Showing posts with label Off Off Broadway. Show all posts
Showing posts with label Off Off Broadway. Show all posts

Monday, May 24, 2010

Drama Desk winners announced


Two ties highlighted this year's awards, as Outstanding Play Revival and Outstanding Actress (Musical) deadlocked. Me? I was most happy to see Alex Timbers' book for Bloody, Bloody Andrew Jackson win, to see the Tony-ineligible Brighton Beach Memoirs get a bit of recognition, and that the ensemble cast of The Temperamentals had something to celebrate as the show closed. Can't argue with the rest, not doing cartwheels, either; it was that kind of season. The award-winning import Red, which struck gold, is pictured.

Monday, May 03, 2010

Drama Desk nominations announced


Leading the pack: the revival of Ragtime and The Scottsboro Boys (pictured). Scanning the list, I would have liked to have seen the two lead actors and The Pride itself nominated; easily the most riveting drama of the season past. Still, a lot of worthy work awarded or in contention this year: kudos especially to the casts of Circle Mirror Transformation and The Temperamentals, John Douglas Thompson in The Emperor Jones, Terri White in Finian's Rainbow, and Yank!. I would like to see the Projection and Video category, which I helped inaugurate, return in some form, and do think that if puppets can be on the same line as set design so too could be projection and video. But I'm not a nominator, and I'm no longer a board member...and I see there are a few shows that I can't recall off the top of my head and will have to look up, proof that the committee has cast a typically wide net.

Tuesday, February 23, 2010

So goes Ohio

Unhappy news from the New York theater front, regarding a venue where I saw many a provocation:

"The Ohio Theatre, a pillar of New York’s downtown theatre scene for 29 years, will close on August 31, 2010. The new landlord has issued official notice and no further negotiations are scheduled.

Located at 66 Wooster Street, The Ohio Theatre was one of Soho’s pioneering performance spaces and is now one of the last remaining. The not-for-profit theatre company Soho Think Tank runs the space under the direction of artistic director Robert Lyons. Lyons says, “It’s where Tony Kushner produced his first play out of college, where Philip Seymour Hoffman made his professional acting debut, where Eve Ensler performed Dicks in the Desert, a decade before writing The Vagina Monologues. The Ohio Theatre has been an incubator and platform for New York’s most exciting and innovative theatre artists for almost 30 years. Its closing emphatically punctuates the end of an era in Soho, and stands as a high profile casualty in the relentless decimation of the lower Manhattan theatre landscape.”

To mark this traumatic event, the Ohio Theatre will be providing a space on their website, where artists and audience members will be able to post their thoughts, memories and experiences at the theatre. Robert Lyons goes on to say, “There will also be a place for artists who have performed at the Ohio Theatre to post production photos. We especially encourage those with pre-digital photos to take the time to scan and post them. Literally thousands of theatrical events have taken place at the Ohio over the last 29 years and we would like to have them ALL represented. We also encourage people to make a donation to help us through what promises to be a difficult transition.”

In the meantime, the current season continues, including preparation for Ice Factory 2010, as well as plans for a major dance party some time this summer.

Soho Think Tank’s short-term priority is to find a home for their signature programs: STT PRESENTS and the Obie award-winning ICE FACTORY Festival. Toward that end, they are currently in discussion with other downtown venues, including HERE Arts Center, Dixon Place, PS122 and The Public about their next season.

As for long-term goals, Soho Think Tank has begun discussions with some of the core theatre companies of the Ohio Theatre community about forming a coalition to secure a new space.

Robert Lyons explains, “For 29 years, the Ohio Theatre has embodied the living history of the neighborhood of Soho, continuing the spirit of community and cutting-edge artistic practice that once defined the area. It’s been a host to a generation of the finest, most exciting and widely recognized companies working in NYC in the last three decades and has cultivated a diverse and growing community of artists who are collectively changing the cultural landscape of New York and beyond.”

The critically acclaimed work of these artists and companies has garnered innumerable OBIES, Drama Desk nominations, Off-Broadway transfers, national and international tours, including multiple Edinburgh Fringe First Awards. In 2002, the Ohio Theatre received the Ross Wetzsteon OBIE Award, in recognition of its sustained artistic excellence and contributions to the theatre community.

Today, the Ohio Theatre is one of the last non-commercial arts centers remaining in Soho. It continues to foster an environment of generosity, dialogue and inspiration, where artists take risks and try out new ideas, bringing their work to a new level. One of the most beautiful venues in lower Manhattan, it remains a boon to emerging artists and the viability of experimental theatre in New York City. For this, the Ohio Theatre is widely recognized as an indispensable pillar of downtown Manhattan’s cultural life.

“This is a great loss for the city on many levels. It is the loss of a historic institution, the loss of a vibrant ongoing platform for new work. And it is yet another contribution to the loss of Manhattan’s cultural identity,” says Robert Lyons.

Monday, February 22, 2010

Enemy returns


I'm always griping that the only Ibsen play revived in New York with any constancy is Hedda Gabler, with an occasional visit to A Doll's House. So I was happy to trek over to the West 30's to attend a Barrow Group Theatre Company production of Enemy of the People, which I only know from reading (I wrote a well-received paper about the playwright in high school) and an out-of-it Steve McQueen's curious 1978 film version, which I saw on cable and has resurfaced on DVD-R in the Warner Archive.

Very superficially, the play anticipates, of all things, Jaws. Except that here the menace isn't an outsized shark but the potential of slow death from chromium poisoning, which has been found in the hot baths that are a tourism moneymaker in the town where the production is set. Leading the crusade to shut down the baths for an overhaul is the town's physician--but the support he receives from his family and a socialist newspaper and other individuals erodes in the face of reasoned opposition from local business interests, not least his cagey father-in-law. Dr. Stockmann (Larry Mitchell) is shunned, and faces the scandal of being branded "an enemy of the people" as his damaging report is swept under the rug.

Seth Barrish and K. Lorrell Manning have freely adapted the play, beefing up the female roles and adding some sore-thumb colloquialisms ("ballistic!") to Ibsen's original. To a degree the overhauling, making the piece "meaningful" for our craven-to-business times, works, not that that aspect of it needed a push. The modest staging is however somewhat logy, and the acting uneven. (The "bad guys" have the edge, performance-wise, over the good.) But my desire to see this play staged has been satisfied, and anyone needing an Ibsen fix is encouraged to seek it out, through March 8.

Thursday, June 11, 2009

And the winner was...


Geoffrey Rush, who heads back to Australia following the June 14 closing of Exit the King with five New York acting citations under his belt, including Tony and Drama Desk Awards. This courtesy of David Sheward at Backstage, who had the philanthropic/insane notion to collate all this stuff.

Monday, May 18, 2009

Drama Desk winners announced


A short and snappy ceremony resulted in big wins for Lynn Nottage's Ruined (pictured) and Billy Elliot the Musical at the 54th Drama Desk Awards, held last night. I've just come from the after party, held at the large and lovely Rouge Tomate bistro, where I met winners Geoffrey Rush (Exit the King), Pablo Schreiber (the off-Broadway reasons to be pretty), and Janet McTeer (Mary Stuart). The understandable absence of overseas-based winners like Shrek the Musical designer Tim Hatley was more than made up for by the present-and-accounted-for star wattage of winners Liza Minnelli and Angela Lansbury, whose award was presented by Jane Fonda. Besides Nottage's win for the gripping Ruined--one of seven Off or Off Off Broadway winners this year--I was especially gratified to see set designer David Korins take home a statuette. It couldn't happen to a better designer, or a nicer guy.

Monday, April 27, 2009

Drama Desk nominations announced


Looks as if this year's nominators were working 9 to 5 (pictured) this awards season--the soon-to-open musical garnered 15 nominations, the most of any show in the 2008-2009 season, and a record haul. (Having been on the committee, I can assure you that they were working 9 to 5, and then some, to place the best of Broadway, Off Broadway, and Off Off Broadway into contention.)

Monday, November 24, 2008

League of Independent Theater forms

This came in over the transom:

A team of prominent independent theater artists and producers proudly announce the creation of The League of Independent Theater, Inc. (LIT), a membership-based advocacy group and business league representing New York’s City Off-Off Broadway community.

The mission of LIT is to promote the economic and artistic interests of its members, ensuring that independent theater remains economically viable for its practitioners. The organization will advocate on behalf of the decades-old tradition of Off-Off Broadway theater.

Membership in LIT is open to any artist, company or technician working in theaters of 99 seats or less in New York City who can demonstrate participation in a minimum of three productions. Theater service organizations serving Off-Off Broadway are encouraged to apply.

Says LIT Executive Director John Clancy, an acclaimed director and Off-Off Broadway veteran who co-founded the New York International Fringe Festival: “I haven’t been as enthused and optimistic about an organization since the early days of the Fringe. Our members are entrepreneurs, business-savvy, and wildly creative. Our job is simply to harness that remarkable energy and effect real change in our territory.”

LIT’s priorities include:
1) Achieving substantive, meaningful changes to the Actors’ Equity Showcase Code to respond to the needs of the independent theater community.
2) Advocating for the establishment and preservation of Off-Off Broadway venues and rehearsal spaces, including lobbying for arts-friendly amendments to the building and tax codes and developing industry-enhancing relationships with real estate developers and interests.
3) Increasing funding from grant-giving organizations as well as supporting the campaigns of public officials who actively promote the independent theater community.

LIT is organized to qualify as a 501(c)(6) business league in order to engage in advocacy and lobbying for its members, without the lobbying limits applicable to 501(c)(3) organizations.

LIT’s Executive Director: John Clancy, Executive Artistic Director, Clancy Productions

LIT’s board of directors includes:
Paul Bargetto, Director, East River Commedia
Martin Denton, Executive Director, The New York Theatre Experience, Inc.
Shay Gines, Executive Director, The New York Innovative Theatre Foundation
Michael Goldfried, Director
Robert Honeywell, Co-Artistic Director of Brick Theater
Leonard Jacobs, Theater Critic, New York Press
Abby Marcus, Managing Director, Vampire Cowboys Theatre Company
John Pinckard, Producer
Moira Stone, Actor
Erez Ziv, Co-Founder/Managing Director, Horse Trade Theater Group

Thursday, July 12, 2007