(20 March) UTC 61's MoneyLab opens tonight at HERE Arts Center. As Edward puts it, it's "an economic vaudeville, a multi-disciplinary experiment to discover whether economic ideas can be represented through performance. Every night is a new set of acts, set in a framework of economic games."
I'd just say that it is an evening at the intersection of two of my favorite things: making theater and talking about money.
Capitalism, amirite?
In other news, I have the great good fortune to be working on a reading of Mac Rogers' new play. Watch this space, or just close your eyes and listen; that distant squeee! you hear is me losing my nerd mind over getting to portray one of my personal heroines onstage.
The Velvet Oratorio plays two last times next week on 13 & 14 January. Come see the lively and beautifully-sung piece that landed on the front page of Lidové noviny . More info. Tickets.
(No, I can't read Czech. No, I'm not in the picture. Yes, I will now begin claiming I am "big in Europe.")
In other news, The Listeners is shaping up to a hell of a thing. Veterans of experimental New York theater who remember Michael Gardener's legendary (and prescient, given the current theatrical landscape) stagings of In a Strange Room and Notes from Underground can assure you I am not joking when I say this: get your tickets now; seating is limited, intense, and will likely involve a small box and some peepholes.
The Velvet Oratorio opened beautifully at the Bohemian Hall on 10 November. We return there on 12/13 December and 13/14 January. More info.Tickets.
The Listeners is the title of the new Matthew Freeman / Michael Gardner play we've been developing since September. You should not miss it. Preview at right, and coming in February 2015 as part of The Brick's new resident artist series.
Rehearsals for The Velvet Oratorio are in full swing. More info. Tickets. A glimpse of rehearsal (at right).
I'm quite excited to join dozens of badass women in this year's PussyFest from Caps Lock Theatre. You can see me performing a spectacular monologue by Jean Marie Keevins on 10 November.
Development of Michael Gardner & Matt Freeman's new piece continues apace. We're booked for a full run in February 2015 as part ofThe Brick's new resident artist series.
Jenny Lee Mitchell, me, John Gallop, and Maria Dessena rehearse Henry Akona's fiendishly difficult music.
On the docket for Fall is another challenging set of songs from Henry Akona, this time as part of UTC #61's Velvet Oratorio, being given a full staging at the Bohemian Hall in Manhattan in November, December, and January.
Also brewing is a very exciting new project from Michael Gardner and (new New Dramatist) Matt Freeman. Workshopping 16 October at The Brick in preparation for a full run in February 2015.
In the meantime, be sure to buy your tickets now for the semi-annual divine madness that is the Brick's New York International Clown Theater Festival. (Super Spectacular! Jeff & Buttons! Red Bastard!)
Gideon Productions' The Blueprint Project: First Contact opens tonight at The Secret Theater. It’s an anthology of sorts – four short plays by four different playwrights, all written from the same draft plot. I'm having a ball in two of the pieces; one by Johnna Adams and another by Dan Kois. It's good stuff, and hey, sci-fi theater. SCI FI. THEATER.
The Pig closed with an epic dance party; there was tipsy cymbal smashing.
On a more dignified note, I have several exciting projects in the works. First up is two short plays in in Gideon's Blueprint Project. I've got an artistic crush on these guys; can't wait to work with them.
Oh man, The Pig is going to be SO GOOD. (I mean, the workshop got pretty great press.) Take a beloved Czech operetta, mix it with pointed political satire (in the form of a shaggy-dog joke) from Vaclav Havel & drop those elements into the high-tech, toy-studded confines of 3LD. Oh! And food! Did I mention it's dinner theater? With a bar? A pre-show cabaret act? A post-show Velvet Underground cover band?
You can get discounted tickets now ($40 for dinner and the show) by donating to the show's Kickstarter campaign. General sale ($20 to $45) tickets are here. The show opens on 6 March.
Here's some glimpses of rehearsal:
From L: Me & Terence Stone, Robert Honeywell onscreen, and the company. All photos by Edward Einhorn.
I am honored beyond words. All thanks to Martin & the board of Indie Theater Now and to my amazing community; we make good work and we do it with love.
Why We Left Brooklyn has closed. I could not be more proud of the show, of Kyle, of Matt, or of my spectacular cast-mates. It was really something.
At right, Jay and me backstage, sharing a flask after our final exits.
Next up, I've got some developmental readings - a new series byJennifer Gordon Thomas& Mac Rogers, a completely hilarious new play by Mark Staufenberg called The Godzilla Project, and a new play from Stephen Speights about the last bottle of the most expensive wine in the world. (Here's the public reading details for that last one.)
Zack Calhoon included me in his "People You Should Know..." series. You can also read about my (Why We Left Brooklyn co-stars) Marguerite, Dave, Imran, and Jay. (This handsome fellow also made a recent appearance.)
Why We Left Brooklyn begins previews Thurs, 29 August. I love this play. Indeed, if you are my friend, colleague, or contemporary, then this play is probably About You. (Especially if you live in Brooklyn.) You should come.
Matt Freeman, that rascal, has penned a fantastic new play. I am joining what can only be described as a downtown New York power cast. Kyle Ancowitz is directing.
The producers are raising money; a donation to this production is just about the most direct way you can support me, and working indie theater artists in general. Please consider giving!
Still Life with Artisanal Disillusionment and Grapes
Robert's untitled rock opera, a.k.a. the Van Gogh project, a.k.a. the thing we've been working on for the last three years, is in rehearsal. It's gonna be epic. More photos.
Photo by Joe Kolbow. Triptych by Sarah K. Lippmann.
And so it has come to pass that in the middle of my third decade I have become a rock star.
MASS: A Rock Opera. Showing 11 songs from the work in progress on 28 and 29 April. Esther Crow, Rebecca Davis & me, with what can only be described a monster band led by Maria Dessena. Come on out.
