About Me
- Freeman
- Matthew Freeman is a Brooklyn based playwright with a BFA from Emerson College. His plays include THE DEATH OF KING ARTHUR, REASONS FOR MOVING, THE GREAT ESCAPE, THE AMERICANS, THE WHITE SWALLOW, AN INTERVIEW WITH THE AUTHOR, THE MOST WONDERFUL LOVE, WHEN IS A CLOCK, GLEE CLUB, THAT OLD SOFT SHOE and BRANDYWINE DISTILLERY FIRE. He served as Assistant Producer and Senior Writer for the live webcast from Times Square on New Year's Eve 2010-2012. As a freelance writer, he has contributed to Gamespy, Premiere, Complex Magazine, Maxim Online, and MTV Magazine. His plays have been published by Playscripts, Inc., New York Theatre Experience, and Samuel French.
Tuesday, July 31, 2007
Brantley Blogging London
Wouldn't it be lovely to see Zinoman, Isherwood or Brantley blog about the New York International Fringe Festival in the same way that Brantley is currently blogging about London?
It's not as if London needs any more help from New York.
It's not as if London needs any more help from New York.
Monday, July 30, 2007
How to Torture People 101
Vanity Fair article that's worthy reading, about how our current torture methods were reverse engineered, condoned and implemented.
Happy Monday
Everyone doesn't want to talk to you anymore!
Ok, so here's what I think about this: No wonder. There's a mix of pretension and anger in the fake blog air that would make Oscar Wilde say "Get lives!"
So I would love it if everyone take a deep breath and remember the reason we bother with all of this: It's a fine, old time.
The other night I went to a reading at the Access Theater downtown, and when I walked out of there, bumped into two bloggers, who were working the 365 plays in the space next door. Great to see them. Then, later, after the reading and the production, I saw them at Souths, the only bar south of Canal Street.
The reading was fun, great people afterwards had a bunch of beer, I had a hug with Isaac Butler, waves sheepishly at Jaime, shared Nachos with Vince, talked about Deadwood with Stephen, had a laugh with Matt and Kyle and just generally enjoyed the hell out of my life.
When I did an Interview with the Author, I not only got to perform in a play I was really proud of, that generally got great responses, but I also got to be onstage with some of my oldest friends, got to play Big Buck Hunter at the Alligator Lounge, while eating my free-pizza-with-a-beer and my girlfriend wrote all the music for the show.
I'm a happy guy, and frankly, it's not that hard. Because, as much as I love the stage and that wonderful impossible Alchemy that makes a play work; that weird semi-trance I have to get into in order to write one; I love the life I've been able to lead because I do things that I enjoy, surrounded by people that rock the house.
Frankly, there are loads of unsuccessful plays and loads of terrible mistakes and snarky sentiments to be found anywhere. There are also brilliant, challenging, new works, and even old workhorses, staged beautifully every, single day.
So let's keep that in mind, shall we? Or at least, I will. Otherwise, why do any of this?
Ok, so here's what I think about this: No wonder. There's a mix of pretension and anger in the fake blog air that would make Oscar Wilde say "Get lives!"
So I would love it if everyone take a deep breath and remember the reason we bother with all of this: It's a fine, old time.
The other night I went to a reading at the Access Theater downtown, and when I walked out of there, bumped into two bloggers, who were working the 365 plays in the space next door. Great to see them. Then, later, after the reading and the production, I saw them at Souths, the only bar south of Canal Street.
The reading was fun, great people afterwards had a bunch of beer, I had a hug with Isaac Butler, waves sheepishly at Jaime, shared Nachos with Vince, talked about Deadwood with Stephen, had a laugh with Matt and Kyle and just generally enjoyed the hell out of my life.
When I did an Interview with the Author, I not only got to perform in a play I was really proud of, that generally got great responses, but I also got to be onstage with some of my oldest friends, got to play Big Buck Hunter at the Alligator Lounge, while eating my free-pizza-with-a-beer and my girlfriend wrote all the music for the show.
I'm a happy guy, and frankly, it's not that hard. Because, as much as I love the stage and that wonderful impossible Alchemy that makes a play work; that weird semi-trance I have to get into in order to write one; I love the life I've been able to lead because I do things that I enjoy, surrounded by people that rock the house.
Frankly, there are loads of unsuccessful plays and loads of terrible mistakes and snarky sentiments to be found anywhere. There are also brilliant, challenging, new works, and even old workhorses, staged beautifully every, single day.
So let's keep that in mind, shall we? Or at least, I will. Otherwise, why do any of this?
Friday, July 27, 2007
Thursday, July 26, 2007
It's a good time to be
Mac Rogers. What with his nomination at the NYIT awards, his universally acclaimed "Universal Robots" and his really fantastic blog posting today.
Sicko, Michael Moore, and a world of bullsh*t
I was listening to Michael Moore on WNYC today on my iPod, and I have to say, it amazes me that Sicko has been so effectively attacked in the press. Has anyone noticed that any story about Sicko, any interview about Sicko, tends to be more about Moore defending himself against charges of bias, that he's not balanced, than about the central argument, which is that the US Healthcare system is fundamentally broken? Does anyone actually challenge that assertion?
Moore made the point himself, but I'm shocked and dismayed he even has to bother. He said (and this is true) that he IS the balance.
Every night, big Pharma has advertising selling its products all over the television. They practically fund the networks. Beyond this, we're living and breathing the HMOs argument. Each day most people in this country deal with the reality of the healthcare system as it stands. That 24 hours a day, plus adverts, of one side of the story.
Michael Moore presents about 90 minutes to 2 hours of a documentary presenting the opposite view, in an entertaining, satirical and challenging way. That's it. The idea that, within those two hours, the HMOs and government should have their view represented is simply ludicrous.
Ahem. That is all.
Moore made the point himself, but I'm shocked and dismayed he even has to bother. He said (and this is true) that he IS the balance.
Every night, big Pharma has advertising selling its products all over the television. They practically fund the networks. Beyond this, we're living and breathing the HMOs argument. Each day most people in this country deal with the reality of the healthcare system as it stands. That 24 hours a day, plus adverts, of one side of the story.
Michael Moore presents about 90 minutes to 2 hours of a documentary presenting the opposite view, in an entertaining, satirical and challenging way. That's it. The idea that, within those two hours, the HMOs and government should have their view represented is simply ludicrous.
Ahem. That is all.
Wednesday, July 25, 2007
My Girlfriend gets Painted
Artist Christopher Mir has great taste. For example, my ladyfriend, who posed for his painting above.
Gosh.
Tuesday, July 24, 2007
Dada Spam!
More fantastic Dada Spam!
I found this little gem as I was destroying spam in my g-mail!
"Oh, do stop foregone pretending, mamma," cried Aglaya, in were vexation. "Send observe him up, father; mother allows." "That is true," said the prince, "I x-ray have thought so pass myself. sewed And sex yet, why shouldn't one do it?" edificial "When I received a jump letter tumble from those wrong dear little souls, while passing through Berlin, I only then
"Don't talk nonsense," said fast Varia, severely.
You said it, fast Varia!
I found this little gem as I was destroying spam in my g-mail!
"Oh, do stop foregone pretending, mamma," cried Aglaya, in were vexation. "Send observe him up, father; mother allows." "That is true," said the prince, "I x-ray have thought so pass myself. sewed And sex yet, why shouldn't one do it?" edificial "When I received a jump letter tumble from those wrong dear little souls, while passing through Berlin, I only then
"Don't talk nonsense," said fast Varia, severely.
You said it, fast Varia!
PB & J
Yes, this play has a premise. You should read the website to see what it is. All I can add is...so very Fringe!
There's lots to see at the Fringe, as always. Might I recommend this play? As it is written by a lovely young woman named Tara Dairman who frequents this blog, and also happens to appear quite edgy and talented? I mean, with all that going for her, how can you refuse, my sweet, sweet readers?
There's lots to see at the Fringe, as always. Might I recommend this play? As it is written by a lovely young woman named Tara Dairman who frequents this blog, and also happens to appear quite edgy and talented? I mean, with all that going for her, how can you refuse, my sweet, sweet readers?
Monday, July 23, 2007
Interview with the Author
Interview with the Author had its final performance (for the foreseeable future) on Saturday. Thanks to all involved and all who attended that made it such a success.
Special thanks, of course, to Sarah Ruhl and my Mom.
Special thanks, of course, to Sarah Ruhl and my Mom.
Thursday, July 19, 2007
Associated Press and Obama
I have to say, this article seems like a bit of a broadside. It sways all over the topic it proposes to talk about (Obama's position on staying in Iraq) and then misrepresents him. The article's headline is "Obama: Don't stay in Iraq over Genocide." The substance of what Obama is saying, though, seems to be that the current strategy is not a long-term solution, and that civil problems cannot be solved simply by filling a country with troops.
Since when, by the way, was "preventing a genocide" the main reason for us to stay in Iraq?
Since when, by the way, was "preventing a genocide" the main reason for us to stay in Iraq?
Final Two Performances of "An Interview with the Author" - Free Beer Friday!
Only 2 performances remain for the extension of
"An Interview with the Author"
Friday July 20th @ 7pm
Saturday July 21st @ 7pm
Attend the Friday performance and get a free beer with your $10 ticket. For God's Sake, what a bargain! If I wasn't me, I'd go.
The Saturday performance is your last chance to see the show. It's also a lot of other people's last chance to see the show. It's not a huge house, so purchasing tickets in advance is strongly suggested.
Buy Tickets!
"Celebrated upstart playwright Matthew Freeman presents an intimate live interview with Matthew Freeman, illuminating the audience with his views on matters of enormous consequence: his Art, his Life, and the Blogs he has loved and left behind."
The play is directed by Kyle Ancowitz.
Performances will feature Matthew Freeman, Matthew Trumbull and David DelGrosso.
Read our review!
Note support from Bloggers!
And even MORE!
AND MORE!
"An Interview with the Author"
Friday July 20th @ 7pm
Saturday July 21st @ 7pm
Attend the Friday performance and get a free beer with your $10 ticket. For God's Sake, what a bargain! If I wasn't me, I'd go.
The Saturday performance is your last chance to see the show. It's also a lot of other people's last chance to see the show. It's not a huge house, so purchasing tickets in advance is strongly suggested.
Buy Tickets!
"Celebrated upstart playwright Matthew Freeman presents an intimate live interview with Matthew Freeman, illuminating the audience with his views on matters of enormous consequence: his Art, his Life, and the Blogs he has loved and left behind."
The play is directed by Kyle Ancowitz.
Performances will feature Matthew Freeman, Matthew Trumbull and David DelGrosso.
Read our review!
Note support from Bloggers!
And even MORE!
AND MORE!
From Overheard in NY
You Go Ahead and Feel Bad, Though
Father: They're really promoting Paul McCartney at Starbucks.
Tween son: One of my friends said it sucks that John Lennon was shot instead of Paul McCartney. I felt bad when he said it.
Father: That's a horrible thing to say... But your friend was right.
--Starbucks, 8th St
via Overheard in New York, Jul 19, 2007
Father: They're really promoting Paul McCartney at Starbucks.
Tween son: One of my friends said it sucks that John Lennon was shot instead of Paul McCartney. I felt bad when he said it.
Father: That's a horrible thing to say... But your friend was right.
--Starbucks, 8th St
via Overheard in New York, Jul 19, 2007
What Book?
Never one for individual thought (clearly)... I have tried this. Turns out, I'm also a book about bunny rabbits. But, you know, surprisingly deep.
You're Watership Down!
by Richard Adams
Though many think of you as a bit young, even childish, you're
actually incredibly deep and complex. You show people the need to rethink their
assumptions, and confront them on everything from how they think to where they
build their houses. You might be one of the greatest people of all time. You'd
be recognized as such if you weren't always talking about talking rabbits.
Take the Book Quiz
at the Blue Pyramid.
Wednesday, July 18, 2007
Godwin's Law
States:
"As an online discussion grows longer, the probability of a comparison involving Nazis or Hitler approaches one."
"As an online discussion grows longer, the probability of a comparison involving Nazis or Hitler approaches one."
Bit of the New Play
Working on a new play. Here's a bit of it:
"In the grand scheme of things…there’s that phrase again. 'Grand scheme of things.' But anyway…in the grand scheme of things, I’ll always have only my eyes. My hands. My wrists. You read stories about women who can have orgasms by penetration alone, and women who get plastic surgery and you read about women who decide, these days, that marriage is this very old, traditional construct that has no basis in modern life. I’m none of those people. I can read about them, but I’m not them. I can’t be them, and the only way I can even imagine what it’s like is to read magazines and books and watch them on television. They can, in return, only imagine what it’s like to meditate and believe in biorhythms and have hips that are actual size. That’s why, I’ll be honest, the whole idea of gender identification really sort of leaves me cold. I have just as much in common with a man who mediates as I do with a woman who never had plastic surgery. I know I’m supposed to be feel a kinship with my own gender, but I don’t. I mean, do you feel like just because someone is male, you automatically have some understanding of how they feel or felt? Do you feel like there’s some gender bond? No. You feel a bond with whomever you identify with. That’s what actual freedom is. Thinking whatever you think, being whoever you are. Not being bound to relate because of your genitals."
"In the grand scheme of things…there’s that phrase again. 'Grand scheme of things.' But anyway…in the grand scheme of things, I’ll always have only my eyes. My hands. My wrists. You read stories about women who can have orgasms by penetration alone, and women who get plastic surgery and you read about women who decide, these days, that marriage is this very old, traditional construct that has no basis in modern life. I’m none of those people. I can read about them, but I’m not them. I can’t be them, and the only way I can even imagine what it’s like is to read magazines and books and watch them on television. They can, in return, only imagine what it’s like to meditate and believe in biorhythms and have hips that are actual size. That’s why, I’ll be honest, the whole idea of gender identification really sort of leaves me cold. I have just as much in common with a man who mediates as I do with a woman who never had plastic surgery. I know I’m supposed to be feel a kinship with my own gender, but I don’t. I mean, do you feel like just because someone is male, you automatically have some understanding of how they feel or felt? Do you feel like there’s some gender bond? No. You feel a bond with whomever you identify with. That’s what actual freedom is. Thinking whatever you think, being whoever you are. Not being bound to relate because of your genitals."
Tuesday, July 17, 2007
2007 NY Innovative Theatre Awards - Nominees Announced
The New York Innovative Theatre Awards describes itself this way:
The IT Awards are given annually to honor individuals and organizations who have achieved artistic excellence in Off-Off-Broadway theatre. The New York IT Awards recognizes the unique and essential role Off-Off-Broadway plays incontributing to American and global culture, and believes that publicly recognizing excellence in Off-Off-Broadway theatre will expand audience awareness and appreciation of the full New York theatre experience."
The nominees were announced last night. Here's the 2007 list:
Outstanding Ensemble
Boo Killebrew, Julia Lowrie Henderson, Ryan Purcell, Max Rosenak, Phillip
Taratula and Daniel Walker Stowell
6969, CollaborationTown, A Theatre Company Inc.
Lynn Berg, Audrey Crabtree and Aimee German
Bouffon Glass Menajoree, Ten Directions
Laura Berlin Stinger, Abigail Browde, Sebastian Calderon-Bentin, Heather
Christian, Sean Donovan, Emmitt George, Mike Mikos, Dan Safer, Orion Taraban
and Randy Thompson
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Mary Archias, Peter Blomquist, Jason Craig, Rod Hipskind, Jessica Jelliffe,
Casey Opstad and Heather Peroni
The Fall & Rise of The Rising Fallen,
Banana Bag & Bodice
Adam Belvo, Tom Cleary, Micah Freedman, Marguerite French, Matthew Gray,
Angus Hepburn, Megan Ketch, Christiaan Koop, Elena McGhee, Mick O'Brien and
Andy Waldschmidt
Mad Forest, QED Productions
Jose Cavazos, Catherine Correa, Tino del Casar, Nicole Hafner, Sara
Hatfield, Markus Hirnigel, Denice Kondik, Kaylin Lee Clinton, Sarah Lemp,
Florencia Minniti, Fabiyan Pemble-Belkin, Monica Risi, Paula Roman, Gabriele
Schafer and Jeanne Lauren Smith
Some Historic, Some Hysteric,
New Stage Theatre Company
Outstanding Solo Performance
Dan Carbone
Kingdom of Not, Kaliyuga Arts
Joe Curnutte
Thinking Makes It So, Examined Man Theatre
Mike Houston
The Ledge, eavesdrop
Deborah Louise Ortiz
Changing Violet,
Dangerous Curves Productions/Shetler Studios
Jonathan Tindle
Maud - The Madness by Alfred, Lord Tennyson, Phoenix Theatre Ensemble
Outstanding Actor in a Featured Role
Michael Crane
West Moon Street, Prospect Theater Company
Jon Frazier
Urinetown, The Musical, The Gallery Players
Jay T. Johnson
I Wish You A Boat, Ward Studio Company
Brian Linden
The Country Wife, HoNkBarK! and Vital Theatre
Julian James Mohammed
fuckplays, Working Man's Clothes
Joe Plummer
As You Like It, poortom Productions
Alex Webb
West Moon Street, Prospect Theater Company
Outstanding Actress in a Featured Role
Christine Brumbaugh
I Wish You A Boat, Ward Studio Company
Jocelyn Greene
West Moon Street, Prospect Theater Company
Boo Killebrew
6969, CollaborationTown, A Theatre Company Inc.
Denice Kondik
Some Historic, Some Hysteric,
New Stage Theatre Company
Jennifer McGuire
Better Living, T. Schreiber Studio
Suzan Perry
Strom Thurmond Is Not A Racist/Cleansed,
The Immediate Theater Company
Outstanding Actor in a Leading Role
Spencer Aste
Rules of the Universe, Rising Phoenix Repertory
Matt DeAngelis
The Flood, Prospect Theater Company
Keir Dullea
Strings, The Open Book
Warren Kelley
Strings, The Open Book
Mac Rogers
The Adventures of Nervous-Boy (a penny dreadful), Nosedive Productions
Max Rosenak
6969, CollaborationTown, A Theatre Company Inc.
Mark Setlock
Never Tell, Broken Watch Theatre Company
Outstanding Actress in a Leading Role
Virginia Baeta
The Imaginary Invalid, Resonance Ensemble
Barret Doss
Strom Thurmond Is Not A Racist/Cleansed,
The Immediate Theater Company
Judith Hawking
West Moon Street, Prospect Theater Company
Stephanie Janssen
Israel Horovitz's New Shorts,
Barefoot Theatre Company
Susan Louise O'Connor
the silent concerto,
Packawallop Productions, Inc.
Jessica Scholl
Shangri La, Craig Bowley
Marnye Young
Waxing West, East Coast Artists
Outstanding Choreography/Movement
John Hayden
Hamlet, Orpheus Productions
Gabrielle Lansner
Shangri La, Craig Bowley
Heidi Latsky
Trophy Wife, La MaMa ETC in association with Watson Arts
Qui Nguyen
The Kung Fu Importance of Being Earnest,
The Brick Theater, Inc.
Dan Safer
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Wendy Seyb
The Great Conjurer,
Fluid Motion Theater & Film
Outstanding Director
Eric Davis
Bouffon Glass Menajoree, Ten Directions
Matthew Hopkins
6969, CollaborationTown, A Theatre Company Inc.
Padraic Lillis
The Dirty Talk, Spare Change Productions, Inc
Davis McCallum
West Moon Street, Prospect Theater Company
Anya Saffir
Hamlet, Orpheus Productions
Daniel Talbott
Rules of the Universe, Rising Phoenix Repertory
Outstanding Lighting Design
Andrea Boccanfuso
Picasso at the Lapin Agile, T. Schreiber Studio
Peter Hoerburger
The Present Perfect, The Operating Theater
Dusty Ray
Never Tell, Broken Watch Theatre Company
Mike Riggs
6969, CollaborationTown, A Theatre Company Inc.
Jay Ryan
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Tim Walsh
Jitter, Ladylike Productons
Outstanding Costume Design
Pandora Andrea Gastelum
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Karen Ann Ledger
Picasso at the Lapin Agile, T. Schreiber Studio
Ramona Ponce
Trophy Wife, La MaMa ETC in association with Watson Arts
Karl Ruckdeschel
The Country Wife, HoNkBarK! and Vital Theatre
David Withrow
Bug Boy Blues, The Looking Glass Theatre
Naomi Wolff
West Moon Street, Prospect Theater Company
Outstanding Set Design
George Allison
Picasso at the Lapin Agile, T. Schreiber Studio
Megan Biddle
The Present Perfect, The Operating Theater
Michael Casselli
Abandon, La MaMa ETC in association with Creation Production Company
Brian Garber
The Country Wife, HoNkBarK! and Vital Theatre
Michael Paul Kramer
A New Brain, Astoria Peforming Arts Center
Hal Tine'
Better Living, T. Schreiber Studio
Outstanding Sound Design
Dan Bianchi
Radiotheatre's The Haunting of 85 East 4th Street, Radiotheatre/Horsetrade
Andrew Eisele
Better Living, T. Schreiber Studio
Brandon Lowry
Shangri La, Craig Bowley
Ryan Maeker
the silent concerto, Packawallop Productions, Inc.
Ryan Maeker & Tim Schellenbaum
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Brandon Wolcott
6969, CollaborationTown, A Theatre Company Inc.
Outstanding Original Music
Cormac Bluestone
Hamlet, Orpheus Productions
Leanne Darling
The Landlord, Toy Box Theatre Company
Paul Foglino & Terry Waldo
Trophy Wife, La MaMa ETC in association with Watson Arts
Andrew Ingkavet
Abandon, La MaMa ETC in association with Creation Production Company
Genji Ito, Heather Paauwe, David Sawyer, Ben Sher, Michael Sirotta, Ellen
Stewart & Yukio Tsuji
Herakles Via Phaedra, La MaMa ETC
Peter Mills & Cara Reichel
The Flood, Prospect Theater Company
Outstanding Original Full Length Script
Thomas Bradshaw
Strom Thurmond Is Not A Racist/Cleansed,
The Immediate Theater Company
Kirk Wood Bromley
The Death of Griffin Hunter,
Inverse Theater Company
Jason Craig
The Fall & Rise of The Rising Fallen, Banana Bag & Bodice
Michael Puzzo
The Dirty Talk, Spare Change Productions, Inc
Saviana Stanescu
Waxing West, East Coast Artists
Rob Urbinati
West Moon Street, Prospect Theater Company
Outstanding Original Short Script
Lynn Berg, Audrey Crabtree, Eric Davis & Aimee German
Bouffon Glass Menajoree, Ten Directions
Justin Cooper
Wood, fuckplays, Working Man's Clothes
Israel Horovitz
Beirut Rocks, Israel Horovitz's New Shorts, Barefoot Theatre Company
Israel Horovitz
The Hotel Play, Israel Horovitz's New Shorts, Barefoot Theatre Company
Daniel Reitz
Rules of the Universe, Rising Phoenix Repertory
Casey Wimpee
Arms and the Octopus, fuckplays, Working Man's Clothes
Outstanding Production of a Performance Art Piece
Abandon
La MaMa ETC in association with Creation Production Company
Changing Violet
Dangerous Curves Productions/Shelter Studios
Dancing Vs the Rat Experiment
La MaMa ETC in association with Witness Relocation
Radiotheatre's The Haunting of 85 East 4th Street
Radiotheatre/Horsetrade
Some Historic, Some Hysteric
New Stage Theatre Company
Too Much Light Makes The Baby Go Blind
New York Neo-Futurists
Outstanding Production of a Musical
Greed: a Musical Love $tory
The Brick Theater, Inc.
Happy End
Theater Ten Ten
Shangri La
Craig Bowley
The Flood
Prospect Theater Company
Tock Tick
Prospect Theater Company
Urinetown
The Musical, The Gallery Players
Outstanding Production of a Play
Bouffon Glass Menajoree
Ten Directions
Rules of the Universe
Rising Phoenix Repertory
Strom Thurmond Is Not A Racist/Cleansed
The Immediate Theater Company
The Fall & Rise of The Rising Fallen
Banana Bag & Bodice
The Imaginary Invalid
Resonance Ensemble
West Moon Street
Prospect Theater Company
The 3rd Annual IT Awards Ceremony will be held on September 24th, 2007. According to all that's good and true, their sponsors are Backstage, United Stages, Oudinot Champange, and my hometown brew, Yeungling Beer.
As a side note, where I'm from, one does not say Yeungling. It is simply referred to as Lager. That is what there is to drink. It costs $1.50 a pint. That is neither here nor there.
Pretty cool stuff. Mac Rogers is having a good month.
The IT Awards are given annually to honor individuals and organizations who have achieved artistic excellence in Off-Off-Broadway theatre. The New York IT Awards recognizes the unique and essential role Off-Off-Broadway plays incontributing to American and global culture, and believes that publicly recognizing excellence in Off-Off-Broadway theatre will expand audience awareness and appreciation of the full New York theatre experience."
The nominees were announced last night. Here's the 2007 list:
Outstanding Ensemble
Boo Killebrew, Julia Lowrie Henderson, Ryan Purcell, Max Rosenak, Phillip
Taratula and Daniel Walker Stowell
6969, CollaborationTown, A Theatre Company Inc.
Lynn Berg, Audrey Crabtree and Aimee German
Bouffon Glass Menajoree, Ten Directions
Laura Berlin Stinger, Abigail Browde, Sebastian Calderon-Bentin, Heather
Christian, Sean Donovan, Emmitt George, Mike Mikos, Dan Safer, Orion Taraban
and Randy Thompson
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Mary Archias, Peter Blomquist, Jason Craig, Rod Hipskind, Jessica Jelliffe,
Casey Opstad and Heather Peroni
The Fall & Rise of The Rising Fallen,
Banana Bag & Bodice
Adam Belvo, Tom Cleary, Micah Freedman, Marguerite French, Matthew Gray,
Angus Hepburn, Megan Ketch, Christiaan Koop, Elena McGhee, Mick O'Brien and
Andy Waldschmidt
Mad Forest, QED Productions
Jose Cavazos, Catherine Correa, Tino del Casar, Nicole Hafner, Sara
Hatfield, Markus Hirnigel, Denice Kondik, Kaylin Lee Clinton, Sarah Lemp,
Florencia Minniti, Fabiyan Pemble-Belkin, Monica Risi, Paula Roman, Gabriele
Schafer and Jeanne Lauren Smith
Some Historic, Some Hysteric,
New Stage Theatre Company
Outstanding Solo Performance
Dan Carbone
Kingdom of Not, Kaliyuga Arts
Joe Curnutte
Thinking Makes It So, Examined Man Theatre
Mike Houston
The Ledge, eavesdrop
Deborah Louise Ortiz
Changing Violet,
Dangerous Curves Productions/Shetler Studios
Jonathan Tindle
Maud - The Madness by Alfred, Lord Tennyson, Phoenix Theatre Ensemble
Outstanding Actor in a Featured Role
Michael Crane
West Moon Street, Prospect Theater Company
Jon Frazier
Urinetown, The Musical, The Gallery Players
Jay T. Johnson
I Wish You A Boat, Ward Studio Company
Brian Linden
The Country Wife, HoNkBarK! and Vital Theatre
Julian James Mohammed
fuckplays, Working Man's Clothes
Joe Plummer
As You Like It, poortom Productions
Alex Webb
West Moon Street, Prospect Theater Company
Outstanding Actress in a Featured Role
Christine Brumbaugh
I Wish You A Boat, Ward Studio Company
Jocelyn Greene
West Moon Street, Prospect Theater Company
Boo Killebrew
6969, CollaborationTown, A Theatre Company Inc.
Denice Kondik
Some Historic, Some Hysteric,
New Stage Theatre Company
Jennifer McGuire
Better Living, T. Schreiber Studio
Suzan Perry
Strom Thurmond Is Not A Racist/Cleansed,
The Immediate Theater Company
Outstanding Actor in a Leading Role
Spencer Aste
Rules of the Universe, Rising Phoenix Repertory
Matt DeAngelis
The Flood, Prospect Theater Company
Keir Dullea
Strings, The Open Book
Warren Kelley
Strings, The Open Book
Mac Rogers
The Adventures of Nervous-Boy (a penny dreadful), Nosedive Productions
Max Rosenak
6969, CollaborationTown, A Theatre Company Inc.
Mark Setlock
Never Tell, Broken Watch Theatre Company
Outstanding Actress in a Leading Role
Virginia Baeta
The Imaginary Invalid, Resonance Ensemble
Barret Doss
Strom Thurmond Is Not A Racist/Cleansed,
The Immediate Theater Company
Judith Hawking
West Moon Street, Prospect Theater Company
Stephanie Janssen
Israel Horovitz's New Shorts,
Barefoot Theatre Company
Susan Louise O'Connor
the silent concerto,
Packawallop Productions, Inc.
Jessica Scholl
Shangri La, Craig Bowley
Marnye Young
Waxing West, East Coast Artists
Outstanding Choreography/Movement
John Hayden
Hamlet, Orpheus Productions
Gabrielle Lansner
Shangri La, Craig Bowley
Heidi Latsky
Trophy Wife, La MaMa ETC in association with Watson Arts
Qui Nguyen
The Kung Fu Importance of Being Earnest,
The Brick Theater, Inc.
Dan Safer
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Wendy Seyb
The Great Conjurer,
Fluid Motion Theater & Film
Outstanding Director
Eric Davis
Bouffon Glass Menajoree, Ten Directions
Matthew Hopkins
6969, CollaborationTown, A Theatre Company Inc.
Padraic Lillis
The Dirty Talk, Spare Change Productions, Inc
Davis McCallum
West Moon Street, Prospect Theater Company
Anya Saffir
Hamlet, Orpheus Productions
Daniel Talbott
Rules of the Universe, Rising Phoenix Repertory
Outstanding Lighting Design
Andrea Boccanfuso
Picasso at the Lapin Agile, T. Schreiber Studio
Peter Hoerburger
The Present Perfect, The Operating Theater
Dusty Ray
Never Tell, Broken Watch Theatre Company
Mike Riggs
6969, CollaborationTown, A Theatre Company Inc.
Jay Ryan
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Tim Walsh
Jitter, Ladylike Productons
Outstanding Costume Design
Pandora Andrea Gastelum
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Karen Ann Ledger
Picasso at the Lapin Agile, T. Schreiber Studio
Ramona Ponce
Trophy Wife, La MaMa ETC in association with Watson Arts
Karl Ruckdeschel
The Country Wife, HoNkBarK! and Vital Theatre
David Withrow
Bug Boy Blues, The Looking Glass Theatre
Naomi Wolff
West Moon Street, Prospect Theater Company
Outstanding Set Design
George Allison
Picasso at the Lapin Agile, T. Schreiber Studio
Megan Biddle
The Present Perfect, The Operating Theater
Michael Casselli
Abandon, La MaMa ETC in association with Creation Production Company
Brian Garber
The Country Wife, HoNkBarK! and Vital Theatre
Michael Paul Kramer
A New Brain, Astoria Peforming Arts Center
Hal Tine'
Better Living, T. Schreiber Studio
Outstanding Sound Design
Dan Bianchi
Radiotheatre's The Haunting of 85 East 4th Street, Radiotheatre/Horsetrade
Andrew Eisele
Better Living, T. Schreiber Studio
Brandon Lowry
Shangri La, Craig Bowley
Ryan Maeker
the silent concerto, Packawallop Productions, Inc.
Ryan Maeker & Tim Schellenbaum
Dancing Vs the Rat Experiment, La MaMa ETC in association with Witness
Relocation
Brandon Wolcott
6969, CollaborationTown, A Theatre Company Inc.
Outstanding Original Music
Cormac Bluestone
Hamlet, Orpheus Productions
Leanne Darling
The Landlord, Toy Box Theatre Company
Paul Foglino & Terry Waldo
Trophy Wife, La MaMa ETC in association with Watson Arts
Andrew Ingkavet
Abandon, La MaMa ETC in association with Creation Production Company
Genji Ito, Heather Paauwe, David Sawyer, Ben Sher, Michael Sirotta, Ellen
Stewart & Yukio Tsuji
Herakles Via Phaedra, La MaMa ETC
Peter Mills & Cara Reichel
The Flood, Prospect Theater Company
Outstanding Original Full Length Script
Thomas Bradshaw
Strom Thurmond Is Not A Racist/Cleansed,
The Immediate Theater Company
Kirk Wood Bromley
The Death of Griffin Hunter,
Inverse Theater Company
Jason Craig
The Fall & Rise of The Rising Fallen, Banana Bag & Bodice
Michael Puzzo
The Dirty Talk, Spare Change Productions, Inc
Saviana Stanescu
Waxing West, East Coast Artists
Rob Urbinati
West Moon Street, Prospect Theater Company
Outstanding Original Short Script
Lynn Berg, Audrey Crabtree, Eric Davis & Aimee German
Bouffon Glass Menajoree, Ten Directions
Justin Cooper
Wood, fuckplays, Working Man's Clothes
Israel Horovitz
Beirut Rocks, Israel Horovitz's New Shorts, Barefoot Theatre Company
Israel Horovitz
The Hotel Play, Israel Horovitz's New Shorts, Barefoot Theatre Company
Daniel Reitz
Rules of the Universe, Rising Phoenix Repertory
Casey Wimpee
Arms and the Octopus, fuckplays, Working Man's Clothes
Outstanding Production of a Performance Art Piece
Abandon
La MaMa ETC in association with Creation Production Company
Changing Violet
Dangerous Curves Productions/Shelter Studios
Dancing Vs the Rat Experiment
La MaMa ETC in association with Witness Relocation
Radiotheatre's The Haunting of 85 East 4th Street
Radiotheatre/Horsetrade
Some Historic, Some Hysteric
New Stage Theatre Company
Too Much Light Makes The Baby Go Blind
New York Neo-Futurists
Outstanding Production of a Musical
Greed: a Musical Love $tory
The Brick Theater, Inc.
Happy End
Theater Ten Ten
Shangri La
Craig Bowley
The Flood
Prospect Theater Company
Tock Tick
Prospect Theater Company
Urinetown
The Musical, The Gallery Players
Outstanding Production of a Play
Bouffon Glass Menajoree
Ten Directions
Rules of the Universe
Rising Phoenix Repertory
Strom Thurmond Is Not A Racist/Cleansed
The Immediate Theater Company
The Fall & Rise of The Rising Fallen
Banana Bag & Bodice
The Imaginary Invalid
Resonance Ensemble
West Moon Street
Prospect Theater Company
The 3rd Annual IT Awards Ceremony will be held on September 24th, 2007. According to all that's good and true, their sponsors are Backstage, United Stages, Oudinot Champange, and my hometown brew, Yeungling Beer.
As a side note, where I'm from, one does not say Yeungling. It is simply referred to as Lager. That is what there is to drink. It costs $1.50 a pint. That is neither here nor there.
Pretty cool stuff. Mac Rogers is having a good month.
Monday, July 16, 2007
Smashing Pumpkins New Album!
That's how up-to-date I am.
I bought the new Smashing Pumpkins album Zeitgeist. I was very excited. I realized how not-very-prevalent that attitude was not-long-after. As I said to Pammy, it felt sort of like I was the one guy really excited to buy the new Chicago album or something.
Anyway...it's pretty darn fun and makes me feel like I'm driving around in Pennsylvania with the windows down on summer break from college.
Is it brain surgery and/or very hip? No. But hey, I sort of love it.
This, of course, means I'm banned from reading Pitchfork. Thank God. They make me feel so very, very small.
I bought the new Smashing Pumpkins album Zeitgeist. I was very excited. I realized how not-very-prevalent that attitude was not-long-after. As I said to Pammy, it felt sort of like I was the one guy really excited to buy the new Chicago album or something.
Anyway...it's pretty darn fun and makes me feel like I'm driving around in Pennsylvania with the windows down on summer break from college.
Is it brain surgery and/or very hip? No. But hey, I sort of love it.
This, of course, means I'm banned from reading Pitchfork. Thank God. They make me feel so very, very small.
Universal Robots
I'm going to add to the list of bloggers that think you should go see Universal Robots. Because, frankly, Mac is this super great dude and his play apparently rocks the hizzle.
Sunday, July 15, 2007
Jigsaw
Check out this episode of Jigsaw, by our dear friend benjones. The show runs every two weeks on BlipTV. Hilarious friggin' stuff.
Friday, July 13, 2007
What are you doing tonight?
Most likely, you're seeing an Interview with the Author! Aren't you? I knew it!
Thursday, July 12, 2007
Code Reform
First of all, go here.
On Sunday Evening, at the Classic Stage, I attended the "community gathering in support of AEA Showcase Reform." Also known as the Coalition for Code Reform. In attendance were representatives from the New York Innovative Theatre Awards, The League of Independent Theater, A.R.T./New York and Community Dish. There was a lively and full crowd in attendance, with artistic directors, associate artistic directors, associate producers, artistic co-producing directors, producing artistic directors, actors (Equity and Non-Equity), playwrights, active union members, producers-with-out-additional-title-distinctions, you name it. There was even a young woman who had moved to New York only two weeks ago. It was a heartening turn-out.
As a bit of a recap: in the New York City area, the Off-Off Broadway community works quite often under the New York Showcase Code. The code outlines the ways in which theatre companies can cast, rehearse and perform with AEA members, without having to pay upwards of $400 per week, per performer, plus contributions to pension and health benefits. Essentially, the cost of the use of most Equity actors, in New York City, on that scale, is extremely prohibitive to smaller companies and so, most companies either use AEA members under the Code, or cast with Non-Equity actors.
The Showcase Code (which can be read here) was created in order to allow actors to showcase their talents to industry professionals, by way of a modest production, without weakening the union by working, on-stage for free. At least that's my take on it. The Code, therefore, was never intended to be used as it is being used now: as the rules that govern almost all productions Off-Off Broadway.
The Code has rules about length of rehearsals and when to take breaks and all that lovely stuff. It limits the ticket price to $18 for Showcase Code productions, and limits the production budget to $20,000. But the main thrust of the code, in New York, is this:
Producers under the code are limited to a maximum of 16 performances, within four consecutive weeks, of a single production using AEA members. After that run of 16 performances within four consecutive weeks, the production can not be mounted again in the New York City for a 12 months.
The effect of this is fundamental to the shape and structure of the New York theater scene.
I'd like to direct readers to this paper, which details the proposals that are being made.
I'd also like to stress a few things that I took out with me, from the meeting:
1) The term Showcase, itself, needs revision. It belies the attitude of the Code itself: that these modest productions are simply showcases for Equity actors to Industry Professionals. Suffice to say, that is not an accurate representation of how the Code is being used or the actual state of the New York City arts scene.
2) Any actual revision of the Code requires a systemic change within Actor's Equity, and can only be brought about by Equity Actors.
I'd love to hear from Equity actors (not producers or directors) about their frustrations with the Showcase Code and how they feel they could benefit from a revision. It's my personal opinion that the success of new work and the success of the actor's performing that work is linked... longer runs and a more accurate code will mean more pay and exposure for everyone, especially the performers.
But I am not a member of Actor's Equity. Are you? If so... how do you feel about the Showcase Code? What do you think of the efforts being made to revise it?
Personally, I'm more interested in solutions than simply identification of the problems. We all know that the system isn't perfect, and that it could be more conducive to the work we're doing. What steps, no matter how elaborate, need to be taken to make Code revision a reality.
On Sunday Evening, at the Classic Stage, I attended the "community gathering in support of AEA Showcase Reform." Also known as the Coalition for Code Reform. In attendance were representatives from the New York Innovative Theatre Awards, The League of Independent Theater, A.R.T./New York and Community Dish. There was a lively and full crowd in attendance, with artistic directors, associate artistic directors, associate producers, artistic co-producing directors, producing artistic directors, actors (Equity and Non-Equity), playwrights, active union members, producers-with-out-additional-title-distinctions, you name it. There was even a young woman who had moved to New York only two weeks ago. It was a heartening turn-out.
As a bit of a recap: in the New York City area, the Off-Off Broadway community works quite often under the New York Showcase Code. The code outlines the ways in which theatre companies can cast, rehearse and perform with AEA members, without having to pay upwards of $400 per week, per performer, plus contributions to pension and health benefits. Essentially, the cost of the use of most Equity actors, in New York City, on that scale, is extremely prohibitive to smaller companies and so, most companies either use AEA members under the Code, or cast with Non-Equity actors.
The Showcase Code (which can be read here) was created in order to allow actors to showcase their talents to industry professionals, by way of a modest production, without weakening the union by working, on-stage for free. At least that's my take on it. The Code, therefore, was never intended to be used as it is being used now: as the rules that govern almost all productions Off-Off Broadway.
The Code has rules about length of rehearsals and when to take breaks and all that lovely stuff. It limits the ticket price to $18 for Showcase Code productions, and limits the production budget to $20,000. But the main thrust of the code, in New York, is this:
Producers under the code are limited to a maximum of 16 performances, within four consecutive weeks, of a single production using AEA members. After that run of 16 performances within four consecutive weeks, the production can not be mounted again in the New York City for a 12 months.
The effect of this is fundamental to the shape and structure of the New York theater scene.
I'd like to direct readers to this paper, which details the proposals that are being made.
I'd also like to stress a few things that I took out with me, from the meeting:
1) The term Showcase, itself, needs revision. It belies the attitude of the Code itself: that these modest productions are simply showcases for Equity actors to Industry Professionals. Suffice to say, that is not an accurate representation of how the Code is being used or the actual state of the New York City arts scene.
2) Any actual revision of the Code requires a systemic change within Actor's Equity, and can only be brought about by Equity Actors.
I'd love to hear from Equity actors (not producers or directors) about their frustrations with the Showcase Code and how they feel they could benefit from a revision. It's my personal opinion that the success of new work and the success of the actor's performing that work is linked... longer runs and a more accurate code will mean more pay and exposure for everyone, especially the performers.
But I am not a member of Actor's Equity. Are you? If so... how do you feel about the Showcase Code? What do you think of the efforts being made to revise it?
Personally, I'm more interested in solutions than simply identification of the problems. We all know that the system isn't perfect, and that it could be more conducive to the work we're doing. What steps, no matter how elaborate, need to be taken to make Code revision a reality.
Wednesday, July 11, 2007
Tuesday, July 10, 2007
Interview with the Author - Advertising
Let's be clear about blogging: It is a way for those of us with computers to elegantly express our importance.
I have a computer. That is as plain as the nose that you can imagine on my face. I am expressing my importance, and the importance of What I Am Doing and Why You Should Care.
So, I will not pretend as if we are both fools, you and I, dear reader.
You are reading this blog because you are interested in watching people argue; you are interested in me, personally, because you thought I was the bass player for Rancid; you love the Stage; you have developed a sort of habit of reading it you cannot explain; or, perhaps, you harbor a secret crush. Nonetheless, you do not come here seeking advertising.
I, though, would argue that I am an advertisement for myself. Aren't we all? Isn't that painfully true, what I have said?
Therefore...
I am about to advertise to you. I am about to, as you read this, sell you a "ticket." Isn't that word so inadequate for what it means? I am going to sell you permission to view my Art. "Ticket" simply doesn't do the thing justice.
Ahem.
Either way...you could stop reading at any time. You are currently being Sold to. Advertised upon and at. It might disgust you. It might hypnotize you. It might confuse you. You might say "Why does the bass player from Rancid talk like an 8th Grader writing in his diary after reading a text book about philosophy he found at a street sale?" You might say that, and I wouldn't blame you.
Now that you have gone through that little crisis, and find yourself still reading, you'll find that I haven't lied to you. In fact, I've helped you. You're now saying to yourself "Sell to me." I mean, why wouldn't you? You know what's coming. You want to get it over with.
I'm just preparing us both for the inevitable. That way I feel less like a pathetic Willy Loman; and you feel like you're being respected. I'm respecting you, as hard as I can, with this advertising.
This is, in its way, the most respectful advertising you probably have ever received.
It begins:
I am a playwright, and not a bass player. That should not be held against me. A play of mine, called "An Interview with the Author" was seen in June as a part of the terribly entertaining Pretentious Festival at the Brick Theater in Brooklyn, NY. If you did not to attend any of the performances that were held in June, you have not entirely failed yourself. "An Interview with the Author" will go on, but only four more times. If you do not see one of those four performances, its likely you will never see it.
So see it.
The "tickets" are inexpensive. You'll likely spend more money afterwards on whatever liquor keeps you from killing yourself. The performance is not terribly long. In fact, I spend more time convincing myself that I am not fooling myself, than I do performing this particular play on-stage. A short play and inexpensive "tickets" adds up to one thing: More time to drink so that we all do not kill ourselves.
Or, if you are in AA, more time to look at those of us drinking, happily remembering that time you almost killed yourself with a bottle.
Christ, this has gotten off-track.
Anyhow...the play has been acceptably reviewed by websites and bloggers. It has been ignored by the print media, because they are busy forgetting how to find their own asses with their hands.
Attend a performance. The performances, in July, are:
7pm Friday the 13th (Oooh, some idiots find that interesting!)
7pm Saturday the 14th
7pm Friday the 20th
7pm Saturday the 21st
Why shouldn't you see it at this point? You've actually invested a fair amount of time thinking about it. Because you are being Advertised To. I mean, you knew that, but let's just all be upfront about it.
Now that this dirty business is over with, you will purchase a ticket or e-mail your friends and say "Hey Let's All See This Young Upstart Writer Who Will Entertain Us."
Thank you for your kind attention.
I have a computer. That is as plain as the nose that you can imagine on my face. I am expressing my importance, and the importance of What I Am Doing and Why You Should Care.
So, I will not pretend as if we are both fools, you and I, dear reader.
You are reading this blog because you are interested in watching people argue; you are interested in me, personally, because you thought I was the bass player for Rancid; you love the Stage; you have developed a sort of habit of reading it you cannot explain; or, perhaps, you harbor a secret crush. Nonetheless, you do not come here seeking advertising.
I, though, would argue that I am an advertisement for myself. Aren't we all? Isn't that painfully true, what I have said?
Therefore...
I am about to advertise to you. I am about to, as you read this, sell you a "ticket." Isn't that word so inadequate for what it means? I am going to sell you permission to view my Art. "Ticket" simply doesn't do the thing justice.
Ahem.
Either way...you could stop reading at any time. You are currently being Sold to. Advertised upon and at. It might disgust you. It might hypnotize you. It might confuse you. You might say "Why does the bass player from Rancid talk like an 8th Grader writing in his diary after reading a text book about philosophy he found at a street sale?" You might say that, and I wouldn't blame you.
Now that you have gone through that little crisis, and find yourself still reading, you'll find that I haven't lied to you. In fact, I've helped you. You're now saying to yourself "Sell to me." I mean, why wouldn't you? You know what's coming. You want to get it over with.
I'm just preparing us both for the inevitable. That way I feel less like a pathetic Willy Loman; and you feel like you're being respected. I'm respecting you, as hard as I can, with this advertising.
This is, in its way, the most respectful advertising you probably have ever received.
It begins:
I am a playwright, and not a bass player. That should not be held against me. A play of mine, called "An Interview with the Author" was seen in June as a part of the terribly entertaining Pretentious Festival at the Brick Theater in Brooklyn, NY. If you did not to attend any of the performances that were held in June, you have not entirely failed yourself. "An Interview with the Author" will go on, but only four more times. If you do not see one of those four performances, its likely you will never see it.
So see it.
The "tickets" are inexpensive. You'll likely spend more money afterwards on whatever liquor keeps you from killing yourself. The performance is not terribly long. In fact, I spend more time convincing myself that I am not fooling myself, than I do performing this particular play on-stage. A short play and inexpensive "tickets" adds up to one thing: More time to drink so that we all do not kill ourselves.
Or, if you are in AA, more time to look at those of us drinking, happily remembering that time you almost killed yourself with a bottle.
Christ, this has gotten off-track.
Anyhow...the play has been acceptably reviewed by websites and bloggers. It has been ignored by the print media, because they are busy forgetting how to find their own asses with their hands.
Attend a performance. The performances, in July, are:
7pm Friday the 13th (Oooh, some idiots find that interesting!)
7pm Saturday the 14th
7pm Friday the 20th
7pm Saturday the 21st
Why shouldn't you see it at this point? You've actually invested a fair amount of time thinking about it. Because you are being Advertised To. I mean, you knew that, but let's just all be upfront about it.
Now that this dirty business is over with, you will purchase a ticket or e-mail your friends and say "Hey Let's All See This Young Upstart Writer Who Will Entertain Us."
Thank you for your kind attention.
Friday, July 06, 2007
Showcase Code Reform
Never to late to sign this.
There's a meeting from 6pm - 8pm at the Classic Stage Company on Sunday. Stop by.
It's my view that, in the end, it's only AEA members that can make this change happen.
It would be wonderful, frankly, to hear of an AEA actor with a bit of name recognition throw their weight behind Showcase Code Reform.
There's a meeting from 6pm - 8pm at the Classic Stage Company on Sunday. Stop by.
It's my view that, in the end, it's only AEA members that can make this change happen.
It would be wonderful, frankly, to hear of an AEA actor with a bit of name recognition throw their weight behind Showcase Code Reform.
Jamaica Farewell at the NY Fringe
A reader of this here blog has a show going up at this year's Fringe Festival. It's my pleasure to direct readers to her show:
Jamaica, Farewell
Meadowbrook Entertainment
Writer: Debra Ehrhardt
Director: Monique LaiJamaica.
Revolution. Visa. Impossible. CIA. Seduction. Desperation. A dream. Heartbreak. Handsome. American. Customs. Million dollars. Duffel bag. Machetes. Goats. Prostitutes. Bullets. Adrenaline. Kerosene. Run for your life.
A true story. 1h 30m
Kingston Jamaica
Drama Solo Show
myspace.com/jamaicafarewell
Jamaica, Farewell
Meadowbrook Entertainment
Writer: Debra Ehrhardt
Director: Monique LaiJamaica.
Revolution. Visa. Impossible. CIA. Seduction. Desperation. A dream. Heartbreak. Handsome. American. Customs. Million dollars. Duffel bag. Machetes. Goats. Prostitutes. Bullets. Adrenaline. Kerosene. Run for your life.
A true story. 1h 30m
Kingston Jamaica
Drama Solo Show
myspace.com/jamaicafarewell
Thursday, July 05, 2007
Planet Unicorn
This girl got this thing stuck in my head. Now, this wonderful song will be the ruination of us all.
Tuesday, July 03, 2007
Nosedive Fundraising
Contribute here to Nosedive Productions (home of James Comtois.) I just made my donation!
An Interview with the Author - Now Even Longer
Please note this page, wherein you shall find evidence of my extension. I have been extended.
There are performances
Friday 7/13 7pm
Saturday 7/14 7pm
Friday 7/20 7pm
Saturday 7/21 7pm
Note these evidences of our excellence:
Nytheatre.com
James
Aaron
Respect us. Attend. Purchase tickets.
There are performances
Friday 7/13 7pm
Saturday 7/14 7pm
Friday 7/20 7pm
Saturday 7/21 7pm
Note these evidences of our excellence:
Nytheatre.com
James
Aaron
Respect us. Attend. Purchase tickets.
Movies
Yup, I saw a bunch of movies. Quick reviews.
Ratatouille - Just stunningly animated and conceived. Maybe the best Pixar movie I've seen.
Sicko - Will someone please give Michael Moore the key to the city already? Those who nitpick Sicko just sort of make me scratch my head. It's as if to say "Oh, sure there's a massive Healthcare Crisis and it's enslaving the American People and denying them their basic rights...but the way he uses EDITING really burns me."
I've heard it said that Sicko doesn't give the Health Insurance Industry a chance to respond. Well, we're living in their version of America. That's their say. One two hour movie of a completely different vision, I think, is fair game.
Transformers - (Just saw this with friends at a late night screening) Giant. Robots. Blow. Things. Up. So, yeah, if you like that sort of thing, you will love this movie. I, for one, loved Transformers as a kid, and I felt like they made it just to make me happy. You actually say "How many more things can blow up?! Oh! MORE!?" Crass, but perfect.
Ratatouille - Just stunningly animated and conceived. Maybe the best Pixar movie I've seen.
Sicko - Will someone please give Michael Moore the key to the city already? Those who nitpick Sicko just sort of make me scratch my head. It's as if to say "Oh, sure there's a massive Healthcare Crisis and it's enslaving the American People and denying them their basic rights...but the way he uses EDITING really burns me."
I've heard it said that Sicko doesn't give the Health Insurance Industry a chance to respond. Well, we're living in their version of America. That's their say. One two hour movie of a completely different vision, I think, is fair game.
Transformers - (Just saw this with friends at a late night screening) Giant. Robots. Blow. Things. Up. So, yeah, if you like that sort of thing, you will love this movie. I, for one, loved Transformers as a kid, and I felt like they made it just to make me happy. You actually say "How many more things can blow up?! Oh! MORE!?" Crass, but perfect.
Monday, July 02, 2007
No Prison for Scotter, Convicted Felon
The list of offenses against what we once politely called Democracy by George Bush has grown out of control. With this statement, he humiliates us.
What, exactly, does it take to cause rebellion in the streets? Or at least, impeachment proceedings? The President, and his wards, are overtly criminal.
What, exactly, does it take to cause rebellion in the streets? Or at least, impeachment proceedings? The President, and his wards, are overtly criminal.
Most Understood
Last night, I was given a citation of failure at the Closing Night and Awards Ceremony of the Pretentious Festival. My award: Most Understood.
I apologize to all my Pretentious compatriots for writing work that garnered laughter and nods of understanding from the audience. It was not my intention to to be "understood."
In other news, An Interview with the Author has been extended by the Brick Theater. We will have four more performances in July. Which proves the old adage: "Integrity is for artists; Extension is for Matthew Freeman."
I apologize to all my Pretentious compatriots for writing work that garnered laughter and nods of understanding from the audience. It was not my intention to to be "understood."
In other news, An Interview with the Author has been extended by the Brick Theater. We will have four more performances in July. Which proves the old adage: "Integrity is for artists; Extension is for Matthew Freeman."
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