DOCSLIB.ORG

Aloha, Aloha, Or When I Was Queen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aloha, Aloha, Or When I Was Queen April 4-21, 2018 ALOHA, ALOHA, OR WHEN I WAS QUEEN ALOHA, ALOHA, ABOUT OR WHEN I WAS QUEEN THE SHOW Runtime: 75 minutes Writer and performer Eliza Bent uses Written and Performed by a home movie as a jumping off point Eliza Bent to lead audiences on a journey that grapples with personal history, legacy, Director and Production Designer and cultural appropriation. Knud Adams Textile Panel Artist Elizabeth Chabot Sound Design and Original Music by Jerome Ellis Lighting by Kate McGee Makeup and Styling by Naomi Miyoko Raddatz WHO’S WHO KNUD ADAMS (director & production ELIZA BENT * is a writer and performer. JEROME ELLIS (sound design and designer) is a director of new and Bent’s plays have been developed, original music) is an Afro-Caribbean experimental plays. Previously with workshopped, and produced at Abrons composer, improviser, and theater Eliza Bent, he directed On a Clear Day Arts Center, JACK, the Bushwick Starr, artist. He creates and performs concert, I Can See to Elba (The New Ohio) and the Atlantic, and the New Ohio. Awards: ambient, and electronic music, and is Asleep at the Wheel (Brooklyn College). 2014 Payne Award for Outstanding one half of the live music and storytelling Other recent productions: Asshole by Theatrical Event (The Beyonce), Time duo James and Jerome. As a composer Justin Kuritzkes (JACK), The Workshop Out New York Critic’s Pick for Toilet Fire, he was awarded a 2015 Fulbright by Torrey Townsend (Soft Focus, New LMCC Process grant for Bonnie’s Last Fellowship to research traditional samba York Times Critics’ Pick), Every Angel is Flight. Residencies: MacDowell Colony, performance and write new music in Brutal by Julia Jarcho (Clubbed Thumb), SPACE on Ryder Farm “Working Farm,” Salvador, Brazil. Recent projects include Tom & Eliza by Celine Song (JACK), Snore Target Margin Institute, New Georges MUSEUM: Lecture at The Brick in NYC by Max Posner (Juilliard), An Intimate Audrey residency, artist-in- residence with James Harrison Monaco (directed Evening with Typhoid Mary by Carl at Abingdon Theatre, Casa Zia Lina. TV: by Tony-nominee Rachel Chavkin and Holder (The New Ohio), That Poor Girl “Arthur.” Bent is a former senior editor at Annie Tippe) and High Winds with Sylvan and How He Killed Her by Jen Silverman American Theatre magazine, a performer Oswald in NYC and LA (directed by Ellie (U. of Rochester), Krazytown by Jenny with the Obie-award winning group Heyman). He is also an apprentice piano Schwartz (NYU), and Salome of the Half Straddle, a frequent collaborator technician with Floating Piano Factory, Moon by Nick Jones (Waterwell). Adams with Knud Adams, and is an adjunct as well as a translator from Portuguese. trained by assisting some of the nation’s lecturer in creative writing at Brooklyn jeromeellis.com foremost theater artists: André Gregory, College where she received her MFA in Elizabeth LeCompte, Richard Foreman, playwriting. Next up she will perform in Sam Gold, Sarah Benson, and Rachel Ding Dong It’s the Ocean at JACK in May. KATE MCGEE (lighting) is a trans*everything lighting designer. Chavkin. He has developed new work elizabent.wordpress.com with dozens of theaters throughout NYC Recent work includes: Emily’s D+ and regionally, including Ars Nova, The Evolution World Tour Esperanza Atlantic, The Bushwick Starr, Clubbed ELIZABETH CHABOT (textile panel artist) Spalding, A Hunger Artist (Sinking Ship Thumb, The New Group, NYTW, P73, is a self-taught weaver and fiber artist. Productions), ‘Aint No’ Mo’, Masculinity Playwrights Horizons, Playwrights She makes hand-woven textiles, wall Max (The Public Theater), 50/50 old Realm, and The Public. Affiliations: hangings, and large-scale art pieces school animation (Under the Radar, Drama League Resident Director, Soho focusing on an intermixture of textures The Public Theater), Sound House (New Rep Writer/Director Lab, Playwrights and the incorporation of found and Georges), My Lingerie Play (Rattlestick Horizons Directing Resident. Next up: Tin repurposed materials. Her work has Playwright’s Theater),The Mechanics Cat Shoes (Clubbed Thumb) and Marie been exhibited nationally in Ohio, North of Love (To By For productions), Kidnap and Bruce (JACK). Carolina, New York, and elsewhere. Her Road (La MaMa), Carnival of the Animals most recent project was Penelope’s and The Bremen Town Band (The Miller knudadams.com Room, a woven installation built inside Theater), The Hour of the Star adapted the historic bank vault at 21c Museum and directed by Dara Malina (Columbia Hotel in Durham, North Carolina. Stages), and Early Plays (New York City elizabeth-chabot.com Players/Wooster Group, Henry Hewes Award Nomination, with Aaron Deyo). WHO’S ALOHA, ALOHA SPECIAL WHO continued FUNDING THANKS NAOMI MIYOKO RADDATZ (makeup Aloha, Aloha, or When I Was Queen was Abrons staff, Alaina Ferris, Aleksei and styling) is a makeup artist for developed at SPACE on Ryder Farm and Wagner, Aliyah Blackmore, Christopher film, television, theater, print, and had a workshop showing as part of the Bowser, Clubbed Thumb, Claire private clients. She began her career New Ohio’s Producer’s Club. Mazur, Dave Malloy, Eboni Booth, as a costume designer and became Emily Simoness, Freeman’s Creative, interested in makeup as a way to bring Jess Barbagallo, Linnea Hussein, Liz an entire character to life. She has Stevenson, Matthew Capodicasa, toured throughout the United States and Modesto Flako Jimenez, New Ohio, Nick internationally to Singapore, Belgium, Zeig Owens, Nikki Easley, Quinn Metal and Canada, as lead makeup artist, wig Corbin, Please & Thank You, Sam Breslin and hair stylist, and wardrobe supervisor. Wright, Space on Ryder Farm and Sasha. She was born and raised in Hollywood, California, and is currently based in New York City. naominaominaomi.com * Appearing courtesy of Actors’ Equity Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 actors and stage managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. www.actorsequity.org #EquityWorks ABOUT ABRONS ABRONS FUNDING Abrons Arts Center is a home for contemporary interdisciplinary The Aaron Copland Fund for Music, Inc. arts in Manhattan’s Lower East Side neighborhood. A core The Andrew W. Mellon Foundation program of the Henry Street Settlement, Abrons believes that The Andy Warhol Foundation for the Visual Arts access to the arts is essential to a free and healthy society. The ARTS Council of the Southern Finger Lakes Through performance presentations, exhibitions, education The Barker Welfare Foundation programs and residencies, Abrons mobilizes communities with the British Council transformative power of art. The Bulova Stetson Fund Abrons values freedom of expression and creativity, ever striving Daniel J. and Edith A. Ehrlich Family Foundation to provide creative communities with a space that celebrates The Diller-von Furstenberg Family Foundation diversity of thought and experience. Abrons aims to be an anti- Emily Davie & Joseph S. Kornfeld Foundation oppressive home to people from all backgrounds and does not Exploring the Arts discriminate on the basis of race, national or ethnic origin, citizen The Harkness Foundation for Dance, Inc. status, ancestry, age, religion, disability, sex or gender, gender The Harold & Mimi Steinberg Charitable Trust identity and/or expression (including a transgender identity), Howard Gilman Foundation, Inc. sexual orientation or any other characteristic. Jacques and Natasha Gelman Foundation You are welcome here. Jerome Foundation Jerome Robbins Foundation Louis and Anne Abrons Foundation, Inc. Indigenous Land Acknowledgement Mertz Gilmore Foundation Milton and Sally Avery Arts Foundation Nulelìntàmuhëna gli paèkw Lenapehoking. Shelley and Donald Rubin Foundation Kulawsihëmo ènta ahpièkw. Stavros Niarchos Foundation We are glad because you people came to Lenapehoking. Tita Cahn Trust Live well when you are here. Trust for Mutual Understanding Manhattan Borough President Gale Brewer Abrons Arts Center is situated on the Lenape island of National Endowment for the Arts Manhahtaan (Mannahatta) in Lenapehoking, the Lenape New York City Councilmember Margaret Chin homeland. New York City Councilmember Rosie Mendez We pay respect to Lenape peoples, past, present, and future and New York City Department of Cultural Affairs their continuing presence in the homeland and throughout the New York City Department of Education Lenape diaspora. We offer our care and gratitude to the land, New York State Council on the Arts water and air of Lenapehoking, and are committed to resisting As well as our numerous individual supporters colonialism and imbalance with Mother Earth through the support of Indigenous-led programming and Indigenous artistic practices. For tickets and showtimes: abronsartscenter.org Abrons Arts Center Henry Street Settlement Support neighborhood businesses! As a thank you for 466 Grand Street supporting our programming, we’re offering discounts to New York City 10002 some of our favorite Lower East Side hangouts. For more 212.598.0400 information, click on abronsartscenter.org abronsartscenter.org/plan-your-trip/dining-and- @abronsartscenter ttttttttttttttttttttttt attractions @abronsartsctrt and get a discount when you bring this program! t @abronsartscenter.
Load more

Recommended publications
  • Feb 23-Mar 1, 2020
    PRESENTS FEB 23-MAR 1, 2020 DIGITAL PROGRAM SCROLL TO CONTINUE Click on any section below to jump to the page. THE STORY BOX MARIE IT'S TIME THE MCCARTHY ERA CANNABIS! A THEATRICAL CONCERT PRIESTESS OF TWERK A MEAL HERE EVENTS | MEMBERSHIP | HERE STAFF FUNDING | SURVEY | HEREART | FOLLOW US FEB 23 + 24 The Story Box A two part multi-genre storytelling event Written and Performed by Suzi Takahashi Developed with and Directed by Kristin Marting Composed by Michaela Gomez Set and Costume Design by Jian Jung Sound Design by Drew Weinstein Lighting Design by Andrew Trent Production Stage Manager Elizabeth Sophia Strauss Rehearsal Assistants Rebecca Chan and Madeline Whitesell Jeanette Oi-Suk Yew is also on our creative team but will join us for later iterations of the project. SPECIAL THANKS Laurie Birrittella, Karin Bowersock, Rebecca & Zack Hamm, Kim Ima, David Lyons, Robert Lyons, David Shane Approximate Running Time: 90 minutes The Story Box has been developed with support from Alfred University, Bethany Arts Community, Bristol Valley Theatre and National Park of Women’s Rights 3 CREDITS BACK TO TOP ▲ COMPANY BIOS SUZI TAKAHASHI (Co-Creator/Performer) is an actor, director, and theatre maker. As an actor, she’s worked with directors like Richard Foreman, Richard Schechner, Tom Oppenheim, Kristin Marting, and Phil Soltanoff. Recently, she was a part of Taylor Mac’s A 24-Decade History of Popular Music at St. Ann’s Warehouse in New York City. As a director, Suzi won the 2009 Innovative Theatre Award for Best Director. She has been a Directing Fellow at New York Theatre Workshop, and a HARP Artist-in-Residence at HERE.
    [Show full text]
  • Elevator Repair Service Presents World Premiere of Kate Scelsa’S Everyone’S Fine with Virginia Woolf, Directed by John Collins, June 1–24
    For Immediate Release February 14, 2018 ELEVATOR REPAIR SERVICE PRESENTS WORLD PREMIERE OF KATE SCELSA’S EVERYONE’S FINE WITH VIRGINIA WOOLF, DIRECTED BY JOHN COLLINS, JUNE 1–24 Biting Parody Of Celebrated Drama Is Loving Homage And Feminist Take-Down Elevator Repair Service Artistic Director, John Collins Producing Director, Ariana Smart Truman presents Everyone’s Fine With Virginia Woolf Written by Kate Scelsa for Elevator Repair Service Directed by John Collins Preview performances: June 1, 2, 6–9 at 8pm; June 2, 9, 10 at 2pm Opening: Tuesday, June 12 at 7pm Regular performances through June 24: Wednesday–Saturday at 8pm; Saturday & Sunday at 2pm Abrons Arts Center (466 Grand Street, Manhattan) Tickets: $25–$75; everyonesfine.com; 212-352-3101 Elevator Repair Service, “one of the city’s few truly essential theater companies” (New York Times), is pleased to present the world premiere of Everyone’s Fine With Virginia Woolf, a new play written by longtime company member Kate Scelsa and directed by Elevator Repair Service Artistic Director John Collins. A sharp-witted parody of a celebrated American drama, Everyone’s Fine With Virginia Woolf is, in turns, loving homage and fierce feminist take-down. In her incisive and hilarious reinvention of Edward Albee’s classic Who’s Afraid of Virginia Woolf?, Scelsa slyly subverts the power dynamics of the original play’s not-so-happy couple. In the end, no one will be left unscathed by the ferocity of Martha’s revenge on an unsuspecting patriarchy. Founded in 1991 and known for a rich body of ensemble-driven theatrical works, Elevator Repair Service develops pieces over a period of many months to years.
    [Show full text]
  • 2012 Brown University Providence, Ri Annual Meeting of the American Comparative Literature Association Acla Collapse / Catastrophe / Change
    acla Collapse / Catastrophe / Change March 29 - april 1, 2012 Brown University providence, ri Annual Meeting of the American Comparative Literature Association acla Collapse / Catastrophe / Change March 29 - april 1, 2012 Brown University providence, ri ACLA 2012 TRANSLUCINATIONS: Innovative Translations from French, Spanish, Japanese Brian Evenson, Brown University “BrianEvensonis oneofthetreasures ofAmericanshort storywriting.” – Jonathan Lethem friday MARCH 30 3:30-5:00PM 2012 MartinosAuditorium, GranoffCenterfortheCreativeArts 154AngellStreet Forrest Gander, Brown University “Ifthereweresuch athingaseco-trans- lation,Ganderwould certainlybeoneof itspioneers.” C.D. Wright, – Monica de la Torre in Lana Turner Brown University “Wrighthasfoundaway towedfragmentsofan iconicAmericatoa ALL H luminouslystrangeidiom, O: TRACY eerieasatinwhistle.” T HO –The New Yorker P taBle of contents Conference Schedule 5 Welcome and General Information 9 Seminar Overview 11 Plenary and Special Sessions 19 Seminars in Detail 21 Acknowledgments 218 Call for Proposals for ACLA 2013 219 Index 220 Map inside back cover 3 Local Acknowledgements Many thanks to the following people, offices, centers, and departments for their generous support in making Brown University’s hosting of the ACLA 2012 possible: President Ruth Simmons, Brown University Former Provost David Kertzer, Brown University Dean of the Faculty, Kevin McLaughlin, Brown University Cogut Center for the Humanities and the “Global Humanities Initiative,” Brown University Department of Comparative
    [Show full text]
  • No - on Pe: WORKING SESSIONS
    WORKING SESSIONS: No - On Pe: WORKING SESSIONS Nothing Changes if Nothing Changes: Perseverance Emily Roxworthy, University of California, San Diego Ariel Nereson, University at Buffalo, SUNY Lisa Moravec, Royal Holloway, University of London and Perseveration in Activist Performance The Persistence of Activist Performance in Zoomtopia? Staging Choreographed Crossings, 1954: Louis Johnson and Ilona The Performance of Dressage: Nature Strikes Back! Convenors: Interactive Diversity Theatre during COVID-19 Murai Navigate Broadway Sonja Kuftinec, University of Minnesota Jennifer Parker-Starbuck, Royal Holloway, University of London John Fletcher, Louisiana State University Dani Snyder-Young, Northeastern University Kirsten Pullen, University of Illinois at Urbana–Champaign Under the Sea: Machinic Crustaceans and Ecological Promises Everything has Changed, Nothing is Different: Digital Mandy Moore’s Extraordinary Choreography: Re-citing and Participants: Performances, Amplified Inequalities, and the Performativity of Repeating Lyrical Dance in Broadcast TV Sarah Standing, New York City College of Technology Virginia Anderson, Connecticut College Socially Distanced Spectatorship The Specter of Animals in Natural Disaster Capitalism Aging with the AIDS Epidemic on Broadway: The Perils of Amy Rodgers, Mt. Holyoke University Nostalgic Performance Bretton White, Colby College Bring Up The Bodies: Dance as Revenant History and Clara Wilch, University of California, Los Angeles Excessive Repetition: Luis Manuel Otero Alcántara, Biennal #00 Performance
    [Show full text]
  • Contagious Theaters from Modernism to the Digital Age
    Viral Performance Viral Performance Contagious Theaters from Modernism to the Digital Age Miriam Felton- Dansky northwestern university press evanston, illinois Northwestern University Press www .nupress .northwestern .edu Copyright © 2018 by Northwestern University Press. Published 2018. All rights reserved. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging- in- Publication Data Names: Felton-Dansky, Miriam, author. Title: Viral performance : contagious theaters from modernism to the digital age / Miriam Felton-Dansky. Description: Evanston, Illinois : Northwestern University Press, 2018. | Includes bibliographical references and index. Identifiers: LCCN 2017057481| ISBN 9780810137165 (cloth : alk. paper) | ISBN 9780810137158 (pbk. : alk. paper) | ISBN 9780810137172 (ebook) Subjects: LCSH: Experimental theater—20th century. | Experimental theater— 21st century. | Theater and society. | Theater and social media. Classification: LCC PN2193.E86 F45 2018 | DDC 792.022—dc23 LC record available at https://lccn.loc.gov/2017057481 Except where otherwise noted, this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. In all cases attribution should include the following information: Felton-Dansky, Miriam. Viral Performance: Contagious Theaters from Modern- ism to the Digital Age. Evanston, Ill.: Northwestern University Press, 2018. The following material is excluded from the license: Images and archival material. For permissions beyond the scope of this license, visit http://www.nupress. northwestern.edu/. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative de- signed to make high-quality books open access for the public good.
    [Show full text]
  • Process As Product: the Culture of Development and the Twenty-First
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 Process as product: the culture of development and the twenty-first century American dramatist John Patrick Bray Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Bray, John Patrick, "Process as product: the culture of development and the twenty-first century American dramatist" (2011). LSU Doctoral Dissertations. 3612. https://digitalcommons.lsu.edu/gradschool_dissertations/3612 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PROCESS AS PRODUCT: THE CULTURE OF DEVELOPMENT AND THE TWENTY-FIRST CENTURY AMERICAN DRAMATIST A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre by John Patrick Bray AS, SUNY Dutchess Community College, 1998 BS, SUNY New Paltz, 2000 MFA, The Actors Studio Drama School at New School University, 2003 August 2011 © Copyright 2011 John Patrick Bray All Rights Reserved ii ACKNOWLEDGEMENTS I am indebted to Dr. Leslie A. Wade for his guidance and enthusiasm with this project. I am also grateful to Dr. Femi Euba, Dr. John Fletcher, Dr. Leigh Clemons, and Professor Kristin Sosnowsky for their insight and generosity.
    [Show full text]
  • Shannon Jackson
    SHANNON JACKSON Associate Vice Chancellor for the Arts and Design● Hadidi Professor ● ​ ​ ​ Department of TDPS ● Department of Rhetoric ● University of California ​ ​ ​ ​ 101 Dwinelle Annex ● Berkeley, CA 94720 ​ ​ E-Mail: [email protected] EDUCATION Ph.D. Northwestern University, Evanston, IL Sept 91—June 95 ​ Thesis: Lines of Activity: Performance, Space, and Pedagogy at Hull-House _ ​ ​ Dissertation Fellow: Spencer Foundation, NEH (declined), NU Alumnae (declined) University Scholar, 1994-5 Graduate Certificate in Women’s Studies, 1993 University Assistantship 91/92 and 92/93 M.A. Northwestern University, Evanston, IL Sept 90 — June 91 ​ Thesis: Representing Rape: Model Mugging's Discursive and Embodied Rituals _ ​ ​ University Fellowship, 90-91 B.A. Stanford University, Stanford, CA Sept 85 — June 89 ​ Modern Thought and Literature; Honors in Humanities Thesis: A Performance Phenomenology: Problems of Self, Play and Character _ ​ ​ Golden Award: Most Outstanding Thesis in the Humanities, 1989 Golden Award: Most Outstanding Artist in Drama, 1989 Golden Grant in Humanities and Arts, 1988 Phi Beta Kappa; President's Award for Academic Achievement ACADEMIC EMPLOYMENT HISTORY 2015-ongoing Associate Vice Chancellor for the Arts and Design: Responsible for creating new ​ operations and collaborations across all departments, centers, presenting organizations, and initiatives in the arts and design for the entire campus. Facilitates communication platforms, research initiatives, curricular innovation, multi-unit fundraising, public engagement,
    [Show full text]
  • PAY NO ATTENTION Program
    Target Margin Theater Target Margin Theater 232 52nd Street Brooklyn, NY 11220 presents 718-398-3095 Targetmargin.org @targetmargin Founding Artistic Director: David Herskovits Associate Artistic Director: Moe Yousuf PAY NO General Manager: Lu Liu Interns: Madeleine Goldsmith, Lorna Perez Graphic Designer: Maggie Hoffman BOARD OF DIRECTORS ATTENTION Hilary Alger, Clark Anderson, Matt Boyer, Paul Giamatti, David Herskovits, Dana Kirchman, Katherine Levin, Donna Manion, Matt McFarlane, Jennifer Nadeau, Adam Weinstein, Amy Wilson. TO THE ABOUT US Target Margin is an OBIE Award-winning theater company that creates innovative productions of classic plays, and new plays inspired by history, literature, and other art forms. After more GIRL than 25 years producing in New York City, we finally have a home, THE DOXSEE--a new performance venue in Sunset Park where we energetically expand the possibilities of live performance, and engage our community at all levels through partnerships and programs. UP NEXT SINDBAD LAB May 31 - June 24, 2018 Lead Artists: Avi Amon, Kareem Fahmy, Stephanie Weeks, and Moe Yousuf Target Margin presents the Sinbad Lab--a wanderlust performance festival dismantling the classic Sindbad voyages from The Thousand and One Nights. The festival features four new productions by emerging artists, including composer and musician Avi Amon, director / playwright Kareem Fahmy, actor and director Stephanie Weeks, and Target Margin Theater Associate Artistic Director Moe Yousuf. INSTITUTE The Institute provides each Fellow a $1,000 stipend, institutional support and space for open-ended questioning and experimentation within, and at the edges of, the form of theater. 2018 Fellows: Tom Bane, Nelson T. Eusebio III, Noelle Ghoussaini, and Normandy Sherwoood.
    [Show full text]
  • View Program for 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 *Equity Member appearing with permission of Actors’ Equity Association without benefit of an Equity contract in this Off-Off Broadway production.
    [Show full text]