Tuesday, March 8, 2011

Dixon Place Donor Dinner Celebrating 25th Anniversary of Dixon Place To Be Held April 10th.


Ellie Covan, the Board of Directors and staff of Dixon Place
invite you to join us for the
Dixon Place Donor Dinner
in celebration of our 25th Anniversary Year

April 10, 2011, 6:00pm - 10:00pm
6 - 7: Complementary wine/beer and full cash bar
7 - 10: Buffet dinner and dessert, performance and awards

at
Dixon Place
161A Chrystie Street
(between Rivington & Delancey Streets)

For information on ticket prices and priority seating

Our 25th Anniversary Guests of Honor
whose generosity made our new home possible

Dick Connette

Donn Russell
The Peg Santvoord Foundation

David Hapgood & Pierre Tonachel
The Katherine Dalglish Foundation

Charles Blaichman, Jack Glazer & Bella B. Sekons
GB Construction

Mistress of Ceremonies
burlesque queen World Famous *Bob*
with performances by
downtown theater legend Karen Kandel
outré puppeteer James Godwin
extraordinary cellist/singer Leah Coloff
awesome aerial artist Danielle King
musical prodigy Novice Theory
vogue master Archie Burnett

EATfest Blossoms With New Work This Spring

Emerging Artists Theatre presents a slate of new work long and short in its annual EATfest, running March 7-20 at TADA Theatre.

This year’s festival features seven new short plays presented for the first time in New York City, a full-length comedy, and six (free) staged readings of works in progress by EAT playwrights.

The Series A one-acts are: Staying Put, by Kathleen Warnock, directed by Vivian Meisner, with Laura Fois and Desmond Dutcher; The Takeover, by Barbara Lindsay, directed by Kelly Johnston, with Blanche Cholet, Richard Cottrell, and Caitlin Johnston; and Clean, by Audrey Cefaly, directed by Troy Miller, with Glory Gallo and Matt Stapleton.

An all-woman playwright lineup (and an all-male lineup in Series B) were a coincidence, according to EAT Artistic Director Paul Adams: “I was just putting them together the way they seemed to fit best, and it turned out that one night was all women playwrights and one was all men.”

Series A runs Monday and Thursday nights at 7pm, and Saturdays at 9pm.

Series B features four plays: Just Us, by Jon Spano, directed by Barbara Grecki, with Erin Hadley and Tommy Day Carey; Reservations Cancelled, by John Zygmunt, directed by Nicola Sheara, with Matt Boehtin, Bernard Burlew and Valerie David; Assisted Living, by Jeffrey Newman, directed by Greg Redlawsk, with Deb Armelino, Angus Hepburn and Paul Herbig; and Matchpoint, by Chris Widney, directed by Derek Jamison, with Elizabeth Bell, Augustine Hargrove, Irene Longshore and Brook Zelcer.

Series B runs Tuesdays and Fridays at 7pm, Sundays at 4pm.

Series C is a full-length play, Mark Finley’s The Chiselers, directed by Melissa Attebery. Featuring Marie Wallace (Dark Shadows) as the grand dame of a Sacramento publishing empire, Karen Stanion as her ice-sculptress daughter, Chuck Saculla as the scheming gigolo, Eric Chase as the ambitious husband, and Andrea Alton as the youngster accused of… murder (or WAS it?), this dead-on farce takes us back to the days of the “go go ‘80s” and the dark places in all our souls.

The Chiselers will be performed Wednesday, Saturday and Sunday at 7pm, and Friday at 9pm.

All performances at TADA Theatre, 15 West 28th St. 2nd Floor (betw Broadway and 5th Ave.) Tickets are $18 (reduced price available for students and seniors). Tickets may be purchased prior to the show at the box office and online at http://www.emergingartiststheatre.org/, or by phone at 800-838-3006 (Brown Paper Tickets/Brownpapertickets.org)

A Cavalcade of Curiosities To Open March 14th at The Red Room

THE DYSFUNCTIONAL THEATRE COMPANY

PRESENTS

A DYSFUNCTIONAL THEATRE CLASSICS PRODUCTION OF

A CAVALCADE OF CURIOSITIES

Featuring works by J.O.S. Hartung, Daniel Keleher, Danna Call, Hrosvitha, Trav S.D. and F. Scott Fitzgerald

MARCH 14-23 @ THE RED ROOM

F. Scott Fitzgerald hosts A CAVALCADE OF CURIOSITIES, an evening of short plays spanning over 1,000 years of drama. Featuring plays by 10th Century nun Hrosvitha, local downtown artist Trav S.D., and Fitzgerald himself, as well as other up and coming playwrights, A CAVALCADE OF CURIOSITIES brings you zombies, yuppies and nuns, donuts, guns and drinking. In other words, all the elements of a very Dysfunctional good time.

Fancy Eating You Here
Written by J.O.S. Hartung, Directed by Justin Plowman
Even the undead have relationship issues.

Robosaurus
Written by Daniel Keleher, Directed by Justin Plowman
Inside every straight man is a gay man who just wants to watch a robot eat cars.

Safety First
Written by Danna Call, Directed by Nicole Lee Aiossa
Gun Safety for Children at the VFW, featuring Ammo the sock puppet. Free Hi-C and Oreos for all!

Dulcitius, as performed by the nuns of Gandersheim
Written by Hrosvitha, Adapted & Directed by Amy Overman
A convent of 10th century nuns perform a play glorifying the virtues of Christian virgins and the strange ways God protects them.

The Big Donut
Written by Trav S.D., Directed by Peter Schuyler
On a frigid New England night, an act of kindness bears strange and hilarious fruit.

Mr. Icky
Written by F. Scott Fitzgerald, Directed by Eric Chase
Fitzgerald’s drunken fantasia on old age, jazz and the City gets a modern twist.

The production, presented by the Dysfunctional Theatre Company, will play at The Red Room (85 East 4th Street between 2nd Ave and Bowery) March 14-23, Monday through Wednesday at 8pm. Tickets ($15) are available by calling Smarttix at 212-868-4444 or online at www.smarttix.com.

Starring: Nicole Lee Aiossa, Ann Breitbach, Rob Brown*, Danaher Dempsey, Adam Files, Christopher Gilkey, Josh Hartung, Marissa Levien, Vivan Meisner, Cara Moretto, Tom O’Connor, Vince Phillip*, Peter Schuyler, Amy Beth Sherman*, Stephanie Willing

*AEA Showcase/Approval Pending

DYSFUNCTIONAL THEATRE COMPANY Founded in 1997 Dysfunctional is dedicated to challenging the status quo without taking itself too seriously. Recent productions include A Voluminous Evening of Brevity, The 8: Reindeer Monologues, Arsenic & Old Lace, The Dysfunctional Guide to Home Perfection Marital Bliss & Passionate Hot Romance (winner of the FRIGID 2009 Audience Choice & Sold Out Show Awards), Brew of the Dead (by Patrick Storck) Chosen (by Rick Vorndran; winner of the 2008 FRIGID Sold Out Show Award), and Hoover: A Love Story (by Paul Wells).

Dysfunctional Theatre Classics’ mission is to produce underperformed scripts from previous centuries and to give a new take on “classic” plays of past centuries, as well as continuing the Dysfunctional mission to provide exposure to new playwrights. All of these works are considered Dysfunctional - the Classics Series encourages the audience to perceive them in a new light and to realize that dysfunction isn’t a product of 21st or even 20th century life; it’s a product of the human condition.


“Eclectic, quintessentially off-off-Broadway” Martin Denton, nytheatre.com

“A company dedicated to irreverent ensemble material” Li Cornfeld, Off Off Online

This Month's Title Photo

This month's title photo comes from Little Lord’s Jewqueen playing at UNDER St. Marks (94 St. Marks Place between 1st Ave and Ave A), March 17-April 2, Thursday through Saturday at 8pm.

The photo is by Cecilia De Bucourt and features Julia Arazi, Laura von Holt, Das Elkin, Michael Levinton, Diana Konopka, Rodney Pallanck, and Sarah Bishop-Stone.


Little Lord’s rough and ready collective of shiksas, queers, and misinformed Jews stage a slap-dash celebration of the biblical Book of Esther. Combining the sincere but awkward rawness of faith-based community happenings with Little Lord’s signature “cheap ’n cheerful” style, JEWQUEEN is a holiday party for the haters.

LITTLE LORD (a theater company) manipulates classic texts, pillages faulty nostalgias, and celebrates the homemade as a means to create vibrantly bawdy, offbeat, intelligent, queer, funny (and often musical) theater. Past works include: a new adaptation of the musical-extravaganza-turned-recession-spectacular, BABES IN TOYLAND, starring David Greenspan as The Master Toymaker (OHIO Theatre's Ice Factory Festival 2009); the NYC premiere of Tennessee Williams’s kinky short play THE PRONOUN 'I' (Bushwick Starr 2010); (oh my god I am so) THIRST(y) - an offshoot of Eugene O'Neill's early melodrama on race and madness (Incubator Arts Project 2010 and The Chocolate Factory/Target Margin Theater 2009); BALABUSTAS (!), a queer yiddishkeit version of Aristophanes' raucous comedies (HERE Arts Center 2007); and THE BARBIE-STEIA: Curse of the House of Malibu, an absurdist take on Aeschylus' classic trilogy “The Oresteia” starring a chorus of Barbie dolls (OHIO Theatre 2007).

Monday, March 7, 2011

FRIGID Festival Announces This Year's FRIGID Hangover

HORSE TRADE THEATER GROUP
PRESENTS
FRIGID HANGOVERS
THE BEST & BRIGHTEST FROM
THIS YEAR'S FESTIVAL

MARCH 7-13 @ THE KRAINE & THE RED ROOM

Horse Trade Theater Group (Erez Ziv, Managing Director, Heidi Grumelot, Artistic Director) is proud to present the second annual FRIGID Hangovers, March 7-13 at The Kraine Theater & The Red Room (85 East 4th Street between 2nd Ave and Bowery). We’re bringing back the best and the brightest from this years festival, so don’t miss your second chance to catch standout performances of Fate, Fury and Musical Theatre: A Kind of Cabaret, Goodnight Lovin’ Trail, Mendacity, Paradise Lost, Saving Tania's Privates, The Oregon Trail: Quest for the West!, We Might Be Experimenting On You, and Wonder Woman: A How-to Guide for Little Jewish Girls.

FRIGID Hangovers will run March 7-13 at The Kraine & The Red Room (85 East 4th Street between 2nd Ave and Bowery). Tickets ($18/$15 students & seniors) may be purchased online at www.FRIGIDnewyork.info or by calling Smarttix at 212-868-4444.

We Might Be Experimenting On You
Mon March 7 @ 7pm & Tue March 8 @ 7pm
The Red Room (85 East 4th Street)
Dr’s. Bernazky and Jones (PhD, BFA, WTF) are seeking participants in a theatrical research study. Lab rats will be asked to perform various convention-blasting, audience-related tasks. Hijinks and non-slip shoes are required.

"I was bonding with an audience of strangers, I was riding each new “experiment” pleased to be in the laboratory ushered along by the affable Bernazky and Jones...." Robert Attenweiler, nytheatre.com

"...I was so engaged throughout, and so happy afterwards that I would recommend this show to anyone who’s got a little spirit of adventure...." Karen Tortora-Lee, The Happiest Medium

Paradise Lost by John Milton
Mon March 7 @ 8pm
The Kraine (85 East 4th Street)
This extraordinary production is a visual and technical treat replete with stunning CGI, spellbinding puppetry and first-rate storytelling.

"...Van Dyck turns an arduous English literature class reading into sexy, sinful fun..."
Adrienne Urbanski, Theatre is Easy

"The play is filled with thrilling moments; Van Dyck's imagination and inventiveness constantly surprise and enthrall us as he finds simple but unexpected ways to convey this story." Martin Denton, nytheatre.com

Saving Tania’s Privates
Tue March 8 @ 8pm
The Kraine (85 East 4th Street)
Funny, outrageous and true! This critically acclaimed comedy hit from the Edinburgh Fringe Festival will have you laughing till you weep. A show about far-out families, quirky girlfriends and boobs...but not necessarily in that order.

"As a performer, Katan has the audience squarely in the palm of her hand for the entire show...."
"She's magnetic, providing a how-to on solo performance." Danny Bowes, nytheatre.com

"If you only have a chance to see one show at the FRIGID this year, make Saving Tania’s Privates the one – you wont regret it." Antonio Miniño, The Happiest Medium

Wonder Woman: A How To Guide for Little Jewish Girls
Thu March 10 @ 7pm
The Kraine (85 East 4th Street)
Two-time FringeNYC award-winning writer/performer Cyndi Freeman's latest solo show traces her journey from little suburban Jewish girl obsessed with Wonder Woman to becoming the fabulous burlesque Queen, Cherry Pitz, in NYC. Join her on a crusade to right wrongs while wearing fabulous costumes.

"Freeman’s performance is inspiring, uplifting, and ends with a little burlesque." Ed Malin, nytheatre.com

Fate, Fury and Musical Theatre: A Kind of Cabaret
Thu March 10 @ 8:30pm
The Kraine (85 East 4th Street)
In a panic, a young actress drives from her house in the suburbs of New York until she can't drive anymore. On the beach at the very tip of Long Island, the Three Fates of ancient mythology, androgynous and fabulous, wash onto the shore like Venus on the foam and lead the girl on a journey of self-discovery and showtunes.

"Walk into Fate, Fury and Musical Theatre: A Kind of Cabaret expecting to be drunk on talent and damn – you’ll get your elixir and more. Much more. Written and performed by front-woman Liz Wasser, Fate, Fury is Fabulous, Fun and Fantastic." Karen Tortora-Lee, The Happiest Medium

"It is rare to find a cast as uniformly strong as this one… There is a cleanness and clarity of intention that keeps the show moving and visually interesting." Ryan Emmons, nytheatre.com

Mendacity
Fri March 11 @ 8:30pm
The Kraine (85 East 4th Street)
Through the integration of dynamic multi-media installations, Mendacity, a solo word-collage, takes you deep inside the mind of a splintering personality wrought with self-loathing and denial over sexual assault. Join us in a rebellious journey of fragmented transcendence and the offering of hope.

"...the language feels like strong slam poetry, connecting on a rhythmic level as much as in its content, and really takes you inside a mind frightened by its own excesses and perseverations." Lauren Noveck, nytheatre.com

The Oregon Trail: Quest for the West!
Sat March 12 @ 8:30pm
The Kraine (85 East 4th Street)
Inspired by the iconic game, The Oregon Trail: Quest for the West! is an interactive comedy with music. Join our five brave pioneers on a grueling journey as they fight snakebites, dysentery and meager rations. Will YOU ford the river?

"...though experience with the game may help you enjoy the many inside jokes regarding the original game mechanics, this play succeeds in ways the game couldn’t...." Stephen Tortora-Lee, The Happiest Medium

"Even if you’re not familiar with The Oregon Trail game you will laugh and have a good time at everything that befalls the quintet." J. Jordon, nytheatre.com

Goodnight Lovin’ Trail
Sun March 13 @ 7pm
The Kraine (85 East 4th Street)
Goodnight Lovin’ Trail is a subtle and touching drama that takes place at a truck stop diner in West Texas, where two desperate and lonely strangers find redemption in each other's eyes while discussing a stolen guitar. The play explores raw human emotions and consequences while these two desperate characters navigate and come to terms with the choices they've made on the road of life.

"A perfect gem found along a dusty trail; Goodnight Lovin’ Trail will leave you remembering the things you’ve lost along that road that stretches out behind you." Karen Tortora-Lee, The Happiest Medium

"[John Patrick Bray's] characters teeter fluently between casual dialog and lyrical whimsy and feel both earnest and engaging." Terra Vetter, Theatre is Easy

The FRIGID New York Festival was founded by Horse Trade and EXIT Theatre in 2007. Since founding The San Francisco Fringe Festival - the 2nd oldest fringe in the United States - nearly 17 years ago, EXIT has learned a thing or two about festival running. They introduced Horse Trade to the Canadian Association of Fringe Festivals (CAFF) in mid-2006. Besides feedback from dozens of thrilled CAFF participants and artists, Horse Trade was drawn to its main principle: “…to provide all artists, emerging and established, with the opportunity to produce their play no matter the content, form or style and to make the event as affordable and accessible as possible for the members of the community,” Horse Trade is proud to sign on to the tradition and chill out the New York independent theatre scene’s ideas of what a theatre festival can be.

Friday, March 4, 2011

"The Knight of the Burning Pestle" - Grocers Gone Wild!

By Byrne Harrison

The Secret Theatre in Queens has done an admirable job of bringing a not-so-frequently produced classic to life. Their production of Francis Beaumont's The Knight of the Burning Pestle mines the comedy in the script and makes it accessible to a modern audience.

The play features a theatre company putting on a romantic comedy, "The London Merchant," about a young apprentice, Jasper (Philip J. Rossi) in love with his employer's daughter, Lucy (Avery Manuel), over the strenuous objections of the father (Ross Pivec), who has in mind for his daughter a more well-placed gentleman. Standard fare meant to please an audience.

Unfortunately for them, a Grocer (Thom Brown III) and his wife (Helyn Rain Messenger) in the audience aren't having any of it. After berating the company for their choice, they insist that they perform a new play, something heroic... and naturally, they want their apprentice, Rafe (Joshua Warr) to have a starring role. After determining that none of the characters in "The London Merchant" are right for him, he decides to create a new character, the Knight of the Burning Pestle, a hero and slayer of giants, and insert himself into the play. Naturally, his character doesn't fit at all, so as he becomes more involved, the actors in the company must find ways of keeping their play on track without offending the Grocer and his wife.

What follows is a play full of comedy and vexation, that is surprisingly well suited for today's audience.

Director Richard Mazda keeps the focus on the actors by using a very spare set with just a few rolling set pieces to set the scene. The actors are, for the most part, very good in their roles. The Secret Theatre features some young actors who seem somewhat uncomfortable with the language of the play, not enough to detract, but noticable in comparison to some of the more experienced actors. Just as an aside, Mazda is to be commended for creating a company that both produces excellent work and serves as a training ground for younger actors. Without a doubt, the NYC theatre scene is well-served by companies like this.

Standouts among the cast include Alexander Stine as the obnoxiously merry, always singing, and surprisingly wise Master Merrythought, father to Jasper. Equally amazing is Kate Siepert as his shrewish wife, who dotes on her youngest son (Kyrian Friedenberg) while ignoring Jasper. Also amusing is Jonathan Emerson as Humphrey, Lucy's better suited suitor. Emerson provides comic relief with Humphrey's screeching and simpering, but more so as the actor portaying Humphrey as he tries to deal with the Grocer and his wife. His initial exasperation turns into fawning as the Grocer's wife turns her attention on him. Speaking of exasperation, no one in the cast does a better job with this than Kate Siepert, who seems to be set on a constant simmer whenever having to deal with the Grocer's entourage.

As the Grocer and his wife, Thom Brown III and Helyn Rain Messenger are a high point of the show. These are fun, over-the-top characters and both actors are more than ready to meet the challenge. I would like to have seen them interact more with the rest of the audience. I think Mazda missed an opportunity to have them really warm up the audience by having them enter after "The London Merchant" had begun.

Despite a few problems (most notably a rolling set piece that made Ross Pivec nearly impossible to hear during some of his scenes), the show offered plenty of laughs and a nice satire of theatre folks and middle-class taste.

The Knight of the Burning Pestle
By Francis Beaumont
Directed and Produced by Richard Mazda
Stage Manger: Rachel Pfennigwerth
Set design: Richard Mazda
Set Construction: Alex Cape, Randy Warshaw
Props Construction: Zoe Morsette, Rachel Pfennigwerth
Photography: Sean MacBride Murray
Videography: Perry J. Katz
Dramaturgy: Katie Courtien

Featuring: Thom Brown III (Citizen), Helyn Rain Messenger (Nell), Joshua Warr (Rafe), Brian Walters (Boy), Alexander Stine (Master Merrythought), Kate Siepert (Mistress Merrythought), Kyrian Friedenberg (Michael Merrythought), Ross Pivec (Venturewell), Philip J. Rossi (Jasper), Avery Manuel (Lucy), Jonathan Emerson (Humphrey), Shannon Pritchard (George), Ariel Rosen-Brown (Tim/Pompiona), Jacklyn Collier (Tapster), Alex Cape (Host), Randy Warshaw (Barber)

FRIGID New York Festival Round Up: Part 1

By Byrne Harrison

Unfortunately, I was unable to see as much of the FRIGID Festival as I would have liked, especially given the great interviews that the participants gave. Here is a brief round up of the first FRIGID shows that I was able to see. I hope that this encourages you to check out this year's terrific offerings.

Fate, Fury, and Musical Theatre: A Kind of Cabaret
Written and Performed by Liz Wasser
Directed by Amanda Thompson
Choreographer: Chanda Calentine
Stage Manager: Laura Hirschberg
Producer: Matt Franzetti
Pianist & Musical Director: Kristin Sgarro
Featuring: Liz Wasser, Michael Hull, Kennedy Kanagawa, Ryan David LaMont

This inventive show follows Liz, an actress pushed to the breaking point by a bad Equity open call, who after running to Montauk meets the incarnation of the ancient Greek gods, the Fates/Furies (Michael Hull, Kennedy Kanagawa, Ryan David LaMont). The three Fates, who know everything about human destiny, are unable to directly affect it, though they can give it a little nudge from time to time. In a game of cat and mouse, Liz tries to figure out where her life is going, and what she should be doing with it.

The show is terrific, and features some talented actors. Wasser is a strong playwright and performer. Fate, Fury, and Musical Theatre features clever, snappy dialogue (especially for the Fates, portrayed here not as women, but as flamboyant, fabulous gay men). The music is well done (both in terms of Music Director Kristin Sgarro's work and the strong voices of the actors), and featured some very clever mash-ups (my favorite being one that mixed Lady Gaga and Sweeney Todd). Chanda Calentine's choreography was terrific and made good use of the limited space. Amanda Thompson's direction was outstanding. All in all a very good production.

Hi, How Can I Help You?
Written and Performed by Scout Durwood
Directed by Lucile Baker Scott

Sometimes one-man shows have a tendency to get a little self-indulgent. This is most certainly not the case in Scout Durwood's play about the ladies (and customers) at a local "house of domination." Set on the eve of the 2008 election, everyone has different reactions to the brash upstart, Barack Obama, who is bringing a message of hope to the country, but like him or not, everyone is affected by the new energy that is sweeping the nation.

The play gives a slice-of-life view of a night at the house. Jane, one of the girls who left to get a legitimate job, has returned after failing in the outside work world. Most of the girls welcome her back, but not Genevieve, her younger, prettier rival. The most interesting scenes of the play feature interactions between the two. Also part of the mix are Charlotte, a flighty English girl, Darcy, the receptionist and Jane-of-all-trades at the house, and Lisa, the seen-it-all owner of the house. Durwood does an exceptional job bringing these women (and a couple of their customers) to life in this play that features music, comedy, hula hoops, recorders, and a host of other props (trust me, it's cool).

One conceit of the play didn't always work for me. At times, the audience is put in the role of the "new girl," someone who is trying to get a job at the house, and at others, the audience is acknowledged as the audience and the play is acknowledged to be just a play. I think it would have been stronger if the audience had had one role only. Personally, I liked the audience as "new girl."

Overall however, this was an excellent production. Durwood is an amazingly versatile actor. It was easy to forget as she moved from character to character that she was only one person.

Paradise Lost
By John Milton
Adapted, Directed and Performed by Paul Van Dyck
Lighting design by Jody Burkholder
Puppet designer: Lyne Paquette
CGI artist: Jeremy Eliosoff

Van Dyck's Paradise Lost celebrates theatricality. Featuring CGI projections, puppetry, masks, and music, this retelling of Satan's fall and the corruption of Adam and Eve is outstanding and one of the highlights of the festival. Van Dyck is an engaging performer with good vocal range that he uses to great effect as he plays brings to life Satan, Sin, Death, Adam and Eve, and God. Jeremy Eliosoff's CGI work is excellent and adds many dimensions to an already strong show.

For me, however, the real surprise was Lyne Paquette's Adam and Eve puppets and the excellent job that Van Dyck did in animating them. It was wonderful to watch.

I highly recommend that you see this play while you can, and I hope we will be seeing more of Paul Van Dyck and this inspired show.

Saving Tania's Privates
Written and Performed by Tania Kattan
Directed by Carys Kresny
Stage Manager: Emily Reitman
Lighting Design: AJ Epstein
Sound Design: Rob Witmer
Dramaturg/Associate Producer: Liza Comtois
Marketing/PR: Stephanie Schroeder
Additional Marketing: Kirsten Berkman Winikoff
Shirt Design: www.partybots.org

It's odd to think that a play about breast cancer and breakups can be a comedy, but Tania Kattan's riotously funny Saving Tania's Privates is just that. Dealing with her family issues, dating life, and her two bouts of breast cancer and the mastectomies that followed each bout, this could have been a really dark play. Kattan went the other route, and created a wildly funny, but remarkably moving play about her life and struggles. Through humor, Kattan finds strength, and that comes out clearly in this show.

Kattan is both a good storyteller and actress, expertly bringing her friends, lovers and family to life onstage. Featuring outstanding direction by Carys Kresny, this funny and powerful play is not to be missed.

Tuesday, March 1, 2011

"The Tragedy of Maria Macabre," Rachel Klein's Latest Production, Plays Tomorrow

Rachel Klein Productions’ morbid dance drama, The Tragedy of Maria Macabre, will perform its first full-length production on Wednesday, March 2nd at 7:30 PM at Dixon Place (161A Chrystie Street).

Upon dying, Maria Macabre is not granted eternal slumber, but instead a whirling, kaleidoscopic carnival of horrors: a morbid funhouse where humanity is stripped away and a permanent place in the gruesome chorus line is all but assured. The Tragedy of Maria Macabre is a ghoulish movement and visual based theater piece that uses dancers and physical actors to create a world of fantasy and spectacle. It is a work of theater, dance, and performance art.

The Tragedy of Maria Macabre stars Abigail Hawk (from CBS’s “Bluebloods” with Tom Selleck), Danielle Marie Fusco (Martha Graham Company, Joyce Soho) Eric Schmalenberger (The Voluptuous Horror of Karen Black, The Citizens Band) and RKP regulars: Elizabeth Stewart, Michael Porsche, Megan O’Connor, Preston Burger, Freddy Mancilla, and Brian Rubiano. Conceived and Directed by Rachel Klein (Circus of Circus at the House of Yes, Princes of Darkness at Theater for the New City, Hound at Planet Connections Theater Festivity). Story by Rachel Klein and Sean Gill. Featuring Music by Borut Krzisnik (Peter Greenaways’ The Tulse Luper Suitcases) Costume and Wig Design by Rachel Klein, Makeup Design by Anita Rundles, and Sound Design by Sean Gill. Stage Managed by Marina Steinberg. Choreography by Rachel Klein, Preston Burger, Danielle Marie Fusco, and the Ensemble.

The Tragedy of Maria Macabre will perform on Wednesday, March 2nd, at 7:30 PM at Dixon Place, 161A Chrystie Street btwn Rivington and Delancey. F to 2nd Ave, J to Bowery, B, D to Grand, 4, 6 to Spring

Tickets available at https://www.ovationtix.com/trs/pe/8640235

$15 general admission. $12 Students and Seniors.


Rachel Klein Productions (RKP) is a NYC-based theater company that strives to communicate its artistic vision primarily through visual storytelling techniques. Relying on innovative performances and lavish design elements, RKP’s ensemble of actors, dancers, circus performers, and performance artists convey a highly stylized representation of reality that is much more bold and often fantastical. RKP aims to create art that explores and elicits genuine human emotion, which is amplified through the actions and reactions of its characters, allowing the audience to simultaneously identify with the human condition and enjoy the artistic qualities of the performance.

Rachel Klein Productions has produced several full-length plays (both movement and text based) including Metro, Sir Sheever, Aenigma, and Go-Go Killers!, and co-produced Hound, All Kind of Shifty Villains, and Stage Blood is Never Enough. The Rachel Klein Theater Dancers have performed all over the city in different festivals, art gallery openings, and nightlife events including the opening number to Night of 1,000 Stevies (20th anniversary), the Highline Ballroom, La MaMa Moves! at La MaMa E.T.C. in 2009 and 2010, Dixon Place, the premier of Banzai! at the Red Lotus Room, Low Life @ HOWL Festival, (le) Poisson Rouge, the House of Yes, Rated X at Don Hills, the Hiro Ballroom, the Bushwick Site Fest at 3rd Ward, the Bushwick Open Studios Festival, the World Famous Bob’s Give Thanks!, Galapagos Art Space in DUMBO, the NY Downtown Clown Review, and Off-Broadway at the Bleecker Street Theater (45 Bleecker, Main Theater).


“There are certain directors whose work is instantly recognizable. Having seen a few Rachel Klein productions, I would add her to this list. Klein's productions feature an otherworldly feel, highlighted by odd costume pieces, choreographed movement, and a bold, non-realistic acting style.”
-Byrne Harrison, Stagebuzz

“Rachel Klein brings a heap of experience -- in ballet, clowning and acrobatics -- to the plays she works on. Her direction of the recent All Kinds of Shifty Villains showed an original mix of grace and slapstick that stretched the comedy and made for some clever theatrical surprises.”
-Tom Murrin, Paper Magazine

"That the deadpan delivery and physical screwball comedy coexist naturally is a marvel on behalf of the playwright as well as director Rachel Klein, whose exaggerated sex-kitten poses for leading lady Precious Jones and slapstick fight sequences inspire many well-deserved laughs.”
- Ronni Reich, Backstage

2012 NewBorn Festival Seeking Submissions

Submissions for The 2012 National NewBorn Festival are now open through June 2011. Now on its sixth year, "NewBorn" is MTWorks flagship program, created to find talented emerging playwrights from across the US, introduce their work to the New York community, and open new doors to regional voices. For the first time MTWorks will be accepting new musicals for consideration.

Submitted plays and musicals must meet the following criteria:

The world of the play/musical must take place in a region outside of New York City.

The play/musical must not have had a prior production in NYC.

MTWorks strongly encourages writers living in any region of the United States to apply.

The selected playwrights will be awarded:

One full reading of their work in a festival environment.

Assigned professional director / musical director and cast to work on their play.

“Playwright Spotlight” Newsletter received by over 3,000 members of the NY Theatre Industry.

Networking "Meet the Playwrights" Event.

Complimentary tickets to MTWorks shows, invited dress rehearsals and other special events.

Artistic and professional support from the MTWorks staff.

Second reading if your play/musical wins The Audience Favorite Award.

Eligibility for the MTWorks Board of Director's Excellence in Playwriting Award.

Consideration for future MTWorks productions.


REQUIREMENTS:

We are only interested in full-length plays and full-length musicals at the moment (at least 90min in length).

Applicants must submit the following:

A Cover Letter (can be in the body of the email).
A ten (10) page excerpt of your play.
A half (1/2) page synopsis.
If you are submitting a musical also include one mp3 that best represents your score.

If you applied for NewBorn before, you must submit a different play.

You can only submit one play per year.

All material must be emailed (all together in one email) to plays@mtworks.org with [title of the play and your name] on the subject line.


If your contact information changes between your submission date and November, you are required to update your information by sending an email to plays@mtworks.org with [updated contact information for-your name] on the subject line.

SELECTION PROCESS

MTWorks will select the strongest candidates based on the plays/musicals overall theme, dialogue and structure.

MTWorks encourages scripts with large casts, different ethnicities and diverse backgrounds. We accept applications from all cities in the United States. Whether the play/musical is a drama or comedy, it must fit within MTWorks mission.

The request for your complete work is determined by David Stallings, Artistic Director. The final selection committee is comprised of David Stallings, Artistic Director and other artistic staff. This process is what we call “The Living Room Series."

Submission Dates:
March 1st - June 1st, 2011
submissions outside of these dates will not be considered)

Selection Announcement:
Around November 1st, 2011

The 2012 NewBorn Festival:
Late January - Early February 2012
Location TBA

The Brick Theater's Iranian Theater Festival Opens March 3rd

THE BRICK THEATER, INC.
PRESENTS
THE IRANIAN THEATER FESTIVAL

MARCH 3-26 @ THE BRICK
PERFORMANCE SCHEDULE

Iran is one of the oldest civilizations in history. Persian theater, influenced by Arab, Assyrian and other cultures of the Middle East, has created many rich traditions of performance from ancient times through the modern day. Yet this vibrant heritage remains woefully underrepresented on American stages.

The Brick proposes to expand the boundaries of this cultural moment, and collaborate with Iranian theater artists in the U.S. and abroad, by hosting and producing the first festival in New York devoted solely to Iranian Theater.

The festival will include new works, in Persian and English, such as Something Something Über Alles written by Iranian exile and Hellman/Hammett Grant–winner Assurbanipal Babilla, Two Stories That End in Suicide by Piehole (inspired by Sadegh Hedayet’s The Blind Owl), a preview excerpt from Brendan Regimbal and Samara Naeymi’s Aviary, Leila Ghaznavi’s Silken Veils, newly-commissioned contemporary works from Iranian-based playwrights and participants of the Fadjr International Theatre Festival, and a special celebration of the traditional Iranian New Year’s holiday, Nowruz.

A special celebration of the late theater legend Reza Abdoh will include exclusive screenings of complete films of his original productions "The Hip-Hop Waltz of Eurydice" and "Quotations from a Ruined City" with special panel discussions by Dar a Luz company members, including Sabrina Artel, Juliana Francis-Kelly, and Tony Torn.

The Iranian Theater Festival will run March 3-26 at The Brick (575 Metropolitan Avenue between Union and Lorimer, Brooklyn). Tickets ($15) may be purchased online at www.bricktheater.com or by calling Theatermania at 212-352-3101.

Something Something Uber Ales
Written by Assurbanipal Babilla & Directed by Michael Yawney.
Performed by Matthew Glass
A bizarre and dramatic journey of epic proportions, as our lonely actor recalls the life of a man whose only noticeable feature is that he is Hitler's doppelganger. Listen as he is discovered by two gay pastry chefs and inducted into a Hitler worshipping cult located miles and miles below the F Train in Midtown Manhattan.

Silken Veils
Written & directed by Leila Ghaznavi
Presented by Pantea Productions
An elegant hybdrization of Rumi poetry, marionettes, shadow puppets, live performance, animation, and contemporary Iranian history, Silken Veilsin an original work showing the turbulence and passion of family during the Iranian Revolution of 1979. Told through the eyes of Darya, the daughter character in this piece, we see how the Revolution pulled down her family as she recounts her memories to her fiancée on their wedding day. Fringe First Nominee at the 2010 Edinburgh Fringe Festival. www.silkenveils.net

2 Stories That End in Suicide
Presented by Piehole
2 Stories That End in Suicide uses video, puppetry, and live actors to tell the story of contemporary youth in Iran, and the limitations of Western media representations. We draw from two seemingly disparate novels (Cesare Pavese’s Among Women Only and Sadegh Hedayet’s The Blind Owl),as well as the censorship laws required by the Minister of Culture and Islamic Guidance and the blogging habits of young Iranians. Tying these threads together with our distinctive brand of strangeness and humor, we probe ideas of private and public suffering and examine the repressed and complex conditions in Iranian society. www.pieholed.com

Aviary, A preview excerpt
Created by Brendan Regimbal & Samara Naeymi
In a lush world of dense media-scapes, dance and traditional storytelling are used to collide the story of Scheherazade and her sister with the Victorian era’s Isabel Burton and Jane Digby. The full-length production of Aviary will premiere at the Incubator Arts Project in June 2011. www.snaeymi.com/sn/Current

Pen Pals Meet: A Conversation Between Eliza and Salar
Presented by Thinking Persons Theatre
In 2008 Eliza Bent received an email from Salar Sardary, an Iranian university student, who asked about how to view American Theatre Magazine online. From that interaction, an unlikely sporadic pen pal friendship formed. Two years later the pen pals meet officially over Skype and have a conversation, live on stage.

Ka
Written by Siavash Pakrah & Directed by Gyda Arber
Three slaves, entombed in their Master's crypt, search for faith, meaning and a way out of their prison. Before their air is gone. And before The Master arrives. Join us in a world of double and triple meanings that sheds light on contemporary Iran, where one thing always stands for another. Translated into English for the first time.

Three Eternal Days
Written by Mohammad Ebrahimian
University students in war-torn Iran wrestle with Rumi, The Quran and The Book of Revelations as their families struggle to survive. But when the air-raid sirens sing out, whose ethos will truly matter? A cultural, historical, religious, mythical tour de force set during the time of the Iraq missile attacks on Iran, Three Eternal Days is a contemporary work by Iranian playwright Mohammad Ebrahimian. Translated into English for the first time, the play is steeped in the traditional Ta'ziyah and the devotions of Saint Reza.

Bootleg Islam
Written & performed by Negin Farsad
Presented by Vaguely Qualified Productions
Bootleg Islamis a one-woman comedy about a California-raised Iranian-American girl gallivanting around the streets of Tehran, Iran. She travels to this Middle-Eastern hotbed for a cousin’s wedding and discovers how ridiculous oppression can be, how delicious the third world has become and how hard it is to keep a chador on. www.neginfarsad.com

Kharaji/Foreigner
Written & performed by Jaleh Stoltz
Foreigner is a personal exploration of faith, identity, and culture in an increasingly complicated world. Jaleh Stoltz uses dance and theater to reenact her religious upbringing in the Baha'i Faith and a solo-journey to the Islamic Republic of Iran to find the roots of her religious convictions.

In Medias Res
Written & performed by Sade Namei
This is a piece about identity of an Iranian born and raised actor and the history of her nation rooted in her and how it gives purpose to her art and propels her forward. www.sadenamei.com

White Rabbit, Red Rabbit
Written by Nassim Soleimanpour
Playwright Nassim Soleimanpour's postmodern theatrical happening receives its New York premiere replete with murders, suicides and rabbits.

Nowruz
The Iranian New Year will be commemorated at The Brick with traditional celebration including Iranian food and music.

THE BRICK was founded in 2002 by Robert Honeywell and Michael Gardner. Formerly an auto-body shop, a yoga center, and various storage spaces, this brick-walled garage in Williamsburg, Brooklyn, was completely refurbished as a state-of-the-art performance space. Since then, The Brick has launched, produced and presented hundreds of world-premiere stage works from New York emerging artists and theater-makers from around the globe. The theater company is a proud member of New York’s burgeoning Indie Theater community and informal home to an ever-expanding family of artists and avid theatergoers. The Brick received a 2009 New York Innovative Theatre Foundation Caffe Cino Fellowship Award for being “an Off-Off Broadway theatre company that consistently produces outstanding work.”

Purple Rep To Present "Gay Plays for Straight People (And Also Gay People)" in April

PURPLE REP PRESENTS

GAY PLAYS FOR STRAIGHT PEOPLE (AND ALSO GAY PEOPLE)

TWO PLAYS IN REP
APRIL 8-30 @ THE PARADISE FACTORY

FEATURING
THE ALL-AMERICAN GENDERF*CK CABARET & THE UN-MARRYING PROJECT


Purple Rep, a new theatre company founded by playwrights Larry Kunofsky (What To Do When You Hate All Your Friends at Theater Row; A Guy Adrift in the Universe) and Mariah MacCarthy (Ampersand: A Romeo & Juliet Story with Looking Glass Theatre; The All-American Genderf*ck Cabaret at UNDER St. Marks), will present their inaugural project Gay Plays for Straight People (and also gay people), April 8-30 at The Paradise Factory (64 East 4th Street between 2nd Ave and Bowery). The project will feature the world premiere of Kunofsky’s play, The Un-Marrying Project and the revival of Ms. MacCarthy’s play The All-American Genderf*ck Cabaret (sold-out run at UNDER St. Marks in 2009), both of which deal with issues of gender identity and sexual equality

The Un-Marrying Project
Written by Larry Kunofsky
Directed by Rachel Eckerling
Welcome to The Un-Marrying Project, a documentary film where legally (and "happily") married couples will divorce! In the name of gay marriage! And not re-marry until marriage is legal for everyone! An act of civil disobedience that becomes a hard lesson: When you try to change the world, the world changes you.

The All-American Genderf*ck Cabaret
Written by Mariah MacCarthy
Directed by Heidi Handelsman
Eight gender stereotypes, countless dance breaks, one intimately outrageous cabaret, and one androgynous omnipotent emcee to guide them all. A story about back-alley fights, The Pussies of America, sexting, acquaintance rape, infidelity, and the ass-backwards ways we seek affection. Welcome to the Genderf*ck.

“A great artist provokes without malice, evokes feeling and understanding, and perhaps plants the seeds of change. MacCarthy succeeds… one of the best off-off-Broadway productions I've see.”
Le-Ann Garland, Theatre is Easy (Genderf*ck)

“Genderf*ck for the Y Generation is what Reality Bites was for the X Generation”
Grace Moon, Velvet Park


The project, presented by Purple Rep will play at The Paradise Factory (64 East 4th Street between 2nd Ave and Bowery), April 8-30. Performance schedule and cast TBA.

PURPLE REP was founded by playwrights Larry Kunofsky and Mariah MacCarthy in order to produce their work in rep, so that when their plays are presented together, a larger story can be told. Over time, Purple Rep will expand in order to include other playwrights in our repertory model. We are committed to plays that provoke, plays that crack you up and crack you apart so that you can put yourself together again, plays that make you see red and hear the blues…until it all mixes in your mind’s eye into a purple rush.

LARRY KUNOFSKY (Playwright, The Un-Marrying Project) is a New York-based playwright whose work includes My Therapist, a monologue play for forty-five actors; The Cat Person, a two-hander, with live cats; “Oh, Magic Bag…” about a bag of porn possessed by demons; Vicky Victim, about vicious office friendships among women; So Retarded – A Play For Idiots, a kind of Vagina Monologues-takeoff on the mentally challenged; bender/gender/straight/&neutered, a play-cycle on the ever-changing nature of sexuality; Death and The Pizza Man, a satire on developmental theatre; Thanks For Having Me, about a well-educated homeless guy who couch-surfs a lot; The Lunch Anxieties, which is kind of like the movie Groundhog Day, but with lunch, and without Bill Murray, and much scarier; Social Work (a nightmare), about health care, race, and Internet dating; and The Worst Person In The Whole Entire World Of All Time Ever, which is about everybody’s mom. His current, ongoing project is THE GENESIS TAPESTRIES; a cycle of plays inspired by stories or themes from the Book of Genesis. The three plays completed so far in this project are The Myths We Need – or – How to Begin; ‘think-yer-better-than-me?!; and The Big Ear. He has been a three-time winner of the John Golden Award for Drama and a resident at the Edward Albee Foundation. His work has been excerpted in the 2009 editions of “The Best Men’s and Best Women’s Stage Monologues and Scenes,” published by Smith & Kraus, and his full-length play What To Do When You Hate All Your Friends – an anti-social comedy, will be published by Playscripts in early 2011. He is a member of The Dramatists Guild.

“Kunofsky's voice is original and quirky.” Martin Denton, nytheatre.com

“Friendships, we all know, can be awkward; social lives can be nonexistent. Playwright Larry Kunofsky satirizes these sad truths with deft skill… When we chuckle here, we’re truly laughing at ourselves.”
Amanda Cooper, Time Out NY (What To Do When You Hate All Your Friends)

“Kunofsky has an intensely theatrical gift for comedy, and his cast and crew have risen to the challenge of his smart, heartfelt play.” Sam Theilman, Variety (What to Do When You Hate All Your Friends)


MARIAH MACCARTHY (Playwright, The All-American Genderf*ck Cabaret) is a playwright and sometimes director/dramaturg/producer/blogger. She writes plays about the intersection of sex, gender expression, and the Kinsey scale, among other things. Her plays include A Man of His Word (San Diego Old Globe with Playwrights Project), a neo-noir about sexual obsession; Ampersand: A Romeo & Juliet Story (Looking Glass Theatre, winner of 20 Looking Glass Forum Awards), a modern, cynical Romeo & Juliet with a girl as Romeo; Detained (Left Hip’s “From the Hip” Festival), which is sort of like Deathwatch with lesbians; Bachelor/Bachelorette (a radio play with Co-Op Theatre East), which is about androgyny and bachelorette parties; Dismemberment (Player’s Theatre), about a skeleton marionette’s friendship with a lovestruck actor; The Foreplay Play (FullStop Theatre Collective), about a straight couple and a lesbian couple trying to all have sex with each other; and The All-American Genderf*ck Cabaret (sold-out run with Rapscallion Theatre Collective). She’s also working on a new play, Magic Trick, in which a hot 20-something paraplegic leaves her boyfriend and becomes a burlesque dancer. She has a blog, A Rehearsal Room of One’s Own, and contributes to 2amtheatre.com on occasion. She is also a member of the Dramatists Guild.

Monday, February 28, 2011

"Freud's Last Session" Questions and more questions - Brilliantly played

Review by Judd Hollander
Photos by Kevin Sprague


Does God exist? Such a question has confounded man since at least the time he was capable of rational thought, and such is the question playwright Mark St. Germain takes on in his brilliantly involving and provocative play Freud's Last Session at The Marjorie S. Deane Little Theater, making it one of the surprise hits of the season.

Set in the outskirts of London in Hampstead on September 3, 1939 when war is all but assuredly on the way, Oxford professor and author C.S. Lewis (Mark H. Dold) is summoned to the home of renowned physiatrist Sigmund Freud (Martin Rayner). Lewis expects to be called to task for satirizing Freud in his latest book. However Freud has a completely different reason for the meeting, wanting to know why Lewis, a formerly devout atheist, as Freud is, has suddenly embraced the existence of God.

The answer, Lewis says, is quite simple: at the beginning of a trip he took he did not believe, and by the end of the journey he did. Of course it is not that simple at all, as during the course of the play, Lewis lays out the step-by-step process he went through which led him to this leap of faith. It's an explanation countered at every turn by Freud, who offers questions and arguments to the contrary showing why, in his view, God simply cannot exist.

One of the reasons the play is so interesting is that the playwright, to his credit, doesn't really try to take sides regarding who is in the right; instead offering examples and possibilities in this age-old argument of logic versus faith. This argument also begins to show an insight into both men, which is explored through their conversations as they debate the issue.

Freud was forced to flee his native Vienna when the Nazis came to power, though not before having a close encounter with them. He is also now suffering terribly from oral cancer, the pain of which will soon cause him to end his life. As for the younger Lewis, he is carrying his own scars from his combat experience in the First World War; "the war to end all wars," he notes bitterly. Both men have a strong sense of dignity, yet at the same time both carry secrets they want kept hidden. Freud is tremendously dependent on his daughter, the only one he trusts to take care of him, while Lewis has a relationship with the mother of his best friend who was killed in World War One. As Freud observes, one can learn more not from what someone says, but what they chose not to say.

These insights into their personal histories, as well as continuing interruptions from the outside world (in the form of a ringing telephone, a radio announcement and an air raid warning) are constant yet realistic reminders of what's going on around them as they continue their debate each trying to make their points with fervent belief, sardonic comments and occasional humor and insight (such as Lewis remarking on the figurines on Freud's desk, or Freud explaining about an insurance salesman).

Tyler Marchant's direction is perfectly handled here, showing Freud and Lewis as wary opponents and possible colleagues, both seekers of truth in their own way. Rayner is wonderful as the aged and ailing, but still mentally clear Freud, giving no quarter in the discussion, yet with enough vulnerability to allow the audience to see behind his professional demeanor. It's a testament to the actor's work that he is able to rise above the stereotypical and much parodied version of Freud to make him instead seem quite compelling and real. It's an added bonus that the character is imbued with just enough of a sense of humor that he doesn't take himself too seriously at times.

Dold is very good as Lewis, combining earnestness coupled with experience, as well as fear of drying in the war that is to come. It is a fear that Freud, who has resigned himself to the fact that he will die one day soon, no longer has. Lewis also carries with him a quiet calmness when he talks about his faith, an interesting change from the stereotypical fire and brimstone believer - also a frequent subject of parody (Lewis even hates hymns!).

Brian Prather's set of Freud's study is very nice, with its large glass windows and shelves filled with files, books and other brick-a-brac one would expect to find in a psychiatrist's office. Mark Mariani's costumes work well, sound design by Beth Lake is excellent and the lighting by Clifton Taylor is good.

As someone once said, it's not about finding the prize at the end of the quest, but rather it's the journey that's important; and Freud's Last Session has quite the interesting journey indeed. Good work by all involved and very highly recommended.

Freud's Last Session
By Mark St. Germain
Suggested by "The Question of God" by Dr. Armand M. Nicholi, Jr.
Directed by Tyler Merchant
Set Design: Brian Prather
Costume Design: Mark Mariani
Lighting Design: Clifton Taylor
Sound Design: Beth Lake
Production Stage Manager: Kate J. Cudworth

Featuring: Mark H. Dold (C.S. Lewis), Martin Rayner (Sigmund Freud)

The Marjorie S. Deane Little Theater
West Side YMCA
10 West 64th Street (between Central Park West and Broadway)

Tickets: 866-811-4111 or www.freudslastsession.com
Running time: 85 minutes, no intermission

Open Run

"Things To Ruin: The Songs of Joe Iconis" Comes to Le Poisson Rouge Tonight

Things To Ruin: The Songs of Joe Iconis is having a return engagement this Spring.

The four upcoming performances at Le Poisson Rouge will celebrate the recent release of the Things To Ruin cast album by Sh-K-Boom/ Ghostlight Records, and will feature many of the original cast members. Performances are on Monday February 28 at 10pm, Monday March 7 at 7:30pm, Sunday March 20 at 10:30pm and Monday March 28 at 10:30pm.

Things To Ruin is an incendiary collection of songs by Kleban and Larson Award Winner Joe Iconis (The Black Suits, ReWrite, The Plant That Ate Dirty Socks, The Rock and Roll Jamboree, Bloodsong of Love). It is a theatrical rock concert about human beings who are messy, emotional, drugged up, knocked down, inspired, electric and who don't have nearly enough time to cause the kind of commotion they so desperately need to. Performed by a cast of viciously talented young singers and a highly flammable four-piece band led by Joe himself, Things To Ruin rocks with an occasionally profane and always heartfelt explosion of music and high drama.

Things To Ruin has previously been seen at the Second Stage Theatre, The Zipper Factory, Joe’s Pub and Ars Nova. The Le Poisson Rouge run will reunite much of the original cast. The show's stars include Nick Blaemire (Glory Days), Carrie Manolakos (Wicked), Eric William Morris (Mamma Mia), Lance Rubin (The Plant That Ate Dirty Socks), Jason SweetTooth Williams (The Trouble With Doug), Starr Busby (Caroline or Change), and Katrina Rose Dideriksen (Hairpsray). Things To Ruin is directed by John Simpkins (Bloodsong of Love) with musical supervision by Matt Hinkley (Rooms). The show is produced by Sh-K-Boom/ Ghostlight Records and Sara Katz (Rock of Ages).

The show features the songs: “I Was Born This Morning (The Cicada Song),” “Mamma, Cut Me Deeper!” “Nerd Love,” “The War Song,” “Good For You,” “Asleep On My Arm,” “Everybody’s At The Bar (Without Me),” “The Guide To Success,” “Head Shot,” “The Whiskey Song,” “Son Of A Gun,” “Dodge Ball,” “Albuquerque Anyway,” “Just Means,” “Helen,” “Honey,” “The Bar Song,” “Almost There,”, and “Never Heard Nothing”.

“Humorous, vital music that kicks 1960’s-style pop tunefulness with hard post-punk beats. Joe Iconis recalls the excitement that that surrounded Marc Shaiman, Jonathan Larson and Jason Robert Brown. I would call Things To Ruin the beginning of something, except that it is already well underway.” - The New York Times

Sunday, February 27, 2011

FRIGID New York Interview - George Ridgeway of "Inside Straight"

By Byrne Harrison

Name: George Ridgeway (writer/performer)
Show: INSIDE STRAIGHT

How did you first get involved in theater?

Originally, I was in media work, then film-making, which led to stage acting.

Who are your biggest influences?

For solo work, Mike Daisy and Anna Deavere Smith.

Tell me a little bit about your show.

Johnny Ace is a street-smart surveillance expert. He is everybody’s Big Brother in a world with cameras everywhere, where bosses watch their employees on their computers, landlords have cameras in the walls, people track each other on the Internet, and your doctor may even put a camera up your ass. Johnny tells it like it is as he tracks, with pulsating humor and then deep anguish, the life-and-death story of a girl on the run in our world with a thousand eyes.

What inspired you to write it?

Through my narrator (Johnny Ace), I probe a central issue in the way we live: how much privacy (and sanity) can we hang onto as high technology pushes ahead all around us. Are we losing our “inner life” (and happiness) for the sake of high-tech gadgets?

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

Letty Cruz (my director) and I have worked on different variations of this show for several years.

What’s next for you after FRIGID?

Possibly expand and develop this show further. I also have other stage and film interests that I’m eager to pursue.

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

That in a high-tech world, we need some privacy to enjoy life. And that through the laughs and story of this show, people will realize that life without a creative inner life is a real drag and a hell of a lot less fun.

Inside Straight
Written by George Ridgeway & Directed by Letty Cruz
Presented by Thousand Eyes Productions, New York, NY

UNDER St. Marks (94 St. Marks Place)

$15

Fri 2/25 @ 6pm, Sat 2/26 @ 10pm, Wed 3/2 @ 6pm, Sat 3/5 @ 5:30pm, & Sun 3/6 @ 2:30pm

FRIGID New York Interview - The Bitter Poet

By Byrne Harrison
Photo by Luis Cubillos


Name: The Bitter Poet
Show: Looking For Love In All The Wrong Black Box Performance Spaces
Website: thebitterpoet.com

How did you first get involved in theatre?

When I was seven, I played a Lost Boy in a community theatre production of Peter Pan.

Who are your biggest influences?

Lou Reed, Jonathon Richman, Jim Morrison, Nick Cave, William Shatner, Jackie Gleason

Tell me a little bit about your show.

A poetry reading that mixes red shoes, black leather pants, a gold tux jacket, angst and an electric guitar. A high-energy, irreverent presentation of poems concerning the search for True Love and the contortionists you meet along the way. Poetry has never been this hot, angry, desperate, loud, sweet or true.

What inspired you to write it?

A broken heart and a fascination with charismatic sideshow performers.

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

This show is nothing more than a poet, his poems, his guitar, his amp, and of course, his costume.

What's next for you after FRIGID?

I'm scheduled to spend the spring recording and releasing a CD.

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

As you listen to my poems, if you know the words, sing along...

The Bitter Poet: Looking for Love in All the Wrong Black Box Performance Spaces
Presented by The Bitter Poet, New York, NY

UNDER St. Marks (94 St. Marks Place)

$10

Fri 2/25 @ 10:30pm, Sat 2/26 @ 8:30pm, Thu 3/3 @ 9pm, Sat 3/5 @ 4pm, & Sun 3/6 @ 5:30pm