Review: Synching Ink

Dancing and Spitting Rhymes to Find Your Voice

By Irene Hernandez

Before entering The Sam Theater, to see the play Synching Ink at The Flea Theater, I, along with the other audience members, had to pay the bouncer (Elisha Lawson) with participation – responding to his calls to clap, stomp and complete his chants with enthusiasm. Once the bouncer was greased, he allowed us inside with a warning: we are about to enter a party. Once I entered the theater, I realized the guy wasn’t kidding: the stage in the round was a club lit dance floor, vibrating from the remixed 90s hip hop/R&B hits expertly spinned by DJ Reborn. As I sat down, I felt like the lame chick sitting out from dancing in a club. If I wasn’t writing notes for this review, I would have been out on that stage, dancing shamelessly.

This world of visceral rhythm was created by director (and Artistic Director of The Flea Theater) Niegel Smith to illuminate the mouthwatering hip hop poetry of Nsangou Njikam’s Synching Ink.

The play opens with old school hip hop dancing from the street clad ensemble of impressive nimble actor/dancers, each representing a color and an earthly element. These talented and versatile artists dance at several important moments in the play to help tell the story of Gordon (Njikam), an insecure young man we first meet in high school, where he first aspires to be a hip hop wordsmith, as good as his classmates and to win the affection of class siren Mona Lisa (McKenzie Frye). As Gordon breaks the 4th wall to tell his story (based on Njikam himself) and confide in the audience, Njikam deftly suggests each stage of his hip hop creative journey as he ages, subtly using his physicality, vast vocal range, wardrobe, and spacial distance from everyone else on stage. Not only is Njikam a strong, original playwright, he is a genuinely talented actor as well.

In Gordon’s world, he is helped by various classmates and teachers along the way, as well as his father, to help him find his artistic voice. The ensemble (Lawson, Frye, Adesola Osakalumi, Kara Young, Nuri Hazzard) is absolutely adept with spoken word dexterity, wonderfully surprising versatility in the various characters they played, fantastic range in their dancing, fluent in every language of rap and worked phenomenally off of one another. Though the entire cast is fantastic in their artistry in their own right, the standout is Adesola Osakalumi, who played an English teacher with elegant physicality, a hilariously dubbed martial artist expert, Gordon’s aging father, a black power college professor, the MC of the final hip hop battle and a hip hop dancer. Having seen him only have moments and a costume piece to switch characters is even more impressive.

Smith’s direction is seamless, from spoken word scenes to dance scenes, while finding the arc of Gordon’s journey to search deep inside himself to find his voice, and doing so with humor, dance and original devices, such as rewinding a brief scene, using sound effects and the talents of his actors. A special mention to the lighting designer, Kevin Rigdon, for finding interesting variety and original choices in telling this story, as well as the choreographer, Gabriel “Kwikstep” Dionisio, for his incredible work in creating different dances to create the story arc and the work he did with the cast, sound designer Justin Ellington for his surprising and fun choices with the production sound and costume designer Claudia Brown for her subtle work in creating the story arch for Gordon and the color choices and pieces for the ensemble.

I cannot express enough how impressed I am with Nsangou Njikam’s writing with Synching Ink. Creating each spoken word/hip hop pieces for each character, the overall arc of the play for several characters and the original, interesting and funny characters he created while telling truths about his experience, makes Synching Ink an experience you have to see for yourself. I honestly hope you do.

Irene Hernandez is an actor, playwright/screenwriter, director, producer, singer, song writer, teaching artist, designing artisan, fine artist, art model and the artistic director of Dancing Frog Theater Company.

Where: The Flea complex (20 Thomas Street in Tribeca, between Church and Broadway, three blocks north of Chambers).

When: Performances run through October 29th

Tickets are available at Ovationtix.

Review: Village, My Home at the Community Theater

VillageMediumVillage, My Home Review: In The Chaos of New York City, Is This A Village We Can Search Our Home?

By Irene Hernandez

A sepia shaded, vintage silent film of tree roots, on a constant loop, is projected on a small screen above a simple set of a small stoop of stairs begins the 40 minute journey of Marcina Zaccaria’s Village, My Home at the Community Theater  at Theater For The New City for the Dream Up Festival in the East Village.

The silence and roots will elude the various characters cluttering the stage, especially the lead character, played by Frances McGarry. The sassy redhead’s claim of brilliance, beauty and basically knowing all is less self-confidence and more arrogant combativeness. Indeed, most of the characters in various vignettes in this production have an urgent need to be heard and yet aren’t paying much attention to those around them in a similar plight.

In other words, these characters are New Yorkers.

The archetypical characters, portrayed by an energetic ensemble, are the types of people you would come across on a subway platform or Union Square. The unnamed characters span generations and language but have a common strand: they all look outside themselves for meaning, identity, and a sense of home, filling the spaces in their lives with constant movement and sound to attempt avoiding their dissatisfaction.

One element of the show is how our digital era – fax machines, email, printers – can add to our frustration, while the use of laptops and cell phones – to text, or take pictures or video – detaches us from living in the moment and our sense of community and connection.

Consistently projected on the small screen is the statement: I built my home. Have these contemporary New Yorkers built a home or a prison of chronic dissatisfaction?

Offering perspective throughout the play is a Greek Chorus of mature hippies, played by Marjorie Conn, Madalyn McKay and Maile Souza. This elegant trio of actresses introduced rhythm, music and dance, suggesting that simplicity, creating with your body and building something from the ground up with those you care for, your village, can be the closest we get to building a home, even if it falls apart. This idea is easily relatable in our current times.

Special mention to Lindsay Shields for her varied video work that subtly underlined the story elements in the play’s opening and transitions as well as Maria Ortiz Proveda’s costume design, with the refreshing inclusion of Greek puppetry.  I  don’t think I’ll forget the giant puppet head of Sadaam Hussein anytime soon.

With so many themes and interesting elements within 40 minutes of the production, I’m curious if Zaccaria’s intent is to keep the show as a short flow of ideas or to expand and organize the hustle and bustle rhythms and refreshing earthy elements into a full length play. Either way, Marcina Zaccaria’s Village, My Home will make you consider to slow down and rethink what home really is.

Irene Hernandez is an actor, playwright, director, producer, singer, songwriter, designing artisan, poet, art model, teaching artist and artistic director of Dancing Frog Theater Company.

Where: Theater for the New City on 155 First Avenue

Friday, September 1 at 9PM
Saturday, September 2 at 2PM
Sunday, September 3 at 8PM

Tickets are available at SmartTix.


Guest Blogger Nick Radu Reviews Bedroom Farce

Bedroom Farce

If you’re looking for a good time, a good show and a few good laughs you need only go as far as the bedroom; or three bedrooms, as it is in Alan Ayckbourn’s Bedroom Farce. Under the creative and talented eye of director Andrew Block, the title and the performances do not disappoint when it comes to comedic farce.  The entire play takes place in three separate bedrooms, owned by three of the four couples in the play.  Ian McDonald did a spectacular job of creating the space, with three full beds, as well as walls and doors and other nooks and crannies to differentiate the playing spaces. But it’s Block’s clever blocking that keeps this play moving, and from becoming a giant mess of beds vs people.

Trevor and Susannah, played by Simon Pearl and Alexandra O’Daly, respectively, are a couple whose marriage is on the rocks, and everyone else knows about it.  These two actors have great chemistry as they battle it out in the most awkward of places; other people’s bedrooms.

Trevor’s parents, played by Viki Boyle and Mitch Giannunzio, give us a wonderful insight into married life during middle age.  They seem to have the experience and the answers, but we are privileged to watch these playful actors as their true colors come out when they’re forced to deal with unmentionable topics.

Nick, played by John Gazzale, makes us all cringe as the bed-ridden character agonizing over a slipped disc.  We have the joy of watching his wife, Jan, played by Mel House, deal with her husband’s pleasantries during this crazy romp.  The two have the best moment in the play as these great physical actors give the audience their money’s worth!

In fact, the entire cast has wonderful comedic timing, but the scene stealers are clearly Joscelyne Wilmouth, playing Kate, and Toby MacDonald, playing her husband, Malcolm. These two have it all: chemistry, timing, physicality, you name it.  MacDonald has such a great take-charge way about him, while still being adorably funny.  Wilmouth shows the most range as she interacts with the other characters and deals with her own bedroom shenanigans.

Stop down to the Fifth Avenue Presbyterian Church and catch one of the remaining performances of Bedroom Farce. You’re in for a treat!

Jones Auditorium
Fifth Avenue Presbyterian Church
7 West 55th Street
(on the 3rd Floor)
7 pm Saturday, April 16
2 pm Sunday, April 17
7 pm Tuesday, April 19
7 pm Wednesday, April 20
7 pm Thursday, April 21
7 pm Friday, April 22
7 pm Saturday, April 23
2 pm Sunday, April 24
Visit HERE for more info.

Guest Blogger: Nick Radu Reviews Who’ll Save the Plowboy?

Jerry Rago as Albert Cobb and Julie Hays as Helen Cobb (Photos courtesy of Hershey Miller)
Jerry Rago as Albert Cobb and Julie Hays as Helen Cobb (Photos courtesy of Hershey Miller)

Who’ll Save the Plowboy? brings us into the small New York apartment of husband and wife, Albert and Helen Cobb, played by Jerry Rago and Julie Hays, respectively.  It is clear at the top of the show that the two have a very strained relationship, to say the least.  They are awaiting the arrival of Albert’s old friend and WWII buddy, Larry Doyle, played by Robert Haufrecht.  Larry saved Albert’s life during the war, and after losing touch for some time, is in town and on his way to visit his old friend.

Bradley Wherle’s set is comprised of a bare-bones, non-descript apartment with a few walls, entrances, a couple pieces of furniture and a window ingeniously placed into the grooves of the small Davenport Theater.  Even the creative picture frames, painted blue like the wall, give us no hint to the kind of life these two lead.

Rago and Cobb don’t disappoint in showing us the hard life they have together during the time before Haufrecht’s entrance, after which we get to see some beautiful moments.  Rago and Haufrecht have some great banter, and even greater timing, as they discuss (or try not to discuss) the subject of the Cobb’s son, Larry, Jr.  Haufrecht is a pleasure to watch as you see the layers of emotion in his eyes after being asked about his wife, Veronica.

Tom Ashton gives us a nice taste of a couple characters, while Alex Vamvonkakis pulls off the boy next door.

But it is Spring Condoyan, playing Mrs. Doyle (Larry’s mother), who steals the show.  Her slow, deliberate delivery made her a pleasure to watch.  She had many wonderful moments, but the look she gave Helen right before her exit spoke a thousand words.  Her subtext and subtlety left us begging for more.

While I share a birthday with the late Frank D. Gilroy (October 13th), I feel the play is dated, repetitive and heavy.  Hays gave a lovely performance, but unfortunately her character had no redeeming qualities, just one of the downfalls of the misogynistic writing she fell prey to.

Director Marcia Haufrecht and her cast do a wonderful job of leaving us with the question: Have our actions, no matter how good the intention, left the world a better place?

The Davenport Theatre Black Box
at 354 West 45th Street
New York, NY 10036

Wednesday, November 11 at 8pm
Thursday, November 12 at 8pm
Friday, November 13 at 8pm
Saturday, November 14 at 8pm
Sunday, November 15 at 3pm (matinee)
Wednesday, November 18 at 8pm
Thursday, November 19 at 8pm
Friday, November 20 at 8pm
Saturday, November 21 at 8pm (closing)

Click here or call 1-800-838-3006.

Guest Blogger: Ian McDonald Travels the World with Jasmine Pittenger

unnamedIn My Ass (In The World) Jasmine Pittenger explores our cultural biases about body image through the lens of an international traveler, journeying to exotic, far-away lands where those biases are not only upended, but completely thrown away.  This is juxtaposed with the backdrop of violence in war-torn regions around the world, forcing us to ask ourselves “is the violence in the world the same as the violence we inflict upon our own bodies in order to fit some unattainable ideal?”

Performing as a cast of characters from around the world, Ms. Pittenger bares her soul in some wonderfully, and sometimes brutally, honest moments. From the wonder and adoration of Senegalese tribeswomen, to the predations of well-to-do South American teens, culminating in the dangers of being blonde and full-figured on the back streets of Afghanistan, Jasmine pulls no punches as she weaves her story supported by simple but elegant projections on the set behind her.

Coming in at just under 60 minutes the piece feels a bit short, as if there is more to this story that needs to be told and we are only hearing the beginning. That said, My Ass is a delightful hour of theatre and I would be lying if I said I didn’t have a craving for kofta kebabs after seeing it.

Performance Schedule:

SUN 8/16 @ 8:00 – 9:00 – SOLD OUT
THU 8/20 @ 2:00 – 3:00
SUN 8/23 @ 6:00 – 7:00
THU 8/27 @ 9:00 – 10:00
FRI 8/28 @ 4:30 – 5:30
Venue #04: Spectrum at 121 Ludlow, Second Floor, NYC
For more information, visit

Guest Blogger: Ian McDonald on Felicity Seidel Being a “Lucky Chick”

a38d952f-8684-4138-a374-6e5a42fb4a5dFrom the get go, Felicity Seidel’s Lucky Chick entranced me completely.  The show opens with a fairytale style cartoon that tells the story of a young girl trapped in her circumstances that escapes to join a wild carnival of color and joy.  That carnival parallels the audience experience as Felicity takes the stage and, through a series of vignettes and a motley cast of characters, leads us through a journey of awakening, questionable life choices, crime, sex, drugs, and rock and roll, culminating with her own redemption and acceptance of her inner peace deep in the wilds of Wyoming.

Ms. Seidel’s easy-going style and personality shine as she pulls the audience into the story, seamlessly slipping from one character to the next.  Particularly challenging is the sequence in Wyoming where she plays no fewer than five distinct characters apart from her own, without once betraying them as caricatures.  Each one had a distinct style, speech pattern, and posture, being so fully formed that I could almost smell the hay, whisky and perspiration on one and the engine grease, manure, and aqua velva on another.  My only issue with the show is that running at a brisk 60 minutes, likely a symptom of being in a festival, I was left wanting more of the story. I could easily have sat for another 30 to see the circumstances that brought the vibrant talent of Ms. Seidel out of the danger-seeking, wild child runaway that  began this odyssey.  Running in The White Box on Lafayette Street, Lucky Chick is a delightfully twisted way to spend an evening in The Village.

Performance Schedule:
FRI 8/14 @ 7:00 PM – SOLD OUT
MON 8/17 @ 9:30 PM – SOLD OUT
FRI 8/21 @ 3:15 PM
SAT 8/22 @ 5:15 PM
THU 8/27 @ 3:00 PM
Running Time: 60 minutes

VENUE #14: The White Box at 440 Studios
440 Lafayette St • 3rd Floor
(Astor Place & East 4th Street)

For more information, visit

Guest Blogger: Nick Radu Reviews Rise of the Usher by Jessica Elkin

Victoria Medina, Production Photographer
Victoria Medina, Production Photographer

Every business has its cast of characters and Rise of the Usher gives us a behind-the-scenes look at what goes on in the front of the house at a Broadway theater. Jessica Elkin doesn’t waste any time delving into those characters as she jumps right into the action. Accents, mannerisms and voice changes abound as she carefully and playfully jumps from one eccentric usher to the house manager to another usher to an ex-con ticket-taker and back again until you get a sense of who’s who in her zany romp to the top of the usher totem pole. It was a pleasure watching a fellow Ohioan up on a New York stage enjoying her craft. Mary Catherine Donnelly’s direction gave way to a fun and quirky night of theater as Jessica, who also wrote the piece, found a job, a purpose and even love on her journey. Many ushers will no doubt be able to relate to the antics that are being portrayed in front of them. But whether you’re an usher, an actor, an avid theater-goer or just someone who likes to laugh, catch Jessica Elkin’s performance in the 16th Annual Midtown International Theatre Festival before the lights go down, the curtain comes up and an usher keeps YOU from getting a seat!

Performance Dates:
Sat 7/18 at 3:00pm
Thurs 7/23 at 6:30pm
Sun 7/26 at 4:00pm

Danielle Gautier, Executive Producer
Joanne Pan, Stage Manager/Board Op
David Goldstein, Lighting Designer
Malini Singh McDonald, Marketing Director/Publicist

Nick is an actor/writer/director/producer from Canton, OH. He is currently a founding board member of Non Disposable Productions and a member of Theatre Beyond Broadway. Nick has worked on TV pilots, film productions and numerous theater projects in NYC. Favorite acting credits include Tony Wendice, “Dial ‘M’ for Murder,” Cain/Japeth, “Children of Eden,” Philip, “The Lion in Winter,” and Oscar Lindquist, “Sweet Charity.” Nick is currently writing a musical, “Lonely Moon” as well as a novel, “3225.” Nick loves collaborating with other artists and looks forward to creating exceptional art and connection.

Guest Blogger: Alice Shapiro on mini Broadway bites

MiniBroadwayBites Large (1)I have never met Alice Shapiro. She and I struck up a relationship via email as we are both women artists and she working on bringing her show, mini Broadway bites, to New York City. I assumed she was based here in New York but alas I was wrong. Alice creates her art in the countryside of Georgia. We had a lovely telephone conversation about her small town that is now starting to have a theatre scene. Imagine that. They are so lucky to have her and she is lucky to be in a place where art is being discovered. Today she tells us about how this all transpired.

I’m writing this story from a gazebo in the midst of tranquil woodlands outside the Dog River Library on Highway 5. Being an abstract person by nature, it is easier for me to write a play than tell you what it is about. When I’m literal others talk in parables; when I make up stories others are literal. Welcome to my world!

In 2011, I received an email from the Estrogenius Festival in NYC seeking volunteers. At the time, I was living in Georgia but helped remotely to gain rehearsal space for their productions. Fast forward to 2013 when another email from The International Women Artists Salon (IWAS) announced that an Estrogenius Festival-affiliated member had formed a new group where women artists from around the world could meet in person and via Skype to share their activities. At the first meeting, Heidi Russell, the IWAS founder, graciously invited me to exhibit the set design paintings from my mini BROADWAY bites musicals at their Off Off Broadway partner venue, The Producers’ Club. Heidi also helped connect me with the venue to mount a showcase of two of the mini musicals. I was suddenly an Off Off Broadway producer/playwright catapulted into a new world of magical possibility. After that amazing sold-out performance experience I was captivated by the bright lights and encouraged to reach out again. Miraculously, we are now presenting the mini BROADWAY bites exclusively at Planet Hollywood Times Square in their Off Broadway Screening Room on Broadway and 45th Street, merely one block away from where we started…. in less than 6 months time!

Originally the scripts were written first as an outline based on scripture from the Bible. This became the structure for all ten plays in the series so that each play has its own theme with a beginning middle and ending while at the same time keeping continuity throughout all ten plays as one linear story.  The songs are from sheet music found in the University of West Georgia Special Collections Library and are popular public domain pieces from the turn-of-the-century.  Making the musical theatre performances into a film with Pridek Studios was an exciting adventure in creativity. We wanted to build something different than a static filming of an on-stage performance so it had to be more movie-like. We hope we captured the essence of both mediums in an exciting new way in our first Musical Film Short, Fountain of Youth.

KC photo TCLF IMG_4175 (1)Alice Shapiro is an award-winning playwright and author of four books with a fifth forthcoming in 2014. A native New Yorker, Alice now lives in a small town in Georgia. You can reach her at


Guest Blogger: Scott Wesley Slavin on the Actor-Audience Relationship

NIAMy friends, Scott and Valerie, just concluded 25 performances of Naked in Alaska at Edinburgh. 25 shows in a three week span. For those of you who follow me and have been reading my articles this summer on festivals for The Write Teacher(s) (and if you haven’t, click HERE), I have been exploring theatre in the Festival setting. I have just completed my fourth festival with the New York Fringe Festival and am now embarking on EstroGenius Festival. About two weeks ago, Scott posted the below. I was really moved by his words as he really is able to experience the actor-audience relationship. Scott is the director/stage manager/technical director/wizard of Naked in Alaska. Once he and Valerie are at the theatre, he is in the booth behind or above or to the side running the show. And observing. Many thanks to him for giving me permission to repost it here.

Running the tech for Naked in Alaska every day for the past two weeks has allowed me to experience 14 different audiences to the same show. It’s given me so many opportunities now to wonder about the actor-audience relationship. What is it? What are our responsibilities–on both sides? How can we each more graciously reach across the perceived divide and nurture a more fulfilling partnership during these brief hours that we spend together? What, in the end, is the greatest potential of this relationship?

“There is an implied contract,” author Ed Hooks writes, “under which the person in the audience willingly suspends his disbelief in the pretending on stage… so that he can empathize with the actors on stage. The audience for a theatrical production is not a voyeur. It is a participant, part of an active relationship. Each side brings something to the event, and they pretend together. This is why the events are called ‘plays.'”

In the seven years I’ve been with Valerie Hager, however, she’s taught me that the “active relationship” on the part of the audience goes far beyond “suspending disbelief.” Valerie’s the most giving audience member I’ve ever met: laughing, crying, whooping, standing, yelling out encouragement if need be. She knows in her bones how much positive energy and sustenance her empathic, vocal responses give to the performer, and how that transforms the performance, and thus the show, for everyone.

We’ve had some houses here in Edinburgh that roar with laughter, exhale with grief and empathy, and clap loudly with tears streaming down their cheeks at the end; other houses, just as large, who barely make a sound, save for an echoing cough or the thud of a seat flipping up and down. From the artist’s perspective, this can be incredibly unnerving (“What did I do differently tonight? Was something wrong? Did I do my job well? Did I do things that made me/my character unlikeable tonight?”); however, when that passes, I’m mostly just curious.

Do certain audiences come into the theater with a kind of aggregate nervous system that is energetically either open to the show that evening or closed to it? And, if so, how does that happen–what contributes to it? Is there anything an artist can do to massage a seemingly tight, closed audience into a relaxed, open one? Are there ways to welcome audiences so they may feel more free with their emotions and their responses once the show begins? How can we be more compassionate with ourselves after a challenging audience leaves and we have that sinking feeling in our hearts of “What the f*ck just happened?”

I don’t have any answers, and I admit to not being nearly as giving as Valerie is as an audience member. But I’m also learning that I may have a greater responsibility than I previously would have acknowledged when I sit in the dark watching another human being perform before me: that the relationship is more a two-way street than a one-way one, and that, like most human relationships, the more I am wiling to give, even at some risk to my own comfort and anonymity and “process,” the more–the very much more–I’ll likely get back. I may just get back my self.

Guest Blogger Jennifer Curfman on Brecht and The Pawnbroker

Pawnbroker postcard mockupIt’s no secret that I have a soft spot for solo shows. I find them interesting and challenging at the same time I am usually in awe. As an actress, I have always done shows with multiple character rather than a show with one performer playing multiple characters. This time around I have the pleasure of working on the one woman show, The Pawnbroker, written and performed by Kaitlin Wilcox about the women in the life of Bertolt Brecht. I didn’t know Brecht’s back story rather just his work in the theatre and his plays. Today’s guest blogger, director Jennifer Curfman discusses her work.

When Katelin Wilcox first asked me to direct her one-woman play, The Pawnbroker, she had just finished its first public performance as a part of the United Solo Festival. Her wonderful director, Diana Buirski, was moving away, but The Pawnbroker’s professional life was just getting started, and it would still need a director. Katelin asked me to come along for the ride, and I jumped at the chance to work on this dynamic, compelling play, and to help it find its audience. Now, after two small workshops, a flurry of applications and emails, a dozen marathon rehearsals, and countless cups of coffee, we are poised to open The Pawnbroker at FringeNYC this weekend.
The first time I heard Katelin’s play, I was moved and angered by the stories of its five protagonists, women who loved and worked with legendary playwright Bertolt Brecht throughout his career, and who were instrumental in the creation of much of his body of work. Time and again, these women were each charmed, delighted, and inspired by Brecht, and also deeply wronged by him, personally, professionally, and artistically. They made extraordinary contributions to some of the world’s greatest theater and, until I encountered The Pawnbroker, I had never even heard of most of them.
The life of this play began years ago, when Katelin discovered the stories of Elisabeth Hauptmann, Helene Weigel, Marianne Zoff, Margarete Steffin and Ruth Berlau as she researched her college thesis. As a playwright, she has worked for years to give these women a voice, but it is her work onstage as an actor that truly brings The Pawnbroker, and these women, to life. Katelin is as smart and skilled an actress as she is a playwright, and I have the privilege of being in rehearsal with her, where I get to meet these five women every day. Together, we have worked to find what is unique about each of the women. It would be easy to think of that only in terms of the physical or vocal choices Katelin can make, but we also get to uncover what each woman most desperately wants, and how they each fight to get it. They each have their own charms and their own flaws, they are at once funny and tough and heartbreaking, and in every rehearsal I learn something new about one of them. And I want to fight for them too.
Katelin and I are thrilled to introduce these women to the FringeNYC audiences. As The Pawnbroker approaches its opening night, we’re in the thick of tech rehearsals and ticket sales, slide projectors and, yes, more coffee. But one thing cuts through it all. As Katelin recognized years ago, these women should be heard.
The Pawnbroker: Lies, Lovers, and Bertolt Brecht will be presented as part of the 2014 New York International Fringe Festival. For more info:
Performance details:
Sat. 8/9 12:30pm
Sun. 8/10 7:45pm
Wed. 8/13 5:00pm
Sat. 8/16 8:45pm
Thu. 8/21 2:00pm
FringeNYC Venue #12: 64E4 UNDERGROUND – The Paradise Factory, located at 64 East 4th St. (between Bowery and 2nd Ave.), New York, NY 10003
10472698_727771650604294_844854479345166573_nJennifer Curfman (Director) is a Resident Artist and Associate Artistic Director of The CRY HAVOC Company. She directedthe world premiere of Peace, Love, and Cupcakes, The Musical (Vital Theatre), which reopened this summer for an extended run in NYC. Other directing credits include Party Girl and Good Enough by Kitt Lavoie, Caught by Sharon E. Cooper, and the upcoming (One) Acts of HAVOC (Manhattan Rep). Associate directing credits include Romeo and Juliet, Kitt Lavoie, Dir. (CRY HAVOC), and the concert staging of Bros and Dolls, Matt Cowart, Dir. (Joe’s Pub). Acting credits include NYC Opera (NYC premiere of Dead Man Walking, Leonard Foglia, Dir.), Great Lakes Theatre Festival, Shakespeare Theatre of New Jersey, Phoenix Theatre Ensemble, and the NY Philharmonic (Stephen Sondheim’s 80th Birthday Concert, Lonny Price, Dir.). Jennifer is a member of Actors’ Equity, and she holds a BFA from NYU.