Admission to this event (funded by NYFA/City Artist Corps Grant) is free but RSVP is required.
TLab Shares Hosts
Xanthe Elbrick as Louise
Stephanie Heitman as Kelly
Amy Scanlon as Annie
Playwright: Mêlisa Annis
Director: Ludovica Villar-Hauser
Assistant Director: Judith Binus
Dramaturg: Jennifer Kranz
Production Designer: Meganne George
â€‹Lighting Designer: Calvin Anderson
Sound Designer: Caroline Kittredge Faustine
Stage Manager: Jenna Ng Lowry
Assistant Stage Manager: George Weinhouse, M.D.
Additional Casting By: Jamibeth Margolis, CSA
About the Company: Parity Productions
We love theatre. And as part of a thriving, vibrant industry, we believe in equal opportunity. So while Parity Productions is a formidable producer of new work, we also ensure that we fill at least 50% of the creative roles on our productions—playwrights, directors, and designers—with cis women and trans and gender nonconforming (TGNC) artists. In addition to producing our own work, we actively promote other theatre companies that follow our 50% hiring standard. Artistically, we develop and produce compelling new plays that give voice to individuals who rebel against their marginalized place in society.
Theaterlab presents the Blockchain Theater Project production.
Cast: Maggie Bofill*, Brian Miskell*, Cesar J. Rosado*, Claire Siebers*, and Sheila Vand*
Sets by Andrew Moerdyk
Lighting by Kate McGee
Costumes by Clara Fath
Sound design by John Gasper
Original music by Anand Wilder
Stage Manager: Pat Harnett-Marshall
Producer: Nicola Korzenko
*appears courtesy of Actors’ Equity Association
About the Company: Blockchain Theater Project
Blockchain Theater Project (BTP) was created as a platform to empower artists to produce the work that they create. We believe playwrights know better than anyone where to find the most exciting new works being written, and when they do, they should be given the tools to bring them to life. Like Bitcoin and other blockchains, BTP eliminates the institutional gatekeeper, creating a peer-to-peer model of support where the next play to be produced will be nominated by the playwright of the current production.
Written by Obie Award winner Caridad Svich
Performed by Signdance Collective
From 1987 to 2000, Signdance Collective's directors–Isolte Avila and David Bower–began constructing their unique fusion of sign theatre, dance, and original live music. In 2001, they officially formed Signdance Collective, a company crafting new and original work built on inclusivity, with a focus on disability- and deaf-led work. They have forged a number of international collaborations, delivering workshops and producing "innovative and creatively brilliant performances" (Diversity Awards, BBC) across the globe.
About the Company: Signdance Collective
The Signdance Collective is a touring performance company that was established in 2001. The company is culturally diverse with a team of experienced deaf and disabled artists at the helm. From 1987 to 2000, the company directors pioneered "signdance theatre", a fusion of sign theatre, dance and live original music. Since 2001, Signdance Collective has continued to evolve signdance theatre initiating international collaborations and working alongside innovative artists, theatre philosophers and performance companies across the world. The directors at Signdance Collective have worked with hundreds of people of all ages throughout the UK and internationally, delivering workshops, and producing new work. The company is one of the first in the world to utilise and introduce the concept of inclusive practice with a specific focus on disability-deaf led team work.
Women’s Voices, Women’s Choices
Act 2 is You! Liz Stanton will be joined by different special guests at each performance of The Woman Who Was Me, to have a conversation with the audience about the many choices women make throughout life, consciously and unconsciously. A host will lead the dialogue between the special guest, Liz, and you. The conversation will be based on themes within the play including: Creativity, Self-love, Motherhood, Identity, Marriage, Sex/Desire/Fulfillment, Wanting more.
About the Company: Convergences Theatre Collective
Is an incubator for the research and development of new theatrical works.
Convergences Theatre Collective is a group of pioneering theatre artists and innovative teachers dedicated to creating original work and re-envisioning classics. The mission of CTC is to: Work as a collective: engaging in continual training, creating new forms of theatrical language and education, and cultivating theatre artists in a wide variety of performance genres through process, product, and dialogue; Create new theatrical work from an interdisciplinary perspective and to re-envision the classics for contemporary audiences; Challenge the traditional roles of theatre makers and audiences
Provide innovative training to current and aspiring theatre artists; Create a community that is rooted in contemplative practices in and out of the rehearsal and performance workspaces; Produce work that is beautiful, challenging and entertaining for regional, national, and international audiences.
CTC is based in New York City, and our artists represent and reside in diverse geographic locations. We meet for training, collaboration, producing, and developing new work. We partner with additional organizations and artists as we exist as a community who share a common desire for successful, challenging, and thoughtful theatrical experiences.
CTC is the endeavor of Jeremy Williams to create an organization that serves the many collaborative relationships that contribute to fulfilling the mission of CTC. Williams provides leadership as Producing Director by setting the artistic agenda, leading creative strategy, and directing the producing vision.
Lighting Design: Kia Rogers
Projection Design: Lianne Arnold
Stage Manager: Gahlia Eden
Produced by Theaterlab
"Hilarious and heart-wrenching!" - Theatre Is Easy
"Miller's performance is astounding. She seamlessly transitions between characters, embodying each role she portrays with graceful shifts." - Stagebuddy.com
"Full of heart and soul" - Plays to See
Performed at the intersection of premonition, research and reanimation, Ruins of Achelach shares a genealogical mystery as it unfolds.
Presented by Theaterlab as part of its Solo Sunday Series.
Concept, audio/visuals, script and performance by Michelle Levy
Developed with and directed by Sarah Cameron Sunde
Lighting Design by Guy de Lancey
The cast will feature Michael Ables, Mariah Freda, Jean Goto, and Brian Demar Jones with Lighting/Projection Design by Nic Christopher, Set Design by Sarah Edkins, Sound Design by Christopher Gillard, and Costume Design by Lux Haac, and Dramaturgy by Lynde Rosario. Production Stage Manager will be Allison Newcombe.
About the Company: The Anthropologists
THE ANTHROPOLOGISTS are dedicated to the collaborative creation of investigative theatre that inspires action. Rooted in research and community engagement and shaped by contemporary dance and physical theatre techniques, we're committed to exploring current social topics from an anthropological perspective in order to break down and unleash cultural discoveries.
â€‹Past provocations have included: “why do Americans need so much stuff?” (EXCESS – a dance play inspired by The Cherry Orchard) and “who gets access to food?” (GIVE US BREAD, hailed by nytheatre.com as “a thoroughly entertaining and thought provoking play mixing elements of dance and stylized movement to create a piece that is wholly within its own hybrid Anthropologists genre.”)
Audience Choice Award Winner, 46th TSD – 46th Week of Slovenian Drama
Part of Theaterlab's Fall in Love with Solo season.
i hope to find you at the end of this
in its second iteration, is the shedding of my hair as a remembrance to my N. W. and to the part of me that she had loved most. 843 days before the fact, with my hair covering the side of her neck, she told me once that everything will be okay.
2:00PM â€“ Hair shedding
2:05PM to 8:00PM â€“ Weaving
[Hair donations can be placed next to
the loom throughout the performance]
The performance is free and all donations will go to the It Gets Better Project to raise awareness, fund suicide prevention and anti-bullying programs for LGBTQ youth.
Wildwood Flowers received its world premiere in Cologne in February 2015. Shemesh will recreate the piece with four New York-based dancers: Karesia Batan, Jessica McCarthy, Maya Orchin and Schuyler Whittemore.
Wearing a maskâ€“the action of covering/hiding the faceâ€“is the core of this movement piece. The figures form and re-form constructed identities through the use of white masks created by Mona Kakanj. Wildwood Flowers delves into the notion whether self (re)invention is possible. Do we simply obey norms deeply rooted in our education and socialization? Is being ourselves only a collection of conditions and experiences or are we able to tap into something deeper? Through this process of unveiling, Wildwood Flowers explores identity in its multitude of forms: gender, race, age, social.
Mary Shelley project is a new piece in collaboration with artist Autumn Kioti which reaches back in Time to explore , commune with and inhabit the dreamscapes of the author of Frankenstein.
Muriel and Autumn will create a musical dance theatre tying some biographical, contextual and fictional elements together into an emergent whole.
Muriel will also present a new staged version of Skana, The music , taken from the album written by M Louveau and american composer Charles Kim is inspired by far off lands,foreign languages and coming from liturgical as well as poetic sources.
Emily Pope Blackman (member of WHITE WAVE, Douglas Dunn, Tiffany Mills, Hillary Easten dance companies)joins Muriel to create dance works in response to her singing , echoing to the variable tones reflected in Murielâ€™s voice and blending with ethereal , watery lighting atmospheres
Journey celebrates Poetry merging with sound and dance, while creating a sense of immersion into the dream. The over-all effect is like a poetic, meditative, audio/visual wave.
Presented as part of Theaterlab's Mi Casa Es Su Casa series.
The cast, led by director Aktina Stathaki, includes Tony Naumovski, Theodora Loukas, Sara Galassini and Yannick Trapmann-O’Brien.
Produced by Between the Seas Festival
About the Company: Between the Seas Festival
Between the Seas aims at promoting the representation and understanding of Mediterranean culture and identity in North America.
Our mission is to:
- promote contemporary Mediterranean performing artists by presenting, producing and commissioning new work.
- familiarize North American audiences, with the latest developments in the performing arts from the participating Mediterranean countries.
- create a common platform for Mediterranean and US-based performing artists to share their work, exchange experiences, practices and ideas
- create a bridge between the Mediterranean and the US for an ongoing exchange of artists and works and encourage new partnerships between institutions and individuals on both sides of the Atlantic.
The Festival lasts for one week and includes performances in the fields of dance, music and theater. Artists are selected following an open call for submissions alongside with a smaller group of invited performances.
Joshua Kahan Brody directs Kersti Bryan* in a solo performance with original live music by Bay Bryan.
*appearing by special arrangement through Actors' Equity Association.
This show is an immersion into the world of the dead and the living, and also on the process between the two. Death itself, its expansion, depth and magnificence is considered here as a study and compilation of different perspectives (or religions), namely Buddhist, Christian and Sufi (…). The show is divided into three acts: Life, the Between and the Death of a Dancer.
Carolina Fonseca uses techniques inspired on Flamenco, Sufi dance and Gypsy dances from Eastern Europe, Russia and Hungary, temporizing and breaking up in time and in space, what could be considered the conventions and traditions of these cultures, into new languages and forms brought to our times. Besides these influences and references, The Glimpse is also based on literary works such as Glimpse after Glimpse by Sogyal Rinpoche, The Tibetan book of living and dying by Sogyal Rinpoche, The Wheel of Time by Carlos Castaneda, The Book of Prayers, the Holy Death in Mexico by Rodriguez dos Reis and Sufi Poetry, the Loving Death by Sufi Rumi.
GLIMPSE: THE ART OF DYING
Created, interpreted and danced by Carolina Fonseca (Portugal)
Live music interpretation & performance: Hamidreza Maleki (Iran)
Video installation: Pedro Maia (Portugal)
Jerry Polner (“I saw a lot of terrific shows at The Planet Connections Festivity, but nothing made me laugh louder, longer, or more pleasurably than the first scene of Jerry Polner’s Fix Number Six“– Martin Denton, nytheatre.com), is a writer of sketches, parodies, and stage comedies, many taking skewed looks at serious issues. Recently, his How Do You Want it, a romantic comedy about the Federal Reserve System, won the Planet Connections Award for Outstanding Production of a Staged Reading, and his Fix Number Six, nominated for six Planet Connections awards, was also published by Next Stage Press and Indie Theater Now. His other short plays have been produced by the Workshop Theater Company, Brooklyn Playwrights Collective, Manhattan Theatre Source, and NY Madness; and Weatherman, a comedy about the weather bureau, was published by Samuel French. Jerry’s comedy sketch script Fugitive Math Teachers was one of the winners of Break Media’s Break.com Video Contest. Online, he has written for Political Subversities and McSweeney’s.
Jonathan Warman’s other New York work includes the premiere of Tennessee Williams’ Now the Cats with Jewelled Claws, starring Mink Stole and Everett Quinton (“Outrageously entertaining, thanks to the imagination of the director“– Backstage; “His surehanded staging provokes both laughs and thought“ – Theatermania) and the new musical Me and Caesar Lee with Ernestine Jackson. The cast of Quit the Road, Jack, features Cynthia Bastidas (productions at the New Ohio theater, Denver Theater Center); RJ Batlle (The Improv, A La Vida! at the Hudson Guild) Jes Caitlin Dugger, (Fancy Nancy Off-Broadway, Guest star on TV’s Homeland, co-star of Warner Brothers’ One Tree Hill); Rosemary Howard (featured in the recent films The Wolf Of Wall Street, Weight); Connor Johnston (Portland Center Stage, Actors Fund Theater); Jorge Marcos (Guest and Co-Star of TV’s The Good Wife, White Collar,) Jay Reum (featured on TV’s Animal Planet and Investigation Discovery series), and Rob Skolits (The Normal Heart, Lincoln Center Theater). Set design is by Eric Marchetta, costume design is by Maddie Peterson, lighting design is by Yuriy Nayer, and choreography is by Liz Piccoli. The production is stage managed by Vanna Richardson.
80s music is the food of love in this rollicking, four person adaptation of Shakespeare's Twelfth Night by the creator of These Seven Sicknesses, Sean Graney.
80s music is the food of love in this rollicking, four person adaptation of Shakespeare's Twelfth Night from the creator of These Seven Sicknesses, Sean Graney.
An Actors' Equity Approved Showcase
About the Company: Pull Together Productions
Pull Together Productions is an independent theatre company based in New York City. We create and develop new works and adapt classical texts to make them more accessible to a modern theatregoer. Our work embraces heightened theatricality and celebrates the inherent artifice of the medium. With a spirit of inventiveness and play, we encourage audiences to transcend the realm of realism and actively engage their imaginations to co-create the theatrical event. www.pulltogetherproductions.org
“I can’t escape my Shadow…”
Snow in the Living Room, written by Orietta Crispino as a poetic monodrama in Italian, has been adapted and translated into English by Marco Casazza. Crispino will direct Liza Cassidy (Patricia Wilson’s zia dance Company, Three Sisters Come and Go) and herself on a set installation created by Norwegian visual artist Vibeke Jensen.
Snow in the Living Room is from the same team that brought Three Sisters Come and Go, which was set between the apparently opposite poles of Chekhov and Beckett through the lens of French philosopher Julia Kristeva. NYTheatre.com raved that the piece is “quite possibly the best abstraction of all the things that make Chekhov’s plays so marvelous that I’ve ever seen.”
Written & Directed by Orietta Crispino
Translated & Adapted by Marco Casazza
Performed by Liza Cassidy & Orietta Crispino
Scenic Design by Vibeke Jensen
Costume Design by Sara Baldocchi Byrne
Sound Design by David Margolin Lawson
When an inquisitive small-town reporter investigates the experiments of a mad scientist just outside the city limits, he makes an alarming discovery: a robot designed to bring about the end of the human race. However, the robot is more interested in composing and performing pop music than doing its creator's bidding. Robot Songs is a comedic exploration of humanity's relationship with technology as well as with itself, and the future of our evolution.
The cast includes James Allerdyce, Aaron Gaines, Laura Kaldis, David Kenner, Carly Menkin, Ryan Nicolls, Spencer Plachy, J Reese, Sarah Ripper, Kellie Spill, and Rebecca Tucker. The production team includes CJ Dockery (scenic, costumes, prop design), Joseph Naftal (lighting design), Abby Walsh (assistant art design), and Wesley Frugé (producer).
About the Company: Forward Flux
Forward Flux Productions presents live art utilizing today’s technology for today’s audiences. The company strives to reinvent the theatre experience by blending the traditional form with unconventional ideas. Last summer, Forward Flux’s production of FriendAndy.com wowed audiences at the New York International Fringe Festival. Martin Denton raved that it was “a wondrously free-flowing, inventive production that makes expert use of near-continuous multimedia; one that establishes its own rules in its very first moments and then sticks to them as it hurls, relentless and unstoppable as the Net itself.”
Being Alive in America comes with all kinds of uninvited responsibility. You’ve got to apply for a social security number, for instance, a day or so after you’re born. Welcome to the world. Now, initial here…and here.
And no one warns you about it. No one tells to prepare your John Hancock in utero. And no one tells you you’re going to have to know all about stocks and bonds to get by as an adult. Not just a suit-wearing, day-trading climb-the-corporate-ladder kind of adult but ANY kind. You might be a colorist but you’re supposed to have a financial portfolio. Heck, you might be a subterranean, left-handed lesbo and be expected to have one. And that pisses Reno off!