Meet Shellen Lubin

Screen+Shot+2015-02-22+at+4.27.01+PMMy conversation on gender parity continues with Shellen Lubin. Shellen is a powerhouse. She wears numerous hats as a Songwriter, Playwright, Director, and Vocal/Acting Coach.  She is also the Co-President of the Women in the Arts & Media Coalition, VP of Programming of the League of Professional Theatre Women, and a member of most unions and guilds in our industry, and of the National Theatre Conference.

Shellen shares about The Women in Arts & Media Coalition:

Founded in 1990 (as the New York Coalition of Professional Women in the Arts & Media, Inc.), the Women in the Arts & Media Coalition is a centralized resource for the advancement of professional women in film, theater, television and communications. Combining member organizations’ abilities and strengths in a collaborative effort, the Coalition’s mission is to empower women in these industries through advocacy, mentoring, networking, and events. Members include many of the unions and guilds in our industry, as well as larger and smaller organizations dedicated to the advancement of women.

There are a number of benefits of being a member of the Women in the Arts & Media Coalition, starting with being part of a movement promoting parity and diversity in our industry. Membership in the Coalition is not by individuals, but by organizations, and is determined by the size of membership. Full Member Organizations have the greatest number of individual members and include unions and guilds, such as Local 802 AFM, Actors’ Equity Association, Dramatists Guild, SAG-AFTRA, Stage Directors and Choreographers, Writers Guild of America East, and organizations like the League of Professional Theatre Women, New York Women in Film and Television, and New York Women in Communications. Affiliate members include the International Center for Women Playwrights, the Women’s Media Center, Women Make Movies, Women in Music, the Drama Desk, and The National Theatre Conference, to name but a few.  Last year a new membership category for academic institutions emerged with The School of Visual Arts becoming the first academic affiliate. All together, the organizational membership totals more than 100,000 women and men.

The Coalition often co-produces events with its member orgs. Member orgs are not only able to help with the design and follow-through of these programs, the Coalition is also available to help with any events from its member orgs that are of particular interest or value to women. If any one of our organizations offers a discount to the broad Coalition membership, the Coalition will publicize those events in their newsletter, calendar, and blog. Additionally, the Coalition is always interested in creating a Cross Meet and Greet between member orgs who are interested in having their membership network with each other. Our last such Meet and Greet was a three-way jam-packed networking event at WGAE with NYWIFT and WMM.

The Coalition offers a huge number of valuable resources on their website.

One useful resource is the Women in the Arts & Media Communal Calendar, which lists all events of interest for women, arts, and media, and is becoming the place to look for events, and to schedule in advance and check for conflicts. As a member of Local 802,, you are a member of The Coalition and are invited to all the events, awards galas, and networking opportunities listed there (unless they are listed as blackout dates only).

Go to http://www.womenartsmediacoalition.org/communal-calendar/ to learn about upcoming events and openings of interest.

Newer projects include: the Studies page, http://www.womenartsmediacoalition.org/studies/, an extensive database with links to Studies around the world on gender representation in theatre, film, and television.

For those seeking funding, residencies and opportunities to submit original work, go to http://www.womenartsmediacoalition.org/opportunities/ for both  #StageOpps and #ScreenOpps newsletters.

Last fall the Coalition spearheaded a Percolating Gender Parity in Theatre summit, bringing organizations together from the Coalition and beyond, from around the world, to share and coordinate efforts. A Percolating Gender Parity in Music summit is planned for Fall 2016 and Gender Parity in Media for Spring 2017..

The Coalition also shares news and information from all its member orgs and other organizations of interest on their blog and on facebook and Twitter. Anything any member org has to publicize that would be of interest to sister organizations in the Coalition can be shared by any and all of those means.

The Coalition also sponsors two Signature events, usually one each year in rotation.  The first is The Collaboration Awards, which honor professional women in the arts and media from different specializations working collaboratively on the creation of new work. The award recognizes the best of these collaborations. The last Collaboration Awards Gala in 2015 celebrated honorees in the disciplines of playwriting, songwriting, filmmaking, and directing. The winners were playwright T.D. Mitchell and director Sheryl Kaller for QUEENS FOR A YEAR which will be premiering at Hartford Stage in Fall 2016.

The other Signature event for which the Women in the Arts & Media Coalition is known is VintAge, which celebrates older women, and what is possible both in their representation and in their employment. In 2014, The Coalition granted the 1st Elsa Rael VintAge Award, for advocacy of women aging in the arts and media, presented by Tisa Chang to Morgan Jenness for her work on behalf of the playwright Maria Irene Fornes.

The Women in the Arts & Media Coalition’s combined membership is larger and more diverse than that of any other alliance of women in the arts and/or media. As a resource for professional development and social exchange, and as a force for the voice and vision of women working towards parity and diversity in the arts and media, the Coalition is a continually expanding force to be reckoned with. It is a wonderful resource from which we hope you will benefit.

Shellen Lubin

Writer/Director/Teacher of Theatre & Music

shellen@shellenlubin.com

www.shellenlubin.com

facebook:  Shellen Lubin

LinkedIn:  shellenlubin

twitter:  @shlubin

 

Co-President ~ Women in the Arts & Media Coalition

info@womenartsmediacoalition.org

www.womenartsmediacoalition.org

facebook:  www.facebook.com/WomenArtsMedia

twitter: @WomenArtsMedia

 

VP of Programming ~ League of Professional Theatre Women

shellen@theatrewomen.org

www.theatrewomen.org

facebook:  www.facebook.com/pages/League-of-Professional-Theatre-Women

twitter: @LPTWomen

 

Monday Morning Quote

www.mondaymorningquote.com

facebook:  www.facebook.com/pages/Monday-Morning-Quotes

twitter: @MonMornQuote

Downtown Urban Arts Festival Features Joe Gulla & The Bronx Queen

 

Joe Gulla, The Bronx Queen 1
Photo by Nicolaas Smit

 

Playwright’s Name: Joe Gulla

 

Tell us about your latest project: 
“The Bronx Queen” is the first chapter of my “Bronx Queen Trilogy”! It is the story of my young life as a gay boy growing up in an Italian working-class section of the Bronx. The title is not as simple as it may appear. Certainly, I AM a “Bronx Queen”. Ha! But, “The Bronx Queen” was also the name of a fishing charter boat that my Dad took me on as a youth. Ironically, he was taking me fishing on that boat to sorta “butch me up’! Put it this way, “branding” was not a hot concept in the 70’s!

What excites you about being a part of the Downtown Urban Arts Festival?
As soon as I heard about this festival, I knew “The Bronx Queen” would be a perfect fit. My show touches on my obsession with legendary graffiti artist, Jean Michel Basquiat and, obviously, it is set in The Bronx. I don’t think you can get more “Downtown” and “Urban” than that! Oh… and I am a Native New Yorker. It’s been a dream of mine to perform at Joe’s Pub! Look at what this “simple Bronx boy with a dream” gets to do! “Excited” doesn’t even come close!

What’s your upcoming project after the Festival?
A week after my performance at Joe”s Pub, I fly to Colorado Springs, CO for the opening of a play I wrote called, “Gayfever”. It is about a man who finds out he is allergic to gay people! Ha! Break out the Benadryl!

Website: http://www.joegulla.com
Facebook Page: https://www.facebook.com/TheBronxQueen/?fref=ts
Twitter: @joegulla

SHOW INFO

Directed by Brian Rardin

Tuesday, March 8 at 7:30pm
Joe’s Pub (425 Lafayette Street)
Tickets are $20 at http://www.dutfnyc.com or by calling 212-967-7555


CREATIVE AMMO, INC.
PRESENTS THE
2016 DOWNTOWN
URBAN ARTS FESTIVAL

FEATURING THEATER, SOLO WORKS & FILM
MARCH 4 – APRIL 9

Now in its 14th year, the Downtown Urban Arts Festival (DUTF) is becoming New York’s premiere winter/spring theatre event showcasing independent theatre artists. The month-long festival, produced by Creative Ammo, Inc., provides writers and performance artists from America’s burgeoning multicultural landscape the opportunity to share their stories that interpret our history and our times.

The 2016 Downtown Urban Arts Festival will run March 4-April 2 with performances at Joe’s Pub (425 Lafayette Street), Nuyorican Poets Café (236 East 3rd Street), HERE (145 Sixth Avenue – enter on Dominick Street), and the Tribeca Film Center (375 Greenwich Street). Tickets ($10-$30) may be purchased in advance at http://www.dutfnyc.com.

Review: Lend Me a Tenor by Ken Ludwig

CaptureOpening night for any performance is filled with excitement and anxiety. A play about the opening night of a performance is a beautiful insight to the crazy that surrounds it. Especially if it’s Verdi’s Otello, the tenor is an Italian superstar, and there’s a catastrophe. Set in 1934, Otello is the saving grace for the Cleveland Grand Opera. However, everything doesn’t turn out the way it should. How can it when there’s an angry wife, the starstruck girlfriend, the bombshell starlet, the nosey bellhop, the diva president of the Opera, and the anxious General Manager and his assistant – the true underdog and secret talent. That’s the perfect and delicious recipe for mayhem! And where there is mayhem, hilarity ensues.

Ken Ludwig’s comedy, under the skillful direction of Erik Niellsen, has three essential characteristics that makes this successful: precise comedic timing, physicality, and a talented ensemble. Also, what makes this show enjoyable is the comraderie and trust between the actors. It oozed off the stage and infected opening night’s audience.

Fun fact: Ludwig wrote a sequel called A Comedy of Tenors.

Running for two more weekends in the newly renovated parish hall:

Maggie’s Little Theatre

St. Margaret Parish Hall
66-05 79th Place
(between Metropolitan Ave. and Juniper Valley Rd.)
Middle Village, NY 11379

Performances:

Friday, March 4 at 8:00 pm;
Sunday, March 6 at 2:30 pm;
Saturday, March 12 at 8:00 pm;
Sunday, March 13 at 2:30 pm

Click HERE to reserve tickets.

 

 

Jerry Rago is in the Limelight

Name:  Jerry  Rago

What’s your current project:  Who’ll Save The Plowboy

Why and how are you involved?  Love the Play…Playing Albert Cobb…Executive Producer

Website/Facebook:

Jerry's Pic # 12 (1)

Plowboy

A Chat with Carol Hollenbeck & Home Town Premiere

CaptureCarol Hollenbeck knew one thing. “Ever since I was a little girl I never wanted to be an actress. I wanted to be a movie star.” Confident, powerful, and passionate, Hollenbeck, a 1960s Vegas showgirl turned Hollywood actress turned playwright (with a splash of Broadway usher) dreams it and then manifests it. This Thursday, she is having a reading of her play, Home Town Premiere, which is loosely based on an event in her life. The play has been incubating for the last 12 years but it’s In the last eight months that she has taken major steps towards completing the play. Hollenbeck said she had “…to get back to this play and something is missing.”  She collaborated with a dramaturg and a director and also allowed freedom for the artists create.

Hollenbeck’s trajectory is fascinating. In her own words, she was born in Newburgh, New York, just sixty miles from New York City where she had the honor of winning several local beauty pageants. She traveled to Hollywood, California in the nineteen sixties and changed her last name to Holland. In Hollywood, she was truly discovered walking down the famous street of Sunset and Vine. The first week she arrived, she was hired for a television commercial. She filmed a candy commercial, where she played the role of “Miss Vanilla” for SkyBar candy. Soon after, she was picked to be a Las Vegas showgirl, and found herself working at the famous Riveria Hotel in the heart of the desert. There she pranced nightly in the musical IRMA LA DOUCE with the sizzling  dance star Miss Juliet Prowse. Returning to Hollywood, she acted in several low budget teeny bopper films, where she wore her bikini well. She played a featured role in another teen movie EDEN CRIED, which premiered in her home town of Newburgh.  She flew home in true movie star style to a wonderful and exciting event. She was greeted with open arms and good reviews…then the hard knocks began.

After Hollywood disappointments, she decided to move back to New York.

Hollenbeck shared her experiences as she studied playwriting with Arthur Kopit and John Guare. It was in Kopit’s class that she wrote The Christmas Dinner aka Upstate Mourning. The one thing that stood out in Kopit’s class was the offering of an opening line like “Did you bring it?”  She further developed the play with the Women’s Ensemble Group. She also wrote Broadway Baby, a satirical view on her days ushering on Broadway which won awards.  Upstate Mourning was produced Off Broadway a few times and adapted to screenplay with Monteserrat Montez.  The boom of theatres in Hell’s Kitchen gave her the opportunity to continue getting her work done. The Lifters was a part of a short film festival as well as nominated for Samuel French One Act Play. Hollenbeck created the Hell’s Kitchen Film FestivalHell’s Kitchen Writers Group, and works with Heidi Russell and the International Women Artist’s Salon.

As with her other pieces, she sees a life beyond the pages and a reading. She is open to the those next steps. I asked her what advice she has for any one at any age who wants to take a chance. “Do it.” That’s my favorite advice too.

Hometown Premiere: It’s the tumultuous nineteen sixties in a small town in upstate New York. When a young girl returns home from Hollywood to attend her local hometown movie premiere, what should have been a joyous occasion, slowly turns into a traumatic event. When certain family secrets are revealed chaos erupts, along with a sudden twist of fate that quickly turns into an obsession.

Starring: Mary Ann Gibson (Crazy For You);  Nick Moss (Gossip Girl);  JJ Pyle (Boardwalk Empire, Criminal Minds);  Rita Rehn (The Allergist’s Wife, Law & Order) and Pheonix Vaughn (A Piece of My Heart)

Directed by Andrea Andresakis

Thursday, Oct. 15th

6:30 Reception, 7:00 Showing

The Ellington Room, 400 W. 43rd St @ 9th Ave,

RSVP: Andrea_Andresakis@yahoo.com

My Three Hats: Producer, Director, Publicist

CaptureOver the last few weeks, I have had several conversations on my contribution to the world of theatre. My favorite description of my experience is one I use in many a bio:

She’s served the theatre in many aspects of which she’s very proud – actress, director, producer, stage manager, costume designer, prop designer, theatre reviewer, publicist, radio presenter, and writer/monologist.

I remember thinking that it seems very broad. The cliche “a Jill of all trades, a master of none” sometimes crosses my mind but then I think to myself that I have been on an amazing journey. I learned so much about what I love and what I excel in and what I am not comfortable with and not as passionate about anymore.

I love is creating and promoting theatre. I love producing as I get to figure out how I am going to make a show happen. When I direct, I am lost in the words of the playwright and get to collaborate with actors and designers on bringing a show to life. If I am producing and directing, I am innately promoting. That’s my personality and as a result, all three resonate strongly within me.

When I decided to become a director in undergrad, I knew I wanted to go to grad school. I knew it was the only way I would be able to immerse my mind, body, spirit in the craft. My MFA in Directing at the Actors Studio Drama School was the foundation I needed before embarking on the next leg of my journey.

After graduation, my husband, Ian, some friends and I started Black Henna Productions. For 12 years and counting, I learned how to be a producer and a publicist. All of it through trial and error and taking a class here and there. When you are running a company, directing the show, and promoting it, you get really good at a few things:

  1. Creating a schedule;
  2. Building a team; and
  3. Developing a product.

After the death of my best friend and co-collaborator, Cas, I took a step back to see my vision. I thought I had to have one role in this world. However, my one vision for my world of theatre is a to be able to promote and support artists in their truth and craft so that they can pay it forward to the next artist. All too often we forget about why we create by focusing on competition rather than specialization. My mentors, Michael Roderick and Ken Davenport, said that to me years ago and I never forgot it. It’s a personal mantra. And with that, when I am working with any artist as a producer, director, and/or publicist, I ask: Why are you doing this show? The answer then propels me to ask: What sets you apart from the several other shows being produced?

These are the questions I ask myself and my team when are developing any project. Then without fail, I sit down and draft the schedule. Then I set out to build the team. Then we begin developing the product. What ties us together is the vision and trust. If we don’t have either then we have a rough road ahead of us.

In a conversation with a fellow producer, we touched on some points about why I created Theatre Beyond Broadway, my PR company and community. I created it so there would be a connection and the fostering of relationships. I told her about my 3 hats and she said, ” We have three people doing your job.” I said, “I know. It’s a lot to juggle but I love it”.

Truth: I didn’t have a choice. I jumped in and just did it. As I continue to do this day.

Theatre Beyond Broadway: The Community – You’re Invited

Capture

Friends, you are officially invited to join Theatre Beyond Broadway: The Community! Click HERE now to join me and others.

One of my many goals when I created Theatre Beyond Broadway in 2012 was to build a community of passionate artists that would empower each other. Being in the arts is not the easiest road on which to travel but the reward, as you know, is beyond words. Even though I have been an active member in the theatre community for close to 20 years, I still am learning. For example, I had my first circus production experience this past weekend. I kicked off 2015 as a production assistant at Circus Now‘s inaugural awards ceremony at the Big Apple Circus. Amazing!

These experiences allows me to broaden my circle. I have met wonderful poets, musicians, solo performers, dancers, artists…the list goes on. I think it’s time for you to meet each other and share your art.

Why TBB: The Community? This is an open forum for the following:

  1. Support and advice;
  2. Upcoming auditions and performances;
  3. Information on conferences and networking opportunities;
  4. The opportunity to meet and expand your artistic circle.

I mention the circus opportunity as it came via a director for whom I did PR for two and half years ago at the Fringe. You never know what will come your way and when. It’s about being plugged in and sharing the resources. And with that, join me on the journey!

A Festival of Fun (or Tears) or Producing 201

FestivalTruth be told, my upcoming article for The Write Teacher(s) is about participating in the many theatre festivals offered in our country. I wrote about the experiences of being in a festival and the benefits of having your show as part of it. Then Ken Davenport wrote an excellent blog on the many festivals around the world but went even further and listed them. I want to personally thank him for doing this because I had started the research.

This morning I sat down with a printout of the shows participating in FringeNYC. There’s no way I am going to be able to see all of them but I did highlight 45 of them including The Pawn Broker (I’m doing their PR). The next step is to then cull from those 45 what will fit in my schedule. When I did the Fringe tour last year, I think I saw about 15 because I didn’t fully plan the tour a month in advance. I was busy working on Naked In Alaska and See Jane Give Up Dick that I totally spread myself thin. I also was working with the EstroGenius Festival on their season. Festivals are great way to get your production in front of an audience. Like Ken says, you are definitely one in a million and you have to work 5 times as hard to get your piece to stand out. At the end of it, though, you come out ahead because you’ve learned how to produce a show.

Here’s the list:

Theater Festivals From Around The World

The Big Ones:

The Edinburgh Festival Fringe, Edinburgh, Scotland

Festival of New Musicals, New York, NY

London International Festival of Theatre, London, England

New York Musical Theatre Festival, New York, NY

New York International Fringe Festival, New York, NY

Williamstown Theatre Festival, Williamstown, MA

Other Awesome Ones:

Bard SummerScape, Annandate-on-Hudson, NY

Barrington Stage’s Musical Theatre Lab, Pittsfield, MA

Berkshire Theatre FestivalStockbridge, MA

BSU Discovery New Musical Theatre Festival, Muncie, IN

Children’s Musical Theatre Festival, New York, NY

Contemporary American Theatre Festival, Shepherdstown, WV

Dorset Theatre Festival, Dorset, VT

Downtown Urban Theater Festival, New York, NY

Dream Up Festival, New York, NY

Dublin Theatre Festival, Dublin, Ireland

Estrogenius, New York, NY

Festival of New American MusicalsLos Angeles, CA

Finger Lakes Musical Theatre Festival, Auburn, NY

Fresh Fruit Festival, New York, NY

Frigid Festival, New York, NY

Junior Theater Festival, New York, NY

KO Festival of Performance, Amherst, MA

Midtown International Theatre Festival, New York, NY

Minnesota Fringe Festival, Minneapolis, MN

National Black Theatre Festival, Winston-Salem, NC

The New York Children’s Theater Festival, New York, NY

Oregon Shakespeare Festival, Ashland, OR

Pacific Playwrights Festival, Costa Mesa, CA

Planet Connections Festivity, New York, NY

Revolutions International Theatre Festival, Albuquerque, NM

Rogue Festival, Fresno, CA

The Samuel French Off Off Broadway Short Play Festival, New York, NY

Spoleto Festival USA, Charleston, SC

Strawberry One-Act Festival, New York, NY

Thespian Festival, Lincoln, NE

United Solo Theatre Festival, New York, NY

Village Theatre: Festival of New Musicals, Issaquah, WA

The West Village Musical Theatre Festival,  New York, NY

World Stages International Theater Festival, Washington, DC

What Shade of Success am I?

imagesSo believe it or not, I  moonlight as a Mary Kay Independent Beauty Consultant.  I know. As if I don’t have enough on my plate but I do love make-up and reversing the signs of aging as we read.

Last month we received an email from our National Sales Director about taking control of our lives and living the way we deserve.  Don’t live in our dreams but be willing to take action. That’s always a tad hard but I think  if we move away from our fears, we feel empowered.  For me, my default is to rely on fear as a way not to move forward. As a result, I have to have people in my life that will help me take the action steps. I have different people for different segments of my life. Those people are my mentors.  They are my trusted guides. If it wasn’t for them, I know that I probably wouldn’t have stayed in theater (my true passion); wouldn’t have created this blog, wouldn’t have written out a business plan for Theatre Beyond Broadway. I wouldn’t have done anything. I am kind of lazy in some respects.

My two professional mentors are Ken Davenport (Broadway Producer: Godspell and the upcoming MacBeth with Alan Cummings) and Michael Roderick (Broadway Producer: The Scottsboro Boys). They help me take the small actions to build on one another. They ask me questions. Sometimes I can clearly and concisely answer them or sometimes (and this happened last week) I just look at them with a blank stare. I have to figure out what I want and what am I willing to do.

  • Am I willing to be inconvenienced to be successful?
  • Am I willing to do things that maybe at first make you a bit uncomfortable?
  • Am I willing to step out of your comfort zone?
  • Am I willing to dream audacious dreams?
  • Am I willing to say enough is enough?

The answer is yes. I will do what it takes to be successful in the world that I love. Plus, if I didn’t, I would be stuck in my dreams and in my head…there’s a lot of noise in there.

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The 39 Steps open in two weeks! Hope you can make it. Read Ian’s post!

Performances
Fridays, February 22 & March 1 at 8:00 pm;
Saturdays, February 16, 23 & March 2 at 8:00 p.m.;
Sundays, February 17 & 24 at 2:00 pm.

Admission: $14 / $12 for Seniors

http://www.parksideplayers.com/

 

 

 

 

Gotta Love a Matinee!

This past weekend, Ian’s show The Man Who Came To Dinner opened with the Parkside Players. I helped with House Management because 1. I was going to be there anyway, 2. I knew how important the show was for Ian, and 3. they needed extra hands.

Plus, I do enjoy ushering and chatting with the audience. It’s one of my favorite things to do as a producer. And it’s important to add a little extra when the show is longer than most shows these days. Don’t worry. It’s only 7 hours long…KIDDING.

As you have read in my past blogs, the lack of respect from the audience during a performance makes me nuts. However, it doesn’t make me too crazy as I have gotten used to the
Sunday Matinee audience. This weekend phones rang and answered (yes), commentary was given at moments at the show, latecomers arrived as the show started and spoke aloud (I quickly sat them), and my fave, audience members who decided to sit where they wanted.

On the plus side of this craziness is the expectedness of all of this. I’ve been doing theater for a long time. Prior to the invention of personal cell phones, the instances mentioned have been going on for as long as I can remember. In any type of theater. In any city. In any type of show. I have to wonder if it’s because it’s bright outside so it seems not as important as an evening show. Do people not care? Do people think that the actors work less than at night? I have no idea. If you have one, post a comment.

All in all it was a great show with good attendance. In my opinion, I’ll take those two over the negative 🙂 But please, as mentioned before, if you can hear the actors, they can hear you.

Visit HERE for further info on The Man Who Came To Dinner.

Also, Godspell had a great week with guest star, Paul Shaffer (who is now following me on Twitter – woot!) and being on Project Runway!