Friday, July 22 at 8:00 pm; Sunday, July 24 at 5:00 pm
Tuesday, July 26 at 8:00 pm; Friday, July 29 at 5:00 pm
Friday, July 29 at 9:00 pm
Tickets are $27.50 and can be purchased by visiting NYMF.org.
The Duke on 42nd Street, a NEW 42ND STREET®
project is located at 229 W 42nd Street (btwn 7th & 8th Ave
Scenery is by Donyale Werle; lighting by Marcus Doshi; costumes by Anita Yavich; original music by Michael Friedman and choreography by Doug Elkins. The voice director is Andrew Wade and B.H. Barry is the movement consultant.
Jeffrey Horowitz, Artistic Director, Theatre for a New Audience, notes “Arin’s production imagines a traveling theatrical troupe bringing its production of The Taming of the Shrew, which is set in Italy, to a town in the American frontier, late 19th Century. It is a time with certain parallels to Shakespeare’s play, and in fact Shakespeare was enormously popular in the American frontier. He was played in large and small theatres, hotels, mining camps and riverboats. Moreover, there was a fascination then with strong individuals; there were limited options for women, rigid social hierarchies, and pronounced materialism and sexism.”
According to Ms. Arbus (Othello and Macbeth with John Douglas Thompson), “As The Taming of the Shrew is a play within a play, role playing and disguise are essential components. Almost everyone is scheming, lying, and hiding beneath disguises. Kate and Petruchio are the only ones who see things as they are and refuse to accept them. Their relationship is not misogynistic. It’s an intimate, brutal, hilarious negotiation between two strong-minded individuals, a husband and wife, about the terms of their contract. What’s remarkable is not that they fight, but that through warring, they find love and mutual admiration and in doing so, create a new paradigm within their world. As Harold Bloom writes, 'Kate and Petruchio…are clearly going to be the happiest married couple in Shakespeare.’”
Michael Friedman, the composer who is creating a score which combines original and existing music, says, “I have an amazing collection of 19th Century traditional bawdy songs and there's a great trove of popular American songs I’ve discovered. There are also some wonderful western tunes. But, of course, the play within the play is set in Italy, so there is Bellini and Donizetti, early Verdi and Cherubini, all of whom were tremendously popular as opera, like Shakespeare, took America by storm.”
In 1929, Federico Garcia Lorca, perhaps Spain's most well known poet and dramatist, spent nine months in New York as a guest lecturer and student at Columbia University. The experience changed both his life and his work. His collection of poems “Poet in New York” revolutionized his style and electrified the literary community in both Spain and the U.S. In the ground-breaking theater piece WEARING LORCA’S BOWTIE, 15 individual artists find themselves in New York, dreaming of Lorca and wondering why it is that we continue to be drawn to this city to make our life and our art and exploring the peculiar brand of loneliness that this city can evoke. The piece blends fantasy with actual moments from Lorca's work and trip – such as his famous witnessing of the 1929 stock market crash – with today's experience of trying to make a life in New York during the biggest economic crisis since Lorca's visit.
WEARING LORCA'S BOWTIE unites some of Spain's most celebrated and award-winning writers, actors, musicians, dancers and directors with a Tony, OBIE and Drama Desk Award-winning team of American designers to create a one-of-a-kind theatrical experience. The piece will be created by the company in rehearsal using devised theater techniques, directed by Josh Hecht and Ignacio García-Bustelo. Text by Mar Gómez Glez and Judith Goudsmit. Story by Josh Hecht and Mar Gómez Glez. Scenic design by Robin Vest, lighting by Clifton Taylor, sound design by Robert Kaplowitz and composition by Javier Moreno.
Theatre for a New Audience’s new production, directed by David Esbjornson, features Christian Camargo in the title role, with Alvin Epstein as Polonius, Patrick Page as Claudius, Alyssa Bresnahan as Gertrude, Graham Hamilton as Laertes and Jennifer Ikeda as Ophelia.
Camargo played the title role in Theatre for a New Audience’s production of Coriolanus. He most recently appeared on Broadway in Arthur Miller’s All My Sons directed by Simon McBurney and previously in David Hare’s Skylight with Michael Gambon. Other appearances include London’s Shakespeare’s Globe with Mark Rylance and the Showtime drama “Dexter,” in which he played the role of Rudy Cooper.
Bresnahan was in Off-Broadway’s Necessary Targets and the RSC’s Tantalus; Epstein starred in Broadway’s The Threepenny Opera, A Kurt Weill Cabaret, Waiting for Godot and Off-Broadway’s King Lear; Hamilton’s Old Globe credits include All’s Well That Ends Well and Romeo and Juliet; Ikeda was in TFANA’s Coriolanus and Manhattan Theatre Club’s Top Girls; Page starred in Broadway’s A Man for All Seasons, Julius Caesar, The Lion King, and The Kentucky Cycle.
Director Esbjornson was the artistic director of the Tony Award-winning Seattle Repertory Theatre. Other credits include Shakespeare’s Much Ado About Nothing at the Delacorte; the Broadway productions of Edward Albee’s Tony Award-winning play The Goat, or Who is Sylvia? and Arthur Miller’s Ride Down Mount Morgan. Off-Broadway, he staged the acclaimed revival of Larry Kramer’s The Normal Heart and at Classic Stage Company, where Esbjornson was artistic director, his productions included Therese Raquin (OBIE for Direction), The Entertainer (Drama League nomination, Best Revival), and Endgame (Drama Desk nomination, Best Revival).