Oct. 6th, 2008 11:15 am
ceebeegee: (Riding)
I saw Equus on Friday, courtesy of Michael.

WOW. It is truly an incredible show. It took me awhile to realize just how good it was--when we left I was thinking "very well done and Daniel Radcliffe should be proud of his debut." But I couldn't stop thinking about it. Saturday I looked up clips on YouTube--I wanted to see how other productions had been staged, and how the movie looked and felt. I found out that the original production had been staged more realistically (whatever that means, since it was also in the round and the horses were also played by humans). This revival, however, is very abstract and expressionistic. The first moment of the show, the stage is bathed in dark blue light and there's a humming, keening sound. Alan Strang is in the middle of the stage as the dancers who play the horses step out of their "stalls" and don their oversized wire horse heads. The genius of this staging is that it takes you there with an immediacy that's impossible to describe--you are THERE, you "get" the boy's madness, you feel what he feels, you imagine what was going through him in the barn that night, almost like an electrical current or voices. It's absolutely brilliant direction--I'm so proud it was a female director.

The performances are generally quite strong. Daniel Radcliffe, of course, is brilliant--I can't believe he's virtually never been on stage before! His performance is just terrific--he is always in the moment, he's immersed in this character. The girl who plays Jill is pretty good too--that's not an easy role by any means, she has to try to establish a connection with a character who's incapable of it, a difficult thing to do without sacrificing your credibility. I might've directed her differently though, tried to find a little more humor in the role, a few more levels. Griffiths, who plays the psychologist, is good--I'm not sure I agree with his take on the character (I might've liked a little more theatricality--he definitely chose to underplay it) but I do think it works. I have to say though, I was most impressed by the dancers who play the horses--they are all mesmerizing. They've clearly worked hard on their roles--they really do suggest these enormous beasts who fascinate the boy, while wearing nothing more than wire horse heads and wire "hoof" platforms. I especially liked the lead horse in his scene as the Young Horseman. He was so believable as he "reined in" the horse he was riding--you could see him trying to control this massive animal. Wonderful work. (The one false note was when Alan was "riding" one of the horses and he starts to canter--a canter is a specific rhythm, a triplet--not a two-step like a trot. If he's cantering or galloping, the actor has to change the gait.)

The play is very intense during the reenactment though--I started crying and had to look away as he was blinding the horses. I couldn't take it. Animal cruelty of any kind of very, very upsetting.

I was intrigued by how similar the play Agnes of God is to Equus. Both start with the statement of a terrible, inexplicable crime committed by a young person, and the psychologist who analyzes the perpetrator addresses the audience directly at length, and also ends up questioning their own value system. The climax of both plays is the reenactment of the crime.

I would really like to see this again.
ceebeegee: (Mercutio)
One Weekend Left! 4 More Performances!

This bud of love, by summer's ripening breath,
May prove a beauteous flower when next we meet...

Holla Holla Productions


Romeo and Juliet

Directed by Jason Specland
Stage Management by Stefania Schramm
Fight Choreography by Nicholas Santasier

Clinton Cove Park is transformed into fair Verona, where "two houses, both alike in dignity" clash violently as two star-cross'd lovers begin their fateful journey. Shakespeare's timeless tale of the sweet passion of first love, pitted against a deadly family rivalry, comes alive beneath the moon along the shores of the beautiful Hudson River.

September 6 & 7, 13 & 14, 20 & 21 (Saturdays & Sundays)
Shows at 3:00pm and 7:00pm.

Clinton Cove Park is located at West 55th Street and the Hudson River.

All performances FREE and open to the public. Seating is unreserved--blankets, chairs, picnics and sunscreen are encouraged!


Charles Baker, Chris Cariker, Michael Clay, Griffin DuBois, Letty Ferrer*, Mim Granahan*, Clara Barton Green, Melisssa Koval, Kevin Lind*, Natalie Martin, Jodie Pfau, Molly Beth Seremet, Ryan Serhant*, Stefania Schramm, Adam Shorsten*, Lauren Ashley Smith, J.T. Michael Taylor*, Melynee Saunders Warren*

*indicates member of Actors' Equity
An Equity Approved Showcase

Romeo and Juliet is presented with the assistance of the Friends of the Hudson River Park, a World Class Park for Everyone. Visit them at www.forhrp.org, or call 212-757-0981.

ceebeegee: (Mercutio)
This bud of love, by summer's ripening breath,
May prove a beauteous flower when next we meet...

Holla Holla Productions


Romeo and Juliet

Directed by Jason Specland
Stage Management by Stefania Schramm
Fight Choreography by Nicholas Santasier

Clinton Cove Park is transformed into fair Verona, where "two houses, both alike in dignity" clash violently as two star-cross'd lovers begin their fateful journey. Shakespeare's timeless tale of the sweet passion of first love, pitted against a deadly family rivalry, comes alive beneath the moon along the shores of the beautiful Hudson River.

September 6 & 7, 13 & 14, 20 & 21 (Saturdays & Sundays)
Shows at 3:00pm and 7:00pm.

Clinton Cove Park is located at West 55th Street and the Hudson River.

All performances FREE and open to the public. Seating is unreserved--blankets, chairs, picnics and sunscreen are encouraged!


Charles Baker, Chris Cariker, Michael Clay, Griffin DuBois, Letty Ferrer*, Mim Granahan*, Clara Barton Green, Melisssa Koval, Kevin Lind*, Natalie Martin, Jodie Pfau, Molly Beth Seremet, Ryan Serhant*, Stefania Schramm, Adam Shorsten*, Lauren Ashley Smith, J.T. Michael Taylor*, Melynee Saunders Warren*

*indicates member of Actors' Equity
An Equity Approved Showcase

Romeo and Juliet is presented with the assistance of the Friends of the Hudson River Park, a World Class Park for Everyone. Visit them at www.forhrp.org, or call 212-757-0981.

ceebeegee: (The Opposite of War Isn't Peace)
So I scored two tickets for Hair at the Delacorte last night and took Paula. She'd never seen anything at that space (although she certainly identified most if not all of the productions on a collage poster outside the Box Office). I was so so soooooo excited to see the show--I kept burbling "WE got tickets to Ha-air, WE'RE gonna see Hair tonight..."

The production, like the show itself, is not perfect, and I would've done some things differently as a director. But it works. Oh, does it work. Jonathan Groff is very strong as Claude, achingingly vulnerable and sweet. (Er, though I must point out, he has a slight tendency to go a very little bit sharp. It's possible his vibrato pulls sharp at times--he was maybe a 1/4 tone sharp, if that. Not much.) The Sheila was interesting. It took me a little bit to warm up to her character because she plays it *very* differently from how Tracie and I played it--she's noticeably more serious, more earnest, more mature than the rest of the Tribe. She has a killer voice. There are some script emendations that help this characterization--she says at one point "when are you going to grow up?" They also rewrote the yellow shirt scene slightly--Spoiler )

The crowd seemed very subdued--I was bopping in my seat to the music and then I would try to pull back, not wanting to be that annoying audience member. But then I though "It's fucking Hair! Why isn't this crowd rowdier?"

Berger was terrific--he played him as kind of an ADD guy and really brought out how annoying Berger can be sometimes. But in keeping with other Bergers I've seen, he doesn't look any 18 years old. That makes no sense--as great a song as "Going Down" is, Berger's character, his sway and influence over the rest of the Tribe and his sexual experience, doesn't really jibe with his being so young. Whatevs. The actor was great and that's what matters. As I said to Paula, Hair, like In the Heights, is not a perfect show--the book is sloppy and some of the characterization is weak or off. But it's a magnificent show when done right.* And you have to avoid making it *too* sentimental. Berger *is* annoying and self-centered, the Tribe are all still kids who are not nearly as individualistic and actualized as they imagine--their groupthink (whatever Berger proposes, they ALL immediately do) is daunting. And yet for all that, they're luminous, touching, and their vision for the future is a pure one.

*Hair, like Godspell, is so damn fun for the cast, the danger is that they will have more fun than the audience, that it will turn into a bunch of giggly insider humor and games onstage and the audience will be left out.

Dionne was terrific, amazing voice. Jeannie and Woof were also great.

That last sequence, starting with the Tribe at the Induction center, just kills me--it's so well-constructed, with the chanting going into "Yipyipyipyipyipyipyipppee! Yipyipyipyipyipyipyipppee!" And then Berger and Sheila and the Tribe calling out for Claude who appears--and he's invisible. And you just know what that means. Oh, it breaks my heart.

I remember learning the music for that sequence and hearing the guitar riff that starts off "The Flesh Failures" and realzing it was a dirge. A rock dirge. "We starve, look/At one another, short of breath/Walking proudly in our winter coats/Wearing smells from laboratories/Facing a dying nation/of moving paper fantasies/Listening to the new-told lies/With supreme visions of loneliness." And the tribe joining in mournfully--"Eyes, look your last/Arms, take your last embrace/And lips, o you, the doors of breath/Seal with a righteous kiss/Seal with a righteous kiss/The rest is silence...the rest is silence...the rest is silence..."

And then that dirge gradually, slowly transforms into "Let the Sun Shine" which, it should be noted, is also in a minor key--it is not necessarily a happygoodtimes song, just because it's about the sun. It's about "don't let this tragedy cripple you--don't let them steal your soul. Life is around you and in you." It's a plea.

Spoilers ) It was quite powerful.
ceebeegee: (Default)
The Samuel French Off-Off Broadway Short Play Festival


Pi Yao and the Farmers' Daughters

by Maurice Martin

Directed by Clara Barton Green


Elizabeth Boskey
Alexandra Finger
Samantha Gutterman
Jason Salmon

The hard life of Midwestern farmers gets even harder when a traveling salesman with a unique gift visits them. Is he a Chinese divinity or just a guy with a money fetish?

Saturday, July 19, 3pm
Peter Jay Sharp Theater
416 W. 42nd Street

Tickets, priced $18, may be purchased by phoning (212) 279-4200
or by visiting Ticket Central.


Jun. 28th, 2008 11:01 am
ceebeegee: (summer)
As far as I can tell, everyone in this apartment has vomited at least once in the past week.

Feeling muuuuch better, BTW, and ready to take on the world. Which is good, 'cause it's gonna be a looong weekend. I'm about to go to 1) Duncan's rehearsal, 2) Sam French rehearsal. On my way to both, I have to go over my lines and read about Feng Shui. Then after that MUST get cat food and coffee (the two C staples), then run home to shower. More rehearsal tomorrow, and I would like to get down to the Village for Pride, tho' I'm not sure when or how. And at some point I have to finish the R&J schedule.

Hi diddly dee, the actor's life for me :) Hey, it's a beautiful sunny day outside! "This is the day the Lord hath made, let us rejoice and be glad in it..."
ceebeegee: (Beyond Poetry)
We had some terrific talent come out Monday evening--I'm glad Jason talked me into booking another day of auditions. One guy I especially loved--he did Angelo from Measure for Measure and was SO CREEPY. In the moment, specific, real and genuinely villainous. Jason and I literally reared back at the end--I pointed out to Jason (looking down at his resume) that he'd done Jesus in Godspell and "the audience must've run out screaming at intermission!" What a talent! If we cast him as Lord Capulet it'll give a whole new layer as to why Juliet wants to get out of the house so quickly.

Some other amazing talent--we have so many wonderful actors for our callbacks. So, so happy--a plethora of luminous Juliets, at least three off the top of my head that I'd love to cast. Also some great fiesty Tybalts with whom I can't wait to read. Saturday's gonna be long but fun. I've booked six hours at Ripley-Grier, with no lunch break. I've decided to stock up on burgers and cupcakes at, well, burgers and cupcakes. I've been gorging on their peanut-butter-and-chocolate cupcakes this week. Mmmm, peanut butter and chocolate...

Then next week I start rehearsals for Prince Trevor (so many Thyme alums! Yay!) and soon we start rehearsals for the Sam French Maurice Martin play I'm directing. This summer I'm directing, producing, acting (twice) and adapting (the Christmas Carol script). No rest for the weary!
ceebeegee: (Beyond Poetry)
So Holla Holla is doing Romeo and Juliet this summer and I'm excited.

I've wanted to do this show for a long time--I've loved it ever since I watched it back in middle school. Holla Holla's first tragedy! I remember reading it in high school, and my 10th grade pre-IB English class went on a field trip to a local DC arthouse to watch the Zeffirelli version. When Romeo drank the poison, someone yelled out "Liquid Tylenol!" We read the play out loud in class, giggling adolescently over the "draw thy sword--thy naked weapon is out" exchanges. I've always loved the first exchange between the lovers at the party and I programmed my very first cell phone (the one I had in Spain when I was on my cruise ship contract) to greet me, when turned on, with the phrase "You kiss by the book." *Sigh.* So romantic.

We're going up later this year--the first three weekends in September. This will help with the heat, and also the Clinton Cove Festival is on one of the weekends, which will bring us a HUGE crowd. The Festival is lots of fun, they have music (before and after our show, but not during) and free food and kayak rides and everything. I can't wait to finish the show and then go and pig out on free food! My favorite shows last year were the 5:00 performances--playing Viola as the light starts to mellow, as the evening starts to spread out against the sky...And I love the idea of performing Shakespeare under the stars. We're doing it at the same park as Twelfth Night, but not in the exact same location--it'll be on the grass, INSIDE the roadway (for those who remember the Gestapo PEP rent-a-cops), on the boulders at the south end of the park.

You can sort of see the stage left end of the space in this photo.

I have the beginnings of a staff lined up--Jason is directing, Nicholas is the fight choreographer and a girl named Stefania Schramm is stage-managing. I will also be hiring a sound designer and possibly a lighting person and costumer. We'll definitely have lights, but I may be able to do it myself. We don't need any kind of artistic design, we just need to make sure we have plenty of it, for the night shows. I've had several meetings with FOHRP--they're actually ponying up a chunk of change for the lights and sound. Woo hoo! They've been communicating with the Board about how awful the PEP officers were last year and were very clear about how that couldn't happen again this year. (Since we're off the roadway, it shouldn't anyway but just to be safe, I'm having the permit tattooed on my back.)

Nicholas and I had a meeting and we discussed the fights. He has some great ideas so far--I want the fights to be great and VIOLENT. My concept of the show is to juxtapose the lyricism of the romance against the senseless brutality of the feud. And since I'm playing Mercutio, I have a vested interest in how good the fights look! Nicholas and I have started training, 'cause I want to look really kickass. We met last weekend at the space and worked on parrying and thrusting positions, and where to place your feet.

Jason and I have been dealing with the auditions--the casting notice went live a few days ago and he's been deluged with skinny young women who all want to play Juliet. We're having the auditions next week, and have booked more time than we usually do, a day and a half. Oy. Il faut souffrir pour ars gratia.
ceebeegee: (Default)
Does anyone have this album? I just need a couple of songs from it--or at least I'd like to listen to it before buying it. I saw it on Broadway and remember a couple of songs that I really liked, "Missing You" and "The Honor of Your Name." Unfortunately neither Amazon nor iTunes offers a single song option for the album (in fact, iTunes doesn't even have the album...).
ceebeegee: (Default)
Clara Barton Green as Sarah in Mark Hollman's Fare for All at the Mount Vernon Hotel

Sunday, March 30th 1PM $10, $8 Members, $5 kids (under 12)
with ASL interpreters*

A musical play both adults and kids will enjoy!

An original, interactive play with music and lyrics by Tony award winner Mark Hollmann, creator of Broadway success, Urinetown. The New York Times says this original musical production, “captures the romance of old New York without minimizing its hardships.” The play tells the story of life at the Mount Vernon Hotel, a popular country resort for early 19th-century New Yorkers and explores the lives of the people who visited and worked at the hotel. Feel free to either just watch or participate in the play.

Call (212) 838-6878 for infromation and reservations.

*ASL interpreters made possible by a generous grant from the TDF TAP Plus program

* * * * * * * * *

The theater/museum is located at 421 E. 61st St. (between 1st & York), and there are many restaurants nearby if you decide to have lunch or brunch afterward (including Serendipity on 60th). Tickets are $10 for adults, $5 for children (under 12)--the targeted age group for the interactive activities is 5-10, but older children can enjoy the show as well. (No one *has* to participate in the activities but of course all are welcome!--If you do decide to come, let me know so I can keep an eye out for your kids during the interactive bits.)

Hope y'all can make it!
ceebeegee: (Default)
Michael and I saw Disney's Broadway version of The Little Mermaid last night. I thought it was pretty damn good--not quite as good as the movie but it would be tough to top the possibilities that animation affords. For example "Under the Sea" wasn't quite as amazing as the cartoon (my favorite part is during the bridge when Sebastian is syncopating the phrases, and then the key changes--it just KICKS IT UP a notch. "What do they got, a lot of sand?/ We got a hot crustacean band!")--I was hoping for some really amazing choreography but instead the Sebastian just WAILED. Dude could SANG. I personally would've cast a smaller man as Sebastian, because I think his basic shtick is "Hysterium"-like small-harried-man-doing-the-best-he-can , but this guy was great nonetheless. "Kiss the Girl" was very good though--they built it very nicely.

Sierra Boggess was terrific as Ariel--just adorable and sounded great too. Prince Eric was great, with more personality than I expected (Disney princes can be somewhat underwritten) and a nice sound. They actually had quite a good chemistry together. As far as Ursula goes--I would've directed it differently. Sherie Renee Scott was a little too campy for my taste--Pat Carroll's Ursula was pretty campy but she was always 100% motivated and focused. She wasn't performing for us the audience, she was performing in order to manipulate Ariel, which is why as funny as she was, there was a real menace underneath it all. A similar note for Flotsam and Jetsam--they were comic rather than titillatingly scary as they were in the movie. Together...forever...

I did like Ursula's costuming--they didn't quite replicate the movie, but her tentacles were creepy nonetheless.

The kid who played Flounder was ADORABLE and very natural. He got to sing his own number with Ariel's sisters and nailed it. King Triton was smokin' hot--obviously Triton has a really good trainer down there on the ocean floor! I did like a lot of the scenery--the colors were beautiful, I liked how they differentiated between the surface of the water, and when you were underwater, and between Triton's palace and Ursula's lair. However there was some kind of bong/water pipe-looking thing that I don't think really worked.

One thing I *loved* was how excited most of the audience was; when the intro to "Under the Sea" started someone--and it sounded like an adult--kind of gulped and then clapped quietly, and then you could feel the excitement spread to others (like ME, I was trying not to bop too conspicuously in my seat). Such a great song.

This is my favorite number in the movie--I want to play Ursula some day! I love how it builds musically, so that Ariel is so caught up, she is compelled to sign at the climax of the song. Michael, if you skip ahead to 6:15, you'll see the Freudian moment I was talking about, when Ariel breaches the surface of the water in silhouette.

The fluke is the Duke of Soul (Yeah!):


Jan. 11th, 2008 12:12 pm
ceebeegee: (Default)
Last night's show went pretty well, despite some real lighting issues. I've been giving very specific direction to one of the actors about how to play his role and last night I saw a noticeable difference. I was only taking general notes--as a director, I like to hand off the show to the Stage Manager once it's opened, so the actors can relax and grow in their parts.

Tonight I'll be at the opening--I would love to raise a glass afterward with my cast--then I get some MUCH NEEDED time off. I will not be at the matinees this weekend, and I haven't decided if I'm attending tomorrow night's performance. If anyone is going this weekend, let me know--I can meet you afterward.

Just dreaming of all the ordinary things I'll get to do this weekend--my laundry, play with my cats, go to the LIBRARY (oh, I can't wait for that), clean...La la la, I have a life now! I have a list of several books I'd like to read, among them the original book for Friday Night Lights (which I read when it first came out but that's been more than ten years), a new biography on Alice Roosevelt, the new novel Rhett Butler's People, Boom! by Tom Brokaw (about the '60s) and stuff by Alison Plowden and Alison Weir, British historians who write about the Tudor era a lot. I've been subscribing to a podcast about the Tudor era that's really great--I did not know that John Dudley's father was executed by Henry VIII (very early in his reign). So three generations of Dudleys were executed by the Tudors.
ceebeegee: (Xmas Tree)
Check. It. OUT.

"I feel that this is artistically the strongest production in the three years," said Zimmerman.

Great balls of fire!
ceebeegee: (Xmas Tree)
Left around 1:00 am; the PATH didn't come for awhile. Just got home a little while ago. Rehearsal was long and inconclusive--the scene changes look like chaos to me but Carl (TD) and Matt (LD) were assuring me it will all be fine, the crew just needs to run them. I literally was hyperventilating but they were holding my hands and saying there's nothing to worry about, even kind of laughing (with me, not at me).

However what did go smoothly, looked somberly gorgeous. The biiig scene change, Fred's Party into Ignorance and Want--looks GREAT.

*Breathe, breathe*
ceebeegee: (Default)
We worked our way through costumes last night--most people looked pretty good. I'm still tweaking Don's costume--they had him with a white, ice-crusted, glittery crown and I said that would be great for his last appearance (when he turns older in one night) but he should have a wreath of holly leaves on his head for most of it. His mustache is a little uneven and I kept fiddling with it.

There was a reporter there last night who took a bunch of pictures. She took my contact information and is supposed to be calling me this afternoon. That would be great to post on my website if she follows through. She's also supposed to be at the runthrough tonight.

Daphne looked adorable as Tiny Tim. The costumer seemed to have a thing for head coverings for the women--he had Mrs. Cratchit with a shmatta covering her hair, and Xmas Past with some sort of...band...lopsidedly covering her head. No, no, no. Mrs. Cratchit looked as though she got lost on the Fiddler tour, and Zoe has such a sweet, delicate, youthful beauty, we can't cover that up. I told Zoe to leave her hair loose and we would have her wear maybe some kind of circlet. She needs to be able to wear the cap at the end of her scene.

The Cratchit family sounded GREAT during "Once in Royal David's City"--first time they nailed it. All in tune.

The little girls in the cast are KILLING me, they are so adorable. They've figured out how much I love kids, especially smart little girls at that age, and have been showing off for me ever since, all "look what I can do!" and "listen to this!" So, so cute.

Karen, one of the assistant producers, was taking some production photos last night, and she mentioned to me that Carl has been saying that this is going to be his favorite Christmas Carol. I'm not sure if he meant ever or at DeBaun but regardless, I'm thrilled. Dave had told me that Carl and Giovanni both had been saying good things about the show--very nice to hear. Karen said that she remembered the interview and how very sure I was about what I wanted to do with the show--"and it's obvious you've done that." I said well, I have a great cast who give me what I want.

This Saturday and Sunday, I have to spend the entire day at the theater--Gina said we'd be lucky if we only spent 12 hours (each day). GAH. Apparently I have to approve all the tech calls. I dearly hope they pay for my dinner (not that I need the money, it's just the principle!). My throat is starting to feel really raw--it's like my experience two years ago with DeBaun A Christmas Carol, except that this time, I don't have to sing! I think I may try to nap for a little bit in the house between tech discussions.

Here is a partial cast and director photo--there are some cast members missing including my friend Ashley (in the specialty choir) and a Cratchit daughter.

ceebeegee: (Xmas Tree)
Hey guys--I've been working my *ss off on this for the past month and I'm pretty proud of it. I chose all of the music--all Anglican sacred and English traditional pieces, like "Once in Royal David's City," "The Angel Gabriel," "Adam Lay Y-Bounden" and the Coventry Carol. (Plus tons of dramaturgy on Victorian culture, including mourning and courting customs...scratch a Clara, find an historian...)

Hope you can make it! One weekend only!


The Theater Company
in residence at The Center for the Performing Arts at DeBaun Auditorium presents
A Christmas Carol

By Charles Dickens

December 14, 2007 at 8pm
December 15, 2007 at 3pm & 8pm
December 16, 2007 at 3pm

Open Captioning Performance
In our ongoing efforts to make theater accessible for all, The Center is proud to offer Open Captioning for the hearing impaired at the 3pm performance on Saturday, December 15th . The New Jersey Division of the Deaf and Hard of Hearing makes this open captioned performance possible in partnership with the New Jersey Theatre Alliance and the New Jersey State Council on the Arts/Department of State.

General Admission
Students & Seniors/$15
Children Under Twelve/$10

Special Discounts & Group Sales
Discover Jersey Arts Cardholders: Buy one ticket, get one free.
Group Sales: 30% off groups of 20 people or more!

Special Package
Dinner & Show Package: Enjoy dinner just steps from the theater at Court Street Restaurant & Bar for only $40/person. More information and menu being offered can be found online at www.debaun.org/cgi-bin/tickets/dinnershow.php. This package is only available for purchase on-line at www.debauntickets.org.

Box Office
Call: 201.216.8937
E-mail: BoxOffice@debaun.org
Or Purchase Tickets On-line: http://www.debauntickets.org

Performance Location/Parking/Directions
DeBaun Auditorium, Edwin A. Stevens Hall
5th & Hudson Sts., Hoboken, NJ
Discounted Parking & Directions: www.debaun.org/cgi-bin/directions.php.
Easily accessible by PATH, LightRail, NJ Transit & NY Waterways

Show Info
A Christmas Carol is the story of an old, bitter miser—-Ebenezer Scrooge-—and the chance for his redemption through the visitation a partner from the past who learned his lesson too late, and three timely ghosts. Since 1843 Charles Dickens' "A Christmas Carol" has been an integral part of many people's holiday traditions. The Theater Company's production helps to ignite that holiday spirit with traditional carols and English folk tunes creating the atmosphere of the world of Scrooge, Tiny Tim and old England for young and old alike.

Director: Clara Barton Green - Music Director: Meg Zervoulis

The cast consists of Pia Ambardar, PJ Brennan, Cathy Carrey-Aquino, Daphne Ciccarelle, Michael Clay, Samantha Gutterman, Benjamin Holmes, James E. Keelen, Jr., Peyton Kennedy, Anthony Lorenzo Parker, Don Pflaster, Duncan Pflaster, Rolando Ramos, Francesca Ruiz, Emma Spahic, Sarah Vidal, Kate Willard, Yasmin Yarosh, and Zoe.

For cast and director biographies and pictures, please visit The Center's website here.


A Holiday Tradition
An additional holiday tradition of The Center is to provide support to The Hoboken Shelter, a local charitable organization that provides accommodations for 50 people and feeds 80 to 100 people every evening. At each production of A Christmas Carol, The Center will collect monetary donations from audience members who would like to aid The Hoboken Shelter in supporting their mission to prevent homelessness and to assist homeless men and women re-integrate into the community. Last year, The Center was able to collect over $1000 for the Shelter and knows this year they will be able to collect more!

ceebeegee: (Helen of Troy)
6:00 p.m. Dawn Dumont (Cree/Canada)
Introductory remarks by Randy Reinholz
Reading of Fancy Dancer
Directed by Jennifer Rice (Tuscarora)

Moderated Q & A by Randy Reinholz

In Fancy Dancer, over 500 Aboriginal women have disappeared in Canada within the last 15 years. In this dark comedy, the Trickster strives to bring this issue to the forefront using the medium of television. As the Trickster works his magic, an ambitious Native American journalist searches for a missing Fancy Dancer, April Fineday. As the journalist digs deeper into the story, she finds herself stepping outside of the safe boundaries of mainstream society into the dark dangers of April's world.

Part of the World Indigenous Theatre Reading Series
Presented by the Australian Aboriginal Theater Initiative

Fancy Dancer goes up December 1 at 6 pm, at the Martin E. Segal Theatre Center, The Graduate Center, CUNY, 365 5th Avenue, NYC. Admission is free.
ceebeegee: (Helen of Troy)
It never rains but it pours. In a good way though :)

More details to follow...
ceebeegee: (Viola in the water)
I posted some of Jason's beautiful pictures (his photography is what makes them so lovely) on the Holla Holla MySpace. I really love that setting--it's a tricky space but man, you just can't get a better, more beautiful setting for a play like Twelfth Night than right on the river like that. My lover stands on golden sands...and watches the ships that go sailing...

We had a pickup rehearsal tonight--it was supposed to be a cue-to-cue, finishing up what we'd had to curtail the day before because of the rain, but a lot fewer people were there than we'd planned, so we caught Myles up on his entrances, worked on a few itty bitty things here and there and worked on the ring speech and II, iv (the second Orsino/Viola scene). The lovely and hard-working Miss Elizabeth graciously stood in for Orsino--I'd mentioned to Ben via email Michael's theory that there should be three kisses in Twelfth Night. One between Sebastian and Antonio, one between Orsino and Cesario (in II, iv) and one between Olivia and Cesario (in III, i). I wrote

I don't know if I agree per se--I don't think S & A should kiss because I don't think S
truly loves A (or he wouldn't end up with Olivia). With Orsino and Cesario--I don't think they should kiss, but it could be pushed even further *toward* that, because there's a lot there already. The second half of II, iv, after the song is pretty intense already. I had an epiphany about Orsino--the reason he's able to love Viola at the end is because he already loves her--in the fuller, multi-dimensional way he loves a man, whereas Olivia was just up on a pedestal. It's kind of like Michael Dorsey in Tootsie--"I was a better man with you, as a woman, than I ever was with a woman, as a man." Orsino is a better man with C.--C. brings out the best part of him. If we almost kiss, say before Orsino's and my last lines (like right before "Sir, shall I to this lady?"), that would demonstrate that intense bond.

Ben explored that idea a bit tonight--he said (in his email response) he was more interested in almost-kisses than in kisses, at least until the end, with which I agree. So he added a lot of hoyay between Cesario and Orsino--during Feste's song (which is the big turning point in the scene for me--my mood changes completely after that) he had Elizabeth (as Orsino) take my hand, put her hand on my cheek. It's pretty homoerotic now, as it stands--I think we might want to moderate it a little. Maybe that could come from me--right now I've been isolating myself during "Come Away Death," playing that sadness as a very solitary thing. However Ben wanted me to acknowledge Orsino's gestures more, and take comfort in them which is something I hadn't considered but yes, is more interesting. It'll all come to pass when Kenneth and I play it.

I don't like my ring speech. It just feels mechanical right now. Ben doesn't like the way I'm doing How easy is it for the proper false/in women's waxen hearts to fix their forms/Alas, our frailty is the cause, not we/For such as we are made of, such we be. He thinks the whole sentiment is sexist and borderline misogynistic--Viola's saying "we women are so weak, we'll fall for any pretty face." I said I don't think it's sexist, I think she (I) am talking about the human condition--people fall for a pretty face. Only she's a woman, so she's talking from that perspective, she's being rueful. He disagreed. I said "it's pretty rare that I meet someone even more feminist than I am."

Elizabeth helped me run lines, and at one point she and I bent backwards over our chairs, doing lines and backbends together. A completely new perspective. Our faces turned purple.

I love parsing the minutae of acting, and words, and literature.

I love my cast and my show, and Saturday we are going to be...transcendent.
ceebeegee: (Viola pity)
Holla Holla Productions


Twelfth Night

Directed by Ben Beckley
Featuring the music of Mickey Zetts

Shakespeare's gender-bending, heart-breaking comedy about love, mourning, celebration and rebirth is performed at Clinton Cove Park along the shores of the beautiful Hudson River.

August 4 & 5, 11 & 12, 18 & 19 (Saturdays & Sundays)
Shows at 1:00pm and 5:00pm--weather permitting.

Clinton Cove Park is located at West 55th Street and the Hudson River.

All performances free and open to the public. Seating is unreserved--blankets, chairs, picnics and sunscreen are encouraged!


Tom Cleary*, Chris Combs, Steven Dawson*, Letty Ferrer*, Clara Barton Green, Myles Jordan, Paul Martin Kovic*, Duncan Pflaster, Elizabeth Ruelas, Kenneth Ruth, Nicholas Santasier, Jason Specland*, Katrina Stodd, Michael Vaccaro*, Tracy Walsch

*indicates member of Actors Equity
An Equity Approved Showcase

Twelfth Night is presented with the assistance of the Friends of the Hudson River Park.


ceebeegee: (Default)

February 2017



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