The Happiest Medium » Under St. Marks

The Dirty Blondes Talk About SEX

Karen Tortora-Lee — Fri, 23 Sep 2016 22:04:57 +0000

I will take any opportunity to keep Mae West‘s memory alive here on THM - I’ve worshiped her since I was a child. Not just a film actress, West was a pioneer of the stage who didn’t wait around for parts to be written for her. Nor did she shy away from the subject matter that interested her most – sex. So it just stands to reason that she would write a vehicle for herself which she could star in – and title it bluntly.

Almost a century later, I’m absolutely ecstatic that The Dirty Blondes will present a staged reading of Mae West’s infamous stage play, SEX, for a limited engagement September 29-October 2 at UNDER St. Marks, directed by Courtney Laine Self. Written by West almost 90 years ago, SEX is about a sharp-witted prostitute from Montreal’s Red Light District looking for true love. It was initially shut down in 1927 during its Broadway run, and West was jailed for “lewdness and corrupting the youth.”

I got to chat with Ashley Jacobson, the Artistic Director of The Dirty Blondes, who took a minute out of her hectic schedule to talk about sex, SEX, how some things never change – and how the things that DO change are not always what you think.

It is SO GREAT to see someone take this great play out of the trunk, dust it off, and give it a good shine. I’ve been a Mae West fan since the age of 8, so literally grew up knowing about Mae West, her work and her mission. But why don’t you go ahead and tell us a little bit about how you came to know about SEX and what made it seem like the perfect script to do as a staged reading?

Ashley Jacobson: I always grew up knowing about Mae West as well, but mostly just about her stardom/Hollywood Fame. I came across her book of plays on Amazon one day when I was looking for plays by women, and was so confused! I had no idea she had been a playwright, let alone one that was produced on Broadway. Then I just fell down the research rabbit hole and became more and more impressed by her and excited by the play’s history. She was the patron saint bad-ass we have been looking for! As a company with the name “Dirty Blondes” we are clearly interested in playing off people’s perceptions of femininity and sexuality and challenging these notions with surprising theater. Mae West literally embodies everything we think about ourselves as a company, so it seemed like the perfect thing to explore.

We also wanted to do it as a reading because we wanted it to be presented as a conversation starter, rather than a perfectly polished piece. There is a lot of meat in her play and a LOT to talk about – in terms of the play itself and what Mae West meant by all of it. There are also some problematic elements, including the way race is discussed in the play. So we wanted to present it and make sure we had the opportunity to provide the context and conversation around it. A reading seemed like the best way to accomplish all that.

There’s a lot that’s changed in the 90 years since SEX was seen by its original audience. Obviously what was considered shocking and scandalous back then is almost yawn-inducing now. Does this script hold up? And in the parts where it may not, are you playing it straight, or giving a bit of a wink-and-nod to the audience?

Ashley: The script holds up! Not just for its salaciousness, but Mae wrote some really interesting characters in her play and good characters will always hold up. The story itself, about redemption and about this woman finding her way to a new life, is a timeless story. We’re playing the script straight, letting it speak for itself but also being completely conscious of things that might be considered problematic NOW. The play still needs a “trigger warning” – and not for the same reasons it was considered problematic 90 years ago. There is a lot of talk of violence against women, some racist language – these things were considered fine then, but they certainly aren’t now. Mae West captured a moment in time with this play, and showed us how it was for women in the 20s. We’re interested in exploring that much more than the raunchiness of the story – which, you’re right, isn’t anything to bat an eye at now.

Mae West was a pioneer – a feminist long before the feminist movement. If she was around today, what updates do you think she’d be making to her work in general? And more directly – how different would SEX be if she were to write it in 2016?

Ashley: Wow! What a question! You can see that Mae West progressed as a feminist even in her own life. By the time she reached Hollywood she was one of the biggest advocates for including people of color in her films, and when she was on Broadway she insisted on casting gay & lesbian actors, even though they weren’t allowed in the union. I don’t know if I can speculate on the type of artist she would be now – although I’m sure she would be basking, enjoying the fearlessness of some fellow female performers in the comedy and TV arena – but I honestly don’t know if SEX would be all that different. I would hope it would have a better take on race relations now, but I think it would still focus on how women are continuously reduced to the lowest common denominator. I think it would still talk about the struggle to find empowerment in female sexuality, while avoiding being defined by it. Violence against women is still a serious issue, human trafficking and unfair treatment of sex workers are all important issues now and she sheds some serious light on them in her play.

The Dirty Blondes embody so much of what Mae West was herself – a feisty, strong female doing it all – creatively – herself. Talk to me about what it would be like if you could bring her back and have her come see your staged reading. Do you think she’d be honored? Pleased? Or a little threatened even?

Ashley: Oh God, that would be incredible. (Also thank you for the very nice description!). I would hope she would be honored and excited for us. I would hope that she would see how she paved the way for us to be more fearless and unapologetic – to create the theater that we aren’t seeing anywhere else. She might be a little overwhelmed by how much we intend to dissect the work in our talkbacks but I hope she would see that we are doing that because we believe that she had so much to offer; that her play, although it was widely panned by critics during its time, is actually a full and fruitful story with so much to say about being a woman then AND now. I think Mae West, were she alive today, would be a huge proponent of sisterhood and supporting women artists. There is room for all of us, and I believe that Mae West believes that. She wrote roles for herself and then cast as many people as humanly possible in her plays – she was an artists’ artist.

Finally – staged readings are fantastic. I’ve seen some where you forget you’re not watching an actual play. However, there’s always hope for bigger and better, right? In which case I’m wondering – does The Dirty Blondes have any hopes of doing a full-out production of SEX if this reading goes well?

Ashley: I guess we’ll have to see, but I think the fact that its a reading is a really big part of what we’re doing. We have scheduled some incredible talkbacks with current and retired Sex Workers, Feminist Burlesque Dancers, and an incredible Mae West historian. We really wanted to place the play at the center of a larger conversation – and sometimes you can’t do that in a full production. So presenting the piece as kind of a work-in-progress is important to us. But who knows, if we get the lightning to hit just right, there could be room for bigger aspirations!

Thanks so much for not only answering these questions, but for bringing this back to the stage. I can’t tell you how excited I am to know that new audiences will be seeing this work – even (if only for now) as just a reading!

Ashley: Thank you for such thought-provoking questions!

~~~

For a little extra fun, I’m going to leave you with some Mae West Drunk History courtesy of The Dirty Blondes themselves. Take it away, gals …

Mae West Drunk History from The Dirty Blondes on Vimeo.

~~~

FRIGID NEW YORK @ HORSE TRADE
IN ASSOCIATION WITH
THE DIRTY BLONDES

PRESENT

MAE WEST’S SEX
directed by Courtney Laine Self

September 29-October 2

UNDER St. Marks
94 St. Marks Place
(between 1 st Avenue and Avenue A)
Performances: Thursday through Sunday at 7pm
Tickets: $17
CLICK HERE to purchase

Talkback Schedule:

Kick off the opening night with some bad ass feminist poetry by Maya Osborne and guests, and stay after the show to grab a drink and talk to our amazing cast.

Friday, September 30
Native New Yorker LindaAnn Loschiavo is a journalist, dramatist and Mae West Historian.

Saturday, October 1
Juniper Fleming previously directed, produced, and performed in an all sex worker revival of SEX, at Dixon Place Theater this past June.

Sunday, October 2
Veronica Varlow is a siren born of the 1940s Fantasy of Pinup Girls and Femme Fatales. Beguiling and beautiful, Varlow weaves a spell upon her audiences like none other.

Outskirts of Eden: 10 Things To Know About The Show Before You Go (2016 FRIGID NEW YORK FESTIVAL)

Karen Tortora-Lee — Wed, 03 Feb 2016 18:57:32 +0000

Ten Questions. Ten Answers. And one Big Surprise in the audience …

Outskirts of Eden
produced by Jodi Productions

In this one-act adaptation we find an Eden magical, menacing and alive with human feeling. We enter the very mind of Eve. Centuries later Adam is dead, Eve is pissed and good and evil are on the tongues of the tasters.

Show Info:

Thu Feb 18, 2016 | 8:50PM
Mon Feb 22, 2016 | 7:10PM
Sun Feb 28, 2016 | 1:50PM
Wed Mar 02, 2016 | 5:30PM
Sun Mar 06, 2016 | 5:10PM

UNDER St. Marks New York, NY $12

Answers by Eva Dolan
(performer, producer)

1. Forget the PR version. When you’re talking to your friends, how do you explain this show to them?
Eva: Outskirts of Eden is a feminist retelling of the Eve and Adam story, set in the here and now. Eve has been around since (almost) the beginning of time. We have live musical accompaniment: wind and percussion. I adapted it from Edward Le Comte’s novel, ‘I, Eve’.

2. Here’s a scenario: After the show some audience members go have a drink. What’s the part of the show you hope they’re discussing?
Eva: The live original music working together with the language to tell this tale.

3. What drives your show – character, theme or plot?
Eva: As I play Eve, I tend to feel my character drives the play, but so do the timeless themes of mortality, questionable morality and the nature of sin.

4. In rehearsals, read-thrus, or prior incarnations, what’s the one thing someone said about the show so far that made you (or the team) the most proud?
Eva: “Dolan captures the innocence and desire of the original Earth Mother and temptress. It is a remarkable performance, full of the sinuosity of the dancer and the silences of the actress. Dolan makes Eve at once natural and sophisticated; ancient and modern; an icon and flesh.” -James Yeara, Metroland Magazine, Albany, NY

6. What’s the one thing you’re looking forward to regarding the FRIGID Festival itself?
Eva: This is my first festival and I am excited to see other people’s shows and just soak in all the radiating creative energy!

7. Is there a scene, a moment, a gesture … anything at all in the show that you anticipate may get a completely different reaction depending on the audience that night?
Eva: God’s sense of humor.

8. What’s your favorite line from the show?
Eva: “For unspeakable seconds I had God’s view,” is great fun to say!

9. What’s the last thing you usually do before the beginning of a show?
Eva: Stretch out my jaw!

10. You scan the audience and you see a face that stops you dead in your tracks – who is it? And why are you shocked?
Eva: I would be seeing the director, Jonathan Foster, sitting, so handsome, smiling and still. I would be shocked because he died from AIDS 21 years ago, but his spirit has been with me throughout this creative process and I expect through these performances as well.

Well, Eva, I’ve no doubt that if you feel his spirit that strongly, you may just be able to bring up his face as well … if only in your mind’s eye.

The rest of you – don’t forget to check out Outskirts of Eden.

-*-*-

Horse Trade Theater Group will present the 10th Annual FRIGID New York Festival at The Kraine Theater (85 East 4^th Street between 2^nd Avenue and Bowery) and UNDER St. Marks (94 St. Marks Place between 1^st Avenue and Avenue A) February 16-March 6. All shows run 60 minutes, or less. Tickets are available for purchase in advance at http://www.horsetrade.info/

Why So Much Shame?: 10 Things To Know About The Show Before You Go (2016 FRIGID NEW YORK FESTIVAL)

Karen Tortora-Lee — Fri, 29 Jan 2016 15:35:19 +0000

Ten Questions. Ten Answers. And one Big Surprise in the audience …

Why So Much Shame?

Nicole was six when her dad died. But she kept trying to get his attention, in hopes he’d come back. WHY SO MUCH SHAME? uses vivid storytelling to explore a child’s secret, unspoken grief, a woman’s confrontation with the truth, and the powerful things that happen when we stop pretending.

Show Info:

Wed Feb 17, 2016 | 7:10PM
Sat Feb 20, 2016 | 7:10PM
Wed Feb 24, 2016 | 10:30PM
Thu Mar 03, 2016 | 8:50PM
Sun Mar 06, 2016 | 3:30PM

UNDER St. Marks New York, NY $10/$13

Answers by Nicole Ferraro
(writer and performer)

1. Forget the PR version. When you’re talking to your friends, how do you explain this show to them?
Nicole: My father died when I was six, and I always knew I was going to write about him, but I didn’t know how until I found out the truth about his death 17 years later. Through this solo show, I’m telling a story about my lifelong longing for him, both before and after his death, and finding myself through the experience of losing him. It’s about how grief manifests when you don’t give it proper space and attention, and how the stories we’re reluctant to tell are the ones we most need to be sharing. It’s relatable, cathartic, somber, funny… All the feelings will be provided.

2. Here’s a scenario: After the show some audience members go have a drink. What’s the part of the show you hope they’re discussing?
Nicole: I hope they’re discussing their own stories as they relate to the themes of the show. If people leave Why So Much Shame? and get together and open up to one another about their own experiences and feel a little more full and connected as a result… well, that’s the whole point!

3. What drives your show – character, theme or plot?
Nicole: Character is probably the strongest driver in this show, and a plot twist makes its way in about halfway through, too.

4. In rehearsals, read-thrus, or prior incarnations, what’s the one thing someone said about the show so far that made you (or the team) the most proud?
Nicole: As a storyteller, I’ve had the opportunity to debut pieces from Why So Much Shame? in a few different storytelling series. The most rewarding experience for me is when people come up after a performance and relate their stories back to me. I found myself through the theater and through hearing other people’s stories, and giving that back in a small way, for me, is the overall point of creating anything. I can go into a performance feeling anxious and terrible, and if it ends with someone sharing with me after about how they felt or what they connected to, I go home with my heart soaring.

5. If money and resources (and even reality) were no object what is the most lavish, luxurious, pointless prop, costume, effect – anything – that you would spend money on for this show?
Nicole: Not living in any sort of reality? Well in an unreal world, I would call up my lord and savior (and, in this fantasy, BFF) Stephen Sondheim, and we would rewrite this together as a Broadway musical… starring me, because in this version of life I also have a listenable singing voice. In all seriousness, I learned the most about loss, grief, and myself through Broadway musicals, specifically Next to Normal and Into the Woods. There’s definitely a fantasy musical version of this in my mind. We could even have anthropomorphic dancing caskets…! OK. Maybe not that. Next question…

6. What’s the one thing you’re looking forward to regarding the FRIGID Festival itself?
Nicole: I’m so excited to see the other shows and discover what my fellow FRIGID participants have been working on. I’ve never been a part of a festival before, so the whole experience of being involved and immersed in an environment where people are creating independent theater is thrilling to me.

7. Is there a scene, a moment, a gesture … anything at all in the show that you anticipate may get a completely different reaction depending on the audience that night?
Nicole: I share an anecdote about making my first “Dead Dad Joke” (a DDJ, if you will). It involves a jingle for a terrifying 90s board game called Don’t Wake Daddy. I could be wrong, but I have a feeling the reactions may vary on it. We’ll see!

8. What’s your favorite line from the show?
Nicole: “I am so lucky.” Those are the words that open the show (whoops, spoiler) and they resurface again toward the end. It’s my favorite line both because of how it’s used in the show, and how the meaning changes from start to finish; and because I am so lucky to get to have this experience at all, to get to be a part of this festival and to have the support of my friends and family.

9. What’s the last thing you usually do before the beginning of a show?
Nicole: Oh, it’s sort of a bundle: Panic. Drink water. Panic. Regret having been born. Pee.

10. You scan the audience and you see a face that stops you dead in your tracks – who is it? And why are you shocked?
Nicole: My dad. Shocking because I didn’t know he was into indie theater. And also because he’s dead.

Well, Nicole, even if your dad was never into indie theatre before, I’m sure his spirit is supporting you now — and I have a feeling he’ll be there in the audience every night of your performance.

The rest of you – don’t forget to check out Why So Much Shame?

-*-*-

Basic Help (2014 Frigid New York Festival)

Karen Tortora-Lee — Fri, 07 Mar 2014 20:23:29 +0000

Strangedog Theatre’s Basic Help begins with a situation that is all too familiar to anyone who has ever spent endless minutes weaving through the labyrinth of telephone prompts in the hopes of eventually getting to speak with a live person who can actually help you.

We first come upon Cynthia (Megan Greener) at this exact moment of human contact. Cynthia is so startled and relieved to talk to a human being that the first thing she does is relate her frustration at being navigated through an endless maze to finally get to an actual rep. The phone-chain hierarchy is described perfectly – beginning with the the remote, robotic push 1 for this, 2 for that menu options which lead to the more interactive but no less animatronic“Okay. I heard you say such-and-such. Is that correct? Okay. One moment while I check that …”

So of course when Cynthia is finally connected with Simon (Gavin Earl Johnson) who answers the line with a scripted version of Thank you for calling Magicprep Kitchenware where all you kitchen prep is magic. What is the name of the Magicprep Kitchenware customer I have the pleasure of speaking with? is it any wonder that she demands verification that he is, in fact, human – and not just an even more clever version of robotic technology who will be of no more help to her than all the others?

On the surface, Cynthia seems a bit high strung. I mean, really – it’s just kitchenware. Does having a blender which makes an unexpected noise warrant a flood of crazy-lady rantings and accusations? Whether it does or doesn’t, Simon isn’t paid to really respond thoughtfully or give actual conversation anyway. He’s just meant to help the customer on the other end of the line, ask them if there’s any thing else he can help them with today, wish them a nice day, and sign off so that he can answer the next call. Simple.

Only it’s not that simple. Yes, Cynthia is high strung – but there’s a reason. And Simon does have more thoughtful, more conversational responses – he’s just not expected to voice them. So when Cynthia calls back the next day on some other pretext about her blender (“I lied to you when you asked if it was a gift …”) it gives the two a chance to connect a bit deeper – but only just. It’s enough of a connection, however, for Simon to give Cynthia his direct extension so that she can bypass the maze and get him directly. On the one hand, this is crazy. She’s obviously got a lot of time on her hands – she will obviously call again. On the other hand … not so crazy. Because she will obviously call again.

And so begins a strange friendship. And it is a friendship. The wonderful thing that playwright Ben Clawson has a gift for understanding is that the human mind is a complex thing and not all connections need to be romantic in order for them to be deeply moving and affecting. Director Artem Yatsunov interprets this beautifully. While there is most definitely a type of playfulness which grows between Cynthia and Simon as the phone calls become a daily ritual, the intimacy – and there is definitely intimacy – never crosses into coy flirtation. Nevertheless Yatsunov makes it obvious that these two human beings – without seeing each other, without REALLY knowing each other beyond the scope of these brief daily interactions, have created a bond which both rely on. Sometimes emotional intimacy is more of a life preserver than any other kind of intimacy. But, like a life-preserver, some intimacies are self contained and serve only one purpose – and aren’t useful unless you’re lost at sea.

The feasibility of BASIC HELP sits squarely on the shoulders of Greener and Johnson and both do a wonderful job of breathing life into their characters. Even more-so, their nuanced performance allows you to watch as they grow closer, even as the two actors never lock eyes or even face each other. No small feat. In just the act of simple phone calls they call forth humor, poignancy and even emptiness. They succeed in finding things that not only connect them to each other, but to the audience as well.

Musician David Byrne said “Sometimes it’s a form of love just to talk to somebody that you have nothing in common with and still be fascinated by their presence.” Do Cynthia and Simon fascinate one another? To an extent. They certainly intrigue one another. And at the time their phone calls happen they wake each other up a bit.

BASIC HELP does a beautiful job of exploring unexpected connections found in strange places which can lead us to decisions we wouldn’t have been brave enough to make otherwise. We live in a society where we can disclose our innermost thoughts on Tumblr anonymously via a screen name such as starburstfireflygrrrrl and get more support from Gothgrrrl92 than we do our own friends IRL. This simply underscores how the scenario of BASIC HELP is more accessible and commonplace than we think. Making friends with a stranger who we will never meet or talk to again? It happens every day. And if you think it doesn’t – remember this review the next time you’re pouring your heart out to the faceless masses on line. Think of BASIC HELP. And know: someone’s listening. And someone’s always there to give help – basic or otherwise.

~~~

Basic Help
Company: StrangeDog. Theatre
Written by: Ben Clawson
Directed by: Artem Yatsunov

Remaining Performance:
Mar 09, 12:30PM

Click HERE for tickets

Running time: 0 h 50 min
Price: $16.00
Seating: General Admission

UNDER St Marks
94 St Marks Place
New York , New York 10009
1st Ave and Ave A

Horse Trade Theater Group will present the 8th Annual FRIGID New York Festival at The Kraine Theater (85 East 4^th Street between 2^nd Avenue and Bowery) and UNDER St. Marks (94 St. Marks Place between 1^st Avenue and Avenue A) February 19-March 9. Tickets are available for purchase in advance at www.FRIGIDnewyork.info or by calling 212-868-4444.

Tina And Amy: Last Night In Paradise (2014 Frigid New York Festival)

Karen Tortora-Lee — Thu, 06 Mar 2014 21:08:26 +0000

Antonia Lassar and Maria Gilhooley (Photo by: Keke Brown)

These days, say “Tina and Amy” and immediately a comedic pair pop into your head – no last names or context necessary. No “Tina Fey from …” or “You know, they hosted the …” Yeah. None of that. Which, of course is exactly why all funny little girls with funny little best friends now have a gold standard to strive for the way boys throughout the ages had in, say, Laurel and Hardy or Abbot and Costello or Lewis and Martin … or the endless boys club duos who have followed.

Tina Fey and Amy Poehler certainly aren’t the first funny women in history – not by a long shot. Their careers were made off the backs of comic geniuses such as early TV pioneers like Lucille Ball and Gracie Allen. But countless women on SNL who weren’t Gilda Radner or Jane Curtin could point to post-Saturday Night careers littered with bit parts, long dry spells between roles, and blank looks at the mention of their names. (Ellen Cleghorne anyone? Melanie Hutsell? Nothing?) So Tina and Amy are more than just two funny women. They’re astronauts.

Before they slipped the surly bonds of earth, however, Tina and Amy were just two funny gals with the same issues and “isms” and fears and dreams that any other girls have before their lives fully unfold. In SixTee Collective’s Tina and Amy: Last Night in Paradise Antonia Lassar and Maria Gilhooley play fast and loose with the truth in order to present their dream version of what it must have been like for these two comedic icons on their last night together before Tina Fey (Gilhooley) went to New York to write for Saturday Night Live leaving her bestie, Amy Poehler (Lassar) to fend for herself.

When we first come upon Tina and Amy they’re hosting the Golden Globes – hilariously – and in their living room. It’s both a seemingly typical exercise as well as a stall tactic to keep Tina from getting to the immediate task at hand: packing and getting the hell out of Chicago so that she can go begin her career at SNL. Amy has no such offers. The rest of the show is a push and pull as Tina works to get her clothes in the suitcase, her ducks in a row, and her butt out the door in time to make her flight that will take her to her new life. Amy, on the other hand is doing everything in her power to knock this plan off track. She insists on finishing a sketch the two began a long time ago and Lassar’s delivery is winning. Gilhooley is also perfect as an over-stressed, nervous, excited Fey – tempering everything with just the right mixture of anticipation as well as wistfulness for the moments she can already see becoming unimportant. This is a fine line to play – for both actresses – and the chemistry between them as well as their devotion to the piece brings out many shining moments that work extremely well.

What Tina and Amy showcases is the fear of a friendship falling apart when one half of a dynamic duo moves on and the other doesn’t. ”Moving on” can mean different things: a partner, a family, or a writing gig at SNL, but when one woman gets it and the other doesn’t it threatens the synergy which has worked so well for so long. So, call it Tina and Amy or call it Antonia and Maria, the subtext is “don’t stop remembering how much you care about me. Together we are better than we are apart. Together we’ll do great things”.

Under co-creator Nikki DiLoreto’s direction Gilhooley and Lassar haul out every dream vehicle they can drum up in order to experience the joy of channeling their role models while simultaneously parading out their own comedic chops. And since this entire play is fictional every thing is fair game.

This does not always service the plot, however.

Despite the obvious talent of these two finely funny actresses who can turn from hilarious to heartbreaking on a dime, the production suffers when their real friendship is explored in a ‘halt-the-show’device. While this explains their connections to the story line, gives us a peek into their back-story and allows us a moment to interact with them personally, this isn’t something that couldn’t have been dealt with in the program notes. As it stands currently it completely breaks the pacing taking the audience out and then dropping them back into Paradise a bit too abruptly. Is the story of Lassar and Gilhooley an important one? Perhaps. However fleshing it out a bit more and dropping it in at other junctures might make it less of a non sequitur, though that might mean foregoing some of the (albeit fictional) story of Tina and Amy. Nevertheless, It would deepen the story of these two women who easily could be their successors – so famous that one day they do not need last names.

So while this show may have been Tina and Amy’s Last Night In Paradise I don’t think by any means it’s the last we’ll see of Antonia and Maria.

~~~

Tina And Amy: Last Night In Paradise
Company: SixTee Collective
Directed by: Nikki DiLoreto

Remaining Performances:
Mar 07, 10:15PM
Mar 08, 6:50PM

Click HERE for tickets

Running time: 1 h 0 min
Price: $10.00 – $16.00
Seating: General Admission

UNDER St Marks
94 St Marks Place
New York , New York 10009
1st Ave and Ave A

Confessions Of A Redheaded Coffeeshop Girl: 10 Things To Know About The Show Before You Go (2014 FRIGID NEW YORK FESTIVAL)

Karen Tortora-Lee — Sat, 22 Feb 2014 03:21:42 +0000

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

Confessions of a Redheaded Coffeeshop Girl

Production Company: Ginger Galore Productions

Rebecca Perry’s award-winning one-woman “show-sical”(“4 STAR Performer”, CBC Canada) for the graduate in all of us. Stuck paying off debt, feisty little Joanie makes the most out her barista job by reporting her “findings” on the creatures of “The Coffeeshop Jungle” much like Jane Goodall did with the gorillas! Hilarity ensues.

Show Times:

Fri 2/21 @ 5:30PM
Tue 2/25, 5:30PM
Fri 2/28, 10:15PM
Sun 3/02, 2:05PM
Wed 3/05, 8:40PM
Fri 3/07, 8:40PM

Answers by Rebecca Perry
(actor/playwright)

1. Your tag line is out there on postcards and press releases so we know the PR version of what this play is about. But when you talk to your family and friends, how do you explain the show to them?

RP: It’s a story that stems from the real life experiences myself and other twenty-something graduates had while working at a coffee shops in Toronto. Every graduate gets out into the big, bad world and is eager to prove themselves…except in this economy a lot of us have to grab a full-time service job immediately to start paying off debt before we even receive our diploma. So what do you do? How do you make the most out of this “in-between” time in your life? And THAT is what this story is about: enter Joanie Little, a feisty redhead and wannabe biologist/primatologist ready to take on the world. If she can’t immediately be “the next Jane Goodall” of the world (because she has to pay the bills first) then you better bet she is gonna make this hip coffee shop her new “jungle” and the customers will be the “chimps” she shall observe! Cue: lots of caffeinated situations, songs and scenarios.

2. Here’s a scenario: After the show some audience members go have a drink. What’s the part of the show you hope they’re discussing?

RP: How they can relate to it! Be it comparing their crappy university jobs or the job they use to pay the bills (as an artist I know we’ve all had odd “survival” jobs at various points in our lives) and knowing that it happens to the best of us. Everyone has had an “in-between” point in their lives and everyone gets through it in a different way.

3. What drives your show – character, theme or plot?

RP: Character and how she deals with the overall theme of standing on your own two feet.

4. In rehearsals, read-thrus, or prior incarnations, what’s the one thing someone said about the show so far that made you (or the team) the most proud?

RP: When at The Winnipeg Festival someone wrote an anonymous review and commented on the songs in the show saying “This girl sounds like Judy Garland…I wanted to take a bath in her voice”. We laughed for hours because it was an odd compliment but it also attests to the hard work we put into our songs used in the show.

5. Let’s fantasize for a moment. Let’s take the “off-off” off. Imagine this show is on Broadway. Would that change the production itself?

RP: Hello making coffee onstage! I also would have a full orchestra behind me for the songs I sing.

6. Taking that one step further – after paying everyone what they’re worth of course, what is the most lavish, luxurious, pointless thing you would spend money on if there was no constraints?

RP: A flashing sign that represents the sign for The Coffeeshop! As glamorous as possible.

7. Is there a scene, a moment, a gesture … anything at all in the show that you anticipate may get a completely different reaction depending on the audience that night?

RP: YES! Oh man…every night I have no clue how the audience will react to a situation Joanie gets into with Sonia (a not-so-nice co-worker) where she discovers Sonia is quite friendly with cocaine. Some people find it funny and others find it shocking.

8. What’s your favorite line from the show?

RP: “Everyone has their guilty pleasure…what’s yours Sonia?”

9. Is the world of this play sustainable outside a theatre? In other words … do you think people live the way the characters do? Would you want a world where they do?

RP: Yes, this show is based on a myriad of experiences I had in a coffee shop that exists in Toronto. Half of these situations happened to me and the other half to previous co-workers. Joanie is, in a way, representing the experience of the graduated twenty-something and their first experience out of school and into the real world.

10. You scan the audience and you see a face that stops you dead in your tracks – who is it? And why are you shocked?

RP: Because I am covered in maple syrup. (You will understand once you see the show).

Rock, Paper, Scissors Tournament of DEAAAAATH

In the THM virtual Rock, Paper, Scissors Tournament of DEAAAAATH which FRIGID Show do you take on? And what do you throw?

CHALLENGES: THE CANUCK CABARET!

THROWS: We had to go to the randomizer for this one, and choose one for you. WE CHOSE ROCK!

CHALLENGED BY:

~ THE CANUCK CABARET who threw ROCK — that’s a draw, plus another draw for the round where you challenge them. So that’s two draws.

~ EAST IN RED who threw SCISSORS – that’s a win!!

Congratulations, Redhead, one win and no losses! That’s better than finding extra foam on your latte!

Thanks Confessions of a Redheaded Coffeeshop Girl for participating in The Happiest Medium’s FRIGID New York Festival 2014 Q&A. And for playing our game! You’re officially ROCK in any and all challenges. You may win, you may lose – 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 Confessions of a Redheaded Coffeeshop Girl !

~~~

Feb 25, 5:30PM
Feb 28, 10:15PM
Mar 02, 2:05PM
Mar 05, 8:40PM
Mar 07, 8:40PM

UNDER St.Marks | $10.00 / $15.0

UNDER St.Marks | $6.00 / $10.00

~~~

A Date For The Evening: 10 Things To Know About The Show Before You Go (2014 FRIGID NEW YORK FESTIVAL)

Karen Tortora-Lee — Mon, 17 Feb 2014 19:14:34 +0000

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

A Date for the Evening

Produced by Celestial Zenith

A Date for the Evening written and performed by Celestial Zenith, directed and choreographed by Shannon Stowe. One woman in the course of an evening takes on speed dating, struggling to connect with anyone to mend her broken past.

Show Times:

Sat. 2/22 @ 8:25pm
Wed. 2/26 @ 10:15pm
Sat. 3/1 @ 2:05pm
Mon. 3/3 @ 8:40pm
Sun. 3/9 @ 2:05pm

Answers by Celestial Zenith
(writer/producer/actor)

CZ: It’s about a past “me”, in a sense dramatized comedically, experiencing some very heightened moments in life and dancing them out, yelling them out, just getting them out a bit. Reading all of that now put it in the context of a speed dating event, your outcome is absurd circumstances with honest and genuine emotion. Well, I think that’s pretty raw and real.

2. Here’s a scenario: After the show some audience members go have a drink. What’s the part of the show you hope they’re discussing?

CZ: The first entrance and monologue, the movement found to interpret one of the core themes of the show is rather breathtaking and that first monologue to me is insanely serious and real and yet completely and utterly hilarious.

3. What drives your show – character, theme or plot?

CZ: I had to ponder this one. Theme, it’s definitely theme.

4. In rehearsals, read-thrus, or prior incarnations, what’s the one thing someone said about the show so far that made you (or the team) the most proud?

CZ: Shannon, the director, said simply “This line is extremely powerful” (“my heart screamed at me when I agreed to this”) and as a writer that made me extremely proud.

5. Let’s fantasize for a moment. Let’s take the “off-off” off. Imagine this show is on Broadway. Would that change the production itself?

CZ: I adore simplicity and staying true to merely having actor and story onstage. I think we may be able to embellish a little more in some of the moments we have incorporated movement and set the stage up as if it were an actual speed dating event rather then just one table and chair. But having the solitary one woman on stage, that wouldn’t change.

6. Taking that one step further – after paying everyone what they’re worth of course, what is the most lavish, luxurious, pointless thing you would spend money on if there was no constraints?

CZ: Oh jeez, after all this talk of simplicity. I would spend money on the lighting, we have a few transitional moments where we are no longer in the speed dating world and it would be wonderful to use lighting in a way to help define those moments and enhance them.

7. Is there a scene, a moment, a gesture … anything at all in the show that you anticipate may get a completely different reaction depending on the audience that night?

CZ: There are a few moments that the words could be considered very dramatic but the delivery is either sarcastic, hilarious, or just delivered in a way you would not expect. People might get it or they might get it later who knows – it’ll be cool to hear peoples response and reactions though.

8. What’s your favorite line from the show?

CZ: “And you know what? You know what? I am such a powerful woman, SUCH a powerful woman and yet I still crumble. – like a cookie on a dry day – CRUMBLE. Because of a past? Well, let me tell you. I got nothing”

9. Is the world of this play sustainable outside a theatre? In other words … do you think people live the way the characters do? Would you want a world where they do?

CZ: Definitely sustainable. I think it’s an extreme but an extreme we have all lived in, I could see this happening right now today and I hope it does because it’s so raw and full of truth and honesty with the hilarity not being lost. It’s real life and that’s beautiful.

10. You scan the audience and you see a face that stops you dead in your tracks – who is it? And why are you shocked?

CZ: Oh well. Alright you’re going to go there huh? My since childhood friend Hallie, because she is beautiful – supportive – amazing – and lives half way across the world on Maui, I’d be shocked to see her beautiful face smiling back at me from the audience that I would probably cry.

Rock, Paper, Scissors Tournament of DEAAAAATH

In the THM virtual Rock, Paper, Scissors Tournament of DEAAAAATH which FRIGID Show do you take on? And what do you throw?

CHALLENGES: Almost A Genius

THROWS: I go for scissors!

CHALLENGED BY:
~ East in Red who threw SCISSORS – that’s a DRAW!
~ THE CANUCK CABARET who threw ROCK – that’s a LOSS!

AWWWW! It looks like you struck out on this DATE with your Rock Paper Scissors competitors! A DRAW and a LOSS! We’ll see how you do with Almost A Genius - so check back in a few days to see how that goes!

Thanks A Date for the Evening for participating in The Happiest Medium’s FRIGID New York Festival 2014 Q&A. And for playing our game! You’re officially ROCK in any and all challenges. You may win, you may lose – 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 A Date for the Evening !

~~~

Feb 22, 2:05PM
Feb 23, 6:50PM
Feb 27, 8:40PM
Mar 03, 7:05PM
Mar 09, 3:40PM

UNDER St.Marks | $6.00 / $10.00

~~~

Basic Help: 10 Things To Know About The Show Before You Go (2014 FRIGID NEW YORK FESTIVAL)

Karen Tortora-Lee — Sat, 15 Feb 2014 19:37:05 +0000

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

Basic Help (PHOTO CREDIT REBECCA BICKLEY)

Basic Help

Production Company: StrangeDog Theatre

“Your call may be monitored.” NJ’s premiere indie-theatre auteurs, StrangeDog, bring you Ben Clawson’s (Luna Stage, Shadowlands, David Mark Cohen award recipient) latest odyssey – a chronicle of two strangers who clash with a kitchen appliance, conquer customer service and quality assurance, only to discover simple companionship in the strangest of places.

Show Times:

Fri 2/21 @ 8:40
Thu 2/27 @ 5:30
Sat 3/1 @ 6:50
Wed 3/5 @ 10:15
Sun 3/9 @ 12:30

Answers by Artem Yatsunov (Director)

AY: A woman has a flip out and melts down over the phone with a kitchenware sales associate, but then they become friends and talk about robots, sickly mice, failed marriages, unemployment, and the effects of too many margaritas. With jokes!

2. Here’s a scenario: After the show some audience members go have a drink. What’s the part of the show you hope they’re discussing?

AY: I hope they’re talking about how glad they are that they’re not as miserably sad and lost and confused as the characters in the play. But if they’re not discussing that then I hope they are discussing how much the characters remind them of themselves.

3. What drives your show – character, theme or plot?

AY: Time. These are the only 50 minutes that these people have together, nothing is left out, and no moment is wasted.

4. In rehearsals, read-thrus, or prior incarnations, what’s the one thing someone said about the show so far that made you (or the team) the most proud?

AY: “Megan and Gavin are BOTH in this? When are we going!” Caitlin’s (the super fan’s) dad.

5. Let’s fantasize for a moment. Let’s take the “off-off” off. Imagine this show is on Broadway. Would that change the production itself?

AY: Nope. What you will see at 8:40 on Fri Feb 21st, 5:30 on Thu Feb 27th, 6:50 on Sat Mar 1st, 10:15 on Wed Mar 5th, and 12:30 on Sun Mar 9th is going to not only redefine the art form but will also be the reason for St Marks Place to be renamed St Broadway Place. I strongly suggest everyone bring a bucket with them so they have a large enough vessel to weep into.

6. Taking that one step further – after paying everyone what they’re worth of course, what is the most lavish, luxurious, pointless thing you would spend money on if there was no constraints?

AY: The building itself would be shaped as an enormous blender (central image of the show) which lying on its side, and it will be large enough to fit at the very least a thousand people. Additionally, will be fully functional. Oh and along with that, we have two scenes we left out that do require a Miss Saigon style helicopter so we’ll bring those back and FINALLY be able to realize the play in its full form!

7. Is there a scene, a moment, a gesture … anything at all in the show that you anticipate may get a completely different reaction depending on the audience that night?

AY: It’s best captured by this one moment when one of our actors, Gavin Earl Johnson (who plays Simon, the kitchen ware help line phone operator) does a really, really spot on impersonation of a mouse sick with bronchitis coughing. After we saw that, once we were able to catch our breath from weeping at the beauty of that sequence, Ben Clawson (the playwright) and I strongly considered renaming the play A Mouse Coughs In Brooklyn but then decided we didn’t want to ground the play in a specific city. So we left it Basic Help.

8. What’s your favorite line from the show?

AY: “Cynthia: (drunk) Who did make him a he? Who makes any of us a he? Cause he, he is sexist then. Oh! Why’s the one who makes us a he got to be a he? I’m sexist.”

9. Is the world of this play sustainable outside a theatre? In other words … do you think people live the way the characters do? Would you want a world where they do?

AY: Sure!

10. You scan the audience and you see a face that stops you dead in your tracks – who is it? And why are you shocked?

AY: Antonia Lassar of Tina and Amy: Last Night in Paradise and I am shocked simply because she gets more gorgeous every time I see her. And I see her all the time! How does she do it?!

Rock, Paper, Scissors Tournament of DEAAAAATH

In the THM virtual Rock, Paper, Scissors Tournament of DEAAAAATH which FRIGID Show do you take on? And what do you throw?

CHALLENGES: We would take on Tina and Amy: Last Night in Paradise - now that there is a cast almost as good looking as ours!

THROWS: We would definitely throw rocks, but not very hard cause if someone gets hurt it’s not so much fun. Why paper? That’s weird, I mean, you can’t really throw paper. Oh! And throwing scissors just sounds so violent and outrageous! At least with a rock you can sort of throw a warning shot, you can aim more carefully – but scissors!? Yuck. That is so dangerous.

Good choice, Basic Help! Now, let’s see how ROCK worked out for you! You were challenged by a number of shows, including Tina and Amy – so that gives you TWO rounds to try you luck with those gals. Let get the games going!

CHALLENGED BY:

~ East in Red who threw SCISSORS – that’s a WIN for you!

~ THE CANUCK CABARET who threw ROCK – that’s a DRAW …

~ Tina and Amy: Last Night in Paradise who challenged you RIGHT BACK and threw SCISSORS – that’s a WIN for your round, and a WIN for their round giving you TWO WINS!!

~ Real Dead Ghosts who threw ROCK – that’s a DRAW …

~ Boogie Of The Apes who threw ROCK … another DRAW.

So in the end, you have THREE DRAWS, THREE WINS and NO LOSSES! You obviously need NO HELP when it comes to this game – Basic or otherwise!

Thanks Basic Help for participating in The Happiest Medium’s FRIGID New York Festival 2014 Q&A. And for playing our game! You’re officially ROCK in any and all challenges. You may win, you may lose – 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 Basic Help !

~~~

Feb 21, 8:40PM
Feb 27, 5:30PM
Mar 01, 6:50PM
Mar 05, 10:15PM
Mar 09, 12:30PM

UNDER St.Marks | $16.00

~~~

Tina And Amy: Last Night In Paradise: 10 Things To Know About The Show Before You Go (2014 FRIGID NEW YORK FESTIVAL)

Karen Tortora-Lee — Fri, 14 Feb 2014 18:31:34 +0000

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

Tina and Amy: Last Night in Paradise

Production Company: SixTee Collective

Before the fame, before the glory, before the drunk texts from Lorne Michaels, Tina Fey and Amy Poehler were really broke. One uncomfortable night in 1997, Tina and Amy are struggling to write the perfect sketch. From the creators of the Frigid Festival 2013’s Best Show, comes this super true, totally not made up story about two iconic women of comedy.

Show Times:

Thurs 2/20 @ 7:05pm
Sat 2/22 @ 3:40pm
Sat 3/1 @ 3:40pm
Fri 3/7 @ 10:15pm
Sat 3/8 @ 6:50pm

Answers by Antonia Lassar
(co-creator and performer)

AL: We say that this play is about Tina Fey and Amy Poehler. And then we say, yep it is a play about everything you’ve ever wished for.

2. Here’s a scenario: After the show some audience members go have a drink. What’s the part of the show you hope they’re discussing?

AL: First and foremost, we hope they’re talking about how we all look exactly like Beyonce. That’s really our biggest goal with all the work we do here at SixTee Collective. Also, we hope they are muttering about things like, “women in comedy”, “the struggles of the emerging artist”, and “are leggings pants?”

3. What drives your show – character, theme or plot?

AL: Our chauffer Rob. (ba-dum-bump). Tina and Amy are the leading force of this show. Much like they are of the world. This play is largely about what it means to be women who want to be leaders of the world, and also be funny and stuff.

4. In rehearsals, read-thrus, or prior incarnations, what’s the one thing someone said about the show so far that made you (or the team) the most proud?

AL: “Look how many pages long it is!”

5. Let’s fantasize for a moment. Let’s take the “off-off” off. Imagine this show is on Broadway. Would that change the production itself?

AL: First of all, Tina and Amy themselves would be our understudies. We want to give them a chance for a big break. Also, the multiple nude scenes with George Clooney would be back in. We had to cut those scenes because Under St. Marks couldn’t handle the amount of oil we would requested.

6. Taking that one step further – after paying everyone what they’re worth of course, what is the most lavish, luxurious, pointless thing you would spend money on if there was no constraints?

AL: All our body lotion in the green room would actually be made of Bono’s performance sweat.

7. Is there a scene, a moment, a gesture … anything at all in the show that you anticipate may get a completely different reaction depending on the audience that night?

AL: So, there’s this one moment int the script that we’ve written as “eeeeeeeeeeeeeooooooooyessssnowhataaaaaghorrrrganiiiiiiiiiicoooooooooooooooooooo
yyyyyyyyyyyyaaaaaaaaaaaaaasssssss”. And honestly, we’re just not sure what we mean by that. So, we’re hoping you’ll have some input.

8. What’s your favorite line from the show?

AL: “Not to sound all rabid, but I just feel like I hate water.”

9. Is the world of this play sustainable outside a theatre? In other words … do you think people live the way the characters do? Would you want a world where they do?

AL: Well, the world of this play is a world filled with junk food, low rent housing, and sex dreams about celebrities. It’s as close to an autobiography as you can get.

10. You scan the audience and you see a face that stops you dead in your tracks – who is it? And why are you shocked?

AL: George Clooney, why are you sitting in the audience??? Get back into the dressing room to prepare for your dance number! You are so late for actor call!!

Rock, Paper, Scissors Tournament of DEAAAAATH

In the THM virtual Rock, Paper, Scissors Tournament of DEAAAAATH which FRIGID Show do you take on? And what do you throw?

CHALLENGES: We take on Basic Help because it’s a cast made of super models.

THROWS: So we throw scissors like Tonya Harding.

Well, Tina And Amy you were challenged THREE times so far …

- THE CANUCK CABARET threw ROCK – that’s ONE LOSS for you
- East in Red threw SCISSORS – that’s ONE DRAW
- Drag Queen Stole My Dress threw PAPER – THAT’S ONE BIG WIN FOR YOU!

Congratulations, TINA AND AMY on your win! Stay tuned to see what Basic Help threw … since you’re One One and One for each, what happens there will determine your fate!

Thanks Tina and Amy: Last Night in Paradise for participating in The Happiest Medium’s FRIGID New York Festival 2014 Q&A. And for playing our game! You’re officially SCISSORS in any and all challenges. You may win, you may lose – 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 Tina and Amy: Last Night in Paradise !

~~~

Feb 20, 7:05PM
Feb 22, 3:40PM
Mar 01, 3:40PM
Mar 07, 10:15PM
Mar 08, 6:50PM

UNDER St.Marks | $10.00 / $16.00

~~~

Chicken-Fried Ciccone: A Twangy True Tale Of Transformation: 10 Things To Know About The Show Before You Go (2014 FRIGID NEW YORK FESTIVAL)

Karen Tortora-Lee — Fri, 14 Feb 2014 17:18:27 +0000

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

Chicken-Fried Ciccone: A Twangy True Tale Of Transformation

Production Company: Hard Sparks

Armed with an acoustic guitar, actor-playwright J.Stephen Brantley reveals how he got from junkie to functional with a little help from the queen of reinvention. Chicken-Fried Ciccone is one man’s journey to heroin and back, set to countrified covers of new and classic Madge.

Show Times:

Wed 2/19 @ 7:05
Mon 2/24 @ 5:30
Fri 2/28 @ 7:05
Thurs 3/6 @ 10:15
Sat 3/8 @ 12:30

Answers by J.Stephen Brantley
(writer-performer)

JSB: “I’m sorry, but I had to.”

2. Here’s a scenario: After the show some audience members go have a drink. What’s the part of the show you hope they’re discussing?

JSB: There’s a secret revealed in this production that won’t be a part of the show in future venues. Maybe it’s that bit. Or maybe it’s the part about the transformational healing power of art. But it’s probably ‘Into The Grooverotica.’.

3. What drives your show – character, theme or plot?

JSB: Yes.

4. In rehearsals, read-thrus, or prior incarnations, what’s the one thing someone said about the show so far that made you (or the team) the most proud?

JSB: “Oh there’s so much freedom!”

5. Let’s fantasize for a moment. Let’s take the “off-off” off. Imagine this show is on Broadway. Would that change the production itself?

JSB: Well…yes. Isn’t this a bit like asking, ‘if birds were fish, how would they be different?’

6. Taking that one step further – after paying everyone what they’re worth of course, what is the most lavish, luxurious, pointless thing you would spend money on if there was no constraints?

JSB: David Beckham.

7. Is there a scene, a moment, a gesture … anything at all in the show that you anticipate may get a completely different reaction depending on the audience that night?

JSB: Yeah, everything. Unless we’re all replaced by some weird race of robots, both the show and the audience are going to be completely different every night.

8. What’s your favorite line from the show?

JSB: “Sex for money is really just site-specific theatre – with buttfucking.”

9. Is the world of this play sustainable outside a theatre? In other words … do you think people live the way the characters do? Would you want a world where they do?

JSB: Is this a trick question? (It is a ‘Twangy True Tale of Transformation.’)

10. You scan the audience and you see a face that stops you dead in your tracks – who is it? And why are you shocked?

JSB: Madonna. I should think the reason why is fairly obvious.

Rock, Paper, Scissors Tournament of DEAAAAATH

In the THM virtual Rock, Paper, Scissors Tournament of DEAAAAATH which FRIGID Show do you take on? And what do you throw?

CHALLENGES: I’ll take on Shooting Abe because I like Charlie Gershman,

THROWS: I will throw paper because he’s a playwright and he might need some.

But may I also use this forum to say howdy and bien venidos to I-DJ because Overtime Theater is coming from my hometown San Antonio and I’m really excited to see their show.

CHALLENGED BY:

- The Canuck Cabaret who threw ROCK. That’s a WIN FOR YOU, Twangy! Let’s see if your winning streak continues …

- Shooting Abe who threw SCISSORS. So even though there was some great synergy there – with Shooting Abe challenging YOU and YOU challenging them right back it was a bit of a crumple for you as your paper gets cut to ribbons. So with you and Shooting Abe going for two rounds, that’s actually TWO losses for you.

- East In Red who also threw SCISSORS. Another defeat as your Paper is ripped to shreds.

So that’s one WIN that gets completely lost in the THREE LOSSES that follow.

Oh, Twangy - you’re plucky and fun, and when you call my name it’s like a little prayer, but even the Madonna herself couldn’t save you from this triple loss. I’d apologize but I can already hear you saying “I don’t wanna hear, I don’t wanna know Please don’t say you’re sorry”. Oh, Twangy – how I admire your Madge-like resolve.

Thanks Chicken-Fried Ciccone: A Twangy True Tale Of Transformation for participating in The Happiest Medium’s FRIGID New York Festival 2014 Q&A. And for playing our game! You’re officially PAPER in any and all challenges. You may win, you may lose – 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 Chicken-Fried Ciccone: A Twangy True Tale Of Transformation !

~~~

Feb 19, 7:05PM
Feb 24, 5:30PM
Feb 28, 7:05PM
Mar 06, 10:15PM
Mar 08, 12:30PM

UNDER St.Marks | $13.00 / $16.00

~~~

The Happiest Medium » Under St. Marks

The Dirty Blondes Talk About SEX

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