Magic Time's Past Performances
The Inspiration for Magic Time
In the 1960s, New York City’s eager and growing population of playwrights found three new homes for their explosive work: Caffe Cino, La Mama Experimental Theatre Club, and our very own Judson Poets’ Theater. The three major forces behind each of these establishments, Joe Cino, Ellen Stewart, and Al Carmines each had a unique vision that culminated in what we now call the Off-Off-Broadway theatre movement. Joe Cino's nightly exclamatory introduction to his shows has become our mantra: “It’s Magic Time!”
McNutley's is an old-fashioned house of ill repute that has fallen on hard times. A young BANKER arrives to evict its occupants - the widow KICKS McNUTLEY, dim barmaid NANCY, buxom performer HENRIETTA HONEYDEWS and super-obese prostitute BIG RUBY, but he's shocked to discover some of the town's most respected citizens (including his boss, his priest, the buttoned-up town MAYOR and his oversexed FIRST LADY) have secretly been involved with McNutley's all along. Ultimately, the BANKER must devise an audacious plan to save McNutley's that may just leave them all feeling like whores in church.
BIO FOR PAUL HAGEN
Paul Hagen is a writer of many things including plays. Some notable productions of his work include "The Rape of the Lock" with Judith Shakespeare company, "The Only Thing Straight is My Jacket" at FringeNYC and "Fitz & Walloughs Get It in the End!" at Ace of Clubs. He is a two-time participant in the "31 Plays in 31 Days" project, and has also been a part of Theaterspeak's "Write Out Front: A Playwright Happening" at the Drama Book Shop. Paul is the Editor-in-Chief of "Metrosource," a magazine for the LGBT community, which features his work online at metrosource.com. He dishes pop culture regularly on "The Focus Group" on Sirius/XM (focusgroupradio.com) and their "Casual Fridays" podcast, available free on iTunes. He tweets @misterpaulhagen and occasionally blogs at worldofhagen.wordpress.com. He is currently working on his first novel, a suite of naughty party songs and more new work for the stage.
The Radicalism of the American Revolution
February 19, 2014
The Radicalism of the American Revolution is a devised, ensemble-driven work-in-progress in which our company plays every wife, counselor, brother, and groupie surrounding the British Monarchy over its 1000-year history. We're just missing our Kings and Queens - which is where you come in.
Each audience member will be assigned a specific monarch, handed a script, and will act out a scene with our (very friendly) group. So, in an act of true American Democracy, everyone and anyone will get a chance at ruling, as we watch the procession of time, power, and politics tick the years away from William the Conquerer to QEII.
Douglas Eacho (Director) lives in Brooklyn, NY. He is a graduate of Brown University, where he studied both Performance Studies and Philosophy, and received the Weston Fine Arts award for Directing. Before moving to beautiful New York, he spent a year working as an assistant to Howard Shalwitz, Artistic Director of DC's Woolly Mammoth Theatre Company. Additionally, he has assisted Mia Rovegno and Talya Klein, workshopped with Erik Ehn, and acted in premieres by Mia Chung and Mallery Avidon. His major directing projects include the randomized, bloody King Arthur ritual ONCE AND FUTURE (Theatre for the New City 2013), the techno Pericles mash-up OCEAN KINGDOM (Magic FutureBox 2013), and a performance of Hamlet for one audience member at a time called STAND AND UNFOLD YOURSELF (Providence RI, 2011.) His next full-scale project, SOMEDAY THIS COUNTRY, a dance-adaption of John Ford's "The Searchers," is coming up soon! Come join us from January 29-February 1 at the Center for Performance Research, in Williamsburg, Brooklyn. More info at www.douglaseacho.com.
In Fields Where They Lay
|Michael Swartz in the 2009 |
production of In Fields Where They Lay.
In Fields Where They Lay is a new play with music that tells the incredible true story of the World War I Christmas Truce: the spontaneous ceasefire between German and British soldiers that began with the singing of carols across No Man’s Land on the night of December 24th, 1914. Blending powerful storytelling with the letters and diaries of actual soldiers, In Fields Where They Lay allows audiences to experience a Christmas story like no other, through the eyes of the men who lived it.
Presented by The Dreamscape Theatre
Written by Ricardo Pérez González
Developed & Directed by Brad Raimondo
Musical Direction by Anna Ebbesen
Spencer Davis Milford*
*appearing courtesy of Actors Equity Association
Ricardo Pérez González (Playwright), a recent MFA graduate of NYU Tisch, splits his time between NYC and LA. As a writer, his work has been hailed by the New York Times as “gripping” and “moving drama,” and he was selected as a participant in Sundance Institute’s Inaugural Writer’s Intensive. His Alan Turing Biopic, THE TENDER PEEL, won him an Alfred P. Sloan Grant. He is a founding member of The Dreamscape Theatre, and a company member of Big Apple Playback. He has studied with Leigh Fondakowski and Greg Pierotti of Tectonic Theater Project. In addition to IN FIELDS WHERE THEY LAY, his produced writing credits include the drag ball musical NEON BABY (book writer/co-lyricist, Pregones 2013), INSIDE OUT (commissioned by Pregones to address anti-gay bullying), a play about the biblical figure HANNAH (2013 commission), his Santería-centered skeptical spiritual drama ASHÉ (UPTheatre, 2013), his transgender family drama LA CASA DE OCASO (Asunción Playwriting Competition, 2010), and the short film LOSSES AND GAINS about gay male body image. An activist firmly committed to social justice, Ricardo has worked for many years at Identity House, a free counseling service for the New York City LGBT community, and has become involved with The Stop Mass Incarceration Network in their work against Stop and Frisk. He has worked in the field of anti-bullying in various capacities, and has served as an afterschool teacher around NYC. He sees his writing as an extension of these activities.
Brad Raimondo (Director) earned his earned his MFA in Directing at the New School for Drama in 2013. During his final year at the New School, Brad directed HAMLET (his thesis production), the world premiere of SOME DARK PLACES OF THE EARTH by Claire Kiechel and an actors’ co-lab production of OTHELLO. Brad also holds a BFA from NYU’s Tisch School of the Arts, an MA in Educational Theatre from the NYU Steinhardt School. Other 2013 directing projects include three plays in the summer season of Illinois’ largest summer theatre festival, Festival 56: Lanford Wilson’s TALLEY’S FOLLY, THE HEIRESS by Ruth & Augustus Goetz and HOMETOWN - ANONYMOUS, a new play based on stories submitted by the local community. In October 2013 directed Mark William Lindberg in a new one-man staging of TS Eliot’s THE WASTE LAND at the United Solo Festival at New York's Theater Row. Brad is co-founder and Producing Artistic Director of The Dreamscape Theatre. He has produced all but one of Dreamscape’s 17 productions, including 6 world premieres. Bradfacilitated the creation of Dreamscape’s THE BURNING CITIES PROJECT, a performance collage about mass violence that premiered at FringeNYC, 2006 and was hailed as “a phenomenal tour-de-force” by theatre blogger Aaron Riccio. Other Dreamscape projects include the world premiere of WHALE SONG OR LEARNING TO LIVE WITH MOBYPHOBIA by Claire Kiechel (FringeNYC 2011) and the original development and direction of IN FIELDS WHERE THEY LAY in 2009, which the New York Times praised for its “smart and effective direction."
Anna Ebbesen (Musical Director) is a music director, arranger, and audition coach based in New York City. She has been the music supervisor at the New York Film Academy’s musical theatre department since it’s inception. As a music director, Anna has worked in New York and regionally, with conducting credits including productions of WEST SIDE STORY, A CHORUS LINE, and THE WIZARD OF OZ among others, as well as original works. She recently arranged and orchestrated the music for the musical short film, LEGION OF GRADS. Her coaching clients can be seen on Broadway and National Tours, and in major regional houses. Anna holds a B.A. in Music and Theatre from Saint Mary's University of Minnesota and is a proud member of the American Federation of Musicians, Local 802.
The Dreamscape Theatre's mission is to produce ensemble-based productions that tell epic stories on a human scale. Since its foundation in 2003, The Dreamscape Theatre has collaborated with over 125 artists and produced 17 full productions (including 6 world premieres) and 14 staged readings and/or workshop productions in New York City. We are committed to supporting the development of new work and new talent by establishing long-term collaborations with artists. Significant world premiere productions developed and presented by Dreamscape include THE BURNING CITIES PROJECT at FringeNYC 2006 ("a phenomenal tour-de-force" wrote blogger Aaron Riccio), WHALE SONG OR LEARNING TO LIVE WITH MOBYPHOBIA by Claire Kiechel (directed by Brad Raimondo) at FringeNYC 2011 ("moving and artful... the perfect meeting of script and direction" according to NYTheatre.com) and the original development and production of IN FIELDS WHERE THEY LAY by Ricardo Pérez González in 2009.
There's a dead man lying in the Sunday School room, and we're going to bury him if it takes all night. What begins as a memorial service for the owner of the general store turns into a mystery, which becomes a roast, and ends as a revival. Told through story and song, Petty Cash is a tale of one town and the keeper of its secrets.
by STEVEN FECHTER
Ryan is a quiet young man who has a good job, a steady girlfriend, and a nice, normal life in Oklahoma – that is, until Ginger arrives. With Ginger come memories of a wanton and wildly creative boy Ryan thought he had buried ten years ago. But can anyone kill the part of themselves that is most madly alive? Ryan will soon find out.
Being a man in Oklahoma is the loneliest fate in the world.
Cast includes: Stephen James Anthony (War Horse LCT), Lulu Fogarty(Lillian Smith Being Heard) and ROMY NORDLINGER (Woman On The Bridge).
This is the third collaboration for Fechter and Fogarty.
STEVEN FECHTER is a playwright and screenwriter. His theatrical works have been produced throughout North America and Europe. Productions includeTHE LAST CIGARETTE (Lounge Theatre, Critic’s Choice by LA Weekly and Backstage-West) THE COMMISSION (NYC Fringe Festival; Theater Bielefeld, Bielefeld, Germany), THE GOLDEN AURORA (NYC Fringe Festival), and THE WOODSMAN (Old Red Lion Theatre, London; Theater Bielefeld, Germany). Most recently, in spring 2011, Resonance Ensemble Theatre produced his commissioned play SHAKESPEARE’S SLAVE at the Clurman Theatre in New York. As a screenwriter he co-wrote the script for THE WOODSMAN, based on his play, starring Kevin Bacon, for which he was a Humanitas Prize finalist in screenwriting. Steven also writes for ScriptWriting Blog, (atScriptShark.com), commenting on screenwriting and film. He is a proud member of Resonance Ensemble, EST Playwrights Unit, New River Dramatists, and The Dramatists Guild.
THOM FOGARTY** has been active in NYC's downtown theater since 1977, appearing in dance and theatre productions, and creating works with Joseph Chaikin (The Open Theater), Paul Zimet (The Talking Band), Judson Poets Theater, DV8 Physical Theatre (London), and H.M. Koutoukas ("Dead at Sea," based on Mr. Koutoukas' journal entries). Since changing his focus to directing in 2010, he has directed: Moments And Lemons by Fred Giacinto (Theatre for the New City); Bad Connections? by Michael Levesque (The Bridge and The Cell NYC, the 2011 Edmonton, 2011 Hollywood, 2012 Orlando and 2012 Toronto Fringe Festivals and Rochecter, NY) ; Cross Hatch ( a staged reading at Judson Memorial Church) by Peter Mercurio; Eurydice by Sarah Ruhl (The Bridge); Hell Is Where The Heart Is (Gene Frankel Theater), by Melissa Skirboll for the Planet Connections Festival (which received 3 nominations for acting, as well as his win for Outstanding Lighting Design); In The Name Of God by Peter Cohen (Judson Church, NYC); Desdemona by Paula Vogel (The Bridge, NYC); Being Heard by Lulu Fogarty (Dixon Place, United Solo Festival, Theater Row NYC and Syracuse University and The Loft @ Judson); MargOH! Channing is TIPSY!And MargOH! Sings The Booze (Duplex and Dixon Place); Ten Tall Tales About The Men I Love (which he adapted from a short story by Ronn Smith), at Judson Memorial Church as a fundraiser for The Ali Forney Center, and The Artifacts and The Mentee, both by Steven Fechter (The Bridge). This past year he was permitted to adapt Lillian Smith’s Strange Fruit, and receiveing the rights to to make it public for the first time since 1945 and it’s one and only Broadway run. Up next THE CAROL BAYER SAGER PROJECT: ALBUM ONE a cabaret event at Judson and The Duplex, January 2014. Fogarty is proud to announce the formation of the new 360 Repertory Company, with this being it's first official reading. He is an Associate Member of Stage Directors and Choreographers Society (SDC) and member of the Drama League.
EXORCISMS IN LOVE
a performance memoir by aimee iris brown
as this story ends, i am thinking of you
and i wonder
what stories are you holding?
which ones do you cling to?
which ones do you celebrate?
what dances are you denying?
what joy have you decided you do not deserve?
EXORCISMS IN LOVE is a performance memoir ritual about intimacy, dancing our shadow/s, messages from animals, finding humor and meaning in our wounds, and transmutation- a letting go to make space for the unknown.
Aimee Iris Brown is a Brooklyn based artist, hair stylist, and flower essence healer. Her life/work explores personal & collective liberation through ritual and healing. Brown is currently featured in the first season of LADYPOINTS, a web series about women who "define success on their terms." aimeeiris.com
NEW YORK, October 2013, Thom Fogarty will direct the Premeire of ELKE SOLOMON’S A TAVOLA: A PERFORMANCE, which will be presented October 23, 2013 as part of the MAGIC TIME! series at Judson Church. This exciting follow up to Ms. Solomon’s A TAVOLA: AN INSTALLATION is a piece about FOOD and our relationship to it.
A TAVOLA: A PERFORMANCE was conceived to explore the multiplicity of everyday transactions which occur around the dining table - private, social, economic and cultural. With the A Tavola (to the table) series, Elke Solomon continues to pursue her interest in the intersection of the cultures of food and art. Her first endeavor with this issue resulted in A TAVOLA: AN INSTALLATION, where the gallery space was transformed into the familiar domestic space of a full scale hall and dining room. It functioned as both real and imagined place. The installation was dressed in a variety of crafted objects that she made including furniture, chandeliers, wallpaper, tablecloths, and additionally a collection of food related pictures and literature. The crafted objects, “mashed up” with ready-mades creates a context for the exchange and manipulation of meaning, inviting the participant to make the habitual strange. In A TAVOLA: A PERFORMANCE, Elke Solomon invites us into her personal space to continue the conversation about the history, culture and production of food. The work explores the parallels in the development of the discipline of food history and of her journey as an artist. Of particular interest has been the modern advent of globalization and the rise of “fusion” food. We can get anything we want anytime we want - divorcing food from not only place, but climate and time. The comparisons between the food world connoisseurship and art connoisseurship are both striking and disturbing - and in the end have provided Ms. Solomon with much food for thought.
“Am I making food or am I making art?”
A TAVOLA: A PERFORMANCE continues a relationship between Elke Solomon and Thom Fogarty that began in the early 80’s, when they performed their legendary performance piece, TUNA FISH TALES at venues like the Mudd Club.
Elke Solomon lives in New York City. She has taught at Parsons School of Design (1979-present), Columbia University, City College of New York, Feminist Art Institute, Princeton University, Portland State University, and Pratt Institute of Arts. She has been awarded numerous grants including CAPS, NEA and a Residency Grant, Piedmont, Italy, 2000-08. Solo exhibitions include: A Tavola! An Installation, AIR Gallery, Brooklyn, NY, April-May 2010; Paintings and Works on Paper, 1978-2005, The Lobby Gallery NYC, Oct. 2007-Jan 2008; Paintings and Drawings, Deutsche Bank, NYC, Sept.-Nov. 2004; Paintings and Drawings, A.I.R. Gallery, NYC, January 1986, 1988, 1990, 1992 1995, 1997 and 1999. Group exhibitions include: Alexander Kwartler and Elke Solomon Klaus von Nichtssagend Gallery, NYC, 2012; Parsons Pink Slips, George Adams Gallery, NYC, 2009; The History Show Part II, A.I.R. Gallery, NYC, 2008; Group, Josh Blackwell, Barbara Hatfield, Sophia Petrides, Jacob Robichaux, Elke Solomon, Dinaburg Arts, NYC, 2003;
VanDeb Editions 1999-2002 Etchings and Monoprints, Albright Knox Art Gallery, Buffalo, NY; PAINTINGS, (Mark Saltz, Elke Solomon, Thornton Willis), The Space, NYC, 2002; Selections: Etchings and Monoprints 1999-2002, The Space, NYC, May 2002; and Generations, A.I.R. Gallery, NYC, January 1998, February 2000, 2002 ,2004, 2006, 2008. Ms. Solomon is included in the collections of Metropolitan Museum of Art, Cincinnati Art Museum, Philadelphia Museum of Art, Museum of Contemporary Art (Chicago), The Brooklyn Museum, Yale University Art Gallery, and Provincetown Art Museum and others.
Thom Fogarty** has been active in NYC's downtown theater since 1977, appearing in dance and theatre productions, and creating works with Joseph Chaikin (The Open Theater), Paul Zimet (The Talking Band), Judson Poets Theater, DV8 Physical Theatre (London), and H.M. Koutoukas ("Dead at Sea," based on Mr. Koutoukas' journal entries). He has taught movement and performance throughout the U.S. and Europe. Since changing his focus to directing in 2011 he has directed: Eurydice by Sarah Ruhl (The Bridge NYC); Bad Connections? by Michael Levesque (Edmonton, Hollywood, Orlando, Toronto, Santa Cruz and Vancouver Fringe Festivals) ; Cross Hatch (staged reading at Judson Church) by Peter Mercurio; Hell Is Where The Heart Is (Gene Frankel Theater), by Melissa Skirboll for the Planet Connections Festival (which received 3 nominations for acting, as well as his win for Outstanding Lighting Design); In The Name Of God by Peter Cohen (Judson Church, NYC); Desdemona by Paula Vogel (The Bridge, NYC); Being Heard by Lulu Fogarty (Dixon Place, United Solo Festival, Theater Row NYC and Syracuse University); and 10 Tall Tales About The Men I Love (which he adapted from a short story by Ronn Smith). He directed the critically acclaimed World Premieres of Steven Fechter’s The Artifacts and The Mentee. He is an Associate Member of Stage Directors and Choreographers Society and the Drama League.
By Rebecca Jane Stokes
Director: Tamara Winters
Actors: Josh Evans, Lauren McCune, Mike Mihm, Sabra Shelley, Conor Stratton, Rebecca Jane Stokes
‘The Skin’ is set in Calhoun, Texas. It's a world much like our own, except in terms of technology. Androids are now a common part of daily life. In their first iteration, the public reacted badly to them: The machines looked and behaved too much like human beings. This first line was "recalled", and a second more innocuous service-line was issued in its place. But not all of these ‘Old Skin’ androids were successfully tracked down. This is a play about them. The story is told through two families. The town’s sheriff and the closeted-android who raised him, and an auto-mechanic, the older sister to a young woman with a mysterious seizure disorder. When the ill, young woman and the android meet and fall in love, things become complicated. Tensions increase when a representative from the company responsible for robotic production, comes to town solely to find the android and destroy him. ‘The Skin’ will ultimately be produced in a mixed-media format, with video segments interspersed throughout to contextualize the androids. On its surface a science-fiction, ‘The Skin’ is a story about discovering and defining our humanness in how we relate to the other.
Rebecca Jane Stokes received her BA from The University of the South: Sewanee, where she attended that Sewanee Writer’s Conference as a Tennessee Williams Scholar. She wrote and performed with the SouthCity Ensemble in Boston, Boston before moving to New York where she completed her MFA in playwriting at the New School For Drama. She worked as a writer’s Intern on HBO’s drama In Treatment, and for a Lifetime TV movie and web series, Inspector Mom. Stokes’s plays have been produced and read by the ABroad Stage Company, Rising Sun Performing Company, End Times Productions, and One21 Productions. Her play Men to Be Feared was featured in the International New York Fringe Festival in 2012. Stokes is a freelance web writer who contributes literary and historical satire to The Barnes and Noble Books Blog, XOJane.com, TheHairpin.com, and The-Toast.net among others. Currently, she is a staff writer at TheStir.com, a lifestyle website for women.
Wednesday, August 21st
Noodles Astray, a play with puppets by Andi Stover; A LiveFeedNYC production, Dramaturgy by Aimee Davis
Heather Liteer, Sandra Bauleo, Oscar Montoya, Elise Bernlohr, Ian Caskey, Jason Nahum, Terrell Green, Jonathan Hadley
Sometime in the near future producer Jennifer taps her favorite performance renegades to become the creative team of Noodles Astray, a high-concept educational program for children. Lured by the prospect of new apartments in a luxury condo complex designed by LiveSmart (also the producers of the show) the downtown artists get a chance to return from an economy induced exile and make work again, even if it is not on their terms. The play asks the question what will happen to a city when there is no longer space for unknown/experimental artists? How will the next generation be affected? As the Noodles have to come to terms with what their new jobs mean, the play wants its audience to consider what the world will look like when the only art being made has a corporate logo.
THE UPPER ROOM exalts the fact that there is an incredible and glorious spectrum of human spirituality, and binds the spiritual world to the physical and temporal decay of our suffering planet. It is inspired by Danish cinema, the elderly, severe environmental hazards and concerns, and also very much by the electro-folk spiritual music of singer-songwriter Catherine Brookman who is the lead composer and also plays the "organist" figure within the church. Her character "Marta" spastically reveals to her congregation her own mysterious issue: that she is turning into a kind of sea-creature. Her symptoms appear to come on in the form of songs inspired as much by Shaker music as they are by new-age hip hop and Motown. Slowly the congregation becomes aware that they are each implicated. Each person begins to show signs of metamorphoses into creatures that are part human and part sea-dweller.
Since You Asked Me To: An Evening with Mark Snyder
Life is rough and slights are many. Playwright and provocateur MARK SNYDER stalks the streets of Brooklyn, pushing past the granny-dressed artisan cheese makers and the aloof painter down the street who steals the Sunday Times magazine, in his pursuit of Realness. Authenticity. Manhood. And the proper scoop of ice cream. Join him for an evening of satire and deconstruction, song and speech - where names will be called and scores will be settled.
Wednesday, May 15th
Doors open at 7
Snacks & drinks 7-8
Performance at 8
Dear señora, senoritas, señor, amigos and Doritos
Occupy Poppyseed Street is a mix of Sesame Street, Political Action, and someone ruining their life, all bursting and bubbling with flavah! BAM! BAM! BAM!
TRAVIS FREEMAN’S BIO
Travis Freeman is 14 years old and is in 9th grade at quest to learn upper school. He is and always will be a native New Yorker. GO BROOKLYN DODGERS!! He First came up with occupy poppyseed street when his drama teacher asked him “So travis what are you writing for drama class”. Travis was in a sesame like mood so he said “OOH OOH I KNOW I WILL MAKE A PLAY ABOUT SESAME STREET”. Then the drama teacher said “Ok travis you might want to incorporate something else with that too”. So Then Travis said “OOH OOH I KNOW I WILL PUT AN ELEMENT OF OCCUPY IN TO MY PLAY”.
And that's how the writing began.. Travis then performed the play as an actor in front his whole school. Meanwhile he was going to Judson church and meeting all the necessary people. E.g. Sara Duncan, Michal Ellick, Micah Bucey and others. And one day got his play to be read at Magic Time. So now we are here. Hope you enjoy the play.
Wednesday, April 17
Doors open at 7, Performance begins at 8
In Tentative Armor, Composer/Performer Michael Harren combines piano, synthesizer, electronics, sound and text to explore intimacy and solitude from his perspective as a forty-something gay man in New York City.
Director: Adam Fitzgerald
Cello: Leah Coloff
Viola: David Packer
Michael Harren (michaelharren.com) is a Brooklyn based composer, pianist, electronic musician and performance artist, as well as synth bassist
for the synth punk band ATTACK.WAV. He has appeared at Theater 1010, Manhattan Theater Source, The Duplex, Joe’s Pub, Don’t Tell Mama’s, The Laurie Beechman Theater and (Le) Poisson Rouge both as a Musical Director and Pianist in a variety of cabaret and theater projects. As a solo artist, Michael combines elements of classical composition with experimental electronics and storytelling to create hypnotic and boldly intimate work.
Adam Fitzgerald (Director) is the Artistic Director of kef theatrical productions and a founding partner of FIFTY2&NINE. With kef Adam recently directed the critically acclaimed MEHTHTACULAR!, (Time Out NY Critics’ Pick) KILLING WOMEN (with Lisa Brescia) and LYRIC IS WAITING. Other recent directing credits include Victor L Cahn's GETTING THE BUSINESS (Rachel Reiner Productions) Marc Castle’s FRIENDS AND RELATIONS, Michael I Walker’s LETTER FROM ALGERIA and the concert of Carner and Gregor’s ISLAND SONG for 92YTribeca. Adam was the 2008-09 Directing Resident at Playwrights Horizons assisting Wilson Milam, Bartlett Sher and Kate Whoriskey on plays by Nicky Silver (THREE CHANGES with Maura Tierney), Craig Lucas (PRAYER FOR MY ENEMY with Victoria Clark, Michele Pawk and Jonathan Groff) and Christina Anderson (INKED BABY with LaChanze) and served as the 2007-08 Artistic Associate Playhouse West (where his production of DEFIANCE garnered Critics Circle nominations for Director and Production). With FIFTY2&NINE, Adam wrote and directed the PSA for the Ad Council and GLSEN which won a national Talent House competition judged by Brett Ratner and Tom Ford and directed FIFTY2&NINE's first web series, CONVERSATIONS W/ MY EX
Leah Coloff (Cello) is a cellist and singer of loud, soft, punk, rock, pretty, crazy songs. . The New York Times called her singing and playing “a combination of artful angularity and a rock-inflected assertiveness.” Another reviewer said of her, “She does everything she can think of with that cello, short of setting it on fire.” Leah veered off the road of rigorous traditional training after earning a degree in cello performance from The San Francisco Conservatory of Music and doing a stint of graduate school at The New England Conservatory of Music in Boston. Over the years, Leah has played with many wonderful musicians including, Phillip Glass, David Bowie, Patty Smith, Michael Cerveris, Mark Mulcahy, Rufus Wainwright, Linda Thompson, and Trey Anastasio. As the cellist for The Scorchio Electric String Quartet, you can hear Leah playing during the last moments of the upcoming season of Nurse Jackie. (love Nurse Jackie!) The new song, Deserving, from Leah's upcoming solo record, This Tree, can be freely downloaded on her website:leahcoloff.com.
David Packer (Viola) lives in Brooklyn with his wife, Melissa. In his spare time, he manages the fantasy/social commentary blog http://polypspride.blogspot.com and watches a lot of movies.
How To Stay
by Kate Foster with Dalton Ridenhour, Anna Gothard and Brooklyn duo Into Doubt
Directed by Rebecca Wear
Special Thanks to Alex Mallory and Jeremy Karafin, Poetic Theater, and Micah Bucey, Magic Time
A coming out, coming of age coming home story. Spoken word, storytelling, and re-imagined musical theater from the 1940s and the 1950s.
Kate Foster (vocals, writer) is a NYC-based singer, playwright and activist. Kate sings at jazz joints, theater festivals and pop-up performance parties. She has opened for Debra Monk, Kenny Loggins, and can be found at Birdland's Cast Party, LezCab @ the Duplex, Poetic Theater events @ the wild project, and upcoming festivals throughout 2013. Her plays have been produced by FRIGID 2011 (Mermaids), FRIGID 2012 (Stripper Lesbians), Manhattan Actor's Company (Novel Love), Rising Sun NYC (I love homeless people) and Poetic Theater Productions/Poetic License 2013 (HOW TO STAY). Kate's plays have been developed by Rising Sun NYC (Resident Playwright 2011-2012), Rhapsody Collective (Resident Playwright 2013), ESPA @ Primary Stages, and Poetic Theater Productions. As an activist, Kate works with Occupy Wall Street, playwright coorganizer/cofounder of OWS' national 10-min play fest (occupytheemptyspace.org), Occupy Broadway team, Occuoy Sandy volunteer. In addition, Kate has worked with Culture Project, as 2012 IMPACT Artist in Residence, to develop #artsuperpac. Kate hopes to see you @ Judson on Sunday's or at their amazing dance, poetry and theater programming (you rock, Micah)! Catch HOW TO STAY @ Culture Project's Women CenterStage in June 2013, and other music performances via kateeileen music and ukelele duo Anna/Kate.
Dalton Ridenhour has been playing ragtime, stride, and blues for most of his life -- and it shows. A native of St. James, Missouri, he has quietly become one of the most celebrated pianists on the ragtime and jazz festival circuit today. Drawing inspiration from across the board (from Scott Joplin to Fats Waller to George Jones to Elvis Presley to Radiohead to Robert Johnson to Nat King Cole), Ridenhour's playing is distinctive not only for its refreshing originality, but also for its breathtaking lyricism and beauty. Whether playing a classic rag by Joseph Lamb or a Tin Pan Alley song or an improvised blues, he sounds right at home, breathing life into his performances with a steady, inviting swing.
Margi & the Dapper Dots
As far back as she can remember, Margaret Gianquinto, who's childhood family nickname was Margi, listened lovingly to music from the Golden Age. With these songs at her core, she followed her own musical path, exploring classical piano and choral singing, singing harmonies across multiple genres, and arranging for folk piano. But her true passion has always been the old songs she grew up with, especially the standards. Her sultry style, which many describe as "vintage," is reminiscent of the voices of an earlier era when those marvelous big band singers and gifted male and female vocalists sang the music of Berlin, Gershwin, Porter, Arlen and Rodgers and Hart.
Into Doubt is a 2 piece acoustic/folksy/indie group that loves to have fun and make music that makes you want to laugh, cry and drink yourself into a brownout resulting in waking up and finding you have just bought the band a new car and several pounds of candy. We are "unplugged" and have a banjo and a harmonica!
Anna Gothard is a Brooklyn based musician and actor. She enjoys making original music on her ukulele, looking dapper and playing with her cat.
The World's Smallest Violin
By Max Freedman
Wendy has never had a job, never needed one. Her husband's never home and her kids are moving out and her mother's losing her mind, so what better time to join the workforce? The World's Smallest Violin is a six-way coming-of-age story, a comic minor tragedy about privilege, choice, and management consulting.
Rick: Edward Stanley*
Wendy: Orlagh Cassidy*
Jason: Matthew Baldiga*
Tanya: Alice Bahlke
Kara: Yadira Guevara-Prip
Helen: Charlotte Hampden*
Stage Directions: Johanna Weller-Fahy
by Saheem Ali, Mkhululi Z. Mabija & Michael Thurber
Director: Saheem Ali
Music Director: Michael Thurber
Associate Producer: Rashad V. Chambers
Assistant Director: Logan Reed
Goddess is a new African musical, adapted from short stories and myths from the continent. It takes place in a fictional African city, mostly in a jazz club called Moto Moto. The show revolves around Nadira, a beautiful jazz singer at the club, and the men who love her. It is a story of love and destiny, set against the backdrop of an African society where the modern and the ancient live side by side.
Ahmed: Larry Powell
Kobe: Cedric Leiba
Pakamile: Max Kumangai
Nadira: Karan Kendrick
Omari: Keith Antone
Balozi: Cedric Cannon
Maya: Allison Blackwell
Cheche: Britney Coleman
Kamau: Marc Damon Johnson
Siti: Kimberly Hebert Gregory
Rashida: Shaleah Adkisson
Mosi: Forest Van Dyke
Debby Dark — Full Circle
Playwright/Performer: Deborah Clapp
Debby Dark — Full Circle is a solo performance retrospective journey through darkness toward enlightenment, featuring appearances by a host of characters created by Deborah Clapp, including Little DBee, Debby Dark, Mrs. Margaret Marie O'Sullivan, and The Statue of Liberty.
Deborah Clapp is a poet, performance artist, producer, and director. She has produced dance, original theatre pieces, film, and one-woman shows. She has also performed stand-up and musical improvisation. Her work has provided a context for the development of a repertoire of original characters telling their stories through poetry and monologues.
Deborah is a recipient of a La MaMa Award for playwriting and has performed a one-woman show entitled "Recipe for An Expanding Universe" at the Ediburge Fringe Festival and "Outrageous Introverts," aired on Manhattan Cable.
In New York City, she has appeared at The Duplex, St. Mark's Church, The Club/La MaMa, Solo Arts Group, The Joyce/SoHo, and Westside Y, among many other venues.
Deborah is currently working on a piece called "Debby Dark — Full Circle," which she will present as a work-in-progress at Judson Memorial Church in November.
Come Back Up
Friday, October 12th - Doors open at 7 - Performance at 8
What pulls us up out of ourselves into a larger consciousness? What makes our hearts and heads and feet soar? Is it a person, an ideology, a theology? Is it an action? Is it a community? What pulls us down, what makes us retreat? What pushes us over the edge? And what, if anything, breaks our fall?
Come Back Up is about seemingly unforgivable crimes--actions, mindsets, and the overlap of the two. A play in five parts (Feet, Heart, Head, Beak, Wings), Come Back Up fully blooms as people come together to help Buddy Hudson, a developmentally challenged young black man on trial for a truly horrendous crime--a crime whose fallout reveals societal racism and media scare tactics at their worst. Through their involvement with this case, Letta, Clara, Mo, Robin, Jessamyn, Buddy and Cousin come face to face with the prejudices in themselves and their loved ones.
Sarah Duncan is a writer, performer, and activist. She recently moved from the midwest to New York City last November, and has been graciously given opportunities (like this one) to share her art and ideas with people on both small and large scales. Sarah is a graduate of the Kennedy Center's Playwright Intensive Program (Summer 2011), the American Academy of Dramatic Arts (Summer Intensive 2008) and Bradley University (Class of 2009.) Most recently, Sarah performed her own slam poetry at The Cherry Lane Theater for We Are Theatre, and last April her full length play, Bees and Lions, premiered at the W.O.W Cafe Theatre on East Fourth, produced by Sanguine Theater Company and directed by the marvelous Jillian Roberston. In addition, Sarah is a happy member of Judson Church, and also a busy occupier, and co-runs Occupy the Empty Space, OWS's new play festival that explores the definition of human rights through a variety of new plays and teachins from local organizations. Thanks to Micah and Melissa and Michael and Donna, and to all of the Judson folks who make Judson as full of Magic and forward momentum as it is. And much love and thanks to her cast, to Jillian, and to all who gave feedback throughout this year + process. Alright, enough talk. It's Magic Time.
Jillian Robertson (Director) is a freelance director living and working in NYC. She has worked with many companies and theaters over the last few years, some of her favorite credits include, Bees and Lions (STC), The Last Days of Judas Iscariot (Sanguine), The Laramie Project (Under the Umbrella), and Dog Sees God (317 Theatre). She received her BFA from the Univ. of Oklahoma. Jillian is the Artistic Director and a founding member of STC www.sanguinenyc.com. Thanks to Sarah for this exciting opportunity!
Cast: Alexander Haynes, Rahima Wachuku, JoNae Smith, Brian Edwards, Kristina Doelling, Curry Whitmire, Ali Rose Dachis.
A story of twin loss, rent control, 1980s SoHo, and a love that longs to speak its name... it just doesn't have one yet.
Amanda Duarte is a writer, actor and director who is thrilled to be part of Magic Time. She is also a storyteller-about-town, a regular at the Soundtrack Series and New Work, New York. Her solo show Lucky Pink Wonderland premiered at the SoloNOVA Arts Festival and enjoyed a subsequent sold-out run at the PIT, and her comic short "No Denying Love" made Funny or Die's home page and has an improbable 97% "Funny" rating. This is her first full-length play, and she thanks you for participating in this, its first reading.
Cast: Finnerty Steeves, Yuval Boim, Bernardo Cubria and Steven Patterson.
TRAMPS LIKE US
The First Dooley Street Play
Written by: Brian Otaño
Directed by: Stefanie Abel Horowitz
Jack and Linda return to Sheepshead Bay, Brooklyn to rob Jack's parents, only to get sliced up by an old lady on the way-- the result of a botched mugging.
Upon arriving at Coney Island Hospital, they find out that Linda's pregnant and they don't have to rob Jack's parents at all because his parents are dead, and everything they owned is now Jack's.
So begins the first play in a cycle of three genre-bending plays set in Sheepshead Bay, Brooklyn about two families enmeshed in a history of violence, secrecy and addiction.
Ryan Michael Jones
Brian Otaño is a New York native and a New Dramatists Van Lier Fellow. His plays include Lucky, Temptation Waits, Zero Feet Away and The Dooley Street Trilogy. The second play in the trilogy, What We Told The Neighbors, was developed with the The Glass Bandits Theatre Company and will be featured in Atlantic Theater's Latino Mixfest this month. Brian’s has had numerous short plays performed at Manhattan Theatre Source, Cakeshop and Theatre 3. Brian was an Associate Artist at the Atlantic Center for the Arts, where he was honored with a residency under the guidance of ACA Master Playwright Annie Baker. Merry Christmas, Eve (a film co-written with Alyssa Codamon), was screened as part of NewFilmmakers series at Anthology Film Archives. His first feature film, The Groom, is currently in pre-production. Education: Purchase College, BFA, Dramatic Writing Class of 2011. Brian is a proud member of Local USA 829.
Stefanie Abel Horowitz is a Brooklyn-based theater director. She is currently an Emerging Artist in Residence at The Gym at Judson with her team from The Capables by Jay Stull. Other favorite directing credits include Modjeska Dispatches #1, #2, #3, #4 and #5 by Sibyl Kempson, unequivocal proof for the existence of a benevolent god by Jerry Lieblich, The Lovers by Marisa Michelson and Josh Cohen, and Hello Again by Michael John LaChiusa. Currently, she is observing Bart Sher at the MET on his new production of L’elisir d’amour. She was the recipient of the 2008 Emory Women’s Club Arts Scholarship and is a graduate of Emory University. She is also a member of Lincoln Center Directors Lab and a founding member of The Accidentals.
July 18: Doors open at 7, Performance at 8
Jenny Connell is a writer, actor, and teacher. Her plays include Summer People, Chrysalis, The Dragon Play, Scientific Method and The Psyche Project (top 9 of ’09, Austin Chronicle, best new play nomination, Austin Critics Circle 2010). She’s been twice-nominated for the PONY, and a finalist or semi-finalist for BAPF, the Heidemann, the O’Neill, and Seven Devils. Her plays have been commissioned by Ars Nova and Scriptworks, and produced in Austin, Chicago, and NYC.
Colony: A Requiem for the End of the World began its development at UT Austin, with guidance from playwright Daniel Alexander Jones and director Katie Pearl. Inspired by the Colony Collapse Disorder phenomenon among the world's honeybee population, the play is an exploration of memory, language, loss...and rising from the ashes.
Theatre of the Oppressed NYC and the Ali Forney Theatrical Society Troupé present Rejection Reflections, a forum piece exploring the issues surrounding being LGBT and homeless in NYC.
More info: www.theatreoftheoppressednyc.org
Rejection Reflections is made possible in part with public funds from the Fund for Creative Communities, supported by New York State Council on the Arts and administered by the Lower Manhattan Cultural Council.
Theatre of the Oppressed is an interactive, physical and playful tool used to investigate situations in which we are denied our basic rights, personally and collectively. Community actors, directors, playwrights, designers and producers create original, interactive plays inspired by real-life struggles for human rights. These popular troupes tour throughout varied communities to engage in theatrical brainstorming or "forum theatre," in which the scenes ask a question of the audience, and the audience becomes involved as “spect-actors,” taking on the role of the protagonist to offer alternatives to the problems onstage. These interactive forums demand solidarity amongst diverse New Yorkers and creatively challenge systems of oppression.
Through wildly outrageous anecdotes and hilarious song stylings, METHTACULAR! is Steven’s Strafford’s hilarious and harrowing account of his life as a crystal methamphetamine addict in Chicago. Told with humor, grace, panache andperhaps most importantly, with honesty and without fear, METHTACULAR! will make you laugh, cry and laugh again while being taken on a roller coaster ride of humanity.
Steven Strafford (playwright, actor)
Steven Strafford is a Brooklyn-born, Jersey raised actor and writer. Credits include multiple roles in Spamalot (Vegas Company); The Herald in the Asian tour of Cinderella (w/ Lea Salonga); Cecco (u/s Smee) in the National Tour of Peter Pan (w/ Cathy Rigby); Lord Edgar and Jane Twisden in The Mystery of Irma Vep (Portland Stage Company) Chicago credits include: Thurio in Two Gentlemen of Verona; Erskine in Blair Fell’s Naked Will; Bilge in P.S. Pirates and The Padre in Man of la Mancha. His show, All of Me: All for You has been seen in sold out runs in both NYC and Sacramento. He has been featured on UCB Tv in the skit “Glitzy Babes” and he can be seen in the independent film, The Homecoming. He is the author and performer of Methtacular! coming to NYC in September 2012 www.methtacular.com He will next be seen in As Bees in Honey Drown at the Cape Playhouse in June/July.
Adam Fitzgerald (director)
Adam is a founding member of kef theatrical productions. With kef, Adam has directed many productions and readings including Killing Women, Lyric is Waiting, V, Roll, Corpus Christi, Artists Rising, Michael Pesce’s Old Fashioned Piano Party, Girl in the Goldfish Bowl and The Female Terrorist Project. In the past, Adam has served as a Directing Fellow at Playwrights Horizons assisting Wilson Milam, Bartlett Sher and Kate Whoriskey on plays by Nicky Silver (Three Changes with Maura Tierney), Craig Lucas (Prayer for my Enemy with Victoria Clark and Jonathan Groff) and Christina Anderson (Inked Baby with LaChanze); as the Artistic Associate at Playhouse West (where his production of Defiance garnered Critics Circle nominations for Director and Production; Top Ten Productions of 2007 by the Contra Costa Times) and the Associate General Manager at Theatre Row. Other directing credits include Ground Up Productions, EST Youngbloods, 12 Miles West, Diverse City Theater, First Look Theatre Co. (NYU), The SF Theater Festival, WE Theater (with Ironjaw Productions) and the FringeNYC (at the Cherry Lane) and Fringe Encores (at Soho Playhouse) productions of A Contemporary American’s Guide to Modern Marriage © 1959. Current projects in development include Steven Strafford’s Methtacular! and Don Creedon’s The Lobby (Producer Ellen Cohn).
Jerry Lieblich's - unequivocal proof for the existence of a benevolent god
"Fresh out of high school, best friends Kevin and Amy face a world ripe with possibility – there's so much to explore outside the sheltered religious community they call home. But when Kevin is chosen to join the ranks of the priesthood, he and Amy begin to drift away from each other, from their parents, from life as it used to be. Vibrant and formally daring, Unequivocal Proof tells a kaleidoscopic tale about the angst and nostalgia of growing up too fast."
JERRY LIEBLICH's plays include Unequivocal Proof for the Existence of a Benevolent God, Cruelty to Animals, Consummation, Nerve Damage, andA Portrait of the Artist as a Middle Aged Woman. His plays have been staged and developed at Judson Memorial Church, the Last Frontier Theatre Conference, 13th Street Repertory Company, Manhattan Repertory Theater, The Well Theater Group, and at festivals from Provincetown to Australia. Jerry is a 2011 graduate of Yale University, and has studied with Anne Washburn, Deb Margolin, Donald Margulies, and Robert Woodruff. He was a 2011 finalist for Aurora Theatre Company's Global Age Project, a 2012 semifinalist for the Trustus Theatre Playwrights' Festival, and the recipient of the Morse College Creative and Performing Arts Award. He is the 2011/2012 Literary Resident at Playwrights Horizons, and a member of The Extremely Famous Writer's Group and the Dramatists Guild. Jerry also has experience handling birds of prey, and has the scars on his arm to prove it.
Stefanie Abel Horowitz is a Brooklyn-based theater director. Favorite credits include The Lovers by Marisa Michelson and Josh Cohen, and Hello Again by Michael John LaChiusa. Recently she assistant directed for Kip Fagan on Jesse Eisenberg’s Asuncion at Rattlestick and for Niegel Smith on Lady Rizo: Ordained as part of New York Voices Commission at Joe’s Pub/The Public Theater. Currently, she is working as the Interim Individual Giving and Special Events Manager at New Dramatists. She was the recipient of the of the 2008 Emory Women’s Club Arts Scholarship and is a graduate of Emory University.
Please make an anticlockwise rotation at the door before entering church.
Light refreshment: Jerk/garlic toasted communion wafers and red wine.
Performance is in the nude. No filming or photographs allowed
More info: lawrencegrahambrown.com
A performance variable/media production based on Afro, Caribbean, and Gay Folklore via the Ras-Pan-Afro-Homo-Sapien construct. Lawrence and company will venture into socially, sexually, physically and mentally defined sacred spaces and employ liturgical actions of: cleansing/confession, exhortation, mourning/lamentation and Gay, religious, love/sex feast.
Costume design, Lighting design, Olfactory notes
and Sound design by Lawrence Graham-Brown.
The project will also be supported by a digital catalog and forty-five full color, hard copy limited edition catalogs which will include: Hand made dust coffin, DVD, original artwork and essays contributed by: Dr. David Boxer, Director Emeritus and Chief Curator, National Gallery of Jamaica; Keith Morrisson, Professor and former Dean, Tyler School of Art, Temple University and Edwin Ramoran, Independent Curator, NY. signed and numbered.
This performance/variable media art work was made possible, in part, by the Franklin Furnace Fund supported by the Lambent Foundation Fund of Tides Foundation, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. The Leslie Lohman Museum of Gay and Lesbian Art and aljira, A Center for Contemporary Art.
Little Lord: Pocahontas in Progress
POCAHONTAS! Indian Princess! Belle Sauvage! Motherf'ing mother of our motherf'ing country! Little Lord corrupts over 400 years of fact and fiction in order to grant America the founding myth that we all deserve. This special Magic Time showing is the culmination of our very first workshop exploring the wealth of materials pertaining to her story, and offers a glimpse at the practices and processes that Little Lord uses in order to build our shows. After many more workshops to come in 2012, the final version of Little Lord's Pocahontas will premiere at the Bushwick Starr in March 2013.
Created and performed by Julia Arazi, Lance Bankerd, Sarah Bishop-Stone, Das Elkin, Jane Jung, Randi Kleiner, Michael Levinton, Wayne Petro, Franny Silverman, Sam Soghor & Laura von Holt.
Little Lord is a Brooklyn-based theater company that produces fun, irreverent, and intelligent theater, merging big-scale theatricality with small-sized resources. Focusing on offbeat adaptations of classic (or neglected) texts, Little Lord plunders the theatrical canon in order to forge new plays from old parts. Little Lord makes lively, extensively researched, unexpected theater that is accessible without being "easy." With every show, we aim to create an atmosphere of shared experience in which nostalgia, discovery, densely-layered cultural references, and a simultaneous delight in and irreverence towards text all combine to make a whole that is far more than the sum of its many parts. Originally formed in 2007 under the guidance of Target Margin Theater—a mainstay of the New York City experimental “downtown” community—Little Lord has since brought our signature homemade aesthetic to venues such as the Bushwick Starr, HERE Arts Center, the OHIO Theater, the Chocolate Factory Theater, Incubator Arts Project, and the Brick. Visit us on the web at www.littlelord.org, or find us on Facebook (Little Lord Theater), Twitter (littlelordnyc), and Tumblr (Iittlelordnyc).
Wednesday, February 29th, 8:30 – 10:30 PM
$7 suggested donation
-Michelle Handelman, in attendance-
Judson Memorial Church
55 Washington Square South
New York, NY 10012
Kenneth Anger, Inauguration of the Pleasure Dome, 16mm, 1954/66
Michelle Handelman, Dorian, a cinematic perfume, Video, 2012
Dirty Looks pairs a US video premiere by multimedia artist, Michelle Handelman with an occult masterwork from the magus of the American avant-garde - Kenneth Anger. With an emphasis on costume and color, these works respond to historical models of decadence and deviance to evoke hallucinatory scenes of voluptuous pleasure.
Inauguration of the Pleasure Dome took its initial inspiration from the fabled “Come As Your Madness” party, featuring such luminaries as Anaïs Nin, artist and occultist Marjorie Cameron, and queer experimental and filmmaker Curtis Harrington. Anger invited these guests, in their party attire, to the home of famed Hollywood recluse Samson de Brier, who also features in Inauguration. Anger's hedonistic and hallucinatory film, which draws on the work of notorious occultist Aleister Crowley for its atmosphere of neo-pagan decadence is a “lavishly costumed magic masquerade party,” in the words of Alice Hutchinson. Inauguration builds to a delirious crescendo of editing and superimposition with an increasingly lurid color palette, as its revelers become high on a hallucinogenic brew and the celebration becomes more orgiastic.
In Dorian, a cinematic perfume, Michelle Handelman reinterprets The Picture of Dorian Gray, emphasizing the queer undertones and hedonism of the Wilde novel. Dorian features well-known personalities from the New York drag and burlesque scene, playing versions of themselves, blurring the line between performance and reality. Sequinette, a young gender-bending drag queen plays Dorian Gray. Dorian also features renowned drag performer and theremin player Armen Ra, media artist Quin Charity, video and performance artist K8 Hardy, and drag legend Flawless Sabrina. Dorian, with its excessive costumes, glitter, and color, both glamorizes and interrogates societal notions of narcissism, youth, beauty, and the cult of celebrity.
The event will also feature a complimentary publication featuring writings and original artwork.
Thom Fogarty will direct TEN TALL TALES ABOUT THE MEN I LOVE, based on the short story collection of the same name by Ronn Smith and adapted by Thom Fogarty, will be presented Friday, February 24th and Saturday, February 25th by Magic Time and Thom Fogarty. This ‘walkabout’ production, based on Ronn Smith’s short story collection and Thom Fogarty’s reimagining for the stage, is a series of 10 overlapping scenes for 10 characters in the time of AIDS dealing with love, loss and life. The cast of ten includes: Armand Anthony, Micah Bucey, Quincy Ellis, Ken Kidd, Christopher Michael McLamb, Aidan O’Shea, Adam Patterson, Carlton Tanis*, and Dustye Winniford*. Lighting design by Bill Stabile. Costume and Stage design is by Thom Fogarty
Ronn Smith is the author of Ten Tall Tales About the Men I Love: Fiction, Non-Fiction, and Three or Four Poems (from which "Ten Tall Tales About the Men I Love" was adapted by Thom Fogarty); Nothing But the Truth: A Play (based on the YA novel of the same title by Avi); Unquote Comma or REQ: A Play; and American Set Design: Interviews with Twelve Contemporary Set Designers. He is also a fundraising/development consultant, working with cultural, humanitarian, and educational nonprofits that are committed to creating positive social change. Ronn currently lives in Boston.
Director Thom Fogarty brings his particular sensibility to this thought provoking piece. His work, based in movement and told in an inherently theatrical style, has always dealt with the vastness of human conditions as told through the observance of small everyday gestures and their meanings. This shorthand movement vocabulary (consisting of traditional miming and gestures that are easily identifiable) allows the actors to be both profane and profound at the same time, constantly creating a duality ,is moved to tears.
*Indicates member of Actor’s Equity Association (AEA).
THE WALL - Wednesday, February 15th
The Inspiration for Magic Time
In the 1960s, New York City’s eager and growing population of playwrights found three new homes for their explosive work: Caffe Cino, La Mama Experimental Theatre Club, and our very own Judson Poets’ Theater. The three major forces behind each of these establishments, Joe Cino, Ellen Stewart, and Al Carmines each had a unique vision that culminated in what we now call the Off-Off-Broadway theatre movement. Joe Cino's nightly exclamatory introduction to his shows has become our mantra: “It’s Magic Time!”
Learn more about the
Off-Off Broadway Movement.