Posted in #classism, #critique, #dystopia, #immersive-theater, #pointofview, activists, adaptation, Aditya Rawal, allegory, avant garde, Baruch Performing Arts Center, based on a novel, Brandon Walker, dark drama, drama, dysfunction, ensemble acting, equality, Erin Cronican, Ethan E. Litwin, experiments in theater, farce, George Bernard Shaw, Gingold Theatrical Group, Gwynn MacDonald, issue play, Jay O. Sanders, Kinding Sindaw Melayu, LaMama, Maryann Plunkett, off Broadway, opinion, play, political drama, politically inspired, politics, Potri Ranka Manis, premieres, refugees, riff, Siachen, storytelling, theater, theater for the common good, theatron or The Seeing Place, timely drama

All creatures, large and small

Theater can be distanced, ie by not breaking the fourth wall. It can be immersive, like Tamara at the Park Avenue Armory back in the day, or the McKittrick Hotel programs, Sleep No More or Woman in Black happening now. Audiences sit in the round, or follow the players from room to room, or sit in front of the proscenium, or on stage.

Form and presentation may contribute to the experimental nature of a play. Subject matters in making theater a relevant comment on our times.

These times need a healthy dose of cynical analysis and profound soul-searching. “All animals are equal,” George Orwell says in Animal Farm, “but some are more equal than others.” The Seeing Place, a ten year old theater collective, kicks off the season with a modern adaptation by Brandon Walker of Orwell’s novel.

The theme for this year is the Body Politic, and its Animal Farm focuses on drawing out the ways in which we are susceptible to the collective power of a group. The line between community and a folie à tous is subtle.

Executive Artistic Director, Erin Cronican says of TSP’s production; “By creating this play for just four actors playing 28 characters, we shine a spotlight on the malleability of people’s opinions and desires, which often depend upon who is in charge and what is promised to them.”

Another exploration of present day politics can be found in the works-in-process Siachen at Baruch Performing Arts Center, from April 30 through May 2. This anti-war play, written by Aditya Rawal, takes us to India’s disputed Kashmir region where a group of soldiers awaits rescue. Gwynn MacDonald directs.

George Bernard Shaw was a principled man, whose ideals of humanitarianism and universal human rights were a creed underpinning everything he wrote. His politics were always in evidence in his dramas. The Gingold Theatrical Group’s annual party, the Golden Shamrock Gala 2020, takes place on Monday, March 16th; they will be honoring Maryann Plunkett, Jay O. Sanders, and Ethan E. Litwin. The Gingold Theatrical Group creates theater in the activist spirit of GBS with regularly scheduled events through the year.

Kinding Sindaw – Photos by Josef Pinlac
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LaMaMa, the mother of experimental theater, hosts a play appropriate for our time. Pananadem (Remembering) is about refugees brought to these shores by the Filipino troupe Kinding Sindaw. Potri Ranka Manis, the Founder and Artistic Director of Kinding Sindaw is the creative and choreographer behind this production, running from March 12th through March 15th in a New York premiere. The work uses the tradition of myth to capture the experience of the displaced.

Posted in comedy, dance, drama, theater

Articulated

ONE GREEN BOTTLE, photo by Kishin Shinoyama,

It is sometimes harder to put a concept better expressed in the physical, into words.

I admit that it can be difficult for a critic to articulate what s/he sees presented on the stage. Some things are visceral. This is particularly true of dance where emotion and meaning are conveyed in gestures, movement and context. It also often applies to experimental theatre which tends towards the cerebral.

Katie Workum and her collaborators want to communicate about their work, The Door’s Unlocked in exclusionary descriptives. This is how the work is described:
“Let’s be clear:
This is not a dance piece. 
This is a conjuring inside a temporariness. 
This is connecting the dancers with the dance. 
This is a negotiation of our togetherness.  
This is entering the unknown without demanding to know. “

She and her collective, the eponymously named Katie Workum Dance, will perform the multi-platformed piece at Foley Gallery at 59 Orchard Street; they expect that it will change with each iteration and audience to which it is presented, from February 3 through 9.

In speaking of the experimental in theater, I am always referencing LaMaMa as a touchstone. So, I am glad to be able to include in this posting a little something of what they will be up to in the new year.

La MaMa, in association with Tokyo Metropolitan Theatre and NODA・MAP, presents the U.S. Premiere of One Green Bottle from February 29 through March 8, 2020 at The Ellen Stewart Theatre, La MaMa Experimental Theatre Club. One Green Bottle is an absurdist work in which gender is bent, and our societal foibles, from consumerism to selfie-addiction, is explored.

LaMaMa may have been at the forefront of theatrical happenings, of course, but all theatre is about performance, sentiment and interaction. What is on stage is always a happening.

ABTC, Echoes in the Garden (reading) © Basil Rodericks 2019

The 1st Origin Irish Festival is in its 12th season of competition., beginning on January 7th and running through February 3rd. The festival is a highly curated event, devoted to producing the plays of contemporary Irish playwrights from around the world with a total of 15 productions being presented in venues all over NYC. During the Closing Night Ceremony on Monday, February 3rd, the Best of Festival Awards will be handed out.

A multi-generational drama, Echoes in the Garden, is on offer at The Chain Theatre this March 11th through 29th. The world premiere of Ross G. Hewitt’s new play about family, grief and obligation is producted by American Bard Theater Company and directed by Aimee Todoroff.

Also at The Chain, beginning on February 7th and running through the 22nd is another premiere, Chasing the River. Written by Jean Dobie Giebel and directed by Ella Jane New, Chasing the River depends on memory and its intersection with PTSD to tell its tale of second chances, survival and the healing power of love.

Posted in theater, theater folk, theater lovers, Theater Resources Unlimited, theatrical producer

Let’s put on a show!

Judy and Mickey may have been able to put up a show on a wing (time step) and a prayer. You likely need more than just that barn. If you want to be an impressario, you need some skills.

Those with curiousity about what it takes to be a Broadway (or off and off-off) producter can explore these options with the Theater Resources Unlimited (TRU) in an intro program on August 20th.

The free informational program will introduce prospective theater showmen in the intricacies involved in mounting a show. .At this meet-and-greet info session about TRU’s Producer Development and Mentorship Program (PDMP), the would-be producer will have the chance to learn from and network with TRU’s commercial producer instructors and successful program graduates.

PDMP’s mission is to give members the resources and mastery to become commercial theater producers, non-profit theater producers and/or self-producing artists. TRU’s classes, which are reasonably priced, will give you the necessary know-how, such as developing a business plan, raising money, budgeting, marketing and putting together creative production teams. For those theater artists who may need to self-produce, they also provide the tools with which to create your own opportunities .

Want to find out more about this profession? Register using the red ticketing box at https://truonline.org/events/intro-to-pdmp-2019-20/.

Posted in based on Chekhov, drama, theater

Once again, a young playwright rises to the Chekhov challenge

EsperanceThis was true in 2016, when I first posted it, and it proves once again that Chekhov provides a model for new plays and spurs a playwright to use The Cherry Orchard as a starting point for startling new work:

Anton Chekhov, it seems, provides excellent inspiration for contemporary Americans in his line of work. As if the Chekhov challenge asks the modern playwright to match him wit for wit and build on his premises.

Chekhov teases imitators, adaptors, translators and audiences with themes of grandeur and loss. His plays are shown on stages large and small each year; his works are mimicked in pastiches, like Stupid F**king Bird at the Pearl, or  Minor Character— in Brooklyn from June 17-25, 2016. In the latter, multiple versions of Uncle Vanya merge in a mist of millenial angst.”

Breitwisch Farm cast and creative team
Breitwisch Farm cast and creative team at rehearsal

This March, The Cherry Orchard is the influence for Breitwisch Farm, a play by Jeremy J. Kamps at the Esperance Theater Company at the new Tribeca venue, Town Stages. Breitwisch Farm explores issues of displacement and immigration in the era of America First, giving Chekhov’s story a distinctly of the moment twist. The play runs from March 2nd through March 16th.

Breitwisch Farm author Jeremy J. Kamps is part of the Public’s Emerging Writers Group.  The play stars Danaya Esperanza, Joe Tapper, Katie Hartke, Will Manning, Charlie Murphy, Maria Peyramaure, Alejandro Rodriguez, and Katie Wieland, under Ryan Quinn‘s direction.

Posted in comedy, Daily Prompt, drama, musical theater, theater, theater lovers

Comedy tonight!

cropped-theater
from cafepress.com

via Daily Prompt: Entertain

Theater is here to educate, illuminate, expose, engage and entertain. Sometimes it offers all five of these verbal commands, sometimes just the latter, which is the one commandment it must follow.

I am here to entertain! the thespian says, and we sit transported in a darkened house while he performs for us.

Posted in cabaret, comedy, dinner, musical theater, mystery, theater, theater songs

Dinner theater

Menu_American_Hotel_1862
Menu, American Hotel 1862: By Unknown – Own work, Public Domain, https://commons.wikimedia.org/w/index.php?curid=45292074

Don’t disparage the chance to watch theater or hear music while enjoying a meal. It has the old time charm of the big band era. Thinking of dining while being entertained reminds me of ball gowns and tuxedos– in short it simply sounds elegant. Even the vulgar were properly attired in those days.

In our loosey goosey environs, the chances are that you are decked out in an elegant pair of shorts with a tucked in shirt. You order a burger, rather than prime rib, and beer rather than bubbly.

The show, too, may be less burlesque, drama, lounge act and cabaret than it might be one of those guess- who-dunnits from the murder mystery circuit. Don’t get me wrong, there is room for an amusing evening in which we wonder which of our neighbors stuck a knife in a sidekick’s back while we ate our fries! It just is not as highbrow or as uplifting as theater can sometimes be.  The dramatics and dramatization may be broader than on Broadway, too.

As for the dress code for the audience, well, I haven’t worn a gown to a show in a long time, if ever. I look to the costume designer to dress the actors in an inspirational way. I can aspire to high-falutin’, ya know.

Posted in drama, historical musical drama, moving musical drama, Musical drama, musical theater, musical theatre, political drama, theater

Hot tickets

1Justtheticket

It’s hard to pinpoint just what makes a “hot ticket;” it could be a star turn, or 11 Tonys or just the quirky charm of the story. Whatever it is,  you might want to share it with friends or family this holiday season.

HD_KeyIn mid-January when the Divine Miss M cedes the role of Dolly Gallagher Levi to the sterling Miss Bernadette Peters, tickets for this Broadway revival might become a tad more accessible. This in no way disparages Bernadette Peters’ enormous talent and wattage. Bette Midler just has a star shine all her own. A je ne sais quoi, let’s say, that sends tickets to see her in Hello, Dolly!! into the stratosphere. (Regular price tickets ranging from $189 may still be found at Telecharge, so check on availability, but there are premium seats for nearly $1000 and “secondary market” tickets for a lot more.)

 

Hamilton0044rR Daveed Diggs, Okieriete Onaodowan, Anthony Ramos, and Lin-Manuel Miranda in Hamilton
Daveed Diggs, Okieriete Onaodowan, Anthony Ramos, and Lin-Manuel Miranda in Hamilton Photo © Joan Marcus

Hamilton, Lin-Manuel Miranda’s American history lesson enthralls. It’s still at the Richard Rodgers on West 46th Street, and it’s on tour across the country. It may be its impressive Tony showing that is part of the draw. Lottery tickets go for just $10 per, but, like any lottery, it’s a gamble. Speaking of gambles, the Hamilton website warns against buying from resellers to avoid receiving fraudulent tickets, so use the regular channels for purchasing this sizzling ticket. In fact these tickets are so blistering hot that it might be next December before the family enjoys the show.

Another and different kind of civics lesson can be found at The Band’s Visit. This musical was created from the Cannes prize-winning Israeli film; you can watch the movie on Showtime cable on Wednesday 12/13 and Tuesday 12/19 at 7:30pm, by the way.

This modest musical is enjoying a very successful and prestigious Broadway transfer from its 2016 run at the Atlantic Theatre. (Tickets are hot enough that the producers are not offering any discounts, by the way. We have not checked in at the day of TDF kiosk.) The Band’s Visit has heart and warmth, and a promise of the possibility of peace in the middle east.

Reflecting on another facet of history, Junk at the L.C. Beaumont Theater, offers much less hopefulness than The Band’s Visit. The heat factor in Junk comes from its ripped off the front page view of the financial crisis of the 1980s. This is just the ticket if you want to reflect on America’s obsession with money. I found it worrisone when someone in the audience wanted to clarify who had “ratted” on the main character. Ayad Akhtar takes us back to the “greed is great” days in which malfeasance is the benchmark. His lead character “creates wealth” by creating debt. The “Junk” of his title refers, of course, to junk bonds, a vehicle by which you, the consumer, lend a corporation more money than its worth. Wall Street types will be drawn to the humor and pace of this drama. The rest of us will appreciate the concise lesson it offers in high finance and unbridled ambition. At its core, Junk, staged as a Greek tragedy, is just that, showcasing characters filled with hubris and arrogant conceit.

Visit a Broadway show over the holidays, if you can, with your nearest and dearest.