The Happiest Medium

A Dance For Rylie – 5 Things To Know About The Show Before You Go (2012 Planet Connections Festivity)

Karen Tortora-Lee — Tue, 22 May 2012 03:32:37 +0000

A Dance For Rylie

Benefitting: Ali Forney Center
Produced by Stephan Davis
Written/Composed by Stephan Davis

Show Times:

Fri 6/1/12 – 9:00pm
Sun 6/3/12 – 8:00pm
Fri 6/8/12 – 4:00pm
Sun 6/10/12 – 10:00pm
Wed 6/13/12 – 5:00pm
Tues 6/19/12 – 6:00pm

Answers by Stephan Davis

Karen Tortora-Lee’s Question
How did you come up with the title for your show?

Stephan: I came up with the title for the show based on a song that the character sings at the end of the show, thanking his partner for the beautiful romance that they have shared and encouraging him to continue to be open to love again.

Diánna Martin’s Question
If you were going to invite 5 people (from the past or present) to see your show – who would you invite … and why?
Stephan: 1. Harvey Milk because I greatly admire the work he did to advance gay and lesbian rights. 2. Dustin Lance Black because I am a huge fan of his work. 3. Mariah Carey as her music from the 90′s has definitely influenced my style on saxophone and as a composer. 4 & 5, My Mom and Dad as the show would hopefully change their minds about gay and lesbian relationships and issues of equality.

Antonio Minino’s Question
What is the biggest sacrifice you’ve made for your art and was it worth it?
Stephan: I left Washington D.C. where I was pretty comfortable and established to move back to New York to pursue this show at full speed. Yes, it was absolutely worth it!

Geoffrey Paddy Johnson’s Question
Was there any unexpected discovery made during the development of this production and can you share it with us?
Stephan: Not so far!

Michelle Augello-Page’s Question
What do you hope the audience receives from the experience of seeing this show?
Stephan: I hope to advance consciousness around issues of HIV/AIDS and equality.

___

Planet Connections runs from May 30 – June 24 at The Bleecker Street Theater located at 45 Bleecker Street, New York, NY. To purchase tickets to this or any of the shows click here.

Bed – 5 Things To Know About The Show Before You Go (2012 Planet Connections Festivity)

Karen Tortora-Lee — Mon, 21 May 2012 23:00:43 +0000

BED

Benefiting: WIN [Women in Need]
Produced by Renegade Theatre Troupe
Written by Dana Sumner-Pritchard
Directed by Nick Martin

“A young couple is in the throes of a life changing event that threatens to ruin their relationship. Both heartbreaking and hilarious, “Bed” asks us to examine what exactly would tear us away from the loves of our lives.”

Show Times:

Sat 6/2/12 – 8:00pm
Mon 6/4/12 – 9:30pm
Thur 6/7/12 – 6:00pm
Wed 6/13/12 – 4:00pm
Tues 6/19/12 – 6:30pm
Sat 6/23/12 – 11:00am

Answers by Dana Sumner-Pritchard

(Playwright, Actress)

Karen Tortora-Lee’s Question
How did you come up with the title for your show?

Dana: The bed is the only set piece in the play. For a couple, there are a lot of implications surrounding their bed–the intimacy level is so high, any changes to routine can make it seem hostile. It made sense in this play about a couple that is desperately trying to stay together.

Diánna Martin’s Question
If you were going to invite 5 people (from the past or present) to see your show – who would you invite … and why?

Dana: My mother. I learned about poetry from her, and while the play is prose, her influence is all over it.

My first love. Our relationship inspired a lot of this piece (the good stuff, mostly!).

Jason Robert Brown. The play has drawn comparisons to his musical, “The Last Five Years,” and I’d love to hear his thoughts.

And you know, I wish Wendy Wasserstein was alive. I’d invite her for sure. My aunt always said I reminded her of her. Her sensibility when writing women is pretty inspiring to me as a lady playwright.

I love “The Children’s Hour” and I’d so invite Lillian Hellman if I could. She wrote such amazing work.

Antonio Minino’s Question
What is the biggest sacrifice you’ve made for your art and was it worth it?
Dana: I moved from my hometown in Northern California to New York so that I could be near the theatre scene here. It was a huge loss for me–I love where I’m from. But it’s been so worth it because now my play is being produced. The gamble paid off!

Geoffrey Paddy Johnson’s Question
Was there any unexpected discovery made during the development of this production and can you share it with us?
Dana: The play started out very autobiographical, and I thought I’d stay in that realm. But the big discovery for me was that I could write this story that was deeply personal without actually being about me. Its a rookie play-writing realization, but hey, I’m a rookie playwright, and it really does change the way you look at your writing.

Michelle Augello-Page’s Question
What do you hope the audience receives from the experience of seeing this show?
Dana: I hope they come to terms with what it means to love somoene fully. I hope that some people leave ready to forgive. I hope that others leave ready to fight. I hope that everyone leaves knowing a little bit more about how they love.

___

Planet Connections runs from May 30 – June 24 at The Bleecker Street Theater located at 45 Bleecker Street, New York, NY. To purchase tickets to this or any of the shows click here.

Accidental Incest: Someone For Everyone – 5 Things To Know About The Show Before You Go (2012 Planet Connections Festivity)

Karen Tortora-Lee — Mon, 21 May 2012 18:08:32 +0000

Accidental Incest: Someone for Everyone

Benefiting: RAINN
Produced by Daydream Theatre Company
Written by Lenny Schwartz

“Accidental Incest: Someone for Everyone” is a sick and disturbing comedy about two people who find romance in this crazy world. The problem is that they are indeed brother and sister! So they are left with a question: Be miserable or be with the one person who truly gets who you are.”

Show Times:

Fri 6/15/12 – 4:00pm
Sat 6/16/12 – 6:00pm
Sun 6/17/12 – 8:00pm

Answers by Lenny Schwartz

(Writer/Director)

Karen Tortora-Lee’s Question
How did you come up with the title for your show?

Lenny: My boss, Linda Barone, at Trinity Rep suggested the title “Accidental Incest” and said that I should write a play with that title. I added the “Someone for Everyone.” It seemed like too rich a title to pass up.

Diánna Martin’s Question
If you were going to invite 5 people (from the past or present) to see your show – who would you invite … and why?

Lenny: George W. Bush tops the list. Just to see his reaction to the nudity and filth. He could even bring his dad and talk about the themes of the show.

Actress Keira Knightley. You know, to sweep the stage after. She’d be good at that.

I’d invite John McCain. He owes me a beer after the last election.

Kirk Cameron – I think he would like the show!

And that guy “The Situation” from Jersey Shore. With a name like that, I just HAVE to know what the “situation” is! Must be important.

Oh and of course you, Dianna. Because you rock:)

Antonio Minino’s Question
What is the biggest sacrifice you’ve made for your art and was it worth it?
Lenny: I lost a bet with my producer for this show. So I must make good on my bet. I have to introduce each othe the shows in this run wearing nothing but my boxers. He also said I have to mention that in all of my press as part of losing the bet.

Geoffrey Paddy Johnson’s Question
Was there any unexpected discovery made during the development of this production and can you share it with us?
Lenny: My shame…I thought I had no shame left. But then I found some. There it was. And now? After directing this? It’s totally gone again.

Michelle Augello-Page’s Question
What do you hope the audience receives from the experience of seeing this show?
Lenny: Acceptance of themselves…no matter what size shape, color, or sexual orientation. and that’s the truth.

That was something my dad always believed in. Be happy with who you are. He was so excited when he heard I was doing this show…then two weeks after I told him he passed on.

My dad always liked when I wrote comedies. He also was accepting of everyone…and made sure that no matter who was in the room that they were worthwhile human beings no matter who they were or what they may have done in their their lives.

This one is for you, dad.

___

Planet Connections runs from May 30 – June 24 at The Bleecker Street Theater located at 45 Bleecker Street, New York, NY. To purchase tickets to this or any of the shows click here.

TRAFFICKED – 5 Things To Know About The Show Before You Go (2012 Planet Connections Festivity)

The Happiest Medium — Wed, 16 May 2012 23:20:45 +0000

Trafficked

Benefiting: GEMS
Created by Members of Project Girl Performance Collective
Directed by Ashley Marinaccio

Show Times:

Mon 6/4/12 – 4:00pm
Fri 6/8/12 – 6:00pm
Sun 6/10/12 – 5:30pm
Sat 6/16/12 – 4:30pm
Thu 6/21/12 – 5:00pm
Sat 6/23/12 – 1:30pm

Answers by various cast/staff members of TRAFFICKED including

Mildred Jones-Hamm (Performer), Monica Furman (Performer/Creator), Chioneso Bakr (Performer), Ashley Marinaccio (Director)

Karen Tortora-Lee’s Question
How did you come up with the title for your show?

Ashley Marinaccio: Trafficked tells the story of sex slavery and child exploitation through the eyes of fifteen young women. In an ensemble devised performance constructed by interviews, research and media, the cast puts a name and face to the thousands of undocumented girls and boys who are trafficked into the billion dollar sex industry each year. We chose to call our show Trafficked because it summarizes what our show is about.

Diánna Martin’s Question
If you were going to invite 5 people (from the past or present) to see your show – who would you invite … and why?

Somaly Mam – She is an activist who has dedicated her life to ending human trafficking. Her work has motivated this production. We hope that through our show we can help to raise awareness of people like Somaly Mam who are changing lives each day.

Gloria Steinem – As young feminists we deeply admire Gloria and feel that she has blazed the trail to let us be who we are today. It would be an honor for her to join us.

Eve Ensler – Eve has created a movement to end violence against women. She is our biggest influence. We would love for Eve to lead a workshop and talk back with our girls.

Michele Obama – We love the work that our first lady has done to empower women and girls in the United States and around the world. We have had the privilege of performing at The White House once and would love for Mrs. Obama to see
Trafficked.

Oprah – We want Oprah to see our work! She has changed so many lives and inspires us beyond words. We hope that our work will inspire Oprah the way that she has inspired us.

Antonio Minino’s Question
What is the biggest sacrifice you’ve made for your art and was it worth it?
Mildred Jones-Hamm (Age 21): The biggest sacrifice I made for my art is moving away from suburban Michigan, away from the security of family, my university, and friends to create a life in New York City. To develop my art in a place which I knew nothing about. Not only have I grown more independent but I also seek the importance of art and the decisions in my life. I’ve learned there is security in nothing so in order to excel I have to be fearless and make bold decisions in my life and ART. Through this experience I have become aware of my self worth as a individual, I truly believe that everything happens for a reason with this I have broaden my horizons as a thinker, artist and achiever it was totally worth it.

Geoffrey Paddy Johnson’s Question
Was there any unexpected discovery made during the development of this production and can you share it with us?
- Monica Furman (Age 16): I’m from Ukraine. I had no idea that Ukraine was a place of such immense sexual exploitation! I had never heard any family members talk about it, so I was very surprised when I came upon the information during my research for my character.
- Chioneso Bakr (Age 17): During production I learned that sex trafficking not only happens outside the US, but right inside my own city. To know that this issue is happening in my backyard, it makes the situation much more frightening.

Michelle Augello-Page’s Question
What do you hope the audience receives from the experience of seeing this show?
- Chioneso Bakr: The show should be the type of experience where audience would want to tell others about it. I would hope they would enjoy it, feel the acting, become emotional, and understand how serious sex trafficking is.

___

Planet Connections runs from May 30 – June 24 at The Bleecker Street Theater located at 45 Bleecker Street, New York, NY. To purchase tickets to this or any of the shows click here.

Julie Feeney At The Irish Arts Center

Geoffrey Paddy Johnson — Tue, 15 May 2012 17:13:22 +0000

There’s an undeniable elegance about the Irish singer/performer (composer, orchestrator, producer) Julie Feeney who is appearing for a 10 day booking at the Irish Arts Center on 51st Street. The elegance is there in the assemblage of instruments she has corralled on stage, as well as in the controlled voice, smooth flowing toothy lyrics, and sophisticated orchestral arrangements she deploys. But the elegance really comes about when Feeney emerges into the auditorium, using the regular patrons entrance way, singing in hushed tones the introduction to her song Myth. Leaning over from the aisle, she breathily exchanges some of the words with a surprised, somewhat unnerved audience. She’s sparkling in the reflected stage lights, an ornate crystal gemmed collar on her dress and tiny rhinestones in her hairnet twinkle in the shadows. It’s nothing to get really alarmed about, but that towering beehive coiffure is teased up just that little bit high enough to signal caution; who is this? And the song she is singing keeps dropping into abrupt silences. Before picking up once more and conducting you along a melody that achieves its pop bounce from a delicate arrangement of strings, bowed and pizzicato. She attains the stage and relaxes the audience with a complicit, almost coy smile, while working a silken black balloon dress that is at once sumptuous and brief. It’s a wonderfully poised balancing act between refinement and boldness, and it proves the perfect introduction for what is to follow.

She delivers a succession of self penned lyrical gems that play with a chamber orchestral style as comfortably as they address contemporary pop sensibilities. Using a backing group of seven musicians (she makes each musician, including her backing vocalist, play at least 2 instruments) incorporating a classical strings line-up, a touch of trumpet, and a hint of woodwind, Feeney gently moves through feelings that range from delicately vulnerable to reflexively sharp, by way of fluidly philosophical. Her presence and performance hold an element of theatre which is all of a graceful piece with the imaginative vocalizing and rich musicality. As perfectly manicured as her delivery is, there is enough live nerve on show to require attentive listening and to permit the unexpected. She is that rare thing, a striking mix of eccentric genius and comfortable intimacy.

In this show she presents works from her critically lauded, self produced, first two albums – 13 Songs and pages – and what is surely an eagerly awaited third, scheduled for release this Fall. In the hotbed of young musical talent that Ireland is today she is a strong individual presence, radiating assured musical understanding and punctilious execution. She holds three degrees, at least two of which are music focused (the other is in psychology). In Dublin she has performed at the National Concert Hall to rapturous reception (she is currently working on an opera commission from that quarter) but in the comparatively cozy setting of the IAC’s Donaghy Theatre she is very naturally at ease with a smaller audience. Her wide musical reach and meticulous attention to detail – as well as her sartorial distinctiveness – have prompted comparisons with Bjork, but she is very much her own entity, extinguishing likenesses. The wile and wit woven in to her lyrics, as well as evident in her orchestrations, speak eloquently on that point. In Britain The Guardian has offered its praise in the words ”the world will listen”, to which I can only add, and so it should! Julie noted.

BogBoy, By Deirdre Kinahan, At The Irish Arts Center

Blind Date Project – 5 Things To Know About The Show Before You Go (2012 Planet Connections Festivity)

The Happiest Medium — Wed, 09 May 2012 23:01:39 +0000

The Bad Date Project

Benefiting: Food Bank for New York City
Produced/Written by Stephen Stocking & Troy Miller
Directed by Troy Miller
Performed by Christopher Bonewitz, Rachel Christopher, Stephen Stocking, Bridget Ori, Tara Carrozza, Leigh Dunham, Michael Levi Harris, Matthew Stapleton

“Who hasn’t had a bad date? No one. Not even your grandma. The Bad Date Project takes two lonely singles on a rocky treasure hunt for love…or fun…or just some kind of connection. Created from true stories, it’s a sexy, hilarious and tragic look at dating in the new millennium.”

Show Times:

Sat 6/2/12 – 6:00pm
Thu 6/7/12 – 10:00pm
Sun 6/10/12 – 2:00pm
Wed 6/13/12 – 8:00pm
Mon 6/18/12 – 4:00pm
Wed 6/20/12 – 9:30pm
Thu 6/21/12 – 8:00pm
Sat 6/23/12 – 3:00pm

Answers by Troy Miller

(Co-Creator, Co-Producer, Director)

Karen Tortora-Lee’s Question
How did you come up with the title for your show?
Troy: As we started talking about writing and developing the play, we didn’t have a name, but the idea was a project of sorts, so as a working title we started calling it THE BAD DATE PROEJCT and it sort of stuck. But it’s also appropriate to what the show is about. It’s a study of dating. It takes work to date and to figure out how to do it well. So the word “project” seemed to have a lot of meaning to us.

Diánna Martin’s Question
If you were going to invite 5 people (from the past or present) to see your show – who would you invite … and why?
Troy: The woman who lives on the Upper East Side, the guy who lives in Brooklyn, the recent college grad from Columbia because our show is about them and their lives. We took their stories (and many others) and created a slice-of-life comedy that speaks about a universal truth, dating sucks!

If we were to invite industry professionals we would invite Moises Kaufman because his creation of THE LARAMIE PROJECT was inspiration to us in how to create our piece and tell our story. Elia Kazan because of his natural take on theater and his ability to balance multiple facets of creating art at once. Currently both of the co-creators are juggling three jobs (Writer/Producer/Director or Actor) and Mr. Kazan was able to do it flawlessly.

Antonio Minino’s Question
What is the biggest sacrifice you’ve made for your art and was it worth it?
Troy: Any sacrifice you make for your art is always worth it if you are following your heart and dream. The biggest sacrifice we have made for this project was time. Both Stephen Stocking and I have invested a few years of our lives in bringing this play through its stages, with all of the roller coaster events that come with bringing a show to life. And now as we are just at the tip of that big hill, we see all that was behind us and all that is in front of us, and I think it was completely worth it!

Geoffrey Paddy Johnson’s Question
Was there any unexpected discovery made during the development of this production and can you share it with us?
Troy: I won’t speak for Stephen on this, but I learned a lot about dating; the dos and don’ts and what was acceptable behavior and what wasn’t. However, I think the funniest thing I learned as we developed this piece was how to end a date quickly. If I spoke about the play and how we were getting our bad date stories, without fail the date would be over within 15 minutes after I started talking about it. It would seem none of my dates wanted to risk any more of their likeness making its way into the play!

Michelle Augello-Page’s Question
What do you hope the audience receives from the experience of seeing this show?
Troy: I would hope that they walk away feeling like they are not the only one who has suffered from a bad date, that they feel a sense of connection and camaraderie with the cast and the people whose stories went into the script. Overall that they spent 90 minutes feeling good, laughing and thinking, “wow, my dates weren’t THAT bad.”

___

Planet Connections runs from May 30 – June 24 at The Bleecker Street Theater located at 45 Bleecker Street, New York, NY. To purchase tickets to this or any of the shows click here.

Macbeth, Aquila Theatre; Macbeth, Epic Theatre Ensemble

Geoffrey Paddy Johnson — Wed, 09 May 2012 14:33:46 +0000

New York City is host to two concurrently running productions of Shakespeare’s Macbeth this Spring: Aquila Theatre‘s presentation at the Gym at Judson (April 18th – May 6th), and Epic Theatre Ensemble‘s interpretation at the 47th Street Theatre (April 20 – May 26th). A stable of many a theatrical company’s portfolio, apart from its matchless, vivid language, Macbeth as drama has much to attract aspiring ensembles, not least the challenge presented in portraying two of Shakespeare’s most unsympathetic lead roles. We watch as Macbeth and his wife are enticed into evil by the lure of power and then, as good stage villains, are punished for their crimes. The trick, however, is in making them into more than stage villains, for in that resides the case for tragedy and its capacity to ennoble human existence. It is a tricky bit of the equation as both of these productions can testify.

Aquila Theatre is devoted to the classics of western theatre, in restating their claim to preeminence as timeless pieces, triumphs of human artistry and culture. As such they tend toward language focused productions that are light on the use of contemporary stagecraft elaborations. For their Macbeth Desiree Sanchez wears both directorial and production designer hats. She is spare in her approach. A minimum of props are deployed in the expansive and lofty space Judson’s Gym theatre offers. There is an economy and subtlety at work in the way she groups the action about the squared arena. An innovative, momentary introductory prelude scene which highlights a blood-soaked, battle worn Macbeth in one corner, and a bereft Lady Macbeth on bloodied bed sheets following unsuccessful labor in the opposite corner, acts as a startling, punched signature of this director’s suggestion for the fatal couple’s motivations. The Macbeths are traumatized people, destabilized, estranged, in search of a project into which they can pour themselves, erase the past, and reunite. This prelude dispatched in an instant, there is little other tinkering with the body of the play and all unfolds to order.

The performances are vigorous, emotive, well spoken and, most importantly, psychologically grounded. If you have an ear for Shakespeare this is a wonderful production to hear his words delivered eloquently and with conviction. Rebecca Reaney as Lady Mabeth is nuanced and bold, spectacularly benefiting from Peter Meineck‘s well-judged lighting, which is at once lavishly theatrical and self-disciplined. Guy Oliver-Watts, working to uncover an aspect of post traumatic stress disorder in the role of Macbeth, has a more complex part. He is thoroughly convincing, but in so doing projects a weakened, dependent quality in the man who would be king and, strangely, this deflates the character somewhat, puncturing the fullness of the play’s tragic reach. He is doing well what he has been directed to do but herein lies the rub, and a very fine rub it is for the measure of what might be deemed tragic theatre. The rest of the cast are for the most part assured in their roles, with Peter F. Gardiner, (Banquo), James Lavender (Macduff), and Rachel Barrington (Lady Macduff) especially commendable.

Coincidentally the notion that the Macbeths, and especially Lady Macbeth, are grieving former parents, is made central in Epic Theatre’s version of the play. This idea is evident in the presence on stage of a small shrine with a framed photograph of a toddler, to which Lady Macbeth touchingly returns for some of her scenes. Also, it is manifest in the large projected photo image of the Macbeths, tenderly converging about a drowsy infant, which is thrown up on the broken surface of the rear wall. This projection is relentless, hanging like a grey cloud above the proceedings, at once lugubrious and sentimental. Interpretation, with a capital I, is the strategy of this production. Set in a more contemporary world, we are treated to off-stage electronic voices in ear pieces, and a video screen displaying action elsewhere. The Weird Sisters are a heterogeneous mix of sexes and ethnicities, and hang about the stage throughout the action on overhead ladders and walkways, like jaded demi-gods, stonily unmoved by the unfolding drama below. Innovation appears one of director Ron Russell‘s chief concerns with his production. In the banquet scene where a guilty Macbeth is plagued with visions of the murdered Banquo, the bloodied apparition is suddenly encountered in a dance embrace by the newly crowned king. This shift works dramatically, as do some of the other re-imaginings. Richard Easton as Duncan, hailing from the video monitor, is a treat as a telegenic royal talking head, at once hammy and calculating. However, a growing awareness dawns as it becomes plain that Russell as director, engaged with innovation it seems for innovation’s sake, completely loses the plot in the finest sense. This might have been more immediately evident if I had read the production’s publicity notes which describe the play as “a brutal and darkly funny exploration of the banality of evil.” Really? Macbeth? Funny? If the line had been offered by Mel Brooks I might have taken closer note, but otherwise it seems merely, but utterly, wrong-headed. And how wrong-headed becomes dismayingly clear in due course as Russell stokes up moments of sour humor (one of the witches sings her lines in a borrowed tutu as a karaoke turn) and rubbishes any solemnity. It’s as if the idea of theatrical tragedy is unknown to him. The most damaging turn occurs amidst some rapid fire scene shifts toward the conclusion which require one actor to change swiftly between two characters. This is done on stage by the actor (James Wallert) taping and un-taping a fringe of hair to his brow to distinguish between roles. In the duration a cry is heard off stage. Jumping from left to right, Wallert, fringed one moment, un-fringed the next, delivers the news of Lady Macbeth’s death. It is, richly, a Mel Brooks moment, and there was more than one chuckle in the audience.

Can Russell actually hear the language Shakespeare is putting in his characters’ mouths? The evidence is scarce and the actors suffer from the inability to sound as if they mean their words. Who is to blame them if the director has no feeling for the real emotion of the play? Apart from Easton in the role of Duncan, and Julian Rozzell, Jr. (with presence to burn) as one of the witches, everyone seems merely focused on unburdening themselves as rapidly and succinctly as possible of their Shakespearean metre. Russell is not the director who can marry them to their lines. As Macbeth, Ty Jones actually commences the soliloquy – “Is this a dagger I see before me?” – with his back to the audience. No chance here for an actor to convey facially the extremity of the moment. Russell, it seems, is not interested in psychological subtleties (witness the never-changing backdrop projection) merely the chance of creating something different. Well sad to say, something different definitely this way comes, but you’ll be lucky if the pricking you feel is confined to your thumbs.

DEINDE – Rules Are Made. Rules Are Broken

Karen Tortora-Lee — Tue, 08 May 2012 19:50:39 +0000

There’s a reason that the second rule of Fight Club is the same as the first rule of Fight Club. Because Tyler Durden (and by extension, author Chuck Palahniuk) understood that it’s human nature to break rules. First rule of Fight Club – don’t talk about Fight Club. Second Rule of Fight Club: DO NOT talk about Fight Club. So what did people do?

What does this have to do with August Schulenberg’s new play DEINDE? Simple. DEINDE – a sci-fi story of quantum biologists who use a Dineural Entangled Intelligence Network DEvice [a "clumsy acronym, really, not even a real E at the end"] to “loop in” in order to juice their brains so that they can be smart enough to cure a virus that has been killing the world’s population – begins with four simple rules:

When using DEINDE do not think of anything other than work.
Do not keep the connection to DEINDE live outside of work.
Do not use DEINDE to communicate with each other.
Do not use DEINDE to accss the world online.

Sounds so easy to follow, right? So did “Don’t talk about Fight Club” and we all know how that turned out.

The rest of the play is about how those looped in to DEINDE systematically break the rules as they find themselves becoming addicted to the unnameable and unbelievable power that overtakes them, courtesy of this strange and wonderful and terrifying new level of understanding.

The play itself begins with a chess match – a conventional one – which then thematically unfolds throughout the entire play, on a much more subtle level. In the first scene the game is being played on a recognizable board and the notion of checkmate has no hidden meaning or agenda. On one side of the board we have Cooper (David Ian Lee) who plays a very analytic and thoughtful game where he tries to see every available move before he proceeds. However he doesn’t have the intuitive leap to be able to move beyond what is in front of him in order to win the match. On the other side of the board there is the older, wiser Malcolm (Ken Glickfeld) who is the embodiment of 95 years of trial and error. This dictates not just how he plays a chess match, but how he moves through life. While it seems that he is using intimidation and brio to distract his opponent in actuality he doesn’t need this slight of hand – he’s won the game anyway, based on his innate knowledge which comes from something that can’t be taught – something that can only be experienced. By zeroing in on the fatal flaw of his opponent rather than relying on the limitations of his own body of knowledge, he is able to win the game.

DEINDE featuring Isaiah Tanenbaum, Ken Glickfeld, David Ian Lee, Rachael Hip-Flores, and Nitya Vidyasagar (Photo credit Justin Hoch)

DEINDE works with this theme throughout the play; constantly pitting two sides against each other with much higher stakes, and a checkmate which implies not just the end of a game but perhaps the end of human progress. The battle is between information vs. intuition, intelligence vs. maturity, wisdom vs. knowledge. If you’re paying attention it’s easy to see how the moves will play out – but nonetheless thrilling to watch as they unfold.

There’s a lot of science here – this is, after all, a sci-fi tale, but it’s laid out in a way that is conversational, interactive and engaging. If some of it goes over your head, well, that’s almost the meta-point.

DEINDE is what would happen if Charly and Sybil had a love child who evolved at the speed of light. If you remember your high school reading assignments, Flowers For Algernon dealt with Charly (or Charlie), a learning-disabled man who is chosen by a team of scientists to boost his intelligence. As Charly becomes self aware, and soon hyper-intelligent he becomes disenchanted both with his former self as well as those around him whom he once admired. Similarly, Jenni and Mac – the young, eager (already brilliant) quantum biologists who undergo the DEINDE process find themselves on this same road – unable to return to the blandness of the existence they had before they looped in. So they simply don’t.

As they further break the rules they become reliant upon the technology, even as they surpass it. Those around them, once considered mentors, colleagues and advisers are now considered troglodytes. Speaking with them is like ”talking through tar” to Jenni and Mac who are on an accelerated path – always. Further, as they break rule number 3 they find themselves justifying their own behavior to (and with) each other, as they now are “one person in two bodies” who still speak out loud to each other, but in unison because it “feels grounding, like we’re still human in some meaningful way”. Further they decide they are there “not … to abolish the law but to fulfill Man’s destiny”. Yes. They are THAT GOOD. Or so they think.

But there are consequences for breaking the rules. Not punishments. Consequences.

Throughout the play in every way director Heather Cohn balances precision with chaos. Will Lowry’s set and scenic design is awash in mathematical equations, written in a steady hand and proving the undeniable. Electronic devices are clear lucite and allow for anything since they are beholden to nothing. Martha Goode’s sound design brings scenes crackling to life with music that is classical, indicating moments which are very calculated and decisive, straightforward and blunt. This makes the dischord which begins once the rules are broken all the more salient and pronounced – where things once were clear and ordered they are now explosive and uncontrollable.

Similarly the acting is in perfect balance; a composed and measured Nabanita (Nitya Vidyasagar) is in perfect counterbalance to the (at first) bouncy, youthful, Mac (Isaiah Tanenbaum) and Jenni (Rachael Hip-Flores) who move quickly to manic and frenzied. Cooper and Malcolm do fantastic work in the middle ground, showing both compassion and tolerance in the face of a technology that is terrifying, wonderful and unquantifiable.

Another strong Flux Theatre Ensemble production which melds science with sentiment and allows the “what if”s to paint a picture of possibility. Beautiful and meaningful – not to be missed.

~~~

DEINDE

Written by August Schulenburg

Directed by Heather Cohn

Now until May 12

The Secret Theatre

44-02 23rd St, Long Island City, NY

Click Here for tickets

The American Play – 5 Things To Know About The Show Before You Go (2012 Planet Connections Festivity)

The Happiest Medium — Mon, 07 May 2012 16:01:58 +0000

The American Play

Benefiting: Sanctuary for Families
Produced by The Dirty Blondes
Written by Ashley J. Jacobson

“A sinister tale of a burgeoning friendship in an increasingly sociopathic society hell-bent on making monsters of its men and objects of its women. What would Partick Bateman do?”

Show Times:

Mon 6/4/12 – 6:00pm
Thur 6/7/12 – 10:30pm
Thur 6/14/12 – 4:00pm
Wed 6/20/12 – 8:30pm
Fri 6/22/12 – 6:00pm
Sat 6/23/12 – 6:30pm

Answers by Alexandra Siladi (Director),

Ashley Jacobson (Playwright),

Elizabeth Sarkady (Manager)

Karen Tortora-Lee’s Question
How did you come up with the title for your show?
Alexandra Siladi: Our show was inspired by American Psycho – playwright Ashley Jacobson decided on this specific title because we also realized this story was a capsule of modern American life. It is about white men, a demographic who not only who founded the country we live in, but continue to decide on the laws & regulations that govern its citizens. We see this play as a comment on American society and how in 20 years since American Psycho was written, not only has the story of Patrick Bateman been embraced by a large majority of those who know it, but it has become an iconic vision of the American male’s greatest concerns: image, sex, power, and money.

Diánna Martin’s Question
If you were going to invite 5 people (from the past or present) to see your show – who would you invite … and why?
AS: Bret Easton Ellis, because he wrote the book that is our inspiration in addition to being one of the most prolific writers of our generation, Christian Bale because he’s the inspiration for the film and our play’s image, Marilyn French the author of The War Against Women written years before the hashtag was part of our lexicon, Donald Trump Jr. because he would make a great Bateman and might be inspired to support the arts, and…

Ashley Jacobson: Quentin Tarantino, because I think he’d really like it.

Antonio Minino’s Question
What is the biggest sacrifice you’ve made for your art and was it worth it?
AS: The biggest sacrifice I’ve made for my art was my life – I’ve given myself up not only for this play, but for theater. It’s great exploring the mysteries of the human condition through the performing arts, I don’t see any other way.

AJ: As a writer, the artistic process is solitary, confining, alienating. You can’t do it with friends, of for me, a crowded room. I sit alone and stare at a computer screen and let the voices in my head guide me. Especially with this play, I think the sacrifice has been a bit of a social life, and a lot of my sanity. I dream about these people and hear their voices. It’s rewarding to hand it over to the production team and let them inhabit that world for a while.

Geoffrey Paddy Johnson’s Question
Was there any unexpected discovery made during the development of this production and can you share it with us?
AS: In the beginning, my goal was to bring American Psycho to life as essentially a one-person play told by multiple actors. From this seed, it has become a play about two fully formed characters that are able to exist as a comment on the same darkness that exists in the book. Also, we’ve discovered that live actresses make a better chorus than mannequins.

Elizabeth Sarkady: The original idea of the play came about before our company, The Dirty Blondes. After our company formed and we came back to this project, we noticed that the fact that this was a script about men penned and developed by women gave it a subversive feminist agenda.

AJ: After the first round of auditions, the entire production team was really depressed and freaked out by the show. It was a turning point in the writing process because we realized that we had created such a dark world, but we weren’t offering an alternative. We were just painting a picture of a cartoonish cruel world as if it was exact and inescapable. We had a little bit of an email therapy session, and I went back to the drawing board. From there, we added scenes and words that became the heart of the play; that made it more human; more touching and much more powerful.

Michelle Augello-Page’s Question
What do you hope the audience receives from the experience of seeing this show?
AS: We hope the audience experiences not only the Brechtian ideal of “alienation” (which we’re going for with breaking down the fourth wall) but that they are moved to look at how their behavior in even the most subtle forms of expression or language can impact the series of events that leads to violence. Violence begets violence, and we hope that the audience might not just turn their head to this fact, but try to stop it and show some kindness, which is not an easy feat.

AJ: Alex puts this perfectly. I just hope people are touched. The play points to so many elements of our daily lives – sexism, bullying, capitalism, etc. The takeaway message, though, is that it is all about how we treat each other, the damage we do to each other for the sake of “survival.” Kindness, and live-and-let-live can be a form of survival as well.

___

Planet Connections runs from May 30 – June 24 at The Bleecker Street Theater located at 45 Bleecker Street, New York, NY. To purchase tickets to this or any of the shows click here.

Livia’s Castle of Enchantment

Michelle Augello-Page — Mon, 07 May 2012 15:24:10 +0000

Actress and Comedian Livia Scott hosts this monthly variety show, where dead celebrities are brought back to life and stellar guest performances contribute to the experience of Livia’s Castle of Enchantment at the UCB Theater East.

I attended Livia’s Castle of Enchantment on Tuesday, April 24, and was pleasantly taken on a whirlwind as Livia morphed into the dead celebrity of the evening: Mike Wallace. Livia’s portrayal as Mike Wallace was as respectful as it was funny and had the crowd laughing throughout the show, highlighting her skills in stand-up, improv, and impersonation.

Livia (ahem … Mike Wallace) was joined by three special guests: Mike Milazzo, Bamboo Silva, and Seaton Smith. These acts were woven throughout the show, giving each performer a space in which to shine, while being incorporated into the total experience of the evening’s enchantment.

Seaton Smith did a riotous comedy set, enthralling the audience with his edgy humor, thoughts, and observations. Mike Milazzo and Bamboo Silva rocked the theater with solo acts, and then collaborated in an improvisational jam that had the audience shouting with excitement and electric applause. As Livia said, “the ferociously heartbreaking guitarist + Bronx beatboxer beyond Thunderdome = together they’re unlike anything you’ve ever seen.”

Overall, Livia’s Castle of Enchantment is a fun, organic variety show. Each month brings a new dead celebrity host via Livia and amazing guest acts to round out the experience. The show starts by 7:30 and lasts about an hour. At only $5, you won’t want to miss this kind of enchantment.

More about Livia Scott:

Livia is an actress, comedian and character powerhouse who’s appeared on Law & Order, Late Night With Conan O’Brien, the Comedy Central series Honesty, the upcoming feature film Snatched as Andrew McCarthy’s nurse and she pulls a Peter Sellers by playing about 7 different roles in National Lampoon’s Dirty Movie directed by Christopher Meloni.

She’s an ensemble player in The Shushan Channel by writers from The Daily Show With Jon Stewart with guest appearances by Will Forte, Scott Adsit, Rachel Dratch, John Oliver and Joel McHale, and MEAT, the critically acclaimed all-female sketch phenomenon hailed as “One of the nation’s best groups” by THE ONION.

Livia also writes for MIRTH Magazine, hosts the celebrated variety experience Livia’s Castle Of Enchantment at UCB and is a double ECNY Award nominee for Best Emerging Comic of the Year and Best Solo Show for Goodnight, OJ, her adaptation of real letters written to OJ Simpson which ran for a year at UCB and was directed by Baron Vaughn.

She’s been featured in The New York Times, Backstage, The New York Post, The NY Daily News and The Apiary.

Livia won the 2011 Channy Award for Best Villain in a Web Series & the 2010 Channy Award for Best Actress. She was recently named “One Of Our Favorite 53 Female Comedians” along with Tina Fey, Amy Poehler & Sarah Silverman by THE HUFFINGTON POST.

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