Artistic Programs Support Theatres and Theatre Artists by Awarding $3 Million in Properties

Total Page:16

File Type:pdf, Size:1020Kb

Artistic Programs Support Theatres and Theatre Artists by Awarding $3 Million in Properties SPOTLIGHTFuture ON Leaders 2003-2005 and 2004-2006 Mentees in the new generations program about the New Generations program 2003-2005 recipient Kevin Bitterman TCG takes great pleasure Theatre de la Jeune Lune in introducing the mentees for 105 N 1st Street Minneapolis, MN 55401 the 2003-2005 and 2004-2006 rounds of the phone: 612-423-6611 New Generations Future Leaders program. work: 612-332-3968 x140 [email protected] The New Generations Program has been cooperatively designed [email protected] by the Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation In Minneapolis, MN, Theatre de la Jeune Lune’s and Theatre Communications Group. The resulting program supports co-artistic directors mentored Kevin Bitterman in two separate objectives: Future Leaders—to cultivate and strengthen the area of theatrical creation. Kevin served as a “The future of the American de facto member of the company, working as a new generation of theatre leadership through mentorships with not-for-profit theatre rests Dominique Serrand’s assistant director on accomplished theatre practitioners, and Future Audiences—to expand “in the hands of artists Carmen, The Ballroom, Maria de Buenos Aires willing to author and and strengthen existing theatre programs that have proven effective and The Miser and appearing in Carmen, Ubu for produce their own work— President, The Ballroom and the Off-Broadway in reaching young and/or culturally specific audiences. work that responds to tour of Hamlet. In addition, the theatre’s producing director, Steve Richardson, mentored Kevin in the Through a highly competitive selection process, national, independent our complex world, that illuminates the human area of theatre management. and aesthetically diverse selection panels identified exceptionally condition and searches Kevin Bitterman has collaborated as an talented theatre professionals to be mentored by accomplished for new ways of telling actor/director with Theatre de la Jeune Lune, theatre practitioners. These mentees have committed to be in residence unfamiliar stories. I strive Theatre Latté Da, Mixed Blood Theatre Company, to create theatre that with their host theatre for two years in a full-time capacity. They have been Chicago Avenue Project, Interact Center for the stimulates its audience to given the opportunity to deepen their understanding of the not-for-profit theatre— Visual and Performing Arts and the Footsbarn “respond—to disagree and Traveling Theatre. He was a visiting lecturer at the both through their time at the host theatre and in travels domestically and “encourage a dialogue École Nationale des Arts Appliqués and artist in internationally. They have made strong contributions to their theatres with the artists. I believe residence at the Fondation des Etats-Unis in Paris, and at the same time have honed their leadership skills. in the collaborative model France. There, he co-created and produced Ça, “to produce work—a theatre C’est l’Amour, La Mort du Prince and the short film without boundaries—that 4h40 with Studio Kremlin. Currently, Kevin is co- “unites artists with individ- developing an international collaborative project with the International Theatre Institute (ITI) New ual voices. One of my Project Group based on The Circular Ruins for the career goals is to 2006 ITI World Congress in the Philippines. Kevin cultivate an ensemble of holds a B.A. in theatre and communication from St. international artists whose John’s University and is a graduate of the École creative process will draw Jacques Lecoq. from diverse artistic styles, languages and tra- ditions to create new work and promote new voices both here and abroad.” 2003-2005 recipient 2003-2005 recipient Rebecca Lynn Brown Robert Castro Luis Alfaro, associate producer of new play 73 Seaman Avenue, #3C 160 Claremont Avenue, #3G development at Center Theatre Group in Los New York, NY 10034 New York, NY 10027 Angeles, CA, and Diane Rodriguez, director of the phone: 917-604-8434 phone: 212-316-4682 Latino Theatre Initiative, mentored Robert Castro [email protected] [email protected] in the area of artistic and administrative leadership. As a member of the artistic staff, In Minneapolis, MN, the Children’s Theatre Robert participated fully in the artistic and Company’s artistic director, Peter Brosius, administrative activities of the theatre. mentored Rebecca Lynn Brown, artistic associate, in the areas of new play development, producing, Robert Castro is currently an artistic associate artistic leadership and the national and at Center Theatre Group/Mark Taper Forum. international field of theatre for young people. His directing credits include works by Ibsen, “My goal as an artist is to Shakespeare, Maeterlink, Lorca and Brecht, make theatre that poses Rebecca Lynn Brown’s directing credits include: as well as new plays by Julia Cho and Jessica significant questions to Splash Hatch on the E Going Down, Whittier Goldberg. He served as an associate artist with the audience for which it Stories, Stories From Montevideo and Eurydice the Institute on the Arts and Civic Dialogue at is performed, inviting an (The Children’s Theatre Company); The Clean American Repertory Theatre/Harvard University. audience to meet the House (McCarter Theatre Festival of New Plays, Robert is a recipient of the NEA/TCG Career performance in the room workshop production); You’re No One’s Nothing Development Program for Directors. as an equal partner in a Special (HERE Arts Center). Associate directing He is a member of New York Theatre Workshop’s credits include: Gertrude and Alice (Anne Bogart, Usual Suspects and a member of the Lincoln dialogue. My process director) and And God Created Great Whales Center Theater Directors Lab. He has worked includes incorporating (David Schweizer, director). Her new play with Peter Sellars, George C. Wolfe and training practices that development credits include work with Sarah Ruhl, Anna Deavere Smith. Robert is a graduate of enable a production to Jorge Cortiñas, Anton Dudley and Jordan the University of California—San Diego and the reach beyond conven- Harrison. She holds an MFA in directing from the Yale School of Drama. tional thinking about form University of Washington and has taught at the in terms of time, space, University of Maryland and Simon Fraser language, image and University in Vancouver. metaphor. My directing interests include new plays, re-imagining classics and creating original work from non-dramatic texts. Most recently I have been working to create interview-based oral histories that seek to unearth what is compelling that lies beneath the surface of a community.” 2003-2005 recipient 2003-2005 recipient Clove Galilee Melvin D. Gerald, Jr. c/o Mabou Mines African Continuum Theatre Company 150 First Avenue, 2nd Floor 3523 12th Street, 2nd Floor New York, NY 10009 Washington, DC 20017 phone: 212-473-0559 phone: 202-529-5763 [email protected] [email protected] In New York, NY, Mabou Mines’ co-artistic director In Arlington, VA, Signature Theatre’s managing Sharon Fogarty mentored Clove Galilee as an director, Sam Sweet, mentored Melvin D. Gerald, artistic associate. The two-year mentorship Jr. Melvin participated in building the organization provided Clove with a background in balancing the as the theatre moved to a new space, promoting artistic and managerial responsibilities of an program evaluation and developing the board. “As a performer, I am artistic director at a small experimental theatre “I want to lead Melvin also assisted in budgeting and increasing interested in working with company. an organization that annual support as well as developing an internship a wide array of directors embraces and program to foster training and partnership and tackling both classic Clove Galilee is an artistic associate with Mabou celebrates the diversity opportunities with colleges and universities in and contemporary roles. Mines and co-artistic director of her theatre of America and that Washington, D.C. As co-artistic director of company, School for Gifted Children. Her work has includes the multitude my own theatre company, been presented at P.S. 122, the Public Theater, the of voices that comprise Born in Washington, D.C., Melvin D. Gerald School for Gifted Performing Garage, the Flea Theater, Primary the African-American received his B.A. in theatre from Morehouse Stages and P.S. 1 / MOMA. She is a Princess College in Atlanta, GA. In addition to organizing Children, I am dedicated community. As there Grace Award recipient in directing and grassroots arts organizations in Atlanta, Melvin to the collaborative is not one voice that performance. Her work is supported by the worked in human resources and operations creation of innovative speaks for that Greenwall Foundation, the Jerome Foundation and management for Gap, Inc. Melvin also studied arts works that combine the community, there is a New York Foundation for the Arts’s Emerging management at American University, with a focus uses of new media, Artists Fiscal Sponsorship Program. Upcoming need for a multitude on the comparison between not-for-profit and dance, live music and projects include Mabou Mines’s Red Beads at the of voices, a host of commercial business structures. After two years original scripts. I have Skirball Center in New York in September 2005, theatres—big and small, with Signature Theatre, Melvin will become the extensive experience direction of The Libation Bearers in Athens, mainstream and managing director of Washington D.C.’s African in the creation of Greece in December 2005 and choreography for alternative—that speak Continuum Theatre Company (ACTCo) where experimental theatre as and performance in Wickets with School for Gifted of the varied experi- he will heighten ACTCo’s visibility, increase an artistic associate Children in 2006. ences. I look forward its funding and strengthen the organization’s with Mabou Mines. to the partnership infrastructure at its new home in the Atlas Performing Arts Center. I am now interested in between artistic director expanding my range as a and managing director in performer and a director.
Recommended publications
  • Confrontation, Simulation, Admiration
    Confrontation, Simulation, Admiration The Wooster Group’s Poor Theater Kermit Dunkelberg The punning title of The Wooster Group’s Poor Theater, shown as a work-in- progress in the spring and late fall of at the Performing Garage on Wooster Street in New York, invites many interpretations. Does it suggest the- atre that is: Poorly executed? Poorly funded? To be lamented? All of the above? Is this the Wooster Group’s retort to Grotowski’s “poor theatre” of reduced means and monastic discipline (Grotowski ), or their own version of it? The Wooster Group’s self-mocking, reverent/irreverent, high-tech/low-tech, nostalgic/derisive production questions the state of contemporary performance by trying on the styles of a vanished group (the Polish Laboratory Theatre, dis- solved in ) and a vanishing one (the Ballett Frankfurt, disbanded in August —half a year after Poor Theater had its first showing). My focus in this article is on the sections of Poor Theater that deal with Grotowski’s Polish Laboratory Theatre (–). I see the Wooster Group’s production in light of the history of reception/rejection/appropriation of Grotowski’s work in the United States. In the wake of Grotowski’s first American workshop at New York University in , Richard Schechner founded The Performance Group. In the mid-s, the Wooster Group grew out of The Performance Group, be- coming an independent entity in . Poor Theater is in part a confrontation with an ancestor. In the spring program, “The Director” noted the importance of ancestors: The writers, the great writers of the past, have been very important to me, even if I have struggled against them.
    [Show full text]
  • Full Cast & Credits
    DANSPACEPROJECT40 YOU MAKE THE DIFFERENCE. Help us celebrate 40 years of Danspace Project! Donate at danspaceproject.org/supportjoin ABOUT DANSPACE PROJECT Founded in 1974, Danspace Project presents new work in dance, supports a diverse range of choreographers in developing their work, encourages experimentation, and connects artists to audiences. Now in its fourth decade, Danspace Project has supported a vital community of contemporary dance artists in an environment unlike any other in the United States. Located in the historic St. Mark’s Church in-the-Bowery, Danspace shares its facility with the Church, The Poetry Project, and New York Theatre Ballet. Danspace Project’s Commissioning Initiative has commissioned over 450 new works since its inception in 1994. Danspace Project’s Choreographic Center Without Walls (CW²) provides context for audiences and increased support for artists. Our presentation programs (including Platforms, Food for Thought, DraftWork), Commissioning Initiative, residencies, guest artist curators, and contextualizing activities and materials are core components of CW² offering a responsive framework for artists’ works. Since 2010, we have produced eight Platforms, published eight print catalogues and five e-books, launched the Conversations Without Walls discussion series, and explored models for public discourse and residencies. FOLLOW US! Facebook: Danspace Project Instagram: DanspaceProject Twitter: @DanspaceProject Tumblr:danspaceproject.tumblr.com www.danspaceproject.org BE FIRST. Join us in celebrating 40
    [Show full text]
  • The Wooster Group Relives 30 Years of Controversial Exploit5--{)N and Off Stage
    The Obse5slve guide to ·impulsive.entertainmelrt Jan-.ary 27-february 2, 2005 luu& No.. 487 $2.99 liDwm®ru ~~wYorRf Jan 27-Feb 2, 2005 lssue 487 Features :12 "It was familial , incestuous, dysfunctional" Experimental-theater company the Wooster Group relives 30 years of controversial exploit5--{)n and off stage. 20 "Christo and Jeanne­ Claude had this dream .. " Documentarian Albert Maysles has spent 26 years chronicling mega-installation The Gates. 24 "The comparison to Coldplay is misleading" Piano-driven Brit outfit Keane has perfected the art of the pop anthem. SeNice & Style Eat Out 27 Peek performance Open kitchens are like reality TV: Sometimes there's way more dirt than you ever wanted to see. Also this week in ... 30 Just opened Stan's Pl ace in Brooklyn Around Town Beauty and does Cajun its own way. squalor: Literary workshops Check Out celebrate the Bowery's past Art 35 Tress management A crop of new hair Rubens's dazzling draftsmanship products rescue our winter-worn manes. is revealed in a show at the 39 Critics' pick Graffiti-inspired stencils Met Books Better living through take street a:t indoors. chemistry: John Fall~ tells how war and Zoloft changed his Cl1ifl Out life Comedy Nightlife Awards ' 40 Health report Five health-food stores picks for best st and-up give a tum up, well, l)ugs and stuff. sneak peek of their ceremony 42 Just opened Fitness gets swi nging shtick Television BBC America with the Soho Dance Studio. brings two U.K. pol ice series to stateside viewers Departments 2 Letters 4 OutThere Shopping-cart showdown ...eavesdropper's o:ore ......
    [Show full text]
  • BAM Salutes to Jointheartistcircle Contactgwendolyndunaifat718.623.7810 [email protected]
    2013 Next Wave Festival Brooklyn Academy of Music Alan H. Fishman, BAM salutes Chairman of the Board William I. Campbell, Members of the Artist Circle Vice Chairman of the Board Bodycast: Adam E. Max, for their generosity and commitment to providing Vice Chairman of the Board a home for adventurous artists, audiences, and ideas Karen Brooks Hopkins, An Artist Lecture by President Joseph V. Melillo, Suzanne Bocanegra Artist Circle Members Executive Producer Diane & Adam E. Max, Cheryl Henson & Ed Finn The O’Grady Foundation Starring Artist Circle Chairs Sophie Hughes Maya Polsky Alan Jones & Ashley Garrett William D. & Susan Kahan Rifkin Roger Alcaly & Helen Bodian Miriam Katowitz & Max Rifkind-Barron Frances McDormand Susan L. Baker & Michael R. Lynch Arthur Radin Mr. & Mrs. Theodore C. Rogers The Howard Bayne Fund Gene & Terry Kaufman Carley Roney & David Liu Roger & Brook Berlind Eileen M. Lach Bette & Richard Saltzman Mr. & Mrs. Anthony Bowe Solange Landau Jon & NoraLee Sedmak Mr. & Mrs. Purnendu Chatterjee The Levine Foundation Susan & Larry Sills Simon & Sarah Collier Briehan Lynch & In Memory of Robert Sklar Mary Sharp Cronson Alexander Evis Mr. & Mrs. Howard Solomon Joan K. Davidson Grace Lyu-Volckhausen Sam & Ellen Sporn (The J.M. Kaplan Fund) Mattis Family Foundation David & Aliana Spungen Beatrice & James Del Favero Hamish Maxwell Starry Night Fund Carol & Roger Einiger Scott C. McDonald Jean Stein David & Susie Gilbert Constance & John Strasswimmer Directed by Elaine Golin H. Roemer McPhee Wendy vanden Heuvel Pamela Grace Joyce F. Menschel The Robert W. Wilson Paul Lazar The Grodzins Fund Barbara & Richard Moore Charitable Trust Mr. & Mrs. Henry B. Gutman Alexandra Munroe & Carol Yorke & Gerard Conn Mr.
    [Show full text]
  • Attendance and Play
    Montclair State University Montclair State University Digital Commons 2018-2019 Borders and Boundaries PEAK Performances Programming History 10-4-2018 Thank You For Coming : Attendance and Play 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 Recommended Citation Office of Arts + Cultural Programming and PEAK Performances at Montclair State University, "Thank You For Coming : Attendance and Play" (2018). 2018-2019 Borders and Boundaries. 5. https://digitalcommons.montclair.edu/peak-performances-2018-2019/5 This Book is brought to you for free and open access by the PEAK Performances Programming History at Montclair State University Digital Commons. It has been accepted for inclusion in 2018-2019 Borders and Boundaries by an authorized administrator of Montclair State University Digital Commons. For more information, please contact [email protected]. Faye Driscoll Thank You for Coming: Attendance and Play Photo by Hayim Heron October 4–7, 2018 Alexander Kasser Theater Dr. Susan A. Cole, President Daniel Gurskis, Dean, College of the Arts Jedediah Wheeler, Executive Director, Arts + Cultural Programming Faye Driscoll Thank You for Coming: Attendance and Play 10/4 @ 7:30: Thank You for Coming: Attendance 10/5 @ 7:30: Thank You for Coming: Play 10/6 @ 7:00, 10/7 @ 3:00: Thank You for Coming: Attendance AND Thank You for Coming: Play Thank You for Coming: Attendance Conception Faye Driscoll Choreography Faye Driscoll in collaboration with the performers Performance Giulia Carotenuto, Sean Donovan, Toni Melaas, Paul Singh, Brandon Washington Original Cast Alicia ayo Ohs, Nikki Zialcita Visual Design Nick Vaughan and Jake Margolin Sound Design/Original Composition Michael Kiley Lighting Design Amanda K.
    [Show full text]
  • ¡Oye! for My Dear Brooklyn
    March 15 - 31, 2018 March MODESTO FLAKO JIMENEZ & OYE GROUP ¡OYE! FOR MY DEAR BROOKLYN MODESTO FLAKO JIMENEZ & OYE GROUP ABOUT ¡OYE! FOR MY DEAR BROOKLYN OYE GROUP Runtime: 60 minutes “Listen to the beats / The rhythm of my Oye Group (formerly Brooklyn Gypsies) Writer & Performer Bushwick streets.” Brooklyn impresario is an artist collective made up of New Modesto Flako Jimenez Modesto Flako Jimenez conjures his Yorkers both native and immigrant to beloved borough in this bilingual elegy, the city. We present annual showcases Director told through poems, projections, of new work in theater, dance, poetry Artem Yatsunov and music. With lyrical brilliance and and film that spark dialogue on Video Designer irreverent play, ¡Oye! For My Dear critical issues such as immigration, Kevin Torres Brooklyn complicates our perceptions gentrification, economics, and urban of race, language, and gentrification survival. We curate a mix of established Lighting Designer and calls us to be truly present to ask and emerging artists and give them Megan Lang the question: “What is my moral worth?” a platform to share their art in a Sound Designer stimulating environment. Oye Group is a Drew Weinstein playground to celebrate what is unique about New York City’s eclectic and Set Designer converging art communities. Michael Minahan Stage Manager Kendall Allen Installation Artist Sara Sciabbarrasi Production Manager Skye Morse-Hodgson Production Consultant Jose Esquea WHO’S WHO Modesto Flako Jimenez Co-Founder of the North Jersey nomadic Drew Weinstein Writer & Performer collective StrangeDog Theatre (est. Sound Designer Modesto Flako Jimenez is a Dominican- 2008), called “very raw, very present” Drew is a New York-based director, born, Bushwick-raised theater maker, by the New York Times.
    [Show full text]
  • Soho: Beyond Boutiques and Cast Iron the Significance, Legacy, and Preservation of the Pioneering Artist Community’S Cultural Heritage
    (Left) Residents Exposing Brick Wall in Loft, Broome Street, SoHo, New York City, circa 1970. Photo Dorothy Koppelman, SoHo Memory Project. (Right) Bill Tarr, Door, Galvanized Steel, late 1960s, 102 Greene Street, SoHo, New York City. Photo by Author, 2012. SoHo: Beyond Boutiques and Cast Iron The Significance, Legacy, and Preservation of the Pioneering Artist Community’s Cultural Heritage Susie Ranney 2012 Historic Preservation Masters Thesis, Columbia University Advisor: Paul Bentel Table of Contents Thesis Abstract Introduction 1 Chapter 1: Synopsis of Significance 4 General Background 5 Urban Historical Significance 7 Aesthetic Significance 12 Cultural Significance 19 Chapter Conclusions 23 Chapter 2: The Artists’ SoHo 24 Preconditions of the SoHo Landscape 25 Heritage: Aesthetic Culture of the Early Artists’ SoHo 28 Aesthetics: From “Loft Dwelling” to “Loft Living” 29 Heritage: Collective Identity Rooted in Art and Landscape 39 Chapter Conclusions 50 Chapter 3: Evaluation of Preservation in SoHo 51 Official Preservation Intervention 52 Pursuing Municipal District Designation 52 SoHo-Cast Iron Historic District Designation Reports 54 Aftermath of Government Intervention 56 SoHo-Cast Iron Historic District Extension (2010) 58 Rise of Cultural Heritage Perservation 62 Factors Hindering Preservation of Artist Communities’ Cultural Heritage 65 Preservation Opportunties 70 Revising and Augmenting the Preservation Toolkit 74 Chapter Conclusions 77 Thesis Conclusions 78 Works Cited 81 Appendices 84 Acknowledgements and Dedication 99 SoHo: Beyond Boutiques and Cast Iron Thesis Abstract Fifty years ago, though the buildings stood, “SoHo” did not yet exist in name or concept. Instead, the area referred to by some as “Hell’s Hundred Acres” was considered to be a dying, industrial relic filled with unappealing buildings.
    [Show full text]
  • PERFORMANCE ARTISTS TALKING in the EIGHTIES Montano a B I-Xvi 001-538 10/30/00 16:09 Page Ii Montano a B I-Xvi 001-538 10/30/00 16:09 Page Iii
    montano_a_b_i-xvi_001-538 10/30/00 16:09 Page a AHMANSON•MURPHY FINE ARTS IMPRINT has endowed this imprint to honor the memory of . who for half a century served arts and letters, beauty and learning, in equal measure by shaping with a brilliant devotion those institutions upon which they rely. montano_a_b_i-xvi_001-538 10/30/00 16:09 Page b The publisher gratefully acknowledges the generous contribution to this book provided by the Art Book Endowment of the University of California Press, which is supported by a major gift form the Ahmanson Foundation. montano_a_b_i-xvi_001-538 10/30/00 16:09 Page i PERFORMANCE ARTISTS TALKING IN THE EIGHTIES montano_a_b_i-xvi_001-538 10/30/00 16:09 Page ii montano_a_b_i-xvi_001-538 10/30/00 16:09 Page iii PERFORMANCE ARTISTS TALKING IN THE EIGHTIES athsexfoodmoney tual/deathfoodmo ey/fameritual/death xmoney/fameritua eathsexfoodmone fameritual /deathse COMPILED BY LINDA M. MONTANO University of California Press Berkeley Los Angeles London montano_a_b_i-xvi_001-538 10/30/00 16:09 Page iv Grateful acknowledgment is made for permission to reprint interviews with Nancy Barber, Alison Knowles, Leslie Labowitz, Suzanne Lacy, Susan Mogul, and Bonnie Sherk from “Food and Art,” High Performance , no. (winter ‒); Ana Mendieta from Sulfur (); Annie Sprinkle and Veronica Vera from “Summer Saint Camp ,” The Drama Review , no. (spring ); Karen Finley, Mierle Laderman Ukeles, and Helene Aylon from Binnewater Tides (published by the Women’s Studio Workshop) – (–); and Carolee Schneemann from Flue (published by Franklin Furnace) (). University of California Press Berkeley and Los Angeles, California University of California Press, Ltd.
    [Show full text]
  • 169 Mercer Street Soho
    169 MERCER STREET SOHO FEATURES ABOUT THIS PROPERTY TOTAL SF 4,200SF UNPARALLELED LOCATION: Embodying the charm and elegance that has made GROUND FLOOR: 2,400SF SoHo famous, 169 Mercer St. presents a unique opportunity in an area where LOWER LEVEL: 1,800SF space rarely becomes available. FRONTAGE TRENDY NEIGHBORHOOD: Mercer Street is filled with chic and trendy retailers. MERCER STREET 30’ Neighboring stores include Versace, Marni, Marc Jacobs, Dolce & Gabbana, Balenciaga, Prada, and Mercer Hotel. HIGHLIGHTS EXCELLENT RETAIL OPPORTUNITY: 169 Mercer St., located between Prince •TYPE: RETAIL Street and West Houston, offers 4,200 SF of retail space spread across the •TOTAL SF: 4,200SF ground floor and lower level. The property boasts furnished interiors, hardwood •MARKET: SOHO flooring, and specialty finishes including granite block and stone tiles. With 2,400 SF on the ground floor and 1,800 SF on the lower level, the property is perfectly suited for a tenant looking to make a mark in SoHo. 25 West 39th Street New York, NY 10018 Phone (212) 529-5055 FAX (212) 460-5362 169 MERCER STREET Mott St SOHO S R Crosby St W Houston St W Houston St Starbucks B D F M Keito Dos Caminos Trico Field REI Russeck Gallery Ligne Roset Bulthaup Development Aroma Site Vacant ARI FLOS Cassina Axelle Fine Arts Gallerie Porsche Design Tui Lifestyle Construction Site 24 Hour Fitness AVAILABLE Vacant Cutler R by 45rpm Billabong Seraphine Sadelle’s Cappellini Pomegranate Costume National Del Toro Stepevi Gallery Kenneth Cole Portofino Sun Soho Wines & Spirits Keneth Cole Development Mercer Parking Garage Duane Reade Housing Works Georges Bergés Gallery add accesories Poltrona Frau Site Moroso Leica Martin L Gallery Suglass Hut DTR Modern Galleries FLOR Think Pink Catch NY Aveda Giggle Marni Mulberry St Billionaire Boys Club Blu Dot Vera Wang Halstead Property Diana von Versani Bank of America Furstenberg Allouche Gallery Kelley & Ping Revolver Salon Thompson Haven Spa BK Indust.
    [Show full text]
  • FOR IMMEDIATE RELEASE January 12, 2016 the Performing Garage
    FOR IMMEDIATE RELEASE January 12, 2016 The Performing Garage Presents: Radiohole's TARZANA Production Dates: February 11 – February 14, 2016 New York, NY— Legendary, award-winning experimental theater company Radiohole will present advance showings of Tarzana at The Performing Garage. A comic book comes alive on the stage: Tarzana is a collaboration with award-winning playwright and screenwriter Jason Grote ('Mad Men') who was commissioned by Radiohole to write text for the work. Influenced by film-makers such as Alejandro Jodorowsky and David Lynch and the New York Punk scene of the 1970s and early 80’s, Tarzana unfolds in a hand- drawn landscape following the misadventures of a guilt-ridden Superman, Two Non Blondes and architect of the Terror, Robespierre. What comes to pass is surreal mayhem in true Radiohole tradition: an uproarious, bacchanalian, beautiful mess. Be warned: there will be karaoke. And blood. CALENDAR INFORMATION Performing Arts | Theater WHAT Radiohole's Tarzana WHO Created by Radiohole (Erin Douglass, Eric Dyer, Maggie Hoffman and Scott Halvorsen Gillette) from a script by Jason Grote. Performed by Radiohole with Amanda Bender, Ryan Holsopple and special guests. WHEN February 11- February 14 Performance Days Thursday-Saturday at 8pm Sunday at 7pm Running Time: 1 hour, 10 minutes WHERE The Performing Garage | 33 WOOSTER STREET | NEW YORK, NY 10013 TICKETS $15-25 at www.theperforminggarage.org ABOUT RADIOHOLE “Yuck, what a mess. What a sticky, goopy, embarrassing, all-over-the-place and absolutely necessary mess." –Ben Brantley, The New York Times Over the years, Radiohole has earned a reputation as one of New York’s most tenacious and uncompromising ensembles.
    [Show full text]
  • Community Board No. 2, M Anhattan
    Carter Booth, Chair Antony Wong, Treasurer Daniel Miller, First Vice Chair Valerie De La Rosa, Secretary Susan Kent, Second Vice Chair Amy Breanna, Assistant Secretary Bob Gormley, District Manager C OMMUNITY B OARD N O . 2, M ANHATTAN 3 W ASHINGTON SQUARE V ILLAGE N EW YORK, NY 10012-1899 www.cb2manhattan.org P : 212-979-2272 F : 212-254-5102 E : [email protected] Greenwich Village v Little Italy v SoHo v NoHo v Hudson Square v Chinatown v Gansevoort Market FULL BOARD MEETING AGENDA DATE: Thursday, March 19, 2020 TIME: 6:30 PM PLACE: Via Video-Conference I. ATTENDANCE – Virtual Voice Roll Call Vote II. PUBLIC SESSION: Public Testimony Submitted by email to [email protected] will be summarized. *Public testimony must be submitted by email only before 5:00 p.m. March 19th, 2020 to [email protected] III. ADOPTION OF AGENDA IV. REPORTS TO THE PUBLIC 1. Elected Officials’ Reports 2. Borough President’s Report Andrew Chang 3. Chair's Report Carter Booth 4. District Manager's Report Bob Gormley BUSINESS SESSION V. APPROVAL OF FEBRUARY MINUTES VI. STANDING COMMITTEE REPORTS AND OTHER BUSINESS 1. Schools & Education Jeannine Kiely 2. Arts & Institutions Robin Rothstein 3. Traffic & Transportation Shirley Secunda 4. Landmarks Chenault Spence 5. SLA Licensing 1 Donna Raftery 6. SLA Licensing 2 Robert Ely 7. Quality of Life Joseph Gallagher VII. NEW BUSINESS EXECUTIVE SESSION VIII. EXECUTIVE SESSION Meeting will enter into Executive Session for Board Members Only to discuss personnel matters 8. Personnel Committee Carter Booth IX. ADJOURNMENT Carter Booth, Chair Antony Wong, Treasurer Daniel Miller, First Vice Chair Valerie De La Rosa, Secretary Susan Kent, Second Vice Chair Amy Breanna, Assistant Secretary Bob Gormley, District Manager C OMMUNITY B OARD N O .
    [Show full text]
  • Performing Remains
    Performing Remains At last, the past has arrived! Performing Remains is Rebecca Schneider's authoritative statement on a major topic of interest to the field of theatre and performance studies. It extends and consolidates her pioneering contributions to the field through its interdisciplinary method, vivid writing, and stimulating polemic. Performing Remains has been eagerly awaited, and will be appreciated now and in the future for its rigorous investigations into the aesthetic and political potential of reenactments. Tavia Nyong’o, Tisch School of the Arts, New York University. I have often wondered where the big, important, paradigm-changing book about re-enactment is: Schneider’ s book seems to me to be that book. Her work is challenging, thoughtful and innovative and will set the agenda for study in a number of areas for the next decade. Jerome de Groot, University of Manchester. Performing Remains is a dazzling new study exploring the role of the fake, the false, and the faux in contemporary performance. Rebecca Schneider argues passionately that performance can be engaged as what remains, rather than what disappears. Across seven essays, Schneider presents a forensic and unique examination of both contemporary and historical performance, drawing on a variety of elucidating sources including the “America” plays of Linda Mussmann and Suzan-Lori Parks, performances of Marina Abramovic´ and Allison Smith, and the continued popular appeal of Civil War reenactments. Performing Remains questions the importance of representation throughout history and today, while boldly reassessing the ritual value of failure to recapture the past and recreate the “original.” Rebecca Schneider is Chair of the Department of the Theatre Arts and Performance Studies at Brown University.
    [Show full text]