Review- Harm's Way & Man.Gov (Circus Theatricals)

The Fab Marquee review by Dianna Martin.

Circus Theatricals, an award-winning Los Angeles-based theatre company, is celebrating its 25th anniversary with the New York City premiere of two dramatic pieces in repertory, Harm's Way and Man.Gov, so that we might get a taste of what has caught the eye of theatre-goers in California. Indeed, what better time than now to share two works that, written by Shem Bitterman and directed by Steve Zuckerman, bring the audience into the heart of the 2003-2004 time line and into the homes of characters affected by the past 8 years and its White House administration's decisions.

HARM'S WAY

One thing that Circus Theatricals seems to be attempting to do is not simply preach on a pulpit about perceived failures and grievances of the U.S. government and the mishandling of the war; they also try to show the way that people's lives can get caught up in the very thick of it, and how even those whose loyalties are tied to preserving "the American way" can suddenly find themselves adrift in their own lives, among their own families, having lost their way to even finding themselves.

Ben Bowen & Jack Stehlin in
Harm's Way

Harm's Way is one such piece. Let me start by saying that this was one of the most enjoyable productions I have seen on stage in the last two years, which is not surprising since it recently won the 2008 Pen USA Literary Award for Drama. Starring the company's Artistic Director, Jack Stehlin (Weeds) as Major Jonathan Fredericks, an Army prosecutor investigating alleged war crimes against an Iraqi family by U.S. troops overseas, the play is deeply moving as we watch a man whose own personal life is in turmoil as he questions the motives of his superiors who are willing to brush rapes and murders under the rug. His daughter, Bianca (tenderly and brilliantly played by Sarah Foret) is a childlike young woman who tries to care for the young men who go in and out of her father's office through sex, as though giving of herself will absolve the men of their sins and sometimes their anguish, as we see in the also simpleminded Private Nick Granville (Ben Bowen in a heartbreaking performance); their characters are somehow tragically made for one another as they struggle to run from their fates - which inevitably catch up with them.

Fredricks' struggle with orders from his commanding officer Colonel Davis (in a funny, yet sometimes over-the-top performance by Eric Pierpoint) coincide with the discovery that Bianca has run away with the now awol Private Granville, and that the young man may have been set up by his peers due to his lack of intelligence and basic fears of being surrounded by enemy forces. As he tries to hunt down his daughter and her would-be Romeo, he is approached by reporter Constance Durrell (Wendy Makkena), who convinces him that her sources would find the young duo much faster - and therefore possibly bring his daughter to safety - but for a price: the story behind why Private Granville is being investigated in the first place.

Jack Stehlin & Wendy Makkena in
Harm's Way

As they search, a brief relationship of sorts begins between the two, for Constance Durrell has a soft heart under the tough exterior. Some of the scenes between Stehlin and Makkena are beautiful; both are actors who know their craft well. However, I did have a problem with their initial scene; in Makkena's attempt at playing the fast-talking reporter who is trying to get the scoop, I literally could not understand half of what she was saying because she was talking so fast - and I am not hard of hearing (and I was in the third row of a tiny theatre). In doing so, I felt that Stehlin's character, though desperate to find his daughter, might have actually asked her to repeat herself - and a scene that was to set the tone for their relationship, for what it was, seemed to lose some of it's validity for me. I was also confused by a later scene in which they are on the track of the young pair and get into an argument...over an off-hand, yet legitimate comment made by Stehlin's character. I felt that at this point, it was an under-developed scene by the writer, made more vague by characters that seemed lost on the stage because they weren't connecting with each other - and not because of the situation. I look at moments like these because so much of the play was so good.

Josh Allen, Sarah Foret & Ben Bowen in
Harm's Way

Josh Allen gives a fine performance as a scary meth-smoking Sergeant with whom the desperate Bowen and Foret try to find shelter. As she finds out the truth behind what went on in Iraq, much to the shame of a devastated Bowen, and the build-up of their journey comes crashing down, I doubt if anyone could have left that theatre without the haunting memory of Stehlin and lingering thoughts about what the Iraq war has cost people - in the military and civillian; American and Iraqi; at home and in the public eye.

MAN.GOV

I happened to see Harm's Way first, although it was originally produced a year after its companion piece, Man.Gov. My expectations were very high from having seen the first show; and although I did enjoy Man.Gov, and would recommend that people see it, I felt that there were several major problems with the show - one of which is that it was very much a "preachy" play - and at times felt that it could have been a one-man show instead of a whole short play. Whereas Harm's Way focused on the characters, their relationships and how they came together under the umbrella of the machine that is the "Army vs. Civillian" in today's political climate, Man.Gov focused less on the characters and more on the message it was trying to send out...which made it very much just another political play, unfortunately, among many that are out there.

Christopher Curry and Robert Cicchini in
Man.Gov

The time is set leading up to right before the Iraq war. David (Christopher Curry) is a high-ranking weapons inspector who begins to question the reasons why he and his working partner Mitch (enjoyably played by Jordan Lund) are supposed to gloss over the facts of what they really do find during searches for Weapons of Mass Destruction and why they need to "sex up" the evidence to support the invasion, although he doesn't want to admit it because he is very much "with the program" and a loyal government official. His daughter Laura (Britt Napier) is a fan of writer Graylin James (Robert Cicchini), whose writings question the Bush administration and the existence of WMD's; she complains that her father won't meet with him to at least give an interview. She seems to have no end to her anger toward her father; her mostly one-note portrayal of this complex and yet in some ways poorly-developed character was a shame, for she alienated everyone in the play - including the audience. However, her father, wishing to please her, ends up meeting with the charismatic Graylin James, who ends up getting an interview that inevitably costs David everything - even though he was quoted as an "anonymous source...who is a high-ranking weapons inspector."

His second wife, Jean (Libby West) is relatively young; they have a five-year-old son (the first wife, the mother of Laura, died when Laura was nine). She doesn't realize at first that he is the source that all the TV news and papers are talking about; she just thinks that her husband is being questioned wrongly. From the moment she was introduced, I never really felt any chemistry between her and Curry. His character seemed to be so distracted - consistently - from his family (except for trying to please Laura and one scene when he tries to take his wife out to dinner, which was tender) I rarely bought their love for each other. When Henry (Thomas Kopache), a creepy government man who is trying to get poor David to maintain his silence for the sake of his family, arrives on the scene, I did enjoy West's outburst - and felt that moment was truly grounded and connected.

One thing that I still do not understand is the relationship between Laura and Henry, the government henchman. It made no sense, as it was written and panned out. It is evident that Laura is a young woman with serious mental issues, but her relationship with him...and his even getting involved with her at all - it was bizarre, which lent an air of "where is this going...because it's got to have an interesting punchline" to it, but alas, there was no real rhyme nor reason. That being said, I found him perfect as the disturbing individual he was supposed to be.

My favorite part of this play was Cicchini's monologues. They were not only beautifully written, as he's talking to an unseen television reporter to describe his recent story and eventually, if what he's doing he's proud of; they were brilliantly acted. Those kinds of monologues are hard to do, to keep the audience really believing that there is someone on the other end, for many actors do not pull it off. Add in that it was a political diatribe that was both engrossing and entertaining, and you have the reason why I feel the play came to life during those moments. I feel a lot could have been cut to make this short play and even shorter one, focused mostly on the interviews in the studio.

In regards to both shows as a whole, kudos to the set designer (and costume designer), Kitty Rose. Her choices of creating entirely different settings, both indoor and outdoor, with a minimal piece of furniture for each area, and using much of the same set for both plays was fantastic. The lighting was very complimentary to the set (Derrick McDaniel) and the original music and sound was fantastic. (All set, lights, music design and stage managing was by the same group for both shows)

Although I was disappointed by Man.Gov, I feel that the message it had to get across is important; however sometimes sacrificing other aspects of the play to get to that message is a sign that you need to either cut them out, or develop the rest of the play. That said, it is still completely worth seeing, and my disappointment was simply made more so because of the incredible power and beauty of Harm's Way.

Circus Theatricals has done an incredible job with this repertory season, and I thank them for bringing their plays to New York. I wish they didn't have to go back to California.

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Circus Theatricals presents
Shem Bitterman's
Harm's Way & Man.Gov
October 10th-November 9th, 2008 (check website for schedule)
The 45th St Theater

Tickets are $18.00; You can purchase tickets to Harm's Way and Man.Gov by visiting www.theatermania.com or calling 212-352-3101.

For a detailed schedule and more information visit www.circustheatricals.com

The 45th St Theater | 354 W 45th Street | Manhattan.

Review- Richard III (Frog & Peach Theatre Co.)

The Fab Marquee review by David Stallings.

In Frog and Peach’s current production of Richard III, the role of Lady Anne is double cast with that of the young Prince Edward, just as many productions of King Lear double cast the Fool and Cordelia. The double casting of those roles mark that the director understands the like sympathies in the parts, but unfortunately, director Lynnea Benson proceeded to strip both roles of their vulnerability. Similar contradicting strengths and weaknesses plague the valiant effort of this Upper West Side production.

Karen Lynn Gorney as Queen Margaret

The play follows three brothers of the Plantagenat line after they have defeated Henry VI in battle. The eldest brother, Edward IV (Greg Luterbach), is crowned—much to the dismay of Richard III (Anatol Yusef). Richard works upon his brother’s superstitions to cause strife between Edward and his other brother, the Duke of Clarence (William Laney). He likewise works on the distrust and strife between other members of the court to weasel his way to the top. Richard even oils his way into marriage with Lady Anne (Tallulah Ormsby Gore), even though he murdered her husband. The scene where he confesses his love to Anne over her dead husband’s coffin is most likely the most famous scene from the play. Anatol Yusef attacks the role with all of the obvious attributes of a skilled Shakespearean actor. His physical work on the deformed Richard was excellent and consistent. Yusef’s commanding voice spoke the language with relaxing ease. Indeed, Yusef hit every level one is expectant to see in a Richard. The only drawback to his performance is that the audience never believes his lies. Yusef indicates his deceptions, and his following asides to the audience—letting them in on his schemes—prove wasted. He had already telegraphed his intentions. The audience wonders why the others on stage fall for his machinations. Yusef’s second half was stronger than his first when he reveals a torn, unloved soul. This moment was much awaited and appreciated. Overall, Yusef is powerful and talented.

The true standout of the evening was Karen Lynn Gorney as the fallen Queen of Henry VI, Margaret. Queen Margaret is arguably the most complicated, developed, and rich female role in all of Shakespeare. She appears strongly in all three segments of Henry VI—even when Henry himself doesn’t appear until Henry VI Part II. And her fourth appearance in Shakespeare’s play is Richard III. Audiences see her develop from an ingénue to a queen, and in this play she is reduced to a cursing witch. Ms. Gorney brings humor and positive energy to Margaret. Where many actresses fail in reducing Margaret to a stock witch, Gorney soars. She relishes in seeing through Richard’s lies and predicting the deaths and war to come. Every moment she creates is remarkable and triumphant.

Likewise, excellent performances are found in other roles. Vivien Landau’s turn as The Dutchess of York (the mother of Richard and his brothers) is heartfelt. The moment where she curses her own child is performed in a tender embrace that moves the entire room. Michael R. Piazza as Buckingham (Richard’s aide in his rise) steals many of his scenes with simple clear choices that resonate well. A special kudos must also go to Topher Mikels for his rip roaring, heroic Earl of Richmond. Audiences should be rest assured they will see Mikels again, for his performance is stellar. Other good turns are given by William Laney as Clarence, Karen Culp as Elizabeth, and Gregg Lauterbach as King Edward.

Unfortunately, one of the major empathy points in the play lies with Lady Anne. Ms. Ormsby brings honest emotion to the role. But her attempts to present Anne as strong seem forced and undermine the arc of the play. In her first scene, she enters screaming and pressing her hand against her forehead. This is a gesture Ms. Ormsby repeats often. Her turn as the young prince is even more disappointing as she presents him as a pubescent brat instead of the spoiled innocent that garners sympathy. In her defense, it seemed to be a director’s choice that failed.

Topher Mikels (Richmond) & Anatol Yusef (Richard III)

While much of the acting is strong, director Lynnea Benson betrays her cast by not trusting the language or even the play itself. The play opens with crude vignettes in strobe lighting, depicting the war preceding the play. The three brothers are seen inexplicably learning to fight, battle, and then randomly rape and kill a woman. Other unwritten scenes are often forced into the play by Benson’s direction—such as the flirtations of Mistress Shore—that distract from the action at hand. What is most disappointing is that these moments are explained in the text and do not need to be shown. Benson should be reminded that although this masterpiece was written some time ago, it’s excellence still plays. Too much comedy is embued in the second half, stealing from the tragedy.

The appropriately restrained set is attributed to Kevin Allen. His minimal black-box is effective. Almost in stark contrast to the set are the costumes—attributed to Bengal. The costumes are mismatched, bizarre, and almost defy description, let alone taste. Minimalism should have been the tone, rather than the assortment of sequenced prom dresses and velvet pants that adorn the players.

Overall, a valiant presentation, Frog and Peach is sure to continue entertaining audiences and bringing Shakespeare to the Upper West Side.

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This show has ended its run on October 26, 2008

For information on future Frog & Peach shows visit www.frogandpeachtheatre.org

Quote of the Day.-

“I'm attracted to flawed characters, ... They're fun and interesting to play and the rest comes from that.”

-Jeremy Piven

You can catch Jeremy Piven in Neil Pepe's revival of David Mamet's Speed-the-Plow at the Ethel Barrymore Theatre, for tickets click here.

The Production Company to premiere "The Most Damaging Wound" at Manhattan Theatre Source

The Fab Marquee News Desk.

THE PRODUCTION COMPANY is pleased to announce the world premiere production of Blair Singer’s MOST DAMAGING WOUND, directed by Mark Armstrong. THE MOST DAMAGING WOUND will play a four-week limited engagement at The Manhattan Theatre Source (177 MacDougal Street, NYC). Performances begin Wednesday, November 5 and continue Sunday, November 29. Opening Night is Friday, November 7 (8 p.m.).

THE MOST DAMAGING WOUND takes place on a cold November night, when new parent Kenny gathers his college buddies to complete an unfinished rite of passage. The guests include Alan (Michael Szeles), a pharmaceutical lobbyist, Dicky (Chris Thorn), a carpet salesman with a big personality and a bigger appetite for the sauce, GG (Michael Solomon), a new restaurateur and Bo (Bard Goodrich), a former musician. When Christine (Megan McQuillan) shows up unexpectedly, the guys discover that the men they’ve become is far from their aspirations back at Syracuse. Reliving the glory days is not easy, in this Generation-X gang comedy, with booze, buddies, and breakthroughs.

The production features set design by April Bartlett, costume design by Deanna Frieman, and lighting design by Dan Henry. Barton Bishop is the sound designer Erik Grathwohl is the technical director and Jeff Meyers is the stage manager.

THE MOST DAMAGING WOUND plays the following regular schedule through Sunday, November 29:

Wednesdays at 8 p.m.
Thursdays at 8 p.m.
Fridays at 8 p.m.
Saturdays at 3 p.m. and 8 p.m.

There is NO SHOW Thanksgiving Day. Happy Thanksgiving!

Tickets are $20 and are now available online at www.theatermania.com or by calling 212-352-3101. Tickets may also be purchased in-person at the Box Office, half-hour prior to performance.

The Fab Clip: Kindness (Playwrights Horizons)

KINDNESS
September 25 - November 2, 2008
Peter Jay Sharp Theater

The World Premiere of a new play

written and directed by
Adam Rapp

Featuring

Christopher Denham • Annette O'Toole
Ray Anthony Thomas • Katherine Waterston

An ailing mother and her teenaged son flee Illinois and a crumbling marriage for the relative calm and safety of a midtown Manhattan hotel. Mom holds tickets to a popular musical about love among bohemians. Her son isn’t interested, so Mom takes the kindly cabdriver instead, while the boy entertains a visitor from down the hall, an enigmatic, potentially dangerous young woman. Kindness is a play about the possibility for sympathy in a harsh world and the meaning of mercy in the face of devastating circumstances.

Scenic Design Lauren Helpern
Costume Design Daphne Javitch
Lighting Design Mary Louise Geiger
Sound Design Eric Shim
Production Stage Manager Richard A. Hodge

Tickets: $50.00 available at www.ticketcentral.com

Poll Results

Are you saturated with all the political plays this Fall?

YES: 42%
NO: 28%
DON'T CARE: 28%

The Amoralists to premiere "Amerissiah" on November 13th

The Fab Marquee News Desk.

THE AMORALISTS are pleased to announce the world premiere production of AMERISSIAH, written and directed by Derek Ahonen. AMERISSIAH will play a four-week limited engagement at The Gene Frankel Theatre (24 Bond Street (Corner of Bond and Lafayette). Performances begin Thursday, November 13 and continue through Sunday, December 7. Opening Night is Monday, November 17 (8 p.m.). Press are invited November 15, 16, 17.

Barry Ricewater, a terminally ill man convinced he is God, returns to the apartment of his childhood. His degenerate family descends on him to pay their last respects. They all think he is crazy until the gathering is interrupted by an unlikely disciple. Only through Barry’s divine intervention can the crooked Ricewater clan be saved.

Prepare yourself for Amerissiah, a new comedy about America and the thin line between faith and insanity, ambition and corruption.

With William Apps IV, Selene Beretta, Nancy Clarkson, Ree Davis, Jennifer Fouche, Adam Fujita, James Kautz, Matthew Pilieci and George Walsh.

The production features scenic design by Matthew Pilieci & Al Shatz, costume design by Ricky Lang, and lighting design by Linda Burstyn. Bart Lucas is the sound engineer and Heather Mossis the stage manager.

AMERISSIAH plays the following regular schedule through Sunday, December 7:

Mondays at 8 p.m.
Thursdays at 8 p.m.
Fridays at 8 p.m.
Saturdays at 8 p.m.
Sundays at 3 p.m.

Tickets are $20 and are now available online at www.theatermania.com or by calling 212-352-3101. Tickets may also be purchased in-person at The Gene Frankel Theatre, 30 min prior to the performance.

Quote of the Day.-

“I'm very 'spur of the moment'. I'm always trying to think of fun things to do to create a memory.”

-Josh Hartnett

You can catch Josh Hartnett in the stage adaptation of Barry Morrow's screenplay Rain Man, by Dan Gordon at the Apollo Theater in London. For tickets visit www.ticketmaster.co.uk

The Fab Clip- 9PFT

600 words, 600 friends and 1 music video for "Nine People's Favorite Thing" from the original Broadway musical [title of show].

For a complete list of everyone involved and their picture in order of appearance, please visit:

http://www.supertossers.com/9pft.htm

Greenwich theaters need your help! ACT NOW

The Fab Marquee News Desk.

In recent years, a super-heated real-estate market has helped force out some of the most venerable theaters in Greenwich Village.

Four more theaters in Greenwich Village, located in the Archives Building at Christopher and Greenwich Street, are now threatened with the loss of their space as well. These theaters are The Wings Theatre, Theatre for a New Audience, Interborough Repertory Theater, and Epiphany Theatre.

When the Archives Building was converted by the Federal Government to residential use 20 years ago, a condition of that agreement was that some of the space in the building would go to non-profit groups at affordable rents. Now, that original agreement is expiring.

To learn how you can make a difference, CLICK HERE

Review- Twelfth Night (T. Schreiber Studio)

The Fab Marquee review by David Stallings.

T. Schreiber Studio’s has truly become synonymous with not only having an excellent acting studio, but also creating pristine Off-Off Broadway productions of the highest caliber. This is certainly true of their current multi media presentation of Shakespeare’s Twelfth Night. Director Cat Parker helms this whimsical take on the bard’s famous comedy, setting it in a magical world rather than in a realistic context. Her aesthetic is that of Steampunk—which combines Victorian silhouettes with a science fiction motif. She has engineered the work—which follows a shipwrecked Viola (Jacqueline van Biene) as she dons a man’s apparel and name to traverse a new and unknown land—enhancing the role of the fool, Feste. Parker makes Feste (Matt Steiner) the central figure—imagining that he induced Viola and Sebastian's tempest at sea to invigor passion into Illyria. She also has Feste play other parts in the piece—enforcing his role as puppet master in this delightful farce.

Jacqueline van Biene & Andrea Marie Smith
photo credit: Gili Getz

Across the board, quality of production and acting seem to blend harmoniously in this must see production. Matt Steiner heads the cast as Feste with command of the language and awareness of his mission. This role is usually tricky for even the most practiced performer as Feste is a brilliant man who often “plays the fool” to reach his end. Many an actor has focused on either the light or dark of the character without capturing the full scope of his feisty genius. Steiner’s talent is amazingly apparent as he not only inhabits the role with ease, but takes on other parts as well—including the unforgettable Antonio. Following his lead, Jacqueline van Biene wraps her chops around Viola with grace and restraint. Ms. Biene does not fall into traps of tongue-in-cheek indication of her role reversal in trousers, but uses her voice and body naturally, creating a most likeable Viola. Matching her in wit and bravado is Andrea Marie Smith as the Lady Olivia. Olivia has lost her brother and thus banned men from her court. Viola sympathizes with her plight and disguised as a boy pleas for her to take in a suitor. The suitor in question of course is the handsome Duke Orsino (Shane Colt Jerome), with whom Viola has fallen in love.

Ms. Smith is darling as the jaded Olivia. Her journey from bitterness to love is exhilarating to behold. The scenes between Smith and Biene are fast paced and exciting. Olivia falls for Viola dressed as a boy, because she challenges her as an equal—not simply uttering love poems. Both ladies embody Shakespeare’s insight to the feminine mind beautifully. The play’s comic conclusion is driven by the fact that Viola’s brother Sebastian (Collin McGee) is indeed alive. His appearance leads to a mistaken identity farce that is tempered only by the much-valued honesty with which McGee plays his part.

Julian Elfer & Matt Steiner (screen)

photo credit: Gili Getz

Equally exciting are the actors filling out the side stories of the piece. Julian Elfer’s Malvolio—Olivia’s haughty and puritanical steward—is played to the hilt. Elfer’s journey into love, when he is tricked into believing Olivia loves him, is a laugh out loud riot. When he forces a smile at the end of this production’s first act, the audience is ripped off of their feet with laughter and applause. Sterling Coyne’s Sir Toby is boisterous and enlivening. Kudos also must go to Will Ellis for his charming Sir Andrew.

The only misstep in the cast is Shane Colt Jerome’s Duke Orsino. Jerome obviously understands the language but cannot yet translate the verse so that it flows honestly and comfortably. The well-written scenes between Viola and Orsino seem tedious because his poetry is so forced, although he physically embodies the form of a leading man effortlessly.

The impeccable copper set; crafted through the vision of designer George Allison is used well by Parker, creating many imaginative moments for the actors to use the space organically (including a clever tiled floor used as a giant crossword puzzle). There is a great deal of multi media in the form of video—used well to create the shore and different locations on Illyria. Wonderful contemporary music from Cloud Cult also adds to the modern meets classic milieu. The costumes, by Karen Ann Ledger, hit all of the right notes as well.

Overall a great success, this Twelfth Night is certainly a production that puts to shame many recent presentations of the piece. With vigor, excitement, and triumph, T. Schreiber Studios certainly proves that Shakespeare still appeals to young audiences and new interpretations.

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T. Schreiber Studio presents
William Shakespeare's
Twelfth Night
Oct 9-Nov 23, 2008 (Thu-Sat @8pm; Sun @3pm)
The Gloria Maddox Theater

A suggested donation of $25.00 (Senior $20; General Student $22) is requested, and advance tickets can be purchased online at tschreiber.org or by calling 212-352-3101.

The Gloria Maddox Theater | 151 West 26th Street, 7th Floor | Manhattan.

Quote of the Day.-

“We all keep dreaming, and luckily, dreams come true.”

-Katie Holmes

You can catch Katie on Broadway, in Arthur Miller's All My Sons, at the Gerald Schoenfeld Theater, 236 West 45th Street, Manhattan; (212) 239-6200. Through Jan. 11. . For tickets visit www.telecharge.com

Review- McReele (Conflict of Interest)

The Fab Marquee review by Dianna Martin.

Considering the political climate and the tension, hope, and fear in the air with November 4th less than three weeks away, one might expect the theatres to come alive with political plays.

Gerald McCollouch, Roy Clary & Sergei Burbank
photo credit: Erica Parise

It is difficult, however, to find the gems that go beyond the generic squabbles of left vs. right; or attempts to re-create yet another Orwellian 1984; or yet another parody of the current administration. Few shows take the time to dig deeper and really develop character studies that portray what could happen on an even much smaller political scale, and the transformation that can occur to people when they try to do good - and are caught between that desire and the consequences that even the best intentions can bring.

Conflict of Interest's production of McReele, written by Stephen Belber, is one of those gems. In the rough, but a gem nevertheless.

With a minimalist and highly effective set (designed by Ann Bartek), the audience is introduced to Rick Dayne (Gerald McCullouch) as he tries to get the facts straight concerning death row inmate Darius McReele's (Sergei Burbank) incarceration and the details of the night in question. McReele has been awaiting his execution for 16 years for the fatal shooting of a teenager when he was but a teenager himself. Dayne is a reporter for a small local Delaware newspaper, and is disenchanted with his work - and his life - and wants a story that will make a difference...and possibly free a wrongly-convicted man.

McReele, brought up as an inner-city youth, is extremely charismatic and well-spoken, expounding on his ideas on everything from prison reform to the socio-economic status of the country. Dayne is fascinated by this opinionated and magnetic man, and soon finds himself pushing for the state to re-open the case, re-examine evidence and extract a confession from the man that McReele says actually committed the crime - his friend who is already in prison himself.

Soon, McReele is a free man. Dayne's zeal for saving McReele carries over to his girlfriend, Katya (Judilin Bosita), who is a television host for the local news. She interviews McReele on what life is like now that he is out of prison, and soon the interview, and his life, takes a different turn as McReele's dynamic personality and natural flair for public speaking grab everyone's attention.

The only one not immediately charmed by McReele is his wife Opal (Iriemimen Oniha), who married him while he was in prison; she isn't buying the Darius that everyone is smitten by, because she knows more about his past than anyone else. However, even she, for a while, falls under McReele's spell. I really didn't buy her initial meeting with Dayne and Katya, for the character is incredibly rude (and I am left wondering why they didn't just ask her to leave); however it seemed more of a choice made by the director that did not work...exacerbated by a scene that could have been written a bit better. But in later scenes we are able to catch Oniha's anger, love, sadness and even humor - and the actress was incredibly moving in her work; some of my favorite scenes being those she was in.

Soon Darius McReele finds himself courted by the head of the local Democratic Party (Roy Clary, in one of three smaller roles he played brilliantly) to run against the Republican incumbent for the U.S. Senate. Dayne, after having quit his job to become McReele's campaign manager, begins to learn more about the man behind the mask of McReele; but Dayne's desire to have a candidate that he desperately wants to believe in comes into conflict with his morals. As his relationship with Katya suffers due to his bringing Machiavellian political tactics into her television studio, and his own belief in McReele is challenged, we see a man whose best intentions are in conflict with what he knows.

Iriemimen Oniha & Sergei Burbank
photo credit: Erica Parise

One of the things I enjoyed the most about this production was the way the playwright really hit home the idea that we think we know a person, or even the politicians that we are voting for...but we really don't. We know what we see on tv or read somewhere - but what goes on behind closed doors? And behind the doors of the people themselves? With all of McReele's smooth talking and articulate diatribes on how he could better Delaware, there is something about him that seems too polished, and yet what he says seems to make sense. He shows how easy it is for us to get carried away with an idea of a man - or what we think the man is - even if we spend hours alone with him. This is a play that makes you walk away really thinking - and not just about politics, either, but about the relationships you have with people every day and the trust that you give...and the willingness we have to give that trust away even when a little voice says we should know better.

Burbank played the role well, however there was an element to his work that seemed to be forecasting what we were going to find out later on. I never really trusted him, partially because he was so cock-sure of himself throughout the whole play. I never saw much humility in him. One is walking into the play with knowledge that something about McReele isn't so real, and the name of the play is very much a commentary on what the title character is not. That said, I think the actor did a good job and I enjoyed his performance - but I have questions about some of the choices that were made in his constantly moving and gesturing; it took me away from some of the fine work he was doing.

McCullouch did a fine job. He was constantly in the moment with his fellow actors, and believable as a man trying to make change happen in a positive way - and then not know how to get off the train once it derailed. I really enjoyed the scene with Oniha toward the end, it was played simply and his reaction to her news was so believable. I had serious problems with his relationship with Bosita, however; I never bought their relationship. There wasn't any chemistry between them that I could see, and I never believed that they really loved each other that much enough to make their separation all that tragic.

Roy Clary was a joy to watch, playing three different roles: the father of the murdered teen; the Democrat Party man; and the Republican Senator that McReele was running against. His ability to create three separate characters that were all very believable and very different was wonderful.

Director Leah Bonvissuto's use of the set was fantastic. I felt the staging was very natural, and I loved that they created complete scenes and defined where people where with the movement of a couple of chairs and a rolling cart. The lighting (Terry Alan Smith) really added depth and dimension to the production, making an already interesting set design even more diverse.

Before you go off to the polls this election year, I suggest you catch a performance of McReele - it runs through Saturday, October 25th at the Richmond Shepard Theatre. It might make you think about many things, and not all of them will be politics.

-----------------
Conflict of Interest Theatre Company presents
Stephen Belber's
McReele
October 8-25, 2008 (Tue-Sat @8pm; Sun @2pm)
Richmond Shepard Theater

Tickets are $15 and are now available online at www.theatermania.com or by calling 212-352-3101.

Richmond Shepard Theater | 309 East 26th Street | Manhattan

Orchard Project opens applications for 2009 Residency Program

The Fab Marquee News Desk.

The Orchard Project is proud to announce it is currently accepting applications for The Orchard Project's 2009 Summer Residency Program taking place June 2009.

Founded in 2006, The Orchard Project has quickly become one of the nation's foremost institutions championing the development of new plays and musicals by providing artist residencies to today's most dynamic and influential theatre companies. In the past three years, it has hosted Moises Kaufman and Tectonic Theatre Project, The Civilians, London's Royal Court, Pig Iron, Elevator Repair Service, Epic, Edge, New Georges and many others. The Orchard Project has played a significant role in the development of new works which have since been or will be produced at Arena Stage, St. Anne's Warehouse, PS122, the Edinburgh Festival, La Jolla Playhouse, the Royal Court and more.

The Orchard Project operates a residency program in beautiful upstate New York commencing just after Memorial Day and running through July 4th. Throughout residencies, theatre companies and artists are provided room, board and rehearsal space for up to 10 days. Residencies are intentionally designed and scheduled to encourage cross pollination of ideas and talents. This intermingling is the cornerstone of both the Orchard Project's success and its mission - enabling world class companies and artists to learn from each other through collaboration and conversation.

In past years, application was by nomination only, and The Orchard Project is proud to be opening up applications to all for the first time. Furthermore, while in past years only companies were able to apply to the Orchard Project, it has been expanded beyond this primary focus to include a number of individual artist residencies to complement resident companies. Writers, directors and any other generators of new work can apply. To apply for a residency, it is required that you complete a short questionnaire about potential needs you'd like to develop/support so that the Orchard Project can see if it can accommodate you or your company. NO SCRIPTS NEED TO BE SUBMITTED. This short statement is due no later than December 1st, 2008. In order to access the form, please visit www.orchardproject.com/apply. The Orchard Project is a program of The Exchange (Ari Edelson, Artistic Director). www.exchangenyc.org

Quote of the Day

"I think it's important to always diversify, change it up and play different characters, I think doing musicals all the time would get stale."

-Zac Efron

The Wait Is Over, The New TKTS Booth Opens Today @ 3pm

The Fab Marquee News Desk.

The New TKTS booth is slated to open today (Thursday, October 16th, 2008) at 3pm. The new TKTS booth is a state-of-the-art fiberglass shell encased by an all-glass structure, which sits under a glowing red glass staircase. The slip-resistant glass steps are lit from below with advanced LED technology, and utilize unique geothermal-based heating and cooling technology. From atop this amphitheatre-style staircase, 27 steps high, 16 feet above street level, visitors now have a unique vantage point to take in the excitement of Times Square as never before, making Duffy Square a new destination for New Yorkers and visitors alike.

he new booth will feature 12 selling windows, each equipped with the ability to accept credit cards for sale of same-day discount tickets to Broadway, Off Broadway, music and dance productions. There is a special "Play Only" window where there is rarely a wait for tickets to non-musical productions.

hours of operation for TKTS Times Square are: Monday, Wednesday, Thursday, Friday and Saturday from 3pm to 8pm for evening performances, Tuesdays from 2pm to 8pm for evening performances; Wednesday and Saturday from 10am to 2pm for matinee performances; and Sunday from 11 to 3pm for matinee performances and 3pm to 7pm for evening performances.

This project took over two years in the making and near 19 million dollars.

Well worth it?

What if there were no reviews?

What if there were no reviews?

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The Fab Clip: Stacy Meyer's "The Funeralogues"

The Funeralogues from Stacy on Vimeo.

MC Squared Productions presents the New York premiere of THE FUNERALOGUES, a site-specific look at eulogies and the people who deliver them. Conceived and performed by Stacy Mayer, written by playwright Robert Charles Gompers, and directed by Molly Marinik, this unique theatrical experience has found its ultimate home at All Souls Chapel on New Yorks' Upper East Side. Workshopped at Emerging Artists Theatre's One Woman Standing Festival in 2007, previews begin November 7 with opening set for Saturday, November 15.

In the spirit of Six Feet Under, THE FUNERALOGUES is a darkly comedic look at the inside of funeral homes, funeral rituals and one woman's personal obsession with death. The evening uses actual text from real life eulogies including a tribute to soldiers lost in Afghanistan as remembered by a member of The Casualty Assistance Calling Operations, a eulogy for the performers' own grandfather, a fireman's eulogy read by a Minnesota school teacher, a eulogy delivered by Martin Luther King, Jr. for three child victims of a Birmingham church bombing, and even a humorous eulogy that a six year old imparts for her headless Barbie. Find out the not so certain answer to the uneasy question we all ask: "What they will say at my funeral?"

A native of Kentucky, Stacy Mayer is the Artistic Director and founder of Manhattan Comedy Collective. She earned critical praise for her performances in the Off Broadway comedy The Play About the Naked Guy. A member of Emerging Artists Theatre, she has appeared in five EATFests including IT Award nominee 12 Rounds. She is a graduate of The Actors Theatre of Louisville apprenticeship program, where she originated a role in David Lindsay Abaire's History Lesson. For the past 3 years she has curated Emerging Artist's Theatre's One Woman Standing Festival (OWS). Her first show The Woman with the Parasol ran in 2005 at venues including Upright Citizens Brigade and The People's Improv Theatre. Her hobbies include yoga and scuba diving. She attended Catholic school for 8 years, where she petitioned until girls were allowed to become altar boys. For more info visit www.stacymayer.com.

Robert Charles Gompers' The Long Ride Home won both Best Play and Best Ensemble at the 2008 Fresh Fruit Festival. His performance piece Once Upon A Time won top prize at the UNC-Wilmington Poetry festival. Other plays by Gompers' include Honor, Respect, Tradition; Neurasthenia (a nervous breakdown); Museum – a Herstorical comedy; Nothing; The Ward of No Redeeming Qualities; American Icon; and The Relativity of Light and Love. His work has been seen in New York, North Carolina, Maryland, Vermont, and Washington. He is currently working on The Gory Guide to Gay Dating.

Molly Marinik's recent directing credits includes Heaven In Your Pocket (NYMF), George and Bill Are Friends (Emerging Artists EATfest), The List (Emerging Artists EATfest), and Suicide Machine (Directors' Company). She is a member of Emerging Artists Theatre. Molly is also the editor of theatreiseasy.com and the theatre contributor for popdose.com.

THE FUNERALOGUES runs November 7 - December 13, Friday & Saturday at 8pm. All Souls Chapel is located at 1157 Lexington Ave. (between 79th & 80th Streets -- accessible from the #6 train at 77th Street ). Tickets are $25, available at 212-352-3101 or www.TheaterMania.com. For more info visit www.funeralogues.com.

In Previews: T. Schreiber Studio Presents 'Twelfth Night' Steampunk style...

The Fab Marquee News Desk.

T. SCHREIBER STUDIO is pleased to announce their production of TWELFTH NIGHT, OR WHAT YOU WILL, directed by Cat Parker. TWELFTH NIGHT plays a seven-week limited engagement at the Gloria Maddox Theater at T. Schreiber Studio (151 West 26th Street, 7th Floor). Performances begin Thursday, October 9th and continue through Sunday, November, 23rd.

Press are invited starting Friday, October 17th at 8 p.m.

T. Schreiber Studio's Gloria Maddox Theatre will be transformed into the mythological world of Illyria using the visual style of "steampunk," an aesthetic characterized by a feeling of Victorian era romance, coupled with a modern twist, meant to enhance the magical world of Shakespeare's timeless play, Twelfth Night, or What You Will.

This gender-bending classic of a woman in a man's world runs the gamut from laughter to tears. Enhancing the emotional rollercoaster will be the music of the whimisical indie rock band, Cloud Cult.

The production features scenic design by George Allison (IT Award Recipient for his work on T. Schreiber's Picasso at the Lapin Agile), costume design by Karen Ann Ledger, sound design by Chris Rummel and lighting design by Paul Hackenmueller. Page Clements is the dramaturge, Matt McKennon is the technical director and Liz Richards is the stage manager. Ben Paganelli will be providing video content and Arela Rivas is assistant directing.

TWELFTH NIGHT plays the following regular schedule through Sunday, November 23th:
Thursdays at 8 p.m. Fridays at 8 p.m. Saturdays at 8 p.m. Sundays at 3 p.m.

Press are invited to attend as of Friday, October 17th.

A suggested donation of $25.00 (Senior $20; General Student $22) is requested, and advance tickets can be purchased online at tschreiber.org or by calling 212-352-3101.

Tickets may also be purchased in person one hour prior to the show at The Gloria Maddox Theatre.

CAT PARKER (Director) Cat Parker is a freelance director, as well as the Producing Director at TSS. She has worked regionally at Dallas Theater Center, Dorset Theatre Festival, and Oklahoma City Rep. Recently, she assisted Jerry Zaks on the Broadway debut of A Bronx Tale, featuring Chazz Palmenteri. In New York, Cat has directed at The WorkShop Theater Company, Creative Place NYC, Mid-Town International Theatre Festival, Abingdon Theatre, Irish Repertory Theatre, and UrbanStages. She has worked on productions such as Picasso at the Lapin Agile (NYIT Award Winner), Laughter on the 23rd Floor, Towards Zero and, a personal favorite, A Doll's House. Working on new and developing plays is a special love of Cat's, and she recently directed the New York premiere of "Sister Cities" for TSS. She has directed and shaped many original works, including En Passant, Riders of the Golden Sphinx, Echoes of Radioland (a theatrical radio show) Lovers of Verona (an original commedia del'arte piece), Lilith, Blind Study, Safekeeping, Switch, Gone Astray, Shadow Pier, Beachwood Drive, The Chekhov Dreams, Native Stone, Underpass, Rapture, and most recently, Sister Cities.

WILLIAM SHAKESPEARE (Playwright) is one of the most renowned playwrights in history. His illustrious plays have been performed all over the world. Shakespeare's work transcends time with familiar themes such as romance, jealousy, and ambition.

CLOUD CULT (Music) have crafted sprawling, cathartic albums that have won them the attention of the New York Times, MTV, Spin, Billboard, and a devoted following of fans, since 1995. During that time, the band has grown from the solo project of singer/songwriter Craig Minowa to include cellist Sarah Young, violinist Shannon Frid, painters Connie Minowa and Scott West (who create paintings live at the band's performances), and recent addition bassist Shawn Neary (formerly of Tapes 'n' Tapes), and Arlen Peiffer. Despite offers from major labels, Cloud Cult has chosen to remain independent, recording and releasing their albums through Earthology Records, a not-for-profit environmental record label established by Minowa in 1998.

T. Schreiber Studio - Offering the best in professional training since 1969, TSS is acknowledged as one of the foremost professional theatre studios in New York City. Established in 1969, the Studio has been the training ground for more than 300 actors each year, many of whom have gone on to successful careers in theatre, film and television. The award-winning productions continue to reinforce a reputation for excellence among audiences and the theatrical community.

Sold out CHEKHOV LIZARDBRAIN adds performance Oct 18 at Ohio Theate

The Fab Marquee News Desk.

Philadelphia's Obie Award winning Pig Iron Theatre Company will add an additional performance to its sold out run of CHEKHOV LIZARDBRAIN at The Ohio Theater on Saturday, October 18 at 2pm. This surreal comedy loosely inspired by Anton Chekhov's Three Sisters and the "Three Brain" theory of Paul D. MacLean is directed by Dan Rothenberg with text by Robert Quillen Camp and the ensemble.

CHEKHOV LIZARDBRAIN dives into the center of an autistic mind. In twists and turns that take us from neuroscience to a domestic squabble to the circus ring, CHEKHOV LIZARDBRAIN captures a mind as it zigzags back and forth over troubling memories, attempting to mold them into neat Russian dramas. Dmitri, our protagonist, replays his memories until they are ornamented and decorated into a comforting fiction; what we witness is a kind of mental circus.

The ensemble features Dito van Reigersberg, Quinn Bauriedel, Geoff Sobelle (all wear bowlers), and James Sugg with set by Anna Kiraly, costumes by Olivera Gajic, sound design by Nick Kourtides and lighting by James Clotfelter .

The performance draws from Paul Maclean's Triune Brain Theory. MacLean noticed that when the human brain is dissected, one discovers a "paleomammalian" layer that looks almost identical to a pig or dog brain; this layer controls breathing, sleeping, hunger, and the startle response. Cutting deeper into the brain, one finds a "lizard brain" in the form of the human brain stem. This area is responsible for emotions, connections between individuals, and territorial behavior. A thrid layer is the "neomammalian brain," our large neocortex, which contains the wiring for symbolic thinking, self-awareness, ambivalence and language. In her bestseller Animals in Translation, autistic author Temple Grandin proposes that her own empathy with animals comes from an compromised "human brain" and a compensating "dog brain" and "lizard brain." Templeton notes, "here's the really interesting part: each one of those brains has its own kind of intelligence, its own sense of time and space, its own memory, and its own subjectivity."

Pig Iron Theatre Company, founded in 1995, has rapidly become known as a unique, innovative voice in American theatre. The ensemble's physical precision, lyrical writing, and exuberant productions have earned them 36 Barrymore Award nominations in the past 8 years, a Total Theatre Award at Edinburgh Fringe, and a 2005 Obie Award for Hell Meets Henry Halfway, an adaptation of Polish writer Witold Gombrowicz's novel Possessed. Pig Iron's work has toured to theaters and festivals in London, Edinburgh, San Francisco, Boston, Atlanta, Ireland, Poland, Ukraine, Brazil, Romania, Germany and Italy. Works have been inspired by history and biography (Poet In New York and Anodyne), rock music (Mission to Mercury and James Joyce is Dead and so is Paris: The Lucia Joyce Cabaret), American kitsch culture (Cafeteria), and fallen heroes (The Odyssey and The Tragedy of Joan of Arc). In 2001, Pig Iron collaborated with legendary theatre director Joseph Chaikin to create an exploration of sleep, dreams and consciousness (Shut Eye). In 2006, Pig Iron was named Theatre Company of the Year by Philadelphia Weekly.

CHEKHOV LIZARDBRAIN runs October 15, 16 and 18 at 8pm; October 17 at 7pm & 10pm; and October 18 & 19 at 2pm. The Ohio Theater is located at 66 Wooster Street (between Spring & Broome Streets -- accessible from the C, E trains to Spring Street.) Tickets are $35, available at 212-868-4444 or SmartTix.com.

Call To Action! Help The New York Innovative Theatre Awards collect demographic information for Off-Off Broadway

The Fab Marquee News Desk.

Volunteer Theatre Survey Street Team needed 10/16-10/31/08

The New York Innovative Theatre Foundation seeks volunteers to help street team and do surveys around New York City from Thursday October 16^th thru the 31^st

Please help us gather important information from our theatre community!

What we need:

We are looking for groups of 2-4 people to help us gather information and collect surveys from the Theatre Community. Volunteers should be friendly and outgoing, knowledge of the Off Off Broadway theatre scene is helpful.

What you'll be doing: Talking to theatre people, and getting them to fill out our anyonmous theatre suverys, and returning them to us.

When:
Thursday October 16^th from 10AM -1PM - at Theatre Festival- Free Day of theatre Event

And at various assigned locations- Theatres, Studios, Rehearsal Spaces on the following days:

Saturdays October 18^th & 25^th Open Times/Flexible

Sundays October 19^th & 26^th Open Times/Flexible

About the Survey and Us:

While the Off-Off-Broadway (OOB) community encompasses hundreds of companies and thousands of theatre artists, there exists virtually no statistical information about this vast and diverse community. We need 6,000 OOB artists to respond to the demographics survey by November 1^st 2008! You can help provide vital statistics for our community.

About Us: The New York Innovative Theatre Foundation was created to bring recognition to the great work being done in New York City's Off-Off-Broadway, to honor its artistic heritage, and to provide a meeting ground for this extensive community. The organization advocates for Off-Off-Broadway and recognizes the unique and essential role it plays in contributing to American and global culture. We believe that publicly recognizing excellence in Off-Off-Broadway will expand audience awareness and appreciation of the full New York theatre experience.

The IT Awards is a not-for-profit arts organization supporting the Off-Off-Broadway community by:

• Celebrating and Recognizing extraordinary Off-Off-Broadway Theatre
• Strengthening the community and collective identity of Off-Off-Broadway
• Honoring our artistic heritage
• Advancing public interest in and understanding of the theatrical arts
• theatre community.
• Volunteers - Members of our community, along with business professionals who give their time and resources to support the New York Innovative Theatre Awards.
• At the end of the theatre season, a high-profile awards ceremony celebrates this entire community while honoring soe of the most extraordinary work of the year.
  
  

Take the survey: We need 6,000 OOB artists to respond to the demographics survey by October 2008! You can help provide vital statistics for our community. Please take the survey now at www.nyitawards.com/survey/oobdemographics.asp

The Drama on The Wall Street Stage

In case you missed this great New York Times article, "Theaters Monitoring Drama" by Patricia Cohen; we invite you to visit the article by clicking here.

Angela Lansbury joins the cast of "Blithe Spirit"

The Fab Marquee News Desk.

Variety magazine reports that Angela Lansbury is joining Rupert Everett and Christine Ebersole in the Broadway revival of Blithe Spirit.

The play will be produced by the group behind August: Osage County and the current Speed-The-Plow. Blithe Spirit is scheduled to begin performance on February 26th at a Shubert Theater yet to be announced.

In her acclaimed career on stage, film and television, Lansbury is the recipient of four Tony Awards for her starring roles in Mame, Dear World, Gypsy and Sweeney Todd; three Academy Award nominations for Gaslight, The Picture of Dorian Gray and The Manchurian Candidate; and 18 Emmy Award nominations, including 12 for her series, "Murder, She Wrote".

Michael Blakemore will be directing. In 2000 Blakemore became the only director to receive a Tony for both Best Direction of a Musical and Best Direction of a Play in the same year for his work on Copenhagen and Kiss Me Kate.

Blithe Spirit is a comedy written in 1941 and tells the story of a socialite Charles Condomine who is haunted by his late wife Elvira's ghost after he takes part in a seance. The play set box office records for a straight play on the West End that were not broken until the 1970 premiere of Boeing-Boeing. The Broadway premiere took place on November 5, 1941 at the Morosco Theatre directed by John C. Wilson and designer by Stewart Chaney. The play transferred to the Booth Theatre on May 18, 1942 and it ran a total of 657 performances. It was revived at the Neil Simon Theatre on March 31, 1987 in a production directed by Brian Murray. In its most notable casting it featured Richard Chamberlain as Charles, Blythe Danner as Elvira, Judith Ivey as Ruth and Geraldine Page, who received a Tony nomination for Best Actress, as Madame Arcati. It ran for 104 performances.

Quote of the Day.-

"People accuse me of being Methody, but I'm not at all. The one thing I don't want people to see is me. I don't want them to be able to recognize my faults and failures and qualities, and I won't use those things to spark off emotions or to illustrate."

-Kristin Scott Thomas

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You can catch Kristin on Broadway at The Walter Kerr Theatre in The Seagull, for tickets visit www.telecharge.com

New Artistic Director & A New Season at Astoria Performing Arts Center

The Astoria Performing Arts Center (APAC) is pleased to announce the appointment of Tom Wojtunik as Artistic Director. Wojtunik, who last year directed Proof for APAC, brings a wealth of talent and experience plus an influx of humor, passion for storytelling, generosity and inspiration to the new season line-up.

The executive director, Taryn Drongowski, is delighted about the new appointment: “Tom is bringing an exciting vision to APAC” she states. “With his strong leadership, APAC will have an even greater commitment to supporting writers and incubating new works of theatre. I am looking forward to seeing what his vision will do for APAC over time and the impact that it could have on theater in the borough of Queens and beyond.”

Wojtunik, who has lived in Astoria for the past five years, remarks: “I am committed to continuing the tradition of high quality theatre and entertainment that APAC audiences have come to expect. I am floored by how supportive the Astoria community is to APAC–it’s clear they believe a local professional theatre is vital. Programming a season is a great responsibility and I look forward to beginning this dialogue with APAC audiences–a dialogue that takes shape through the work we put on our stages. I am eager to produce relevant plays and musicals that resonate with our audience, but new work will now be a major facet of future programming as well.”

The 2008-2009 season will include the inclusion of new work to APAC’s regular programming. Wojtunik will premiere The 15/20s: Staged Readings of New Works, introducing APAC audiences to the development process and paving the way for new work in the regular mainstage programming. The 15/20s will be produced under the AEA Staged Reading Guidelines, which allows 15 hours of combined rehearsal and performance time for actors (20 hours for musicals), hence the name The 15/20s.

The 15/20s first annual series begins in October, presenting four new plays commencing with Woyzeck: Homecoming by Eric Henry Sanders, directed by Wojtunik, on Wednesday, October 8th. The series will also include End of Land by Kathleen Warnock, The Patient River by Kevin Brofsky, and Sans Merci by Johnna Adams, which was awarded the 2008-09 Reva Shiner Award and was a 2006 finalist for the Princess Grace Award.

APAC’s seventh season will kick-off in February with Ragtime, the epic musical by the award-winning composer/lyricist team Stephen Flaherty and Lynn Ahrens and book writer Terrence McNally. Wojtunik, who will direct, says, ” The spirit of unfailing optimism that permeates the characters in this story, even in the midst of a country faced with enormous changes, feels more vital today than it did when it first opened on Broadway ten years ago.” In May APAC will produce Lillian Hellman’s controversial masterpiece The Children’s Hour, directed by Jessi D. Hill, recipient of the 2008/09 Denham Fellowship from the Stage Directors and Choreographers Foundation.

The New Fab Marquee

We will soon be moving all our archived reviews to this site. If you can't find the review you are looking for, please visit: www.thefabmarquee.com