Brunch it up and get an hour of entertainment on top of it with six new short plays from three badass writers in Heather Antos, David Rosen, and Ben Dworken! Have fun, support some new work, maybe get full and/or just the right amount of tipsy to have an awesome rest of your Sunday. AND I’m directing! I’m super pumped for SPILT MILK by Heather Antos featuring Jeannine Frumess and Jeremy Cohen, who are going to make everyone in the audience want marshmallows (you’ll get it if you come out).
For more, check out the event on FB here. THE TIME: Sunday, June 2nd, 2019 11am-1pm
THE PLACE: Stewart F. Lane & Bonnie Comley Studio Lab The Drama League 32 Avenue of the Americas (Near the A/C/E/Q/R/N Canal Street Station and the 1 Train Franklin Street stop)
RECENT PRESS: INTERSECTIONS MARCH 2019 Read Full Review in OnStageBlog.com“Provocative, whimsical, and ethereal, the Daniel Gwirtzman Dance Company defies expectations of postmodern dance and soars, unafraid to take risks and dazzle with unflinching honesty….At times, just the urgency and power conveyed in the dancers’ glances deserved applause…The company shoots energy through every limb and glance the entire evening, and Gwirtzman’s choreography shines through in every piece as an ultimate force of nature.” Read Full Review in TheaterScene.com“The result was at once elegant and intimate….The imagination shown in the lifts provided a stimulating contrast…Both of these dancers infused their every movement with an awareness, a sensuality, and a presence in the moment that made each of them riveting in their own way…These two dancers recalled that sensuality to us, and reminded us of why we go to see dance and why it pulls at our souls.”
MORE RECENT PRESS DECEMBER 2018 Dance Magazine visited DGDC in the studio, streaming 11 minutes of rehearsal live to Dance Magazine’s Facebook Page. Featuring Stacy Martorana (Mark Morris Dance Group), Shifting three minutes in. SEPTEMBER 2018 At the Rochester KeyBank Fringe Festival, critic Jack Garner singled out the Company’s production of Encore at Geva Theatre, the critical “cream of the crop.” Read his review, praising Daniel and Garth Fagan Dance. AUGUST 2018 The performance of our quintessential summer-themed Summertime Suite at Battery Dance Festival this August was enthusiastically-documented and received. We made the cover of Downtown Express.
WHEN & WHEREDixon Place Presents Moving MenTuesday, June 4, 2019 at 7:30pm161A Chrystie Street, between Rivington and Delancey
About Re-Do In the irreverent and none-too-precious spirit of this anniversary season, along with the theme running throughout Intersections, Daniel takes a scissors, knife and his own claw-like hands to the solo he has performed numerous times over the past three years, interrupting the dance, extending sections, adding his own commentary through spoken text, reanimating and reimagining the solo. He is not doodling, but re-doodling, questioning the rules prescribed in the choreography as the very parameters of democracy are being questioned. Why follow rules? The solo allows the movement and score to scroll calligraphically in a playful, stream-of-conscious manner like a meandering doodle on the page. This elasticity allows Daniel to explore a range of virtuosic qualities, and a diverse range of music, as the piece’s careful structure runs off the page, moving from the literal to a place of abstraction.
Doodling previewed at the Agnes Varis Performing Arts Center/Gibney (NYC), April 2016 and premiered September 2016 at the Harkness Center for Dance’s Friday at Noon series at the 92nd Street Y (NYC). Other performances include Gdański Tança Festiwal in June 2018 (Gdańsk, Poland), Arts On Site in October 2018 (NYC), Key West Dance Collective, November 2018 at the Tennessee Williams Theatre (Key West, FL); and the MidWest Regional Alternative Dance Festival (RADFest) in Kalamazoo’s Epic Theater (MI), March 2019.
Rochesterian Daniel Gwirtzman grew up performing musicals and plays at the Jewish Community Center and Brighton High School, his alma mater. Folk dancing at Temple Beth El played a central, formative role. He recently presented on the influence of Israeli folk dancing on his technique, repertory, pedagogy and programming at Arizona State University’s Jews and Jewishness in the Dance World conference with critic/editor Elizabeth Zimmer. At 12 he began studying with Garth Fagan’s The Bottom of the Bucket But…Dance Theater. A week after graduating from The University of Michigan he joined Garth Fagan Dance. Co-Founded Artichoke Dance Company, 1995: “A welcome addition to the New York dance scene.” reviewed TheNew York Times. Guest artist and international touring with the renown Mark Morris Dance Group. Founded the NYC-based Daniel Gwirtzman Dance Company (DGDC), a nonprofit performing and teaching company in 1998. Dance Films: numerous national & international film festival credits; Theater: selected by DanceBreak Foundation supporting the “next generation of great Broadway choreographers.” Professor and Guest Choreographer at numerous institutions nationally and internationally.
WHAT: After a sold out and critically acclaimed January and February run at 3 Dollar Bill, the dystopian queer nightclub musical OSCAR at The Crown returns for an open-ended run, with previews beginning May 10th and an official opening on May 30th. Sequins, reality television, and the complete works of Oscar Wilde: not much else survives in a secret bunker far in the fascist future. OSCAR at The Crown is an immersive nightclub musical detailing the rise and fall of one of history’s most flamboyant characters. AND it’s about the Real Housewives and a minor character from that show The O.C. ¯\_(ツ)_/¯ And yes, it’s ALSO about us: staring at our phones, wondering if our latest Instagram is going to flop and if the bombs have started flying yet.
See you on the dance floor! Wear something cool!
WHERE: 3 Dollar Bill – 260 Meserole St. Brooklyn NY 11206
WHEN: Previews begin May 11th on Fridays, Saturdays and Sundays
Official open-ended run begins on May 30th with performances on Fridays, Saturday and Sundays
HOW: Tickets from $45 – $79 – ticket link. This show is 18+. THE NEON COVEN
The Neon Coven is a growing collective creating music performances that tell stories of otherness. We like: queer people, theater in non-traditional spaces, and screaming.@theneoncovenwww.theneoncoven.com
MARK MAURIELLO (creator) is a Brooklyn-based performer and theater artist. Since graduating from Harvard University, he has performed at the American Repertory Theater (Taylor Mac’s The Lily’s Revenge, The Donkey Show), in nightclubs from New York to Berlin (Dr. Frank-N-Furter, The Rocky Horror Show), and even the occasional abandoned burger restaurant (Marjorie Newquist, Little Murders). Mark is a co-founder of The Neon Coven, and above all, he believes in negative capability. @maarkm www.markmauriello.com
ANDREW BARRET COX is a choreographer, composer and producer based in New York City. A graduate of Emerson College, his work is inspired by underground scenes and non-traditional material. His work has been seen at the American Repertory Theater’s immersive second stage OBERON, and his original works Clubland, Hexed, Wilder, Pokémon: The 90s Rock Show, and Seamtowne have been heard on stages and virtual platforms across the country. As a co-founder of The Neon Coven, he strives to create vessels that tell stories of otherness and continue to bridge the gap between mainstream and queer media.@andrewbarretcoxwww.andrewbarretcox.com
SHIRA MILIKOWSKY is a freelance theater director, specializing in new plays and radical re-imaginings of musicals and classic texts. She is also a co-founder of The Neon Coven. Recent projects include Distant Star (Caborca/Abrons Arts Center) and Little Murders (in an abandoned burger restaurant!) As the Artistic Associate at the American Repertory Theater, Shira directed The Lily’s Revenge by Taylor Mac (named by The Boston Globe as one of the top ten theater events of the year), Bride*Widow*Hag by Kim Rosenstock, and countless other productions, workshops and special projects. A Drama League Fellow, Shira holds an MFA in Directing from Columbia and a BA in Theater Studies from Yale. Associate Lecturer in Theater, Dance & Media, Harvard University.
JENN MALEY is a Tony-nominated producer for Paula Vogel’s Indecent and a director. Currently, Jenn is a co-producer on Be More Chill by Joe Iconis and Joe Tracz, opening on Broadway in 2019. Other select producing credits include Reunion ’69 and ’85 (Byron Theatre) and Associate on The Mad Ones (59e59). Jenn recently was the Assistant Director to Tyne Rafaeli for Usual Girls by Ming Peiffer at Roundabout Theatre Company. For more information visit jennmaley.com.
Choreography by Andrew Barret Cox Set and Props Design by Tekla Monson Lighting Design by Calvin Anderson Costume Concept by Mateus Forte Sound Design by Shannon Slaton Casting by Kate Lumpkin, CSA
A Family Torn Apart by an Extreme Religious Community in the New Drama
Amercian Renaissance Theatre Company (ARTC) is proud to present Bob Clyman’s compelling new play, To She Who Waits, May 23 – June 8 at Theatre 54 at Shetler Studios. To She Who Waits was the winner of the 2018 Kaufman Award for Excellence in Playwriting. Maria Aladren directs.
The Kaufman committee shared why they selected the timely play, “To She Who Waits gives insight to what can happen in any society where there is a lack of understanding based on fear and superstition. There’s a humanity in this play, Bob has created unforgettable characters in situations of the highest importance. It’s a big bite of life that stays with you.”
Clyman has received numerous awards and fellowships including an Outer Circle Critics nomination, Drama League’s Playwrights First Award, Eugene O’Neill Summer Conference Fellowship, Edward Albee Foundation Fellowship, among others.
Meg and Jack were childhood sweethearts, who got married, and when their daughter, Hannah, was born, Meg stayed home with her, while Jack worked. They were happy. Then their church hired a new pastor. Flash forward … Jack is dead, and Meg is fighting the church she fled for custody of Hannah. Now that Meg is about to see Hannah for the first time in two years, the clock is already ticking. She will only have 12 visits to convince Hannah, who is openly hostile toward her, to leave the church she loves and its promise of salvation, to live with Meg — the mother who left her behind.
The cast features Lee Eden (The Bad Seed/Nicu’s Spoon Theater), Brian Homer (Richard II/Richard III/Theater for a New Audience), Carol Todd (Jericho/59E59), and Kathleen Swan (Utter Glory of Morrissey Hall/Broadway).
The creative team includes scenic and costume design by Joanna Conte, sound design by Abigail Nelwin, Stage Manager Mackenzie McGuire and assistant production manager Alexis Wilner.
To She Who Waits runs May 23 – June 8 with performances Wednesday – Saturday at 7:30 pm, Sunday at 3:00 pm, and Saturday, May 25 and June 1 at 2:30 pm.
Performances take place at Theatre 54 at Shetler Studios, 244 West 54th Street (between Broadway & 8th Ave), 12th Floor, New York, NY 10019. Subways: A/B/C/D/1 to Columbus Circle, N/Q/R/W to 57th Street. More info available at www.americanrenaissancetheater.com
Bob Clyman (Playwright) plays have been produced Off-Broadway and at regional theatres, such as the Alley Theatre, Laguna Playhouse, Repertory Theatre of St. Louis, San Jose Repertory Theatre, George Street Theatre, Merrimack Repertory Theatre, Colony Studio Theatre in Los Angeles, Playwrights Theatre of New Jersey, and L.A. Theatre Works, in addition to touring Scotland. His play Secret Order was initially commissioned and produced by The Ensemble Studio Theatre under the auspices of the Alfred P. Sloan Foundation. It was subsequently produced at 59E59 Theatre in New York, where it was nominated for an Outer Circle Critics Award for the best script in 2008, and has since been produced at many regional theatres. Of his most recent plays, The Good Bet was chosen for The Ashland New Play Festival in 2014 and won the Stanley Drama Award for 2015. He has been awarded a number of national prizes, including a Eugene O’Neill Summer Conference Fellowship, Geraldine Dodge Fellowship, Drama League’s Playwrights First Award, New Jersey State Arts Council Award, Edward Albee Foundation Fellowship, Berilla-Kerr Foundation Award, Djerassi Foundation Fellowship, Shenandoah Valley Playwrights Fellowship, and Theater in the Works Fellowship.
Maria Aladren (Director) is a professional director and performing arts educator, originally from Zaragoza, Spain. For the past fourteen years, Maria has developed the conservatory theatre program at Middlesex County Vocational and Technical Schools, where she teaches, directs young actors and directs mainstage shows. Maria was the artistic director of Pegasus51/Performance Project, an award-winning experimental company, where she directed a variety of productions, including All’s Well That Ends Well, Mud, In The Middle of the Ocean. She has also directed for other companies and universities including St. Louis Shakespeare Company, Mercer County College, University of Texas-Austin, Kean University, Teatro Humanidad, Washington University Thyrsus Company, Southern Illinois University, among others. Maria trained as a director at the University of Texas-Austin, where she received her MFA, and as a dramaturg at the Theatre School at Washington University in St. Louis.
American Renaissance Theater Company under the Producing Artistic Director, Kathleen Swan, has been dedicated to the development and production of new works by a multi-generational company of professional playwrights, actors and directors. Since its inception in 1976, ARTC has been a home to nearly five hundred professional actors, writers, directors, composers and musicians – theatre artists from a diversity of backgrounds who have found a congenial, stimulating environment in which to expand their resources and creativity. Plays developed through ARTC’s workshop process have moved on to subsequent productions on Broadway, Off Broadway, and in America’s leading regional theaters. In 2007, ARTC started the annual Jerry Kaufman Award in Playwriting which honors American Renaissance Theater playwrights.
Home, a new play by Evolve Puppets (Tanya Khordoc & Barry Weil) will be performed at The Tank NYC from May 30-June 2, 2019.
Home fuses puppetry, theatre and multimedia into a visually thrilling and emotionally moving story of a woman’s connection to the universe. Alice is an archaeologist, mother and scholar at the final crossroads of her life. A visit from an intimidating guardian angel (and his strangely familiar young companion) sends Alice on a trip through time and memory, digging through the layers of the past, unearthing her life with her brilliant but troubled husband and their young daughter, and her years studying the people of Pompeii, frozen forever in their last moments on Earth.
Home uses live actors alongside lifelike full-figure puppets inspired by Japanese bunraku techniques, shadow play, state-of-the-art digital projections and more to tell Alice’s story through the very contents of her home. Photos on the walls become animate; plush toys and dolls come to life; clouds of dust form into moving images; furniture travels around the space, opening up to reveal dynamic museum-style dioramas of the past.
Home is written and directed by Tanya Khordoc & Barry Weil (world premieres of Vàclav Havel’s Motormorphosis and Lord Graham Russell’s Devil and the Deep), who also designed the show’s innovative puppetry. Original music is composed and arranged by Joel Phillip Friedman (Drama Desk and Outer Critic’s Circle nominee). Lake Simons (Lincoln Center’s War Horse, Basil Twist’s Symphonie Fantastique) is associate director and movement choreographer. Home features projection design by Jared Mezzocchi (Obie and Lucille Lortel winner, Vietgone), set design by Tom Lee (Shank’s Mare), lighting design by Federico Restrepo (founder/artistic director of Loco7) and costume design by Sarah Riffle (Lyric Opera of Chicago). Stage manager is Berit Johnson, and movement assistant is Mark Myles Murray.
The cast of actors and puppeteers features Mery Cheung, Marjorie Conn, Maggie Gayford, Kevin P. Hale, Ross Hamman, Tanya Khordoc, Caitlyn Piccirillo, Barry Weil and Meghan Maureen Williams.
Evolve Puppets’ Home is made possible in part with public funds from Creative Engagement, supported by the New York City Department of Cultural Affairs in partnership with the City Council, and administered by LMCC. Earlier developmental presentations of Home were made possible with support from The Jim Henson Foundation, the Puppetry at the Carriage House program and Dixon Place.
She NYC Arts announces two new programs, CreateHer, a playwriting workshop for high school students who identify as girls, and their inaugural New Play Residency, to be presented as part of the fourth annual She NYC Arts Summer Theater Festival, a festival featuring eight new full length shows by women writers and composers, June 19-30 at The Connelly Theater (220 E 4th St, New York, NY 10009).
She NYC’s inaugural New Play Residency has been awarded to playwright Natalie Margolin (The Power of Punctuation at the Davenport Theater). Ms. Margolin will be given the two months leading up to the She NYC Arts Summer Theater Festival in June to write a new play, entirely from scratch. Audience members can check out She NYC’s social media accounts every Wednesday, for weekly updates on her progress. #NewWorksWednesday.
The first annual CreateHer program, a free 6-session workshop for high school girls interested in playwriting or producing, will culminate on Sunday, June 30 at 12pmwith staged readings of four new 10-minute plays, written and produced by the students. Guest teachers for the workshops will include Broadway producers, directors, and managers. The staged readings will include new plays by A’dreana Williams (produced by Lauren Estrella), Mirei Dominguez (produced by Therese Rubi), Ava Grandfield (produced by Gabriela Veciana), and Lucy Machlan (produced by Tali Natter).
Natalie Margolin (New Play Resident) is a playwright, actress, improviser, and graduate of Kenyon College. Her play, The Power of Punctuation, premiered off-Broadway at the Davenport Theater in the summer of 2016. The Power of Punctuation was a New York Stage and Film Founders Award finalist, recipient of Kenyon College’s James E. Michael Playwriting Award and the Thomas Turgeon Memorial Award. She is currently developing her play, Tutus, which has been workshopped in both Chicago and NYC. Most recently, Natalie was a part of Fault Line Theatre’s Irons in the Fire with her new play, All Nighter. Natalie is a resident playwright at Colt Coeur (Artistic Director Adrienne Campbell-Holt). She lives in NYC and continues to write and perform. www.nataliemargolin.com
CreateHER strives to expand She NYC’s mission of showcasing the talent of female theatre artists, by introducing students to the steps needed to develop their own material. The workshop is designed to provide students with mentors as they write and produce short plays as well as a setting to learn about opportunities that may be available to them should they be interested in pursuing a career in theatre
Created by artists, for artists, the She NYC Arts Summer Theater Festival is New York City’s premiere festival devoted to producing full-length plays, musicals, and adaptations by women writers annually. In 2018 She NYC Arts brought its mission to the West Coast by launching the inaugural year of the She Arts LA Summer Theater Festival. She NYC’s commitment to an open submissions process allows it to discover and cultivate the best up-and-coming talent in the industry, while providing an environment where artists are mentored in how to produce their work in full for a paying audience. www.shenycarts.org
THE LEAGUE OF PROFESSIONAL THEATRE WOMEN PRESENTS THE 7TH ANNUAL WOMEN STAGE THE WORLD PARADE
TUESDAY, JUNE 11 IN TIMES SQUARE
The League of Professional Theatre Women (Kelli Lynn Harrison & Catherine Porter, Co-Presidents), an organization which has been leading the gender parity conversation and championing women in the professional theatre for over 35 years, will lead the seventh annual Women Stage the World Parade, a march to advocate for equal representation for women in theatre, on Tuesday, June 11 from 6-7pm, beginning and ending at the TKTS booth in Times Square.
Women Stage the World, an advocacy project of the LPTW, is designed to educate the public about the role women play in creating theatre and the gender barriers they face as men continue to outnumber women by 4 to 1 in key roles such as playwright, director and designer. Women buy two-thirds of the tickets and represent 65% of the audience, yet 80% of the time the storytelling on stage is shaped by men’s voices, not women.
The Women Stage the World Parade and March will prompt ticket-buyers to ask three questions as they make buying decisions:
(1) Who wrote, directed and designed this play?
(2) What is this theatre’s track record in giving opportunities to women?
(3) How can you spread the word and promote women’s voices?
Like the suffragettes before them, Women Stage the World empowers women and men to become aware, take action and influence others. For the past seven years Women Stage the World has marched through Times Square- educating theatre goers about the importance of gender parity in the American Theater.
March participants will gather at the TKTS booth in Times Square starting at 5:30pm. The march will commence at 6pm and weave through Times Square and the Broadway district. The event is FREE and the League of Professional Theatre Women invites all theatre women and allies to participate in this march, as we boost awareness, lift our voices, and advocate for more opportunities for women in theatre. All march participants are encouraged to dress as their favorite historical theatre woman or in all white. Women Stage the World sashes and signs will be provided, as supplies last.
The League of Professional Theatre Women (a not-for-profit 501(c)(3) organization) has been championing women and leading the gender parity conversation in the professional theatre for over 35 years. Since its founding, the LPTW’s membership has grown to 500+ theatre artists and practitioners of all backgrounds, across multiple disciplines, working in the commercial and non-profit sectors. To increase visibility of and opportunities for women in the field, the LPTW spearheads events, public programming, advocacy initiatives, media, and publications that celebrate industry luminaries, preserve the legacy of historic visionaries, raise awareness of the importance of nurturing women’s voices, and shine a spotlight on the imperative of striving for gender parity and fostering a diversity of expression, both in the theatre world and the world at large. To find out more about how you can support its endeavors, please visit www.theatrewomen.org.
Immerse yourself in the wild and indomitable female spirit with the Third Annual Andromeda’s Sisters Gala to benefit the dance theater company The Neo-Political Cowgirls. The compelling three-day journey includes play readings, a private estate fundraiser and an interactive creativity workshop on June 14th 22nd and 23rd which can be enjoyed collectively or individually. The brain child of Kate Mueth who is the founder of the 501 ( c ) 3 company Neo-Political Cowgirls, Andromeda’s Sisters is an arts and advocacy forum to create more work for women in theater and to increase the female voice in the narrative of our society’s stories. Mueth brings her vibrant, unconventional, mind-expanding magic to the event. This is not your typical write-a-check and have a cocktail fundraiser. Guests will be treated to talented voices of the theater, advocacy, and legal world to expand their horizons and network with fascinating women. This is the uniquely fertile soil where community, arts and advocacy merge to grow both roots and blossoms. And men are most welcome to join in the fun.
Kate Mueth talks about her inspiration for the event: “Andromeda’s Sisters is The Neo-Political Cowgirls’ version of a Gala. We use that word as we’d like to change what a ‘gala’ looks like. We’d like it to become an activating celebration, a chance for supporters to get closer to the work we do, to learn why we do it, and to feel the joy and celebration we share with audiences through our professional performance and education outreach. We want to fill it up with inspiration and education and connection and activation and community problem solving and networking and the highlighting of hard-working women in the theater and social justice organizations, leaders, and powerful creatives.
‘Andromeda’s Sisters,’ is a title taken from a moment in our devised theater production ANDROMEDA (summers of 2016 and 2017 at Montauk County Park) when Poseidon’s nymph daughters swim against the currents of the sea to help save Andromeda who is lashed to a rock by their father and about to be consumed by a violent sea monster. The young girls didn’t have to save Andromeda, in fact if they’d given over to their father’s wrath, they should have even hated her. When women swim against the tide of society’s powerful thinking and behaviors and expectations, we do remarkable things. When we help our sisters regardless of friendship or kinship or convenience, we are extraordinary humans walking the talk for real change. When women do these things we then, in turn, become examples for our children, our neighbors, our fellow employees, our families and the men in our lives.”
Andromeda’s Sisters is generously sponsored by Jackie Lowey of Saunders & Associates and Melissa Cohn and Family First Funding LLC, Private Client Group.
Friday, June 14th, John Drew Theater at Guild Hall, East Hampton, NY
7:00 – Cocktail Garden Party
8:00 – Performance of 7 One Act Plays by Women-Identifying Playwrights
Cast to include Cathy Curtin (Orange is the New Black, Stranger Things, Homeland) and Laura Gomez (Orange is the New Black)
Very special guest playwright Joy Behar will present new work
Post Show – VIP Backstage Prosecco Meet and Greet
Saturday, June 22nd, At a Private Estate in the Hamptons
3:00-5:00 Amy Spitalnick (Integrity First for America) interviews civil rights attorney Roberta Kaplan about their landmark suit against the leadership of the violent white nationalist movement
Sunday, June 23rd, John Drew Theater at Guild Hall, East Hampton, NY
10:30-1:30 – Women’s Workshop For Creative Deep Diving and Interview/Conversation With Sarah Greenman of StateraArts interviewed by Kate Mueth, NPC Founder and Artistic Director
A formidable litigator with decades of experience in both commercial and civil rights litigation, Roberta Kaplan is the founding partner at Kaplan Hecker & Fink, a new law firm fusing a high-stakes litigation practice with a groundbreaking public interest practice. Kaplan is best known for successfully representing her client Edith Windsor in United States v. Windsor, ultimately arguing the case before the United States Supreme Court. In Windsor, the Supreme Court ruled that a key provision of the Defense of Marriage Act (DOMA) violated the U.S. Constitution by barring legally married same-sex couples from enjoying the benefits of marriage conferred under federal law. The consequences of the Windsor decision were both rapid and profound, leading to marriage equality nationwide two years later.
Amy Spitalnick is the Executive Director of Integrity First for America, a nonpartisan- nonprofit organization dedicated to holding those accountable who threaten longstanding principles of our democracy. Most notably, IFA is suing the neo-Nazis, white supremacists, and hate groups who violently attacked Charlottesville. Amy joins IFA with over a decade of experience in government, politics, and advocacy. She most recently served as Communications Director and Senior Policy Advisor to New York Attorney General Barbara Underwood. Amy previously served as an advisor and spokesperson for NYC Mayor Bill de Blasio, and as Communications Director in the New York State Senate. She has also worked for a number of federal, state, and local campaigns and advocacy organizations. Amy was named a City & State 40 under 40 Rising Star in 2013.
Anna Ziegler is an award-winning playwright whose widely produced play PHOTOGRAPH 51 won London’s 2016 WhatsOnStage award for Best New Play. It was selected as a “Best of the Year” play by The Washington Post (twice) and The Telegraph. Nicole Kidman won the Evening Standard Award for Best Actress at the West End production. Ziegler is developing a series for HBO and screenplay for Scott Free Productions. Oberon Books has published a collection of her work entitled Anna Ziegler: Plays One.
Julia Jordan is currently working on two musicals; Bernice Bobs Her Hair (book and lyrics, composed by Adam Gwon); and Storyville (original book, lyrics by Kristen Anderson Lopez, composed by Lisa De Spain.) She is also working on the feature film of her play Dark Yellow (Susan Smith Blackburn Award shortlist) which premiered at Studio Dante in 2006. A film based on the same play but entitled Tell Me Something I Don’t Know is currently in development. Other plays include, Tatjana in Color (The Francesca Primus Prize, short-listed for the Susan Smith Blackburn Award, Best Plays by Women 1997); Boy (Susan Smith Blackburn Award honorable mention); St. Scarlet; Nightswim; Smoking Lesson. Plays for children include, Summer Of The Swans; Guitar (music by Duncan Sheik); and Walk Two Moons (music by Lucas Pappaelias.) Other musicals include, The Mice (part of Harold Prince‘s 3HREE) and Sarah, Plain and Tall (Kleban Award for libretto and an ATT Onstage award.) Her short film, The Hat, premiered at Sundance and was the most played short shown on Bravo and IFC that year.
Clare by Suzanne Bradbeer
Suzanne’s play Confederates opened the 2016-17 season at TheatreWorks – Silicon Valley and received seven Bay Area Critics Circle nominations including Best Production. Other productions include Naked Influence(Capital Rep); The God Game (Gulfshore Playhouse/Capital Rep, 4th Wall Theatre Company, Hudson Stage, etc.); Shakespeare in Vegas(Dreamcatcher Rep/PTNJ); Full Bloom (Barrington Stage; Hudson Stage, etc.); Lone Star Grace (Theater Workshop of Nantucket); Rita Faye Pruitte(Six Figures Theatre Company); Broken Window Theorem (Barrington Stage, Mile Square Theatre).
Five Star D-A-D by Liana Sonenclar
Liana Sonenclar is a writer and actress based in New York City. As an actress, she has performed Off Broadway, and she also shoots comic memes for Elite Daily. Her original play “Before This New Year” was presented for industry this fall. Her most recent short story, “Alibi”, was a finalist for the Al Blanchard Award at the New England Crime Bake, in which she was the youngest author in history to place. Liana currently works for the League of Professional Theatre Women.
Mistress Marlene by Margo Hammond
Margo’s plays have been produced in London, England, Milan, Italy, NYC and at various theatres across the U.S. Mistress Marlene has been published in Smith & Kraus’ “Best Ten-Minute Plays of 2015” and “Mae the Magnificent” in their 2019 edition. Luna Stage(West Orange, NJ) recently included “Mae” in their 7th Annual New Moon Short Play Festival. Margo’s full-length, “Let Maisy Rest In Peace” was recently presented at Barter Theatre‘s 2019 Appalachian Festival of Plays and Playwrights (January 2019) and also received a reading at Mile Square Theatre (Hoboken). Margo’s other plays have been seen in NYC at 78th St. Theater Lab, Soho Playhouse and Theater 54 (for AND), at CAP21 & Little Church Around the Corner and Directors Company (for ARTC) and at Workshop Theater Co. Her play, Look Me In the Eyes was produced in Colorado Springs, CO at Six Women Playwright’s Festival and in San Diego, CA at North Park Playwright Festival. Margo is the grateful 1st Place recipient of the 2016 Jerry Kaufman Award for Excellence in Playwriting.
Sarah Greenman is a playwright, painter, actor, and advocate for women in the arts. As an artist and community organizer, Sarah’s work is joyful, inclusive, strategic, and fiercely focused on equity and collective liberation. She holds a BA in Creative Writing with a Women’s Studies emphasis from Mills College where she was awarded the Gertrude Hung Chan Playwriting Prize for her original play LENI and the June Jordan Prize for Poetry. Sarah’s plays have been produced in New York, Oakland CA, Berkeley CA, Portland OR, Santa Maria CA, and Seattle WA. Sarah is also a graduate of the Pacific Conservatory Theater (PCPA) where she most recently served as interim Director of Outreach and Education. UPLIFT. AMPLIFY. ADVANCE. Statera takes positive action to bring women into full and equal participation in the arts.
Theater 2020 presents Marc Blitstein’s musical masterwork:
BROOKLYN, NY May 8, 2019 – THEATER 2020, Brooklyn Heights’ NY award winning professional theater company is pleased to announce its June 2019 run of the masterwork “THE CRADLE WILL ROCK,” in a limited run of 16 performances (indoors & out) Friday, June 7th – Sunday, June 30th, 2019.
Press is invited beginning Saturday, June 8th at 2:30pm.
Marc Blitzstein’s riveting musical The Cradle will Rock was born in 1937 during the Great Depression. Cradle sings a tale of the downtrodden, the 99%, who ultimately rise together. In Cradle we see artists selling out to the wealthy, healthcare influenced by big money, the press owned by big business, the church controlled by its donors and war encouraged for corporate greed. Sound familiar? Cradle’s genesis, and the events surrounding its opening night, represents a seminal moment in American Musical Theater history. A video of the original producer, John Houseman, describing that amazing opening can be found here: https://youtu.be/_LDb0fn4Uek
Creative team: Director David Fuller, Music Director/Pianist Brian Fitzsousa, Costume Designer Sarah Constable, Choreographer Judith Jarosz, Production Stage Manager Nat DiMario, Assistant Stage Manager Kristina Voznick .
Cast: Desiree Baxter*, Debra Thais Evans*, David Fuller*, Fred Frabotta, Scott Harrison*, Kate Holland*, Zoe Kanter, Ellen Martin, Alex Shafer*, Jeneen Terrana*, Kristofer Thornton*, Hannah Viederman. (*Appearing courtesy of Actors Equity Association)
Venues:TheGreat Room at ART NY studios at 138 South Oxford Streetin Brooklyn. Convenient to all trains: B, C, D, G, N, R, Q, 2, 3, 4, 5, and the LIRR.
Cadman Plaza Park War Memorial lawn area atFulton and Tillary Streets in Brooklyn Heights. Subways: 2, 3, 4, 5 to Borough Hall, N, R to Court Street, A, F to Jay Street, C to High Street.
Dates and Times:Please note the varied dates & times.
Great Room ART NY: Fri. 6/7 8pm, Sat. 6/8@2:30pm, Sun. 6/9@2:30pm, Wed. 6/12 @8pm, Thur. 6/13@8pm, Fri. 6/14@8pm, Wed. 6/19@8pm, Thur. 6/20@8pm, Fri. @6/218pm, (NO PERF SAT & SUN, JUNE 22 & 23!) Wed. 6/26@8pm, Thur. 6/27 @8pm, Fri. 6/28@8pm Sat. 6/29@8pm, Sun. 6/30@8pm.
Cadman Plaza Park, War Memorial lawn. Sat. & Sun. June 15 & 16, both at 6PM. (note early curtain in park) Running time: 120 min.
Cadman Plaza Park, all tickets FREE, no reservations required.
Theater 2020 “Visions for a New Millennium”
“Theater 2020 has once again proven that you can easily delight an audience when you have 1,000 times more imagination than funding!” – The Huffington Post
Director’s Note: “THE CRADLE WILL ROCK”
THE CRADLE WILL ROCK, A Musical Of, By and For the People!
Book, Music & Lyrics by Marc Blitzstein, Directed by David Fuller
Musical Director/Pianist Brian Fitzsousa, Choreographer Judith Jarosz
Marc Blitzstein’s The Cradle will Rock was born in 1937 during the Great Depression. Cradle sings a tale of the downtrodden, the 99%, who ultimately rise together. In Cradle we see artists selling out to the wealthy, healthcare influenced by big money, the press owned by big business, the church controlled by its donors and war encouraged for corporate greed. Sound familiar? We laugh at the lampooned stereotypes, all the while discovering what our hero Larry Foreman knows: when we work together the “Cradle Will Rock!”
Upon hearing a rendition of the song, A Nickel Under Your Foot, Brecht encouraged Blitzstein: “Why don’t you write a piece about all kinds of prostitution – the press, the church, the courts, the arts, the whole system?” He did and dedicated it to his friend, “to Bert Brecht.”
Blitzstein called Cradle a labor opera, composed in a style falling somewhere between realism, romance, Vaudeville, comic strip, Gilbert & Sullivan, Brecht and Agit Prop. He wrote, “The characters in The Cradle Will Rock are two-dimensional; types, rather than individuals. In a sense they are cartoon characters, larger than life, sometimes even larger than theatre life. The Cradle is thus a kind of modern morality play.”
Cradle’s genesis, and the events surrounding its opening night, represents a seminal moment in American Musical Theater history. A video of the original producer, John Houseman, describing that amazing opening can be found here: https://youtu.be/_LDb0fn4UekThe Cradle Will Rock, with its sharp, witty and sometimes poignant call to arms against oppression, is as timely today as when it was first performed in 1937.
Multi Award winning & nominated (OOBR, NYIT, GLADD awards) producing team of David Fuller & Judith Jarosz
Theater 2020, Inc., Visions for a New Millennium, Brooklyn Heights’ first professional theater company, was founded in 2010 and represents the natural culmination of many years in the performing arts by its Producing Artistic Directors, Judith Jarosz and David Fuller, and its board members. Jarosz has performed, directed, choreographed or produced on Broadway and off, at major regional houses, and the New York City Opera. In her years at the helm of Theater Ten Ten Jarosz produced 49 main stage productions, together with countless cabarets, workshops, readings and special events. Fuller has acted nationwide, directed regionally and in NYC, and his 25-plus years in theater includes six years at the helm of Off Broadway’s Jean Cocteau Repertory, as well as seasons in partnership with Jarosz at Theater Ten Ten. All told, Fuller has produced 64 Off Broadway and NYC Indie Theatre productions, in addition to staged reading and music series, workshops and educational outreach programs. They have together or singularly produced tours of 21 plays and musicals and have been recognized with multiple awards and nominations from many institutions including, The National GLADD awards, OOBR Awards, Nytheatre.com People of the Year, and New York Innovative Theater Awards. Hundreds of thousands of people have seen their work, children, students, adults and seniors.
Theater 2020, Inc., Visions for a New Millennium is dedicated to producing classic and contemporary plays and musicals for a 21st Century audience and to providing a nurturing atmosphere for both emerging artists and seasoned professionals. We are dedicated to reaching out to the community and to producing quality theater at affordable prices, utilizing established professionals and fostering young artists as they emerge into the theatrical mainstream, with a particular emphasis on providing more opportunities for women in theater.
The only professional union theater company based in Brooklyn Heights, Theater 2020 produces everything from classic theater to contemporary satire, with forays into musicals and light opera, making them immediate to modern audiences using both innovative and traditional approaches. We believe live performance is a vital part of a healthy culture and that it is through theater that audiences are engaged dynamically in today’s issues and in perpetual questions of the human condition.
Through our many audience outreach programs, we offer free and deeply discounted tickets because we believe theater must be for everyone, and no one should be deprived of the experience due to economic status. Through our educational initiatives we are firmly committed to the idea that today’s youth is tomorrow’s audience, and we work with educators to provide opportunities for students as interns and assistants.
Theater 2020, Inc. produces in Brooklyn, Manhattan and elsewhere, including the under-served Greene County in New York’s Catskill Mountains.
SCHOOL GIRL CRUSH Written by Jeannine Foster-McKelvia Directed by Isreal McKinney Scott Featuring Cate Bottiglione, China Colston, Ashlee Danielle, Daralyn Jay & Betsy Rosen Post show conversation with Martha Steketee
“TWO MOTHERS, TWO DAUGHTERS, RACE, CLASS, INTERRACIAL DATING & VERBAL FIREWORKS.” George Bruce Library 518 West 125th Street New York, New York 10027 May 18, 2019 4-5 PM
Jeannine Foster-McKelvia- director, actor, playwright. Her full length play The Perfect Reunion, developed in the 7th Potpourri World Women’s Series, and given a reading at the 2017 National Black Theatre Festival’s Readers Theatre of New Works on the “A” list; short plays Sisters & Friends, Love, Life and the Revolution and School Girl Crush. Some of her directing credits include, Garvey (Trilogy Opera Company), Swing andMiss N’Victas (Negro Ensemble Company), Belonging (original student work, CUNY City Tech), A Doll’s House and The Story (Sarah Lawrence College), A Question of Taste (original production Pittsburgh Playwright’s Theatre and producer/director Midtown International Theatre Festival, NYC.), The Kitchen (Pittsburgh Playwrights Theatre) and Christmas is Comin’ Uptown (African American Council on The Arts). Jeannine is a graduate of Duquesne University and Sarah Lawrence College and an Alumni of the Lincoln Center Theatre’s Directors Lab.