Theater for the New City

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The New York Butoh Institute and Vangeline Theater

present

the New York Butoh Institute Festival 2018

October 13 - 23, 2018

 

The New York Butoh Institute and Vangeline Theater present the New York Butoh Institute Festival 2018, a celebration of diversity in butoh featuring 16 artists from Japan, Brazil, Chile, UK, Israel, Italy, Germany, France, Costa Rica, Spain, and the United States. Curated by Butoh artist Vangeline, the Festival will consist of an exciting program of butoh workshops and masterclasses, as well as four nights of groundbreaking performances by fierce female butoh dancers from October 18-21, 2018 at the Theater for the New City's Johnson Theater, 155 1st Avenue, NYC, 10003. Tickets are $15 and are available at https://www.brownpapertickets.com/event/3508983. For more information about the festival or to enroll in the workshop and masterclass, visit http://www.vangeline.com/calendar-of-upcoming-events/.

 

Over the past 60 years, Butoh has become a universal and international movement language. Developed in post World War II Japan, the minimalist avant-garde dance form has grown, evolved, and traveled worldwide.

 

New York Butoh Institute celebrates the way the art form has grown and shifted in the 21st Century, ensuring the style is reflective and responsive.

FEATURED ARTISTS:
Nicole Watson (U.K); Natalie Cuellar and Raimundo Estay (Chile); Alana Rosa (Brazil); Melissa Lohman (Italy); Margherita Tisato (Italy); Sindy Butz (Germany); Keren Shavit (Israel); Azumi Oe (Japan); Yokko (Japan); Mariko Endo (Japan); Sophie Amieva (Spain/France); Nurya Chana (U.S.); Will Atkins (U.S.); Raquel Almazan (Costa Rica/ Spain).

Thursday, October 18 at 8pm: Nu Canal (Nurya Chana) in Techne Soft

Featuring: Nurya Chana (USA), Yokko (Japan), Margherita Tisato (Italy), Sophie Amieva and Will Atkins (France/ USA), Melissa Lohman (Italy/USA) and Raquel Almazan (Spain/ Costa Rica).
1 hour and 50 minutes with an intermission

 

Nurya performs in a spectacular structure that she herself created. In Techne Soft, Nu Canal uses multi-media solidifications of invisible structures to strip down the process of making, peeling mental systems, unfurling the feeling narratives lying underneath. 


Friday, October 19 at 8pm: Sindy Butz in Vanished Country-Your own breath

Featuring: Nicole Watson (U.K.), Keren Shavit (Israel), Mariko Endo (Japan), Alana Rosa (Brazil); Azumi Oe (Japan), and Sindy Butz (Germany).
1 hour and 50 minutes with an intermission

Vanished Country-Your own breath is inspired by the melancholic poem "Am Fenster" (By The Window) by the German writer Hildegard Maria Rauchfuß. The text became a classic through the former East German cult rock band City in 1977. On stage, a video projection represents the emotional state of being trapped in an ideology, gazing through a foggy window onto the other side, into a better reality and freedom. The dancer on stage juxtaposes the feeling of physical and mental narrowness through oppression (video) with nuances of liberation, solidarity, and intoxication of joy. A sculptural element of a window/ portal connects both worlds.


Saturday, October 20 at 8pm:
Nicole Vivien Watson - Surface Area Dance Theater - U. K. in The Mud Formed A Finger, Pointed

Featuring: Nicole Watson (U.K.); Natalia Cuellar and Raimundo Estay (Chile)
1 hour and 30 minutes with an intermission

 

The Mud Formed A Finger, Pointed explores creation myth and Messy Play, made in collaboration between Matthew De Kersaint Graudeau (Sound) and Ben Jeans Houghton (Sculpture). The Mud Formed A Finger, Pointed offers a study of the human body as an uncanny object that oscillates between figuration and abstraction, body and material, depicting an object becoming human, a human becoming an object and the protean states between. Nicole Vivien Watson emerges from an industrial bucket, her body covered in dripping, viscous liquid. The work embodies a contemporary creation myth that melds object and subject, abject and sacred, non-human and human. By invoking the narrative imagery of creation myths where humans are formed from the earth, within the aesthetic of the fetish Messy Play and through the language of Butoh, the performance links our understandings of the contemporary body and our imaginings of a primordial past.


Sunday, October 21 at 3pm: Natalia Cuellar and Raimundo Estay in XIBALBA

"A spine chilling ancient ritual" July27th,2012 -LeopoldoPulgarIbarra

 

Xibalbainvites audiences tocomeclosertothecomplexworldoftheMayanmythology, in aperformance createdbyNataliaCuellar, butoh performeranddirectoroftheRutadelaMemoriacompany("Cuerpoquebrado"),whospecializesonplaysbasedonthe conceptsofGender,MemoryandHumanRights.

 

Featuring: Nicole Watson (U.K.); Natalia Cuellar and Raimundo Estay (Chile)
1 hour and 30 minutes with an intermission

 

BUTOH WORKSHOPS:

October 13-14: Butoh workshop with Vangeline: Mastering the mind/body connection in Butoh

October 18-21: Four nights of performances at Theater for The New City

October 23rd: Closing night of Festival: Butoh Master class with Natalia Cuellar.

 

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council as well as the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

 

ARTIST BIOS:

Nu Canal (Nurya Chana), born 1988 in the Bronx, studies cellular molecular processes, embodied anatomical sensation, the science of feeling, ecological geometry, animism, hypnotic trances, primitive architecture, fetish idols, and awareness methodologies. She is a graduate of EastWest School of Dance, Aprovecho Sustainability School, Green Meadow Waldorf School, Skidmore College, many Butoh master training workshops (Katsura Kan, Tetsuro Fukuhara, Yumiko Yoshioka, Vangeline, Maureen "Momo" Freehill, Yukio Suzuki and more) and is currently a Hunter College MFA candidate. 

Sindy Butz is a visual artist, Butoh dancer and educator. She grew up in the suburbs of communist East Berlin, Germany before the fall of the Berlin Wall. She started her dance education in Ballet, Dance Theater and Folk Dance at the age of 6 in the professional Children's Dance Theater Strausberg under Nora Jarchow-Dürrenfeld/ Palucca School. She has been performing since the age of 9. Butz holds a Bachelor's Degree in Visual Arts of the academy AKI Enschede (Netherlands) and a Master's Degree in Art Science, of the University of the Arts Berlin (Germany), with a focus on performance art, sculptural installation and contemporary ceramics. In 2009, equipped with the DAAD research grant on assistive technology and wearable art for the Interactive Telecommunication Program at New York University, she moved to New York. Shortly after her arrival she started training dance with Vangeline. Butz has performed for Vangeline Theater in New York at the Brooklyn Museum, New Museum, Princeton University, Bronx Academy of Art and Dance, Dixon Place, and Asian American Art Alliance among others.

 

Nicole Vivien Watson, director and founder of Surface Area Dance Theatre. As a passionate learner, she places investigation at the centre - point of practice, within which are interdisciplinary processes. When asked to describe her interests, she consistently refers to an understanding and informed perception of Butoh, which can be described as a contrastive spectrum of philosophy, performance and socially concerned activities. Equal to her knowledge of Butoh, is a persistent consideration of non - verbal communication. Nicole began studying British Sign Language (BSL) six years ago and with a scholarship from the Royal Ballet Benevolent fund, she is in the final stages of her BSL education. Butoh and BSL occupy a generative importance within her practice, that Nicole describes as "luminous pillars that support continued personal and professional development." Nicole is a 2015 recipient of a Royal Ballet Benevolent Award, a Daiwa Anglo- Japanese bursary holder 2015 - 16, a 2016 - 17 Great Britain Sasakawa Foundation supported artist and a Artists International Development Fund - Arts Council England and British Council, 2016 Awardee. 

 

Natalia Cuéllar, Actress and dancer, studied theater in Chile, then continued her artistic training in Europe, following the lineage of Grotowsky. Later, she moved on to Butoh, studying with different masters such as butoh dancers Makiko Tominaga and Minako Seki. In 2008, she founded the Ruta de la Memoria Company in Santiago, Chile, a company which focuses on the issues of gender, human Rights and memory. Cuéllar's works have been critically acclaimed in Chile and dubbed "amazing" (FabianEscalona), "impressive" (MariettaSanti ),"intense and shocking" (PedroLabraHerrera - ElMercurio), and "spine-chilling" (LeopoldoPulgarIbarra). Since 2014, she has directed and organized the celebrated International Butoh Festival in Chile (FIBUTOH). www.fibutoh.com

 

Raimundo Estay, Actor, dancer and lighting designer, studied theater and contemporary dance in Chile. He has developed his research in Butoh since 2007, and is the founder of the Ruta de la Memoria Company with Natalia Cuéllar. He is also the co-founder of the Butoh International Festival in Chile, FIBUTOH. 

 

Vangeline (curator) is a teacher, dancer, and choreographer specializing in the Japanese postwar avant-garde movement form Butoh. She is the Artistic Director of the Vangeline Theater (New York), a dance company firmly rooted in the tradition of Japanese Butoh while carrying it into the 21st century, and the founder of the New York Butoh Institute. Vangeline's work has been heralded in publications such as TheNew York Times("captivating")Los Angeles Times("moves with the clockwork deliberation of a practiced Japanese Butoh artist") and LA Weekly,to name a few. Time OUT Chicago named Vangeline's "one of the best Dance Visits of 2011." More recently her BUTOH BEETHOVEN: Eclipse received critical acclaim in New York and was dubbed: "incredibly moving and powerful. It is clearthat Vangeline is an artist who knows the darkness of Butoh welland has the incredible skill to make that darkness dance...Vangeline has the control and poise of a true master of Butoh." With her all-female dance company, Vangeline's socially conscious performances tie together Butoh and activism. Vangeline is the winner of the 2015 Gibney Dance's Beth Silverman-Yam Social Action Award. Film projects include a starring role alongside actors James Franco and Winona Ryder in the feature film by director Jay Anania The Letter (2012-Lionsgate). In recent years, she has been invited to perform with/for Grammy Award Winning artists SKRILLEX and Esperanza Spalding and is currently writing a book about Butoh. 

 

VANGELINE THEATER/ NEW YORK BUTOH INSTITUTE aims to preserve the legacy and integrity of Japanese Butoh while carrying the art form well into the future. The unique art of Butoh originated in post-World War II Japan as a reaction to the loss of identity caused by the westernization of Japanese culture, as well as a realization that ancient Japanese performing traditions no longer spoke to a contemporary audience. One of the major developments in contemporary dance in the latter half of the 20th century, Butoh combines dance, theater, improvisation and influences of Japanese traditional performing arts to create a unique performing art form that is both controversial and universal in its expression. The Vangeline Theater is home to the New York Butoh Institute, dedicated to the advancement of Butoh in the 21st century.

 

THEATER FOR THE NEW CITY (TNC) is a Pulitzer Prize-winning community cultural center that is known for its high artistic standards and widespread community service. One of New York's most prolific theatrical organizations, TNC produces 30-40 premieres of new American plays per year, at least 10 of which are by emerging and young playwrights. Many influential theater artists of the last quarter century have found TNC's Resident Theater Program instrumental to their careers, among them Sam Shepard, Moises Kaufman, Richard Foreman, Charles Busch, Maria Irene Fornes, Miguel Piñero, Jean-Claude van Itallie, Vin Diesel, Oscar Nuñez, Laurence Holder, Romulus Linney and Academy Award Winners Tim Robbins and Adrien Brody. TNC also presents plays by multi-ethnic/multi-disciplinary theater companies who have no permanent home. Among the well-known companies that have been presented by TNC are Mabou Mines, the Living Theater, Bread and Puppet Theater, the San Francisco Mime Troupe and COBU, the Japanese women's drumming, and dance group. TNC  also produced the Yangtze Repertory Company's 1997 production of BETWEEN LIFE AND DEATH, which was the only play ever produced in America by Gao Xingjian before he won the 2000 Nobel Prize for Literature. TNC seeks to develop theater audiences and inspire future theater artists from the often-overlooked low-income minority communities of New York City by producing minority writers from around the world and by bringing the community into theater and theater into the community through its many free Festivals. TNC productions have won the Pulitzer Prize for Drama and over 42 OBIE Awards for excellence in every theatrical discipline. TNC is also the only Theatrical Organization to have won the Mayor's Stop The Violence award.

 

"You, Me, and Anxiety"  | Open: 08/28/17 Close: 09/07/17
THEATER FOR THE NEW CITY'S DREAM UP FESTIVAL PRESENTS THE AMERICAN PREMIERE OF "YOU, ME, AND ANXIETY," A SOLO CABARET SHOW WITH RACHEL SCHMELING
A Series of Unfortunate Anxiety Attacks at Random Times. With Music.

WHERE AND WHEN:
August 28 to September 7, 2017.
Theater for the New City (Cabaret Theater), 155 First Avenue. 
Presented by Theater for the New City (Crystal Field, Artistic Director) as part of Dream Up Festival 2017.
August 28 at 6:30 PM, August 29 at 9:00 PM, August 30 at 6:30 PM, August 31 at 9:00 PM, September 7 at 6:30 PM.
Tickets $15. Box Office: (212) 254-1109, www.dreamupfestival.org 
Running Time: 60 minutes. Critics are invited to all performances. 

NEW YORK -- "You, Me, and Anxiety" is a solo cabaret show, written and performed by Rachel Schmeling, on the subject of mental health. This show is part stand up, part audience interaction, part musical journey and part panic disaster. Schmeling takes her audience on a wild one-hour ride into the mental state of someone dealing with anxiety and panic disorder. Theater for the New City's Dream Up Festival will present the work's American premiere August 28 to September 7. Musical director is pianist Jody Shelton. Director is Ellen Lindsay.

In this cabaret, Schmeling looks back to pivotal moments in her life when anxiety took over and she had to deal with it, sometimes in song. These moments seemed normal enough but each one is taken as an imminent threat to the character Schmeling plays, who is an exaggerated version of herself. Every one of them leaves her paralyzed in anxiety and fear. Her thoughts are narrated out loud and we learn more about the reasoning behind her anxiety attacks. The music of the piece varies in genre from contemporary pop to classic rock to mashups and more. The show ends with a heartfelt message from Schmeling on the importance of mental health dialogue and the need to break traditional taboos for everyone's sake.

Rachel Schmeling most recently appeared in the ensemble of The Public's "Julius Caesar" at the Delacorte Theater. She hails from Milwaukee, where she immersed herself in the city's thriving theater scene from age five onward. She studied at Milwaukee's First Stage Theater Academy, the largest children's theater training program in the nation, and appeared in its productions until age 18. She earned a BFA in Acting from Missouri State University in 2015 and subsequently earned an MA in Classical and Contemporary Text from the Royal Conservatoire of Scotland. During her time in Scotland, she studied at the Shakespeare's Globe Theatre and worked with Kristin Linklater at her voice center in Mainland Orkney. Now she is located in New York and is a member of the Hedgepig Ensemble Theatre. (www.rachelschmeling.com)

Music Director Jody Shelton was musical director for the Second City National Touring Company, and performed with renowned musical improv ensemble Baby Wants Candy for fifteen years. Since 2004, Shelton has released three critically acclaimed albums as a solo artist and two more with his band, Daughter & Son. In 2012, he co-wrote the parody "50 Shades! The Musical," which had an extended run at the Elektra Theatre in New York and has been performed throughout the world. "50 Shades!" can currently be seen at Bally's in Las Vegas. His next musical, co-written with Emmy and Peabody winner Peter Gwinn (The Colbert Report), "The Story of a Story (The Untold Story)," opened at the Chopin Theatre in Chicago on October 2015 and received a Jeff Award nomination for Best New Work. Shelton's most recent work is the musical parody "Star Wars: The Farce Awakens," which had its New York premiere in February 2017.

"You, Me, and Anxiety" was first presented in Glasgow in as an outgrowth of Schmeling's studies at Royal Conservatory, Scotland. This is its American premiere.

The eighth annual Dream Up Festival (www.dreamupfestival.org) is being presented by Theater for the New City from August 27 to September 17. An ultimate new work festival, it is dedicated to the joy of discovering new authors and edgy, innovative performances. Audiences savor the excitement, awe, passion, challenge and intrigue of new plays from around the country and around the world.

The festival does not seek out traditional scripts that are presented in a traditional way. It selects works that push new ideas to the forefront, challenge audience expectations and make us question our understanding of how art illuminates the world around us.

A unique and varied selection of productions will again be offered that draw upon a variety of performance specialties including singing, clowning, poetry, street music, magic and movement. The Festival's founders, Crystal Field and Michael Scott-Price, feel this is especially needed in our present time of declining donations to the arts, grants not being awarded due to market conditions, and arts funding cuts on almost every level across the country and abroad.

# # #

THE FOLK SINGER  | Open: 09/29/16 Close: 10/23/16
THE FOLK SINGER is a new musical about contemporary times. It tells a story of a young musician who wants to write songs as relevant today as those of Woody Guthrie, Bob Dylan and Joan Baez were in their heyday.  Working with like-minded local musicians, he and the others stage a folk festival​ for the 21st century, highlighting contemporary issues and reaching out to the audiences through social media for more awareness.

THE FOLK SINGER begins previews on September 29th, opens on October 9th and will play a limited engagement through October 23rd. Tickets are $15 ($10 for seniors and students.) Box office: 212.254.1109, SmartTix: 212.868.4444 or purchase online at www.smarttix.com.

The performance schedule for THE FOLK SINGER is as follows: Thursdays, Fridays, and Saturdays at 8pm, with matinees on Sundays at 3pm.

“I wrote the book and lyrics to THE FOLK SINGER in order to create a character-based work for the theater that would comment on today’s times,” explains Tom Attea. “I believe that​, given the severity of the problems in America and around the world, new folk songs would be expected to have a greater presence than they do. The centerpiece of the show, ​"A Folk Festival for Today," ​provided ​the occasion ​​to write lyrics with contemporary substance.”

Featured in the cast are: Mary Adams (Queensboro Bridge), Matthew Angel (Young Benjamin Banneker), Larry Fleishman (Beau Jest; Maid In Manhattan), Olivia A. Griffin (NYC debut), Micha Lazare (Fuerza Bruta), Andy Striph (The Good Wife; I Love You…But I Lied), and Nick McGuiness (The Following).

Set design is by Mark Marcante, with lighting design by Alexander Bartienieff, sound design by Alex Santullo,​ and prop design is by Lytza Colon.  Danielle Hauser is the assistant director.​

The performance schedule for THE FOLK SINGER is as follows: Thursdays, Fridays, and Saturdays at 8pm, with matinees on Sundays at 3pm.

Tom Attea (book and lyrics) has written thirteen other produced shows, beginning with Brief Chronicles of the Time, which was presented as a showcase by The Actors Studio, where he was a member of The Playwrights Unit for 10 years. Since then, he has written the book and lyrics for ten musicals and two plays that have been presented by Theater for the New City. Tom received a TNC/Jerome Foundation emerging playwright grant and is a member of The Dramatists Guild.

 

Arthur Abrams (composer) began his frequent collaboration with Tom Attea at The Actors Studio, while working with director Charles Friedman on the revue Brief Chronicles of the

Time.​ His last two collaborations with Tom were the musicals An American Worker and Heather Smiley for President.  A ballet score by Abrams, The Velveteen Rabbit, was given its first performance in July  of 2016, at the Hartt School of the University of Hartford. Abrams also composed and directed music for the Yiddish Theater documentary film, "The Golden Age of Second Avenue," often shown on Public TV.  He has been honored with numerous awards, including a DAAD music fellowship to Mannheim, Germany, a scholarship to the Orff Institute at the Mozarteum in Salzburg, Austria, and a “Meet the Composer” grant for the score of The Golden Bear. He is a member of the Dramatists Guild.

 

Mark Marcante (director) has directed Rizzante Returns From The War, Benny’s Barber Shop, Promises Best Kept, British Music Hall, Strangely Wonderful and One Director Against His Cast, written by Crystal Field, which premiered in Italy. He worked and toured with The People's Theater Company, Theater East and The Guthsville Playhouse. Mr. Marcante was the theatrical and technical consultant for the Arts Connection. He is a graduate of Kutztown University, studied and performed Commedia Dell'arte with Alessandro Bressanello and Michael Conenna from the T.A.G Theatre of Venice. This is his twelfth collaboration with Tom Attea and Arthur Abrams.

 

PHOTO: L to R: Nick McGuiness , Mary Adams, Matthew Angel, Micha Lazare, and Andy Striph in THE FOLK SINGER.
Projection image of the Rusty Knot bar: photo © Chris Mottalini. Used with permission.

www.thefolksinger-anewmusical.com


###

 

HEATHER SMILEY FOR PRESIDENT  | Open: 10/01/15 Close: 10/25/15
Theater for the New City (Executive Director, Crystal Field) presents the world premiere of the musical comedy Heather Smiley for President, which will begin previews on Thursday, October 1st, at the Theater for the New City (155 First Avenue at 10th Street), with an opening set for Sunday, October 11th. The musical has a book and lyrics by Tom Attea with music composed by Arthur Abrams. The production is directed by Mark Marcante and choreographed by Angela Harriell. Heather Smiley for President will play a limited engagement through October 25th. Tickets are $15 ($10 for seniors) and can be purchased online at www.TheaterfortheNewCity.net or http://www.smarttix.com or at the box office and by calling 212-254-1109.

In a story strikingly similar to the daily headlines, Heather Smiley for President follows a female Democratic candidate as she struggles to appeal to voters amid an ever-growing field of Republican and Democratic candidates. She’s already resided on Pennsylvania Avenue as the nation’s First Lady, and now she believes it’s her turn to call the Oval Office her own.

About the Company: Theater For The New City

THEATER FOR THE NEW CITY (TNC) is a Pulitzer Prize winning community cultural center that is known for its high artistic standards and widespread community service. One of New York’s most prolific theatrical organizations, TNC produces 30-40 premieres of new American plays per year, at least 10 of which are by emerging and young playwrights. Many influential theater artists of the last quarter century have found TNC’s Resident Theater Program instrumental to their careers, among them Sam Shepard, Moises Kaufman, Richard Foreman, Charles Busch, Maria Irene Fornes, Miguel Piñero and Academy Award Winners Tim Robbins and Adrien Brody. TNC also presents plays by multi-ethnic/multi-disciplinary theater companies who have no permanent home. Among the well-known companies that have been presented by TNC are Mabou Mines, the Living Theater, Bread and Puppet Theater, the San Francisco Mime Troupe and the Ma-Yi Theater Company, which won an OBIE Award for its 1996 TNC production, FLIPZOIDS. TNC also produced the Yangtze Repertory Company’s 1997 production of BETWEEN LIFE AND DEATH, which was the only play ever produced in America by Gao Xingjian before he won the 2000 Nobel Prize for Literature. TNC seeks to develop theater audiences and inspire future theater artists from the often-overlooked low-income minority communities of New York City by producing minority writers from around the world and by bringing the community into theater and theater into the community through its many free Festivals. TNC productions have won the Pulitzer Prize for Drama and over 40 OBIE Awards for excellence in every theatrical discipline. TNC is also the only Theatrical Organization to have won the Mayor's Stop The Violence award.

THE (NEW) TRIAL  | Open: 09/01/15 Close: 09/06/15
"The (New) Trial," adapted from Peter Weiss’s same titled play, presents a surreal look at the life of Joseph K, an attorney in an international corporation that explores K’s obsessive idealism and his self-destructive methodology in helping others. Confined in his own docile body, K is manipulated as the public mask for the corporation to win the “war” current global market expansion competition, and eventually is abandoned by the corporation once the victory is obtained.

"The (New) Trial" attempts to deconstruct the docile nature of the self and the hierarchical power relations among the characters of the play, hoping to stimulate changes to the society. To manifest this essential concept, actors will explore power dynamics among different characters, and will break the fourth wall to share their real life experience of being an actor with monologues.

Producer: Maria Hoffmann, Dennis Yueh-Yeh Li
Advisory Producer: Miriam Ibrahim
Production Manager: Leonie Ettinger
Director: Dennis Yueh-Yeh Li
Stage Manager: Laura Virginia Sandez
Stage Manager: You-Shin Chen
Lighting Designer: Yi-Chung Chen
Sound Designer: Yung-Chin Chang
Graphic Designer: Lisa Lee
Ensemble: Brad Burgess, Leah Bachar, Jody Doo, Samantha Höfer, Maria Hoffmann, Omri Kadim, & Maite Uzal
About the Company: Theater For The New City

THEATER FOR THE NEW CITY (TNC) is a Pulitzer Prize winning community cultural center that is known for its high artistic standards and widespread community service. One of New York’s most prolific theatrical organizations, TNC produces 30-40 premieres of new American plays per year, at least 10 of which are by emerging and young playwrights. Many influential theater artists of the last quarter century have found TNC’s Resident Theater Program instrumental to their careers, among them Sam Shepard, Moises Kaufman, Richard Foreman, Charles Busch, Maria Irene Fornes, Miguel Piñero and Academy Award Winners Tim Robbins and Adrien Brody. TNC also presents plays by multi-ethnic/multi-disciplinary theater companies who have no permanent home. Among the well-known companies that have been presented by TNC are Mabou Mines, the Living Theater, Bread and Puppet Theater, the San Francisco Mime Troupe and the Ma-Yi Theater Company, which won an OBIE Award for its 1996 TNC production, FLIPZOIDS. TNC also produced the Yangtze Repertory Company’s 1997 production of BETWEEN LIFE AND DEATH, which was the only play ever produced in America by Gao Xingjian before he won the 2000 Nobel Prize for Literature. TNC seeks to develop theater audiences and inspire future theater artists from the often-overlooked low-income minority communities of New York City by producing minority writers from around the world and by bringing the community into theater and theater into the community through its many free Festivals. TNC productions have won the Pulitzer Prize for Drama and over 40 OBIE Awards for excellence in every theatrical discipline. TNC is also the only Theatrical Organization to have won the Mayor's Stop The Violence award.

BODY OF WORDS  | Open: 01/01/15 Close: 01/25/15
Two strangers - a seasoned older man and a young man - meet on a deserted stretch of beach at the end of a summer day. Each in his way has traveled a long, lonely distance from family and in search of home. A sexual contract is established between them. But suspicion and violence ensue, and by morning's first light, an inescapable bond has joined the two men together. They are changed forever.

Body of Words is based on the homecoming of Odysseus. Body of Words contains occasional nudity. It is performed without intermission and there is no late seating.

Featuring Bruch Reed*as Norman and Marek Pavlovski* as Boyd *Appearing Courtesy of Actors’ Equity Association assistant director Elizabeth Harless - set design David L. Arsenault - costume design Tristan Raines - lighting design Dylan Uremovich - sound design Harrison Adams - construction Mark Marcante - props Lytza Colon - stage management William V. Carlton - fight direction Stephanie Barton-Farcas - press Jonathan Slaff
produced by THEATER FOR THE NEW CITY, Crystal Field, Executive Director

Upcoming Train/Stopped Clock/Untitled Waiting  | Open: 08/24/13 Close: 08/30/13
Two actors waiting for the train to come on the platform, but they never really get on any train no matter how many trains have arrived and departed. Not until another two actors take off from the train do they finally realize what they are waiting for is not the train.

“Upcoming Train/Stopped Clock/Untitled Waiting” is a manifesto of the ritual of waiting, presented by four characters in representation of the general public and artists. The ritual, addressed upon life/death and reality/illusion, will be shown by paronomasia within the conversation, by metatheatre, by the interaction among the animate beings (characters) and the inanimate beings (mannequins), and by the embodiment of the sufferings from the ritual itself to accent the timelessness of the action and the ridicule of the action itself. . Inspired by Waiting for Godot, this play will examine the absurdity of quotidian life as well as artistic life, and raise an unanswerable question: what are we actually waiting for? 

Upcoming Train/Stopped Clock/Untitled Waitingstars Tavarius Graves, Claire Shang-Ling Kuei, Owen Scott, and Anthony Walters

Producers: Claire Shang-Ling Kuei, Mika Yin-Chih Lee, Dennis Yueh-Yeh Li
Stage Manager : Mika Yin-Chih Lee, Wanning Jen.
Stage Designer: Yin-Chiao Liao
Lighting Designer: Yi-Chung Chen
Sound Designer: Shu-Ying Chung
Costume Designer: Sienna Huang
Production Assistants
: Mini Gu, Grace Li, Yu-Chien Liu, Utako Nakayasu, & Hsiin-Yuan Peng

Deceit  | Open: 01/10/13 Close: 01/27/13
 "Deceit" (www.deceittheplay.com) is a suspenseful and compelling play by Richard Ploetz that reveals how far some people are willing to take their lies to protect the fragile nature of "being normal."  Theater for the New City will present the piece, directed by Andreas Robertz, January 10 to 27 in its Cino Theater.

Still waters run deep throughout this play, whose central character is a handsome everyday husband and father: an investment banker named Frank who sometimes calls himself Bob.  As Frank, he plays the role of an ordinary heterosexual married man with an eight year old son. As Bob, he conducts a series of gay love affairs, enabled by Internet dating. His wife Helen, an urbane and sophisticated woman, is surprisingly unaware of his gamesmanship.  She is editor of a popular magazine and her reporter, Ken, is researching a blockbuster story about "married men who date other men." Ken's exposé will include secret information from a man he has been interviewing for several weeks, who goes by the name of...Bob.  Meanwhile, Bob's lover Jeffrey, a Hermes accessories salesman, cultivates a friendship with Helen that will raise the stakes--and thrill--of the discovery of his relationship with her husband.

As the walls between Frank's separate lives grow increasingly thin, we realize that every adult character in this triangle--or is it pentagon?--is self-deceiving or deceiving others.  This must be so, to maintain the compartmentalization upon which the deceit uneasily rests. The play is a symbolic and hard hitting take on extra-marital affairs.  It glimpses into the human personality and asks if one can ever be truly oneself in our technology-based society, when Craigslist, Facebook, and Twitter give us facile new identities with artificial user names and profiles.  Which side of us is real and which is used to get what we want in the moment?


About the Company: Theater For The New City

THEATER FOR THE NEW CITY (TNC) is a Pulitzer Prize winning community cultural center that is known for its high artistic standards and widespread community service. One of New York’s most prolific theatrical organizations, TNC produces 30-40 premieres of new American plays per year, at least 10 of which are by emerging and young playwrights. Many influential theater artists of the last quarter century have found TNC’s Resident Theater Program instrumental to their careers, among them Sam Shepard, Moises Kaufman, Richard Foreman, Charles Busch, Maria Irene Fornes, Miguel Piñero and Academy Award Winners Tim Robbins and Adrien Brody. TNC also presents plays by multi-ethnic/multi-disciplinary theater companies who have no permanent home. Among the well-known companies that have been presented by TNC are Mabou Mines, the Living Theater, Bread and Puppet Theater, the San Francisco Mime Troupe and the Ma-Yi Theater Company, which won an OBIE Award for its 1996 TNC production, FLIPZOIDS. TNC also produced the Yangtze Repertory Company’s 1997 production of BETWEEN LIFE AND DEATH, which was the only play ever produced in America by Gao Xingjian before he won the 2000 Nobel Prize for Literature. TNC seeks to develop theater audiences and inspire future theater artists from the often-overlooked low-income minority communities of New York City by producing minority writers from around the world and by bringing the community into theater and theater into the community through its many free Festivals. TNC productions have won the Pulitzer Prize for Drama and over 40 OBIE Awards for excellence in every theatrical discipline. TNC is also the only Theatrical Organization to have won the Mayor's Stop The Violence award.

Two Sisters, Two Brothers  | Open: 06/07/12 Close: 06/24/12
In these dark comedies, desperation and hope in a surreal world send two pairs of siblings into a vortex of confusion and decision-making.


About the Company: Theater For The New City

THEATER FOR THE NEW CITY (TNC) is a Pulitzer Prize winning community cultural center that is known for its high artistic standards and widespread community service. One of New York’s most prolific theatrical organizations, TNC produces 30-40 premieres of new American plays per year, at least 10 of which are by emerging and young playwrights. Many influential theater artists of the last quarter century have found TNC’s Resident Theater Program instrumental to their careers, among them Sam Shepard, Moises Kaufman, Richard Foreman, Charles Busch, Maria Irene Fornes, Miguel Piñero and Academy Award Winners Tim Robbins and Adrien Brody. TNC also presents plays by multi-ethnic/multi-disciplinary theater companies who have no permanent home. Among the well-known companies that have been presented by TNC are Mabou Mines, the Living Theater, Bread and Puppet Theater, the San Francisco Mime Troupe and the Ma-Yi Theater Company, which won an OBIE Award for its 1996 TNC production, FLIPZOIDS. TNC also produced the Yangtze Repertory Company’s 1997 production of BETWEEN LIFE AND DEATH, which was the only play ever produced in America by Gao Xingjian before he won the 2000 Nobel Prize for Literature. TNC seeks to develop theater audiences and inspire future theater artists from the often-overlooked low-income minority communities of New York City by producing minority writers from around the world and by bringing the community into theater and theater into the community through its many free Festivals. TNC productions have won the Pulitzer Prize for Drama and over 40 OBIE Awards for excellence in every theatrical discipline. TNC is also the only Theatrical Organization to have won the Mayor's Stop The Violence award.

Just Sex  | Open: 03/22/12 Close: 04/15/12

Following its acclaimed, sold-out run earlier this season as part of Theater for the New City’s Dream Up Festival, playwright Brandt Johnson’s JUST SEX will return to Theater for the New City (155 First Avenue) for a limited Off-Broadway engagement. Preview performances of JUST SEX begin March 22 prior to an official press opening of March 27. Alex Kilgore (founding Artistic Director of stageFARM – OLIVER PARKER!, THE GINGERBREAD HOUSE, VENGEANCE) directs.

What are the moral boundaries of cybersex? What’s the difference between pixels and flesh? In JUST SEX, a brisk new comedy by Brandt Johnson, Katherine and William are in lust with other people — but married to each other. Unwilling to cheat, they open their marriage, log on, and get off. They confront frequent, hilarious reminders that extramarital escapades can lead to much more than just sex. What begins as a simple online exercise in physical release becomes a complex, real-life challenge to the couple’s notions of normalcy, love, and fidelity.

Directed by Alex Kilgore, the cast of JUST SEX will feature Brandt Johnson, Alex Kilgore, Tasha Lawrence and Meghan Miller.

As Founding Artistic Director of the Off-Broadway company the stageFARM, Alex Kilgore conceived, commissioned and directed 2008’s SPIN series (Gina Gionfriddo, Elizabeth Meriwether, Adam Rapp, Mark Schultz, and Judith Thompson), as well as 2007’s VENGEANCE series (Neena Beber, Ron Fitzgerald, Gina Gionfriddo, Julian Sheppard, and Francine Volpe). Mr. Kilgore also directed the world premiere of David Folwell’s DRUG BUDDY for the stageFARM at Cherry Lane and produced Off-Broadway premieres of Elizabeth Meriwether’s OLIVER PARKER!, Mark Schultz’s THE GINGERBREAD HOUSE (Drama League Award - Bobby Cannavale), and Gina Gionfriddo’s U.S. DRAG. His acting credits include:  the U.S. premieres of David Folwell’s BOISE (Rattlestick - 2004 Outer Critics Circle Nomination), Philip Ridley's THE PITCHFORK DISNEY (Blue Light Theater Co.), REFUGE by Jessica Goldberg, and LOST HIGHWAY (as Hank Williams).

Tasha Lawrence’s Broadway credits: WILDER, WILDER, WILDER (Tony nomination), GOOD PEOPLE (Manhattan Theatre Club), and PROOF (national tour). Other credits include: Sam Hunter's THE WHALE (Denver Center), Keith Reddin's HUMAN ERROR (City Theatre), Daisy Foote's BHUTAN (Cherry Lane), DANGEROUS LIAISONS (Huntington Theatre), Craig Wright's THE PAVILION (Rattlestick), BETRAYAL (Northern Stage), BAD DATES (City Theatre), THE DIRECTOR (Arclight Theatre), JUNE MOON (Drama Department), HE SHE THEM (Shubert Theatre), George F. Walker's SUBURBAN MOTEL (Rattlestick Theatre). Film and Television: Hangnail (Slamdance, 2011), Romance and Cigarettes (John Turturro), all the “Law and Orders,” “Third Watch” (recurring), “Deadline,” “Kevin Hill,” “Royal Pains,” “All My Children,” “Loving,” and “The Line” (Gemini, ACTRA nominations, best actress).

JUST SEX is Brandt Johnson’s second play to be produced. He performed his first play, a solo show called GIVE AND GO: LEARNING FROM LOSING TO THE HARLEM GLOBETROTTERS, at FringeNYC 2007 and again at New York's Metropolitan Playhouse in 2010. Mr. Johnson’s other acting credits include Walt Disney’s Broadway workshop of HOOPZ, directed by Savion Glover and Kenny Leon; the Off-Broadway production of THE PITCHFORK DISNEY (Blue Light Theater Co.); and the workshop of JOE FEARLESS with Matthew Broderick and Rosie Perez.

Meghan Miller was last seen on stage in the play HAUNTED HOUSE at the Irish Repertory Theatre. She is also a member of the all-girl vaudeville punk trio The Bambi Killers.


About the Company: Theater For The New City

THEATER FOR THE NEW CITY (TNC) is a Pulitzer Prize winning community cultural center that is known for its high artistic standards and widespread community service. One of New York’s most prolific theatrical organizations, TNC produces 30-40 premieres of new American plays per year, at least 10 of which are by emerging and young playwrights. Many influential theater artists of the last quarter century have found TNC’s Resident Theater Program instrumental to their careers, among them Sam Shepard, Moises Kaufman, Richard Foreman, Charles Busch, Maria Irene Fornes, Miguel Piñero and Academy Award Winners Tim Robbins and Adrien Brody. TNC also presents plays by multi-ethnic/multi-disciplinary theater companies who have no permanent home. Among the well-known companies that have been presented by TNC are Mabou Mines, the Living Theater, Bread and Puppet Theater, the San Francisco Mime Troupe and the Ma-Yi Theater Company, which won an OBIE Award for its 1996 TNC production, FLIPZOIDS. TNC also produced the Yangtze Repertory Company’s 1997 production of BETWEEN LIFE AND DEATH, which was the only play ever produced in America by Gao Xingjian before he won the 2000 Nobel Prize for Literature. TNC seeks to develop theater audiences and inspire future theater artists from the often-overlooked low-income minority communities of New York City by producing minority writers from around the world and by bringing the community into theater and theater into the community through its many free Festivals. TNC productions have won the Pulitzer Prize for Drama and over 40 OBIE Awards for excellence in every theatrical discipline. TNC is also the only Theatrical Organization to have won the Mayor's Stop The Violence award.

Cirque Le Jazz  | Open: 02/23/12 Close: 02/26/12
Created by 2 Ring Productions, “Cirque Le Jazz” is the perfect fusion of circus arts, musical theatre and vaudeville.  Set to the vibrant rhythms of numerous Big Band anthems and celebrated Great American Songbook standards, “Cirque Le Jazz”radiates heat and brings back the bygone days of swing with a fresh and contemporary style.  The dynamic company of 4 diverse and accomplished artists take to the stage and the air in an intimate spectacle of aerial artistry, Broadway-style dance, traditional circus arts and unflappable charm.  

The dashing Ringmaster croons and beckons to you......

The agile acrobatic clown clambers up a tangle of tissue......

The gallant dancer twirls while balancing his cane on his nose......

The dainty leading lady belts out a classic tune while never touching the ground......

All this and much more await you during this energetic, fast-paced & fun-filled trek under the Big Top that will captivate the young and the young at heart!

Cirque Le Jazz provides an evening of high-flying enjoyment accompanied by music from the most prolific composers of the 20th Century and performed by an adept and elegant quartet of bona fide professional artists. This is a show that is guaranteed to please both audiences searching for a great circus extravaganza and a sophisticated evening in the theatre.  In a concise and snappy 1-act format, this is a perfect show for young audiences and families. 

Birds On Fire  | Open: 03/17/11 Close: 04/10/11

Theater for the New City proudly presents the world premiere of Birds on Fire, a historical musical drama written and directed by Barbara Kahn. Music by Allison Tartalia. Puppet design by Candice Burridge. Musical Direction and Choreography by Robert Gonzales, Jr. Birds on Fire portrays what might have been the lives of four unidentified victims of the 1911 Triangle Shirtwaist Factory fire in Greenwich Village. The production is part of the commemoration of the 100 year anniversary of the disaster. Featuring Zoe Anastassiou, Robert Gonzales, Jr., Gusta Johnson, Tommy Kearney, Benjamin Pike, Anna Podolak, Sarah Shankman, Noelle Tate, Brian F Waite and Amanda Yachechak. Allison Tartalia joins the cast on April 7. Set and lighting design by Mark Marcante, costume design by Alice J Garland, sound design by Joy Linscheid. Graphic design by Virginia Asman. March 17 – April 3, 2011. Thurs - Sat at 8 P.M., Sun at 3 P.M.  Tickets: $12. 212-254-1109. 155 1st Ave@ 10th St. Subway: L to 1st Ave, 6 to Astor Place. www.theaterforthenewcity.net Wheelchair accessible.

 

Birds on Fire uses life-size puppets to portray the people in power—factory owner, architect, superintendent of buildings, city alderman—contrasting with the immigrant Jewish and Italian employees. Two women, childhood friends from Eastern Europe in America for five years, have dreams of a better life beyond the factory. They help a recent arrival from Eastern Europe who tries hard to adjust to her new and difficult life in America. The young Italian seaman who helped her on the dock jumps ship to find this woman he loved “at first sight.” The lives of these four converge in the Triangle Factory. They work hard, play hard during their precious hours of relaxation and share their hopes, dreams and love. The tragic fire that is the climax of the play steals from them their future as well as their past.

The Caucasian Chalk Circle  | Open: 03/05/11 Close: 03/19/11

Set and Lighting by Eric Southern

Costumes by Katja Andreiev

Choreography by Alison Beatty  

In the chaos of revolution, a kitchen maid rescues an abandoned child of royal blood and protects him against all odds. Two years later, order restored, the child’s biological mother returns to reclaim him. Their case is heard by the judge–a drunk and a ruffian with a weakness for lopsided justice. Who will win the child?

 In this modern morality masterpiece, here brought to life with an original score, we see Brecht examine the perils–and necessity–of human goodness.  

Featuring:  Sam Dash, John Early, Matthew Hanson, Gleen Hergenhahn, Maura Hooper, Daniel Johnsen, Jacquelyn Landgraf, Charley Layton, Vladimir Margolin, Sydney Matthews, Brian Maxsween, Joyce Miller, Alex Mills, Ronald Peet, Michael R. Piazza, Marek Sapieyevski, Chloé Wepper and Gil Zabarsky

 

Presented by Pipeline Theatre Company

 

One Arm And A Leg  | Open: 08/25/10 Close: 09/04/10
ONE ARM AND A LEG

TO PREMIER AT HERE AND THEATER FOR THE NEW CITY

ONE ARM AND A LEG is an interdisciplinary piece of theater combining dance, theater, music, video and image. This two-part devised, original work brings together artists from all over the world—from Romania to Boston, from Japan to Toronto and is helmed by a collaboration between a choreographer and theater director specializing in original, devised theater. The piece begins with a set of encounters in which a woman decides to give parts of herself—her arm, her phone number, her identity—to a stranger, a man. Her act incites a search for things given, received, and lost and what follows is an exploration of cultural translation, personal agency, sexuality, and self-sacrifice through text, movement, and image.

This movement-based piece will showcase Calla Videt’s interdisciplinary directing style through an exciting collaboration with choreographers Ricky and Jeff Kuperman, and a cast and production team with diverse experiences across the arts and a unifying passion for devised, company-oriented work. The company includes Arlo Hill, Jamie Nelson, Merrie Jane Brackin, Aya Yamakawa Tucker, Ricky Kuperman, Catrin Lloyd-Bollard, Jeff Kuperman, and Liz Walker.

ONE ARM AND A LEGis appearing as a part of the DreamUp Festival presented by Theater for the New City and in HEREstay, the 2010 Summer Sublet Series at HERE.

CALLA VIDET(director/writer) recently finished working with London based company Complicite on their West End production of Samuel Beckett’s Endgame. She is a member of New Perspective’s 2010-2011 Women’s Work Lab, Nylon Fusion Writers Collective, and 2010 Lincoln Center Theater’s Director’s Lab. Last June, she graduated from Harvard University magna cum laude in a special concentration combining physics and theater. During her time at Harvard, she directed, performed in, and worked on over 15 productions. Her final directorial project and senior thesis—The Space Between— premiered on the mainstage of the American Repertory Theater in April of 2009 and told the story of the making of the atomic bomb through the lens of the Orpheus myth. Calla has also directed productions of Moira Buffini’s Dinner, Complicite’s The Three Lives of Lucie Cabrol, Sarah Kane’s Blasted (ass. director) and Complicite’s Mnemonic. She is the recipient of Harvard’s Louis Sudler Prize for the Arts and an Artist Development Fellowship. www.callavidet.com

RICKY KUPERMAN(choreographer/performer) received his formal training in a variety of dance styles at Vlad’s Dance Company in Toronto, Canada. His study of jazz, tap, ballet, modern, acrobatics, and hip-hop influences his eclectic dance style and shapes his innovative choreography. Ricky has performed and competed across the United States and Canada, winning titles at the national level. He has toured with the Harvard Contemporary Dance Ensemble, with whom he performed at the Merce Cunningham Studios in New York City and at the American College Dance Festival. Recently, he worked with renowned Toronto-based contemporary jazz company, Helix Dance Project (dir. Linda Garneau).  Some of Ricky's TV and film credits include Gemini award-winning director Moze Mossanen's Nureyev, So You Think You Can Dance Canada (Season 1, top 40), YTV's movie musical King of the Camp, and MTV's upcoming Turn the Beat Around. Recent choreography includes his piece “to dust.” presented on the Loeb Mainstage and as part of Harvard’s Ivy Dance Exchange concert, also to be presented at the American College Dance Festival. Other works include the critically acclaimed The Space Between (dir. Videt, Loeb Mainstage) and his work for HBC’s Premiere, which was also presented at Harvard’s ARTSFirst Dance Festival. Ricky is currently working on his first dance film with producer Moze Mossanen (http://en.wikipedia.org/wiki/Moze_Mossanen), scheduled to start principal photography in May 2010.

www.pegleg.org

www.dreamupfestival.org

www.here.org

This production is being presented through the Summer Sublet Series, part of HEREstay, HERE’s curated rental program, which provides artists with subsidized space and equipment, as well as technical and administrative support.

Since 1993, the OBIE-winning HERE has been a premier arts organization in NYC and a leader in the field of new, hybrid performance work. Under leadership of Founding Artistic Director Kristin Marting and Producing Director Kim Whitener, HERE has served over 12,000 emerging to mid-career artists developing work that does not fit a conventional programming agenda. Work presented at HERE has garnered 14 OBIE awards, an OBIE grant for artistic achievement, three Drama Desk nominations, two Berrilla Kerr Awards, three NY Innovative Theatre Awards, an Edwin Booth Award and a Pulitzer Prize nomination. HERE proudly supports artists at all stages in their careers through full productions, artist residency programs, festivals and subsidized performance and rehearsal space. Work at HERE is curated based on the strength and uniqueness of the artist’s vision. HERE’s Artist Residency Program (HARP) provides development, commissions and full production for up to 20 artists over one-to-three  years. In 2005, with the support of the FJC, a foundation of donor advised funds, Lower Manhattan Development Corporation and the City of New York, HERE purchased its long-time home as part of a five-year “Secure HERE’s Future” campaign. With full-scale renovations to the space concluding in June 2008, thanks to generous support from the City of New York, HERE is poised to continue and expand its role as a downtown haven for the finest emerging art. Offering a comfortable, eclectic setting for artists and audiences alike, HERE features a new café and two state-of-the-art performance spaces.


About the Company: PEGLEG PRODUCTIONS

PEGLEG PRODUCTIONS is a nascent theater company based in New York City and helmed by recent alumni of Harvard University. We are a company of collaborators, and the thread that connects all of our projects is our emphasis on developing work that features the skills and talents of our ever-changing line-up of technicians/actors/designers and that emphasizes the social issues we find most compelling in the modern world. Our work is interdisciplinary, relying on movement/dance as much as text to create dramatic effect and mood. It is explicitly self-conscious, commenting upon the conceits of live performance even as we endeavor to create an experience that could only occur at a live event. It is critical, taking as its basis the ordinary and extraordinary aspects of social life in the 21st century and portraying them in ways that excite, problematize, and provoke.

Shakespeare The Dead  | Open: 08/28/10 Close: 09/04/10
Do you love horror films?  Sixteenth-century dramatic literature?  Tragic irony?  ALL OF THE ABOVE?  So do we!

Pipeline Theatre Company presents the world premiere of Shakespeare the Dead-- a funny play about a horror movie.  The first day on the set of Hollywood’s newest film of Macbeth seems promising, with a hot young star as the title role.  The producer publicly vows to cast aside the superstitions commonly associated with Shakespeare's darkest tragedy, but when a mysterious stranger assumes control and changes the project entirely, things get frighteningly out of hand.  

World premiere as part of Theater for the New City's Dream Up Festival!  

Featuring: Willy Appelman, Seth Clayton, Kate Eastman, Jessica Frey, Daniel Johnsen, Alex Mills, Mike Piazza, Mike Steinmetz, & Gil Zabarsky

Production Team: Jenny Donheiser, Steve Girard, David Hoffman, Meagan Kensil, Eric Krueger, Charley Layton, Stiven Luka, Kellie Mecleary, Zealan Salemi, Nicole Spiezio, Eric Southern, Allison Smith & Zachary Zirlin

Written by Alex Mills.  Directed by Tom Costello.  Produced by Pipeline Theatre Company.

Promo videos available: http://www.indiegogo.com/shakespeare-the-dead

 For more information visit: http://www.pipelinetheatre.org

Gods At The End Of The World  | Open: 06/17/10 Close: 07/03/10

"Jesus said unto her, I am the resurrection, and the life: he that believeth in me, though he were dead, yet shall he live: and whosoever liveth and believeth in me shall never die."  It was in that year that the flames of war broke out in every corner of the globe and like the hand of God spread death across the land.  None survived save the souls locked deep within the sanctity of the underground shelter known only as 'the Vault.'  And from there none may leave until that time when man shall once again walk this Earth.

 Inspired by the video game series Fallout, Resident Evil and Bioshock; and animes including Neon Genesis Evangelion and Ghost in the Shell; Gods at the End of the World tells the story of the last surviving humans on an Earth that has been made uninhabitable by nuclear warfare.  It is a story about the human spirit, Man's quest for divinity and what it truly means to be human.


 

My Boyfriend Is A Zombie  | Open: 06/03/10 Close: 06/27/10
In William Electric Black's newest musical, two guys are in love with the same girl.  One's a monster and the other's a wise guy with quick fists.  Who's gonna get to take her to the dance?  Sounds like "Oklahoma," doesn't it?  Fooled ya, it's "My Boyfriend Is A Zombie."  The year is 1958 and the dance in question is the Springtown High School Halloween Hop.  This time, the monster gets the girl.  It's a rockin', boppin' family-friendly show, to be presented by Theater for the New City, 155 First Avenue, June 3 to 27.  You can  buy a discount ticket if you come in a Zombie costume.

George Romero never had it so tuneful.  This piece sports thirteen original numbers written by the team of William Electric Black and Gary Schreiner, both Emmy-winners.  There's an ensemble of ten actors and a three-piece live band. Book, lyrics and direction are by William Electric Black.


The actors are Nicole Patullo (as Paula), Cara S.Liander, Allison Troesch and Macah Coates (as her teenage friends), Jamaal Kendall (as Grrr, the zombie); Jeremy Lardieri, Lenin Alevante and Matthew Hooper (as the three punks), Erin Salm (as the Student Council President) and Verna Hampton (as Zombette, the narrator)  The musicians are Gary Schreiner (co-composer/keyboard), Saadi Zain (bass) and James Mussen (drums).  Choreography is by Jeremy Lardieri.  Lighting design is by Federico Restrepo.  Costume design is by Tilly Grimes.  Makeup design is by Kate Tsang.


For more information, please visit our website: www.boyfriendzombieonstage.com

Laughing In The Wind:
A Cautionary Tale In Martial Arts
 | Open: 04/30/10 Close: 05/23/10
The play is a martial arts epic with a fighting/kicking ensemble of 18 actors playing 26 speaking parts. It is based on a story about friendship and love, deception and betrayal, ambition and lust for power which was originally titled "Xiao Ao Jiang Hu" when it was published in 1967, and has been variously translated as "The Smiling, Proud Wanderer" and "State of Divinity."


In the story, various parties are vying to recover a scroll that contains a powerful martial arts technique that can propel the owner to premiere leadership, but are eventually outdone by a young lad, Little Fox, who is devoid of all ambitions. The story deals with Little Fox's journey: his development as a swordsman and his witnessing the various intrigues which take place. Many warlords and fighters from six clans lust after the manuscript, among them the leader of a so-called Five Mountains Alliance. Despite the popularity of Jin Yong's novel, the symbolism of the six clans has never been coherently interpreted. The Five Mountains Clan might be taken to be an indirect reference to the five sacred mountains in China. The various clans have also been interpreted as a parody of one people with multiple political systems.

Jin wrote, in a 1983 epilogue to his book, that the rival clans in his book personify "political prototypes" he observed in China during the Cultural Revolution, without being specific allegories to any particular persons or groups. He asserted, "Only what is rooted in our common humility can withstand the test of time and have lasting value." The book has been adapted into three major movies ("The Swordsman," 1991; "The Swordsman II," 1992; and "The East is Red," 1993) and a 40-episode TV series ("Laughing in the Wind"). The title "Laughing in the Wind" refers to a piece of music jointly created in friendship by two elderly swordsmen of opposing clans, which eventually leads to their tragic deaths.

Jin's "Xiao Ao Jiang Hu" was originally serialized in his newspaper, the Ming Pao Daily of Hong Kong, as well as in 21 other newspapers in various languages. Its leading characters have sometimes surfaced in political dialogues around the world, with one politician accusing another of acting like Master Yue (hypocritically) or Master Zho (harboring secret ambitions to become dictator).

The Martial Arts genre is a relatively recent literary development in the context of thousands of years of literary tradition in China. Joanna Chan suspects that its unsurpassed popularity, with the recurring them of revenge, may have an impact on the Chinese psyche – an acceptance without question the vengeful spirit of an-eye-for-an-eye, however justified the cause, and a cynicism towards the rule of law.

Joanna Chan originally received permission to adapt Jin Yong's book in 1989 for the International Arts Festival in Hong Kong, while she was Artistic Director of Hong Kong Repertory Theatre. The premiere, performed in Cantonese, was attended by Jin himself.

Now, Yangtze has requested and received permission from Jin Yong to restage the production in New York with different designers, a multi-ethnic cast (Asian, African-American and Caucasian, all martial artists and dancers) and an original score, with bilingual subtitles. The production will be in English, Mandarin and Cantonese Chinese, with Chinese and English subtitles.

Fight choreographer is David ChienHui Shen (Taiwan; www.davidshendance.com). Set design is by Yoki Lai (Hong Kong, http://www.yokilai.com). An original score is being created by Sam Su Seng (China). Costume Design is by David ChienHui Shen and Yoki Lai. Lighting Design is by Joyce Liao (Taiwan).

The actors, all martial artists and dancers, are Wayne Chang, Rachel Filsoff, Aki Goto, Zane Hayes, Carl Ka-Ho Li, Ashley Liang, Ajia Maximillian, Phillip Redmond, Adrian Sinclair, Peter Song, Derrick St. Hill, Rashawn Strife, Steven Sun, Stephanie Willing, Sen Yang, Cedric Yau, Sarah Yu and Jie Zhuang.

Generation [bu]y  | Open: 05/06/10 Close: 05/16/10
It's the second play by-kids-for-adults to be directed by Philip Suraci at Theater for the New City. In the true spirit of "activist" theater, it's a testimonial by an affected class of people (our kids) that's aimed at the ears of the class that needs to hear it the most (their parents). While pursuing a master's degree in educational theater (NYU 2004), Suraci was deeply impressed by the depth and complexity of thought of relatively young people (ages 10-13). When these students and their words were placed in a dramatic context, Suraci found the result to be powerful, provocative and beautiful. Society pays little heed to the personal beliefs of children. Though children are often unencumbered by fears and obstacles encountered by adults, their views, their purity of thought and purpose, are disregarded by the jaded, realist perspectives of their elders. In this sense, children are the most ordinary of people whose voices overwhelmed by society's power structure.

In the play, a 13 year-old girl is in crisis. She is suffering from anxiety and subject to angry outbursts at school. Her grades are suffering. Her mother has sent her to therapy. Through her sessions with her therapist, the audience comes to learn about the source of her distress: the pressure to conform to what she feels others wish her to be and her perceived inability to meet those expectations (as conveyed by her peers and media). The dialogue between the therapist and the girl introduces scenes where kids meet, like at school, the mall, a birthday party, or a bad dream. Interspersed with these are conversations between a consultant specializing in marketing to children and a prospective client. The marketer is "selling" her expertise while explaining to her client (and the audience) how marketers target Generation Y--those born between 1980 and 2000. The play is contains both dialogue and songs. In the end, the girl develops a liberating understanding of herself and is transformed to a more aware and confident state of being. The audience is charged with the responsibility to value children as human beings rather than as sources of commerce and profit.

The play thus born examines the predicament of growing up well (or from the parent's perspective, raising children well) in the face of mass marketing. As a dramatic scenario, it is informed by certain "new realities" of the marketplace. A major thrust of marketing to children is the interposition of the marketer between the parent and the child. Marketers create utopian spaces free of parents and advertisements actually position the marketer with the child against the parent. The result of this is not harmless. Studies have shown that higher levels of consumer involvement result in worse relationships with parents. As relationships with parents deteriorate, there is negative effect on children's well being. Relating poorly to parents can lead to depression, anxiety, lower self-esteem and more psychosomatic complaints.

The play thus born examines the predicament of growing up well (or from the parent's perspective, raising children well) in the face of mass marketing. As a dramatic scenario, it is informed by certain "new realities" of the marketplace. A major thrust of marketing to children is the interposition of the marketer between the parent and the child. Marketers create utopian spaces free of parents and advertisements actually position the marketer with the child against the parent. The result of this is not harmless. Studies have shown that higher levels of consumer involvement result in worse relationships with parents. As relationships with parents deteriorate, there is negative effect on children's well being. Relating poorly to parents can lead to depression, anxiety, lower self-esteem and more psychosomatic complaints.

Stops Along The Road  | Open: 03/31/10 Close: 04/11/10
"Stops Along the Road" consists of three separate acts, in which a second, smaller stage is mounted upon the existing stage.  The second stage will enable the audience to envision characters interacting backstage and onstage during a performance.  Each act takes place in a unique situation and tells a story based on political themes from America's recent past such as equality of women's rights, the current economic crisis, and the need for hope and leadership.  The performance will feature new music by composer and pianist Arthur Abrams.  In one act, it has children destroying their own play about reproductive rights and world peace.  In a second, it playfully casts President Obama as Moses.  In another, it casts a group of actors as iconic Manhattan superstructures, including one as "the ghost of the World Trade Center."

"A Close Call," the first act of "Stops Along the Road," recreates an annual Spring school pageant in which students from each class act as characters such as eggs and children of the world in several different scientific and historical themes.  The performance gradually turns into pandemonium as children acting as mummies pull those posing as zygotes and students assigned to the starvation theme fight with those in the peace theme.  This chaos symbolizes America's recent past under President George W. Bush, when our nation almost went over the edge.

The second act, "The Desert," is symbolic of a new stage in our history, the Obama era, and highlights issues at the forefront of our current political agenda.  In this act, President Obama goes up a mountain as Moses did in the Hebrew Bible and chisels the Ten Commandments onto tablets while speaking to God on issues such as health care and the mortgage crisis, later to return with the tablets broken into pieces because of greed prevalent on Wall Street.

The final act, "The Rehearsal," reflects a cry from the heart of New Yorkers seeking what to do in today's times.  The cast of a theatrical rehearsal deals with an arguing crew, as one member finally reflects on the strength of a relative who survived the Armenian holocaust and endured through the 20th century here in America.  Cast members eventually give up on the rehearsal, complaining of the current economic crisis and calling life "a mixed bag."

Each act in the play ends on a hopeful note.  In "The Rehearsal," Corwin's advice to the cast as playwright is "Be hopeful even if you're confused."  At the end of a warfare scene presented in "The Desert," a cop appears, stating "There's only one way to go," implying that those listening must tackle the matters at hand rather than trying to escape to other locales, thereby evading the challenges we face at home.

Shelly's Spherical Journey  | Open: 03/23/10 Close: 03/23/10
Lovesphere 15, the fifteenth installment of a projected 67 year celebration of the Vernal Equinox, will feature SHELLY'S SPHERICAL JOURNEY - a multimedia performance work-in-progress by Cassandra
Weston, Andi Stover and Gary Heidt. 

SHELLY'S SPHERICAL JOURNEY, the climax of this year's Lovesphere,  is a solo show starring the multi-talented Cassandra Weston (Resistance Theater, "Impossible Interviews,")  who trained at Lecoq (Paris).  

SHELLY'S SPHERICAL JOURNEY tells the story of Shelly, a Circassian-American woman, who works in a motel which she inherited in Framingham, Massachuttses. Referencing Adyghe music and dance, finger-tutting, vaudeville and Framingham's famous Shopper's World, one of the nation's first malls, SHELLY'S SPHERICAL JOURNEY will spin you right round like a record, baby.

Lovesphere, a 67-year event, has taken place every Vernal Equinox since 1995, broadcast on Mezamishi (Alarm Clock) in Japan & the pioneer in video streaming Metal-Tiger.com, venues including ABC No
Rio, Resistance Theater, CBGB's, Theater for the New City, Medicine Show Theater, Manhattan Neighborhood Network, the Zipper and Pianos. It began in 1995 with a performance of the Mammals of Zod and the Gametones at Exit Art in Soho on the Vernal Equinox, and has since spiraled completely out of control.  The plan is to present a Lovesphere event every Vernal Equinox until 2061. This is the 15th year.

Czechoslovak-American Marionette Theater (CAMT) will make its Theater for the New City debut with a musical tragedy, "The Very Sad Story of Ethel & Julius, Lovers and Spyes, and about Their Untymelie End while Sitting in a Small Room at the Correctional Facility in Ossining New York." The piece is written and directed by Vit Horejs.

In this Object Theatre-style production, CAMT will explore the myths surrounding the Rosenbergs' purported betrayal of the atomic bomb secret to the Soviet Union. The play will show the whole first half of the 20th century, from the immigration of Ethel's and Julius' parents at the beginning of the century to the Great Depression and WWII, two monumental historic events that were both formative for the Rosenbergs. The three main stories will interweave the radical transformation of both main protagonists: Ethel, who dreams of Broadway stardom, and Julius, who studies the Scriptures fervently and "takes them literally," both becoming firm believers into Communist dogma, a transformation that will eventually cost them their lives.

SERENITAS MEDIA and EXTRABOLD PRODUCTIONS are pleased to announce the world-premiere production of the double feature CROTHER SPYGLASS and THE RESISTIBLE RISE OF FATLINDA PALOKA, directed by Leah Bonvissuto. The two plays will run 6 performances only at Theater for the New City (155 First Avenue (between 9th and 10th Streets)). Performances begin Wednesday, June 11th and continue through to Sunday, June 15th.

Exploited by his nickel-nursing boss, dynamic ad man Ray Crother in turn exploits young Adam, a new hire. As Ray and Adam get drunk in Central Park in the middle of the workday, Ray vents about his tour in the Gulf War, his wife's cancer, his frustration with his Dad, his boss' agoraphobia, and his disdain for Crother Spyglass -- the family business of manufacturing decorative telescopes and umbrella stands. It takes another new hire, gorgeous Christine, to bring Ray-Ray to a moment of epiphany.

Something has happened to the sleepy town of Greenville, Georgia. Something unnatural in the form of... pizza! Highly addictive pizza served by a terrifying person who has come from a place in the Balkans, where in summertime, the livin' ain't so easy. Written with uncommon wit by playwright Marcy Wallabout, this is a sparkling and socially important dark comedy about how each of us adjusts to a world anxious with change. A preview version of The Resistible Rise of Fatlinda Paloka was a smash hit at New York's Beyond Brecht Festival in November 2007.

The production features scenic design by Elisa Giordano, costume design by Cat(herine) Fisher, and lighting design by Aimee Schneider.

CROTHER SPYGLASS and THE RESISTIBLE RISE OF FATLINDA PALOKA plays the following schedule:

Wednesday at 8 p.m.
Thursday at 8 p.m.
Friday at 8 p.m.
Saturday at 3 p.m. and 8 p.m.
Sunday at 3 p.m.

Tickets are $18 and are now available online at www.smarttix.com or by calling (212) 868-4444. Tickets may also be purchased in-person at the theater box office, 1 hour prior to the performance.

* 90 minutes *

The Man Who Appear**ed.  | Open: 02/28/08 Close: 03/09/08
NAPOLIWOOD, a film production company based in Naples, Italy, together with LORETTA AUDITORIUM, a New York-based theater production company, present "The Man Who Appear**ed." Starring Obie-Award-winning actress Sheila Dabney as the Woman; Obie-Award-winning actor John Kohan appears as the Man. Inspired by a short story by Clarice Lispector. A woman, a successful writer, is shattered when confronted with the sudden appearance of an old acquaintance, a man she remembers as a talented and promising poet, now a down-and-out alcoholica failure. A live filming for soundstage through the lens of the theater. Open to the public. Including rushes of the day. From the daily news to our daily lives to what we remember from our dreamsit's all in the editing.