DOCSLIB.ORG

Young Jean Lee's Theater Company

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Young Jean Lee's Theater Company wexner center for the arts THE OHIO STATE UNIVERSITY PRESENTS world premiere Wexner Center Artist Residency Award Project Young Jean Lee’s Theater Company STRAIGHT WHITE MEN THU–SAT, APR 10–12 | 8 pm SUN, APR 13 | 2 pm Performance Space 2013–14 PERFORMING ARTS SEASON world premiere Thank you for Wexner Center Artist Residency Award Project Young Jean Lee’s Theater Company joining us at tonight’s STRAIGHT WHITE MEN THU–SAT, APR 10–12 | 8 pm performance. SUN, APR 13 | 2 pm Performance Space STRAIGHT WHITE MEN is a production by a nonprofit real estate organization Special thanks to all Wexner Center Young Jean Lee’s Theater Company. It dedicated to expanding the supply of long- was commissioned by the Wexner Center term, affordable rehearsal and studio space members and sponsors. Your support makes for the Arts at The Ohio State University; for NYC artists. Center Theatre Group, Los Angeles; This presentation of Young Jean Lee’s this event possible. steirischer herbst festival, Graz; Les Theater Company’s STRAIGHT WHITE MEN spectacles vivants—Centre Pompidou, is made possible with funding by the Paris; Festival d’Automne à Paris; and The The Wexner Center for the Arts is your one-stop New England Foundation for the Arts’ Public Theater, New York. National Theater Project, with lead source for everything in the contemporary arts. Funding support for the creative funding from The Andrew W. Mellon Come back and check out our groundbreaking development of STRAIGHT WHITE Foundation. Additional support is provided MEN was provided by the Doris Duke by the National Endowment for the Arts. exhibitions, films, theater, dance, music, and Performing Artists Awards program; Major support for the Wexner Center’s the New England Foundation for the 2013–14 performing arts season is programs for all ages. Visit the acclaimed Arts’ National Theater Project, with generously provided by the Doris Duke lead funding from The Andrew W. Mellon Wexner Center Store and try treats from Charitable Foundation. Foundation; the MAP Fund, supported by Heirloom in our café. the Doris Duke Charitable Foundation and Accommodations are provided by The Andrew W. Mellon Foundation; the The Blackwell Inn. National Endowment for the Arts; and The Wexner Center receives FOLLOW US ON FACEBOOK, TWITTER, AND the New York State Council on the Arts, a general operating support from the INSTAGRAM. FIND MORE AT WEXARTS.ORG. state agency. Greater Columbus Arts Council, STRAIGHT WHITE MEN was developed The Columbus Foundation, Nationwide at Brown University’s Department of Foundation, and the Ohio Arts Council. Theatre Arts and Performance Studies, Generous support is also provided by the POLICIES Providence, RI. Residency support was Corporate Annual Fund of the Wexner Late seating and reentry after the program has begun are generally not permitted at provided by the Park Avenue Armory, Center Foundation and Wexner Center dance and theater presentations. When late seating is permitted, latecomers will be SPACE on Ryder Farm, Columbia members. seated during a break so as not to disturb other patrons. University, and Spaceworks NYC, Taking photographs, filming, or operating recording devices during the performance is strictly prohibited. Please turn off mobile phones and other electronic devices during the major season support event support accommodations performance. for performing arts All programs are subject to change. Sorry, no refunds or exchanges unless an event is canceled. general operating support for the wexner center COVER PHOTO COURTESY OF BLAINE DAVIS PROGRAM PROGRAM NOTES Young Jean Lee’s Theater Company Young Jean Lee’s latest experiment, STRAIGHT WHITE MEN, uses the form of the conventional play to examine what happens when people STRAIGHT WHITE MEN lose their greatest privilege: not having to think about their privilege. Written and DIRECTED by ..............Young Jean Lee Young Jean Lee’s Theater Company produced by .............Aaron Rosenblum artistic director .........Young Jean Lee CAST (in order of appearance) producer. Aaron Rosenblum associate producer .......Matthew Kagen jake ......................Scott Shepherd associate director .......Emilyn Kowaleski drew .....................Pete Simpson ed ........................Austin Pendleton* matt .....................James Stanley Find out more about our upcoming projects associate director .......Emilyn Kowaleski and tours at youngjeanlee.org scenic design .............David Evans Morris The company wishes to individually thank Chuck Helm, Morgan Gould, Costume design ...........Enver Chakartash Antje Oegel, Colleen Jennings-Roggensack, Oskar Eustis, lighting design ...........Chris Kuhl Maria Goyanes, Kristy Edmunds, Diane Rodriguez, Marie Collin, sound design. Chris Giarmo Veronica Kaup-Hasler, Annemie Vanackere, Rebecca Schneider, . .Jamie McElhinney Barbara Reo, Emily Bruce, Zachery Rufa, and David Milch. blocking .................Faye Driscoll . .Emilyn Kowaleski . .Young Jean Lee choreography, Fight choreography, and Movement ............Faye Driscoll dramaturgy ..............Mike Farry associate producer .......Matthew Kagen production and stage manager ...........Chloë Z. Brown technical director .......Nathan Lemoine assistant Stage Manager ...........Stephanie Byrnes Harrell propsmaster .............Elizabeth Sargent associate dramaturg .....Eric Shethar assistant directors ......Braulio Cruz . .Kaela Garvin . .Julia Mounsey . .Zachary Segel assistant scenic design ...Cate McCrea assistant Costume design ...........Christine Stevenson understudies. Zachary Segel . .Gerrit Thurston *The actor appears through the courtesy of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. WEXNER CENTER BIOGRAPHIES ARTIST RESIDENCY AWARD Each season key artists are selected by each of the Wexner Young Jean Lee (writer/director) has been called “the most Center’s program areas for support through the Wexner adventurous downtown playwright of her generation” (New Center Artist Residency program, which enables artists to York Times) and “one of the best experimental playwrights in have the opportunity for research and the realization of their America” (Time Out New York). She has written and directed artistic ambitions with the resources provided by the Wexner nine shows in New York with Young Jean Lee’s Theater Center or other partners on The Ohio State University’s Company and toured her work to over thirty cities around campus and in the community. In 2013–14 Young Jean Lee’s the world. She is a resident filmmaker at the Wooster Group; Theater Company is the recipient of the Wexner Center Artist made an album, WE’RE GONNA DIE, with her band Future Residency Award in performing arts. This is the second time Wife; and directed the short film Here Come the Girls (Locarno Young Jean Lee has been invited for this opportunity. In 2008 International Film Festival, Sundance Film Festival). Her plays she finalized and premiered her work THE SHIPMENT at the have been published by Theatre Communications Group (Songs Wexner Center as part of this program. THE SHIPMENT went of the Dragons Flying to Heaven and Other Plays, THE SHIPMENT, on to be acclaimed as one of her finest and most provocative and Lear) and by Samuel French (Three Plays by Young Jean productions and was seen worldwide with its extensive Lee). Young Jean Lee is currently under commission from touring. This season, we first presented Young Jean Lee with Lincoln Center Theater, Playwrights Horizons, and the Oregon her indie rock band Future Wife in two performances of her Shakespeare Festival, and recently completed a screenplay cabaret-style concert production WE’RE GONNA DIE, which commission for Plan B/Paramount Pictures. She has received takes on topics of aging, loss, and mortality through a series grants from the Foundation for Contemporary Arts, Creative of monologues and songs sung by Young Jean Lee. While Capital, New York Film Academy, National Endowment for at the Wexner Center performing WE’RE GONNA DIE with the Arts, New York State Council on the Arts, the Jerome Future Wife, Young Jean Lee met informally with students Foundation, the Greenwall Foundation, and the Rockefeller from Ohio State’s Department of Theatre involved in studying MAP Foundation. She is also the recipient of two Obie awards, devised work as well as members of our GenWex organization, the Festival Prize of the Zürcher Theater Spektakel, a 2010 a group of young professionals (or semi-professionals) and Prize in Literature from the American Academy of Arts and art fans, who selected WE’RE GONNA DIE as one of their key events to attend at the center to attend this season. Letters, a 2011 Guggenheim Fellowship, a 2012 Doris Duke Artist Award, and a 2013 Doris Duke Artist Residency. She is currently In conjunction with the creative residency to finalize and working on her second short film, A Meaning Full Life, starring premiere STRAIGHT WHITE MEN, Young Jean Lee had Paul Lazar, Wallace Shawn, and Kate Valk. a discussion with students in a playwriting class at the Department of Theatre that touched on her past approaches to writing, as well as her choice to take on the challenge of writing in a “straight play” form for STRAIGHT WHITE MEN with an emphasis on a linear narrative and more conventional scenic and design concepts. These students also had the opportunity to sit in on a rehearsal for STRAIGHT WHITE MEN and to participate in the postperformance discussion with Young Jean Lee, the cast, and the audience to gain further
Load more

Recommended publications
  • YALE-NUS SYLLABUS for AMERICAN AVANT-GARDE THEATER of the 1960’S and 1970’S
    YALE-NUS SYLLABUS FOR AMERICAN AVANT-GARDE THEATER OF THE 1960’s AND 1970’s YHU 3304, Spring semester, 2019 Mondays and Thursdays, 9am-10:30am Room Y-CR9 Professor Joan MacIntosh [email protected] Office hours by appointment only, Mondays, after class. Additionally, there will be a mid-semester conference with each student and an end-of-the-year conference with each student, to give and receive feedback. These will be scheduled within the semester time, and will not infringe on either the Spring Break or the end of the year Reading Period. COURSE OVERVIEW This seminar course will explore the American Avant-Garde Theatre of the 1960’s and 1970’s, and its enduring significance. It will include an examination of the political, social, economic, and aesthetic events that led to its beginnings, and will follow the journey of its passionate creativity and diversity of expression, as well as the political upheavals and the cultural revolution that were inextricably a part of it. Readings will include the work of Gertrude Stein, Allen Ginsberg, The Living Theatre, The Open Theater, The Performance Group, Richard Foreman’s Ontological-Hysteric Company, Charles Ludlam’s Ridiculous Theatrical Company, Mabou Mines, and others. We will also read 1968, Environmental Theatre, Be Here Now, Towards a Poor Theatre, and selected historical overviews. We will explore each group’s vision, body of work, dynamics, and relation and significance to their world. In line with this, students will write about these theatre companies, and create their own live performances and work, based on the readings, possible films, and discussions.
    [Show full text]
  • Contemporary American Playwriting the Issue of Legacy
    CONTEMPORARY AMERICAN PLAYWRITING The Issue of Legacy Jason Grote, Caridad Svich, and Anne Washburn in conversation with Ken Urban espite proclamations to the contrary, there is a surge of new writing in the American theatre. Not plays masquerading as films or TV shows, but seri- ous plays written by writers with a passionate commitment to the stage. DBut since this new generation of theatre artists is less centralized than previous ones, working in cities and towns across the U.S., it is hard to talk about a specific movement or scene. For those working in New York City, Off-Off Broadway no longer adequately describes the theatre that these playwrights create. Such writers do not want to be defined in relation to Broadway, for Broadway ceased to be a venue for adventurous new writing decades ago. This conversation is an attempt by four playwrights to define some of the identifying characteristics and concerns of this new writing. The starting point is the issue of legacy: How do the historical avant-garde, the Language Playwrights of the 1970s and 80s (Mac Wellman, Jeffrey Jones, Len Jenkin), and the classics influence contemporary playwriting? To gain a better sense of what is happening now, it proves beneficial to look back. The conversation featured Jason Grote, Caridad Svich, and Anne Washburn. Jason Grote is the recipient of the 2006 P73 Playwriting Fellowship and co-chair of the SoHo Rep Writer/Director Lab. He is writing The Wal-Mart Plays for the Working Theater in New York. Caridad Svich is a resident playwright at New Dramatists and editor of Trans-Global Readings: Crossing Theatrical Boundaries and Divine Fire: Eight Contemporary Plays Inspired by the Greeks.
    [Show full text]
  • Performance Measurement Report
    THEATER SUBDISTRICT COUNCIL, LDC Performance Measurement Report I. How efficiently or effectively has TSC been in making grants which serve to enhance the long- term viability of Broadway through the production of plays and small musicals? The TSC awards grants, among other purposes, to facilitate the production of plays and musicals. The current round, awarding over $2.16 million in grants for programs, which have or are expected to result in the production of plays or musicals, have been awarded to the following organizations: • Classical Theatre of Harlem $100,000 (2009) Evaluation: A TSC grant enabled the Classical Theatre of Harlem to produce Archbishop Supreme Tartuffe at the Harold Clurman Theatre on Theatre Row in Summer 2009. This critically acclaimed reworking of Moliere’s Tartuffe directed by Alfred Preisser and featuring Andre DeShields was an audience success. The play was part of the theater’s Project Classics initiative, designed to bring theater to an underserved and under-represented segment of the community. Marketing efforts successfully targeted audiences from north of 116th Street through deep discounts and other ticket offers. • Fractured Atlas $200,000 (2010) Evaluation: Fractured Atlas used TSC support for a three-part program to improve the efficiency of rehearsal and performance space options, gather useful workspace data, and increase the availability of affordable workspace for performing arts groups in the five boroughs. Software designers created a space reservation calendar and rental engine; software for an enhanced data-reporting template was written, and strategies to increase the use of nontraditional spaces for rehearsal and performance were developed. • Lark Play Development Center $160,000 (2010) Evaluation: Lark selected four New York playwrights from diverse backgrounds to participate in a new fellowship program: Joshua Allen, Thomas Bradshaw, Bekah Brunstetter, and Andrea Thome.
    [Show full text]
  • Pathetic Pathetic
    JUNE 5–23, 2019 MINOR THEATER PATHETIC PATHETIC WRITTEN AND DIRECTED Teen girls experiment with sex, magic and murder Julia Jarcho while mom sinks deep into lust and self-loathing. PRODUCTION DESIGN Ásta Bennie Hostetter A teen-drama riff on Racine’s Phèdre, Minor Theater’s PATHETIC invites you to get off on the LIGHTING DESIGN Christina Watanabe sick horrors of becoming a woman. SOUND DESIGN Ben Williams Minor Theater makes plays in a minor key. With dark VIDEO DESIGN humor and goofball precision, we lure you into the tunnels Jennifer Seastone where we feed off pop culture’s sticky undergut. Our plays ASSISTANT DIRECTOR are written and directed by Julia Jarcho in collaboration Kedian Keohan with award-winning theater artists Ásta Bennie Hostetter, Jennifer Seastone, and Ben Williams. Shows include PRODUCTION STAGE MANAGER Kendall Allen* GRIMLY HANDSOME (2013 OBIE, Best New American Play), THE TERRIFYING (Abrons 2017); NOMADS (dir. by Alice ASSISTANT STAGE MANAGER Taryn Uhe Reagan, Incubator 2014); DREAMLESS LAND (New York City Players/ Abrons, 2011); and American Treasure (13P, PRODUCTION MANAGER Michelle Lane 2009). We are champions of weird desire. PRODUCER Ann Marie Dorr MINOR THEATER MANAGEMENT ASSOCIATE Jordan Baum GRAPHIC DESIGNER Cody Carvel FEATURING Jordan Baum, Kim Gainer*, Kristine Haruna Lee*, Linda Mancini, Jennifer Seastone*, Ben Jalosa Williams* VIDEO APPEARANCE Hubert Point-Du Jour CREW Melissa Erickson, Cody Henson, Evan Herman-Chin, James Kogen, Claire Kostova, Nicholas Santagie, Lily bo Shapiro, Latyana Smith, Diane VanDenberghe, Carl Whipple *Appearing courtesy of Actors’ Equity Association. Equity Approved Showcase. MINOR THEATER PATHETIC ABOUT PATHETIC CAST & CREW Kendall Allen (Production Stage Manager ) is a Stage Manager, Director, and Intimacy Choreographer.
    [Show full text]
  • The Select (The Sun Also Rises), March 15—20 Elevator Repair Service’S Adaptation of the Hemingway Novel Was Developed at Artsemerson Last Year
    FOR IMMEDIATE RELEASE Contact: Joyce Linehan for ArtsEmerson, [email protected] ArtsEmerson: The World on Stage PRESENTS THE BOSTON PREMIERE OF THE SELECT (THE SUN ALSO RISES), MARCH 15—20 ELEVATOR REPAIR SERVICE’S ADAPTATION OF THE HEMINGWAY NOVEL WAS DEVELOPED AT ARTSEMERSON LAST YEAR Please note title and date changes from earlier releases. (BOSTON) The inaugural season of international theatre programming by ArtsEmerson: The World on Stage continues with the Boston premiere of Elevator Repair Service’s The Select (The Sun Also Rises) , an adaptation of Hemingway’s 1926 novel. Performances take place March 15—20, 2011 at the Paramount Mainstage (559 Washington Street, in Boston’s Theatre District). Performance times are Tuesday, Wednesday and Thursday at 7:30 p.m., Friday at 8 p.m.; Saturday at 2 and 8 p.m.; and Sunday at 2 p.m. Running time is three hours, 25 minutes with one pause and one intermission. Tickets, starting at $25, are on sale now at www.artsemerson.org or by phone at (617) 824-8000. Elevator Repair Service thrilled Boston audiences last year with Gatz at the A.R.T. They return to Boston with a very different production – a single-sitting adaptation of The Select (The Sun Also Rises) , which had its world premiere at the Edinburgh International Festival this summer, after spending a month in residence at ArtsEmerson developing the work on the Paramount Mainstage (on a set built in the Paramount Center’s scene shop.). ArtsEmerson members were allowed a sneak peek at a dress rehearsal in August. The first world war is over, but some battles still rage on.
    [Show full text]
  • 2018 BAM Next Wave Festival #Bamnextwave
    2018 BAM Next Wave Festival #BAMNextWave Brooklyn Academy of Music Adam E. Max, Katy Clark, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer Place BAM Harvey Theater Oct 11—13 at 7:30pm; Oct 13 at 2pm Running time: approx. one hour 15 minutes, no intermission Created by Ted Hearne, Patricia McGregor, and Saul Williams Music by Ted Hearne Libretto by Saul Williams and Ted Hearne Directed by Patricia McGregor Conducted by Ted Hearne Scenic design by Tim Brown and Sanford Biggers Video design by Tim Brown Lighting design by Pablo Santiago Costume design by Rachel Myers and E.B. Brooks Sound design by Jody Elff Assistant director Jennifer Newman Co-produced by Beth Morrison Projects and LA Phil Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund Major support for Place provided by Agnes Gund Place FEATURING Steven Bradshaw Sophia Byrd Josephine Lee Isaiah Robinson Sol Ruiz Ayanna Woods INSTRUMENTAL ENSEMBLE Rachel Drehmann French Horn Diana Wade Viola Jacob Garchik Trombone Nathan Schram Viola Matt Wright Trombone Erin Wight Viola Clara Warnaar Percussion Ashley Bathgate Cello Ron Wiltrout Drum Set Melody Giron Cello Taylor Levine Electric Guitar John Popham Cello Braylon Lacy Electric Bass Eileen Mack Bass Clarinet/Clarinet RC Williams Keyboard Christa Van Alstine Bass Clarinet/Contrabass Philip White Electronics Clarinet James Johnston Rehearsal pianist Gareth Flowers Trumpet ADDITIONAL PRODUCTION CREDITS Carolina Ortiz Herrera Lighting Associate Lindsey Turteltaub Stage Manager Shayna Penn Assistant Stage Manager Co-commissioned by the Los Angeles Phil, Beth Morrison Projects, Barbican Centre, Lynn Loacker and Elizabeth & Justus Schlichting with additional commissioning support from Sue Bienkowski, Nancy & Barry Sanders, and the Francis Goelet Charitable Lead Trusts.
    [Show full text]
  • 1 CURRICULUM VITAE MAC WELLMAN 220 Berkeley Place, 2F
    CURRICULUM VITAE MAC WELLMAN 220 Berkeley Place, 2F Brooklyn, NY 11217 Phone: (718)636-7484 Cell: (917)697-9533 Website: <www.macwellman.com> Email: [email protected] STAGE PRODUCTIONS : ANNIE SALEM [TEAM musical version]. Royal Court, London UK, 2015. Sundance, Utah, 2015. Ars Nova, New York, 2016 Vassar College, Poughkeepsie NY, 2019. PHAETHON. CSC Greek Festival, New York, 2015. THE OFFENDING GESTURE. Virginia Tech/Under St Marks, New York, 2014. Brooklyn College, New York, 2014 Jack, Brooklyn, NY, 2015. NYU, New York, 2015. Prelude 15, New York, 2015. The Tank/Connelly Theater, New York, 2016. Son of Semele Ensemble, L.A., 2017. 9 DEVILS (Kuki). 3LD, New York, 2013. WU WORLD WOO. Great Plains Theatre Conference, Omaha NE, 2013. 1 Sleeping Weazel, Boston MA, 2013. HORROCKS (AND TOUTATIS TOO) Proposition series at the New Museum, New York, 2013. St Francis College, Brooklyn NY, 2013. Great Plains Theatre Conference, Omaha NE, 2013. Sleeping Weazel, Boston MA, 2013. 3 2's; or AFAR. Little Theater at Dixon Place, New York, 2011. Dixon Place, New York, 2011. Central Academy of Drama, Beijing China, 2014 MUAZZEZ. Tribeca Lighting/ Chocolate Factory, New York, 2011. Prelude 11, New York, 2011. Great Plains Theatre Conference, Omaha NE, 2012. Fisher Center, BAM, Brooklyn NY 2012. Fusebox Festival, Austin TX, 2013. PS 122 (COIL), Chocolate Factory, New York, 2014. DOCTOR RAVENELLO; OR 1965 UU. Theater Lang, New York, 2008. HotINK, NYU, New York, 2008. The Chocolate Factory, 2008. Proctor’s, Schenectady, 2008. NINE DAYS FALLING. Stuck Pigs/ Performing Lines, Melbourne Australia, 2007. BEFORE THE BEFORE AND BEFORE THAT (Twas the Night Before ...) Chelsea Art Museum and The Flea, New York, 2006.
    [Show full text]
  • Announcing HOW to TRANSCEND a HAPPY MARRIAGE and BULL in a CHINA SHOP
    FOR IMMEDIATE RELEASE, PLEASE LINCOLN CENTER THEATER ANNOUNCES TWO NEW PRODUCTIONS FOR ITS 2016-2017 SEASON “HOW TO TRANSCEND A HAPPY MARRIAGE” A NEW PLAY BY SARAH RUHL DIRECTED BY REBECCA TAICHMAN PERFORMANCES BEGIN THURSDAY, FEBRUARY 23 OPENING NIGHT IS MONDAY, MARCH 20 AT THE MITZI E. NEWHOUSE THEATER AND THE LCT3 PRODUCTION OF “BULL IN A CHINA SHOP” A NEW PLAY BY BRYNA TURNER DIRECTED BY LEE SUNDAY EVANS SATURDAY, FEBRUARY 11 THROUGH SUNDAY, MARCH 26 OPENING NIGHT IS MONDAY, FEBRUARY 27 AT THE CLAIRE TOW THEATER Lincoln Center Theater (under the direction of André Bishop) has announced two new productions for its 2016-2017 season: HOW TO TRANSCEND A HAPPY MARRIAGE, a new play by Sarah Ruhl, to be directed by Rebecca TaichMan, beginning perforMances Thursday, February 23 and opening Monday, March 20 at the Mitzi E. Newhouse Theater (150 West 65 Street); and the LCT3 production of BULL IN A CHINA SHOP, a new play by Bryna Turner, to be directed by Lee Sunday EVans, which will begin perforMances Saturday, February 11, open on Monday, February 27, and run through Sunday, March 26 at the Claire Tow Theater (150 West 65 Street). HOW TO TRANSCEND A HAPPY MARRIAGE At a dinner party in the wilds of New Jersey, two Married couples discuss a younger acquaintance--a polyamorous woMan who also hunts her own Meat. Fascinated, they inVite this Mysterious woMan and her two liVe-in boyfriends to a New Year’s EVe party, which alters the course of their liVes. HOW TO TRANSCEND A HAPPY MARRIAGE asks: how Much loVe can a twosoMe contain? What are the liMits of friendship, and what happens when parents who have forgotten their own wildness have a wild ruMpus all their own? SARAH RUHL returns to Lincoln Center Theater where her plays The Oldest Boy; The Clean House (Pulitzer Prize finalist, Susan SMith Blackburn Prize); and In The Next Room, or the vibrator play (Tony Award noMinee for Best Play, Pulitzer Prize finalist) had their New York preMieres.
    [Show full text]
  • Elevator Repair Service
    ELEVATOR REPAIR SERVICE ABRONS ARTS CENTER A CONVERSATION BETWEEN JOHN COLLINS AND KATE SCELSA Kate Scelsa: So, John! John Collins: Kate, you’ve worked as a company member with ERS for about sixteen years now…And it turns out that you were doing stealth research for all these years on what would be perfect parts to write for some of our actors. KS: This is going to sound very sentimental, but writing this play has really felt like a love letter to this company. So it’s that, combined with my very deep love for Edward Albee’s play and specifically for the character of Martha. JC: And it’s exciting for me because I’m getting to work with one of my favorite novelists, who wrote one of my favorite books of the past couple of years. KS: Thank you for that plug. JC: It also fits in really nicely with the shows you’ve worked on with us, taking another work of great American literature as a jumping off point. And looking at the parts you’ve played in ERS shows, there have been a lot of Marthas in your life. KS: I’ve always been very interested in whether or not embodying that kind of female rage could be seen as sympathetic. Even powerful. Or if those women just become the shrew. Which means their rage can be dismissed. JC: Well you take Martha, who’s an extreme character… KS: She doesn’t care what anyone thinks of her. But what are the consequences of that attitude? For most of Albee’s play we see Martha as this incredible feminist character, in that she and her husband are on equal footing, and that’s what makes it so fascinating to watch, and fun to play.
    [Show full text]
  • The-Vandal.Pdf
    THE FLEA THEATER JIM SIMPSON artistic director CAROL OSTROW producing director BETH DEMBROW managing director presents the world premiere of THE VANDAL written by HAMISH LINKLATER directed by JIM SIMPSON DAVID M. BARBER set design BRIAN ALDOUS lighting design CLAUDIA BROWN costume design BRANDON WOLCOTT sound design and original music MICHELLE KELLEHER stage manager EDWARD HERMAN assistant stage manager CAST (IN ALPHABETICAL ORDER) Man...........................................................................................................................Zach Grenier Woman...............................................................................................................Deirdre O’Connell Boy...........................................................................................................................Noah Robbins CREATIVE TEAM Playwright...........................................................................................................Hamish Linklater Director.......................................................................................................................Jim Simpson Set Design..............................................................................................................David M. Barber Lighting Design.........................................................................................................Brian Aldous Costume Design......................................................................................................Claudia Brown Sound Design and Original
    [Show full text]
  • Montclair State University Digital Commons Field
    Montclair State University Montclair State University Digital Commons 2018-2019 Borders and Boundaries PEAK Performances Programming History 10-18-2018 Field Office of Arts + Cultural Programming PEAK Performances at Montclair State University Follow this and additional works at: https://digitalcommons.montclair.edu/peak-performances-2018-2019 Part of the Theatre and Performance Studies Commons World Premiere! Liz Gerring Dance Company Field Photo by Rodrigo Vazquez Photo by Rodrigo October 18-21, 2018 Alexander Kasser Theater Dr. Susan A. Cole, President Daniel Gurskis, Dean, College of the Arts Jedediah Wheeler, Executive Director, Arts + Cultural Programming World Premiere! Liz Gerring Dance Company Field Choreographed by Liz Gerring Original Music Composed by Michael J. Schumacher Production Design by Robert Wierzel Associate Lighting Designer/Company Production Manager Amith A. Chandrashakar Assistant Lighting Designer Abigail Hoke-Brady Stage Manager Stephanie Byrnes-Harrell Rehearsal Assistants Brandon Collwes, Claire Westby Company Manager Elizabeth DeMent Dancers Brandon Collwes, Joseph Giordano, Forrest Hersey, Julia Jurgilewicz, Jamie Scott, Thomas Welsh-Huggins, Claire Westby Liz Gerring Dance Company is a program of TonalMotion Inc., a 501(c)3 nonprofit corporation. lizgerringdance.org Co-produced by Peak Performances @ Montclair State (NJ). Field was developed in residence at the Alexander Kasser Theater, Montclair State University, Montclair, NJ. Additional funding provided by Kirk Radke. Duration: 1 hour, no intermission. In consideration of both audiences and performers, please turn off all electronic devices. The taking of photographs or videos and the use of recording equipment are not permitted. No food or drink is permitted in the theater. Program Notes Field is the third work by Liz Gerring in the trilogy of large-scale proscenium works commissioned by Peak Performances at Montclair State University.
    [Show full text]
  • Theatre & Performance
    CONTEMPORARY Theatre & Performance MULTICULTURALISM/ DIVERSITY • African-American Theatre • Global Theatre • LGBTQ • Performance • Asian-American • Performance Art Theatre • Experimental Theatre • Latino Theatre (LATC) AFRICAN-AMERICAN THEATRE • August Wilson (1945-2005) - Fences (1987) • Joe Turner’s Come and Gone (1988) • The Piano Lesson (1990) ASIAN-AMERICAN THEATRE • East/West Players (downtown LA) • David Henry Huang - M. Butterfly, Bondage, Yellow Face LGBTQ • Charles Ludlam (19431987) died of AIDS— founded The Ridiculous Theatre Company- The Mystery of Irma Vep (1984) with Everett Quinton • Tony Kushner- Angels in America (1993) • Larry Kramer -The Normal Heart (1985) • Terence McNally - Mothers and Sons (2014) • Split Britches (WOW Cafe)- Beauty and The Beast (1982), Belle Reprieve (1990), Lesbians Who Kill (1992) • The Tectonic Theatre Company (The Laramie Project) • Rent, Hedwig and The Angry Inch, Kinky Boots, Fun Home LATINO THEATRE • LATC (Latino Theatre Company- LA Theatre Center)- founded 1985 by Artistic Director, Jose Luis Valenzuela • Zoot Suit (1979) by Luis Valdez- made into a film (1981) • based on the Sleepy Lagoon Murder Trial (1942) and the Zoot Suit Riots in Los Angeles https://www.youtube.com/watch?v=M51xwySGNYc https://www.youtube.com/watch?v=dwINn5DEL1c GLOBAL THEATRE • Takarazuka Revue (Drag performance in Japan) https://www.youtube.com/watch?v=JLy2iOnBnsA https://www.youtube.com/watch?v=3Wccu0JjcLw • Handspring Puppet Company (South Africa) https://www.youtube.com/watch?v=SqAkQCbuvqg • Chinese Performance (spectacle)
    [Show full text]