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Wednesday, September 30, 2009
Union Square Free Night of Theater Celebration, October 15-
Tuesday, September 29, 2009
Review- Luck (1st Irish)
If you're lucky, when you get to 59E59 Theaters to see Luck you'll get to sit at one of the VIP tables up front - they've got the best view, the best table clothes and the best interaction with the star, or "hostess". But that's only if you're lucky. Then again, as Megan Riordan (playwright/performer of Luck) will tell you, "Luck is what happens when preparation meets opportunity"... and she will further tell you that preparation most often meets opportunity in Las Vegas. At the Blackjack Table. When you're playing on a team.
TEAM: Definition - In order to win in Blackjack - the only way - is to work in a team. And to do so successfully involves aliases, disguises, signals, codes, and escape plans. You have to be willing to take a hit for the team or the spotter can see that the card coming up will get the BP (Big Player or Big Personality) a win. You have to be willing to head to a casino straight from the airport, sit at a blackjack table with your father whom you haven't seen for a year, pretend you don't know him, and sit with him for 14 hours straigt playing cards and talking to him in code. You have to be ready for the fact that the day your dad walks you down the aisle, in fact... RIGHT before he walks you down the aisle, he offers to play you for the envelope your Uncle Jimmy just slipped you with a wink.
Ms. Riordan does a masterful job at portraying all the different angles of this life, illuminating a world that I'm sure few of us have seen, while at the same time giving us a purely stripped down one woman show about how much it can hurt to grow up in a family that is so significantly different than other families. Little tricks like using the security camera as a confessional to her dad is brilliant, the subtext being that this little eye sees all, this is the thing her father is most aware of, so by talking directly into it... maybe he will finally hear her?
Whether amped up or stripped down, Ms. Riordan is a compelling figure who found a way to tell her unique story in a fashion that does it justice. And with so many rolls of the dice and lucks of the draw that determine which scene goes next and which stories are told, the odd of it ever being the same show twice are 1:2 million and change. I'll take those odds.
Monday, September 28, 2009
Saturday, September 26, 2009
Review- The Selfish Giant (1st Irish)
Growing up can be rough; it's hard to leave behind all the wonderful, fanciful, joyous things than make up childhood and navigate the more somber realm of adulthood. But if you keep that little child inside you alive, and let them out every now and then to play, you're sure to reap the benefits of giving in to your more whimsical side.
Wednesday, September 23, 2009
2009 IT Award Recipients Announced
The Winners: OUTSTANDING ENSEMBLE RECIPIENT: Christopher Borg, Jeffrey Cranor, Kevin R. Free, Eevin Hartsough, (Not) Just A Day Like Any Other, New York Neo-Futurists OUTSTANDING SOLO PERFORMANCE RECIPIENT: Jeff Grow, Creating Illusion, soloNOVA Arts Festival OUTSTANDING ACTOR IN A FEATURED ROLE RECIPIENT: William Apps IV, Amerissiah, The Amoralists Theatre Company OUTSTANDING ACTRESS IN A FEATURED ROLE RECIPIENT: Constance Parng, Lee/gendary, HERE Arts Center OUTSTANDING ACTOR IN A LEAD ROLE RECIPIENT: Julian Elfer, Twelfth Night, or What You Will, T. Schreiber Studio OUTSTANDING ACTRESS IN A LEAD ROLE RECIPIENT: Elyse Mirto, Any Day Now, Writer's Forum at Manhattan Theatre Source OUTSTANDING CHOREOGRAPHY/MOVEMENT RECIPIENT: Austin McCormick, The Judgment of Paris, Company XIV OUTSTANDING DIRECTOR RECIPIENT: Suzi Takahashi, Lee/gendary, HERE Arts Center OUTSTANDING LIGHTING DESIGN RECIPIENT: Bruce Steinberg, Blue Before Morning, terraNOVA Collective OUTSTANDING COSTUME DESIGN RECIPIENT: Michelle Beshaw, 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, N.Y., GOH Productions OUTSTANDING SET DESIGN RECIPIENT: Michael P. Kramer, Ragtime, Astoria Performing Arts Center OUTSTANDING SOUND DESIGN RECIPIENT: Asa Wember, Angel Eaters, Flux Theatre Ensemble OUTSTANDING ORIGINAL MUSIC RECIPIENT: Kimmy Gatewood, Andy Hertz, Rebekka Johnson, Sarah Lowe, Jeff Solomon, The Apple Sisters, The Apple Sisters OUTSTANDING FULL-LENGTH SCRIPT RECIPIENT: Nat Cassidy, The Reckoning of Kit & Little Boots, The Gallery Players in association with Engine37 OUTSTANDING SHORT SCRIPT RECIPIENT: Nico Vreeland, Elephants on Parade 2009, EBE Ensemble OUTSTANDING PERFORMANCE ART PRODUCTION RECIPIENT: Creating Illusion, soloNOVA Arts Festival OUTSTANDING PRODUCTION OF A MUSICAL RECIPIENT: Like You Like It, The Gallery Players OUTSTANDING PRODUCTION OF A PLAY RECIPIENT: Lee/gendary, HERE Arts Center ARTISTIC ACHIEVEMENT AWARD RECIPIENT: Maria Irene Fornes STEWARDSHIP AWARD RECIPIENT: Material For The Arts OUTSTANDING STAGE MANAGER RECIPIENT: Jillian Zeman CAFFE CINO FELLOWSHIP AWARD RECIPIENT: The Brick Theater, Inc. About The New York Innovative Theatre Foundation: THE INNOVATIVE THEATRE FOUNDATION is celebrating its fifth anniversary of celebrating Off-Off-Broadway, which recognizes the great work of New York's Off-Off-Broadway—honoring its artistic heritage and providing a meeting ground for this extensive and richly varied community. As advocates for Off-Off-Broadway, they recognize its unique and essential role contributing to global culture. Each season, The Innovative Theatre Foundation publicly recognizes excellence in Off-Off-Broadway, with a high-profile awards ceremony. The New York Innovative Theatre Awards celebrate the community and honor some of the previous year’s greatest achievements. The IT Awards heighten audience awareness and foster greater appreciation of the New York theatre experience. Website: www.nyitawards.com Sponsors: Kampfire Films PR; United Stages; Lights Up & Cue Sound; Five OHM Productions Media Sponsors: nytheatre.com, Show Business Weekly, Stage Buddy, Stagebuzz.com |
Monday, September 21, 2009
Review- the good thief (1st Irish)
Saturday, September 19, 2009
Marrying Meg needs something Green
We at The Fab Marquee were compelled by his heart-wrenching letter (below). We hear most of the production team is working pro bono on this project, but it is not enough. The plane ticket from Scotland to NYC is close to $2,000 dollars.
With an outstanding Broadway cast, Stephen Berger (The Pajama Game, Into The Woods), Stephen Bienskie (Chess, Cats), Stephanie Youell Binetti (Curtains), Harris Doran (2008 NYMF Award for Excellence: Outstanding Individual Performance for Love Jerry), Kathy Fitzgerald (9 to 5, The Producers), Lisa Howard (9 to 5, South Pacific, The 25th Annual Putnam County Spelling Bee), Michael McCormick (Curtains, The Pajama Game, Gypsy, Kiss Me Kate, 1776, Kiss of a Spider Woman), Jim Newman (Curtains, Minelli on Minelli, Sunset Boulevard, The Who’s Tommy), Tory Ross (9 to 5, Cry Baby), and William Ryall (Guys and Dolls, Dr. Seuss’ How The Grinch Stole Christmas!, Chitty Chitty Bang Bang, Chess, How to Succeed In Business Without Trying).
The show opens September 29th, and they would love to have him there.
In these hard economic times I understand it is difficult to donate money, but just posting this on your blog or any kind of social media outreach is an amazing help.
You can donate by visiting this link (http://www.nymf.org/Page.144.Make+a+Donation+Now)
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Dear Friends:
I wonder if you might be able to help me. My Scottish musical comedy MARRYING MEG is to receive its world premiere at this year’s New York Musical Theatre Festival. The show, which I have been writing, on and off, for the last seventeen years (I’m a full-time TV scriptwriter normally), has been a real labour of love for me. It’s a genuine Scottish musical, written by a Scotsman (me!), adapted from a brilliant Scottish play (Alexander Reid’s The Lass wi the Muckle Mou) which is in turn based on two famous folk tales from the Scottish Borders. If nothing else, MARRYING MEG’s Scottish pedigree is secure!
Throughout its extensive development period, MARRYING MEG has reached the finals of three prestigious European musicals competitions, and arrives at this year’s New York Musicals Festival as the only show to have Cameron Mackintosh as one of its official sponsors. Living as I do in the Highlands, I cannot tell you what a thrill it will be finally to see MARRYING MEG staged in its entirety. And in New York of all places! The home of musical theatre!
MARRYING MEG is a fun show with a great big Caledonian heart, and I’m convinced it will appeal to almost anyone with an affinity for things Scottish. I really would like to think I’m bringing a wee bit of Scotland to the Big Apple. I know people say that in order to make your dreams a reality, you have to be willing to beg, borrow and steal. This fall I’m living out my dream. But after borrowing (and even stealing) all I could, I’m now giving begging a try! (Excuse me if I’m not very good at it yet.) Our production is faced with fundraising challenges this year, and while our first weeks of rehearsal have gone incredibly well, the final stretch of our rehearsals is tight. For our first weeks I was able to be with the cast and crew as they rehearsed the show, but now it seems that I will not be able to return to see the actual performances of the production due to cost.
Would you consider making a donation to our show? Every little bit counts, and donations through the website are 100% tax deductible. Plus, donors of $1,000 or more receives two tickets to one of our performances. (Now isn’t that reward enough?) We're also hosting a fundraising party on Thursday, 24 September from 7pm-10pm at Shoolbred's in NYC. Get details on Meg's Engagement Party here.
More information about the amazing cast and creative team, as well as clips from the show can be found at www.nymf.org/marryingmeg. Please also consider coming to see the show that I am so very proud of. Schedule and ticket information are below. With your support, Meg hopes that many a mickle maks a muckle!
With gratitude,
Mark Robertson
Friday, September 18, 2009
Review- Cell (1st Irish)
Upon entering the theatre we were all a bit put off at how extremely close the chairs were set up to the performance area - lined up right across from the cell's makeshift table, and next to the spartan prison beds. The more timid among us chose seats in the back row, but even then we were close enough to see the careful details of Lilia Trenkova's set design. It's very clever putting the audience, as much as possible, inside the cell, because it's uncomfortable, and scary and a bit claustrophobic. It makes you want to get away, it makes you feel exposed and devoid of privacy. You're made to feel as if you're serving your sentence right along with these women, and when that cell door slammed shut you knew which side you were on.
Thursday, September 17, 2009
Review- In The Daylight (Vital Theatre Company)
In The Daylight (by Tony Glazer, directed by John Gould Rubin) is an ironic title, or a conclusive one, or perhaps even a hopeful one. Because the last thing you get with this play is one shred of hopeful daylight; this is as noir a plot as any written by Dashiell Hammett or Raymond Chandler, right down to the rapid-fire dialogue and the "it was a dark and stormy night" setting. Rather than any daylight what you do get is dark shadows, deep secrets, harsh verbal sparring, some gun play, a mysterious urn full of ashes smack in the middle of the living room... one half expects Barbara Stanwyck to come slinking in at any moment asking Fred MacMurray to help her with the clasp on her ankle bracelet. Except for a missing Blackberry which sets off an unfortunate chain of events, this whole story could be set in 1940.
Photo by: Gili Getz
McGinn/Cathale Theatre | 2162 Broadway, 4th Floor | Manhattan.
Wednesday, September 16, 2009
Review- A Short Wake (1st Irish)
Family dysfunction comes in all shapes and sizes, from all cultures. However, something can be definitely be said for the type of relationships that are cultivated in an Irish-American household that includes drinking and physical abuse. Siblings can either stick together to keep secrets or escape to other sides of the country - or the world - as they struggle to get away from their past (and each other)... although we all know that our pasts never leave us, they just have a way of sticking to us, like gum on the bottom of our shoes; or, in some cases, can be re-routed into positive outlets such as the arts.
A Short Wake, by Derek Murphy, a Dubliner, brings us into the funeral parlor for the wake of the father of Teddy (Peter Bradbury) and Jimmy (Brandon Williams). The main centerpiece of the set is a huge casket and a few chairs - perfect, really. Held in New York, the wake is a rather pitiful affair - both sons make note of the lack of anyone coming to mourn the man in the coffin and the flower arrangements looking a bit tired. Murphy's continuous hilarious dialogue allows Bradbury, even alone, to flourish as the two-bit con in a nice suit (and greasy hair), following in his bookie father's footsteps, having moments between cracking jokes to quiet his own sadness and unease as well as conflicting feelings of the final weeks of the father's cancer as he stood by his bedside. Conflicted because dear ol' dad actually thought it was the younger brother, Jimmy, the whole time, holding his hand - Jimmy, who has not been around in ten years and hates his father with a fiery passion.
As Bradbury sips from his flask and clutches his stomach from acid reflux, we see Williams finally enter, reluctantly, into the parlour. A successful lawyer in California - as far away from New York as he can get without leaving the country - Jimmy emanates a powerful wave of tension from the moment he enters the room. He can't even get past the first few chairs in the parlour, and it's Bradbury who is making all the effort to try to get a hug and pull him into the room - to try to find a common ground and a way to get past their years of dealing with abusive parents and be brothers again.
But it's not so easy. Jimmy can't understand why Teddy is even in mourning for the man that he considers to be a horrible father, human being, and abusive alcoholic; and Teddy can't understand why Jimmy can't let it go now that the man is dead - and why his younger brother's selective memory seems to have forgotten some important points about what their mother was really like as well; her alcoholism, her abusive behavior, and what really went on during one particular night that changed all of their lives forever.
And so we have a brilliantly written and acted two-character play that is really a four-character play; because the man in the coffin and the woman that we learn more about as the play goes on become as important as the two brothers on stage who, as they sip their whiskey and gin, begin to open up to each other more and more. Is this about a couple of drunk Irishmen going over old times? NO. This is a play about family, about how memories can be completely different depending on who is telling the story, and how 30-year-old grudges can become mantras for no reason other than they exist.
Bradbury had me from the beginning. From his New York bookie attitude combined with his actual pain about his father - and the hilarious monologue he has before Williams comes on, I was delightfully absorbed. When Williams first entered, and for the first fifteen minutes after his entrance, I thought the actor had some tics and was holding onto his prep to the point where it was interfering with his relating to his brother, and his ability to take in this brother he hadn't seen in 10 years (even though we know our siblings and sometimes have to only glance at them even after that long). His anger was so consuming that it almost became a fifth character in the room. But as they began to talk more, and as he accepted his brother's gift of fine whiskey in a flask, I began to see some of the prep drop, and just see a character who was in tremendous emotional pain dealing with his smart-ass brother, and vice-versa; and once he got cooking with Bradbury, then the show took off, I felt, for him and for me. Both actors should be applauded for holding this critic in the palm of their hand, simply following along as the two wove tales tall and true about their lives and loves and their relationship with each other - and the pain they were trying to get past.
Combine truly gifted actors, with fantastic direction from Ludovica Villar-Hauser and this amazing rich, darkly comedic dialogue, and you are left afterwards simply wanting to see it again. I thought the staging was great (I never saw the director's hand, and so it goes in a well-directed piece); however, one thing I would have tried was to not open the casket so that we saw the figure inside. To open it upstage would have been better, I think; for although the acting was so good that it kept my mind off of what was in that coffin, I still kept having to block it out, especially when I had a view, it took me out of the play momentarily.
It's my understanding that many, if not all, of the 21 plays in this festival are of high caliber; however, if you see any of them, please add A Short Wake to your list. Anyone who has ever had difficulty talking to a family member, and anyone who has ever wondered what it was like (are there families like that out there?) will be taken on an emotional roller-coaster, with laughter filling in the spots where it sometimes hits too close to the bone.
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1st Irish 2009 and Tweiss Productions present
A Short Wake
Sept 10-26, 2009
Manhattan Theatre Source
For more information and tickets, visit www.firstirish.org.
Manhattan Theatre Source | 177 MacDougal Street | Manhattan.
Monday, September 14, 2009
Review- Tales from Rainwater Pond (1st Irish)
Tales From Rainwater Pond is written and performed by Billy Roche, a playwright and novelist whose work often centers on his hometown of Wexford, a coastal community of just under 20,000. Actually, what is presented at 1st Irish is Mr. Roche performing two short stories, “Maggie Angre” and “Haberdashery” from a book of short stories by the same name. And what stories they are.
Mr. Roche has the rare gift of richness of detail without superfluity of emotion. His brief hints at the grief of a father or the burden of a long-burning love are stunning because we are given merely a suggestion and the foundation to fill in the rest. While the stories are uniquely small-town Irish, the humor and loss they describe are universally human. There is something that happens during this show that is quite larger than its individual pieces.
Although an actor of some experience, Mr. Roche has the slow delivery and wry amusement of a writer reading his own work. At the beginning of the piece, there seems to be a firm fourth wall despite the direct address, although that breaks down by the end of the show. While Mr. Roche occasionally enacts an action in the first story and portrays the narrator of the second story, there seems to be no reason why this should be a play as well as a book. However, Mr. Roche and the production possess some ineffable magic of storytelling that makes the stories breathe in a way no reading could. The simple act of one man telling an intricate story of lonely people he cared about became a community meditation.