Johnny Boy Productions
Proudly Presents the World Premiere of
JOHNNY LAW
Courtroom Crusader
Performed by
TIM RYAN MEINELSCHMIDT
Written by
TIM RYAN MEINELSCHMIDT and THOMAS L. FOX ESQ.
Directed by CHRISTOPHER FESSENDEN
THE NEW YORK INTERNATIONAL FRINGE FESTIVAL-FRINGENYC
A PRODUCTION OF THE PRESENT COMPANY
AT THE SCHAEBERLE STUDIO THEATRE
AUGUST 8TH - AUGUST 24TH
TICKETS: $15. FOR TICKETS VISIT http://www.fringenyc.org/
JOHNNY BOY PRODUCTIONS is pleased to announce the world premiere production of JOHNNY LAW, Courtroom Crusader, the newest solo show from Tim Ryan Meinelschmidt whose last solo show ALL THE HELP YOU NEED, The Adventures of a Hollywood Handyman was honored with the Overall Excellence Award in the 2004 NY Fringe Festival. JOHNNY LAW, directed by Christopher Fessenden, will play a limited engagement as part of the 11th annual New York International Fringe Festival-FringeNYC at The Schaeberle Studio Theatre (Venue #2, 41 Park Row at William Street). Performances begin August 9th and continue through August 22nd.
JOHNNY LAW is a streetwise, savvy and somewhat cynical criminal defense attorney. Having seen it all, from corporate clients dripping in smug privilege to the urban gang-bangers thrown under the wheels of the legal system Johnny nonetheless remains, a tireless advocate for social justice and the rights of the individual. In this "election year FringeNYC," with so many issues of personal freedom and social justice hanging in the balance and before the public eye, JOHNNY LAW is the right-show for right-now.
JOHNNY LAW is loosely based on the Johnny Law Stories by attorney Thomas L. Fox, whose colorful career has lead him from the U.S. Attorney's office in Washington DC, to the L.A. County Public Defenders office and everywhere in between. A longtime supporter of the arts as producer and legal advisor, Fox, is the rare criminal defense attorney who effortlessly segues in and out of the entertainment world.
Karina Martins is the stage manager.
JOHNNY LAW plays the following schedule through Friday, August 22nd:
Saturday, August 9th at 1:45 pm
Thursday, August 14th at 9:30 pm
Friday, August 15th at 7:30 pm
Sunday, August 17th at 6:30 pm
Friday, August 22nd at 5:00 pm
Tickets are $15 and are now available online at http://www.fringenyc.org/ or by calling 866-468-7619. Tickets may also be purchased in-person at The Schaeberle Studio Theatre, 1/2 hour prior to showtime.
Wednesday, July 23, 2008
Announcement - Zombie (FringeNYC & Razors Edge Productions)
WORLD PREMIERE OF JOYCE CAROL OATES’ ZOMBIE
AT THE 2008 NEW YORK INTERNATIONAL FRINGE FESTIVAL
MAMMA MIA! RESIDENT DIRECTOR THOMAS CARUSO TO DIRECT
New York, NY – Razors Edge Productions presents the World Premiere of Zombie as part of the 12th annual New York International Fringe Festival. Zombie is a novella by Joyce Carol Oates, adapted for the stage and performed by Bill Connington and directed by Thomas Caruso (resident director of MAMMA MIA!).
Performances will run from August 9th to 21st, 2008 at The Players Theatre Loft Space (Venue #13), located at 115 MacDougal Street (3rd floor) between West 3rd Street & Minetta Lane in NYC. Cast members of Joyce Carol Oates’ Zombie and The Corn Maiden will be featured at a FringeU event entitled “Behind the Production: Zombie and Corn Maiden,” on Monday August 18th from 6pm to 7:30pm at FringeCENTRAL (201 MulberryStreet).
Tickets are $15 and can be purchased online at http://www.fringenyc.org/ or by calling 1-866-468-7619. Runningtime is one hour. For more information on the show visit http://www.zombienyfringe.com/.
“I’m not Jeffrey Dahmer, I’m Quentin P__. They say I murder, torture andrape young boys. That’s not how I see it. I’m trying to create a zombie. Join me. I’ll tell you my side of the story.”
What happens when outwardly “normal” people snap? Joyce Carol Oates’Zombie sheds insight into this question by taking you inside the mind of a sexual psychopath. In Zombie, a Jeffrey Dahmer-esque serial killer by the name of “Quentin P__” describes the murder, torture and rape of his young male victims. A sexual psychopath, he aspires to create zombie slaves to meet his every need. Zombie received the Bram Stoker Award for Best Novel and was awarded the Lilla Risk Rand fiction prize by the Boston Book Review. Warning: Zombie contains sexually graphic and violent language - no one under 18 will be admitted.
“When people say there is too much violence in my books, what they are saying is there is too much reality in life.” ~ Joyce Carol Oates in The New York Times
Joyce Carol Oates has written some of the most enduring fiction of ourtime. In a prolific and varied career that ranges over several genres of fiction, Joyce Carol Oates has proven herself one of the most influential and important storytellers in the literary world. She is a New York Times best-selling author of more than 70 books, including novels, short story collections, poetry volumes, plays, literary criticism and essays. She is a recipient of the National Book Award, the PEN/Malamud Award for Excellence in Short Fiction and the Common Wealth Award for Distinguished Service in Literature. She has been nominated for the Pulitzer Prize and the Nobel Prize, and has been a member of the American Academy of Arts and Letters since 1978.
Director Thomas Caruso is the resident director of MAMMA MIA! on Broadway. His other directing credits include Mimi Le Duck (starring Eartha Kitt) at New World Stages, a national tour of Master Class (with Charlotte Cornwell of the Royal Shakespeare Company), Diagnosis (The Play Company) at 59E59, Two Boys… at Rattlestick and the musical Bingo at St. Luke’s Theatre. Thomas was the associate director for both Bombay Dreams and the musical revival of Follies. He received the Kenneth Frankel Memorial Directing Fellowship from Manhattan Theatre Club.
Bill Connington’s acting credits include Mr. Gallico at HERE, Spectacle of Spectacles at La MaMa and All Mixed Up Inside My Head at La MaMa. As a playwright, his credits include Lord Byron’s Lover, Teach Me All About Love, Johnny Mathis, and his own adaptation of The Picture Of Dorian Gray, all of which have been seen in New York. Bill has twice been a finalist at The O’Neill Theater Conference.
Zombie includes an original score composed by Deirdre Broderick. The design/production team consists of Joel E. Silver (Lighting Design), Josh Zangen (Scenic Design) and Naomi Anhorn (Stage Manager).
AT THE 2008 NEW YORK INTERNATIONAL FRINGE FESTIVAL
MAMMA MIA! RESIDENT DIRECTOR THOMAS CARUSO TO DIRECT
New York, NY – Razors Edge Productions presents the World Premiere of Zombie as part of the 12th annual New York International Fringe Festival. Zombie is a novella by Joyce Carol Oates, adapted for the stage and performed by Bill Connington and directed by Thomas Caruso (resident director of MAMMA MIA!).
Performances will run from August 9th to 21st, 2008 at The Players Theatre Loft Space (Venue #13), located at 115 MacDougal Street (3rd floor) between West 3rd Street & Minetta Lane in NYC. Cast members of Joyce Carol Oates’ Zombie and The Corn Maiden will be featured at a FringeU event entitled “Behind the Production: Zombie and Corn Maiden,” on Monday August 18th from 6pm to 7:30pm at FringeCENTRAL (201 MulberryStreet).
Tickets are $15 and can be purchased online at http://www.fringenyc.org/ or by calling 1-866-468-7619. Runningtime is one hour. For more information on the show visit http://www.zombienyfringe.com/.
“I’m not Jeffrey Dahmer, I’m Quentin P__. They say I murder, torture andrape young boys. That’s not how I see it. I’m trying to create a zombie. Join me. I’ll tell you my side of the story.”
What happens when outwardly “normal” people snap? Joyce Carol Oates’Zombie sheds insight into this question by taking you inside the mind of a sexual psychopath. In Zombie, a Jeffrey Dahmer-esque serial killer by the name of “Quentin P__” describes the murder, torture and rape of his young male victims. A sexual psychopath, he aspires to create zombie slaves to meet his every need. Zombie received the Bram Stoker Award for Best Novel and was awarded the Lilla Risk Rand fiction prize by the Boston Book Review. Warning: Zombie contains sexually graphic and violent language - no one under 18 will be admitted.
“When people say there is too much violence in my books, what they are saying is there is too much reality in life.” ~ Joyce Carol Oates in The New York Times
Joyce Carol Oates has written some of the most enduring fiction of ourtime. In a prolific and varied career that ranges over several genres of fiction, Joyce Carol Oates has proven herself one of the most influential and important storytellers in the literary world. She is a New York Times best-selling author of more than 70 books, including novels, short story collections, poetry volumes, plays, literary criticism and essays. She is a recipient of the National Book Award, the PEN/Malamud Award for Excellence in Short Fiction and the Common Wealth Award for Distinguished Service in Literature. She has been nominated for the Pulitzer Prize and the Nobel Prize, and has been a member of the American Academy of Arts and Letters since 1978.
Director Thomas Caruso is the resident director of MAMMA MIA! on Broadway. His other directing credits include Mimi Le Duck (starring Eartha Kitt) at New World Stages, a national tour of Master Class (with Charlotte Cornwell of the Royal Shakespeare Company), Diagnosis (The Play Company) at 59E59, Two Boys… at Rattlestick and the musical Bingo at St. Luke’s Theatre. Thomas was the associate director for both Bombay Dreams and the musical revival of Follies. He received the Kenneth Frankel Memorial Directing Fellowship from Manhattan Theatre Club.
Bill Connington’s acting credits include Mr. Gallico at HERE, Spectacle of Spectacles at La MaMa and All Mixed Up Inside My Head at La MaMa. As a playwright, his credits include Lord Byron’s Lover, Teach Me All About Love, Johnny Mathis, and his own adaptation of The Picture Of Dorian Gray, all of which have been seen in New York. Bill has twice been a finalist at The O’Neill Theater Conference.
Zombie includes an original score composed by Deirdre Broderick. The design/production team consists of Joel E. Silver (Lighting Design), Josh Zangen (Scenic Design) and Naomi Anhorn (Stage Manager).
Monday, July 21, 2008
News - IT Awards Nominations Announced
2008 Blue Man Group Scheduled To Make a Special Appearance at the 2008 IT Awards: Nominees Announced Monday
New York, NY: On July 21, 2008, the IT Awards (New York Innovative Theatre Awards), the organization dedicated to celebrating Off-Off-Broadway, announced the 2008 nominees at a standing-room only event at "Our Lady of Pompeii" located at 25 Carmine Street. The 2008 Nominees were selected from an adjudication pool of over 3,000 artists. Nominees include 127 individual artists, 47 different productions and 40 theatre companies.
Among the nominees are a husband and wife team, Jack and Rebecca Cunningham, who share a nomination for Outstanding Set Design for Mill Fire, which was produced by their daughter, Heather Cunningham. Three artists; Dan Bianchi, Michael Kramer and Qui Nguyen are each nominated for more than 1 production. And although most of the nominated productions have already closed, two of them, Too Much Light Makes the Baby Go Blind and Elizabeth Rex continue to have performances in the new season. "To have done this amazing play to packed houses and then make the move to an Off-Broadway Premiere is a great experience. And now to be honored with two IT Award nominations is just the icing on the cake! The judges and audience votes have just been really terrific and the whole cast is incredibly pleased and excited for our August run at Center Stage" states Stephanie Barton-Farcas, Actor and Artistic Director, Elizabeth Rex produced by Nicu's Spoon.
A major announcement was made: Blue Man Group, the wildly popular Off-Broadway sensation at the Astor Place Theater and international entertainment phenomenon which combines music, comedy and multimedia theatrics to create a totally unique form of entertainment, will be performing the opening number at this year's award ceremony on September 22nd, 2008.
"We are excited about participating in this New York tradition of honoring diverse theater in NYC," states Blue Man performer, Wes Day. "Blue Man Group celebrates its New York roots and is proud to be grounded in this vibrant New York theatre culture."
AND THE NOMINEES ARE:
OUTSTANDING ENSEMBLE
Tanya Calamoneri, Heather Harpham, Lisa Ramirez, Cassie Terman
Art of Memory, Company SoGoNo
Jessica Burr, Zenzele Cooper, Dave Edson, Jason Griffin, Anna Kepe, Eunjee Lee, Celli Pitt, Matthew Sincell, Darrell Stokes, Laura Wickens
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
Elena Chang, Noshir Dalal, Jon Hoche, Kelley Rae O'Donnell, Melissa Paladino, Maureen Sebastian, Andrea Marie Smith, Paco Tolson, Temar Underwood
Fight Girl Battle World, Vampire Cowboys Theatre Company
Michael Crane, Andrew Guilarte, Sanjiv Jhaveri, Rock Kohli, Ramiz Monsef, Gita Reddy, David Sajadi
The Leopard and The Fox, Alter Ego Productions
Danny Ashkenasi, Matt W. Cody, Paul Daily, Tatiana Gomberg, Emily Hartford, Ned Massey
The Night of Nosferatu, Rabbit Hole Ensemble
Joe Basile, Christopher Borg, Jeffrey Cranor, Kevin R. Free, Ryan Good, Eevin Hartsough, Jacquelyn Landgraf, Sarah Levy, Erica Livingston, Rob Neill, Joey Rizzolo, Justin Tolley, Jenny Williams
Too Much Light Makes the Baby Go Blind, New York Neo-Futurists
OUTSTANDING SOLO PERFORMANCE
Dana Berger
Washing Machine, Fist In The Pocket Theater in association with The Chocolate Factory
Andrea Caban
You Got Questions? I Got Answers!, Coyote REP Theatre Company
Taylor Mac
The Young Ladies Of..., HERE Arts Center
Petronia Paley
On the Way to Timbuktu, Ensemble Studio Theatre
Jonathan Pereira
American Cake, Prickly Pear Productions in association with the FRIGID Festival
Melle Powers
Whence Came Ye Scarlett O'Hara O'Hanrahan?, 53 Hysterics in association with the FRIGID Festival
OUTSTANDING ACTOR IN A FEATURED ROLE
Tom Bain
The Pied Pipers of the Lower East Side, The Amoralists Theatre Company
Jason Griffin
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
Greg T. Parente
Night of Nigro, The Strain Theatre Company
Rob Sheridan
The Two Lives of Napoleon Beazley, Incumbo Theater Company
Matthew Sincell
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
Paco Tolson
Fight Girl Battle World, Vampire Cowboys Theatre Company
OUTSTANDING ACTRESS IN A FEATURED ROLE
Britney Burgess
Professional Skepticism, Zootopia Theatre Company
Megan Byrne
No End of Blame, Potomac Theatre Project
Kaylin Lee Clinton
The Round of Pleasure, New Stage Theatre Company
Catherine Correa
The Round of Pleasure, New Stage Theatre Company
Tatiana Gomberg
The Night of Nosferatu, Rabbit Hole Ensemble
Erica Terpening
Night of Nigro, The Strain Theatre Company
OUTSTANDING ACTOR IN A LEAD ROLE
Michael DiGioia
Elizabeth Rex, Nicu's Spoon
Alex Draper
No End of Blame, Potomac Theatre Project
Peter Judd
You Can't Take It With You, T. Schreiber Studio
Cameron J. Oro
The Accidental Patriot: The Lamentable Tragedy of the Pirate Desmond Connelly, Irish by Birth, English by Blood, and American by Inclination, The Stolen Chair Theatre Company
Maximilian Osinski
Cherry Docs, Theatre of the Expendable
Bobby Steggert
Yank! A New Musical, The Gallery Players
OUTSTANDING ACTRESS IN A LEAD ROLE
Abby Baum
Triumph of Love, Astoria Performing Arts Center
Stephanie Barton-Farcas
Elizabeth Rex, Nicu's Spoon
Laura Heidinger
Six Degrees of Separation, The Gallery Players
Lauren Kelston
Mill Fire, Retro Productions
Kira Sternbach
Gerald's Method, Gallant Arts
Kristen Vaughan
Mill Fire, Retro Productions
OUTSTANDING CHOREOGRAPHY/MOVEMENT
Julie Atlas Muz
The Round of Pleasure, New Stage Theatre Company
Barbara Charlene
The Accidental Patriot: The Lamentable Tragedy of the Pirate Desmond Connelly, Irish by Birth, English by Blood, and American by Inclination, The Stolen Chair Theatre Company
Kelly Hayes
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
Patrick Hogan & Robert O'Neill
Echo Lake, Embodiment Productions
Anabella Lenzu & Qui Nguyen
(RUS)H, HERE Arts Center
Qui Nguyen
Fight Girl Battle World, Vampire Cowboys Theatre Company
OUTSTANDING DIRECTOR
Edward Elefterion
The Night of Nosferatu, Rabbit Hole Ensemble
David Gow
Cherry Docs, Theatre of the Expendable
Emma Griffin
Removable Parts, HERE Arts Center
Richard Romagnoli
No End of Blame, Potomac Theatre Project
Robert Ross Parker
Fight Girl Battle World, Vampire Cowboys Theatre Company
Damen Scranton
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
OUTSTANDING LIGHTING DESIGN
Christopher Brown
(RUS)H, HERE Arts Center
Deborah Constantine
Same Train, Algonquin Theater Productions
Kevin Hardy
The Night of Nosferatu, Rabbit Hole Ensemble
Kerrie Lovercheck
Mill Fire, Retro Productions
Philip Sandstrom
Echo Lake, Embodiment Productions
Benjamin C. Tevelow
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
OUTSTANDING COSTUME DESIGN
Rebecca Cunningham
What I Did Last Summer, Retro Productions
Leon Dobkowski
The Leopard and The Fox, Alter Ego Productions
Jessica Sofia Mitrani & Ildiko Nemeth
The Round of Pleasure, New Stage Theatre Company
Mioko Mochizuki
Art of Memory, Company SoGoNo
Bobby Pearce
The Chaos Theories, Shotgun Productions in association with The Resistance Theatre Company and MILJam Productions
Jessica Wegener
Fight Girl Battle World, Vampire Cowboys Theatre Company
OUTSTANDING SET DESIGN
Sean Breault
Art of Memory, Company SoGoNo
Jack Cunningham & Rebecca Cunningham
Mill Fire, Retro Productions
Michael Kramer
Proof, Astoria Performing Arts Center
Michael Kramer
Triumph of Love, Astoria Performing Arts Center
Travis McHale
The People vs. Mona, Ground Up Productions
Tim McMath
Six Degrees of Separation, The Gallery Players
Matt Ward
Mary Trilogy, Mir Productions
OUTSTANDING SOUND DESIGN
Amy Altadonna
Mill Fire, Retro Productions
Dan Bianchi
The Invisible Man, Radiotheatre
Dan Bianchi
The Island of Dr. Moreau, Radiotheatre
Miguel Frasconi
Art of Memory, Company SoGoNo
Damen Scranton
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
Patrick Shearer
Fight Girl Battle World, Vampire Cowboys Theatre Company
OUTSTANDING ORIGINAL MUSIC
Dan Bianchi
The Invisible Man, Radiotheatre
Dan Bianchi
The Island of Dr. Moreau, Radiotheatre
Mark Bruckner
Same Train, Algonquin Theater Productions
Larry Lees
The Magic of Mrs. Crowling, Royal Circus in association with Horse Trade
Pete Mills
The Rockae, Prospect Theater Company
Mitun Sinha
The Leopard and The Fox, Alter Ego Productions
Min Xiao-Fen
On the Way to Timbuktu, Ensemble Studio Theatre
OUTSTANDING FULL-LENGTH SCRIPT
Bekah Brunstetter
You May Go Now, Babel Theatre Project
Qui Nguyen
Fight Girl Battle World, Vampire Cowboys Theatre Company
Matthew Opatrny
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
David Pumo
Auntie Mayhem, Gato Flaco Productions and Wings Theatre Company
James Scruggs
(RUS)H, HERE Arts Center
Stanton Wood
The Night of Nosferatu, Rabbit Hole Ensemble
OUTSTANDING SHORT SCRIPT
Andrea Caban
You Got Questions? I Got Answers!, Coyote REP Theatre Company
Bronwen Denton-Davis
Pealing Figs, Mind The Gap Theatre
Daniel Gallant
Gerald's Method, Gallant Arts
Philip Gawthorne
Modern Life is Rubbish, Mind The Gap Theatre
Nancy Harris
Girl in a Bath, Mind The Gap Theatre
Aliza Shane
The Three Sillies, The Looking Glass Theatre
C. Denby Swanson
Potato Feast, The Drilling Company
OUTSTANDING PERFORMANCE ART PRODUCTION
Art of Memory, Company SoGoNo
The Island of Dr. Moreau, Radiotheatre
Removable Parts, HERE Arts Center
Too Much Light Makes the Baby Go Blind, New York Neo-Futurists
You Got Questions? I Got Answers!, Coyote REP Theatre Company
The Young Ladies Of..., HERE Arts Center
OUTSTANDING PRODUCTION OF A MUSICAL
Conjur Woman, LaMaMa Experimental Theater Club
Honor, Prospect Theater Company
The People vs. Mona, Ground Up Productions
The Rockae, Prospect Theater Company
Triumph of Love, Astoria Performing Arts Center
Yank! A New Musical, The Gallery Players
OUTSTANDING PRODUCTION OF A PLAY
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
The Caucasian Chalk Circle, Hipgnosis Theatre Company
Cherry Docs, Theatre of the Expendable
Fight Girl Battle World, Vampire Cowboys Theatre Company
No End of Blame, Potomac Theatre Project
The Night of Nosferatu, Rabbit Hole Ensemble
SAVE THE DATE:
4th Annual IT Awards Ceremony
Monday, September 22nd, 2008
Fashion Institute of Technology
Sponsors: Back Stage, United Stages, Kampfire Films PR, Yeungling Beer and GuS Soda
About The New York Innovative Theatre Foundation:
The IT Awards are given annually to honor individuals and organizations who have achieved artistic excellence in Off-Off-Broadway theatre. The New York Innovative Theatre Foundation recognizes the unique and essential role Off-Off-Broadway plays in contributing to American and global culture, and believes that publicly recognizing excellence in Off-Off-Broadway theatre will expand audience awareness and appreciation of the full New York theatre experience.
Website: www.nyitawards.com
New York, NY: On July 21, 2008, the IT Awards (New York Innovative Theatre Awards), the organization dedicated to celebrating Off-Off-Broadway, announced the 2008 nominees at a standing-room only event at "Our Lady of Pompeii" located at 25 Carmine Street. The 2008 Nominees were selected from an adjudication pool of over 3,000 artists. Nominees include 127 individual artists, 47 different productions and 40 theatre companies.
Among the nominees are a husband and wife team, Jack and Rebecca Cunningham, who share a nomination for Outstanding Set Design for Mill Fire, which was produced by their daughter, Heather Cunningham. Three artists; Dan Bianchi, Michael Kramer and Qui Nguyen are each nominated for more than 1 production. And although most of the nominated productions have already closed, two of them, Too Much Light Makes the Baby Go Blind and Elizabeth Rex continue to have performances in the new season. "To have done this amazing play to packed houses and then make the move to an Off-Broadway Premiere is a great experience. And now to be honored with two IT Award nominations is just the icing on the cake! The judges and audience votes have just been really terrific and the whole cast is incredibly pleased and excited for our August run at Center Stage" states Stephanie Barton-Farcas, Actor and Artistic Director, Elizabeth Rex produced by Nicu's Spoon.
A major announcement was made: Blue Man Group, the wildly popular Off-Broadway sensation at the Astor Place Theater and international entertainment phenomenon which combines music, comedy and multimedia theatrics to create a totally unique form of entertainment, will be performing the opening number at this year's award ceremony on September 22nd, 2008.
"We are excited about participating in this New York tradition of honoring diverse theater in NYC," states Blue Man performer, Wes Day. "Blue Man Group celebrates its New York roots and is proud to be grounded in this vibrant New York theatre culture."
AND THE NOMINEES ARE:
OUTSTANDING ENSEMBLE
Tanya Calamoneri, Heather Harpham, Lisa Ramirez, Cassie Terman
Art of Memory, Company SoGoNo
Jessica Burr, Zenzele Cooper, Dave Edson, Jason Griffin, Anna Kepe, Eunjee Lee, Celli Pitt, Matthew Sincell, Darrell Stokes, Laura Wickens
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
Elena Chang, Noshir Dalal, Jon Hoche, Kelley Rae O'Donnell, Melissa Paladino, Maureen Sebastian, Andrea Marie Smith, Paco Tolson, Temar Underwood
Fight Girl Battle World, Vampire Cowboys Theatre Company
Michael Crane, Andrew Guilarte, Sanjiv Jhaveri, Rock Kohli, Ramiz Monsef, Gita Reddy, David Sajadi
The Leopard and The Fox, Alter Ego Productions
Danny Ashkenasi, Matt W. Cody, Paul Daily, Tatiana Gomberg, Emily Hartford, Ned Massey
The Night of Nosferatu, Rabbit Hole Ensemble
Joe Basile, Christopher Borg, Jeffrey Cranor, Kevin R. Free, Ryan Good, Eevin Hartsough, Jacquelyn Landgraf, Sarah Levy, Erica Livingston, Rob Neill, Joey Rizzolo, Justin Tolley, Jenny Williams
Too Much Light Makes the Baby Go Blind, New York Neo-Futurists
OUTSTANDING SOLO PERFORMANCE
Dana Berger
Washing Machine, Fist In The Pocket Theater in association with The Chocolate Factory
Andrea Caban
You Got Questions? I Got Answers!, Coyote REP Theatre Company
Taylor Mac
The Young Ladies Of..., HERE Arts Center
Petronia Paley
On the Way to Timbuktu, Ensemble Studio Theatre
Jonathan Pereira
American Cake, Prickly Pear Productions in association with the FRIGID Festival
Melle Powers
Whence Came Ye Scarlett O'Hara O'Hanrahan?, 53 Hysterics in association with the FRIGID Festival
OUTSTANDING ACTOR IN A FEATURED ROLE
Tom Bain
The Pied Pipers of the Lower East Side, The Amoralists Theatre Company
Jason Griffin
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
Greg T. Parente
Night of Nigro, The Strain Theatre Company
Rob Sheridan
The Two Lives of Napoleon Beazley, Incumbo Theater Company
Matthew Sincell
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
Paco Tolson
Fight Girl Battle World, Vampire Cowboys Theatre Company
OUTSTANDING ACTRESS IN A FEATURED ROLE
Britney Burgess
Professional Skepticism, Zootopia Theatre Company
Megan Byrne
No End of Blame, Potomac Theatre Project
Kaylin Lee Clinton
The Round of Pleasure, New Stage Theatre Company
Catherine Correa
The Round of Pleasure, New Stage Theatre Company
Tatiana Gomberg
The Night of Nosferatu, Rabbit Hole Ensemble
Erica Terpening
Night of Nigro, The Strain Theatre Company
OUTSTANDING ACTOR IN A LEAD ROLE
Michael DiGioia
Elizabeth Rex, Nicu's Spoon
Alex Draper
No End of Blame, Potomac Theatre Project
Peter Judd
You Can't Take It With You, T. Schreiber Studio
Cameron J. Oro
The Accidental Patriot: The Lamentable Tragedy of the Pirate Desmond Connelly, Irish by Birth, English by Blood, and American by Inclination, The Stolen Chair Theatre Company
Maximilian Osinski
Cherry Docs, Theatre of the Expendable
Bobby Steggert
Yank! A New Musical, The Gallery Players
OUTSTANDING ACTRESS IN A LEAD ROLE
Abby Baum
Triumph of Love, Astoria Performing Arts Center
Stephanie Barton-Farcas
Elizabeth Rex, Nicu's Spoon
Laura Heidinger
Six Degrees of Separation, The Gallery Players
Lauren Kelston
Mill Fire, Retro Productions
Kira Sternbach
Gerald's Method, Gallant Arts
Kristen Vaughan
Mill Fire, Retro Productions
OUTSTANDING CHOREOGRAPHY/MOVEMENT
Julie Atlas Muz
The Round of Pleasure, New Stage Theatre Company
Barbara Charlene
The Accidental Patriot: The Lamentable Tragedy of the Pirate Desmond Connelly, Irish by Birth, English by Blood, and American by Inclination, The Stolen Chair Theatre Company
Kelly Hayes
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
Patrick Hogan & Robert O'Neill
Echo Lake, Embodiment Productions
Anabella Lenzu & Qui Nguyen
(RUS)H, HERE Arts Center
Qui Nguyen
Fight Girl Battle World, Vampire Cowboys Theatre Company
OUTSTANDING DIRECTOR
Edward Elefterion
The Night of Nosferatu, Rabbit Hole Ensemble
David Gow
Cherry Docs, Theatre of the Expendable
Emma Griffin
Removable Parts, HERE Arts Center
Richard Romagnoli
No End of Blame, Potomac Theatre Project
Robert Ross Parker
Fight Girl Battle World, Vampire Cowboys Theatre Company
Damen Scranton
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
OUTSTANDING LIGHTING DESIGN
Christopher Brown
(RUS)H, HERE Arts Center
Deborah Constantine
Same Train, Algonquin Theater Productions
Kevin Hardy
The Night of Nosferatu, Rabbit Hole Ensemble
Kerrie Lovercheck
Mill Fire, Retro Productions
Philip Sandstrom
Echo Lake, Embodiment Productions
Benjamin C. Tevelow
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
OUTSTANDING COSTUME DESIGN
Rebecca Cunningham
What I Did Last Summer, Retro Productions
Leon Dobkowski
The Leopard and The Fox, Alter Ego Productions
Jessica Sofia Mitrani & Ildiko Nemeth
The Round of Pleasure, New Stage Theatre Company
Mioko Mochizuki
Art of Memory, Company SoGoNo
Bobby Pearce
The Chaos Theories, Shotgun Productions in association with The Resistance Theatre Company and MILJam Productions
Jessica Wegener
Fight Girl Battle World, Vampire Cowboys Theatre Company
OUTSTANDING SET DESIGN
Sean Breault
Art of Memory, Company SoGoNo
Jack Cunningham & Rebecca Cunningham
Mill Fire, Retro Productions
Michael Kramer
Proof, Astoria Performing Arts Center
Michael Kramer
Triumph of Love, Astoria Performing Arts Center
Travis McHale
The People vs. Mona, Ground Up Productions
Tim McMath
Six Degrees of Separation, The Gallery Players
Matt Ward
Mary Trilogy, Mir Productions
OUTSTANDING SOUND DESIGN
Amy Altadonna
Mill Fire, Retro Productions
Dan Bianchi
The Invisible Man, Radiotheatre
Dan Bianchi
The Island of Dr. Moreau, Radiotheatre
Miguel Frasconi
Art of Memory, Company SoGoNo
Damen Scranton
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
Patrick Shearer
Fight Girl Battle World, Vampire Cowboys Theatre Company
OUTSTANDING ORIGINAL MUSIC
Dan Bianchi
The Invisible Man, Radiotheatre
Dan Bianchi
The Island of Dr. Moreau, Radiotheatre
Mark Bruckner
Same Train, Algonquin Theater Productions
Larry Lees
The Magic of Mrs. Crowling, Royal Circus in association with Horse Trade
Pete Mills
The Rockae, Prospect Theater Company
Mitun Sinha
The Leopard and The Fox, Alter Ego Productions
Min Xiao-Fen
On the Way to Timbuktu, Ensemble Studio Theatre
OUTSTANDING FULL-LENGTH SCRIPT
Bekah Brunstetter
You May Go Now, Babel Theatre Project
Qui Nguyen
Fight Girl Battle World, Vampire Cowboys Theatre Company
Matthew Opatrny
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
David Pumo
Auntie Mayhem, Gato Flaco Productions and Wings Theatre Company
James Scruggs
(RUS)H, HERE Arts Center
Stanton Wood
The Night of Nosferatu, Rabbit Hole Ensemble
OUTSTANDING SHORT SCRIPT
Andrea Caban
You Got Questions? I Got Answers!, Coyote REP Theatre Company
Bronwen Denton-Davis
Pealing Figs, Mind The Gap Theatre
Daniel Gallant
Gerald's Method, Gallant Arts
Philip Gawthorne
Modern Life is Rubbish, Mind The Gap Theatre
Nancy Harris
Girl in a Bath, Mind The Gap Theatre
Aliza Shane
The Three Sillies, The Looking Glass Theatre
C. Denby Swanson
Potato Feast, The Drilling Company
OUTSTANDING PERFORMANCE ART PRODUCTION
Art of Memory, Company SoGoNo
The Island of Dr. Moreau, Radiotheatre
Removable Parts, HERE Arts Center
Too Much Light Makes the Baby Go Blind, New York Neo-Futurists
You Got Questions? I Got Answers!, Coyote REP Theatre Company
The Young Ladies Of..., HERE Arts Center
OUTSTANDING PRODUCTION OF A MUSICAL
Conjur Woman, LaMaMa Experimental Theater Club
Honor, Prospect Theater Company
The People vs. Mona, Ground Up Productions
The Rockae, Prospect Theater Company
Triumph of Love, Astoria Performing Arts Center
Yank! A New Musical, The Gallery Players
OUTSTANDING PRODUCTION OF A PLAY
Burn, Crave, Hold: The James Wilde Project, Blessed Unrest
The Caucasian Chalk Circle, Hipgnosis Theatre Company
Cherry Docs, Theatre of the Expendable
Fight Girl Battle World, Vampire Cowboys Theatre Company
No End of Blame, Potomac Theatre Project
The Night of Nosferatu, Rabbit Hole Ensemble
SAVE THE DATE:
4th Annual IT Awards Ceremony
Monday, September 22nd, 2008
Fashion Institute of Technology
Sponsors: Back Stage, United Stages, Kampfire Films PR, Yeungling Beer and GuS Soda
About The New York Innovative Theatre Foundation:
The IT Awards are given annually to honor individuals and organizations who have achieved artistic excellence in Off-Off-Broadway theatre. The New York Innovative Theatre Foundation recognizes the unique and essential role Off-Off-Broadway plays in contributing to American and global culture, and believes that publicly recognizing excellence in Off-Off-Broadway theatre will expand audience awareness and appreciation of the full New York theatre experience.
Website: www.nyitawards.com
Friday, July 18, 2008
Announcement - Original Recipe (The Duplex Cabaret Theatre)
Candy Samples with Jeff Cubeta on Piano
Original Recipe
an evening of song
One Night Only!
Sunday, August 3, 2008
7pm
The Duplex Cabaret Theatre
61 Christopher Street, NYC
$10 & 2 drink minimum
Reservations Recommended
212.255.5438 or online
Thursday, June 19, 2008
Fundraiser - Broadway Bares
It's almost that time again. Broadway Bares 18, a night of burlesque featuring the hottest male and female dancers on Broadway, is this Sunday night. The night benefits the amazing work done by Broadway Cares/Equity Fights AIDS.
Click on the image below for details or visit the Broadway Cares/Equity Fights AIDS website.
Click on the image below for details or visit the Broadway Cares/Equity Fights AIDS website.
Wednesday, June 4, 2008
News - 64th Annual Theatre World Awards Presenters and Performers Announced
64th ANNUAL THEATRE WORLD AWARDS
PRESENTERS AND PERFORMERS ANNOUNCED
KAREN AKERS, ALEC BALDWIN, GRIFFIN DUNNE,ALEXANDER GEMIGNANI, CHEYENNE JACKSON, CAROL LAWRENCE,ANDREA MARTIN, LIN-MANUEL MIRANDA, ROSIE PEREZ,ALICE PLAYTEN, B.D. WONG...and surprise guests!!!
CEREMONY AT THE HELEN HAYES THEATRE on JUNE 10th
New York City (June 4, 2008)
Theatre World Awards for Outstanding Broadway or Off-Broadway Debut performances during the 2007-2008 theatrical season will be presented by former Theatre World Award winners, including: Alec Baldwin (Loot, 1986), Griffin Dunne (Search and Destroy, 1992), Alexander Gemignani (Assassins, 2004), Andrea Martin (My Favorite Year, 1993), Lin-Manuel Miranda (In the Heights, 2007), Rosie Perez (References to Salvador Dali Make Me Hot, 2001), and B.D. Wong (M. Butterfly, 1988). There will also be performances by former Theatre World Award winners, including: Karen Akers (Nine, 1982), Cheyenne Jackson (All Shook Up, 2005), Carol Lawrence (West Side Story, 1958) and Alice Playten (Henry, Sweet Henry, 1968).
As previously announced, the 2007-08 Theatre World Award winners are: de'Adre Aziza, Passing Strange; Cassie Beck, Drunken City; Daniel Breaker, Passing Strange; Ben Daniels, Les Liaisons Dangereuses; Deanna Dunagan, August: Osage County; Hoon Lee, Yellow Face; Alli Mauzey, Cry-Baby; Jenna Russell, Sunday in the Park with George; Mark Rylance, Boeing-Boeing; Loretta Ables Sayre, South Pacific; Jimmi Simpson, The Farnsworth Invention; and Paulo Szot, South Pacific.
The Theatre World Awards presentation will be held at the Helen Hayes Theatre, 240 West 44th Street, in an invitation-only ceremony, Tuesday, June 10, 2008 from 2:00 to 4:00 p.m. Peter Filichia will host, Barry Keating will direct, and Scott Denny, Kati Meister, and Erin Oestreich are the event's producers. John Willis, founder of the Theatre World Awards, will be in attendance.
First presented in 1945, the prestigious Theatre World Awards are the oldest awards given for Broadway and Off-Broadway debut performances, and are among the oldest honors given to stage performers. The Theatre World Award winners have been chosen by the Theatre World Awards committee, currently comprised of Peter Filichia (Theatermania), Harry Haun (Playbill), Matthew Murray (Talkin' Broadway), Frank Scheck (New York Post), Michael Sommers (Newhouse Newspapers), Doug Watt (Critic Emeritus, New York Daily News), and Linda Winer (New York Newsday). The Theatre World Award Board of Directors is: Leigh Giroux, President; Kati Meister, Vice President; Erin Oestreich, Secretary; Scott Denny, Treasurer; Tom Lynch, founding Board member; and Barry Keating.
For more information about the Theatre World Awards (including a listing of past recipients) please visit: theatreworldawards.org.
PRESENTERS AND PERFORMERS ANNOUNCED
KAREN AKERS, ALEC BALDWIN, GRIFFIN DUNNE,ALEXANDER GEMIGNANI, CHEYENNE JACKSON, CAROL LAWRENCE,ANDREA MARTIN, LIN-MANUEL MIRANDA, ROSIE PEREZ,ALICE PLAYTEN, B.D. WONG...and surprise guests!!!
CEREMONY AT THE HELEN HAYES THEATRE on JUNE 10th
New York City (June 4, 2008)
Theatre World Awards for Outstanding Broadway or Off-Broadway Debut performances during the 2007-2008 theatrical season will be presented by former Theatre World Award winners, including: Alec Baldwin (Loot, 1986), Griffin Dunne (Search and Destroy, 1992), Alexander Gemignani (Assassins, 2004), Andrea Martin (My Favorite Year, 1993), Lin-Manuel Miranda (In the Heights, 2007), Rosie Perez (References to Salvador Dali Make Me Hot, 2001), and B.D. Wong (M. Butterfly, 1988). There will also be performances by former Theatre World Award winners, including: Karen Akers (Nine, 1982), Cheyenne Jackson (All Shook Up, 2005), Carol Lawrence (West Side Story, 1958) and Alice Playten (Henry, Sweet Henry, 1968).
As previously announced, the 2007-08 Theatre World Award winners are: de'Adre Aziza, Passing Strange; Cassie Beck, Drunken City; Daniel Breaker, Passing Strange; Ben Daniels, Les Liaisons Dangereuses; Deanna Dunagan, August: Osage County; Hoon Lee, Yellow Face; Alli Mauzey, Cry-Baby; Jenna Russell, Sunday in the Park with George; Mark Rylance, Boeing-Boeing; Loretta Ables Sayre, South Pacific; Jimmi Simpson, The Farnsworth Invention; and Paulo Szot, South Pacific.
The Theatre World Awards presentation will be held at the Helen Hayes Theatre, 240 West 44th Street, in an invitation-only ceremony, Tuesday, June 10, 2008 from 2:00 to 4:00 p.m. Peter Filichia will host, Barry Keating will direct, and Scott Denny, Kati Meister, and Erin Oestreich are the event's producers. John Willis, founder of the Theatre World Awards, will be in attendance.
First presented in 1945, the prestigious Theatre World Awards are the oldest awards given for Broadway and Off-Broadway debut performances, and are among the oldest honors given to stage performers. The Theatre World Award winners have been chosen by the Theatre World Awards committee, currently comprised of Peter Filichia (Theatermania), Harry Haun (Playbill), Matthew Murray (Talkin' Broadway), Frank Scheck (New York Post), Michael Sommers (Newhouse Newspapers), Doug Watt (Critic Emeritus, New York Daily News), and Linda Winer (New York Newsday). The Theatre World Award Board of Directors is: Leigh Giroux, President; Kati Meister, Vice President; Erin Oestreich, Secretary; Scott Denny, Treasurer; Tom Lynch, founding Board member; and Barry Keating.
For more information about the Theatre World Awards (including a listing of past recipients) please visit: theatreworldawards.org.
Friday, May 30, 2008
Review - Colorful World (Nosedive Productions)
Stage Buzz Review by Byrne Harrison
Photo by Aaron Epstein
Imagine a world in which an actual superhero exists. Impervious to pain and bullets. Human, but somehow more than human. What reaction would that inspire from those of us who were under his protection? Gratitude? Fear? Envy? In Nosedive Productions’ latest endeavor, Colorful World by James Comtois, the answer is as complex as the cast of characters brought to life in front of our eyes.
And what a cast of characters it is. First among them is Overman (Patrick Shearer), the emotionless, blank-eyed savior of humanity. He kept the Twin Towers from falling and wrapped up the war in Iraq, but he couldn’t save New Orleans from Hurricane Katrina. It was his appearance in 1988 that led various wannabe crime-fighters to don capes and tights and take aim at society’s dark underbelly. While many of them proved ineffectual, some made their marks on society. Among those were Ramses (Abe Goldfarb), an Egyptian-themed hero, his lover Johnny Patriot (Christopher Yustin), a loose cannon called The Peacekeeper (Ben VandenBoom), and the sexy Tigress (Jessi Gotta). After some mishaps, the government labeled them all vigilantes and forced them to hang up their uniforms and become ordinary citizens again.
For The Peacekeeper, retirement robbed him of his reason for living. For Tigress, living life as plain old Karen Fisher from Brooklyn offered a peaceful, albeit boring, existence, tended to by geeky fanboy Guy Madison (Mac Rogers). Jeffrey Michaels, the former Ramses, leveraged his superhero past to help his industrialist present, leading him to be one of the richest men in America. But betrayed by a government that stole his ability to be Ramses, and he suspects, was behind the death of Johnny Patriot, Jeffrey nurses a dark side.
When worldwide chaos, the disappearance of Overman, and the possibility that Overman is not the only one of his kind bring Jeffrey and Karen back together, costumes come back on and fists fly in an effort to save mankind. But from whom?
Complex and epic in scope, Comtois’ Colorful World both pays homage to the pulp comics that inspired it and transcends them by making his characters more human than any that ever graced the pages of those visually colorful, though morally black and white, pages. To give too much detail will ultimately destroy the surprise and intrigue that Comtois has built into his story. Suffice it to say, no one is what he appears.
Colorful World features some outstanding performances, first among them by Patrick Shearer, whose Overman is strong, morally true, and really, really creepy. Shearer does a terrific job both at playing Overman’s “otherness” and in bringing him back down to earth in later scenes. Jessi Gotta is excellent as Tigress. Forced into the superhero racket by a pushy stage mother, Tigress wants to be a force for good when all the press wants is an adorable sex kitten. Gotta lets this disillusionment subtly tint most of the early scenes, and when Tigress is offered the chance to don her uniform and fight crime one more time, she lets that earlier disillusionment melt away and replaces it with an almost ferocious excitement. In addition, she does an outstanding job with Qui Nguyen and Alexis Black’s fight choreography. Abe Goldfarb gets to do some excellent work, especially as Jeffrey Michaels struggles with his inner demons.
Director Pete Boisvert does a solid job with the production; the only things that slow the production down are the numerous scene changes. While much of this is covered with faux news reports that help the audience with exposition, at times the changes are still too slow. Much of this is due to the extremely small stage at the 78th Street Theatre Lab which makes it hard to keep any permanent set pieces onstage. One wonders what this imaginative production team would be capable of in a larger space.
If you are the kind of person who would avoid a play about superheroes because you have been burned by the recent spate of horrible superhero movies or because you think of them as being for children, have no fear. Colorful World is a well-written, well-acted, and complex play.
Written by James Comtois
Directed by Pete Boisvert
Stage Manager: Stephanie Williams
Fight Choreographers: Qui Nguyen and Alexis Black
Lighting Designer: Phil Shearer
Makeup Designer: Leslie Hughes
Costume Designer: Meredith Magoun
Set Design: Pete Boisvert and Stephanie Williams
Projection Coordinator: Rebecca Comtois
Projection Graphic Designer: Pete Boisvert
Projection Video Designer: Marc Landers
Projection Asst Video Designer: Ben VandenBoom
Board Op: Sandy Yaklin
Producers: Pete Boisvert, James Comtois, Rebecca Comtois, Marc Landers, Patrick Shearer, Stephanie Williams
Featuring: Patrick Shearer (Overman -Tom Shanley), Jessi Gotta (Tigress – Karen Fisher), Abe Goldfarb (Ramses – Jeffrey Michaels), Mac Rogers (Guy Madison), Zack Calhoon (John), Marc Landers (The Void), Christopher Yustin (Johnny Patriot). Colorful World also featured voiceover work by Pete Boisvert, Isaac Butler, Rebecca Comtois, Stephanie Cox-Williams, Desmond Dutcher, Brian Enk, Shay Gines, Matt Johnston, Marsha Martinez, and Brian Silliman.
The 78th Street Theatre Lab
236 W. 78th St., 2nd Floor
Thurs.-Sat. 8 PM
May 8-10, 15-17, 22-24, 29-31
Photo by Aaron Epstein
Imagine a world in which an actual superhero exists. Impervious to pain and bullets. Human, but somehow more than human. What reaction would that inspire from those of us who were under his protection? Gratitude? Fear? Envy? In Nosedive Productions’ latest endeavor, Colorful World by James Comtois, the answer is as complex as the cast of characters brought to life in front of our eyes.
And what a cast of characters it is. First among them is Overman (Patrick Shearer), the emotionless, blank-eyed savior of humanity. He kept the Twin Towers from falling and wrapped up the war in Iraq, but he couldn’t save New Orleans from Hurricane Katrina. It was his appearance in 1988 that led various wannabe crime-fighters to don capes and tights and take aim at society’s dark underbelly. While many of them proved ineffectual, some made their marks on society. Among those were Ramses (Abe Goldfarb), an Egyptian-themed hero, his lover Johnny Patriot (Christopher Yustin), a loose cannon called The Peacekeeper (Ben VandenBoom), and the sexy Tigress (Jessi Gotta). After some mishaps, the government labeled them all vigilantes and forced them to hang up their uniforms and become ordinary citizens again.
For The Peacekeeper, retirement robbed him of his reason for living. For Tigress, living life as plain old Karen Fisher from Brooklyn offered a peaceful, albeit boring, existence, tended to by geeky fanboy Guy Madison (Mac Rogers). Jeffrey Michaels, the former Ramses, leveraged his superhero past to help his industrialist present, leading him to be one of the richest men in America. But betrayed by a government that stole his ability to be Ramses, and he suspects, was behind the death of Johnny Patriot, Jeffrey nurses a dark side.
When worldwide chaos, the disappearance of Overman, and the possibility that Overman is not the only one of his kind bring Jeffrey and Karen back together, costumes come back on and fists fly in an effort to save mankind. But from whom?
Complex and epic in scope, Comtois’ Colorful World both pays homage to the pulp comics that inspired it and transcends them by making his characters more human than any that ever graced the pages of those visually colorful, though morally black and white, pages. To give too much detail will ultimately destroy the surprise and intrigue that Comtois has built into his story. Suffice it to say, no one is what he appears.
Colorful World features some outstanding performances, first among them by Patrick Shearer, whose Overman is strong, morally true, and really, really creepy. Shearer does a terrific job both at playing Overman’s “otherness” and in bringing him back down to earth in later scenes. Jessi Gotta is excellent as Tigress. Forced into the superhero racket by a pushy stage mother, Tigress wants to be a force for good when all the press wants is an adorable sex kitten. Gotta lets this disillusionment subtly tint most of the early scenes, and when Tigress is offered the chance to don her uniform and fight crime one more time, she lets that earlier disillusionment melt away and replaces it with an almost ferocious excitement. In addition, she does an outstanding job with Qui Nguyen and Alexis Black’s fight choreography. Abe Goldfarb gets to do some excellent work, especially as Jeffrey Michaels struggles with his inner demons.
Director Pete Boisvert does a solid job with the production; the only things that slow the production down are the numerous scene changes. While much of this is covered with faux news reports that help the audience with exposition, at times the changes are still too slow. Much of this is due to the extremely small stage at the 78th Street Theatre Lab which makes it hard to keep any permanent set pieces onstage. One wonders what this imaginative production team would be capable of in a larger space.
If you are the kind of person who would avoid a play about superheroes because you have been burned by the recent spate of horrible superhero movies or because you think of them as being for children, have no fear. Colorful World is a well-written, well-acted, and complex play.
Written by James Comtois
Directed by Pete Boisvert
Stage Manager: Stephanie Williams
Fight Choreographers: Qui Nguyen and Alexis Black
Lighting Designer: Phil Shearer
Makeup Designer: Leslie Hughes
Costume Designer: Meredith Magoun
Set Design: Pete Boisvert and Stephanie Williams
Projection Coordinator: Rebecca Comtois
Projection Graphic Designer: Pete Boisvert
Projection Video Designer: Marc Landers
Projection Asst Video Designer: Ben VandenBoom
Board Op: Sandy Yaklin
Producers: Pete Boisvert, James Comtois, Rebecca Comtois, Marc Landers, Patrick Shearer, Stephanie Williams
Featuring: Patrick Shearer (Overman -Tom Shanley), Jessi Gotta (Tigress – Karen Fisher), Abe Goldfarb (Ramses – Jeffrey Michaels), Mac Rogers (Guy Madison), Zack Calhoon (John), Marc Landers (The Void), Christopher Yustin (Johnny Patriot). Colorful World also featured voiceover work by Pete Boisvert, Isaac Butler, Rebecca Comtois, Stephanie Cox-Williams, Desmond Dutcher, Brian Enk, Shay Gines, Matt Johnston, Marsha Martinez, and Brian Silliman.
The 78th Street Theatre Lab
236 W. 78th St., 2nd Floor
Thurs.-Sat. 8 PM
May 8-10, 15-17, 22-24, 29-31
Friday, May 16, 2008
Review - The Aspern Papers (Turtle Shell Productions)
Stage Buzz Review by Byrne Harrison
Photo by Jeremy Handelman
I will admit that my knowledge of Henry James is limited to 'Washington Square,' and only then by way of its stage adaptation, The Heiress. The Aspern Papers, adapted by Martin Zuckerman from Henry James’s novella, is a pleasant surprise. Although very similar in tone and story to The Heiress, it is an interesting play about an unscrupulous man who will do almost anything to get what he wants.
Walter Scampo (Kelly King) is an academic, a writer with a particular interest in a classical poet named Jeffrey Aspern (think of someone like Lord Byron). He has traveled to Venice to find Juliana Bordereau (Carol Lambert), now an ancient woman living in the care of her spinster niece, Tita (Elisabeth Grace Rothan), but once the muse and lover of Aspern. Scampo believes that she holds Aspern’s heretofore unpublished early works and letters. Quickly realizing that he will never be able to fool Juliana into giving him the papers, he works on bringing Tita under his influence, thrilling her with opportunities to escape her drab, confined life. What follows is a play about exploitation, but just who is exploiting whom is hard to tell.
The cast is strong, in fact, one of the strongest of the recent Turtle Shell productions. Lambert is excellent as the old lady. At times playing frail and faltering for the unctuous Scampo, she’ll explode in passion the moment he leaves the scene. A difficult change to pull off, but Lambert does it well. Rothan is exceptional in her role, going from timid and unsure to jaded and vindictive by the end of the play. King does a good job playing the oh-so-slick Scampo, but his Scampo comes across as mildly sleazy and untrustworthy from the beginning. Unlike the character of Townsend in The Heiress, the audience is never given the chance to wonder if this character might actually be on the up and up. This takes some of the dramatic tension and complexity out of the play.
The production values of the Turtle Shell presentations get better with each new play. Kyle Dixon’s set is excellent, showing the former luxury and decay in the Venetian villa and in the family that inhabits it. His use of a folding screen to create Juliana’s bedroom is a particularly clever use of the small stage. While at times it makes the scene changes a little awkward, it is nevertheless unique and interesting. Lighting designer Shaun Suchan helps create a lush Mediterranean feel onstage.
Director Shawn Rozsa shows that he is as deft with drama as he is with the wild comedy of the recent production of Scapin. Turtle Shell’s production on Martin M. Zuckerman’s adaptation of The Aspern Papers is well worth a look.
Adapted from Henry James’s novella by Martin M. Zuckerman
Producer/Artistic Director: John W. Cooper
Directed by Shawn Rozsa
Scenic Designer: Kyle Dixon
Costume Designer: A. Christina Giannini
Sound Designer: Patrick Grant
Lighting Designer: Shaun Suchan
Production Manager and Marketing: Jeremy Handelman
Stage Manager: Marina Steinberg
House Manager/ASM: Ava Eisenson
Carpenter: Peter Estella
Group Sales: Mona Weisberg
Graphic Designer: Karen Shambley
Featuring Kelly King (Walter Scampo), Elisabeth Grace Rothan (Tita Bordereau), Carol Lambert (Juliana Bordereau), Nico Evers-Swindell (Voice of Young Aspern).
Turtle’s Shell Theater
300 W. 43rd Street, 4th Floor
May 2-24Mon. at 7 PM, Thurs.-Sat. at 8 PM (except May 22nd). Special matinee May 24th at 3 PM.
Visit Theatermania for tickets.
Photo by Jeremy Handelman
I will admit that my knowledge of Henry James is limited to 'Washington Square,' and only then by way of its stage adaptation, The Heiress. The Aspern Papers, adapted by Martin Zuckerman from Henry James’s novella, is a pleasant surprise. Although very similar in tone and story to The Heiress, it is an interesting play about an unscrupulous man who will do almost anything to get what he wants.
Walter Scampo (Kelly King) is an academic, a writer with a particular interest in a classical poet named Jeffrey Aspern (think of someone like Lord Byron). He has traveled to Venice to find Juliana Bordereau (Carol Lambert), now an ancient woman living in the care of her spinster niece, Tita (Elisabeth Grace Rothan), but once the muse and lover of Aspern. Scampo believes that she holds Aspern’s heretofore unpublished early works and letters. Quickly realizing that he will never be able to fool Juliana into giving him the papers, he works on bringing Tita under his influence, thrilling her with opportunities to escape her drab, confined life. What follows is a play about exploitation, but just who is exploiting whom is hard to tell.
The cast is strong, in fact, one of the strongest of the recent Turtle Shell productions. Lambert is excellent as the old lady. At times playing frail and faltering for the unctuous Scampo, she’ll explode in passion the moment he leaves the scene. A difficult change to pull off, but Lambert does it well. Rothan is exceptional in her role, going from timid and unsure to jaded and vindictive by the end of the play. King does a good job playing the oh-so-slick Scampo, but his Scampo comes across as mildly sleazy and untrustworthy from the beginning. Unlike the character of Townsend in The Heiress, the audience is never given the chance to wonder if this character might actually be on the up and up. This takes some of the dramatic tension and complexity out of the play.
The production values of the Turtle Shell presentations get better with each new play. Kyle Dixon’s set is excellent, showing the former luxury and decay in the Venetian villa and in the family that inhabits it. His use of a folding screen to create Juliana’s bedroom is a particularly clever use of the small stage. While at times it makes the scene changes a little awkward, it is nevertheless unique and interesting. Lighting designer Shaun Suchan helps create a lush Mediterranean feel onstage.
Director Shawn Rozsa shows that he is as deft with drama as he is with the wild comedy of the recent production of Scapin. Turtle Shell’s production on Martin M. Zuckerman’s adaptation of The Aspern Papers is well worth a look.
Adapted from Henry James’s novella by Martin M. Zuckerman
Producer/Artistic Director: John W. Cooper
Directed by Shawn Rozsa
Scenic Designer: Kyle Dixon
Costume Designer: A. Christina Giannini
Sound Designer: Patrick Grant
Lighting Designer: Shaun Suchan
Production Manager and Marketing: Jeremy Handelman
Stage Manager: Marina Steinberg
House Manager/ASM: Ava Eisenson
Carpenter: Peter Estella
Group Sales: Mona Weisberg
Graphic Designer: Karen Shambley
Featuring Kelly King (Walter Scampo), Elisabeth Grace Rothan (Tita Bordereau), Carol Lambert (Juliana Bordereau), Nico Evers-Swindell (Voice of Young Aspern).
Turtle’s Shell Theater
300 W. 43rd Street, 4th Floor
May 2-24Mon. at 7 PM, Thurs.-Sat. at 8 PM (except May 22nd). Special matinee May 24th at 3 PM.
Visit Theatermania for tickets.
Thursday, May 15, 2008
News - 64th Annual Theatre World Award Winners Announced
64th ANNUAL THEATRE WORLD AWARD WINNERS ANNOUNCED
FOR OUTSTANDING BROADWAY AND OFF-BROADWAY DEBUTS
DURING THE 2007-2008 SEASON
New York City (May 15, 2008)
The 64th Annual Theatre World Award winners for Outstanding Broadway or Off-Broadway Debut performances during the 2007-2008 theatrical season are:
de’Adre Aziza, Passing Strange
Cassie Beck, Drunken City
Daniel Breaker, Passing Strange
Ben Daniels, Les Liaisons Dangereuses
Deanna Dunagan, August: Osage County
Hoon Lee, Yellow Face
Alli Mauzey, Cry-Baby
Jenna Russell, Sunday in the Park with George
Mark Rylance, Boeing-Boeing
Loretta Ables Sayre, South Pacific
Jimmi Simpson, The Farnsworth Invention
Paulo Szot, South Pacific
The Theatre World Awards presentation will be held at the Helen Hayes Theatre, 240 West 44th Street, in an invitation-only ceremony, Tuesday, June 10, 2008 from 2:00 to 4:00 p.m. Peter Filichia will host, Barry Keating will direct, and Scott Denny, Kati Meister and Erin Oestreich are the event’s producers. John Willis, founder of the Theatre World Awards, will be in attendance.
First presented in 1945, the prestigious Theatre World Awards are the oldest awards given for Broadway and Off-Broadway debut performances, and are among the oldest honors given to stage performers. The Theatre World Award winners have been chosen by the Theatre World Awards committee, currently comprised of Peter Filichia (TheaterMania), Harry Haun (Playbill), Matthew Murray (Talkin’ Broadway), Frank Scheck (New York Post), Michael Sommers (Newhouse Newspapers), Doug Watt (Critic Emeritus, New York Daily News), and Linda Winer (New York Newsday).
Theatre World is the authoritative annual pictorial and statistical record of the American theatre, including Broadway, Off-Broadway, Off-Off Broadway, and regional theatre. Theatre World is published by Applause Books.
The Theatre World Award Board of Directors is: Leigh Giroux (President), Kati Meister (Vice President), Erin Oestreich (Secretary), Scott Denny (Treasurer), Tom Lynch (Founding Board member), and Barry Keating. For more information about the Theatre World Awards (including a list of past recipients) please visit: theatreworldawards.org.
FOR OUTSTANDING BROADWAY AND OFF-BROADWAY DEBUTS
DURING THE 2007-2008 SEASON
New York City (May 15, 2008)
The 64th Annual Theatre World Award winners for Outstanding Broadway or Off-Broadway Debut performances during the 2007-2008 theatrical season are:
de’Adre Aziza, Passing Strange
Cassie Beck, Drunken City
Daniel Breaker, Passing Strange
Ben Daniels, Les Liaisons Dangereuses
Deanna Dunagan, August: Osage County
Hoon Lee, Yellow Face
Alli Mauzey, Cry-Baby
Jenna Russell, Sunday in the Park with George
Mark Rylance, Boeing-Boeing
Loretta Ables Sayre, South Pacific
Jimmi Simpson, The Farnsworth Invention
Paulo Szot, South Pacific
The Theatre World Awards presentation will be held at the Helen Hayes Theatre, 240 West 44th Street, in an invitation-only ceremony, Tuesday, June 10, 2008 from 2:00 to 4:00 p.m. Peter Filichia will host, Barry Keating will direct, and Scott Denny, Kati Meister and Erin Oestreich are the event’s producers. John Willis, founder of the Theatre World Awards, will be in attendance.
First presented in 1945, the prestigious Theatre World Awards are the oldest awards given for Broadway and Off-Broadway debut performances, and are among the oldest honors given to stage performers. The Theatre World Award winners have been chosen by the Theatre World Awards committee, currently comprised of Peter Filichia (TheaterMania), Harry Haun (Playbill), Matthew Murray (Talkin’ Broadway), Frank Scheck (New York Post), Michael Sommers (Newhouse Newspapers), Doug Watt (Critic Emeritus, New York Daily News), and Linda Winer (New York Newsday).
Theatre World is the authoritative annual pictorial and statistical record of the American theatre, including Broadway, Off-Broadway, Off-Off Broadway, and regional theatre. Theatre World is published by Applause Books.
The Theatre World Award Board of Directors is: Leigh Giroux (President), Kati Meister (Vice President), Erin Oestreich (Secretary), Scott Denny (Treasurer), Tom Lynch (Founding Board member), and Barry Keating. For more information about the Theatre World Awards (including a list of past recipients) please visit: theatreworldawards.org.
Thursday, March 20, 2008
Something Fun
One of our favorite theatre companies, the New York Neo-Futurists, are participating in the International Pillow Fight this Saturday in Union Square.
If you would care to join them, the information is below:
Join us as we participate in the International Pillow Fight and then see yourself on our website in a video created by our house manager king, Adam. Yes, we are videotaping the sheer carnage and raw energy that is a Baby(head) in a pillow fight.Meet under the Astor Place cube by 2:30PM so that we can march in Baby(head) solidarity to the biggest mass of flying feathers in NYC. And wear a Neo tee if you have one! BYOP.
Sadly, no one from Stage Buzz is available to attend the event, so if anyone does make it down there and can get a photo or two of a Neo in the melee, feel free to pass it along.
If you would care to join them, the information is below:
Join us as we participate in the International Pillow Fight and then see yourself on our website in a video created by our house manager king, Adam. Yes, we are videotaping the sheer carnage and raw energy that is a Baby(head) in a pillow fight.Meet under the Astor Place cube by 2:30PM so that we can march in Baby(head) solidarity to the biggest mass of flying feathers in NYC. And wear a Neo tee if you have one! BYOP.
Sadly, no one from Stage Buzz is available to attend the event, so if anyone does make it down there and can get a photo or two of a Neo in the melee, feel free to pass it along.
Review - Julius Caesar (Coyote Laboratory, Inc.)
Stage Buzz Review by Byrne Harrison
I will admit to a certain amount of trepidation when I see a theatre company full of young people that refers to itself as being experimental, especially when they’re producing one of my favorite Shakespeare plays. I tend to worry that I’ll be asked to sit on the floor while bunraku puppets are used instead of actors and the Bard’s language is jettisoned in order to find words that better “speak” to a young audience. I worry that in their youthful exuberance, they will shoot for style without bothering to look for substance.
While Coyote Laboratory is comprised of young performers, seems to be reaching out to a young audience (which based on the audience the night I attended, it appears to be doing rather well), and refers to itself as “an experimental arts laboratory,” they are most decidedly attempting to present both style and substance. Not every innovation they attempted worked, but in terms of an inaugural production, it bodes well for the company.
By presenting Julius Caesar, Coyote Laboratory is using both the popularity of one of the best-known plays in the English language and the current political situation to their advantage. They do quite a bit to put their own mark on it. Most notable is the use of Turner Smith’s set. Despite being in a rather cavernous theatre space, Smith has carved out a small playing area, built of unadorned plywood platforms, surrounded it on three sides by the audience, and enclosed the entire thing in chain link fencing. The end result looks rather like a ring for a cage fight. By placing actors behind that fence during the mob scenes, the audience is effectively incorporated into the mob, which is a very nice touch. This incorporation of the audience gave the play a more immediate sense of urgency.
There are two other innovations that while interesting, are not equally effective. First, Smith (or perhaps the company, as Coyote is meant to be a collaborative effort) changes the sexes of the two sets of married couples so that Caesar and Brutus are played by women (Kyle Kate Dudley and Kimberly Wong, respectively) and Calpurnia and Portia by men (Doug Harvey and Harry John Shephard). This cross-gender casting is disorienting in the case of Wong and Shephard, who never quite seem comfortable playing the opposite sex, especially in each other’s presence. Dudley and Harvey however make their interactions work to the point that gender never seems to intrude.
The second deals with the troubling issue of what an actor is supposed to do while his or her character lies dead on stage. Normally, they simply lie very still and wait for the scene to end, so they can make a discreet exit. In this production, death isn’t the end for the character. In fact, once dead both Dudley and Wong continue to react to the action on stage. They are no longer Caesar and Brutus, per se, but seem to be some sort of feral spirits, still feeling the residue of their emotions at death, but without the ability to comprehend what is going on around them. Regardless of the intent, it is a very moving and clever twist.
The performances in Julius Caesar are strong overall, and though the company prefers to be thought of as strictly as an ensemble, I’d like to commend four actors who did particularly well: Seth Andrew Bridges as Casca, Marian Brock as Ligarius, Whit Lyenberger as Anthony, and Doug Harvey as Calpurnia.
Coyote Laboratory’s Julius Caesar is a very solid first production; this is a company to watch out for.
Written by William Shakespeare
Directed by Turner Smith
Kept by Karina Martins
Lights designed by John Robichau and Kyle Kate Dudley
Cloakes designed by Kimberly Wong
Masks designed by Elizabeth Spano and Turner Smith
Fights choreographed by Seth Andrew Bridges
Sets designed by Turner Smith
Dramaturgy: Karmenlara Seidman and John Robichau
Weapons provided by Dan O’Driscoll
Created and Performed by Steve Boyle, Seth Andrew Bridges, Marian Brock, Alex Coppola, Kyle Kate Dudley, Doug Harvey, Whit Leyenberger, Shannon Pritchard, Harry John Shephard, Elizabeth Spano, Kimberly Wong.
Teatro LA TEA
Clemente Soto Velez Center
107 Suffolk St., 2nd Floor
Closed March 15th
I will admit to a certain amount of trepidation when I see a theatre company full of young people that refers to itself as being experimental, especially when they’re producing one of my favorite Shakespeare plays. I tend to worry that I’ll be asked to sit on the floor while bunraku puppets are used instead of actors and the Bard’s language is jettisoned in order to find words that better “speak” to a young audience. I worry that in their youthful exuberance, they will shoot for style without bothering to look for substance.
While Coyote Laboratory is comprised of young performers, seems to be reaching out to a young audience (which based on the audience the night I attended, it appears to be doing rather well), and refers to itself as “an experimental arts laboratory,” they are most decidedly attempting to present both style and substance. Not every innovation they attempted worked, but in terms of an inaugural production, it bodes well for the company.
By presenting Julius Caesar, Coyote Laboratory is using both the popularity of one of the best-known plays in the English language and the current political situation to their advantage. They do quite a bit to put their own mark on it. Most notable is the use of Turner Smith’s set. Despite being in a rather cavernous theatre space, Smith has carved out a small playing area, built of unadorned plywood platforms, surrounded it on three sides by the audience, and enclosed the entire thing in chain link fencing. The end result looks rather like a ring for a cage fight. By placing actors behind that fence during the mob scenes, the audience is effectively incorporated into the mob, which is a very nice touch. This incorporation of the audience gave the play a more immediate sense of urgency.
There are two other innovations that while interesting, are not equally effective. First, Smith (or perhaps the company, as Coyote is meant to be a collaborative effort) changes the sexes of the two sets of married couples so that Caesar and Brutus are played by women (Kyle Kate Dudley and Kimberly Wong, respectively) and Calpurnia and Portia by men (Doug Harvey and Harry John Shephard). This cross-gender casting is disorienting in the case of Wong and Shephard, who never quite seem comfortable playing the opposite sex, especially in each other’s presence. Dudley and Harvey however make their interactions work to the point that gender never seems to intrude.
The second deals with the troubling issue of what an actor is supposed to do while his or her character lies dead on stage. Normally, they simply lie very still and wait for the scene to end, so they can make a discreet exit. In this production, death isn’t the end for the character. In fact, once dead both Dudley and Wong continue to react to the action on stage. They are no longer Caesar and Brutus, per se, but seem to be some sort of feral spirits, still feeling the residue of their emotions at death, but without the ability to comprehend what is going on around them. Regardless of the intent, it is a very moving and clever twist.
The performances in Julius Caesar are strong overall, and though the company prefers to be thought of as strictly as an ensemble, I’d like to commend four actors who did particularly well: Seth Andrew Bridges as Casca, Marian Brock as Ligarius, Whit Lyenberger as Anthony, and Doug Harvey as Calpurnia.
Coyote Laboratory’s Julius Caesar is a very solid first production; this is a company to watch out for.
Written by William Shakespeare
Directed by Turner Smith
Kept by Karina Martins
Lights designed by John Robichau and Kyle Kate Dudley
Cloakes designed by Kimberly Wong
Masks designed by Elizabeth Spano and Turner Smith
Fights choreographed by Seth Andrew Bridges
Sets designed by Turner Smith
Dramaturgy: Karmenlara Seidman and John Robichau
Weapons provided by Dan O’Driscoll
Created and Performed by Steve Boyle, Seth Andrew Bridges, Marian Brock, Alex Coppola, Kyle Kate Dudley, Doug Harvey, Whit Leyenberger, Shannon Pritchard, Harry John Shephard, Elizabeth Spano, Kimberly Wong.
Teatro LA TEA
Clemente Soto Velez Center
107 Suffolk St., 2nd Floor
Closed March 15th
Wednesday, March 19, 2008
Review - Count to Ten (Justin Boccitto and The Group Theatre Too)
Stage Buzz Review by Patrick Doyle
What do dance and love have in common? Both require confidence and commitment, which Victor and Madoc, the two leads in The Group Theatre Too’s Count to Ten, are sorely lacking.
Victor (Justin Boccitto) is a composer, writer and choreographer, who has been involved in several flops on Broadway. He flees New York and heads to the Starwood Performing Arts Camp to spend time finishing his musical and potentially recharging his career. Madoc (Brian Merker), a camper, is his protégé and the leading player in Victor’s newest musical. What do they have in common? Besides inexperience with women, lack of self confidence, being raised in broken households and their reluctance to show vulnerability…well it’s almost easier to try and find the differences between the two (about 10 years in age). But both the adolescent and camp counselor need to learn a few things about life, love, and growing up. What better place to learn those lessons than in performing arts camp? And as the drama unfolds, the audience is carried along for the ride.
And as every would-be camper knows, you can’t have a summer-themed show without having a love story. This show is no exception. From the innocent crushes between campers to the paternal surrogacy of campers and counselor, this show provides something for everyone. Although at times the story can be predictable, the audience gets exactly what it expects – a happy ending. And who doesn’t love a happy ending?
Brian Merker playing Madoc, is an excellent choice for the 15 year old protégé. He portrays the irrationality that most 15 year old boys exhibit, yet shows enough tenderness that the audience is enamored with him. It’s hard not to identify with him and his struggles.
As Traci, Madoc’s love interest, Lexie Speirs shows a realistic naivety that charms both Madoc and the audience. When Traci later is emotionally hurt, the audience can commiserate with her embarrassment.
Claire Vaughn (Jennifer Avila) provides a wonderful maternal substitute for this hodgepodge of campers, and yet unlike most mothers, still finds the time to fall in love herself. Her relationship with Victor becomes the exact mirror of the camper’s romance…often literally on the stage where one couple stands stage left, and the other stage right.
Steve Varnell (Jacob Burlas) is the bully, intent on terrorizing Madoc until he drops out of the camp show. That being said Burlas plays the role of bully more comically than menacing.
The cast is dynamic in their performances, especially in their tap dance numbers. Counselor and campers meet student and teacher (most of this cast has studied tap dance with the choreographer), and Mr. Blevins should be proud. Not only has he taught them some very difficult numbers, but they have performed them flawlessly. And the specific talents of one particular young lady in the chorus can’t be ignored. Several times, Katelyn Morgan’s voice would carry forth distinctly from the rest of the chorus. At 16 years of age, this young lady has a very good chance of going far with her singing career.
As this play is sharing a performance space with another production, the set is nearly nonexistent except for a few small boxes. This production rather chooses to focus more on the story, the music, and more importantly, the dance performances. And while the music is solid, there aren’t any particular standout hits. The closest is a fun song called ‘Dear Mom and Dad’ sung by the campers. What elevates the musical numbers is the outstanding work on the dancing done by the cast of Count to Ten and Mr. Blevins and the absolute enthusiasm with which the cast approaches their roles.
If you are a fan of tap dance, you should see this show. The tap dance numbers truly remarkable and the rhythmic nature of the show will stick with you for several days. Both young and old will find something to enjoy in Count to Ten.
Book: Michael Blevins
Lyrics: Michael Blevins, Beth Clary
Music: Michael Blevins, Scott Knipe, Bruce Sacks, David Wollenberger
Director: Michael Blevins
Musical Director: Christine Riley
Choreography: Michael Blevins
Wardrobe: Bob Flanagan
Production Manager: Cristina Marie
Lighting Design: Joyce Liao
Stage Manager: Greg Loproto
Art Direction: Alex Maxwell
Percussion: Jeff Brelvi
Technical Director: Paul Gregorio
Associate Producers: Denise Brysett, Doug Francisco, Mary Ann Penzero, Kenny Weiner, Lisa Weiner
Featuring: Justin Boccitto (Victor Chase), Jennifer Avila (Clair Vaughn), Brian Merker (Madoc Dean), Lexie Speirs (Traci Elizabeth Meyers), Jacob Burlas (Steve Varnell), Heather Lightcap (Rosie Busche), Hunter Gross (Nick Russo), Dylan Bush (Inez Glazier), Chris Kinsey (Biz Andrews), Doug Francisco (The Producer), Nick Ardito, Jenna Black, Michael Breslin, Mckenzie Custin, Steven Etienne, Brittany Hoehlein, Roman Micevic, Katelyn Morgan, Brandon Wiener.
The Connelly Theatre
220 East 4th Street
Between Avenue A & B
Closed March 16
What do dance and love have in common? Both require confidence and commitment, which Victor and Madoc, the two leads in The Group Theatre Too’s Count to Ten, are sorely lacking.
Victor (Justin Boccitto) is a composer, writer and choreographer, who has been involved in several flops on Broadway. He flees New York and heads to the Starwood Performing Arts Camp to spend time finishing his musical and potentially recharging his career. Madoc (Brian Merker), a camper, is his protégé and the leading player in Victor’s newest musical. What do they have in common? Besides inexperience with women, lack of self confidence, being raised in broken households and their reluctance to show vulnerability…well it’s almost easier to try and find the differences between the two (about 10 years in age). But both the adolescent and camp counselor need to learn a few things about life, love, and growing up. What better place to learn those lessons than in performing arts camp? And as the drama unfolds, the audience is carried along for the ride.
And as every would-be camper knows, you can’t have a summer-themed show without having a love story. This show is no exception. From the innocent crushes between campers to the paternal surrogacy of campers and counselor, this show provides something for everyone. Although at times the story can be predictable, the audience gets exactly what it expects – a happy ending. And who doesn’t love a happy ending?
Brian Merker playing Madoc, is an excellent choice for the 15 year old protégé. He portrays the irrationality that most 15 year old boys exhibit, yet shows enough tenderness that the audience is enamored with him. It’s hard not to identify with him and his struggles.
As Traci, Madoc’s love interest, Lexie Speirs shows a realistic naivety that charms both Madoc and the audience. When Traci later is emotionally hurt, the audience can commiserate with her embarrassment.
Claire Vaughn (Jennifer Avila) provides a wonderful maternal substitute for this hodgepodge of campers, and yet unlike most mothers, still finds the time to fall in love herself. Her relationship with Victor becomes the exact mirror of the camper’s romance…often literally on the stage where one couple stands stage left, and the other stage right.
Steve Varnell (Jacob Burlas) is the bully, intent on terrorizing Madoc until he drops out of the camp show. That being said Burlas plays the role of bully more comically than menacing.
The cast is dynamic in their performances, especially in their tap dance numbers. Counselor and campers meet student and teacher (most of this cast has studied tap dance with the choreographer), and Mr. Blevins should be proud. Not only has he taught them some very difficult numbers, but they have performed them flawlessly. And the specific talents of one particular young lady in the chorus can’t be ignored. Several times, Katelyn Morgan’s voice would carry forth distinctly from the rest of the chorus. At 16 years of age, this young lady has a very good chance of going far with her singing career.
As this play is sharing a performance space with another production, the set is nearly nonexistent except for a few small boxes. This production rather chooses to focus more on the story, the music, and more importantly, the dance performances. And while the music is solid, there aren’t any particular standout hits. The closest is a fun song called ‘Dear Mom and Dad’ sung by the campers. What elevates the musical numbers is the outstanding work on the dancing done by the cast of Count to Ten and Mr. Blevins and the absolute enthusiasm with which the cast approaches their roles.
If you are a fan of tap dance, you should see this show. The tap dance numbers truly remarkable and the rhythmic nature of the show will stick with you for several days. Both young and old will find something to enjoy in Count to Ten.
Book: Michael Blevins
Lyrics: Michael Blevins, Beth Clary
Music: Michael Blevins, Scott Knipe, Bruce Sacks, David Wollenberger
Director: Michael Blevins
Musical Director: Christine Riley
Choreography: Michael Blevins
Wardrobe: Bob Flanagan
Production Manager: Cristina Marie
Lighting Design: Joyce Liao
Stage Manager: Greg Loproto
Art Direction: Alex Maxwell
Percussion: Jeff Brelvi
Technical Director: Paul Gregorio
Associate Producers: Denise Brysett, Doug Francisco, Mary Ann Penzero, Kenny Weiner, Lisa Weiner
Featuring: Justin Boccitto (Victor Chase), Jennifer Avila (Clair Vaughn), Brian Merker (Madoc Dean), Lexie Speirs (Traci Elizabeth Meyers), Jacob Burlas (Steve Varnell), Heather Lightcap (Rosie Busche), Hunter Gross (Nick Russo), Dylan Bush (Inez Glazier), Chris Kinsey (Biz Andrews), Doug Francisco (The Producer), Nick Ardito, Jenna Black, Michael Breslin, Mckenzie Custin, Steven Etienne, Brittany Hoehlein, Roman Micevic, Katelyn Morgan, Brandon Wiener.
The Connelly Theatre
220 East 4th Street
Between Avenue A & B
Closed March 16
Tuesday, March 18, 2008
Update - 8 Minute Madness Playwright Festival
Congratulations to the winners of Turtle Shell Productions‘ 8 Minute Madness Playwright Festival.
Best Playwright - Aoise Stratford for “Our Lady of the Sea”
Best Production - David Ledoux (director) for “I Understand Your Frustration”
Best Actors - Pia Ambardar & Justin Morck
Best Playwright - Aoise Stratford for “Our Lady of the Sea”
Best Production - David Ledoux (director) for “I Understand Your Frustration”
Best Actors - Pia Ambardar & Justin Morck
Monday, March 17, 2008
Review - Seesaw (Justin Boccitto and The Group Theatre Too)
Stage Buzz Review by Patrick Doyle
Sir Isaac Newton said for every action, there is an equal and opposite reaction, and although he was defining physics, this same law can be applied to the everyday emotional struggles that happen in our lives. A new relationship can often throw our lives out of balance, but eventually the balance will return, whether we want it or not. Michael Bennett, Cy Coleman, and Dorothy Field’s Seesaw, presented by Justin Boccito and The Group Theater Too at The Connelly Theatre, explores just how far off balance Gittel Mosca’s (Cristina Marie) life can go before the inevitable reaction takes place.
Gittel is a street smart urban dwelling, dancer with a poor track record in relationships. She’s poor, uneducated, involved in the arts, yet fiercely independent, proud, and able to adapt to her situation. Jerry Ryan (Tim Falter) is a Midwestern lawyer, recently separated from his wife, who meets Gittle at a party. He’s educated (although naïve about city life), financially secure, and yet dependent on his former father in-law. He’s the exact opposite of Gittel in nearly every way, yet calls her to ask her out on a date. Can opposites really attract? Can they stay together? The audience certainly hopes so.
Bennett’s book (which was nominated for a Tony Award) is a well written look at a brief love affair. His story, set in New York City in the early 1970’s is ironically not much different than present day New York…although less expensive. His main story proves to be most interesting, yet he introduces additional characters to hold our interest, exploring sexuality, multiculturism, and gender identity issues.
The character of David (Brian Duryea), a choreographer and dancer, who happens to be a master of interior decorating, is not surprisingly the gay sidekick. However, his homosexuality is only a matter of fact, and not a source of comedy. In fact, quite the opposite, his sexuality is defended by the heroine of the show. Duryea’s comedic stereotypical portrayal however provides just the right amount of lightheartedness needed to keep the story moving towards its inevitable conclusion.
Michael Blevins choreography and direction are set to show audience members exactly how talented his cast is. From the intricate tap dancing numbers, to the grace of his leading players, the audience is given a complete tour of the talents that each of these actors hold. Of particular interest is Tim Falter’s dancing, which he makes seem effortless, often reminiscent of Gene Kelly or Fred Astaire. His technique is smooth and nearly fluid in movement.
The set, although sparse is ingenious in design, and utilized well. Painting opposite sides of the furniture different colors (pink and blue emphasizing balance in both storyline and production) provides multiple uses, while allowing less time between scene changes. These changes are completed quickly, with chorus members providing short dance pieces to keep the audience members entertained while set pieces are moved onto the stage.
Vangeli’s costume design provides excellent glimpses into the 1970’s with all it’s garish couture. Shimmering fabric with pant suits are back and fully help transport the audience back into the “Studio 54″ nightclub scene. Additionally Vangeli puts the chorus in “Fosse styled” black outfits, which both reveal the dancers abilities and refrain from upstaging the storyline. Balance is what is most important in this show, and the company of Seesaw provides just that. A balanced performance that leaves the audience wanting to see just a bit more.
Book by Michael Bennett
Music by Cy Coleman
Lyrics by Dorothy Fields
Directed by Michael Blevins
Stage Manager: Kelly Varley
Choreographer: Michael Blevins
Costume Designer: Vangeli
Musical Director: Christine Riley
Assistant Stage Manager: Mary Ann Penzero
Accompanist: Christine Riley
Second Keyboards: Sol Bloch
Bass: Scott Thorton
Percussion: Satch Vivenzio
Featuring: Jerry Ryan (Tim Falter), Gittel Mosca (Cristina Marie), David (Brian Duryea), Sophie (Janelle Neal), Julio Gonzales (Ryan Gregorio), Sparkle (Paul Aguirre), Ethel (Crystal Chapman), Sara Andreas, Ann Ehnes, Kevin B. Johnson, Stephanie Long, Geoffrey Mergele, Emily Knox Peterson, Jennifer Sanchez, Stacey Sipowicz, Sidney Erik Wright.
The Connelly Theatre
220 East 4th Street
New York, NY 10009
Between Avenue A & B
Closed March 15
Sir Isaac Newton said for every action, there is an equal and opposite reaction, and although he was defining physics, this same law can be applied to the everyday emotional struggles that happen in our lives. A new relationship can often throw our lives out of balance, but eventually the balance will return, whether we want it or not. Michael Bennett, Cy Coleman, and Dorothy Field’s Seesaw, presented by Justin Boccito and The Group Theater Too at The Connelly Theatre, explores just how far off balance Gittel Mosca’s (Cristina Marie) life can go before the inevitable reaction takes place.
Gittel is a street smart urban dwelling, dancer with a poor track record in relationships. She’s poor, uneducated, involved in the arts, yet fiercely independent, proud, and able to adapt to her situation. Jerry Ryan (Tim Falter) is a Midwestern lawyer, recently separated from his wife, who meets Gittle at a party. He’s educated (although naïve about city life), financially secure, and yet dependent on his former father in-law. He’s the exact opposite of Gittel in nearly every way, yet calls her to ask her out on a date. Can opposites really attract? Can they stay together? The audience certainly hopes so.
Bennett’s book (which was nominated for a Tony Award) is a well written look at a brief love affair. His story, set in New York City in the early 1970’s is ironically not much different than present day New York…although less expensive. His main story proves to be most interesting, yet he introduces additional characters to hold our interest, exploring sexuality, multiculturism, and gender identity issues.
The character of David (Brian Duryea), a choreographer and dancer, who happens to be a master of interior decorating, is not surprisingly the gay sidekick. However, his homosexuality is only a matter of fact, and not a source of comedy. In fact, quite the opposite, his sexuality is defended by the heroine of the show. Duryea’s comedic stereotypical portrayal however provides just the right amount of lightheartedness needed to keep the story moving towards its inevitable conclusion.
Michael Blevins choreography and direction are set to show audience members exactly how talented his cast is. From the intricate tap dancing numbers, to the grace of his leading players, the audience is given a complete tour of the talents that each of these actors hold. Of particular interest is Tim Falter’s dancing, which he makes seem effortless, often reminiscent of Gene Kelly or Fred Astaire. His technique is smooth and nearly fluid in movement.
The set, although sparse is ingenious in design, and utilized well. Painting opposite sides of the furniture different colors (pink and blue emphasizing balance in both storyline and production) provides multiple uses, while allowing less time between scene changes. These changes are completed quickly, with chorus members providing short dance pieces to keep the audience members entertained while set pieces are moved onto the stage.
Vangeli’s costume design provides excellent glimpses into the 1970’s with all it’s garish couture. Shimmering fabric with pant suits are back and fully help transport the audience back into the “Studio 54″ nightclub scene. Additionally Vangeli puts the chorus in “Fosse styled” black outfits, which both reveal the dancers abilities and refrain from upstaging the storyline. Balance is what is most important in this show, and the company of Seesaw provides just that. A balanced performance that leaves the audience wanting to see just a bit more.
Book by Michael Bennett
Music by Cy Coleman
Lyrics by Dorothy Fields
Directed by Michael Blevins
Stage Manager: Kelly Varley
Choreographer: Michael Blevins
Costume Designer: Vangeli
Musical Director: Christine Riley
Assistant Stage Manager: Mary Ann Penzero
Accompanist: Christine Riley
Second Keyboards: Sol Bloch
Bass: Scott Thorton
Percussion: Satch Vivenzio
Featuring: Jerry Ryan (Tim Falter), Gittel Mosca (Cristina Marie), David (Brian Duryea), Sophie (Janelle Neal), Julio Gonzales (Ryan Gregorio), Sparkle (Paul Aguirre), Ethel (Crystal Chapman), Sara Andreas, Ann Ehnes, Kevin B. Johnson, Stephanie Long, Geoffrey Mergele, Emily Knox Peterson, Jennifer Sanchez, Stacey Sipowicz, Sidney Erik Wright.
The Connelly Theatre
220 East 4th Street
New York, NY 10009
Between Avenue A & B
Closed March 15
Friday, March 14, 2008
Review - The 8 Minute Madness Playwright Festival (Turtle Shell Productions)
Stage Buzz Review by Byrne Harrison
When dealing with a theatre festival featuring 27 short plays performed in 3 groups by over 40 actors, it's difficult to decide what to talk about. But that's part of the fun of Turtle Shell Production's 8 Minute Madness Playwright Festival. Now in its fifth year, this festival promises a little something for everyone.
Since the festival was divided into three groups, I was not able to attend all three shows. This review will focus on Groups A and C.
Given that there are 18 plays in Groups A and C, to talk about each would be a little cumbersome. Instead, I'll hit some highs and lows. Group A featured some strong plays, though its comedies seem to be most effective. Director Gaye-Taylor Upchurch has a good sense of comic timing which makes the well-written comedies that much stronger and tends to mask the inadequacies of the weaker ones. First among the comedies is Mark Harvey Levine's charming Surprise, a cute tale about Peter (Christian O'Brien), an unlucky-in-love psychic who can only see two minutes into the future, Whitney, the girlfriend (Monika Schneider) who is dumping him, and Esther (Constance Parng), the waitress who eventually shows Peter that love isn't always written in the stars. Featuring some wonderfully timed sight gags, snappy dialogue, and a cast that works seamlessly together, Surprise is delightful.
Two other comedies stand out. First is Walter Thinnes's Meeting Without End. Attendees at this meeting talk in consultant speak, clichés, and aphorisms. As the meeting goes on, the phrases freely mix and mingle (or perhaps mangle) leading each attendee to spew nonsense in an ever more absurd and amusing jumble. Ably overseen by Christine Booker as the Meeting Organizer, the play features attendees Robin Madel, Kaolin Bass, and Justin Tensen. To their credit, all four manage the increasingly odd language extremely well. The other strong comedy is Shaun Raviv's Rats. This clever tale of a gullible rat (Bill Toscano) who finds some cheese and the fast-talking rat (Christian O'Brien) who convinces him not to eat it manages to work in animal rights, outsourcing, veganism, and blood diamonds. Toscano does a good job as the hungry, but simple rat. O'Brien nails the part of the slick con man (con rat, I suppose) and his come-uppance at the end of the play is wonderful.
To her credit, Upchurch proves equally adept at more dramatic works. The somewhat difficultly named The Ta Ta Song of the Aftermore: Movement One, Constance Parng's meditation on memory and loss, is directed with an almost liquid motion that suits the material. In Parng's play, three sisters (Santana Dempsey, Monika Schneider, and Christine Booker) remember the night their mother left, each in her own way. Parthy and Me by Ben Lewis seems at first to be an awkward morning after between Parthy (Emily Coffin) and Paul (Rob Welsh). As the play turns to confessions about broken hearts, desire, and need, Upchurch slows the pace, allowing the actors time to show some of their characters' depth and motivations. Not an easy thing to do in an 8-minute play.
The acting in Group A is generally strong. Noteworthy examples are Christian O'Brien in Surprise and Rats, Christine Booker as a woman dealing with a friend who'd had a stroke in Struck, Eric Edward Glawe as an earnest love-struck elephant in Elephants and Coffee, and Emily Coffin in Parthy and Me.
Group C features more dramatic work, though most of them do have their comedic moments as well. Two plays in particular stand out. First is Nina Mansfield's powerful play about harassment, Smile. Set in a police station, a Man (Bristol Pomeroy) and Woman (Pia Ambardar) each give statements concerning an assault. The beauty of this play, and much of the credit goes to Pomeroy and Ambardar, is that each character garners the audience's sympathy at some point and at the end of the play, two different members of the audience could very easily disagree as to whether the Man or Woman were at fault. Director David Letwin does an outstanding job using an economy of movement. The second noteworthy play is Jeremy Handelman's Tic-Tac-Toe in which the game is used as a metaphor for the various patterns that we can't escape in our lives. As the manipulative Kenny (Byron Loyd) recovers from surgery, his sister Stacey (Lauren Robert), a woman who is "flypaper for emotionally needy men," plans her escape into the arms of the man she believes is her last shot at love. An interesting piece, it shows Handelman's skill with family drama.
Other interesting plays in Group C include Scripted by Mark Harvey Levine, in which a couple, Elaine (Danielle Faitelson) and Simon (Collin Smith) awake to find that someone has left them a script of their day, each action and word they'll speak already set down on paper, and Low & Away by Demetra Kareman, in which Frank (Bristol Pomeroy) and Carol (Elise Rovinsky) try to raise an "alpha" daughter, but worry that neither is up to the task.
Group C also features one of the more risky works, Spence Porter's Men/Women, where a battle of the sexes is played out using only two words of dialogue: Men and Women. Gamely and kinetically directed by David Ledoux, this show has some good moments, but Porter's conceit quickly grows tired. One must admire his daring, however, and Turtle Shell is to be commended for trying it out.
The performances in Group C are at times hit or miss, especially among some of the younger actors. However, Group C does feature some excellent work by Bristol Pomeroy. As the father in Low & Away, the assault victim in Smile, and a man running a stoop sale in The Dali Lama Drinks His Own Pee (certainly the most intriguingly named play in the festival), Pomeroy excels.
Each Group's audience voted for the top four plays from that night. The winners of Group A (The Ta Ta Song of the Aftermore: Movement One, Parthy and Me, Meeting Without End, and Rats), Group B (Abuse from Another Life, What's on Your Mind, A Lovely Moon, and Our Lady of the Sea) and Group C (Low & Away, Smile, Tic-Tac-Toe, and I Understand Your Frustration) will duke it out this week in the final competition. Only one playwright will be chosen as the winner of the 8 Minute Madness Playwright Festival. That winner, along with the winners of the outstanding actor awards, will be announced at the Awards & Gala event at The Irish Rogue this Sunday, March 16th at 6 PM.
Since this week's fare includes the best of each series, if you want to see the best of Turtle Shell and the Terrapin Troupe (their acting company), now is the time to visit the Times Square Arts Center.
Playwrights: Group A - Mark Harvey Levine (Surprise), J. Stephen Brantley (Struck), Rich Rubin (A Most Unsuitable Conversation), Aoise Stratford (Elephants and Coffee), Constance Parng (The Ta Ta Song of the Aftermore: Movement One), Ben Lewis (Parthy and Me), Walter Thinnes (Meeting Without End), Shaun Raviv (Rats), Henry W. Kimmel (The Dilemma of a Standing Ovation); Group B – Fran Handman (Abuse from Another Life), Jane Prendergast (The Diers), Ann-Marie Oliva (Momology), Edward Musto (Poor Hearts), Rich Espey (Peelers), David Fox (What's on Your Mind), Evan Guilford-Blake (A Lovely Moon), John Buczko (The Final Chuckle), Aoise Stratford (Our Lady of the Sea); Group C - Spence Porter (Men/Women), Mark Harvey Levine (Scripted), Demetra Kareman (Low & Away), Lynn Snyder (Don't Look! ), Nina Mansfield (Smile), Eric Alan Bower (The Dali Lama Drinks His Own Pee), Jeremy Handelman (Tic-Tac-Toe), Steven Korbar (I Understand Your Frustration), William Munt (Big Red Button)
Directed by Gaye-Taylor Upchurch, John W. Cooper, Arthur French, David Ledoux, David Letwin
Stage Managers: Nate Brauner and Amanda-Mae Goodridge Producer/Artistic Director: John W. Cooper Assistant Production Manager: Amanda-Mae Goodridge Scenic Designer: Ryan Scott Lighting Designer: Eric Larson Costume and Props: Christina Gianinni Sound Design: Susan Smale
Featuring in Group A - Surprise: Monika Schneider (Whitney), Christian O'Brien (Peter), Constance Parng (Esther); Struck: Christine Booker (Veronica), Bobby Tuttle (Adrian), Rob Welsh (Brit); A Most Unsuitable Conversation: Justin Tensen (A), Bill Toscano (B); Elephants and Coffee: Robin Madel (Woman), Eric Edward Glawe (Elephant); The Ta Ta Song of the Aftermore: Movement One: Santana Dempsey (August), Monika Schneider (Ava), Christine Booker (Elizabeth); Parthy and Me: Rob Welsh (Boy/Paul), Emily Coffin (Girl/Parthy); Meeting Without End: Christine Booker (Meeting Organizer), Robin Madel (Confirmed Attendee), Kaolin Bass (Requested Attendee), Justin Tensen (Tentative Attendee); Rats: Bill Toscano (Rat), Christian O'Brien (Tar); The Dilemma of a Standing Ovation: Kaolin Bass (Adam), Audra George (Eli), Natalie Anderson (Mavis), Santana Dempsey (Tara), Justin Tensen (Jerry)
Featuring in Group B - Abuse from Another Life: Traci Hovel (Ernest), Justin Morck (Prudence), Jonathan M. Castro (Armand); The Diers: Deidre Lynn (Betty), Kendall Zwillman (Hele), Susan Wallack (Sally), Anna Savant (Nurse); Momology: Coleen Sciacca (Mom #1), Ingrid Kullberg-Bendz (Mom #2), Barbra Ann Smilko (Mom #3); Poor Hearts: Alison Crane (Young Lady), Justin Morck (Young Man), Tony Mirchandani (Driver); Peelers: Cynthia Fellowes (Bookmaker), Jonathan M. Castro (Marengo), Carol Lambert (Miss Anna); What's on Your Mind: Tony Mirchandani (Dave), Cynthia Fellowes (Karen), Jonathan M. Castro (Jeff); A Lovely Moon: Traci Hovel (Julia), Barbra Ann Smilko (Lynn), Tony Mirchandani (Warren); The Final Chuckle: Benato Biridin (Jackie Jordan), Edward Sheldon (Father L.D. Riley); Our Lady of the Sea: Justin Morck (Brother), Bill Toscano (Father), Jonathan M. Castro (Boyfriend)
Featuring in Group C - Men/Women: Bernardo Cubria (He 1), Mark Becker (He 2), Annie Mistak (She 1), Emily Elizabeth Simoness (She 2); Scripted: Danielle Faitelson (Elaine), Collin Smith (Simon); Low & Away: Bristol Pomeroy (Frank), Elise Rovinsky (Carol); Don't Look!: Kaolin Bass (Paul), Annie Mistak (Cheryl); Smile: Bristol Pomeroy (Man), Pia Ambardar (Woman); The Dali Lama Drinks His Own Pee: Bristol Pomeroy (Sherwin), Emily Elizabeth Simoness (Lisa), Patrick Cann (Tim), Tara Gadomski (Angela), Bernardo Cubria (Nathan), Shiloh Klein (Babs); Tic-Tac-Toe: Lauren Robert (Stacey), Byron Loyd (Kenny); I Understand Your Frustration: Patrick Cann (Ted), Pia Ambardar (Brad); Big Red Button: Bernardo Cubria (1), Mark Becker (2)
The Turtle’s Shell Theater (in the Times Square Arts Center)
300 W. 43rd Street
Through March 15
Wed.-Fri.: 8 PM; Sat.: 3 and 8 PM
Awards & Gala Event: Sunday, March 16 (see http://www.turtleshellproductions.com for details)
Tickets: Theater Mania 212-352-3101
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