WHY SO MUCH SHAME? debuted for six sold-out performances during the 10th Annual FRIGID Festival, earning three awards including the Audience Choice Award, and rave reviews.
"Written as an extended monologue, Ferraro plants herself behind the microphone and simply shares. And it's perfect." – THEATER IN THE NOW
"...an engrossing hour of live storytelling." –MY ENTERTAINMENT WORLD
This is an In Process Showing.
About the Company: Concrete Temple Theatre
Concrete Temple Theatre is a multi-disciplinary company that emphasizes the creation of compelling new theatre works, incorporating drama, dance, puppetry, and the visual arts, which focus on the individual's struggle for identity and society's struggle for cohesion. Through touring and presenting workshops in New York City, nationally, and internationally, Concrete Temple Theatre strives to bring myth and ritual back to the center of dialog, while making connections and opportunities for diverse audiences to question and examine their place in the world. Grants and Residencies: Concrete Temple Theatre is a recipient of grants from the Lower Manhattan Cultural Council, The NYC Department of Cultural Affairs, Jerome Foundation, New York State Council on the Arts; Arts Alive Westchester, The Jim Henson Foundation, and the Alfred P. Sloan/EST Project Commission. Residencies include Art at St Ann's Puppet Lab; chashama AREA Award; EST Open House Residency Lexington, NY; the Workspace for Choreographers; Nantucket Historical Association; St Bonaventure College, NY; The Yard and Martha's Vineyard Historical Society.
About the Company: AntiMatter Collective
Necessarily ephemeral, theater is not matter (though it may matter, we hope). ANTIMATTER COLLECTIVE was formed in order to excavate a new kind of theater that confronts the chasms between art and entertainment, the comic and the tragic, the squalid and the transcendent. The foundation of our process is the conviction that the collective intelligence and ideas of the group, when properly harnessed, will always lead to richer work than those of the individual. Periods of discussion, development, and play challenge everyone involved to map out the depths of their initial impulses and push beyond. This leads to work that is smart and subtle without sacrificing its visceral punch and sense of pure fun.
We developed this shared aesthetic and ethos of collaboration initially in DEATH VALLEY, our original zombie-western created for Vampire Cowboys' Saturday Night Saloon and then produced in full at the Bushwick Starr in the summer of 2011. Subsequent work has deepened our exploration of modern myths with Greg Moss's sixsixsix, a menacingly metatheatrical riff on Faust produced first at the AXA in Action festival in Prague, and The Dreams in the Witch House, a shadow puppet adaptation of an H. P. Lovecraft novella, created for the Brick's Tiny Theater Festival. Both were remounted together as DEMONOLOGY at the Magic Futurebox in the summer of 2012. Most recently we challenged the limits of the theatrical with MOTHERBOARD, our post-Robocalyptic tragicomedy at The Secret Theater in the fall of 2012.
Darkly funny, emotionally challenging, genre-savvy, character-driven, and loaded with tightly choreographed action and cutting-edge effects, AntiMatter makes sharp-edged work that appeals broadly to non-theater-goers and aficionados alike. Although our work is marked by a finger-on-the-pulse contemporaneity, we are all fundamentally purists to theater's original function: gathering as communities in order to experience our collective stories, and to have a blast while doing so. Stories matter because we tell them, and we tell them because they matter. That illusory, transient significance is a kind of alchemy, making something out of nothing—kind of like theater itself. We think that matters.
written by Adam Scott Mazer
directed by Philip Gates
historical research by Maya Rook
The Tower is a psychedelic journey into the history and mythology of the Donner Party, a group of snowbound pioneers who notoriously resorted to cannibalism to survive the brutal winter of 1846-47. Historical narrative collides with hallucinatory imagery to create a shifting landscape filled with the whispers of the past and the roar of the future. A vision of adolescent America: frostbitten, bloodstained, ravenous.
Featurting Elizabeth Bays, Dan Bielinski*, Courtney Fenwick, Rebecca Hirota*, Marlowe Holden, Andrew Krug*, Scott Raker*, Leah Walsh*, Curry Whitmire*
*appears courtesy of Actors' Equity Association
Scenic Design by Patrick McNaughton
Lighting Design by Alana Jacoby
Sound Design by Will Fulton
Projection Design by Sam Kusnetz
Special Effects by Stephanie Cox-Williams