A Soulful Return: A Review of Soul Doctor

CaptureI love immersive theatre. I love to be in the midst of the storytelling. And I love when I can feel passion in the room. Being moved and inspired doesn’t quite describe what I felt on opening night of Soul Doctor. I was totally overcome by the energy and love in the room.

The shul turned theatre space is perfect for the return of Shlomo. After a brief run last summer on Broadway, Soul Doctor returns under the direction of Mindy Cooper as shorter and tighter at The Actors Temple.  All I can say, again, is that I was filled with emotion from the beginning of the show as Shlomo Carlebach (played powerfully by Josh Nelson) and his congregation infused the space  with Jewish music and singing.  The story of his life begins with him in Vienna soulfully and musically engaging his followers in love, joy and freedom. The prescription for feeling broken. The story then unfolds as we travel back to his life as an 11 year old boy during the Hitler regime. The beautifully crafted songs continue the story of Carlebach’s life through his upbringing and awakening in New York City as the son of a lineage of rabbis, his chance encounter with Nina Simone (played exquisitely by Dan’Yelle Williamson) and his big break as a recording artist which landed him at the Berkeley Folk Festival. Shlomo’s story, supported by his faith, his friendship with Nina and the many lost souls that he touched, is beyond inspiring. David Goldstein kept with the style of The Actors Temple by creating a simple set with wood paneling and stain glass windows. By designing the set in this way, he provides a space for The Holy Beggar Band on top as well as a backdrop for the projections that indicate locale throughout the show. The set also provides this ensemble cast to move seamlessly and effortlessly  into the different characters that Carlebach meets along his path.

As an extra bonus, the audience was treated with a few songs by Carlebach’s daughter, Neshama Carlebach, after the show ended. She has followed in her father’s footsteps.  I had such a good time being wrapped up in the story and the music. What a night! Shlomo Carlebach’s goal was simple: to reach the masses with love and to express freedom through music and his faith.  This gentile received the message and passing it along.

Directed by Mindy Cooper; Book by Daniel S. Wise;Music and Additional Lyrics by Shlomo Carlebach; Lyrics by David Schecter.

Music  Director & Arrangements by Seth Farber

The Actors Temple Theatre at 339 W. 47th Street

Visit http://www.souldoctorbroadway.com for more information

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 www.minibroadwaybites.com

 

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: www.YouDontKnowBrecht.com
 
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.

Guest Blogger: Megan Minutillo Creates Because It’s A Beautiful Thing

View More: http://tiffanyfarley.pass.us/meganminutillo
Megan and I met about a year ago through our mutual friend, Michael Roderick. We are New Yorkers. We are artists. We are Libras. We hit it off in a second. We bonded over our mutual love and respect for art, specifically theatre. However, we have both crossed the beautiful line of this crazy world being our profession. And why do we do it. Why do we fill every moment of our lives, writing, performing, supporting? Megan says it all.
We had been working nineteen hour days.  We were covered in dirty, sweat, grease, and dust.  Our muscles hurt. Our bellies grumbled.  We just wanted to take a nap, but we couldn’t for the show must go on.  It must always go on.
 
At one point, I looked out at the beautiful water that surrounded our theater and this space that we were creating, and thought to myself, hold on to this moment. Tuck it away in a place you hold dear, and bring it out when you need to remind yourself of why it is what you do.
 
For us theater folk, well, we don’t do it for fame or fortune. Actually, perhaps I should clarify, the people I know, the people, the ones that I work with don’t do it for fame or fortune.
 
We do it to create. We do it because we cannot possibly fathom a life without it. For theater, well, it’s part of who we are.
 
You see, we are storytellers, and through our art, through our craft, we bring people together.  We remind others of the basic human threads that bind us all. For life, well, it ain’t about fame or fortune, it’s about love, it’s about family. It’s about friendships.  It’s about the tiny moments that stick to your soul.
 
Theater is the preservation of those tiny bits of human connection. It’s a spotlight on the pulse of humanity – and it’s just grand.
 
I have a couple of concerts coming up, one of which is Lucky Disaster Volume 4, featuring the music and lyrics of Ryan Scott Oliver with the words of The Write Teacher(s).  And just as I did with Volumes 1-3, I began to pour over Ryan’s work, finding songs that I think will best be served by this concert series…and his work has reminded me of the words above. That theater is the magnification of connecting to another person. Another heart. Another person’s pain. Another person’s story.
 
Ryan has an uncanny ability to make the darkest and most painful moments in life sparkle with their own special sort of beauty.
 
He writes in such a way that reminds us we are not alone.
 
He writes in such a way that reminds us that we are all in this crazy life together.
 
His work is written in such a way that it brings people together.
 
And that, for me, will always be a beautiful thing.
Megan Minutillo is a producer, director, writer, theater teacher, and the founder of The Write Teacher(s) –www.thewriteteachers.com. The Write Teacher(s) is an online arts magazine, dedicated to bringing audiences the latest and greatest in theater, film, television, visual art, books, music, and arts education. Megan’s writing has been featured on HelloGiggles.com, So Worth Loving, Glass Heel, and I AM THAT GIRL.  Megan has directed and produced in and around New York City, including Guild Hall, 54 Below, Bay Street Theater, Don’t Tell Mama NYC, Stony Brook Southampton, and the Manhattan Repertory Theatre. Currently Megan is at work writing her first feature film, Broken Threads. Follow her on Twitter and Instagram at @MeganMinutillo. 

Guest Blogger: Jp Vigliotti’s Curious Mind Leads to a Musical

Concept and Book by Jp Vigliotti, Music  and Lyrics by Cardozie Jones and Sean Willis,
Concept and Book by Jp Vigliotti, Music and Lyrics by Cardozie Jones and Sean Willis

Who doesn’t know about Sally Hemings and Marie Antoinette? At this point, we enjoy the tabloid history of both women because it’s dangerous and sexy at the same time. There’s also a part of me that thinks that the scandals of yestercentury would make a good E! True Hollywood Story or Vh1 Special. When I was approached about doing the PR for Madame Infamy in NYMF, I was intrigued especially when Jp told me why he had to write a musical about these women. And here is why:

Many years ago while I was on tour stage managing a show, I came across a book on Sally Hemings because I had always been fascinated by the myth of her.  I wound up reading the book cover to cover in record time because I became enthralled by the possibility that our third president of the United States could have fathered children with his slave. After I finished the book, I thought this would make an incredible play but always felt that she would need a “sister voice” in solidarity. 

Many years later while I was in living in LA, I treated myself to the movie Marie Antoinette. The only thing I knew about Marie Antoinette was that she was Queen of France, she was beheaded and she said “Let them eat cake”. Though this movie was beautiful visually, it left me with a lot more questions than it did answers. This led me straight to the biography section of Barnes and Noble, where I picked up the copy of Antonia Fraser’s “The Journey.”  Viola!  What I found was not only an incredible detail of a fascinating life but I found my sister voice to my first love, Ms. Hemings.

I learned that these two seemingly different women, one a slave and one a queen could have lived parallel lives and quite possibly even have been in the same room and space at one time. Madame Tussaud was the added jewel that cemented the fate of this musical coming to fruition. I had a woman who was present at the time that both these women lived in France. She observed people and could have possibly known both of them as she has access to each.   It could not be more perfect… thus Madame Infamy was created.

The title refers to all three women because each of them have become historical legends in their own right.  In fact three full musicals could be written about each of them, but I am a visionary and that would be too easy. So one musical that covers the lives of three very different women who are connected through chance was far more my style.

Madame Infamy runs in NYMF (New York Musical Theatre Festival)

Performance Dates:  Wednesday, July 23rd at 8:00pm; Thursday, July 24th at 9:00pm; Friday, July 25th at 5:00pm;Saturday, July 26th at 9:00pm; and Sunday, July 27th at 1:00pm

Performance Venue: The Alice Griffin Jewel Box Theatre at The Pershing Square Signature Center at 480 West 42nd Street, New York, NY 10036

Click HERE for more info.

First Fridays with Valerie G. Keane: You see that crack? That is how the light gets in.

173 (1)June was both a glorious and enormously rough month.

I have emerged from it feeling rather raw and tender and open.  And sometimes, perhaps this is a necessary and good place to be.

Life is really, really hard.  I don’t mean this in a pessimistic way.  It’s just really hard.  It never lets up.  I don’t think, while on this earthly plane, we are meant to ever really understand why awful things happen to very loving and wonderful people or why we suffer such devastating loss.  No one is exempt. But perhaps what we can understand is that the only thing we do have influence over is how we respond to what life hands us.  Once again, I see that it is not what happens to us but the story we craft about what happens to us that we should hold as holy, beautiful, and absolutely crucial.

We lost a friend, my beautiful circle of friends and I. He was the brightest light of any of us and I still cannot wrap my head around the fact that he is not physically here anymore.  You’ve been there; this has happened to you.  When it happens, I experience a moment where I feel my own life is suddenly jammed into perspective.  And then there are the odd days that follow, when we are left to collect our own struggles and our own pain that we left momentarily at the threshold of another’s tragedy.  But there is a new tenderness that we find in ourselves.  There are blessings that we are reminded to count that we, up until that moment, were too caught up in our own muck and mire to give thanks for. There are lessons hidden within the hideous, and gifts within the seemingly senseless, that are waiting to transform us but we either choose to open our eyes to them or we do not. It is a choice.

I’m thankful for the recent days of my own tears and melancholy and heaviness of heart.  It has burned its purifying fire in an intense, sharp, and expeditious way and left me exhausted, vulnerable, open, compassionate, and very, very tender.  I think this is how love finds its way into us.  I think, in this way, love also more easily finds its way back out to the people who have the courage to sit with us in those moments.

We have such hard shells.  We are told so often to be strong, to persevere.  I don’t think this serves us very well.  And I think true strength is being able to go fully into your pain and allow it to soften you, peel back your layers, to transmogrify your callouses, clear your slate, and be a more intimate and loving human being.

If we can understand that, if we understand nothing else, if we can truly grasp that that is our story, then perhaps we can sit with each other more often and offer up the most heart-breaking pieces of ourselves and open up that sacred space for love and joy to enter.

I am healed by your tears and my own. Come sit with me.

Valerie G. Keane is very honored to be part of the current Queens literary scene.  Her work was recently published in the Spring/Summer 2014 issue of the Newtown Literary Journal and she is the founder of Poetry & Coffee, a very juicy discussion group in Queens for writers and readers, where the only rule is that you cannot read your own work. When asked if she is a poet, Valerie says, “I still don’t know how you qualify as one and no one seems to know where the application form is.”  

Guest Blogger: Melissa Robinette Talks Acting & Doing

f078aa_7c0beedc29e84c058e46a8e0ae061cc8I meet a lot of interesting people. I meet a lot of interesting people in unique situations. Melissa Robinette is one of my favorite interesting people I have met in a unique situation. Last fall, our mutual friend, Doug Shapiro (Savvy Actor & Fearless Mensch) needed a few people for his class at Pace University. This particular session was on networking by being your own Community Ambassador. The idea is “how to enrich your support system in group situations and facilitate excellent introductions”. What fun! Melissa and I hit it off as we are both very passionate about being artistic entrepreneurs. And she has chickens. Here’s how she balances her life as an artist and business woman.

Being an actor is hard work. Being an actor, small business owner, running a small farm and Vice President of Actors Equity Association is easy. It doesn’t matter if it’s a union meeting, teaching, working on my craft, tending my farm, or attending an audition. Every day is different and full of wonderful opportunities. There is something to be said about having many things in life to focus on. When you are only focused on one thing, that can end up toxic. Many years ago I was “just” an actor. I remember sitting in my living room hitting the refresh button over and over and over waiting for the newest job posting. I was miserable. Recognizing this I signed up for a dance program. Rather than sit around, hitting the refresh button and feeling crappy about my dance skills I chose to DO something about it. From there I got bit by a bug that made me a do-er. I started signing up for a ton of committees at the union, focused on opening a marco business called The Biz of Show with Melissa Robinette, got into physical fitness and immediately my life was more fulfilling and the acting work rolled in more and more. My eyes were opened and I was hungry for anything that kept my brain and body working. With each of these new things in my life I no longer felt blue, desperate or discouraged. I was out of my head and using my energy towards something useful. Currently I don’t have much of a social life, but I am loving every moment of life. I no longer have trouble sleeping because at the end of the day I’m tired from doing things other than hitting the refresh button. Being a do-er and a part of something other than your career is vital. And leads to great success and happiness.

MelRob was born into the circus and spent her early years traveling on the road.  Immediately after high school she left her small town in northern San Diego and sailed around the world performing on cruise ships.  In 2002 MelRob came to New York City, booked her first audition and never looked back.

Currently Melissa lives on an organic farm in Astoria, Queens, New York with her husband, a rescue pitbull named Ruby and 6 chickens.  She started her own macro-business called The Biz of Show with Melissa Robinette.

Melissa is currently the Eastern Regional Vice President of Actors Equity Association.

First Fridays with Valerie G. Keane: If This Is My Voice, Why Is It Screaming?

[photo is an excerpt from The Wild Braid: A Poet Reflects on a Century in the Garden by Stanley Kunitz with Genine Lentine]
[photo is an excerpt from The Wild Braid: A Poet Reflects on a Century in the Garden by Stanley Kunitz with Genine Lentine]

I was thinking this morning about finding your voice as a writer. I worry about that, from time to time, and then am reminded how unnecessary it is to worry about that. But when you have a very small body of work, as I do, I think that “voice” becomes that much harder to discern. Every piece you write is given much too much importance and, therefore, it feels like some grave mistake or tragic death when it does not “take root and become part of the landscape,” as Stanley Kunitz said. This is all to say I should be writing more.

I should be trying things on for size. But what about trying things on for style? It’s like when you go to the store and only have $50 to spend on clothing that you need desperately because that one, old pair of navy pants you bought in 1994 has worn out at the knees. You try things on for size, for practicality. Writing is sometimes like that when you write sparingly and not that often.

What about writing like you are on a spending spree? Trying things on for style, for whimsy, for sheer impracticality? Does this fit? No? Eh, buy it anyway. Get rid of it at the end of the season if it still doesn’t fit or you look at the style and say, “I’ve decided that’s just not me.”

There are days when I feel so silly to be just now “finding my voice” because of how long I have been on this earth already. But here I am. And what’s the other option? To not find it? That’s infinitely more ridiculous. Sharon Olds stood on the steps of the library of Columbia University after she received her PhD and said, “Now I’m finally going to write the way I want to write. I’m going to be a poet even if my poetry turns out to be bad.” She was 37. (Ok, I have a few years on her as I write this but that just makes it all the more urgent and impactful.)

Today, I renew my vow to write the crappiest poems. To try on everything in the whole store. To have my garden come up as weeds and flowers and mighty oaks. To remind myself that is it none of my business what my voice is as long as it is true. I was reading something I wrote to my 92-year-old grandmother the other week and, in the middle of it, she rolled her eyes and blurted out, “Jesus Christ….” I threw my head back and laughed so hard. She’s often not very lucid these days but it was absolutely the most perfect and well-timed comment. What a superb reminder to not take myself so seriously.

And as Stanley Kunitz, somewhere around age 101, said, “I am not done with my changes.”

173 (1)Valerie G. Keane is very honored to be part of the current Queens literary scene.  Her work will be published in the Spring/Summer 2014 issue of the Newtown Literary Journal and she is the founder of Poetry & Coffee, a very juicy discussion group in Queens for writers and readers, where the only rule is that you cannot read your own work. When asked if she is a poet, Valerie says, “I still don’t know how you qualify as one and no one seems to know where the application form is.”  

TBB: Planet Connections Final Week, Our Bar, Newtown Literary Release

CaptureBelieve it or not, I do actually do activities that are non-theatrical. This past week, I decided to take a night off and hang out with some fellow artists at an open mic for Inspired Word.  I read three poems that are in the running for my performance at the Kaufman Studios Block Party.  I don’t perform as much as I used to by choice.  I really enjoy being behind the scenes producing, directing and promoting. However, it is important for me to feel  the butterflies and fear of speaking in front of people, so I can effectively communicate with fellow artists. It is one of the reasons I asked my friends to be my guest bloggers. I like to read and share their experiences with you.

As of this Friday, Valerie G. Keane will by my First Fridays guest blogger. Valerie is a passionate and opinionated artist whose work is published in Newtown Literary Magazine. She is also the curator of Poetry and Coffee, a monthly poetry salon where people discuss great poetry.

I want to thank Josh Rivedal, Nick Radu, Adam Kern, Kate Powers, Dawn Slegona McDonald, Ian McDonald, Isaac Klein,  Linda Gnat-Mullins and Cas Marino for being my guest bloggers.  I appreciate them taking the time to share about their wonderful work.

And on to June. Keep me posted on your shows as summer has Fringe, Midtown International Festival, NYMF and so much more.

See you at the show!