Matchbox Entertainment"
Website: www.playlabnyc.com

How did you first get involved in theatre?

In kindergarten I was supposed to play a non-speaking Christmas tree decoration in our holiday assembly, but then Kenny Workman got sick. You see, Kenny was playing a little kid who couldn’t sleep because Santa was coming. Kenny was supposed to wear pajamas, and even had a spoken line. I got to go on for him. I’ve been dressed in pajamas doing Kenny’s work on stage ever since.

Who are your biggest influences?

Charles Ludlam – Here was a theater artist and writer whose work was carved out of reference and allusion, and unearthing little forgotten nooks in theater history. He was a storyteller who was working in collage and pastiche, and his work is a road sign that points the way for me.

The Muppets – Every puppeteer of a certain age wants to lay the blame at Jim Henson’s feet, but I’m not really a puppeteer. There is a feeling of controlled chaos at the center of "The Muppet Show" that appeals to me, and is something that I strive for with my work with Playlab NYC. It was the Muppets that taught me about revealing the work going on back stage, and the meta-humor to be found in those behind the scenes moments. And the puns! Those gawd-awful puns! Love ‘em.

Christopher Carter Sanderson – One of the first shows I actually enjoyed in New York was the Gorilla Rep’s 1997 production of "Alice in Wonderland." Sanderson’s book "Gorilla Theater: A Practical Guide to Performing the New Outdoor Theater Anytime, Anywhere" has been invaluable to me when trying to articulate my own aesthetic goals to others. He writes about embracing audiences in a spirit of inclusiveness, and approaching theater with enthusiasm and sincerity. When he compared creating theater to Linus in the pumpkin patch waiting for the Great Pumpkin, it was like finding someone with whom you were perfectly in tune.

John Wright – I continually go back to his book, "Why is That So Funny?: A Practical Exploration of Physical Comedy." He writes about the importance of play in theater, which is something I think is lacking in a lot of theater I’ve seen.

Tell me a little bit about your show.

During the show I make the case that there is more to Edgar Allan Poe than just the clichĂ© of the cousin lovin’ goth poster child. In fact, Edgar Allan Poe was a very funny guy. Over the course of a fast-paced sixty minutes I present about thirty of Edgar Allan Poe’s works using penny match-sized puppets and handmade toy theaters. The theaters are so small that the audience ends up watching much of the show projected via a closed circuit camera on a screen next to me.

What inspired you to create it?

About ten years ago I started collecting and building toy theaters. In 2009 during Playlab NYC’s production of another Poe adaptation, "Professor Ralph’s Loss of Breath" I thought I would try my hand at creating some toy theaters of my own. I started building little matchbox-sized theater adaptations of Edgar Allan Poe with matchstick actors. I would demonstrate the models for my son and friends at the kitchen table. Eventually Playlab NYC’s Managing Director, Jennifer Wilcox, told me that there was a show in those matchboxes, and it needed to be performed for audiences.

Who are your collaborators and how long have you been working with them?

Jennifer Linn Wilcox (producer). I’ve known Jennifer for about thirty years. She is my oldest critic. In the sixth grade she told me that my ventriloquist act in the talent show was better the year before. She is also my oldest champion. When I didn’t show up for auditions for the high school drama club she hunted me down and made me attend. If it weren’t for her, there would be no "Poe-Dunk – A Matchbox Entertainment," and there wouldn’t be a Playlab NYC.

John Pieza (director). I’ve been collaborating with John for twenty years. "Poe-Dunk – A Matchbox Entertainment" is the first time however that John is in the director’s chair. John has been a nearly constant face in the casts of my shows, and if he wasn’t on the stage it was probably because his role got cut in development or he was busy closing on a condo. When it came to finding a director for this show, he was the only person I trusted.

It was for last summer’s FringeNYC that John introduced me to Megan Hildebrand (stage manager) and her fiancĂ© Andrew Berardi (video operator). I am very lucky to have them both returning to the show for FRIGID New York. If it weren’t for Megan I wouldn’t remember my lines, and if it weren’t for Andrew no one in the audience would be able to see the tiny actors upon my matchbox stages.

What's next for you after FRIGID?

In May, Playlab NYC will be co-producing Intellectual Property with Coffee Black Productions (http://coffeeblackproductions.wordpress.com/). Intellectual Property is an evening of theatrical mash-ups, fan-fiction, and parodies. It is a theater-based version of Cartoon Network’s "Robot Chicken," with short plays like The Smurfs in "The Scarlet Letter," Samuel Beckett’s "Lord of the Rings," and a "Driving Miss Daisy" mash-up with Alfred Hitchcock’s "Psycho."

And finally, if you could say anything to your potential audience, what would it be?

As a theater artist, I create trifles. Edward Gordon Craig, the scenic designer and theater theorist, wrote, “I will go so far as to suggest that it is these things - trifling things - that the world today stands most in need of, and that the weighty ones are absorbing all our strength...might it not be wiser and much more sociable to concern ourselves with trifles for a few decades.”

Some past reviews of "Poe-Dunk – a Matchbox Entertainment" have suggested that there is an educational component to the show. Don’t be deceived. I’m only onstage to make you laugh.


"Poe-Dunk: A Matchbox Entertainment"
Created by Kevin P. Hale
Company: Playlab NYC
Directed by: John Pieza

The Red Room
85 E. 4th Street

Feb 27, 8:00PM
Feb 29, 11:00PM
Mar 03, 12:30PM
$12.00

FRIGID Festival Interview - Siobhan O'Loughlin of "The Rope in Your Hands"

By Byrne Harrison
Photo by Lauren Taylor

Siobhan O'Loughlin is an artist and activist who loves vegan cooking, bike riding and sweaty yoga studios. She holds a BA in Acting from Towson University in Baltimore, MD, and studied devised theatre and contact improvisation at Dartington College of Arts in Devon, England. Siobhan has trained in theatre of the oppressed with Julian Boal, and spent a summer in puppetry with Peter Schumann at Bread and Puppet Theatre. In New York City, Siobhan most recently appeared as a writer in performance at The Tribeca Performing Arts Center in December, where her new (autobiographical!) solo project began its development. "The Rope in Your Hands" returns a second time after its NYC debut at Stage Left Studio, and continues to have performances at arts camps and universities. She lives in Brooklyn, where she is an "ooh la la" babysitter, teaching artist, and sometime musician. Siobhan encourages you to join her and thousands of others as active participants in the Occupy Wall Street movement, or at the very least check out her website for updates on her new show, upcoming performances, photos and more at www.siobhanoloughlin.com.

Show: "The Rope in Your Hands"
Website: www.siobhanoloughlin.com

How did you first get involved in theatre?

I started out as a musician. My parents forced me to take piano lessons, I hated it and was pretty awful at it — until I discovered musical theatre and starting playing songs from shows. The first song I learned that I really cared about was “The Music of the Night” from “The Phantom of the Opera.” I used to play and sing it over and over again — I was 12 years old when I decided it would be more fun to play The Phantom; it was the first time I imagined myself performing as a man—and now here I am! Most of the characters in my show are males.

Who are your biggest influences?

Great question! Anna Deveare Smith was a great inspiration for creating docudrama. There are so many solo performers who mean a lot to me and that I aspire to — Tom Bodett, Deb Margolin, Tim Miller, Al Letson. In general, the artwork of Frida Kahlo and the music of Andrew Bird have served as assistants to my creative spirit. Augusto Boal made a huge impact on me in terms of his theories of theatre, and the writing of journalist Chris Rose directly impacted the formation of “The Rope in Your Hands.”

Tell me a little bit about your show.

It’s a solo show about post-Katrina New Orleans, where I play thirteen different people that I interviewed during my time in the city. In my show, you will meet a street performer, a hip young vagabond, a Japanese jazz musician, an English construction worker, a hot dog vendor, a homeless man, a university administrator, and a 7-year-old girl, to name a few. I encourage you to come talk with “us;” my characters’ stories are all 100% raw and true, verbatim as they were told to me.

What inspired you to write it?

I was in college, actually, and was headed to New Orleans as part of an Alternative Spring Break. My professor at the time, Stephen Nunns, encouraged me to interview as many people as I could. I told him I was too shy, but he double dog dared me… and so there I was, with a tape recorder, collecting material that would inspire me to travel back to New Orleans and collect more. It really proves what a difference a teacher can make in your life, and how far a little bit of encouragement can take you.

Who are your collaborators and how long have you been working with them?

I met my director, Daneille Skrastaad, maybe a month and half ago when I asked her to help me with this specific performance of the show. It had been awhile since I’d had a director, and I wanted a fresh eye. She is incredible and marvelous and it’s been a joy to have her, even if ever so briefly.

What's next for you after FRIGID?

Another great question. Um… a nap? I’m currently responding to this interview from Bogota, Colombia, where I have been teaching a theatre class for 3rd graders. Everything has been wild leading up to the festival, so afterwards, I think I plan on going home for St. Patrick’s Day (because that’s what someone named Siobhan O’Loughlin would do) and then when I return, I’ll probably focus more on Occupy Wall Street until I stumble upon my next theatre gig.

And finally, if you could say anything to your potential audience, what would it be?

To consider each other, and your community, and the people you share the world with, with everything you do. “Think of what a world this would be if men were wise and kind.”—Kurt Vonnegut.


"The Rope in Your Hands"
Written by Siobhan O'Loughlin
Directed by: Danielle Skraastad

The Red Room
85 E. 4th Street

Feb 25, 8:00PM
Feb 29, 8:00PM
Mar 03, 11:00PM
Mar 04, 6:30PM
$12.00

FRIGID Festival Interview - Jennifer Anderson of "Missed Connections"

By Byrne Harrison

Jennifer Jean Anderson is beyond thrilled to be a part of "Missed Connections" and the FRIGID Festival! Her credits include: Off-Broadway - THE HOLE (Theatre at St. Clements); New York - A YEAR IN THE LIFE OF...VERONICA SEXTON (RAW Theatricals), MARNIE'S MUSICAL (NYU/Tisch); National Tour: A CHRISTMAS CAROL (NTC East); and regional favorites - World premiere of COLLEGE: THE MUSICAL, THE GREAT AMERICAN TRAILER PARK MUSICAL, SHOUT! THE MOD MUSICAL (All with The Hippodrome State Theatre), GREASE (Roxy Regional Theatre), among others. Jennifer recently finished a 6-month stint originating the role of Sofifi in CIRQUE DREAMS AND DINNER onboard Norwegian Cruise Line’s newest ship, the Epic. Upcoming: "John & Jen" to benefit the Born This Way foundation. BFA from the University of Florida. Member AEA. www.jenniferjanderson.com

Show: "Missed Connections"
Website: www.missedconnectionsshow.com

How did you first get involved in theatre?

My childhood piano teacher used to direct shows at the community theatre in my hometown. She asked me to audition for one of the children’s roles in “Finnian’s Rainbow” when I was in 5th grade. I got hooked, and the rest is history as they say! I continued doing shows throughout middle and high school, and was accepted to a BFA program for college.

Who are your biggest influences?

I’m really influenced by writers and performers who are doing something different or unexpected. My latest obsession is “Portlandia.” I love all of the hilarious characters they play, and I think the writing is brilliant. The old Upright Citizen’s Brigade show on Comedy Central from like 10+ years ago introduced me to Harolds and long form improv. And anything Amy Sedaris says or does is like the Gospel.

Tell me a little bit about your show.

We’ve pulled real posts from Craigslist’s “Missed Connections” sections - they’re all completely unedited and authentic. We got all of these amazing posts together, organized them a little bit, added some funny voices and characters, and created a show.

What inspired you to help create it?

Ricky Dunlop approached me with the idea of the show, and I immediately thought it was brilliant. I loved the idea of breathing life into these bizarre, outlandish, and sometimes really touching messages - it was a simple concept that I thought could work really well in front of an audience. Being able to collaborate with friends was an added bonus.

Who are your collaborators and how long have you been working with them?

Ricky Dunlop approached myself, Jake McKenna, and Lauren Roth last March with the idea, so we’ve been working on this specific show for about a year. However, we all went to college together at the University of Florida so we’ve all known each other and worked together for several years. Dean Roth with Royanth Productions saw our first performance in April of 2011 and became involved with the process then.

What's next for you after FRIGID?

We’ve applied the show to several upcoming festivals, so we all have our fingers crossed for that! The beauty with the show is that there’s never a “final draft” so to speak, we’re always adding newer posts that we find. It continues to grow and change and that’s really exciting. Aside from "Missed Connections," I have another show in the works that I’m helping to submit to the Fringe festival this year. I’ll also be doing a production of “John & Jen” at the end of March to benefit the Born This Way foundation. More info about that is on my website. 2012 is definitely off to a great start for me!

And finally, if you could say anything to your potential audience, what would it be?

Have a few drinks before the show, and ENJOY!


"Missed Connections: An Exploration into the Online Postings of Desperate Romantics"
Created by Ricky Dunlop, Jennifer Jean Anderson, Jake McKenna, and Lauren Roth
Company: Royanth Productions
Directed by: Ricky Dunlop

The Kraine Theater
85 E. 4th Street

Feb 25, 7:00PM
Feb 27, 6:00PM
Mar 01, 10:30PM
Mar 04, 1:00PM
$14.00

Friday, February 24, 2012

FRIGID Festival Interview - the writers of "Death, it happens: a girl's guide to death"

By Byrne Harrison
Photo by Cathryn Lynne

"Death, it happens: a girl's guide to death" was collaboratively written by Bricken Sparacino, Courtenay Harrington-Bailey, Kim Braun, Rebecca Chiappone and Maureen Van Trease, so they answered these questions in the same spirit. This group of ladies is working with Lori Kee as director, Kim Braun as stage manager, Penny Pollak as light designer and Tiffany May McRae will be joining the writers performing. They have over 100 years of theater experience (added up all together of course).

Show: "Death, it happens: a girl's guide to death"
Website: www.bricken.org/bricken/Frigid_2012.html

How did you first get involved in theatre?

Courtenay: My first experience in theater was in my own backyard. As a young girl I used to create plays with my neighborhood friends and put on shows in my backyard for neighbors and family. That passion for performing and creating shows started at a young age and I never really faltered in my desire to be a performer. I knew at a young age, set a goal for myself and didn't stop until I got what I wanted. Now I'm thrilled to be providing performance opportunities for young people who have similiar dreams. It's very rewarding.

Kim: I've always enjoyed theater but it wasn't until I was 18 that I actually became involved. I went to an audition at the time for the lead in a play. I didn’t get the role but as I filled out the application I checked a box that said Yes, I was interesting in helping back stage. From there on out I fell in love with the "backstage". Today I am a Stage Manager, and paid one at that!

Tell me a little bit about your show.

Maureen and Bricken: Our play, “Death, it happens: a girl’s guide to death” will do for Death what "The Vagina Monologues" did for vaginas. I know you men out there are thinking what’s in it for me? Well, this show is not just for girls! Promise! Death finds us all, and we’re often caught unprepared. So why not talk about it, share the heartache… and laughter….and the ways to survive?

“Death: It Happens; a girl’s guide to death” is a collaboration by 4 amazing women, who lost 4 very different fathers...of our true, diverse, moving…. and sometimes really funny stories. In fact we’ve got a riotous one at the end that’ll make you laugh til you cry. We’ll share with you what happened and what we did to cope, or not, as the case may be, and we’ll be taking “What Not to Wear” to a whole new place.

Who are your biggest influences?

Bricken: For this play I was inspired by plays like the "Exonerated" and "The Vagina Monologues." Story Telling done honestly and simply.

I am also influenced by Jennifer Saunders and Dawn French. I love their fearless comedy style and fantastic characters. You'll see a little bit of French and Saunders in my "Holiday Story" when you come see this play.

What inspired you to write it?

Maureen: Bricken invited me to replace a friend of hers who wasn't able to participate and it's been an amazing process. Something I needed to do, but didn't realize it until I was actually writing it.

Who are your collaborators and how long have you been working with them?

Rebecca: Bricken's last show, "I'm Not Sure I Like the Way You Licked Me" (2011), was directed by Lori, and I did the lighting for it. It was so much fun to be a part of, and I love the way those ladies work. There's a real focus on honesty and self-awareness that I adore. The year since "I'm Not Sure..." has been a powerful one, and I'm glad we've grown so creatively close. Tiffany, Courtenay, and Maureen are all new to me, but we've developed a very fast bond. That's the silver lining of this difficult subject matter; by being able to share our experiences and our pain, we've been able to find connections, even with new people. Hopefully that connection will extend to our audience, and we can all share the experience.

Bricken: When I first came up with this idea I wanted strong women who i had worked with in someway before. Women whose stories were different but similar. I am thrilled that these women chose to join me on this project.

Courtenay and I have known each other and worked together for 20 years now. Lori and I have worked together at least 8 years non stop (Maybe longer- time flies). Maureen and I have worked together for about 5 years, this will be our first time acting together. Kim has been my stage manager many times and acted in a short play I wrote. Becca was my "crew" for my last play and I'm excited to have inspired her onto the stage. I wrote a part for Tiffany in one of my favorite short plays and I am so happy she will be apart of this new one. And Penny (Penny's Open Mic) has inspired me to work on plays like this and I am so glad she will be "lighting" our way.

What's next for you after FRIGID?

Maureen: What ever comes along... waiting to hear about a piece I may be in for the Planet Connections Festivity in June. I'll also be attending a screening of a student film I'm about to shoot at the beginning of March. I wish I could say I was going to Cannes in May as one of my films "8:46", a narrative documentary about 9/11, is screening at the Marche du Filme.

And finally, if you could say anything to your potential audience, what would it be?

Bricken: We are very proud of the play. Exploring these true stories has been a unique journey. Potential audience memebers, you will be glad you came, there are sad moments, funny moments, moments of anger and hope. We think you will be glad you came.


"Death, it happens: a girl’s guide to death"
Written by Bricken Sparacino, Courtenay Harrington-Bailey, Kim Braun, Rebecca Chiappone and Maureen Van Trease
Company: Bricken and Birch Productions
Directed by: Lori Kee

UNDER St. Marks
94 St. Marks Place

Feb 25, 8:30PM
Feb 27, 9:00PM
Feb 28, 7:30PM
Mar 03, 1:00PM
Mar 04, 4:00PM
$10.00

FRIGID Festival Interview - Alexis Roblan of "Daughters of Lot"

By Byrne Harrison
Photo by Rachel Kerry

Name: Alexis Roblan
Show: "Daughters of Lot"
Website: http://www.brainmeltconsortium.com/

How did you first get involved in theatre?

I was always in plays in middle and high school, then I moved to LA for college (and, obviously, to become a movie star). Reading Artaud and John Guare during my freshman year of college started to seriously open my eyes to what the stage can do better than screen, and I've been really passionate about live performance ever since.

Who are your biggest influences?

As mentioned above, Antonin Artaud and John Guare. Also Caryl Churchill, Sarah Kane, Jean Genet, Susan Faludi, Kevin Barnes, Euripides, Judith Butler...

Tell me a little bit about "Daughters of Lot."

It's a neo-2nd wave feminist response to 3rd (or 4th?) wave feminism, set in an underground burlesque club and involving the Bible. And magic. YOU'VE NEVER SEEN ANYTHING LIKE IT.

What inspired you to write it?

The Spice Girls. The Pussycat Dolls. Every play that thinks it's "edgy" because it says things like "men want to have sex with everything."

Who are your collaborators and how long have you been working with them?

My director, Rachel Kerry, and I started a company together in August 2010 called Brain Melt Consortium, and our first project was actually a staged reading of the full-length version of this play. We've been working very closely ever since. We found our stage manager, Mandy Kelsey, while working on our 2011 Fringe production, "The Flowers of Fantastico," and she's become and integral part of the company. Everyone else is new to BMC, but they have all been godsends. Molly Ballerstein, who's been working on really exciting projects like "Sex in Mommyville" and "Chimera" (COIL 2012), is our amazing assistant director, and our cast is phenomenal. I couldn't be more excited by 5 brilliant, gorgeous actresses.

What's next for you after FRIGID?

BMC is putting up an awesome performance party at the Magic Futurebox in Brooklyn on March 31 -- "More Like the Rachel RADdow Show: An Unofficial Birthday Party for Rachel Maddow Celebrating the Ridiculous Circus that is Cable News." I'll be helping to produce that. I'm also in the process of developing a solo show with my friend R. Ernie Silva, who's been touring around for the last few years with his amazing debut solo piece, "Heavy Like the Weight of A Flame."

And finally, if you could say anything to your potential audience, what would it be?

If you're the kind of person who always walks into a night of theatre hoping that it will change your life just a teeny tiny little bit, this show's for you.

"Daughters of Lot"
Company: Brain Melt Consortium
Directed by: Rachel Kerry and Molly Ballerstein

The Kraine Theater
85 E. 4th Street

Feb 25, 5:30PM
Feb 28, 9:00PM
Mar 02, 5:30PM
Mar 04, 4:00PM

$15.00

FRIGID Festival Interview - Emleigh Wolf of "The Terrible Manpain of Umberto MacDougal"

By Byrne Harrison
Photograph of Umberto by Louis J. McCall
Headshot by Cathryn Lynne

Emleigh Wolf has been performing comedy in New York City for several years now, sometimes onstage, sometimes trying to get to the bathroom in the middle of the night without tripping on anything. With an infatuation for facial hair and all things Scottish, Umberto MacDougal was born on the stage at Penny's Open Mic. Since then, Emleigh has taken Umberto to shows all around the city, including Sketch Block, Comedy Period, Soul Glo, and Skinny Bitch Jesus Meeting's Daddy's Basement to name a few. As herself, Emleigh has become notorious for things like writing zombie porn, improvising (everything), ambiguously stalking Bruce Campbell, and advocating the word, trousers, in common American speech.

Show: "The Terrible Manpain of Umberto MacDougal"
Website: emleighwolf.com

How did you first get involved in theatre?

When I was 5 years old, I was signed up for a local theater class at a place called Young Actors Theatre in Tallahassee, FL. My first role in front of an audience was meant to be that of one of the Fiddlers Three in a stage production of "Old King Cole." At the last minute, the kid playing Old King Cole had to go out of town. The teacher asked if anyone else in the class knew the role. My hand shot up immediately, not because I knew the role that well, but because I wanted more stage time. She had no real alternative but to put me in the role, and with some rudimentary improvisation, I was good to go. When I walked out onstage with a big pillow for a stomach, and I waddled over to the chair that was meant to be my throne, I accidentally sat on the edge, and sort of slid back into the chair, and the whole audience laughed. I was absolutely hooked from that moment on. Now here I am, dressed as a man and making people laugh again.

Who are your biggest influences?

I have so many influences. I’m a massive geek, so when I like something I like it in a ridiculous way, and I want to somehow incorporate it into everything. Personally, B-movie superstar Bruce Campbell is one of my biggest influences. I adore his cheesiness and somewhat self-deprecating humor as well as his interactions with his fans.

Love me some British comedy as well. I am one of those Monty Python fans who can quote sketches word for word. I can do the same with a lot of French and Saunders sketches. My love for them is something that shows through in "The Terrible Manpain of Umberto MacDougal."

Then there’s friends and family. My parents both have their own weird brand of funny, and I have really great friends who love to laugh.

Tell me a little bit about your show.

Umberto MacDougal is a very sad Scotsman. He’s been rejected often in his life, bullied as a kid, and has never really felt loved. Instead of hiding his sadness or manpain (the pain that men feel), he’s embraced it and wants to educate others about it by talking about his woes, sometimes though sorrowful poetry.

What inspired you to write it?

Well, as I said I’m a colossal geek, and I first discovered the word, manpain, on LiveJournal while reading fanfiction. If you don’t know what fanfiction is, you need to get out less. Basically, the word, manpain, comes up to illustrate media’s love of sad men. For example, Lee Adama from the show Battlestar Galactica spends the entire third season of the show having manpain, mostly because of some weird love quadrangle, and for some reason there is this huge focus on it. It’s the end of humanity, they’re being hunted down by cylons, there are traitors among them, but so much time is spent with scenes of Lee Adama getting drunk and crying, sobering up and crying, eating a lot and… you guessed it, crying. That’s one example, but think of any major work of literature, television, film, etc. and there’s almost certain to be a decent amount of manpain.

I used the word manpain a few times in front of my friends, and they insisted that I talk about it at Penny’s Open Mic, where I spend my Tuesday nights. Many of them can attest to either having to listen to or having manpain themselves. I was hesitant, but they were persistent, and finally I agreed on the conditions that I got to wear a big beard and use a Scottish accent. With that, Umberto MacDougal came into being. Now, he’s evolved into something all his own, and I love it. Even I feel bad for the guy sometimes.

Who are your collaborators and how long have you been working with them?

I had the pleasure of working with my director, Bricken Sparacino, when I did tech for her show, "I’m Not Sure I Like the Way You Licked Me." She’s extremely talented and fun to work with as well as having a focus that I often lack. She co-wrote and is performing in another FRIGID show called "Death, It Happens: a girl's guide to death," which I can’t wait to see.

I met Mike Ogletree at Penny’s Open Mic about a month or so after I’d first created Umberto, and I was terrified to do the character in front of him. Mike is an actual Scotsman, and when he came to the mic, he was decked out in Scots gear and singing the poems of Robert Burns. I’m not quite sure what I thought he’d do… come running onto the stage shouting, “How dare ye make fun of m’ culture! And m’ manpain!” I really don’t know, but eventually, I had no choice because he kept coming every week, and I wanted to develop the character further, so I downed some whiskey flavored courage and went for it. I was so excited that he liked it, I asked him if he’d be willing to back Umberto’s sad stories up on guitar at a few other shows, and he was really into it.

What's next for you after FRIGID?

I’d really like to keep doing this show, honestly. This is my first festival, and I don’t want it to be my last. I just started an indiegogo.com campaign to try to raise some money to get to Edinburgh or Winnipeg this summer. http://www.indiegogo.com/Umberto-MacDougal-Tours

And finally, if you could say anything to your potential audience, what would it be?

Come to my show, tell your friends about it, help me get some butts in the seats! Umberto would be SO SAD if no one came to see him.


"The Terrible Manpain of Umberto MacDougal"
Written by Emleigh Wolf
Directed by: Bricken Sparacino

UNDER St. Marks
94 St. Marks Place

Feb 26, 7:00PM
Feb 27, 6:00PM
Mar 02, 7:30PM
Mar 03, 2:30PM
$13.00

FRIGID Festival Interview - John Grady of "Fear Factor: Canine Edition"

By Byrne Harrison

John Grady is an actor and a writer from New York City. He starred off Broadway in Spalding Gray: Stories Left To Tell and as a member of Blue Man Group. He is a multiple story slam winner at the Moth, and has performed on the Moth Mainstage in New York City, Detroit, and Portland. His stories have aired on NPR, CBC Radio, and KCRW. John worked with film director, Francis Lawrence on both "I Am Legend," and the NBC drama "Kings." A graduate of the theatre program at UC Irvine, John also trained at the National Ballet School in Toronto and danced with Ballet British Columbia in Vancouver.

Show: "Fear Factor: Canine Edition"
Website: http://www.thejohngrady.com/

How did you first get involved in theatre?

When I was cast as Roger “the Mooner”, in a high school production of "Grease" that my friends convinced me to try out for.

Who are your biggest influences?

William Forsythe, Simon McBurney, and Spalding.

Tell me a little bit about your show.

It’s about my life and misadventures with my dog, Abby. My dog, acting as co-pilot, guiding me along the way. Myself, facing my own fears and shortcomings, to help her.

What inspired you to write it?

Well, being unemployed is a good motivator, and also being involved in the storytelling scene in NYC and Los Angeles.

Who are your collaborators and how long have you been working with them?

I flew solo creating this show. Though being on a walkabout with Abby for 13 years was quintessential.

What's next for you after FRIGID?

I will be touring this show to the Rogue Festival in Fresno, then to the London, Ottawa, Nanaimo, and Vancouver Fringes in Canada. You can always check in at http://www.thejohngrady.com/ for updates on future performances and appearances.

And finally, if you could say anything to your potential audience, what would it be?

Thank you for silencing your cell phones. Let’s begin…


"Fear Factor: Canine Edition"
Written by: John Grady

The Kraine Theater
85 E. 4th Street

Feb 24, 8:30PM
Feb 26, 1:00PM
Mar 01, 9:00PM
Mar 03, 7:00PM
$15.00

FRIGID Festival Interview - Slash Coleman of "Big Plastic Heroes"

By Byrne Harrison

Slash Coleman is New York writer and performer best known for his award-winning PBS special, "The Neon Man and Me." Over the past decade his performance work has been featured in The Washington Post, The New York Times, American Theatre Magazine, Backstage Magazine and most recently on the NPR series, “How Artists Make Money.” As a performer, he's been featured at: The International Storytelling Center, Pete Seeger’s Clearwater Festival and The National Storytelling Festival. Currently at work on his 2nd PBS special which is about the re-birth of storytelling in America, Slash is featured blogger at Psychology Today his recent writing has appeared in the following anthologies: Unstuck and Robot Hearts.

Show: "Big Plastic Heroes"
Website: http://www.bigplasticheroes.com/

How did you first get involved in theatre?

I started performing as a musician on stage as a kid. As the most social of all my musician friends I was always the person nominated to introduce the songs. What started with short introductions eventually turned into longer monologues with costumes. As I got older, my bandmates were finally like, "You need to get your own show, bro."

Who are your biggest influences?

In the theater world, Tyler Perry. In the music world, Eminem. They both use their art to mirror and reflect the challenges within their personal worlds and as artists seem to hold fast to their creative ideals in an entertainment world that is built on compromise.

Tell me a little bit about your show.

Set against the backdrop of bicentennial fever, the white man perm and twin sisters who speak a rare, alien-like language my solo-performance chronicles my obsession with my childhood hero, Evel Knievel, how I attempted to make sense of a family with 8 artists, and what happens when a crush on my third grade teacher lands me in the hospital.

What inspired you to write it?

As the writer and performer of "Big Plastic Heroes" I was most inspired by my family.

My grandfather was a dancer at the Moulin Rouge, my grandmother was a prolific watercolorist and my father is a sculptor. I grew up in my father's art studio in an environment where creativity and artistic expression came as natural as breathing and eating. I was surrounded by a sort of "get up, eat and make art," mentality.

Yet, on my mom's side there was this huge secret and silence surrounding the fact that she's a Holocaust survivor. Getting any information from her or my grandparents about their life during this time period was like pulling teeth. From her, there was a "don't tell anyone, anything about yourself," vibe. And so, I grew up in this dichotomy - the freedom to express existed beside the silence, shame and guilt around this secret. It took me until I was nearly 40 years old to understand how to use my artistic gifts as a writer and performer to shape the silence in a way so others could understand it.

Who are your collaborators and how long have you been working with them?

Jules Moorhouse - Director. I met her just a few months ago during the Portland, OR premiere of "Big Plastic Heroes." In just one month she's taken my show to a totally new level because she really understands how I'm trying to stay true to my roots as a professional storyteller while embracing the realm of theatre.

Lynne Duddy and Lawrence Howard - Workshop directors. I began workshopping this piece in early 2011 with the two founders of Portland Story Theater during a solo performance residency called Singlehandedly! They've been integral in helping me develop the storyline.

Becca Bernard - Actor. We've been working together for 4 years. She's opening the show with a physical comedy piece. As a collaborator with a strong background in clown and theater pedagogy, she's been invaluable in helping the story-line "pop." It also helps that I'm in love with her and as a couple we love nothing more than creating creative mischief.

What's next for you after FRIGID?

I'm re-launching my solo show, "The Neon Man and Me," in New York which toured the fringe festival circuit for 5 years and became a PBS special. I'm currently coordinating the launch with the release of my book under the same name. Since this production is perfect for television we're also seeking to steer this project in that direction.

And finally, if you could say anything to your potential audience, what would it be?

I hope my show will help you recognize the hero within yourself and also the ordinary heroes that surround you everyday.


"Big Plastic Heroes"
Written and performed by Slash Coleman
Company: Plastic Thunder

UNDER St.Marks
94 St. Marks Place

Feb 25, 2:30PM
Feb 29, 10:30PM
Mar 01, 10:30PM
Mar 03, 5:30PM
Mar 04, 2:30PM
$15.00

FRIGID Festival Interview - Heather Cohn of "The Stranger to Kindness"

By Byrne Harrison
Photo by David Stallings

Heather Cohn is a co-founder of Flux Theatre Ensemble and currently serves as the Producing Director. Directing credits for Flux include Erin Browne’s "Menders," August Schulenburg’s "The Lesser Seductions of History" (nominated for Best Director, New York Innovative Theatre Awards) and "Other Bodies" (FringeNYC Excellence Award for Outstanding Direction); staged readings of Jose Rivera’s "Sueño" and Adam Szymkowicz’s "Pretty Theft," August Schulenburg’s "Channeling" and Bekah Brunstetter’s "Miss Lilly Gets Boned."

Outside of Flux, Heather recently directed David Stallings’ "The Stranger to Kindness" (Outstanding Overall Production of a One-Act, Planet Connections Theatre Festivity Awards, also nominated for Outstanding Direction award). Heather has also directed for the EstroGenius Festival, On the Square Productions, Epic Theatre Ensemble, Artistic New Directions, and Crossroads Theatre Project. Member – Women’s Project Producers’ LAB (2008-2010). By day, Heather is the Director of Development for Epic Theatre Ensemble. She is a graduate of Vassar College.

Show: "The Stranger to Kindness"
Website: tstkplay.tumblr.com

How did you first get involved in theatre?

I’ve been involved with theatre as far back as I can remember. The first play I have a strong memory of attending as a kid was a production of "Anne of Green Gables." I used to put on plays in our living room as a kid with my sister and my friend Alix, with our parents and neighbors serving as the audience. Then in middle school I discovered stage crew, where I got to paint and hang out with all the “cool” guys, which led naturally into my time as a stage manager and set designer in high school and into college. It wasn’t until after college that I really shifted my focus to directing.

Who are your biggest influences?

My husband, August (“Gus”) Schulenburg, and my theatre company, Flux Theatre Ensemble. The two are intimately linked, as Gus is also the Artistic Director of Flux and a fellow co-founder of the company. I don’t think I would be a director today if it weren’t for Gus and Flux, and for that I am deeply grateful. Flux is my creative home – a place for me to take risks, learn and explore with artists I trust and admire through long-term collaboration. And Gus, who is a playwright, has taught me so much about how to work with new plays and new playwrights through a development process into production.

Tell me a little bit about your show.

"The Stranger to Kindness" is a heartbreaking one-act about a senior woman whose friend has stopped answering her door. The entire play takes place in the hallway outside the friend’s apartment. It struggles with big questions, including: how we treat senior citizens in our society; what are the responsibilities of being a parent, a son or daughter; how do we grapple with fear and hope; and what does it mean to be a true friend.

What inspired you to direct this play?

What inspired me to direct the play the first time is what is continuing to inspire me as we rehearse it again for this new Festival and venue: its rich and layered subtly and the incredible journey these characters go on in just a short 50 minutes. It’s a true testament to David’s talent as a writer and the beautiful work of the actors that this play continues to surprise me at each rehearsal. And I can’t wait for more people to see it and be as surprised and moved by it as I am.

Who are your collaborators and how long have you been working with them?

I had the great fortune to work with most of this creative team on the first production of "The Stranger to Kindness" in the Planet Connections Festivities this past June 2011. The playwright, David Stallings, and producer/actor Antonio Miniño, approached me about directing after seeing my work on "Blood" at the 2010 Estrogenius Festival (in which Antonio performed in another piece). We had a wonderful initial meeting about a different play of David’s, but then for various reasons, we landed on this piece, "The Stranger to Kindness." Susan G. Bob, our amazing lead, came to us through a recommendation of a friend, and I’m thrilled to be working with her again on this second production. This is my first time working with actor Mick Hilgers, and I must say we’re having a blast. Our lighting designer, Carl Faber, and I actually go back the furthest — we went to Vassar together years ago.

What's next for you after FRIGID?

I am directing Flux’s next production - "Deinde" by August Schulenburg at The Secret Theatre in Queens (April-May). This show will kick off Flux’s 5th Anniversary Season, and is being presented in association with the BFG Collective, a group of three Indie theatre companies (Boomerang, Flux, Gideon) in residence at The Secret Theatre through June. About "Deinde" - In the not-too-distant future, the pressure to cure a global pandemic spurs the creation of Deinde, a device that allows a team of brilliant quantum biologists to think directly into a powerful computer. At first, they use this prosthetic for the mind under strict rules of engagement, but soon noble ideals and personal passions lead a few to break the rules. They discover that Deinde’s power is far greater than anyone first imagined, and their world spins out of control, raising questions of morality, consciousness, and what it means to be human in an age of rapid technological change.

And finally, if you could say anything to your potential audience, what would it be?

Please sit toward the front! This is a beautifully intimate play, and I don’t want audiences to get lost in the back of the house at the Kraine.


"The Stranger to Kindness"
Written by David Stallings
Company: D&A Productions
Directed by: Heather Cohn

The Kraine Theater
85 E. 4th Street

Feb 26, 2:30PM
Feb 29, 9:00PM
Mar 01, 7:30PM
Mar 03, 4:00PM
$15.00

FRIGID Festival Interview - Nicole Pandolfo of "Love in the Time of Chlamydia"

By Byrne Harrison

Nicole Pandolfo is a writer and actress who lives and works in New York City. Several of her plays have been published and produced throughout New York City and the United States as well as in Sydney, Melbourne, London, Singapore, and Toronto. She is from New Jersey and does not understand anti-Jersey sentiments. She thinks meeting Cher would be the tops. Nicole thanks her mother, Adele, Chris, and her family and friends for their love and support, and would also like to extend a huge thank you to J.Stephen Brantley and Hard Sparks, Jonathan Warman, and everyone at the Frigid Festival! Finally, she would like to thank all of her exes, some nice and some not so nice, for providing the material.

Show: "Love In The Time Of Chlamydia"
Website: http://www.nicolepandolfo.com/


How did you first get involved in theatre?

When I was a kid, maybe 12, a psychic my mom went to told her that I would be an actress, and right then and there I got bit by the bug. (Why couldn’t she have said investment banker?) There’s no theatre in the immediate area where I grew up, which is kind of an economically depressed part of Jersey where arts, especially theater arts, are not going to take any kind of focus in public school, and so there weren’t a lot of options for jumping in. But my mom was really amazing and paid for me to take classes at the Walnut Street Theater in Philadelphia, which I’m sure wasn’t easy for her at the time but it meant the world to me. And I just fell in love. And I took some classes in South Jersey here and there and then once I got to high school I was thrilled because then at least I could be in the school musical. I got my first starring role when I was a junior playing the Wicked Witch of the West in "The Wizard of Oz" - I can still do the crazy loud cackle on the spot.

Who are your biggest influences?

My biggest life influences are my mom, grandmom, and uncles. I hope that I make them proud and don’t embarrass them too much by writing and performing in shows with words like chlamydia in the title.

Some of my biggest artistic influences are Bob and Jakob Dylan, Bruce Springsteen, Cher, John Leguizamo, Martin McDonagh, Austin Pendleton, Chelsea Handler, the play/movie "Hysterical Blindness," Jimmy Stewart (“he’s very simple- he’s very true”), Rocky Balboa, the TV show "My So-Called Life" (Jordon Catalano had way too much influence on my taste in men), the movie "Pieces of April," and the people from my hometown in Jersey.

Tell me a little bit about your show.

It’s about one woman’s search for love in a world full of absent fathers, premature ejaculators, alcohol, and venereal disease. It’s a mostly dark comic take on some of the awkward parts of growing up. But at it’s heart it’s really a story about a girl with no real father figure growing up, having fun, screwing up, (screwing around), drinking a lot, and trying to figure out how to find love in this world.

What inspired you to write and perform it?

This piece started out originally as monologues from the perspective of multiple prostitutes who had seen really weird stuff go down on the job, and it was called “Five Fucked Up Fetishes.” I started writing it one day on the train from NY to NJ. Then I realized I was using a lot of back story from my own real life and then it kind of forced itself onto me as a solo show based on myself. It took me a while to be ok with that, but once I was, it just really flew out of me. I wrote the first draft in under a month just banging out pages and bringing them into a weekly workshop at HB Studio in the village.

In some ways it was like therapy for me. And it’s funny because the therapy angle is in my opinion the best and worst part of solo shows. When done wrong you kinda just think “Yo, call a therapist,” but when it’s done right it’s usually amazing and a big part of what makes solo shows so compelling. And writing this show really helped me to sort out some parts of my life when it came to guys and how I behaved and why I seemed to be going for a certain type of asshole and how in many ways I was also an asshole myself.

And that has always been important for me, to be responsible for my own actions and I wanted that to be a big part of this show and this character.

Who are your collaborators and how long have you been working with them?

I met the producer J.Stephen Brantley in the summer of 2009 at the first annual Stony Brook Southampton Writers Conference. We were in a seminar with Craig Lucas and became friendly. We kept in touch and then a play I wrote, "Canadian Tuxedo," made it into the Provincetown Festival in winter 2010, and J.Stephen acted in it. He also helped hook me up with Jonathan Warman to direct it and that was when I first met Jonathan. And so they went on to do that, and J.Stephen and I stayed in touch, and he came to me last winter with the idea of producing this show with his new company HARD SPARKS. He had seen an early draft of LOVE back in fall 2009, and he brought Jonathan on board for it and that’s how we ended up all getting together.

What's next for you after FRIGID?

I have a play in Australia right now called "I Thought I Liked Girls" as part of Short+Sweet Sydney. Check it out if you happen to be Australia. It’s also coming out in print soon in the 2011 BEST TEN-MINUTE PLAYS, SMITH & KRAUS.

I’m working on a pilot, a screenplay, and a novel and I hope in the coming months I’ll be touring LOVE.

You can keep up with me at http://www.nicolepandolfo.com/

And finally, if you could say anything to your potential audience, what would it be?

Thank you for coming and I hope that you enjoy the show. If you liked it please tell your friends to come on down.

I love meeting new people and if you want to swap stories after at the bar just let me know and we’ll go grab a drink!


"Love in the Time of Chlamydia"
Written by Nicole Pandolfo
Company: Hard Sparks
Directed by: Jonathan Warman

UNDER St. Marks
94 St. Marks Place

Feb 25, 4:00PM
Feb 26, 4:00PM
Feb 29, 6:00PM
Mar 04, 5:30PM
$13.00

FRIGID Festival Interview - Tim C. Murphy of "Blind to Happiness"

By Byrne Harrison

Tim C. Murphy is an international teacher and performer who currently resides in Kuwait. Born and raised in Ottawa, he has lived, worked and traveled in more than 45 countries. He is an award nominated performer and poet. He also has nice blue eyes. In his 20s he was a content misguided professional student – earning a B. Commerce, M.A. Sport Psychology, B. Education and a Diploma in Theatre at Canadore College. Selected stage credits include: BLIND TO HAPPINESS (Toronto, Ottawa, Montreal- nominee Best English Production 2010, Wakefield, Winnipeg, and Edmonton Fringe Festivals); LIBERTINE (Rep 21 – Theatre Passe Muraille), HENRY V (Gateway Theatre Guild), RED ROSES AND PETROL (Tara Players ), and THE BALD SOPRANO (Sock ‘n’ Buskin). Tim is currently working on his new one-person show, KUWAITI MOONSHINE, which will be performed at the 2012 Ottawa, Winnipeg, and Edmonton Fringe Festivals.

Show: "Blind to Happiness"
Website: http://www.timcmurphy.com/

How did you first get involved in theatre?

Like most performers, when I was young I performed whenever I could - with my siblings, at school, in front of a mirror, especially at Christmas time or family gatherings... slightly inebriated parents and relatives are always easy to entertain.

Who are your biggest influences?

In terms of writing I would say Canadian playwrights Mighton, Mouawad and McIvor. I love Mighton and Mouawad's fusion of humanity and science and McIvor's honesty and rawness. I'm a big fan of screenwriters Charlie Kaufman. Once again, the humanity of his plays and his confidence to take zigzagging risks in his writing and follow his instincts. In terms of performers, Canadian theatre icon and my instructor in theatere school, David Fox.

Tell me a little bit about your show.

In short, "Blind to Happiness" is an exploration of the question - is happiness a choice? It's told through three very contrasting characters (a socially awkward dishwasher, PhD Pyschology student, and hapless lovelorn part-time cook and wannabe poet). Its a drama/comedy... moments of hilarity, moments of deep sadness and regret. Hopefully the play will be a mirror to the audience so they can reflect on their own derivations and perceptions of happiness and the choices they've made in life.

What inspired you to write it?

In theatre school, one course we took was to create our own one-person show. Daunting at first but then very, very liberating and exciting for me. A platform for me to perform but more importantly to present my values and thoughts on life and happiness. And of course the chance to entertain. Mike Kennard, Canadian Fringe legend from Mump & Smoot, came in to work with us and talk about Fringe tours and new work creation. It was inspiring to hear his stories, passion and success.

Who are your collaborators?

I had several classmates and instructors help me in the development of the show, including Rod Carley, Mike Kennard, Hume Baugh, Rodney Roy, Cecelia McHugh and Jen Carroll.

What's next for you after FRIGID?

Back to Kuwait to teach high school physical education! Then I'm working on my new show, "Kuwaiti Moonshine," that will be touring the Ottawa, Winnipeg, and Edmonton Fringe Festivals this summer.

And finally, if you could say anything to your potential audience, what would it be?

As mentioned above, the show explores happiness. I believe it is something that we all struggle with on some level, at some point in our lives. If you have ever questioned your own happiness, or others, I believe my show will resonate with you. Its entertaining and possibly moving, but most importantly thought-provoking. The play is a journey, be patient. And lastly, if you do come to the show - thank you! Thank you for supporting indie theatre. Thank you for giving over your ears, mind, and heart. Enjoy the show!

"Blind to Happiness"
Created and performed by Tim C. Murphy
Company: Better To Burn Out Productions

UNDER St. Marks
94 St. Marks Place

Feb 24, 9:00PM
Feb 25, 5:30PM
Feb 28, 6:00PM
Feb 29, 7:30PM
Mar 03, 10:00PM
$16.00

FRIGID Festival Interview - Cherry Pitz of "Scratch And Pitz Burlesque And Variety Hour"

By Byrne Harrison

Name: Cherry Pitz
Show: "Scratch And Pitz Burlesque And Variety Hour"
Websight: http://www.heroicsinhotpants.com/

How did you first get involved in theatre?

I was born with stars in my eyes and show business boiling in my blood. My cholesterol levels were off too.

Who are your biggest influences?

My dad, Harry Pitz. He was both father and mother to me; he was a drag queen.

Tell me a little bit about your show.

My dream is to have my own variety TV show with a co-host. Like Sonny and Cher, Donny and Marie, Turner and Hootch. This guy Scratch says in exchange for my soul he can make this happen. Not sure what that means, but he is gonna make me a star!

What inspired you to write it?

My co-writer Handsome Brad (who plays Scratch) and I are in love with the NY Burlesque scene and wanted to do something new and splashy with the girls and boys!

Who are your collaborators and how long have you been working with them?

The cast is made up of people in the burlesque scene with an acting and comedy background. I have been producing burlesque with a theatrical spin for some time now, (Hotsy Totsy Burlesque) and for Scratch And Pitz we have put a cast of our favorite playmates together.

Peter Aguero - is well known as a storyteller an fronts the BTK band - He is the Viking of the NY Burlesque scene.

Handsome Brad – who plays Scratch is dreamy! (He is also my husband and co-producer in my alter-ego other life.) He is one of the most charming and sharp performers on the scene, plus he is super handsome!

Rory Scholl - is a comedy improv - musical genius, one of the quickest and funniest minds I have ever encountered.

Amelia Bareparts - does nothing half hearted, sensuous and smart she is currently taking bullwhip classes, so that her portrayal of a lion tamer in our show looks authentic.

Lucille ti Amore - has a background in physical theater and she is so pretty and cute you want to eat her with a spoon.

Apathy Angel - is not only a gorgeous dancer, but she has a sensibility that always confuses, confounds and makes my head tilt to the side like a four year old looking at a My Little Pony: Twilight Sparkle Twinkling Balloon.

Mary Cyn - is innovative, smart, hot and adorable, plus she is more fun than a barrel of monkeys on hallucinogenic mushrooms.

What's next for you after FRIGID?

"Hotsy Totsy Burlesque," my monthly burlesque show (co-produced by Joe The Shark) at R-Bar on Bowery - every 3rd Tuesday of the month http://www.hotsytotsyburlesque.com/

"And I Am Not Lying – Live!" is also a monthly on going show combining storytelling, burlesque, comedy and variety show that I do with My husband and creative mastermind Jeff Simmermon at Union Hall in Brooklyn every 1st Tuesday of the month www.andiamnotlying.com - this show is also going to be presented in March at the South By South West Festvial in Texas.

And finally, if you could say anything to your potential audience,what would it be?

Expect hot girls, flying underpants - and I got both Handsome Brad and Peter Aguero to promise to strip on stage!

"Scratch & Pitz: Burlesque Variety Hour"
Company: Heroics in Hotpants
Directed by: Cyndi Freeman and Brad Lawrence

The Kraine Theatre
85 E. 4th Street

Feb 26, 7:00PM
Feb 29, 10:30PM
Mar 02, 4:00PM
Mar 03, 8:30PM
$10.00

Monday, February 20, 2012

FRIGID Festival Interview - Ron Graner of "Musical Pawns"

By Byrne Harrison

Ron Graner is a commercial/industrial real estate agent with High Point Realty Limited and works with many artists, theatre and film companies. He not only sold the Canadian Children’s Dance Theatre their building, but was also music director/co-producer for one of their shows. He currently serves as Canadian Representative of The David Nowakowsky Foundation, President of Jewish Music Toronto, Former Member Board of Trinity Square Video, Artrage Opera Company and member: Advisory Committee to the City of Toronto for the Don Valley Brickworks. He is co-writer/producer for a documentary that takes a fresh look at Rochdale College with Robert “Rosie” Rowbotham, and Paul Hoffert. Writer/co-producer/performer: Music of a Forgotten Master: TV short for BRAVO! In cooperation with Goldstar Productions Inc. and writer/producer/performer 2 radio shows for CBC's “Outfront”: A Forgotten Master: David Nowakowsky (2006) and Hidden Treasures: Louis Danto (2007).

Show: "MUSICAL PAWNS"
Website: www.musicalpawns.domecountry.com

How did you first get involved in theatre?

When I was three, I stole the Rabbi's cassock and ran onto the stage at the Gateway Hotel and sang: “Happy Trails To You”, which was the theme song of The Roy Rogers and Dale Evans TV Cowboy Show (and his wonder-horse -Trigger). The cassock was a little big on me. I weighed 18 pounds. I think I also yodeled.

Who are your biggest influences?

Mel Brooks. Steve Allen. Woody Allen, and my Uncle John - half of the comedy team of Wayne & Shuster.

My Mother had a great sense of humor. She was a superb piano player, and would pound out popular songs on the piano while my Sisters and I would run around the house banging on pots and pans with wooden spoons, screaming out the lyrics at the top of our lungs, and ignoring my Dad pleading for some peace and quiet. For us, music always meant having fun. My Mom almost never read bedtime stories from a book. She made them up on the spur-of-the-moment. Lots of interesting stories about “Cheese Sneezers”. She's 92 now and still making up funny stories.

My Dad liked to take me fishing. He let me drive the boat, taught me photography, and we both enjoyed going to baseball games. On Saturday afternoons, he'd perch the radio on his stomach, while lying on the sofa, turn on the Met Opera Broadcasts and promptly fall asleep.

Later when I began to sing in the opera, I bought him a ticket. When I peeked out at the audience, there he was, snoring almost as loud as the orchestra!

Tell me a little bit about your show.

MUSICAL PAWNS is based on the true story of a forgotten composer: David Nowakowsky (1848-1921), who was the composer-in-residence at the Brody Synagogue in Odessa, in Ukraine. He wrote a huge amount of music for the Synagogue, but he also wrote Violin Sonatas, String Quartets, German and Russian Lied, organ preludes, and Oratorios. He wrote a piece almost every week for 53 years, (You do the math.). Tchaikovsky thought he was wasting his time writing for the synagogue saying: “Symphonic music has lost a great master.” Only a couple of dozen songs were published in his lifetime.

As the Romanov empire declined, there were a series of revolts, pogroms, wars and finally the Communist revolution, which ended most religious activity in Russia.

Nowakowsky's music was smuggled out to his Grand-Daughter. Sofie, a concert pianist living in Germany.

In 1937 Sofie and her family became stateless refugees. They found temporary refuge in the French border village of Collonges-sous-Saleve. One by one they escaped to Switzerland. The last to go was Sofie's Husband: Boris. Before Boris made his illegal crossing into Switzerland he gave the crates of music to a M. Chosal, who owned an impressively large 16th century country estate in the nearby town of Archamps France. (You can see what Chosal did with the music by going to the website and watching the BRAVO! Television “short”.)

Rather than get bogged down with history, I'm telling the story through the eyes of 8-year-old Alexander, the son of Boris and Sofie. Alexander gets all his information about his Great-Grandfather through bedtime stories. Because Alexander is a very young child, these stories are visualized like fairy-tales, and shown to the audience through comedia-del-arte, dances, and cartoon-like figures. Every scene is supported by Nowakowsky's music, or leads into a piece of music either written by Nowakowsky, or newly commissioned musical works by Canadian composer, Penny Blake; my late teacher, Lazar Weiner; Felix Mendelsohn; or myself.

When I interviewed the real Alexander, he told me a lot about the events he and his Parents lived through, but almost nothing about what he and his parents were like, how they acted or thought. His one and only personal description of his parents was: “They were intellectuals.”

Its not much to go on when you are writing a play.

So I decided to fictionalize everything! All my characters are composites of people I know, or are totally invented. Even Alexander, who was 64 when I met him in 1995, because he never said anything of a personal nature to me, his boyhood character is also totally fictitious. My Alexander has absolutely nothing to do with the real Alexander. I have borrowed his name, but not his person.

What inspired you to write it?

You can't hear music by reading about it in a newspaper. You have to attend a live event and feel it in your bones. There were a lot of questions I wanted to answer: Why was C.H.Bialik, an aging poet when he arrived in Palestine in the 1920s, mobbed every time he left his house to go for a walk? (Chaim Bialik wrote the epitaph on Nowakowsky's tombestone) The epitaph reads: “There are many stars in the heavens, but none shone so brightly.” So I wrote a scene where Nowakowsky's Grand-Daughter reads in a letter that the tombstone has been destroyed by Stalinists. She then has a sad reverie where she remembers a quote from one of Bialik's poems:

“On a foggy night like a star I'll fade, and none shall know my burial place.
Star to Star shall whisper: See the horrible lies! Look at the awful grief! Oh if only...”

The scene introduces one of Nowakowsky's choral works that echoes the mood created.

What's it like to study in a yeshiva? In this scene my Greek chorus take on the role of teenage boys trying to learn about the birds and the bees, by finding the appropriate quotes from the Talmud and the Bible. My actors haven't stopped laughing in a week!

Who are your collaborators and how long have you been working with them?

I, unfortunately, am the producer. I haven't been able to get away from my computer in weeks! lindi g. papoff is my dramaturg and director. I gave her a feature-film script and we pulled dozens of all-nighters re-writing it for the stage. My other collaborators are my Music Director: Alexander Veprinskiy, who when lindi isn't cussing me out, Alexander yells at me for the musical notation errors in my compositions. The cast has to be given their full credit too. How many opera singers do you know who can dance ballet (and not just pretend) and have great acting chops? Three are also choreographers, two are gifted pianists, and another three, like myself, have written and produced plays. They have brought so much added value to my script that I am beside myself with joy.

(Who's that? I'm Joy. Who's that beside you? That's me. Who's that beside me? That's you. OY!)

What's next for you after FRIGID?

After FRIGID, we do the longer 90-minute version in Toronto, and we (the collective) are deciding whether-or-not to bring the show to Winnipeg and Edmonton. With an 18-person cast and crew, its a major financial and logistical endeavor.

And finally, if you could say anything to your potential audience, what would it be?

We love you to pieces, and hope to meet you all after each show. My daughter lives in New York. I'll ask her to find a reasonably-priced restaurant or coffee shop, where you can meet the cast and ask us questions about the show. All the best.

"Musical Pawns"
Written by Ron Graner
Company: Lost Music Productions

Kraine Theater
85 E. 4th Street


Feb 24, 5:30PM
Feb 26, 4:00PM
Feb 27, 9:00PM
Feb 28, 6:00PM
Mar 02, 8:30PM
Mar 04, 2:30PM
$14.00 / $16.00