For the Brady Kids it’s a beautiful morning and it’s gonna be a beautiful day.  And why not?  It’s 1974, they’re movin’ and groovin’ all through the night, and The Partridge Family is getting hot under the collar as the Bradys tread on their turf — a sure sign that they’re worthy competitors.  But in seventies sitcom land one does not simply unseat the royals.  Tracy Partridge, get your triangle … there’s gonna be a musical throw down.

Brady Kids of THE BARDY BUNCH [photo by Katie Settel]

Welcome to The Bardy Bunch: The War of the Families Partridge and Brady, and if you’ve been here before – welcome back!  In 2011 playwright Stephen Garvey showed Fringe audiences what happens when you take a little bit of The Brady Bunch canon, A little bit of The Partridge Family canon, and handfuls from the Shakespeare buffet and shake them all up together.  The result is one giant molded-salad of puns, quotes and interlocking story lines all set against a vivid avocado and burnt orange background.   “This is one show I wish I could go back and see again,” I’d said in my 2011 Fringe review and now, thanks to the good sense of the theatre gods, my wish came true.

In the hands of Garvey The Bardy Bunch is musical comedy genius, and watching this reboot now playing at the Theatre at St. Clements was like settling in to watch a re-run of a beloved show. There was a rush of familiarity coupled with a tingle of expectation at what I’d remember.  I was also excited to see some new scenes added in that only made the show better.

Choreographer Lorna Ventura once again sets up the show with a powerhouse number of both nostalgic and new moves.  Ventura faithfully recreates the Bradys’ iconic twirls as they fly down the road in their makeshift Model T A – so familiar that you are doing the moves along side them in your head. But then quick as a wink the Partridge kids bear down and Ventura swirls the warring kids up in a West-Side-Story rumble that ignited the audience and set the pace for the entire night.

From here on in it’s Brady verses Partridge at every turn with shades of Macbeth, Hamlet and Romeo & Juliet ringing the big bells with a few other Shakespearean references tinkling throughout.  You’ll be tickled regardless of  how extensive your knowledge of the Bard’s body of work.  And rest assured, in case you miss a reference there’s bound to be a show-off  in the audience ready to point it out by laughing loudly at an allusion you might have missed.  That’s okay – there’s plenty of fun to go around and everyone’s there to have a good time.

Director Jay Stern (who also directed Bardy at Fringe 2011)  knows the material well – pulling just the right moments of silliness and fun to warm the fans of the corny TV shows while still understanding when to control the effect of the Shakespearean references in order to have them hit their mark. Stern’s balanced hand ensures that Bardy is a delicate melange rather than a chaotic jumble – something that easily could have happened in the hands of a less perceptive director.  This is most evident when Stern succeeds in making a brutal bloodbath work as it plays out behind a crooning love song – no small feat, but just what the Bard ordered.

The cast is effervescent and fresh – despite simultaneously being spot-on in their retro interpretation.  Shag haircuts and far-out clothes can’t disguise the dynamic exuberance they bring to every number.  With several alums from the original Fringe cast it’s obvious that this show is as fun to perform as it is to watch.  All involved – from Brady Kids to Partridge Family and even Rubin and Alice come together in big numbers like the showstopping “(You’ve Got The)Sunshine In Your Hands/Think I’ll Go For A Walk Outside” arranged by musical director Logan Medland.  Moments like this one – and there were many – had the audience clapping along exuberantly and whooping at the end of the number.

Partridge Kids of THE BARDY BUNCH [photo by Katie Settel]

The entire show is written with a wink to the audience, both a love letter to the shows of childhood as well as a lampooning of the hackneyed, rehashed plots favored by both shows.  But as the Bard himself said in “As You Like It”  - ”I like this place and willingly could waste my time in it”.   Corny?  Yes.  Sappy?  Definitely.  But we like that mid-century modern place that Mr. Brady designed.  We like that Mondrian-painted bus that Mrs. Partridge drove around.  We willingly waste our time in the corridor of 1970s land where Marcia is lovely, Keith Partridge is dreamy, and everything is groovy on a daily basis.  If you didn’t have the chance to spend some time with this bunch a few years ago … now is the time to catch it and willingly waste some time of your own.  You’ll be glad  you did.

~~~

The Bardy Bunch: The War of the Families Partridge and Brady

Written by Stephen Garvey
Directed by Jay Stern

March 20-April 13, 2014

Theatre at St. Clements
423 West 46th Street
New York, NY 10036

CLICK HERE for tickets

Related Posts:

• The Bardy Bunch: The War Of The Families Partridge And Brady (Fringe Festival 2011)
• It’s A Sunshine Day For Stephen Garvey, Writer Of “The Bardy Bunch”
• Macbeth, Aquila Theatre; Macbeth, Epic Theatre Ensemble
• The Knocking Within: 4 Things To Know About The Show Before You Go (Times Square International Theater Festival 2012)
• Something Wicked (2014 Frigid New York Festival)

Five Questions. Five Answers. And One Big Decision: Rock, Paper, Or Scissors?

Drowning Ophelia: A New Rock Musical

Company: The RIFF Collective

In Drowning Ophelia, we see one girl with a microphone and the story of Hamlet told through an exciting theatrical concert of sex, drowning, and rock ‘n’ roll.

Show Times:

• Sat 2/25 @ 7pm
• Sun 2/26 @ 2:30pm
• Mon 2/27 @ 10:30pm
• Thu 3/1 @ 6pm
• Fri 3/2 @ 9pm
• Sun 3/4 @ 1pm

Answers by JD Cannady

(Director and Book Writer)

Karen Tortora-Lee’s Question
That’s some title. How did you come up with it – and what does it mean?
JD: Drowning Ophelia is an homage and riff off of the classic Hamlet story. After her self-proclaimed “tragic” drowning, Ophelia finds herself in purgatory with nothing to do. When the story comes back to her, four hundred years later, will she drown in the details over again or rise above?

Diánna Martin’s Question
If you were going to invite five people, anyone from past and present, to see your FRIGID show – who would you invite and why?
JD: Who would I invite? Tough one!

We’d invite Bill Shakespeare first to see the show- just to see if he’d approve. I’m sure if Bill was alive today he’d love guitars and mics… at least we hope so.

I’d love to invite Richard Burbage and the unidentified original actor that played Ophelia to the performance as well. Two actors that created these iconic roles, we’re sure would love to see their original creations in a much different light.

John Cameron Mitchell would be next for showing us that rock musicals really can rock and inspiring stories in the musical theatre world that take risks.

Lastly? I’m sure Sylvia Plath would have fun. No real reason other than having another whiny suicidal girl in the room, I guess.

Antonio Minino’s Question
What is the biggest sacrifice you’ve ever made for your Art and was it worth it?
JD: [editor's note: this question was left mysteriously blank.  I can only assume that JD's sacrifice was 1) so enormous it's too big to talk about and 2) well worth it.  Or, you know ... not.]

Geoffrey Paddy Johnson’s Question
Was there any unexpected discovery made during the development of this production and, if so, can you share it?
JD: The biggest discovery made over the course of our process has been the amazing, and undeniable realization that not only can new theatre transform the human experience but also effectively transform an worn story into something equally as moving in its own distinct way.

Michelle Augello-Page’s Question
What do you hope the audience receives from the experience of seeing this show?
JD: At RIFF, we hope that our audiences take home the experience of seeing a story in a completely different way. By providing this to you, our audience, we’re inviting you to make a new decision about a character, a new discovery about that moment that always confused you, or a new dilemma to walk into the next production of the classic with. All in all, we hope to stimulate old stories to stimulate your mind today.

Rock, Paper, Scissors Tournament of DEAAAAATH

THM Bonus Question – We’re serious this year!
In the THM virtual Rock, Paper, Scissors Tournament of DEAAAAATH which FRIGID Show do you take on? And what do you throw?
JD: Paper. Nothing but paper. 

And who do you challenge?
JD: Pick for us!

Okay, JD … we’re going to The Randomizer now.  Flippity Flip … your random opponent is I Married A Nun! which is very fitting what with the whole “get thee to a nunnery” and all … but totally random – promise!

Nun threw PAPER … so what started out very exciting actually ended in a tie.  But wait! You were also challenged by Love In The Time Of Chlamydia who threw ROCK at everyone. That’s a WIN!  And following in Love‘s footsteps was Initium/Finis who also threw ROCK at everyone.   Another WIN! And finally, you were directly challenged by Poe-Dunk, A Matchbox Entertainment who threw PAPER resulting in another tie. Congratulations!  Ophelia may have drowned but you certainly escaped DEAAAAATH in this RPS Tournament!

Thanks Drowning Ophelia: A New Rock Musical for participating in The Happiest Medium’s FRIGID New York Festival 2012 Q&A. And for playing our game! You’re officially PAPER in any and all challenges. You may win again, you may not – who knows! This is how it works in the crazy world of the Rock, Paper, Scissors Tournament of DEAAAAATH!

For the rest of you don’t forget to check out Drowning Ophelia: A New Rock Musical!

~~~

~~~

The 2012 FRIGID NEW YORK FESTIVAL will run February 22-March 4 at The Kraine Theater & The Red Room (85 East 4th Street between 2nd Ave and Bowery) and UNDER St. Marks (94 St. Marks Place between 1st Ave and Ave A). Tickets to all shows may be purchased online at www.FRIGIDnewyork.info or by calling Smarttix at 212-868-4444.

Related Posts:

• Drowning Ophelia: She Gets On Swimmingly (2012 FRIGID NEW YORK FESTIVAL)
• ‘Til Love Do Us Part: 5 Things To Know About The Show Before You Go (2012 FRIGID NEW YORK FESTIVAL)
• Big Plastic Heroes: 5 Things To Know About The Show Before You Go (2012 FRIGID NEW YORK FESTIVAL)
• The Terrible Manpain Of Umberto MacDougal: 5 Things To Know About The Show Before You Go (2012 FRIGID NEW YORK FESTIVAL)
• BLIND TO HAPPINESS: 5 Things To Know About The Show Before You Go (2012 FRIGID NEW YORK FESTIVAL)

The Knocking Within

ANIKAI Dance Theater
Texts from William Shakespeare’s Hamlet, MacBeth, Titus Andronicus and Othello
Selected and compiled by Wendy Jehlen
Direction, concept: Wendy Jehlen
Choreographer: Wendy Jehlen with Pradhuman Nayak

ANIKAI Dance Theater premieres “The Knocking Within,” a new text-based work looking at insanity and a dysfunctional relationship through texts from three of Shakespeare’s tragedies – Hamlet, Macbeth, Othello and Titus Andronicus.
The scenes will not play out in a linear manner, but rather will be woven into each other, so that the effect is of the disorientation of unmitigated mental illness and a relationship out of control, or is it the nightmares of two lovers?

Show Times:

• Tues 1/17 @ 6:00pm
• Fri 1/20 @ 8:30pm
• Sun 1/22 @ 3:00pm

Answers by Wendy Jehlen
Artistic Director
ANIKAI Dance

Karen Tortora-Lee’s Question
This is an international festival. What part of the world are you coming from … and will your show tantalize the NYC audience with a taste of your nation’s culture?
Wendy Jehlen:
We are from India and the US, by birth. However, this work, and all ANIKAI works, draws on influences and deep study of traditions from throughout the world. The subjects are also universal – dreaming, the space between waking and sleeping, relationship, love, fear. I believe that our work speaks to that culture of people who do not identify themselves with any one place, but rather with a global community.

Dianna Martin’s Question
Who is the greatest inspiration to you artistically?
Wendy Jehlen: It would be impossible to name just one person. We have both had so many influences and mentors. Much of this piece, believe it or not, was inspired by a few episodes of Radio Lab on NPR.

Geoffrey Paddy Johnson’s Question
What emerged as the greatest challenge during the development of this production?
Wendy Jehlen:Narrowing it down. The texts are so rich, as are the ideas we’ve been wrapping around them. It took us a while to settle into a structure, after which it flowed. I’m sure that we will make changes after this run, which is the premiere. After that we’ll be taking it to Boston, around India, and after that, who knows? The creative process is never over.

Antonio Minino’s Question
You’re in Times Square surrounded by the best Broadway houses and highest selling entertainment in the world. What resources are you utilizing to spread the word about your show and get butts in seats?
Wendy Jehlen: We’ve been using the Internet a lot, emails, Facebook, websites. It was listed in the Times under dance. I’m hoping that there will be curiosity about the breadth of influences and sources for the work, as was expressed in the Times listing. Also, this is a very intimate piece, and performing it for an intimate audience is perfect.
~~~

Related Posts:

• THM Sponsors The Times Square International Theatre Festival
• The Bardy Bunch – Keep On Singing And Dancing All Through The Night
• The Bardy Bunch: The War Of The Families Partridge And Brady (Fringe Festival 2011)
• Punk Grandpa: 10 Things To Know About The Show Before You Go (2016 FRIGID NEW YORK FESTIVAL)
• For Body And Light (2014 Frigid New York Festival)

We’re thrilled to pass along the Overall Excellence Award Winners for 2011 FringeNYC.  Some of our very favorite shows and performers are being celebrated and we’re so thankful that we were able to experience these talented performances this year.  Congratulations to all the winners!

***

August 28, 2011 — Winners of the 2011 FringeNYC Overall Excellence Awards, as selected by an independent panel of nearly 50 theater professionals, are as follows:

Overall Production/Play

• PigPen Presents The Mountain Song
  • What we said: As always the only disappointment with PigPen is when the play is over; it’s hard to watch them leave the stage – the same way it is hard for a child to watch that
    

    favorite relative go home at the end of a giddy day of make-believe. The good news is PigPen is relocating to New York City so those who can’t get enough of them will now be able to see them a lot more. And as long as they’ll be putting on shows, I’ll be in the audience, watching: amazed and dazzled.

• The More Loving One

Overall Production/Musical

• Yeast Nation
• Pearl’s Gone Blue

Performance

• Jennifer Barnhart (The Legend of Julie Taymor,or The Musical That Killed Everybody!)
• Ryan Barry (In the Summer Pavilion)
• Miles Cooper (Elysian Fields)
• Patrick Byas (Sammy Gets Mugged)
• Casey McClellan (My Name Is Billy)
• Brian Charles Rooney (Winner Takes All)
• Lauren Hennessy (Ampersand: A Romeo & Juliet Story)
  • What we said: [Hennessy] is breathtakingly real … often funny, sometimes sarcastic and deeply sexy … her chemistry with Choura (not only during their intimate moments
    

    but during her moments of longing as well) can be felt all the way in the back row, and considering this show is playing at The Ellen Stewart Theatre that’s saying a lot. When she sings she seduces and bewitches everyone in the room.

Playwriting

• Nicholas Billon (Greenland)
• A.D. Penedo (The Three Times She Knocked)
  • What we said: Writer A.D. Penedo has successfully taken a different type of relationship and made it not only understandable but accessible. By giving Eric a mechanism where he constantly breaks the fourth wall and addresses the audience we’re given a unique look into the mind of a man consumed not so much by a woman but by a way of operating. By Eric himself explaining his little quirks and foibles to us we are left free to sit back and watch as his confessions to us pave the way for his actions toward Tara. And sure, while he may seem a little out of his mind, at least he’s explaining his motives to us.
    

• Bella and the Pool Boy (Dennis Flanagan)

Music Composition

• Chris Rael (Araby)
• Dusty Brown (The Ballad of Rusty and Roy)

Ensemble

• Jersey Shoresical
  • What we said: Fans of (or those who admit to watching) Jersey Shore will love Jersey Shoresical for the extreme attention to detail paid by the creative team.  People who have
    

    never seen one moment of Jersey Shore will also love Jersey Shoresical – because the final product is just that good.  Either way, this was one hour of entertainment that left me clamoring for more.

• The Bardy Bunch: The War of the Families Partridge and Brady
  • What we said: What delights so thoroughly is how faithful each character remains to their Brady/Partridge origins while faithfully moving the Shakespearean plots along.  This story was just waiting to be done.  Thanks to the fantastic team of Garvey and Stern it has now been done perfectly.
• Stimulated!
• Crawling with Monsters

Costume Design

• Stephanie Alexander (Le Gourmand, or Gluttony!)
• Mark Richard Caswell (Parker and Dizzy’s Fabulous Journey to the End of the Rainbow)
• Tara DeVincenzo (Technodulia Dot Com)

Directing

• Greg Foro (Hamlet)
  • What we said: At mid-performance, just after Hamlet has rigged a play to prick the conscience of his murderous uncle, Claudius, the two characters circle the stage silently for a beat, eyeing each other variously as hunter and quarry, before Claudius calls -”Give me some light!”- at which the house is plunged into darkness and we are moved to intermission. This delicious moment is a sample of the thoughtful direction and stagecraft on display here.
• Joshua Kahan Brody (Fourteen Flights)
• Alaska Reece Vance (The Disorientation of Butterflies)

Solo Performance

• Donna/Madonna
• The Day the Sky Turned Black
• Be Careful! The Sharks Will Eat You!
  

• Paper Cut
  • What we said: Rasooly supplies all the voices while working the miniature mechanics and characters. It’s an inspired visual performance. To a movie-literate audience, it’s catnip.
• Heroes and Other Strangers

Dance

• Wallstories
• When the Sky Breaks 3D
  • What we said: The choreography of When the Sky Breaks 3D is nothing short of amazing. Several scenes stand out in my mind – one in particular is a scene where the dancers are fighting. At first two, then four, in a syncopated expression of movement; they struggle against each other, and ultimately themselves. The movements are strong and forceful, falling and rising, breaking apart and coming together – mirroring so many different struggles within our lives. The audience held its breath until the final resolution, as the dancers stood in unity together under the threatening sky.

Video Design

• Cinty Ionescu (Nils’ Fucked Up Day)

TheaterMania Audience Favorite Award

• COBU – Dance like Drumming, Drum like Dancing.

Congratulations again to all those recognized for overall excellence!!

Related Posts:

• Hamlet (Fringe Festival 2011)
• Ampersand’s Rockstar – A Chat With Lauren Hennessy
• Paper Cut (Fringe Festival 2011)
• PigPen Presents: The Mountain Song (Fringe Festival 2011)
• The Three Times She Knocked (Fringe Festival 2011)

Here’s the story … of The Bardy Bunch: The War Of The Families Partridge And Brady.

It’s 1974 and two families, one Brady, one Partridge are at war.  Their battlefield exists in cancelled sit-com land and their weapons consist of killer dance moves, cut throat ballads and production numbers meant to slay you in the aisles.  Their story is a mash up of well-known Partridge and Brady references retrofitted into such Shakespearean plays as Hamlet, MacBeth, Romeo and Juliet, among others.

The result is everything Fringe has come to be celebrated for: an innovative, enjoyable, hilarious night of theatre written by Stephen Garvey and directed by Jay Stern that isn’t afraid to push the envelope.

Whether you’re a 70s sitcom fan or a passionate follower of the bard, all your favorites are here – beginning with the Brady kids decked out in their all-too-familiar blue and white matching outfits as they sing “We’re gonna keep on, keep on, keep on, keep on dancing all through the night!” The choreography by Lorna Ventura is spot on – something you only realize you know as you actually watch it happen in front of you.  Ahhh, memories.

But it doesn’t all belong to the kids – when Carol Brady (Susan J. Jacks) arrives on the scene she sound so much like Florence Henderson that I heard murmurs in the audience … and same for Shirley Partridge (Michelle Mazza).  So when shades of Lady MacBeth emerge in Carol while her eldest daughter Marcia is being the Juliet to Keith Partridge’s Romeo it all makes perfect sense.

What delights so thoroughly is how faithful each character remains to their Brady/Partridge origins while faithfully moving the Shakespearean plots along.  This story was just waiting to be done.  Thanks to the fantastic team of Garvey and Stern it has now been done perfectly.

The jokes are appropriately corny and garner good-natured groans from the audience. (I’d love to repeat some of them but would hate to spoil the punch of hearing them for the first time).   This show is having a laugh at its own expense and that’s the fun of it.

But don’t expect a simple comedy.  A surprisingly touching song by Jan Brady (Annie Watkins) wearing a Hawaiian lei while sitting on a dunk tank may seem the last thing you’d expect to tug at your heart, but the scene channeling Ophelia was perfectly done, and brought a note of bittersweetness to the play  — before the laughter reappeared.

Music by Logan Medland, arranged by Zach Abramson is spot on, and standouts which bring the entire cast together include “I Woke Up In Love This Morning”.  There’s very little here to complain about, and even at the point where you’re thinking “wait … what’s going on?” there’s a hilarious exposition scene that recaps everything up until that point.  Brilliant.

This is one Fringe show I wish I could go back and see again.  Tomorrow’s show is already sold out so get tickets while you can – you won’t be disappointed!

~~~

The Bardy Bunch: The War of the Families Partridge and Brady
Writer: Stephen Garvey, inspired by “The Brady Bunch,” “The Partridge Family,” and the works of William Shakespeare
Director: Jay Stern
1h 40m  
www.thebardybunch.com
VENUE #9: The Ellen Stewart Theatre @ LA MAMA
Fri 19 @ 9 SOLD OUT
Sun 21 @ 8:45 Wed 24 @ 2

Related Posts:

• The Bardy Bunch – Keep On Singing And Dancing All Through The Night
• It’s A Sunshine Day For Stephen Garvey, Writer Of “The Bardy Bunch”
• Something Wicked (2014 Frigid New York Festival)
• Drowning Ophelia: She Gets On Swimmingly (2012 FRIGID NEW YORK FESTIVAL)
• Drowning Ophelia: A New Rock Musical – 5 Things To Know About The Show Before You Go (2012 FRIGID NEW YORK FESTIVAL)

Perhaps director Greg Foro and the BAMA Theatre Company could not have asked for a better setting than the Connelly Center’s Connelly Theatre on East 4th Street to stage their production of Shakespeare’s Hamlet. A miniature old world theatre stage, complete with grinning classical masks on a battered, gray painted proscenium, it quietly, without the use of scenery flats, and a minimum of props, establishes a subtly pointed atmosphere for this admirably pared down presentation of one of the English language’s greatest stage tragedies.

With just the presence of an old steamer trunk, from which are pulled props and costumes, the black curtained stage is almost empty, and our eyes and ears are focussed throughout on the actors and the language. The result, with this hard-working cast of just eight players to cover all the roles, is impressive. There isn’t an actor on stage who can’t sink their teeth deeply into the emotionalism of the moment and who isn’t capable of making the boards resound with anguish. And better, most refreshingly, the speech, with all its grand flourish, meter, and rhyme, is lent an almost contemporary natural rhythm, all of it brimming with conviction and detail. This is saying a lot given most people’s propensity to disengage from naturalism when faced with anything from the Bard. Historians and academics may ring their hands, but there is something significant happening around the Alabama Shakespeare Festival when it is producing actors and stagings of this calibre. If you are straining to hear a southern accent, you won’t here.

This is the company’s third annual presentation at NY Fringe and will undoubtedly uphold their reputation for showing leanly honed, emotionally fluent examples of Shakespeare’s eloquence. If the question is – can Shakespeare ever be modern? – then this – and not the trompe of putting a cast in thirties gangster tuxedoes and giving them cigarettes to smoke – must be as close as it comes. Everybody wins – the Bard, the actors, the audience; everybody, of course, but the beautiful losers of Elsinore.

At mid-performance, just after Hamlet has rigged a play to prick the conscience of his murderous uncle, Claudius, the two characters circle the stage silently for a beat, eyeing each other variously as hunter and quarry, before Claudius calls -”Give me some light!”- at which the house is plunged into darkness and we are moved to intermission. This delicious moment is a sample of the thoughtful direction and stagecraft on display here. There’s more than a hint  of Beckett in the graveyard scene, gleefully played for laughs by Alison Frederick’s intoxicated gravedigger, but this section, so often a problematic episode for companies, holds fast, true to the rest of the production. Carnal, bloody, and unnatural acts indeed. As the tension mounts the bodies pile up, leading to that most notorious of final scenes that features lingering death monologues by three of the principal characters and the terrifying specter of overkill. But we are in safe hands here also. Matt Renskers’ Horatio holds the stage with passion even as the actor corpses rise about him and calmly assume their place at rear, standing silently facing the audience before final curtain.

Much credit is due to all the performers, several of whom wear crew hats also. Chris Roe is perfectly cast as the Prince of Denmark; a wiry, brooding presence with palpable intensity and an electric intelligence which plays at levity while never surrendering the character’s own self-absorption. Physically agile, vocally limber, Roe gives us a Hamlet as desperately fucked-up as the situation he finds himself in; as sticky and complex a role as ever written for the stage. Everyone really is pitch perfect, but if I was forced to mention names a nod would have to go toward Roe; to Alison Frederick, whose Ophelia is genuinely disturbing; and to Nick Lawson, whose Laertes is quite a bit more than just a hot head.

I certainly wouldn’t have a problem recommending this production to any audience, but if you’d like a chance to observe some singular actors do their thing, delivering in full-blooded form the scenery-shredding language of William Shakespeare, at the perfect venue, then this NY Fringe festival ticket is really all that; smoking hot.

~~~

Hamlet
BAMA Theatre Company
Writer: William Shakespeare
Director: Greg Foro, Assistant Director: Sarah Walker Thornton
2h 20m

www.bamatheatrecompany.org
VENUE #7: Connelly Theater
Sun 14 @ 12 Wed 17 @ 2 Mon 22 @ 4

Related Posts:

• Twelfth Night, William Shakespeare, Bama Theatre Company (Fringe Festival 2012)
• FringeNYC 2011 Announces Overall Excellence Award Winners
• Drowning Ophelia: A New Rock Musical – 5 Things To Know About The Show Before You Go (2012 FRIGID NEW YORK FESTIVAL)
• The Bardy Bunch: The War Of The Families Partridge And Brady (Fringe Festival 2011)
• The Bardy Bunch – Keep On Singing And Dancing All Through The Night