Oh man, The Pig is going to be SO GOOD. (I mean, the workshop got pretty great press.) Take a beloved Czech operetta, mix it with pointed political satire (in the form of a shaggy-dog joke) from Vaclav Havel & drop those elements into the high-tech, toy-studded confines of 3LD. Oh! And food! Did I mention it's dinner theater? With a bar? A pre-show cabaret act? A post-show Velvet Underground cover band?
You can get discounted tickets now ($40 for dinner and the show) by donating to the show's Kickstarter campaign. General sale ($20 to $45) tickets are here. The show opens on 6 March.
Here's some glimpses of rehearsal:
From L: Me & Terence Stone, Robert Honeywell onscreen, and the company. All photos by Edward Einhorn.
I am honored beyond words. All thanks to Martin & the board of Indie Theater Now and to my amazing community; we make good work and we do it with love.
Why We Left Brooklyn has closed. I could not be more proud of the show, of Kyle, of Matt, or of my spectacular cast-mates. It was really something.
At right, Jay and me backstage, sharing a flask after our final exits.
Next up, I've got some developmental readings - a new series byJennifer Gordon Thomas& Mac Rogers, a completely hilarious new play by Mark Staufenberg called The Godzilla Project, and a new play from Stephen Speights about the last bottle of the most expensive wine in the world. (Here's the public reading details for that last one.)
Zack Calhoon included me in his "People You Should Know..." series. You can also read about my (Why We Left Brooklyn co-stars) Marguerite, Dave, Imran, and Jay. (This handsome fellow also made a recent appearance.)
Why We Left Brooklyn begins previews Thurs, 29 August. I love this play. Indeed, if you are my friend, colleague, or contemporary, then this play is probably About You. (Especially if you live in Brooklyn.) You should come.
Matt Freeman, that rascal, has penned a fantastic new play. I am joining what can only be described as a downtown New York power cast. Kyle Ancowitz is directing.
The producers are raising money; a donation to this production is just about the most direct way you can support me, and working indie theater artists in general. Please consider giving!
Still Life with Artisanal Disillusionment and Grapes
Robert's untitled rock opera, a.k.a. the Van Gogh project, a.k.a. the thing we've been working on for the last three years, is in rehearsal. It's gonna be epic. More photos.
Photo by Joe Kolbow. Triptych by Sarah K. Lippmann.
And so it has come to pass that in the middle of my third decade I have become a rock star.
MASS: A Rock Opera. Showing 11 songs from the work in progress on 28 and 29 April. Esther Crow, Rebecca Davis & me, with what can only be described a monster band led by Maria Dessena. Come on out.
This summer, I sat for Matt Freeman's Silent New York and I read Melissa Gawlowski's Spring Tidesfor Boomerang. In October, I risked life, limb and dignity as an actor in the One Minute Play Festival's Livewriting event at The Brick.
I noticed (actually, embarassingly, my mom noticed) that two older projects of mine are on YouTube; Matt Freeman's Character(s) and Eric Sommer's Total Candor.
And I'm happy to be involved again with that scoundrel Matthew Paul Olmos, reading his The Death of the Slow'Dying Scuba Diver for TerraNOVA's Groundbreakers.
Come on down to the Tenement Museum to see me in a reading of Fire Escape, a gorgeous new play about The Triangle Shirtwaist Fire. Tues, 22 March. Details here. (Fire Escape is a project of American-In-Play, a company well worth your time.)
Rehearsal has begun for Do Androids Dream of Electric Sheep with UTC #61. The show goes up in November at 3LD's toy-filled playground of a theater. In addition to the sheer coolness of working on one of my sci-fi touchstones, I'm singing 5 arias composed for this show by Henry Akona.
The logical(?) conclusion of the experiments that were Exposition and Denouement, Brandywine Distillery Fire is directed by Michael Gardner and written by Matt Freeman.
Gaze upon our video trailer, in which I somewhat shamefully insult one of the most important theater companies of the last 50 years.
