Amazon
https://music.amazon.com/podcasts/95038aa3-f6af-476a-92aa-fac34c759b63/episodes/50687f6c-fdc0-4f06-883d-b7a5c98828f9/horses-helping-humans-actor-director-educator-natasha-lee-martin?ref=dm_sh_QsVUQEZjaoe7EwgzXuMD4SmB9
Spotify
https://open.spotify.com/episode/7kQQZgyBnHhXBTuA7SkDrp?si=HmzIpTcOStGLI3vNEBvlBQ&utm_source=copy-link&nd=1
http://howlround.com/natasha-lee-martin-discusses-synesthesia#quote
Dreams on the open sea are part of a larger narrative as Natasha Lee Martin, an actress, director, and teacher, performs in Confessions of a Synesthetic Sailor at TheaterLab in New York City.
By Marcina Zaccaria Feb 26, 2015 in Journal
The grueling journey of writing Confessions of a Synesthetic Sailor lasted over five years. Synesthesia is a medical condition wherein one sense misinforms the other. For example, a synesthete may experience colors as scents. Martin, who is a synesthete, says that senses can become more enhanced when on the water. Famous artist like Goethe, Van Gogh, Kandinsky, and Poe all seemed to have synesthesia. Martin, who is from Rhode Island and who grew up sailing, based the play on some of her real life experiences.
Martin uses flexible state-of-the-art design in the new play and a pre-recorded track from Lucio Menegon, who is the featured guitarist on the piece. When the play was previously performed at Jack in Brooklyn, it featured the interplay between the sounds and the live action on stage, however in this version there is no live music. The lights (designed by Haejin Han) and video (designed by Curshion R. Jones) have “a spontaneous stream of consciousness through a scripted narrative,” according to Martin. Color and texture are important to the performance. Video design is influenced by the sound design. The space is white and there are movable walls.
The play comes to life onstage after a good deal of introspection, and the moments are clear. Martin asked her collaborators to tap into their 'gut brain' when considering the design and the direction of the show. The space is, in some ways “adaptive to the script.” TheaterLab appealed to Martin because of the flexibility of the space. TheaterLab is a space that honors this kind of dialogue between artist and production design; it bills itself as “an artistic laboratory dedicated to the development of experimental theatre works and live performance.”
Martin said that she needed a blank space to create a palette. Set Designer Leon Wiebers remarked,
"I knew that there would be video projections. The white space of TheaterLab is a canvass that allows our collaborators in video and lighting to have an opportunity to transform and impact the space. This project is a case where the set needs to get out of the way. The movable walls enable us to create different scenarios and see what happens."
Wiebers said, “Artists draw upon their instincts, experiences, and the text. Allowing these to influence our designs, we are able to consider the overall look being wary of over-thinking it.” In terms of concept and execution, Martin wanted walls that were flexible, movable, and blank white. All color was added later with video and light. Wiebers said, “I am really letting these things move and mesh together and seeing what that is.”
Director/performer Martin uses Confessions of a Synesthetic Sailor to examine the pattern of the artist over time—her tattooed arms serve as a kind of a window into her previous artistic life experience. The play comes to life onstage after a good deal of introspection, and the moments are clear. Martin asked her collaborators to tap into their “gut brain” when considering the design and the direction of the show.
In the performance, Martin describes the memories and fuzzy notions acquired while experiencing synesthesia as a young person. Confessions of a Synesthetic Sailor deals with memory. After childhood notions collide and senses become confused, a woman of strength and intelligence emerges on stage. The audience sees Martin as a teacher and as a synesthete. She is the force that directs the story, and her presence is firm, but understanding. To discover the difference between sights and smells is a deeply personal journey for Martin.
The audience sees Martin as a teacher and as a synesthete. She is the force that directs the story, and her presence is firm, but understanding. To discover the difference between sights and smells is a deeply personal journey for Martin. With rhythmic language about her experiences of synesthesia while seafaring, Confessions of a Synesthetic Sailor proves to be both confessional and conversational. Martin runs from space to space in the production, providing memories that seem “off the cuff.” The articulate words never feel contrived, but rather like a collection of impulses and a range of thoughts gathered while struggling through the sometimes-dizzying world of synesthesia.
Martin, who has worked as a teacher at The Rutgers School of Communication and the New York Institute, is always looking to develop new techniques for storytelling. In many ways, she believes that society is shaped by improvisation. She has created classes on Expressionism, Naturalism, and Absurdism. She also developed her own courses in Improvisation, Imagineering, and Innovation. Although Confessions of a Synesthetic Sailor doesn’t use digital mapping, there are interactive components in the design. The piece shifts and flows as the play jumps in time. Martin appears to be on a whirlwind journey in a boat at some points, and at others she appears to be teaching at a podium.
Martin says that audience’s energy informs her reactions to each moment. She believes that creation has a spontaneous, improvisational nature. She draws from Viola Spolin and Alvin Ailey—she used their work as both a “focal point and a launching point.” Martin asks: if “movement is folklore” and “theater is a verb,” then how can we create a narrative that serves the play? Martin’s answer is unique gestures. Movement complements the poetic text, building a narrative that is more than a dream. She uses anecdotes to propel her journey. With each gesture and glance, she explains her past. Martin’s choreography is inspired by her work with choreographer Marisa Guida while training at the New School a few years after James Lipton created the MFA Actors Studio Program.
Martin frames the performance with pre and post-show discussions about the condition of synesthesia. Before the show, the audience is asked to engage in activities hosted by the American Synesthetic Association. On small computers, they take a test to measure their synesthetic level and see if they have any signs of the condition.
Patricia Lynne Duffy, leading scholar and author of Blue Cats and Chartreuse Kittens: how synesthetes color their worlds, explained the brain’s processes further, “As the brain develops, it compartmentalizes its different functions ...but in synesthetes, some overlaps remain—so synesthetes could hear something but also, for example, taste what they are hearing."
Martin will be performing the entire play at the Mid-America Theatre Conference to be held March 19-21. The New York City production of Confessions of a Synesthetic Sailor ran January 7-11, 2015.
- See more at: http://howlround.com/natasha-lee-martin-discusses-synesthesia#quote
Current students, alumnus intern in New York theater over winter break by Jesse Lundervold - Feb 6, 2015
http://hilltopmonitor.com/2015/02/06/six-students-intern-in-new-york-theater-over-winter-break/
In January, five William Jewell students and one alumnus traveled to New York City as part of a project created by Natasha Lee Martin, the College’s artist in residence and Dr. Joshua Hoops, communications professor. The project was a solo show written by Martin, who also performed in the production, titled “Confessions of a Synesthetic Sailor.”
Natasha Martin premiered her work June 2013 after working on it for about five years.
“That was really the first attempt to put it in front of an audience, and I didn’t feel at that time it was ready to be funded,” Martin said. “I really just wanted to see what the audience reaction would be.”
After working with her dramaturg, Dr. Noreen Barnes, Martin revised “Confessions” until she started her application for a Kauffman Grant.
Dr. Hoops became involved in Martin’s project during a conversation in October.
“Something just kind of clicked, where I had the thought ‘Maybe I can do something to be a part of this and get students involved,’” Hoops said.
Both Hoops and Martin applied for and were awarded Kauffman Grants.
“[Applying for the Kauffman Grant] is a pretty streamlined process. The proposal needed to explain how is this particular pedagogical choice unique from traditional classroom methods,” Hoops said.
Hoops said the proposal also needed to include how students would be involved, the budget for the project overall and how the project would be shared with the Jewell community.
Martin explained that proposals for the Kauffman Grant were intended to create a different environment in which students could learn in their chosen discipline.
“I thought that the process was very accessible. However, they were definitely looking for projects that were reflecting a high level of innovation in your field,” Martin said. “One element that was very vital to emphasize was how was this particular production going to be more innovative, and so that was very challenging.”
Martin went through several drafts of the proposal, she said that those at the Kauffman Center were “extremely monumental with helping hone the vision of the proposal.”
After being awarded the Kauffman Grant, the artistic director of the New York City-based Theatrelab proposed the idea of Martin’s show being performed at the venue.
“I was very open to the prospect of doing the show in Kansas City, however, I felt that I had a stronger relationship and professional network with people in New York City,” Martin said, “I felt like my students would benefit more from my own network.”
The Jewell students that were chosen to work on this project through the theater department were Annette Dauster, senior and production stage manager; Raquel Shaw, junior and graphics / art manager for the pre-show; and Curshion Jones, alumnus and video editor for the production and website .
“The students were interviewed quite extensively. They had to write a proposal about how they thought it would benefit their studies and their future goals,” Martin said.
Students Erin Melton and Erin Christiansen speak to audience members about Synesthesia after the show.Jewell students Erin Melton, first year; Morgan Allen, sophomore; and Erin Christiansen, senior, were part of the media and social networking team.
“They helped me in designing and executing a media plan. My plan was to not have the roles clearly delineated as to give them an opportunity to try different things, but each student adopted a different role and made it their own,” Hoops said.
Allen’s responsibility was creating and building the website for the show. Melton coordinated the social media effort, and Christiansen drafted and sent out press releases to media outlets in New York City.
“Having very little experience in theater and even less in publicity and marketing, this was largely an educational experience for me,” Melton said.
Hoops said that students who were interested had an application process then subsequent interviews.
“I reached out to students in my media writing class and reached out to those that had taken media writing in the past. Then I also presented it to students who worked with the Hilltop Monitor,” Hoops said.
Pre-production meetings were scheduled multiple weeks in advance before the group left for New York. Martin, Hoops, and the six Jewell students landed in New York City January 4, and “Confessions of a Synesthetic Sailor” was performed from January 7 to January 11. (2015) Pat Duffy, author of a book about synesthesia, attended the performance and held a discussion with the audience following the closing of the show. Carol Steen, the co-founder of the American Synesthesia Association, accompanied Duffy, who is also a co-founder.
“This experience is one that will form both my future professional and personal projects,” Melton said.
Students Erin Melton and Erin Christiansen speak to audience members about Synesthesia before and after the show.
Audience members took pre-show tests on ipads from The America Synesthetic Association website.
Artists-in-Residence at William Jewell College
By Jesse Lundervold - May 1, 2015
http://hilltopmonitor.com/artists-in-residence-at-william-jewell-college/
Natasha Martin and Jay Carter, the two artists-in-residence at William Jewell College, reflect on their experience at the College and remaining active in their fields of performance.
Carter, who teaches voice lessons and conducts Schola Cantorum, stated that being an artist-in-residence is like “living in two worlds at the same time.”
“On one hand, I’m here as an academic. I teach voice and teach course work, but I leave here and go do lots of other work far away from campus at numerous points throughout the year,” Carter said. “I really do have a foot firmly planted in two worlds at once.”
Carter expressed that he is grateful that William Jewell allows him to work both in his chosen field and in the classroom with students. Many of Carter’s colleagues have positions similar to his; however, they are only on campus one or two days a week and do not have the opportunity to work with students in a classroom setting. Carter graduated from Jewell in 2005 and was very interested in coming back to campus in a professional capacity.
“My time [at William Jewell] was so formative for me. It felt only appropriate, if given the opportunity, to come back and try to sew some seeds here,” Carter said.
Carter says that he always knew he wanted to do serious teaching work and that he could never see himself being one to travel consistently the whole year. Some years, Carter explained, whether or not he travels depends upon timing and what organizations ask him to be a guest speaker or soloist. He suggested that it is always good to have something to fall back upon when one is not able to perform as often.
Martin mainly teaches applications of theatre but also teaches basic theater classes. She states that her experience at Jewell has given her the opportunity to expand areas of curriculum development and for students to participate in that development. The challenge of translating her work in professional theatres to a small, academic setting, such as Jewell’s , is one of the facets of the artist-in-residence position that Martin enjoys.
The most rewarding part of the position, Martin said, has been the students.
“It was an opportunity for me to work with students in a different demographic of the country. The fact that it was a small, private liberal arts college really interested me,” Martin said. “To come into a different environment is always really exciting and really stimulating not only to the students but to me as a professor.”
After her undergraduate studies, Martin moved to New York City where she pursued a career as a professional actor. She decided soon after to go through a Master’s of Fine Arts program in acting and directing pedagogy at Virginia Commonwealth University while still remaining active as an actor.
“As an artist, you tend to separate what you do as a professor and teaching students from your work as an artist. To have that union, to be able for my students to see my craft, I’ve really made a mentor-like relationship with the students here that I know will continue beyond here,” Martin said.
Like Martin, reconnecting with Jewell students is also what Carter finds very rewarding about working as an artist-in-residence.
At the time the position of artist-in-residence was open, the music department was in search of a candidate with at least a master’s degree in some form of music, some teaching experience and field experience within his or her chosen musical form.
“They were looking for somebody that wasn’t purely academic, I suspect, for this slot. They wanted someone with a professional connection in the community outside of academia,” Carter said.
Carter described that there is a very strong academic music community, but it does not overlap very much with the professional community of orchestras and ensembles.
A previous job description from the theatre department on the Jewell website for the artist-in-residence position listed the qualifications for applicants as having a M.A or Ph.D in acting, directing or a combination along with collegiate experience in teaching.
“[The theatre department] wanted someone to give them that experiential, pedagogical process that they might not have gotten from a lecture-based candidate,” Martin said.
Both Martin and Carter are still heavily involved in their performance fields. Carter recently traveled to New York City as part of a choir performing Handel works and is now completing his doctoral degree in music from University of Missouri – Kansas City. Martin performed a self-written play earlier this year in NYC and is relocating to California at the end of the spring 2015 semester.
By Jesse Lundervold - May 1, 2015
http://hilltopmonitor.com/artists-in-residence-at-william-jewell-college/
Natasha Martin and Jay Carter, the two artists-in-residence at William Jewell College, reflect on their experience at the College and remaining active in their fields of performance.
Carter, who teaches voice lessons and conducts Schola Cantorum, stated that being an artist-in-residence is like “living in two worlds at the same time.”
“On one hand, I’m here as an academic. I teach voice and teach course work, but I leave here and go do lots of other work far away from campus at numerous points throughout the year,” Carter said. “I really do have a foot firmly planted in two worlds at once.”
Carter expressed that he is grateful that William Jewell allows him to work both in his chosen field and in the classroom with students. Many of Carter’s colleagues have positions similar to his; however, they are only on campus one or two days a week and do not have the opportunity to work with students in a classroom setting. Carter graduated from Jewell in 2005 and was very interested in coming back to campus in a professional capacity.
“My time [at William Jewell] was so formative for me. It felt only appropriate, if given the opportunity, to come back and try to sew some seeds here,” Carter said.
Carter says that he always knew he wanted to do serious teaching work and that he could never see himself being one to travel consistently the whole year. Some years, Carter explained, whether or not he travels depends upon timing and what organizations ask him to be a guest speaker or soloist. He suggested that it is always good to have something to fall back upon when one is not able to perform as often.
Martin mainly teaches applications of theatre but also teaches basic theater classes. She states that her experience at Jewell has given her the opportunity to expand areas of curriculum development and for students to participate in that development. The challenge of translating her work in professional theatres to a small, academic setting, such as Jewell’s , is one of the facets of the artist-in-residence position that Martin enjoys.
The most rewarding part of the position, Martin said, has been the students.
“It was an opportunity for me to work with students in a different demographic of the country. The fact that it was a small, private liberal arts college really interested me,” Martin said. “To come into a different environment is always really exciting and really stimulating not only to the students but to me as a professor.”
After her undergraduate studies, Martin moved to New York City where she pursued a career as a professional actor. She decided soon after to go through a Master’s of Fine Arts program in acting and directing pedagogy at Virginia Commonwealth University while still remaining active as an actor.
“As an artist, you tend to separate what you do as a professor and teaching students from your work as an artist. To have that union, to be able for my students to see my craft, I’ve really made a mentor-like relationship with the students here that I know will continue beyond here,” Martin said.
Like Martin, reconnecting with Jewell students is also what Carter finds very rewarding about working as an artist-in-residence.
At the time the position of artist-in-residence was open, the music department was in search of a candidate with at least a master’s degree in some form of music, some teaching experience and field experience within his or her chosen musical form.
“They were looking for somebody that wasn’t purely academic, I suspect, for this slot. They wanted someone with a professional connection in the community outside of academia,” Carter said.
Carter described that there is a very strong academic music community, but it does not overlap very much with the professional community of orchestras and ensembles.
A previous job description from the theatre department on the Jewell website for the artist-in-residence position listed the qualifications for applicants as having a M.A or Ph.D in acting, directing or a combination along with collegiate experience in teaching.
“[The theatre department] wanted someone to give them that experiential, pedagogical process that they might not have gotten from a lecture-based candidate,” Martin said.
Both Martin and Carter are still heavily involved in their performance fields. Carter recently traveled to New York City as part of a choir performing Handel works and is now completing his doctoral degree in music from University of Missouri – Kansas City. Martin performed a self-written play earlier this year in NYC and is relocating to California at the end of the spring 2015 semester.
Spamalot, ‘lovingly ripped off from the motion picture’
Published on 04 April 2014 by Bruce Rash
http://www.thehilltopmonitor.com/en/40/1/851/William-Jewell-Theatre-Co-presents-Spamalot-%E2%80%98lovingly-ripped-off-from-the-motion-picture%E2%80%99.htm
If you are at William Jewell College and looking for a laugh, mark your calendar; the Jewell Theatre Company and the Jewell Department of Music are presenting Spamalot April 10, 11 and 12, with an additional performance during Family Weekend, April 26. An untraditional tale of King Arthur and his Knights of the Round Table, the musical comedy is an adaptation of the classic movie Monty Python and the Holy Grail (1975). Following Arthur, his squire Patsy, and an ensemble of bizarre characters, Spamalot brings laughs without fail. Fret not, Monty Python fans; this musical rendition isn’t just a re-hash of what you’ve already seen.
“We actually follow a lot of the chronological story of the film instead of jumping around (like the film),” Natasha Martin, assistant professor of theatre and director of the musical, said. “It has a lot of singing and dancing as opposed to the film.”
Martin was enthusiastic about how hard her cast and crew had worked thus far.
“I don’t think they’ve done anything quite on this level since I’ve been here,” Martin said.
The show incorporates a lot of choreography in both dances and fights. Many of the cast members had to adjust to dancing in heavy, authentic chainmail and fighting with real swords. For others, there were entirely new challenges to face.
“Many of these actors have never sung or danced before (in a show),” Martin said. “They’re doing really well, and we’re pushing them really hard.”
For Lexi McDanel, junior, there were some bigger challenges involved with taking the stage. McDanel portrays Arthur, the leader of the Knights of the Round Table.
“I spent like an hour the other day learning how to walk like a man,” McDanel said. “It’s probably the hardest thing I’ve ever done.”
McDanel is a veteran of the stage, but this is her first time performing with the Jewell Theatre Company. “I’ve been in three operas here,” she said. “It’s very different.”
Although this is her first time with the Jewell Theatre Company, she had no trouble finding reasons to start.
“I really love musicals and (I’ve been) doing them since I was a kid … Musicals are my thing and so is medieval history,” McDanel said.
Female actors taking male roles is nothing new for the Jewell Theatre Company; in the fall, many traditionally male roles in the Company’s production of Romeo and Juliet were played by women.
“We had so many strong females and strong female singers,” Martin said about auditions. During practice, the girls have had no problems singing musical parts written for males.
“I’ve really encouraged this cast to personalize and make the role their own,” said Martin.
At 11 actors, the show’s cast is small. Many actors will be playing multiple parts and performing multiple duties. Taylor Sullivan, sophomore, manages the show’s lighting and props in addition to playing a number of characters. Last semester, Sullivan played leading lady Juliet in Romeo and Juliet.
“It’s a lot more physical,” Sullivan said. “There’s a lot more room to be creative.”
Although her last role involved a brief dance scene, the dancing in Spamalot is much more intense and planned.
“I’m a dancer at heart,” Sullivan said as she stretched out for dance practice last Thursday night.
The choreography and range of roles are not the only things that set Spamalot apart.
Walking into Peters Theater, some might be surprised to find the stage extended all the way to the audience’s chairs, looking somewhat like a wide runway with seats on any side. Taking advantage of the extra space gives the dance scenes and intricate fights an extra dimension, but also has its technical reasons.
“Taking into account space for the pit is something new,” Nate Wieske, senior, said. “That takes out a lot of space that we use for scenery.”
Wieske, who helped build the set, explained the ins-and-outs of the stage pieces.
“This is similar to Romeo and Juliet in the sense that everything we have is mobile,” he said, “but we have more set pieces, and they’re bigger, and that adds to some of the difficulty of making the set.”
What difficulty there had been seemed invisible last Thursday, as the cast and crew finalized the positions of prop trees and mobile staircases for the show—just a small glimpse at the plethora of stage pieces hidden behind the curtains.
“It was a different time,” Martin said, discussing chivalry and the role of women in a medieval society. “Men were very protective.” In a show now dominated by females, the androcentric norms of medieval society offer a goldmine of laughs and social commentary.
“We’re really focusing on the different elements that would have been the norm at the time,” Martin said.
Spamalot is a collaboration between the Jewell Theatre Company and the Jewell Department of Music.
“We have been having enormous fun,” Martin said of herself and Ron Witzke, music professor and musical director for the show. “Like myself, Ron has also worked professionally in the world of opera and musical theatre, so it is really a plus that we speak the same language. In rehearsals we have had many moments where one of us will make a note, and the other is on the same page already without having to take precious rehearsal time to explain.”
The show will feature a live orchestra with students from the music department performing backstage as the actors sing and dance.
Spamalot promises to entertain at its premiere April 10, with shows that weekend April 11 and 12, as well as an encore performance April 26 for Family Weekend. Admission for the general public is $12, and $7 for students, seniors and the Jewell community.
“To see this amazing cast and the high, high quality of work they’re doing, I think that is going to be the biggest thing,” Martin said. “If you need a really, really good laugh, you should come.”
William Jewell Department of Theatre opens season with Romeo and Juliet
The Hilltop Monitor Published on 22 November 2013 by Jill Powers
http://www.thehilltopmonitor.com/en/33/1/726/William-Jewell-Department-of-Theatre-opens-season-with-Romeo-and-Juliet.htm
Peters Theater is in its 30th year, and a reception will be held during the intermission of Friday night’s show to honor the anniversary. Garnett M. Peters III, son of the Theater’s donor and namesake, will be in attendance. Professor Emeritus Dr. Kim Harris, who retired from the College in May of 2012 will also be joining the celebration. Harris directed some of the first few shows held in Peters Theater, including the last performance of Romeo and Juliet in April 1984.
That performance was one of the factors that inspired Wyman and the show’s director, Natasha Martin, assistant professor of theatre and theatre artist in residence, to select Romeo and Juliet for this semester’s production. But this weekend’s show is going to look much different than it did almost 30 years ago. One major change is that Wyman and Martin set it in modern-day Verona, which looks much like modern cities in the United States.
“We set it in a much more minimal, abstract, neutral kind of way so that the audience really feels intrinsically connected to any place,” Martin said. “It could be anywhere, it’s not necessarily specific to Verona … because the story is so universal.”
In this version, Romeo (Spencer Williams, sophomore) belongs to a working-class family and falls in love with the upper-class Juliet (Taylor Sullivan, sophomore).
“We even had the conversations that were really fun to have technically, like what kind of phone would Romeo have? Probably like a Razr phone … and Juliet would probably have the iPhone, just because they’re from the different (backgrounds),” Martin said.
Other forms of technology and contemporary music have also been incorporated, and two of the main characters have switched genders. Balthazar, traditionally a male, is now a female portrayed by Julie Cleek, senior, and Benvolio is now Benvolia, played by Raquel Shaw, junior.
One of the most notable differences placing the show in today’s Verona is the costume designs. John Fulton Adams, the fashion designer who also worked on Jewell Theatre Company’s Arcadia last spring, has inflected Romeo and Juliet’s costumes with current Italian fashions.
“The costumes reflect a lot of the influence of Milan fashion that’s happening right now, which includes a lot of American ’80s styles,” Martin said. “John has taken that concept and really run with it.”
Even with these changes, many aspects of the original play are preserved, including the Shakespearian language. Martin said teaching the actors to deliver the classic language in a modern, natural way while preserving the words’ meter and integrity was challenging, but she was grateful to have the aid of Dr. Sara Morrison, associate professor of English.
“She came in to one of our rehearsals one night and did a presentation and a talkback with the actors on … Shakespeare … and (his) language … We were so excited to have her come in, and I think that sort of collaboration is the Jewell spirit … and I think that should be celebrated,” Martin said.
Luke Adams, sophomore, commented on the challenge of the language. “Memorizing lines was hard, but once you get it down and understand what you’re saying, it’s pretty cool,” Adams said. Adams also enjoyed learning the fight choreography from Martin, naming it as his favorite part of the production.
“Natasha’s super good and professional with the fight choreography,” he said.
Cleek said her favorite aspects have been bonding with the cast and crew and seeing her own skills grow. “I feel like I’ve progressed more as an actor during this show than in any other show,” Cleek said.
Kyle Miller, sophomore, has enjoyed his multiple roles as an actor and lighting designer and seeing his fellow cast members develop their skills, especially the first-years. Martin agreed that all of the actors, especially the first-years, have done well at stepping into their roles.
“I’m really impressed with the way that it’s come together. The cast is just really exceptional, the students have worked really hard and put a lot of dedication and time and effort into learning everything,” Martin said. “We have a few freshmen in some lead roles that are really doing a phenomenal job … I’m very thrilled about some of the growth they’ve shown in this show.” Miller is glad to finally be performing for an audience, as he feels the cast is fully prepared. “We’ll be feeding off the audience the whole time, and it’s just going to be intense,” Miller said. “This is not how we did Romeo and Juliet in high school.”
Martin also feels that the show has been well-prepared, and she is excited to share its message with audience members.
“This show is really about two kids that are just trying to love each other and they’re really not doing anything wrong,” Martin said. “I think that people need to take inventory and really ask themselves if what they believe is really reality, or if it’s a perceived stereotype of a particular person, of a class or a race, and really question and try to understand and embrace young people who are trying to change this by being together.”
The Hilltop Monitor Published on 22 November 2013 by Jill Powers
http://www.thehilltopmonitor.com/en/33/1/726/William-Jewell-Department-of-Theatre-opens-season-with-Romeo-and-Juliet.htm
Peters Theater is in its 30th year, and a reception will be held during the intermission of Friday night’s show to honor the anniversary. Garnett M. Peters III, son of the Theater’s donor and namesake, will be in attendance. Professor Emeritus Dr. Kim Harris, who retired from the College in May of 2012 will also be joining the celebration. Harris directed some of the first few shows held in Peters Theater, including the last performance of Romeo and Juliet in April 1984.
That performance was one of the factors that inspired Wyman and the show’s director, Natasha Martin, assistant professor of theatre and theatre artist in residence, to select Romeo and Juliet for this semester’s production. But this weekend’s show is going to look much different than it did almost 30 years ago. One major change is that Wyman and Martin set it in modern-day Verona, which looks much like modern cities in the United States.
“We set it in a much more minimal, abstract, neutral kind of way so that the audience really feels intrinsically connected to any place,” Martin said. “It could be anywhere, it’s not necessarily specific to Verona … because the story is so universal.”
In this version, Romeo (Spencer Williams, sophomore) belongs to a working-class family and falls in love with the upper-class Juliet (Taylor Sullivan, sophomore).
“We even had the conversations that were really fun to have technically, like what kind of phone would Romeo have? Probably like a Razr phone … and Juliet would probably have the iPhone, just because they’re from the different (backgrounds),” Martin said.
Other forms of technology and contemporary music have also been incorporated, and two of the main characters have switched genders. Balthazar, traditionally a male, is now a female portrayed by Julie Cleek, senior, and Benvolio is now Benvolia, played by Raquel Shaw, junior.
One of the most notable differences placing the show in today’s Verona is the costume designs. John Fulton Adams, the fashion designer who also worked on Jewell Theatre Company’s Arcadia last spring, has inflected Romeo and Juliet’s costumes with current Italian fashions.
“The costumes reflect a lot of the influence of Milan fashion that’s happening right now, which includes a lot of American ’80s styles,” Martin said. “John has taken that concept and really run with it.”
Even with these changes, many aspects of the original play are preserved, including the Shakespearian language. Martin said teaching the actors to deliver the classic language in a modern, natural way while preserving the words’ meter and integrity was challenging, but she was grateful to have the aid of Dr. Sara Morrison, associate professor of English.
“She came in to one of our rehearsals one night and did a presentation and a talkback with the actors on … Shakespeare … and (his) language … We were so excited to have her come in, and I think that sort of collaboration is the Jewell spirit … and I think that should be celebrated,” Martin said.
Luke Adams, sophomore, commented on the challenge of the language. “Memorizing lines was hard, but once you get it down and understand what you’re saying, it’s pretty cool,” Adams said. Adams also enjoyed learning the fight choreography from Martin, naming it as his favorite part of the production.
“Natasha’s super good and professional with the fight choreography,” he said.
Cleek said her favorite aspects have been bonding with the cast and crew and seeing her own skills grow. “I feel like I’ve progressed more as an actor during this show than in any other show,” Cleek said.
Kyle Miller, sophomore, has enjoyed his multiple roles as an actor and lighting designer and seeing his fellow cast members develop their skills, especially the first-years. Martin agreed that all of the actors, especially the first-years, have done well at stepping into their roles.
“I’m really impressed with the way that it’s come together. The cast is just really exceptional, the students have worked really hard and put a lot of dedication and time and effort into learning everything,” Martin said. “We have a few freshmen in some lead roles that are really doing a phenomenal job … I’m very thrilled about some of the growth they’ve shown in this show.” Miller is glad to finally be performing for an audience, as he feels the cast is fully prepared. “We’ll be feeding off the audience the whole time, and it’s just going to be intense,” Miller said. “This is not how we did Romeo and Juliet in high school.”
Martin also feels that the show has been well-prepared, and she is excited to share its message with audience members.
“This show is really about two kids that are just trying to love each other and they’re really not doing anything wrong,” Martin said. “I think that people need to take inventory and really ask themselves if what they believe is really reality, or if it’s a perceived stereotype of a particular person, of a class or a race, and really question and try to understand and embrace young people who are trying to change this by being together.”
Students and faculty utilize grants for innovative business, creative ventures
Published Nov 21, 2014 by Erin Melton
http://hilltopmonitor.com/2014/11/21/students-and-faculty-use-grants-for-innovative-business-and-creative-ventures
Bradley Dice, junior, is a University Innovation Fellow.Students, faculty and staff at William Jewell College (WJC) are bringing innovation into their respective fields of study. The Hilltop Monitor spoke with some of these innovators to learn about their projects and from where the opportunities to pursue them came.
Gavin Hodges, a senior communications major; Luke Longfield, a senior accounting and economics major; and Nick Cody, a senior business administration major, have combined their Journey Grants, which are available to each Jewell student, to start a t-shirt and graphic design business. They have been working on this project for a little over a year.
“I’d been doing graphic design stuff, and [Cody] was interested in entrepreneurial stuff, and we came up with the idea of combining grants,” said Hodges.
The three students used knowledge gained from their respective areas of study in order to plan for the business.
“Between communication, design, entrepreneurism and finances, [the project] blended well into an overall approach to it,” Hodges said.
The group recognizes the uniqueness of this use of their Journey Grants, and they hope to continue with their business in the future.
“It was the first time [the College] had ever done something like we had done, since it was technically three of us combining our grants,” said Hodges.
Cole Bergmanis, a senior business major, has worked with Landon Young, director of innovation and creativity, to develop a similar idea: a clothing line, Destined Supply Company.
“He narrowed the path down that I needed to be on so that I could get to the end result,” Bergmanis said.
Cole used his own funds to start his company and hopes that it will become self-sustaining, as he wants this to be his main career path.
“This is something that I’m really passionate about: bringing a unique style of clothing that I’ve seen, but putting a personal twist on it. I hope other people will like it as well. This is definitely something I see myself doing after I graduate,” Bergmanis said.
The senior also acknowledged the value of his education in business as Jewell.
“I wouldn’t know what to do if I hadn’t taken any business classes,” Bermanis said.
He has been able to apply his learning from his current business class, Cost Accounting, to his actualized business. “When I started taking it this semester, I realized that this was the same thing that I’m having to do for my own company,” Bergmanis said.
Natasha Martin, visiting assistant professor of theater for the past three years, is working on a different kind of innovative project with the assistance of an Ewing Marion Kauffman Foundation grant. She has written and will perform in a show entitled Confessions of a Synesthetic Sailor: An Attractive Journey Through High Seas. The script was influenced by Martin’s personal experiences as a synesthetic artist and her fascination with the neurological phenomenon. Her show was first performed in New York June 2013.
“I realized in my young adulthood, into my creative years in developing my work, that I was experiencing and perceiving the world differently than others,” she said. Martin explained what synesthesia is and why it affected her creative process. “It’s an actual neurological condition where your brain is wired differently a little bit, and you have this cross-modal experience with your senses,” Martin said.
Martin discovered the opportunity to apply for ab Ewing Marion Kauffman Foundation grant through a colleague, and was interested in the possibility of involving students in her work.
“I found out more details about the grant and how it could possibly apply to my show in terms of allowing students to have an experience working with a professional in the industry to develop an innovative and novel piece of work,” Martin said.
Her proposal focused on the ability of students to learn from and be involved in the process of producing her show and its interdisciplinary aspect. Past student, Curshion Jones, ’14, and Aidan Swanson, ’14, worked on the first version of the show. Jones, Annette Dauster, senior; Erin Christiansen, senior; Morgan Allen, sophomore; and Erin Melton, first-year; are working on this version.
The project focuses on a combination of a range of different subjects.
“I talked about its larger application in terms of current research involving neurology, biology and cognitive science,” Martin said. Martin further explained her show’s interdisciplinary aspect. “It also has components of other disciplines in the sense of music, the arts, and I think that the technical design and the approach to more immersive theater-making is what the Kauffman Center was interested in,” Martin said.
She is excited to be able to share her work and her discoveries with the Jewell community.
“I’m so thrilled at the outcome of this grant, and I do want to bring it back to share the scholarly research and creative process with the students and the faculty here so they can feel like they have a more in-depth understanding of what it is we’re working on,” Martin said.
Bradley Dice, junior physics, chemistry, mathematics and ACT-In major, is helping to bring further innovations to Jewell as a University Innovation Fellow. He gave some insight into a few ways that innovation is being brought to the campus.
“The purpose of the University Innovation Fellowship is to foster a campus culture of innovation and entrepreneurship,” Dice said.
Dice explained that Jewell was chosen as one of 88 institutions to have fellows due to the recent development of the Creativity and Innovation program, in addition to technological advancements on campus such as the Pryor Learning Commons.
“Jewell is a very unique school among the 88 institutions with the University Innovation Fellows. We’re one of the few liberal arts colleges, particularly because of our emphases on service and experiential learning,” Dice said. Jewell’s unique environment was one of the factors encouraging Dice to pursue the partnership. “I thought this would be a good opportunity at William Jewell to have innovation from the bottom up, starting with students, as well as from the top down,” he said.
The Ewing Marion Kauffman Foundation allows for awards of up to $10,000 to be granted for student start-ups and creative projects. William Jewell is one of two schools that have availability to the grant, but is the only liberal arts college with this access.
“What [opportunities such as the Ewing Marion Kauffman Foundation grant] are doing for us is reducing the barriers students have to pursue their ideas. No longer do we have to worry about finding funding for it,” Dice said.
Jewell’s Director of Creativity is Landon Young. He is involved with the Ewing Marion Kauffman Foundation grants and helps students embark on creative, entrepreneurial ventures.
Published Nov 21, 2014 by Erin Melton
http://hilltopmonitor.com/2014/11/21/students-and-faculty-use-grants-for-innovative-business-and-creative-ventures
Bradley Dice, junior, is a University Innovation Fellow.Students, faculty and staff at William Jewell College (WJC) are bringing innovation into their respective fields of study. The Hilltop Monitor spoke with some of these innovators to learn about their projects and from where the opportunities to pursue them came.
Gavin Hodges, a senior communications major; Luke Longfield, a senior accounting and economics major; and Nick Cody, a senior business administration major, have combined their Journey Grants, which are available to each Jewell student, to start a t-shirt and graphic design business. They have been working on this project for a little over a year.
“I’d been doing graphic design stuff, and [Cody] was interested in entrepreneurial stuff, and we came up with the idea of combining grants,” said Hodges.
The three students used knowledge gained from their respective areas of study in order to plan for the business.
“Between communication, design, entrepreneurism and finances, [the project] blended well into an overall approach to it,” Hodges said.
The group recognizes the uniqueness of this use of their Journey Grants, and they hope to continue with their business in the future.
“It was the first time [the College] had ever done something like we had done, since it was technically three of us combining our grants,” said Hodges.
Cole Bergmanis, a senior business major, has worked with Landon Young, director of innovation and creativity, to develop a similar idea: a clothing line, Destined Supply Company.
“He narrowed the path down that I needed to be on so that I could get to the end result,” Bergmanis said.
Cole used his own funds to start his company and hopes that it will become self-sustaining, as he wants this to be his main career path.
“This is something that I’m really passionate about: bringing a unique style of clothing that I’ve seen, but putting a personal twist on it. I hope other people will like it as well. This is definitely something I see myself doing after I graduate,” Bergmanis said.
The senior also acknowledged the value of his education in business as Jewell.
“I wouldn’t know what to do if I hadn’t taken any business classes,” Bermanis said.
He has been able to apply his learning from his current business class, Cost Accounting, to his actualized business. “When I started taking it this semester, I realized that this was the same thing that I’m having to do for my own company,” Bergmanis said.
Natasha Martin, visiting assistant professor of theater for the past three years, is working on a different kind of innovative project with the assistance of an Ewing Marion Kauffman Foundation grant. She has written and will perform in a show entitled Confessions of a Synesthetic Sailor: An Attractive Journey Through High Seas. The script was influenced by Martin’s personal experiences as a synesthetic artist and her fascination with the neurological phenomenon. Her show was first performed in New York June 2013.
“I realized in my young adulthood, into my creative years in developing my work, that I was experiencing and perceiving the world differently than others,” she said. Martin explained what synesthesia is and why it affected her creative process. “It’s an actual neurological condition where your brain is wired differently a little bit, and you have this cross-modal experience with your senses,” Martin said.
Martin discovered the opportunity to apply for ab Ewing Marion Kauffman Foundation grant through a colleague, and was interested in the possibility of involving students in her work.
“I found out more details about the grant and how it could possibly apply to my show in terms of allowing students to have an experience working with a professional in the industry to develop an innovative and novel piece of work,” Martin said.
Her proposal focused on the ability of students to learn from and be involved in the process of producing her show and its interdisciplinary aspect. Past student, Curshion Jones, ’14, and Aidan Swanson, ’14, worked on the first version of the show. Jones, Annette Dauster, senior; Erin Christiansen, senior; Morgan Allen, sophomore; and Erin Melton, first-year; are working on this version.
The project focuses on a combination of a range of different subjects.
“I talked about its larger application in terms of current research involving neurology, biology and cognitive science,” Martin said. Martin further explained her show’s interdisciplinary aspect. “It also has components of other disciplines in the sense of music, the arts, and I think that the technical design and the approach to more immersive theater-making is what the Kauffman Center was interested in,” Martin said.
She is excited to be able to share her work and her discoveries with the Jewell community.
“I’m so thrilled at the outcome of this grant, and I do want to bring it back to share the scholarly research and creative process with the students and the faculty here so they can feel like they have a more in-depth understanding of what it is we’re working on,” Martin said.
Bradley Dice, junior physics, chemistry, mathematics and ACT-In major, is helping to bring further innovations to Jewell as a University Innovation Fellow. He gave some insight into a few ways that innovation is being brought to the campus.
“The purpose of the University Innovation Fellowship is to foster a campus culture of innovation and entrepreneurship,” Dice said.
Dice explained that Jewell was chosen as one of 88 institutions to have fellows due to the recent development of the Creativity and Innovation program, in addition to technological advancements on campus such as the Pryor Learning Commons.
“Jewell is a very unique school among the 88 institutions with the University Innovation Fellows. We’re one of the few liberal arts colleges, particularly because of our emphases on service and experiential learning,” Dice said. Jewell’s unique environment was one of the factors encouraging Dice to pursue the partnership. “I thought this would be a good opportunity at William Jewell to have innovation from the bottom up, starting with students, as well as from the top down,” he said.
The Ewing Marion Kauffman Foundation allows for awards of up to $10,000 to be granted for student start-ups and creative projects. William Jewell is one of two schools that have availability to the grant, but is the only liberal arts college with this access.
“What [opportunities such as the Ewing Marion Kauffman Foundation grant] are doing for us is reducing the barriers students have to pursue their ideas. No longer do we have to worry about finding funding for it,” Dice said.
Jewell’s Director of Creativity is Landon Young. He is involved with the Ewing Marion Kauffman Foundation grants and helps students embark on creative, entrepreneurial ventures.
William Jewell faculty excel in fields, take expertise off campus
Published on 15 November 2013 by Jill Powers
http://www.thehilltopmonitor.com/en/32/1/710/William-Jewell-faculty-excel-in--fields-take-expertise-off-campus.htm
In an article from a recent issue of the Hilltop Monitor, four William Jewell College faculty members were recognized for their recent accomplishments in their academic fields outside of the College.
However, many other faculty have recently made similar achievements, including Dr. Blane Baker, professor and Wallace A. Hilton chair in physics, Dr. Milton Horne, professor of religion and coordinator of faith and learning, Dr. Anthony Maglione, assistant professor of music and director of choral studies, and Natasha Martin, assistant professor of theatre and theatre artist in residence.
During his sabbatical last fall, Baker began work on Scientific Descriptions and Analyses of Sport, a reference book based on the material taught in his class, CTI 255 Sports Science: Physics Applications and Ethical Issues.
“A lot of students had asked me if I’d written down this material … so I decided that it would be a good thing to have it all in one place,” Baker said.
The process took Baker about four months of writing 500 to 1,000 words per day. The result was a reference book published by Linus Learning that Baker said is good reading material for the class, though it does not include all of the exercises a textbook would. Baker is considering a revised volume that has more complete information and exercises of a textbook, but he has not yet started the work.
Baker said he is grateful for the College’s support and for the contributions of his students.
“Really (my students) asked me a lot of questions, and then I would go research, and then eventually, much of that would end up in the course,” Baker said.
Horne and his colleague, Dr. Wes M. Eades, professional counselor, have also recently published their book, Whirlwind: Journeys With Job Through Grief, Anxiety, and Pain. This book is a series of homilies written by Horne and imaginary counseling sessions written by Eades that tell the story of the book of Job and create conversation designed for self-help.
“I was interested, actually, for that sabbatical (in spring 2012), in Islamic and Jewish preaching, and then I got sidetracked when I rediscovered these old homilies that I had written on Job over about 25 years,” Horne said.
Because people’s knowledge of scripture often comes from homilies and counseling sessions with their ministers, Horne and Eades thought their book would be a good format to provoke thought about the book of Job.
Horne began by revising his homilies to make them “readable” to a common audience, then Eades added the fictional counseling sessions. After rejection from numerous publishing houses, the two decided to self-publish at a suggestion from another colleague and support from William Jewell faculty.
“I think we’ve sold about 500 copies so far,” Horne said.
Whirlwind is available both through Amazon.com and the book’s website.
In early October, Maglione traveled to Los Angeles to work and perform with Thrilling Adventure Hour, a monthly comedic radio-show-type live performance. He hired, arranged and directed a male choral sextet including himself and Dave “Gruber” Allen, who performed in the Shenanigans concert held on campus last year and connected Maglione to a creator of Thrilling Adventure Hour, Ben Acker.
“Dave brought Ben to a concert I was conducting with the Angeles Chorale. Ben was very impressed and decided that if they ever needed any sort of ensemble singing on TAH, he would ask me to come and prepare the group,” Maglione said.
The performance was recorded by a professional film crew to make a DVD. This episode of TAH included well-known performers like Nathan Fillion and Linda Cardellini. Maglione will be working with TAH again for the 2014 Christmas episode.
“This was a really unique experience,” Maglione said. “It is outside the realm of what one would consider ‘typical’ for a professional conductor/classical musician. However, it was a wonderful opportunity to meet some new people, see actors in their element and use my skills in a creative way.”
Martin spent her summer on numerous projects related to theatre. First, she went to Brooklyn, New York to perform a one-person, self-written show called “Confessions of a Synesthetic Sailor.”
Aidan Swanson, junior, and Curshion Jones, senior, both traveled with her to work on the technical aspects of the performance.
“The students were, in working on the show, able to actually see the process of how an artist would craft a touring show like that and how you would make it work in any space,” Martin said.
Later, she traveled to Spoletto, Italy on a summer research grant awarded her by the College with Lamama, a world-renowned theatre company based in New York. Martin was selected to join a group of about a dozen chosen from thousands of applicants to train with well-known vocal coach Kristen Linklater and master theater director Paul Binnerts, both of whose textbooks are used in Martin’s classes at William Jewell. Martin was also selected to teach a stage combat workshop to the other participants.
“It was kind of a dream come true, one of those moments where, you know, you find yourself surrounded by people that are much more stellar and have been doing [theater] much longer,” Martin said. “It was also a wonderful opportunity to connect with professionals … and open the door for students to make those kinds of professional connections and to get more training.”
Published on 15 November 2013 by Jill Powers
http://www.thehilltopmonitor.com/en/32/1/710/William-Jewell-faculty-excel-in--fields-take-expertise-off-campus.htm
In an article from a recent issue of the Hilltop Monitor, four William Jewell College faculty members were recognized for their recent accomplishments in their academic fields outside of the College.
However, many other faculty have recently made similar achievements, including Dr. Blane Baker, professor and Wallace A. Hilton chair in physics, Dr. Milton Horne, professor of religion and coordinator of faith and learning, Dr. Anthony Maglione, assistant professor of music and director of choral studies, and Natasha Martin, assistant professor of theatre and theatre artist in residence.
During his sabbatical last fall, Baker began work on Scientific Descriptions and Analyses of Sport, a reference book based on the material taught in his class, CTI 255 Sports Science: Physics Applications and Ethical Issues.
“A lot of students had asked me if I’d written down this material … so I decided that it would be a good thing to have it all in one place,” Baker said.
The process took Baker about four months of writing 500 to 1,000 words per day. The result was a reference book published by Linus Learning that Baker said is good reading material for the class, though it does not include all of the exercises a textbook would. Baker is considering a revised volume that has more complete information and exercises of a textbook, but he has not yet started the work.
Baker said he is grateful for the College’s support and for the contributions of his students.
“Really (my students) asked me a lot of questions, and then I would go research, and then eventually, much of that would end up in the course,” Baker said.
Horne and his colleague, Dr. Wes M. Eades, professional counselor, have also recently published their book, Whirlwind: Journeys With Job Through Grief, Anxiety, and Pain. This book is a series of homilies written by Horne and imaginary counseling sessions written by Eades that tell the story of the book of Job and create conversation designed for self-help.
“I was interested, actually, for that sabbatical (in spring 2012), in Islamic and Jewish preaching, and then I got sidetracked when I rediscovered these old homilies that I had written on Job over about 25 years,” Horne said.
Because people’s knowledge of scripture often comes from homilies and counseling sessions with their ministers, Horne and Eades thought their book would be a good format to provoke thought about the book of Job.
Horne began by revising his homilies to make them “readable” to a common audience, then Eades added the fictional counseling sessions. After rejection from numerous publishing houses, the two decided to self-publish at a suggestion from another colleague and support from William Jewell faculty.
“I think we’ve sold about 500 copies so far,” Horne said.
Whirlwind is available both through Amazon.com and the book’s website.
In early October, Maglione traveled to Los Angeles to work and perform with Thrilling Adventure Hour, a monthly comedic radio-show-type live performance. He hired, arranged and directed a male choral sextet including himself and Dave “Gruber” Allen, who performed in the Shenanigans concert held on campus last year and connected Maglione to a creator of Thrilling Adventure Hour, Ben Acker.
“Dave brought Ben to a concert I was conducting with the Angeles Chorale. Ben was very impressed and decided that if they ever needed any sort of ensemble singing on TAH, he would ask me to come and prepare the group,” Maglione said.
The performance was recorded by a professional film crew to make a DVD. This episode of TAH included well-known performers like Nathan Fillion and Linda Cardellini. Maglione will be working with TAH again for the 2014 Christmas episode.
“This was a really unique experience,” Maglione said. “It is outside the realm of what one would consider ‘typical’ for a professional conductor/classical musician. However, it was a wonderful opportunity to meet some new people, see actors in their element and use my skills in a creative way.”
Martin spent her summer on numerous projects related to theatre. First, she went to Brooklyn, New York to perform a one-person, self-written show called “Confessions of a Synesthetic Sailor.”
Aidan Swanson, junior, and Curshion Jones, senior, both traveled with her to work on the technical aspects of the performance.
“The students were, in working on the show, able to actually see the process of how an artist would craft a touring show like that and how you would make it work in any space,” Martin said.
Later, she traveled to Spoletto, Italy on a summer research grant awarded her by the College with Lamama, a world-renowned theatre company based in New York. Martin was selected to join a group of about a dozen chosen from thousands of applicants to train with well-known vocal coach Kristen Linklater and master theater director Paul Binnerts, both of whose textbooks are used in Martin’s classes at William Jewell. Martin was also selected to teach a stage combat workshop to the other participants.
“It was kind of a dream come true, one of those moments where, you know, you find yourself surrounded by people that are much more stellar and have been doing [theater] much longer,” Martin said. “It was also a wonderful opportunity to connect with professionals … and open the door for students to make those kinds of professional connections and to get more training.”
Arcadia Directed by Natasha Lee Martin
Jewell Theatre Company debuts spring production of Tom Stoppard’s Arcadia
Published on 19 April 2013 by Jill Powers
http://www.thehilltopmonitor.com/en/19/1/441/
Above: The cast of Arcadia poses on the set of the Jewell Theatre Comany’s spring production by Tom Stoppard. The production continues tonight in Peters Theater with a showing at 7 p.m. and tomorrow with showings at 2 p.m. and 7 p.m.Last night marked the opening performance of Jewell Theatre Company’s spring production, Arcadia, in Peters Theater.
Arcadia is a 1993 play written by Tom Stoppard and set in the luscious countryside of the West Midlands in England. The storyline is centered on Sidley Park, the spacious home of the Coverly family. Time is the operative point in this show, though, as the story shifts back and forth from the early 1800s and present day. The audience sees the 19th century inhabitants of the house and their guests, including famous poets Lord Byron and the fictional Ezra Chater, struggle through different relational conflicts. Simultaneously, in the modern day, a writer named Hannah Jarvis who is staying with the Coverlys and a scholar on Lord Byron, Bernard Nightingale, try to unravel the story of the two poets and their connection to the house.
Natasha Martin, theatre artist in residence and director of Jewell Theatre Company’s production of Arcadia, proposed a question that the show seems to ask: “Is history really based on actions and characters, or is it really just a broad interpretation of historical events?”
Martin said the play also seems to question the concepts of determinism and chaos theory, as well as commenting on the art, architecture and literature of both time periods. Professor Nathan Wyman, director of theatre, agreed that Arcadia covers a wide range of topics.
“It touches on so many things that were important during the transition between the Regency period and the Romantic period, which marks a move from formality to more chaos,” Wyman said. “Stoppard is just brilliant in the way he wove all these things together.”
Before proposing Arcadia as an option for a William Jewell production to Martin over this past summer, Wyman had admired photos of the set of other performances of the play and thought the he would like to create a set like them. What drew him in, however, was the plot.
“I really liked the concept of jumping to different time periods, even if there was no blue police box involved,” Wyman said.
Martin agreed that it would be a great show, as Stoppard has always been one of her favorite playwrights and she has wanted to direct Arcadia for some time. She also believes it was a great piece for William Jewell’s theatre students.
“It really gave the theater students here a chance to use the skills they learned in the classical acting class and apply them in rehearsal,” Martin said. Students on the technical side also got to learn about differences in the two time periods, such as architecture. One of the show’s props which the actors had to learn to operate was a 19th century theodolite, a three-legged surveying tool used in landscaping that would cost $1200 on eBay, but the College’s physics department, which has six theodolites from different time periods, lent one for use on stage.
“And of course, I always like a chance to teach students how to use rapier swords,” Martin said.
In fact, the scene involving rapier swords is only referenced but not written in the script of Arcadia; Martin chose to add multiple scenes that were not originally included in order to add their own life to the show. The students were able to have their input in the choreography of these scenes, as well.
Besides additional scenes, Martin, Wyman and Jon Fulton Adams, costume and fashion designer, have added their own elements to the scenery and costumes.
“We’ve kind of heightened the 19th century part of the play; we’ve taken artistic license to add elements from other time periods and given it a kind of steampunk flare,” Wyman said.
Steampunk is a fusion of fashion and technology that became popular in the 1960s and, as Martin said, has recently become almost mainstream in theater. Adams, who has designed costumes for three other William Jewell productions in the past, showcased this style in the clothing for Arcadia.
“Some of the costume pieces Jon designed himself, and he was gracious enough to allow the acting students to use those costumes,” Martin said.
Martin mentioned Adams as one of her favorite parts of working on this production, but she most enjoyed seeing the growth of the student actors. Because of the difference in time period, the actors had to learn different mannerisms on very basic levels, such as posture, gestures, facial expressions and rules of proximity.
“My favorite part has been watching the company members at Jewell go from complete bafflement to confident, brilliant, committed performers in a classical contemporary piece,” Martin said. “I’m grateful to them for trusting me enough to take risks and give so much of themselves.”
Wyman expressed similar gratefulness to his students.
“The best part has been letting go of things I’m usually responsible for because I have such talented students,” Wyman said. Specifically, he mentioned Annette Dauster, sophomore, who designed the lighting for the show, and Taylor Sullivan, first-year, who took on the role of stage manager.
The students, too, have expressed their appreciation for working with Wyman and Martin and having the opportunity to experience what Arcadia has given them.
“This was my first time working with Natasha, and she has opened up great diversities in direction for me,” Rachel Pearson, junior, said. “It’s been a challenge, but it’s been a good challenge.”
Since the play was cast in November, scheduling conflicts and snow days have made created obstacles for everyone involved to overcome, but now the show has come together despite these difficulties. There will be three more performances: tonight at 7 p.m., tomorrow at 2 p.m. and tomorrow evening at 7 p.m. Tickets are $5 for students with a College I.D., William Jewell community members and seniors, and $10 regular admission. Martin and Wyman believe the audience can expect an enticing show.
“I think [viewers] can expect to be extremely inspired by the heartfelt performances, the amazing costumes of Jon Fulton Adams and the wonderfully unique twist on classical architecture with Professor Wyman’s set designs,” Martin said. “There will be a few surprises in the set that will be revealed in the show, and an opportunity to see history dramatized in a spectacular way.”
Jewell Theatre Company debuts spring production of Tom Stoppard’s Arcadia
Published on 19 April 2013 by Jill Powers
http://www.thehilltopmonitor.com/en/19/1/441/
Above: The cast of Arcadia poses on the set of the Jewell Theatre Comany’s spring production by Tom Stoppard. The production continues tonight in Peters Theater with a showing at 7 p.m. and tomorrow with showings at 2 p.m. and 7 p.m.Last night marked the opening performance of Jewell Theatre Company’s spring production, Arcadia, in Peters Theater.
Arcadia is a 1993 play written by Tom Stoppard and set in the luscious countryside of the West Midlands in England. The storyline is centered on Sidley Park, the spacious home of the Coverly family. Time is the operative point in this show, though, as the story shifts back and forth from the early 1800s and present day. The audience sees the 19th century inhabitants of the house and their guests, including famous poets Lord Byron and the fictional Ezra Chater, struggle through different relational conflicts. Simultaneously, in the modern day, a writer named Hannah Jarvis who is staying with the Coverlys and a scholar on Lord Byron, Bernard Nightingale, try to unravel the story of the two poets and their connection to the house.
Natasha Martin, theatre artist in residence and director of Jewell Theatre Company’s production of Arcadia, proposed a question that the show seems to ask: “Is history really based on actions and characters, or is it really just a broad interpretation of historical events?”
Martin said the play also seems to question the concepts of determinism and chaos theory, as well as commenting on the art, architecture and literature of both time periods. Professor Nathan Wyman, director of theatre, agreed that Arcadia covers a wide range of topics.
“It touches on so many things that were important during the transition between the Regency period and the Romantic period, which marks a move from formality to more chaos,” Wyman said. “Stoppard is just brilliant in the way he wove all these things together.”
Before proposing Arcadia as an option for a William Jewell production to Martin over this past summer, Wyman had admired photos of the set of other performances of the play and thought the he would like to create a set like them. What drew him in, however, was the plot.
“I really liked the concept of jumping to different time periods, even if there was no blue police box involved,” Wyman said.
Martin agreed that it would be a great show, as Stoppard has always been one of her favorite playwrights and she has wanted to direct Arcadia for some time. She also believes it was a great piece for William Jewell’s theatre students.
“It really gave the theater students here a chance to use the skills they learned in the classical acting class and apply them in rehearsal,” Martin said. Students on the technical side also got to learn about differences in the two time periods, such as architecture. One of the show’s props which the actors had to learn to operate was a 19th century theodolite, a three-legged surveying tool used in landscaping that would cost $1200 on eBay, but the College’s physics department, which has six theodolites from different time periods, lent one for use on stage.
“And of course, I always like a chance to teach students how to use rapier swords,” Martin said.
In fact, the scene involving rapier swords is only referenced but not written in the script of Arcadia; Martin chose to add multiple scenes that were not originally included in order to add their own life to the show. The students were able to have their input in the choreography of these scenes, as well.
Besides additional scenes, Martin, Wyman and Jon Fulton Adams, costume and fashion designer, have added their own elements to the scenery and costumes.
“We’ve kind of heightened the 19th century part of the play; we’ve taken artistic license to add elements from other time periods and given it a kind of steampunk flare,” Wyman said.
Steampunk is a fusion of fashion and technology that became popular in the 1960s and, as Martin said, has recently become almost mainstream in theater. Adams, who has designed costumes for three other William Jewell productions in the past, showcased this style in the clothing for Arcadia.
“Some of the costume pieces Jon designed himself, and he was gracious enough to allow the acting students to use those costumes,” Martin said.
Martin mentioned Adams as one of her favorite parts of working on this production, but she most enjoyed seeing the growth of the student actors. Because of the difference in time period, the actors had to learn different mannerisms on very basic levels, such as posture, gestures, facial expressions and rules of proximity.
“My favorite part has been watching the company members at Jewell go from complete bafflement to confident, brilliant, committed performers in a classical contemporary piece,” Martin said. “I’m grateful to them for trusting me enough to take risks and give so much of themselves.”
Wyman expressed similar gratefulness to his students.
“The best part has been letting go of things I’m usually responsible for because I have such talented students,” Wyman said. Specifically, he mentioned Annette Dauster, sophomore, who designed the lighting for the show, and Taylor Sullivan, first-year, who took on the role of stage manager.
The students, too, have expressed their appreciation for working with Wyman and Martin and having the opportunity to experience what Arcadia has given them.
“This was my first time working with Natasha, and she has opened up great diversities in direction for me,” Rachel Pearson, junior, said. “It’s been a challenge, but it’s been a good challenge.”
Since the play was cast in November, scheduling conflicts and snow days have made created obstacles for everyone involved to overcome, but now the show has come together despite these difficulties. There will be three more performances: tonight at 7 p.m., tomorrow at 2 p.m. and tomorrow evening at 7 p.m. Tickets are $5 for students with a College I.D., William Jewell community members and seniors, and $10 regular admission. Martin and Wyman believe the audience can expect an enticing show.
“I think [viewers] can expect to be extremely inspired by the heartfelt performances, the amazing costumes of Jon Fulton Adams and the wonderfully unique twist on classical architecture with Professor Wyman’s set designs,” Martin said. “There will be a few surprises in the set that will be revealed in the show, and an opportunity to see history dramatized in a spectacular way.”
Jewell Theatre Company to debut A Murder of Crows Halloween night
Published on 26 October 2012 by Christina Duzan
http://www.thehilltopmonitor.com/en/6/1/202/
A Murder of Crows, a dark comedy written by Mac Wellman, explores the human condition through the tale of a dysfunctional Midwestern family. Natasha Martin, theater artist in residence and assistant director of theater, leads the production.October 31 is not only Halloween but also the premiere of the theater department’s production of A Murder of Crows by Obie Award-winning playwright Mac Wellman. This dark comedy explores the human condition of a dysfunctional Midwestern family.
Natasha Martin, theater artist in residence and assistant director of theater, first saw the play in the mid-1990s. The playwright came to the performance at the college where she earned her undergraduate degree.
The language of the play is often reflective of Shakespearean verse. It is a heightened text, however, so it uses modernized language. Wellman makes up words much like Shakespeare did.
“It’s vital for [student actors] to be exposed to heightened, more modern text during their training and learn how to navigate that,” Martin said.
The original version was not very physical and was mainly driven by the text, with minimal props and minimal costumes. The William Jewell Theatre Department interpreted the piece differently and made some changes for their performance. Their version is more physical and involves more interaction between the actor, the technology and the design.
Spectators are in for some surprises as well.
“[The audience can] expect creative uses of technology and the theater facility. It is unlike anything we’ve done as the Jewell Theatre Company before,” Nathan Wyman, associate professor of theatre, said.
“There has been a lot of dramaturgy, historical research into the world of the play and the characters,” Martin said. For this performance, students have had an immersive experience in terms of technical research into the animals and discovering how to tell the story of the humans and birds who are interacting in the story.
For those that do not know, just as a group of geese is called a gaggle, a large group of crows is referred to as a murder. This is because if there is a sick or dying crow in the family group, the rest will come together and murder it.
General associations with blackbirds call to mind certain characteristics. “In my discovery, some of those are the evil bird, the dark bird, but really it is about a group of animals who cohabitate and take care of each other,” Wyman said.
As the play progresses, members of the audience have to make their own decisions about the correlation between the crows, the murder of Susannah’s father and her decision to leave her greedy, vulgar family to live with the crows.
The play is performed in the round, meaning the audience encircles the cast, sitting on the stage as they perform. This allows the cast and crew to break the fourth wall, using the entire theater space without infringing on the audience.
Accessing Peters Theater this fall is a little more difficult than normal due to construction from The Pryor Learning Commons. However, this difficulty plays in well to the wasteland of the piece, and the new sidewalk is serendipitous in fitting with the theme of the show.
“I thought that [the play] is perfect for a program like this – for young people who are struggling with their identity, and for college level actors to delve into that as they are grappling with adulthood,” Martin said.
A Murder of Crows is about hope and choices. A person’s fate is not determined. Even when an individual feels like he or she does not have a choice, he or she does.
“The way [hope and choices are] expressed is very subconscious in the sense that there are moments where it’s very dreamlike, the unconscious fear, things that people are not comfortable talking about in families. They are expressed through the theatricality of the piece – mask work, movement, comedy, dance, visual design,” Martin said.
Martin discussed how a younger generation is reaching out through technology. Young people are committing suicide and posting their own eulogies on YouTube before the act.
“Voices that were otherwise easily stifled, now they have to be heard because they’re in our living rooms on the nightly news, on our computers through social media,” she said.
According to Martin, the spine of the piece is very hopeful. Young people face obstacles that pertain to their spiritual and intellectual development. Free will allows them to have the power and know the right choice, without being defined by the vernacular of their environment.
“I think a lot of young people are dealing with an identity crisis right now, and there’s a real movement starting to happen in places like middle America, because it has to happen,” Martin said.
In today’s society, most young people are not able to label themselves or do not want to be associated with a particular label. Like life, a lot of this play is about perception.
“[The play shows] how there are two identities that we have, the self-perceived identity and the assigned role that everyone else gives us, that we have to perform everyday. The piece is universal in the sense that it’s any young person struggling with identity issues,” Martin said.
Published on 26 October 2012 by Christina Duzan
http://www.thehilltopmonitor.com/en/6/1/202/
A Murder of Crows, a dark comedy written by Mac Wellman, explores the human condition through the tale of a dysfunctional Midwestern family. Natasha Martin, theater artist in residence and assistant director of theater, leads the production.October 31 is not only Halloween but also the premiere of the theater department’s production of A Murder of Crows by Obie Award-winning playwright Mac Wellman. This dark comedy explores the human condition of a dysfunctional Midwestern family.
Natasha Martin, theater artist in residence and assistant director of theater, first saw the play in the mid-1990s. The playwright came to the performance at the college where she earned her undergraduate degree.
The language of the play is often reflective of Shakespearean verse. It is a heightened text, however, so it uses modernized language. Wellman makes up words much like Shakespeare did.
“It’s vital for [student actors] to be exposed to heightened, more modern text during their training and learn how to navigate that,” Martin said.
The original version was not very physical and was mainly driven by the text, with minimal props and minimal costumes. The William Jewell Theatre Department interpreted the piece differently and made some changes for their performance. Their version is more physical and involves more interaction between the actor, the technology and the design.
Spectators are in for some surprises as well.
“[The audience can] expect creative uses of technology and the theater facility. It is unlike anything we’ve done as the Jewell Theatre Company before,” Nathan Wyman, associate professor of theatre, said.
“There has been a lot of dramaturgy, historical research into the world of the play and the characters,” Martin said. For this performance, students have had an immersive experience in terms of technical research into the animals and discovering how to tell the story of the humans and birds who are interacting in the story.
For those that do not know, just as a group of geese is called a gaggle, a large group of crows is referred to as a murder. This is because if there is a sick or dying crow in the family group, the rest will come together and murder it.
General associations with blackbirds call to mind certain characteristics. “In my discovery, some of those are the evil bird, the dark bird, but really it is about a group of animals who cohabitate and take care of each other,” Wyman said.
As the play progresses, members of the audience have to make their own decisions about the correlation between the crows, the murder of Susannah’s father and her decision to leave her greedy, vulgar family to live with the crows.
The play is performed in the round, meaning the audience encircles the cast, sitting on the stage as they perform. This allows the cast and crew to break the fourth wall, using the entire theater space without infringing on the audience.
Accessing Peters Theater this fall is a little more difficult than normal due to construction from The Pryor Learning Commons. However, this difficulty plays in well to the wasteland of the piece, and the new sidewalk is serendipitous in fitting with the theme of the show.
“I thought that [the play] is perfect for a program like this – for young people who are struggling with their identity, and for college level actors to delve into that as they are grappling with adulthood,” Martin said.
A Murder of Crows is about hope and choices. A person’s fate is not determined. Even when an individual feels like he or she does not have a choice, he or she does.
“The way [hope and choices are] expressed is very subconscious in the sense that there are moments where it’s very dreamlike, the unconscious fear, things that people are not comfortable talking about in families. They are expressed through the theatricality of the piece – mask work, movement, comedy, dance, visual design,” Martin said.
Martin discussed how a younger generation is reaching out through technology. Young people are committing suicide and posting their own eulogies on YouTube before the act.
“Voices that were otherwise easily stifled, now they have to be heard because they’re in our living rooms on the nightly news, on our computers through social media,” she said.
According to Martin, the spine of the piece is very hopeful. Young people face obstacles that pertain to their spiritual and intellectual development. Free will allows them to have the power and know the right choice, without being defined by the vernacular of their environment.
“I think a lot of young people are dealing with an identity crisis right now, and there’s a real movement starting to happen in places like middle America, because it has to happen,” Martin said.
In today’s society, most young people are not able to label themselves or do not want to be associated with a particular label. Like life, a lot of this play is about perception.
“[The play shows] how there are two identities that we have, the self-perceived identity and the assigned role that everyone else gives us, that we have to perform everyday. The piece is universal in the sense that it’s any young person struggling with identity issues,” Martin said.
Visiting theatre professor brings professional experience, new perspective
Published on 05 October 2012 by Haley Sheriff
http://www.thehilltopmonitor.com/en/4/4/175/
William Jewell College is no stranger to change, but a recent development in the theater department brings a particular stranger to light. Natasha Martin, an alumna of the Actor’s Studio and an active professional performer, is eager to begin her three-year tenure at William Jewell this fall as the new theater artist-in-residence and assistant director of theatre.
“Like in an applied science, there’s a eugenics of performance pedagogy which advocates practices aimed at improving the genetic composition of a liberal arts program. It’s essential that artists and professors, like myself, embrace these opportunities to shift the ecology of theatre practice and expose the students to real world scenarios. At [the College], the students are thirsty for an experience that will equip them with an ecumenical academic experience in the theatre arts that will inspire them to continue the work into the future,” Martin said.
Martin’s newly developed courses strive to expose her students to the influential movements of Dr. Noreen Barnes, Nancy Gabor, Paul Binnerts and Joe Chaikin of Open Theater, as well as to methods of performance art, stage combat and the differences between working on and off Broadway. Simultaneously, Martin attempts to give the female voice more presence in the department in hopes of leveling out the male dominance—as demonstrated by this year’s Top Ten Playwrights—in the theater world.
“I am a member of the League of Professional Theater of Women and serve on their international committee where we build affiliate relationships with female artists, theatre practitioners and social/political activists in other countries. One of the members of our committee is Artistic Director Linda Chapman [NY Theatre Workshop] who has produced shows that have successfully transitioned to Broadway,” Martin said. “[I have] worked with exceptional female set and costume designers such as Tifanie McQueen [Sacred Fools, Los Angeles who recently redesigned the interior of the Algonquin Hotel in NYC] and Vanessa Leuck [who] has designed for Disney on Ice, Broadway Bears, off broadway projects as well as regional national theatre. Both of these ladies are paving the way for other women in a predominantly male-dominated design industry.”
Given not only Martin’s wellspring of experience and innovation, but also her relationships with fellow professional actors, Martin is able to directly connect her students to contacts with the outside workforce. Her approach has been well-received in both the classroom and onstage.
“It’s always exciting to have a fresh approach to performances. I’ve had three different directors during my time [at Jewell] and each time they’ve brought something new,” senior Isak Anderson, senior, said. “Whereas in the past there’s been more of a focus on creation and growing as an artist, this year is more focused on preparation for the professional world and the discipline that it takes as a worker of the acting work force.”
Martin first learned of the College through Director of Theater Nathan Wyman, who met Martin during a summer theatre camp at Northern Illinois University where the two were instructing. Martin went through a selective interview process at William Jewell that narrowed down 18 potential faculty to the top three. According to Wyman, Martin was the first of the three to be interviewed, but by a unanimous vote of the Search Committee and Dr. Anne Dema, provost of the College, Martin was immediately hired and her term was extended from one year to three. Though the two essentially specialize in different parts of theatre, Martin and Wyman compliment each other well.
“It’s really interesting—for this show, we’ve been going through a different process than what we’re both used to. We actually ended up flattering each other by mistake,” Wyman said. “As collaborators, we both have our own expertise in different areas—mine being the design and technical aspect, hers being the performance aspect—but I trust her abilities in areas that I don’t know much about and she does the same with me.”
In light of Martin’s enriching past and progressive present, the same success is expected for her future. She brings an element of enthusiasm to the department that excites her students for continued involvement.
“I really like her. She has a fun personality and you can tell that she cares about [her students’] well-being. I’m looking forward to working more with her—I’ve actually switched my major to theater and communications because of the experience I’ve had with her,” Amany Santino, first-year, said.
The League of Professional Theatre Women Blog
April 25, 2012
Linked From The League of Professional Theatre Women
Natasha Lee Martin
Actress/Director/Playwright/Professor
http://lptw30blog.wordpress.com/?s=natasha+lee+martin
Where do you look for inspiration?
Children/ The absurdity of everyday life / People in high power positions who do not take themselves too seriously.
What’s your favorite line from a play?
“Be yourself; everyone else is already taken” – Oscar Wilde
What play or production changed your life?
Hidden A Gender by Kate Bornstein. I played Al/Kate in it about 10 years ago and since a mentor of mine, Dr. Noreen Barnes, had worked with her in the first production at Theater Rhinocerous in 1989, I had the good fortune to interview her about the role. She is a fantastic inspiration for artists of what it is to be a human, regardless of self-imposed/societal identities, and to truly persevere in life. More about her work: http://katebornstein.typepad.com/
Is there anything you still dream of doing?
Turn our country’s artistic commerce away from this eco-capitalist system.
I feel most like myself when I ….
Am onstage exploring other psyches.
What is your best escape?
Sailing and teaching it to young people. The only time we are truly free of technological chatter and imposed media; to breathe and just be…
What’s the one thing nobody knows about you?
I am obsessed with unicorns (yes I admit I had those pastel and medieval posters all over my room when I was younger). If I am alone at night I will sleep with the corner of the blanket rolled up over my head from when I was a child and afraid of whatever “thing” would get me. I still do it out of habit because the blanket has magical protective powers — obviously.
Natasha Lee Martin holds an MFA in Performance Pedagogy, and has enjoyed performing and teaching for the past 15 years. She has appeared in television and film roles on FOX, TLC, DISNEY, NIPPON TV JAPAN & stages throughout the USA. She is a Guest Artist / Asst Professor of Performing Arts.
April 25, 2012
Linked From The League of Professional Theatre Women
Natasha Lee Martin
Actress/Director/Playwright/Professor
http://lptw30blog.wordpress.com/?s=natasha+lee+martin
Where do you look for inspiration?
Children/ The absurdity of everyday life / People in high power positions who do not take themselves too seriously.
What’s your favorite line from a play?
“Be yourself; everyone else is already taken” – Oscar Wilde
What play or production changed your life?
Hidden A Gender by Kate Bornstein. I played Al/Kate in it about 10 years ago and since a mentor of mine, Dr. Noreen Barnes, had worked with her in the first production at Theater Rhinocerous in 1989, I had the good fortune to interview her about the role. She is a fantastic inspiration for artists of what it is to be a human, regardless of self-imposed/societal identities, and to truly persevere in life. More about her work: http://katebornstein.typepad.com/
Is there anything you still dream of doing?
Turn our country’s artistic commerce away from this eco-capitalist system.
I feel most like myself when I ….
Am onstage exploring other psyches.
What is your best escape?
Sailing and teaching it to young people. The only time we are truly free of technological chatter and imposed media; to breathe and just be…
What’s the one thing nobody knows about you?
I am obsessed with unicorns (yes I admit I had those pastel and medieval posters all over my room when I was younger). If I am alone at night I will sleep with the corner of the blanket rolled up over my head from when I was a child and afraid of whatever “thing” would get me. I still do it out of habit because the blanket has magical protective powers — obviously.
Natasha Lee Martin holds an MFA in Performance Pedagogy, and has enjoyed performing and teaching for the past 15 years. She has appeared in television and film roles on FOX, TLC, DISNEY, NIPPON TV JAPAN & stages throughout the USA. She is a Guest Artist / Asst Professor of Performing Arts.
Loose Women of Low Character
nytheatre.com review
Kimberly 'Sparkle' Stewart · June 11, 2011
http://www.nytheatre.com/Review/kimberly-sparkle-stewart-2011-6-11-loose-women-of-low-character
Currently running as a part of the Planet Connections Theatre Festivity, Loose Women of Low Character is a series of vignettes and monologues that explore women’s relationships to each other and men through the prism of sexuality. The idea is intriguing but doesn’t quite come together.
A team of writers is credited as being behind the script. The result is a series of scenes and monologues that speak in distinctly different voices. Some are stylistically sketch comedy, others more poetic, and others fairly dramatic. Transitions are managed by a live singer and accompanist or the onstage bar staff. The bar staff discuss themselves or the women as they exit or enter. The show is buttoned by a poem performed by the ensemble celebrating aspects of the women in the play; the only cast member not represented is that of the Man.
Initially, I looked for connections that might carry us from one scene to the next, but did not find that kind of throughline. This made the flow of the production feel odd as certain transitions felt abrupt. Taken individually, the writing of several scenes stand out. These standouts include: a tale of lost luggage; teenaged sluts by number; and one young mother’s discovery of burlesque.
The actors take these various pieces and work with the material to create some beautiful moments. I enjoyed Dana Sumner-Pritchard’s turn as a young mother discovering that she can be sexy and beautiful, even after a drastic change in appearance. Her acting has an ease and naturalness that draws you to root for her. Melissa Patterson and Tatiana Gomberg are charming and energetic as teens trying to convince us and themselves that the signs they wear aren’t a big deal. Another favorite was Cooper Shaw’s hilarious performance of a woman about to be found out. Deborah Carlson and Lisa Riegel are affecting as a mother and daughter struggling for control of the daughter’s life. Natasha Lee Martin’s fierce comedy attack is matched with a believability that made her a joy to watch.
Jasmine Vogue Pai’s design is rather literal and involved for the fluidity of this type of play. It serves the needs of the individual scenes, but not necessarily the play. The sheer volume of set pieces slow the transitions down. Many of the exchanges between bar staff felt that they were added simply to keep the play’s forward momentum. The fact that a few of these scenes appeared to be played on book really detracted from the overall effect.
Opened: June 7, 2011
Closed: June 24, 2011
Artists Involved
nytheatre.com review
Kimberly 'Sparkle' Stewart · June 11, 2011
http://www.nytheatre.com/Review/kimberly-sparkle-stewart-2011-6-11-loose-women-of-low-character
Currently running as a part of the Planet Connections Theatre Festivity, Loose Women of Low Character is a series of vignettes and monologues that explore women’s relationships to each other and men through the prism of sexuality. The idea is intriguing but doesn’t quite come together.
A team of writers is credited as being behind the script. The result is a series of scenes and monologues that speak in distinctly different voices. Some are stylistically sketch comedy, others more poetic, and others fairly dramatic. Transitions are managed by a live singer and accompanist or the onstage bar staff. The bar staff discuss themselves or the women as they exit or enter. The show is buttoned by a poem performed by the ensemble celebrating aspects of the women in the play; the only cast member not represented is that of the Man.
Initially, I looked for connections that might carry us from one scene to the next, but did not find that kind of throughline. This made the flow of the production feel odd as certain transitions felt abrupt. Taken individually, the writing of several scenes stand out. These standouts include: a tale of lost luggage; teenaged sluts by number; and one young mother’s discovery of burlesque.
The actors take these various pieces and work with the material to create some beautiful moments. I enjoyed Dana Sumner-Pritchard’s turn as a young mother discovering that she can be sexy and beautiful, even after a drastic change in appearance. Her acting has an ease and naturalness that draws you to root for her. Melissa Patterson and Tatiana Gomberg are charming and energetic as teens trying to convince us and themselves that the signs they wear aren’t a big deal. Another favorite was Cooper Shaw’s hilarious performance of a woman about to be found out. Deborah Carlson and Lisa Riegel are affecting as a mother and daughter struggling for control of the daughter’s life. Natasha Lee Martin’s fierce comedy attack is matched with a believability that made her a joy to watch.
Jasmine Vogue Pai’s design is rather literal and involved for the fluidity of this type of play. It serves the needs of the individual scenes, but not necessarily the play. The sheer volume of set pieces slow the transitions down. Many of the exchanges between bar staff felt that they were added simply to keep the play’s forward momentum. The fact that a few of these scenes appeared to be played on book really detracted from the overall effect.
Opened: June 7, 2011
Closed: June 24, 2011
Artists Involved
- Cast: Stacia Brock Woodcock, Deborah Carlson, Paul E. Eichinger, Tatiana Gomberg, Emily King-Brown, Natasha Lee Martin, Hailey McCarty, Melissa Patterson, Lisa Reigel, Cooper Shaw, Jennifer Somers Kipley, Dana Sumner-Pritchard
- Author: Molly Belmont, Cari Cain, Alisa Downing, Elena Gray-Blanc, Natasha Lee Martin, Laira Morgan, Mary McIlwain, Tifanie McQueen, Cipri Patterson, Emile Roche, Adriana Roze, Brandy Grey, and Pema Teeter
- Director: Shauna Horn
- Costumes: Stephanie Cook
- Lighting: Olivia Harris
- Sets: Jasmine Vogue Pai
- Stage Manager: Carly Levin
The Gay Places Magazine
Featured Artist - New York - Natasha Lee Martin - August 7, 2009
http://archive.constantcontact.com/fs051/1101287836342/archive/1102667909033.html
Well, the heat wave has passed. The summer is trying to maybe wind down a bit. What a great time to go out and see something unique in your own neighborhood or in some city that you may be visiting.
We have so many recommendations on our website. You will have to stack things in order of importance. Our listings are all artist recommended. Who better to tell you where to go than someone who is really involved in the community that they live?
Have a look this weekend. You may just find something you have never seen, in your own back yard!
This week's artist is Natasha Lee Martin. She is an actress. A woman of many characters. I met Natasha on my trip to New York at a little place in Brooklyn for a benefit performance by some local artists. They were amazing! I had not seem my high school friend Gabi for a really long time! We picked up right were we left off. It was such a nice evening. Natasha sold me a raffle ticket and I WON! I won a wonderful gift certificate to the tea house.
We talked about the benefit and got to talking about Natasha as an artist and thought she was really great. So this week we are bringing her to you! Thanks Natasha for sharing your favorite things about New York City with us this week.
Spread the love!
Jen
thegayplaces.com
PS: Equality, it is what's right!
Featured Artist - Natasha Lee MartinIn Her Own Words:
Natasha Lee Martin began her career at the age of 5 when she was cast in a radio play for WSAR Radio called "The Man in the Snow". Directed by her uncle David Tulli, this was to become a source of inspiration for many roles to come. In the years since Natasha has appeared in television and film roles on FOX, TLC, DISNEY, NIPPON TV JAPAN and many stages throughout Philadelphia, NYC and the east coast. Trained at the Actor's Studio Program in NYC, Natasha also lectures, teaches workshops and private acting coaching. She is a professor of Theatre at several colleges and universities in the tri-state area.
Natasha has performed in many productions over the years. In our conversation with her, she elaborated on portrayal of LGBT characters in theatre:
I played Garnet Mclit (the butch dyke detective) in "The Well of Horniness" by Holly Hughes a few years ago. Holly Hughes came to see the show and had dinner with the cast and she was really lovely. When I asked her what she thought of my slapstick portrayal of Garnet and Holly said "I was drunk when I wrote it. I thought you did a great job" she was being very modest at the time.
There is also a role I played that would be cool to mention is when I was cast as Al/Kate Bornstein from "Hidden A Gender" (book- Gender Outlaw- She is now writing a new version "The Next Generation"; the role of Herculine was originally played by Justin Bond (Kiki and Herb) and directed by Noreen Barnes.)
Since I played such roles like the transgendered Al/Kate there has been a shift in consciousness through the accessibility of the once underground performance of LGBT and Queer characters with the development of festivals such as the fringe in NYC and Philly and the Humana some of which I have worked in. Now previously limited producible work is happening in the streets, cafes and found spaces. Media constructs such as twitter, facebook, etc, have enabled these artists to have a mass level of marketing and exposure to the mainstream previously unattainable.
It is so refreshing to see people like Justin Bond doing Kiki and Herb on such a grand scale touring the world. It is inspiring to see this visceral response by the community when they have an outlet for their voice in order to overcome those limitations once observed in a conservative theatrical regime.
Featured Artist - New York - Natasha Lee Martin - August 7, 2009
http://archive.constantcontact.com/fs051/1101287836342/archive/1102667909033.html
Well, the heat wave has passed. The summer is trying to maybe wind down a bit. What a great time to go out and see something unique in your own neighborhood or in some city that you may be visiting.
We have so many recommendations on our website. You will have to stack things in order of importance. Our listings are all artist recommended. Who better to tell you where to go than someone who is really involved in the community that they live?
Have a look this weekend. You may just find something you have never seen, in your own back yard!
This week's artist is Natasha Lee Martin. She is an actress. A woman of many characters. I met Natasha on my trip to New York at a little place in Brooklyn for a benefit performance by some local artists. They were amazing! I had not seem my high school friend Gabi for a really long time! We picked up right were we left off. It was such a nice evening. Natasha sold me a raffle ticket and I WON! I won a wonderful gift certificate to the tea house.
We talked about the benefit and got to talking about Natasha as an artist and thought she was really great. So this week we are bringing her to you! Thanks Natasha for sharing your favorite things about New York City with us this week.
Spread the love!
Jen
thegayplaces.com
PS: Equality, it is what's right!
Featured Artist - Natasha Lee MartinIn Her Own Words:
Natasha Lee Martin began her career at the age of 5 when she was cast in a radio play for WSAR Radio called "The Man in the Snow". Directed by her uncle David Tulli, this was to become a source of inspiration for many roles to come. In the years since Natasha has appeared in television and film roles on FOX, TLC, DISNEY, NIPPON TV JAPAN and many stages throughout Philadelphia, NYC and the east coast. Trained at the Actor's Studio Program in NYC, Natasha also lectures, teaches workshops and private acting coaching. She is a professor of Theatre at several colleges and universities in the tri-state area.
Natasha has performed in many productions over the years. In our conversation with her, she elaborated on portrayal of LGBT characters in theatre:
I played Garnet Mclit (the butch dyke detective) in "The Well of Horniness" by Holly Hughes a few years ago. Holly Hughes came to see the show and had dinner with the cast and she was really lovely. When I asked her what she thought of my slapstick portrayal of Garnet and Holly said "I was drunk when I wrote it. I thought you did a great job" she was being very modest at the time.
There is also a role I played that would be cool to mention is when I was cast as Al/Kate Bornstein from "Hidden A Gender" (book- Gender Outlaw- She is now writing a new version "The Next Generation"; the role of Herculine was originally played by Justin Bond (Kiki and Herb) and directed by Noreen Barnes.)
Since I played such roles like the transgendered Al/Kate there has been a shift in consciousness through the accessibility of the once underground performance of LGBT and Queer characters with the development of festivals such as the fringe in NYC and Philly and the Humana some of which I have worked in. Now previously limited producible work is happening in the streets, cafes and found spaces. Media constructs such as twitter, facebook, etc, have enabled these artists to have a mass level of marketing and exposure to the mainstream previously unattainable.
It is so refreshing to see people like Justin Bond doing Kiki and Herb on such a grand scale touring the world. It is inspiring to see this visceral response by the community when they have an outlet for their voice in order to overcome those limitations once observed in a conservative theatrical regime.
NJ.COM
Get Yer Halloween Costume on and Head to Netcong's Growing Stage for 'How I Became a Pirate'
by Warren Reporter
Saturday October 25, 2008
http://www.nj.com/warrenreporter/index.ssf/2008/10/get_yer_halloween_costume_on_a.html
Halloween weekend is expected to attract a whole new cast of characters to The Growing Stage performances of "How I Became a Pirate."Children ages 5 to 12 are invited to wear their Halloween costumes to performances on Saturday, Nov. 1 and Sunday, Nov. 2. The youngster judged as having the "most imaginative costume" at each performance will win four tickets to an upcoming Growing Stage production.
Based on the award-winning, best-selling book by Melinda Long and David Shannon, "How I Became a Pirate" is a hilarious tale of young, soccer-loving Jeremy Jacobs as he joins Captain Braid Beard and his pirate crew as they embark on a voyage for buried treasure.
Originally produced in 2007 by Emerald City Theatre in Chicago, the show features veteran Growing Stage actors Jeremy William Hilgert, Danny Campos, and Jason Szamreta.
Hilgert brought the beloved Toad to life in the 2006 production of "A Year With Frog and Toad" while Campos last performed at the Palace Theatre as Armando in last year's production of "The Dinosaur Musical." Szamreta played the title role in last year's production of "The BFG (Big Friendly Giant)." Making their Growing Stage debuts are actors R. David Robinson, Scott Zenreich and Natasha Martin.
The show will be on stage at The Palace Theatre through Nov. 9, with performances at 7:30 p.m. on Friday evenings and 4 p.m. on Saturdays and Sundays.
Tickets are $12 for children and seniors and $16 for adults and may be purchased by calling the Box Office at 973-347-4946 or online at www.growingstage.com.
Founded in 1981, The Growing Stage was the 2008 recipient of the prestigious Sara Spencer Artistic Achievement Award presented by the American Alliance for Theatre & Education. The award, named in honor of Sara Spencer, founder of Anchorage Press, and one of the founders of the Children's Theatre Foundation, was presented to The Growing Stage for sustained and exceptional achievement in the field of theatre for young audiences.
The Growing Stage, the Children's Theatre of New Jersey, is located in the Historic Palace Theatre, 7 Ledgewood Ave.
Get Yer Halloween Costume on and Head to Netcong's Growing Stage for 'How I Became a Pirate'
by Warren Reporter
Saturday October 25, 2008
http://www.nj.com/warrenreporter/index.ssf/2008/10/get_yer_halloween_costume_on_a.html
Halloween weekend is expected to attract a whole new cast of characters to The Growing Stage performances of "How I Became a Pirate."Children ages 5 to 12 are invited to wear their Halloween costumes to performances on Saturday, Nov. 1 and Sunday, Nov. 2. The youngster judged as having the "most imaginative costume" at each performance will win four tickets to an upcoming Growing Stage production.
Based on the award-winning, best-selling book by Melinda Long and David Shannon, "How I Became a Pirate" is a hilarious tale of young, soccer-loving Jeremy Jacobs as he joins Captain Braid Beard and his pirate crew as they embark on a voyage for buried treasure.
Originally produced in 2007 by Emerald City Theatre in Chicago, the show features veteran Growing Stage actors Jeremy William Hilgert, Danny Campos, and Jason Szamreta.
Hilgert brought the beloved Toad to life in the 2006 production of "A Year With Frog and Toad" while Campos last performed at the Palace Theatre as Armando in last year's production of "The Dinosaur Musical." Szamreta played the title role in last year's production of "The BFG (Big Friendly Giant)." Making their Growing Stage debuts are actors R. David Robinson, Scott Zenreich and Natasha Martin.
The show will be on stage at The Palace Theatre through Nov. 9, with performances at 7:30 p.m. on Friday evenings and 4 p.m. on Saturdays and Sundays.
Tickets are $12 for children and seniors and $16 for adults and may be purchased by calling the Box Office at 973-347-4946 or online at www.growingstage.com.
Founded in 1981, The Growing Stage was the 2008 recipient of the prestigious Sara Spencer Artistic Achievement Award presented by the American Alliance for Theatre & Education. The award, named in honor of Sara Spencer, founder of Anchorage Press, and one of the founders of the Children's Theatre Foundation, was presented to The Growing Stage for sustained and exceptional achievement in the field of theatre for young audiences.
The Growing Stage, the Children's Theatre of New Jersey, is located in the Historic Palace Theatre, 7 Ledgewood Ave.
Broadway World.com
Green Light Productions Presents GLO 2008 July 16, 2008
Featuring inspiring new plays written and directed by women
http://www.broadwayworld.com/off-off-broadway/article/GLO-2008-is-July-16th20th-20080701
July 16th-20th at Theatre 54@ Shetler Studios Please RSVP at 215-681-0211 or at glo@greenlightplays.com You are also invited to join us for a reception at the theatre immediately following the Friday night performance
GLO, created in 2005, provides great opportunities to women theatre artists. Each year, Green Light opens its doors and receives hundreds of submissions from playwrights all over the country. The GLO plays tell unique and provocative stories and are powerful examples of the work being created by women theatre artists today.
GLO 2008 Performance Info At Theatre 54 @ Shetler Studios- 244 W. 54th Street, 12th Floor July 16th- 20th Tickets are $15 in advance at www.greenlightplays.com and $20 cash-only at the door Wednesday and Thursday at 7pm, Friday and Saturday at 8pm and Sunday at 3pm A reception at the theatre will follow the Friday night performance
GLO 2008 Plays The Opal Show by Kim Carney. Directed by Michele Pace. Featuring Allison Walton and Rob Alicea.
Who Gives This Woman by Linda Suzuki. Directed by Natasha Lee Martin. Featuring Monica Cortez and Sherry Lorraine.
Militia Slumber Party, or Embracing the New World Order by Crystal Jackson. Directed by Shauna Horn. Featuring Phil E. Eichinger, Tom Lacey and Michael Sadler.
Maggie Misplaced by Alexandria Dilks Pandola. Directed by Shannon Fillion. Featuring Becca Schneider and Scott Troost.
Green Light Productions is a 501(c)3 nonprofit institution that is dedicated to exploring the role of women in society and creating new opportunities for women theatre artists. Founded in 2003, Green Light has presented the new work of over one-hundred women theatre artists and history is an amazing collection of premieres that feature non-stereotypical portrayals of women.
Green Light Productions Presents GLO 2008 July 16, 2008
Featuring inspiring new plays written and directed by women
http://www.broadwayworld.com/off-off-broadway/article/GLO-2008-is-July-16th20th-20080701
July 16th-20th at Theatre 54@ Shetler Studios Please RSVP at 215-681-0211 or at glo@greenlightplays.com You are also invited to join us for a reception at the theatre immediately following the Friday night performance
GLO, created in 2005, provides great opportunities to women theatre artists. Each year, Green Light opens its doors and receives hundreds of submissions from playwrights all over the country. The GLO plays tell unique and provocative stories and are powerful examples of the work being created by women theatre artists today.
GLO 2008 Performance Info At Theatre 54 @ Shetler Studios- 244 W. 54th Street, 12th Floor July 16th- 20th Tickets are $15 in advance at www.greenlightplays.com and $20 cash-only at the door Wednesday and Thursday at 7pm, Friday and Saturday at 8pm and Sunday at 3pm A reception at the theatre will follow the Friday night performance
GLO 2008 Plays The Opal Show by Kim Carney. Directed by Michele Pace. Featuring Allison Walton and Rob Alicea.
Who Gives This Woman by Linda Suzuki. Directed by Natasha Lee Martin. Featuring Monica Cortez and Sherry Lorraine.
Militia Slumber Party, or Embracing the New World Order by Crystal Jackson. Directed by Shauna Horn. Featuring Phil E. Eichinger, Tom Lacey and Michael Sadler.
Maggie Misplaced by Alexandria Dilks Pandola. Directed by Shannon Fillion. Featuring Becca Schneider and Scott Troost.
Green Light Productions is a 501(c)3 nonprofit institution that is dedicated to exploring the role of women in society and creating new opportunities for women theatre artists. Founded in 2003, Green Light has presented the new work of over one-hundred women theatre artists and history is an amazing collection of premieres that feature non-stereotypical portrayals of women.
The Progress Index "Getting ‘Nickel and Dimed"
By Robert Parlier- Correspondant
Published: Thursday, May 22, 2008
Ladies, let’s flip coins — heads, you lose; tails, you lose.
As sometimes today, the women of the 1990s filled low-paying occupations for the American society.
The production of “Nickel and Dimed” aptly includes jobs at or below the poverty level, nearly always assigned to women: waitresses, cleaning ladies, low-paid nursing home low-paid and store clerks.
The upper and middle classes are subsidized by the low-income working class. This could be the theme of the production, played by six actors, at the Sycamore Rouge in Old Towne Petersburg.
Barbara, the leading lady, Pamela Bradley (in absence of H. Lynn Smith), played an undercover journalist who chose to live part of her life among the nearly indigent hard-working women who had no union to represent them.
The other female actresses are Jennifer Catton, Kirsten Ruber, Adama Oneydike, who each played multiple parts. Logan Conner, the only visible man, acted several parts, also.
A highlight of the show was Adama Oneydike as she jettisoned her body out into the middle and upper class audience and shouted, “What would you pay your cleaning lady? Would you wash your own car?” This seemed to cast a guilt feeling among the audience when confronted by such accusing questions.
Job interviewers for these women were quite liberal, and hiring was assured when employers discovered that these ladies were willing to work for low wages. In fact, the interviews lasted only a few minutes.
Pamela Bradley, with her lone, almost confidential statements to the audience, gave the play a cohesiveness. As an understudy, she must have been a quick study as well. She, as Barbara, could not endure the hectic life of a waitress and promptly quit.
Finding that Holly, portrayed by Kirsten Ruber, was pregnant and later injured, Barbara tried to persuade her to take time off. Holly resisted because, although it was meager, she wanted to get paid something for her hard work.
Barbara often talked to a shadow behind a screen, like it was her inner voice. The audience could not view the person’s visage, but the shadow spoke like a professional consultant.
Logan Conner, with his many parts, did a splendid job especially when he described wealth is according to the numbers.
Jennifer Catton, also with many roles, offered stability to the thespians when she tried to comfort Holly and supported others in their plight.
Very little, if any, humor was injected into the play, for comic relief was not needed. The production had a platform: People are often paid too little for their thankless, menial labors. Economic inequality for women was most evident in this production. The man was the manager/supervisor and they were his workers.
Director, Natasha Lee Martin has reason to be proud of her versatile players.
The play is based on a book by Barbara Einherich, “Nickel and Dimed: On (Not) Getting by in America.”
Interested in Acting? Two workshops…
WORKSHOP #1: Audition Technique for Acting for the Camera
WORKSHOP #2: Audition Technique for Stage Acting
Natasha Lee Martin, the director for Nickel and Dimed, brings her years of experience in film, television, industrial video and the stage to two special workshops at Sycamore Rouge on Sunday, May 4, 2008! Workshops will run $60 for each three-hour session, or $90 for the full day.
By Robert Parlier- Correspondant
Published: Thursday, May 22, 2008
Ladies, let’s flip coins — heads, you lose; tails, you lose.
As sometimes today, the women of the 1990s filled low-paying occupations for the American society.
The production of “Nickel and Dimed” aptly includes jobs at or below the poverty level, nearly always assigned to women: waitresses, cleaning ladies, low-paid nursing home low-paid and store clerks.
The upper and middle classes are subsidized by the low-income working class. This could be the theme of the production, played by six actors, at the Sycamore Rouge in Old Towne Petersburg.
Barbara, the leading lady, Pamela Bradley (in absence of H. Lynn Smith), played an undercover journalist who chose to live part of her life among the nearly indigent hard-working women who had no union to represent them.
The other female actresses are Jennifer Catton, Kirsten Ruber, Adama Oneydike, who each played multiple parts. Logan Conner, the only visible man, acted several parts, also.
A highlight of the show was Adama Oneydike as she jettisoned her body out into the middle and upper class audience and shouted, “What would you pay your cleaning lady? Would you wash your own car?” This seemed to cast a guilt feeling among the audience when confronted by such accusing questions.
Job interviewers for these women were quite liberal, and hiring was assured when employers discovered that these ladies were willing to work for low wages. In fact, the interviews lasted only a few minutes.
Pamela Bradley, with her lone, almost confidential statements to the audience, gave the play a cohesiveness. As an understudy, she must have been a quick study as well. She, as Barbara, could not endure the hectic life of a waitress and promptly quit.
Finding that Holly, portrayed by Kirsten Ruber, was pregnant and later injured, Barbara tried to persuade her to take time off. Holly resisted because, although it was meager, she wanted to get paid something for her hard work.
Barbara often talked to a shadow behind a screen, like it was her inner voice. The audience could not view the person’s visage, but the shadow spoke like a professional consultant.
Logan Conner, with his many parts, did a splendid job especially when he described wealth is according to the numbers.
Jennifer Catton, also with many roles, offered stability to the thespians when she tried to comfort Holly and supported others in their plight.
Very little, if any, humor was injected into the play, for comic relief was not needed. The production had a platform: People are often paid too little for their thankless, menial labors. Economic inequality for women was most evident in this production. The man was the manager/supervisor and they were his workers.
Director, Natasha Lee Martin has reason to be proud of her versatile players.
The play is based on a book by Barbara Einherich, “Nickel and Dimed: On (Not) Getting by in America.”
Interested in Acting? Two workshops…
WORKSHOP #1: Audition Technique for Acting for the Camera
WORKSHOP #2: Audition Technique for Stage Acting
Natasha Lee Martin, the director for Nickel and Dimed, brings her years of experience in film, television, industrial video and the stage to two special workshops at Sycamore Rouge on Sunday, May 4, 2008! Workshops will run $60 for each three-hour session, or $90 for the full day.
RICHMOND TIMES DISPATCH "SERIOUS BOOK TURNS COMEDIC ONSTAGE"
SUSAN HAUBENSTOCK/SPECIAL CORRESPONDENT
Published: May 17, 2008
Barbara Ehrenreich's 2001 book "Nickel and Dimed: On (Not) Getting by in America" was an eye-opening exposé of the lives of minimum-wage workers after the welfare reforms of the mid-1990s. Journalist Ehrenreich went undercover for three one-month stints in various low-wage jobs to see if it was possible to feed, house and clothe herself on what she made. Working as a waitress, a hotel-room cleaner, a member of a housecleaning team, a dietary aide at a nursing home and a clerk at a big-box store (there are that many jobs because it took more than one at a time to come close to making her rent), she found it impossible to get by as the single person she pretended to be. And her co-workers with kids to support were that much more desperate.
Dramatist Joan Holden adapted the book for her 2002 play, which works mostly as a rueful comedy. It has multiple roles that are meant to be played by six actors, but in Sycamore Rouge's ironically curtailed production there are just five (except for a sixth, uncredited person who comes onstage as an extra once in a while).
The spare production directed by Natasha Lee Martin moves along well on the sleek Keith Saine set, well lit by R. Jon Shelley. Martin accents all the right notes -- the anti-management rants, the anti-upper-middle class grumbles, the warm bonds formed between struggling workers -- but eventually the play just runs out of gas.
Holden's play has less impact than Ehrenreich's book; going for the laugh makes for fun theater but tends to dissipate the message. So we get amusing nursing-home residents and caricatured short-order cooks punctuated by the occasional audience-discomfiting statement, such as "Our whole lives are subsidized by the working poor."
H. Lynn Smith plays the leading role of Barbara with the right spirit but a disappointing lack of line mastery and insufficient projection for the large room at Sycamore Rouge. We know that the room can be mastered because her castmates Adamna Oneydike and Kirsten Riiber do it with seeming effortlessness.
Like the other actors, Logan Connor and Jennifer Catton, they undertake several roles apiece, and they all do well in creating distinctive characters for each one. But Riiber's Holly -- the newly pregnant leader of a housecleaning team -- is particularly poignant and real, and Oneydike is most affecting as a single mother on the team who's left her young children home alone because there is no day-care option for them.
There's a message here, all right, and it's a significant one. The effort to make it cuter and more palatable with comedy makes it appeal to a broader audience, but to get Ehrenreich's full argument, you need to read the book.
SUSAN HAUBENSTOCK/SPECIAL CORRESPONDENT
Published: May 17, 2008
Barbara Ehrenreich's 2001 book "Nickel and Dimed: On (Not) Getting by in America" was an eye-opening exposé of the lives of minimum-wage workers after the welfare reforms of the mid-1990s. Journalist Ehrenreich went undercover for three one-month stints in various low-wage jobs to see if it was possible to feed, house and clothe herself on what she made. Working as a waitress, a hotel-room cleaner, a member of a housecleaning team, a dietary aide at a nursing home and a clerk at a big-box store (there are that many jobs because it took more than one at a time to come close to making her rent), she found it impossible to get by as the single person she pretended to be. And her co-workers with kids to support were that much more desperate.
Dramatist Joan Holden adapted the book for her 2002 play, which works mostly as a rueful comedy. It has multiple roles that are meant to be played by six actors, but in Sycamore Rouge's ironically curtailed production there are just five (except for a sixth, uncredited person who comes onstage as an extra once in a while).
The spare production directed by Natasha Lee Martin moves along well on the sleek Keith Saine set, well lit by R. Jon Shelley. Martin accents all the right notes -- the anti-management rants, the anti-upper-middle class grumbles, the warm bonds formed between struggling workers -- but eventually the play just runs out of gas.
Holden's play has less impact than Ehrenreich's book; going for the laugh makes for fun theater but tends to dissipate the message. So we get amusing nursing-home residents and caricatured short-order cooks punctuated by the occasional audience-discomfiting statement, such as "Our whole lives are subsidized by the working poor."
H. Lynn Smith plays the leading role of Barbara with the right spirit but a disappointing lack of line mastery and insufficient projection for the large room at Sycamore Rouge. We know that the room can be mastered because her castmates Adamna Oneydike and Kirsten Riiber do it with seeming effortlessness.
Like the other actors, Logan Connor and Jennifer Catton, they undertake several roles apiece, and they all do well in creating distinctive characters for each one. But Riiber's Holly -- the newly pregnant leader of a housecleaning team -- is particularly poignant and real, and Oneydike is most affecting as a single mother on the team who's left her young children home alone because there is no day-care option for them.
There's a message here, all right, and it's a significant one. The effort to make it cuter and more palatable with comedy makes it appeal to a broader audience, but to get Ehrenreich's full argument, you need to read the book.
South Philly Review
The Alternative Route
by Caitlin Meals
Aug 30, 2007
http://www.southphillyreview.com/news/features/79695037.html?page=3&comments=1&showAll=&addFav=Y
Aug. 31 begins the Philly Fringe and Live Arts Festival with a slate of performances featuring residents representing their roots.
The stage is set, costumes pressed, make-up done and the curtain moments from rising. A faint buzz hovers over the workweek, as Friday brings the opening of Philly Fringe and the Live Arts Festival. Residents — in unprecedented numbers — are among the sea of talent that make the next two weeks unlike any other for the city’s arts scene.
In the second of a two-part series, the Review highlights neighborhood performers whose passion for expression unleashes a new set of one-of-a-kind productions.
Thirteen has proven lucky for The Waitstaff. In its fourth year in the Fringe, the 60 minutes of sketch comedy dished up in “Served the Way You Like It!” by the 13-member troupe “runs the gamut from silly to sophisticated and ridiculous to raucous,” group writer/performer/General Manager Kurt Runco of the 900 block of Bainbridge Street said.
Runco calls the group, who joined forces when they met at the Brick Playhouse, 623 South St., “a true Philadelphia success story.” Jumping into sketch comedy, The Waitstaff consistently sold out shows at the Brick, and eventually moved to the bigger Five Spot in Old City before it burned down.
The show’s material is completely new and characters are taken right from the streets, since “they’re so distinctive and recognizable,” Runco said. Past sketches have included the pain of being an Eagles fan and the destruction of Veterans Stadium.
Members’ backgrounds include directing, producing, dance, music, acting and, of course, improv and each has collaborated to write material for the show, which premieres Aug. 31. The piece spans cultural satire to slapstick dance, a type of performance Runco says is unique to the event.
“The Fringe is a safe environment to do something risky. That goes for the audience as well as the performers,” he said. “With the Fringe tickets so inexpensive and the shows usually only an hour long, someone doesn’t have to plop down a lot of money or time. They can risk going to a show they might never normally see.”
Keeping in line with a lighter performance is New Paradise Laboratories (NPL) “BATCH: An American Bachelor/ette Party Spectacle.” Opening Aug. 31 as part of the Live Arts Festival, this bawdy and sometimes suggestive twist on the popular pre-marital tradition uses the talents of six actors — including Jeb Kreager of the 200 block of Federal Street and Lee Etzold of the 800 block of Pemberton Street — playing three characters each in the story of a betrothed couple who have never touched.
“BATCH” co-creator/director/sound designer Whit MacLaughlin, who also is NPL’s artistic director, started the company in Virginia and brought it to Philly, now their home base.
MacLaughlin said, while it’s good to bring theater everywhere, for this part-performance art, part-sporting event show in particular the area is key. “South Philly is the center of the bachelor/bachelorette party universe,” she said.
And, as far as residents go, they are just the type to be cast in an NPL show.
“In South Philly, the men are men and the women are women,” she said. “We really mess around with that idea, but we respect it nonetheless.”
Natasha Lee Martin is bringing good karma to the neighborhood that welcomed her to Hoffman and Front streets three years ago.
“I moved here literally a few days after I lost my mom to cancer,” the co-producer/writer said. “I was amazed by the support and selflessness of my neighbors who didn’t even know what I had been through until later. I feel it is right to give something back that is a reflection of them.”
The actress, along with a cast and crew of 14 make up Trajectories Theater Group. “Acts of Sedition,” opening Sept. 5, consists of original pieces, stand-up comedy, live music, burlesque and video montage that comes together by way of “no topic too scared to explore” Martin said, citing terrorism, consumerism and ethnic diversity as just a few. By presenting an array of issues, the show relates to the “common, hard-working American having a say in what’s happening in their own neighborhoods,” Martin said.
For their third year in the Fringe, Martin strives to give her neighbors an event like no other.
“Aside from the Mummers’ Parade once a year, most of the South Philly audience come to see a show expecting for it to exist within the confines of a theater where they are observers of an experience, but not a part of it,” she said. “The Fringe Festival is a great addition to allowing South Philly’s audience to participate in an unconventional performance … such as outside in an alley, or inside someone’s bedroom or a local South Philly restaurant.”
OK, so vacation time is almost over, but those looking to take a trip half-way around the world will relish “Tar.” Charles Anderson’s Live Arts contribution has 11 dancers and 10 collaborators bringing the traditional African and trickster tales that later became part of American folklore in “Uncle Remus” and “Br’er Rabbit” to the stage starting Sept. 5. As artistic director and founder, Anderson, from Broad and Reed streets, dancer Michael Velez, of Broad and Federal, and costume designer Heidi Barr of Moyamensing Avenue and Ellsworth Street, represent the area Anderson said has been literally experiencing an arts movement since the late 1990s.
“Since then, I have seen a huge number of my former students at both Temple University and Muhlenberg College move here because there is such a strong artists’ community,” he said. “Some of my strongest artistic relationships were forged and nurtured here.”
The piece, presented at the 2006 Live Arts Festival as a work-in-progress, is set to the beat of traditional African drumming and song, remixed Southern blues and recitations of folklorist Joel Chandler Harris.
Living in an art-friendly neighborhood allowed Anderson to form bonds he said helped him “develop a rhythmic exploration” for the piece.
“I don’t think it’s about bringing performance to South Philly, but more to the point, performance thrives in South Philly,” he said. “This area boasts some of the most prolific and interesting artists in Philadelphia. If anything, it is important to bring greater attention to how much performance takes place here.”
Michael Passafiume is a newcomer to the Fringe and his one-man show is inspired by another known for his solo stage performances. “Swimming to Spalding,” premiering Sept. 6, was penned by the resident of 21st and Jackson streets after the 2004 suicide of monologist Spalding Gray.
Although written while living in Brooklyn, Passafiume draws a great deal of motivation from his home turf.
“I like the diversity and watching it as an area, such as Passyunk Avenue, transform right before your eyes,” he said, “but mostly I draw inspiration from the people. Sometimes they’re so stereotypical, like some of the folks who gather at the Starbucks at Broad and Jackson streets. It’s like they just walked off the set of ‘The Sopranos’ and yet those people aren’t stereotypical at all: there’s a real genuineness to them. And I’m equally inspired by how approachable folks in South Philly are — whether it’s a silent smile as you walk by, a quick ‘hello’ or a conversation when you’re least expecting it from the least likely of candidates.”
The Fringe is a perfect outlet, despite the obstacles.
“I like the variety of the shows and performers, and the fact that the Fringe is open to anyone,” he said, “but it’s definitely a challenge putting a show together with limited resources.”
New York City transfer Stone Soup Theatre Arts makes its Fringe debut with “Stone Soup by Edward Bond” Sept. 7. The piece, based on the fable of cooperation during difficult times, has a young man delivering a stone to a mason’s house that ultimately is a journey to find his place in the world. A corruptive and chilling tale, it is told through original music, iconographic costumes and a striptease.
Managing director/producer Leigh Goldenberg said, upon moving to the area in June, she wanted some place with a sense of community and history, both of which she found in the 1400 block of Franklin Street.
“South Philly has the perfect balance of historical pride and community-driven growth, along with being affordable, adorable and convenient,” she said.
The four-member group met in college in Manhattan. Their concept, which they first tried in China six years ago, was to create by targeting a specific area, going there and writing and performing. Jumping back to the States, and Franklin Street, Goldenberg said she was greeted with open arms — literally.
“When we pulled our moving van into our street, the entire block came out to greet us and immediately started carrying our furniture into our new house,” she said. “I had never seen such a welcoming group of people that actually want to know about you and look you in the eye when you pass them on the street.”
Despite the uproot from New York, Goldenberg likes what she has seen of the Fringe.
“From the perspective of a spectator up until now, it has proven to have the highest caliber of work I’ve seen in any festival of its kind,” she said. “The artists are unafraid to make a statement and amaze me with their talent. It is a much more genuine support network than we have found in New York City.”
As if putting together one show isn’t enough, The Collaborative’s Artists’ Collective goes for a twofer with “‘Heebs in the House:’ Word to Your Zada!” and “‘Heebs in the House:’ Oy, the Drama” Sept. 8 and 9, respectively. The Jewish performance group features two actors — Matt Sutin of the 2600 block of Carlisle Street and Molly Russakoff of the 1000 block of Ninth Street — who bring spoken word, poetry, monologues and music to the shows. Director Ross Berkowitz said the productions “combine a Jewish sensibility with concepts born of living in a multiethnic, diverse community.”
By using “heeb” — an empowering form of “hebe,” a slur against a Jewish person — Berkowitz said the troupe is reclaiming the fun and humor found within Judaism.
“Zada” is a mix of melodies and spoken word with topics from romance to stream-of-consciousness. Several guest collaborators, including Q102 on-air personalities and musician Todd Young and his Rock Band, will be on hand as well. “Drama,” featuring theater company Tongue & Groove, takes a slightly different approach with monologues becoming long-form improv.
As a Fringe first-timer, Sutin used past experiences to make the transition from audience to stage.
“As an audience member, I always wanted to experience quality creativity that I would not normally see,” he said. “As I gear up for my performance, I go through my poetry and find the poems that will speak to the spectators. Philadelphians don’t just walk into a pretty art gallery with landscape paintings. They want something edgy and they have an entire festival for this.”
A tragic car crash splits people into two quasi-existences that go back and forth between a miniature world of dolls and a relay race of unattractive, self-important characters.
The dark comedy “Machine World Gospel” takes screens, projectors, lights, cameras and even puppets, using it all to make the stage come alive.
Writer/director/performer David Commander, of Third and Wharton streets, housemate and fellow performer Violet Sweet, and actors Jimi Mooney, of 13th Street and Passyunk, and Gwen Witherspoon, of 18th Street and Washington Avenue, are part of the six cast members that share several roles, as well as backstage duties, like live video mixing, moving screens, and controlling lighting and puppets.
The work in putting the 45-minute piece together is “exhausting,” Commander said. “There is an endless amount of work to do and an ever-approaching army of deadlines to meet. Fortunately, there is a very strong support network in Philly that manages to make the most impossible things happen.”
And it’s the people in these areas Commander and crew are targeting in the show, which opens Sept. 12.
“Most of the people I cast … [are] kind of more homegrown performers,” he said. “Less formal training and more of a blue-collar work ethic. It’s a more hands-on approach to performing that I think the South Philly resident can relate to.”
It’s all Greek to Tribe of Fools and evident in “Echo,” their second year in the Fringe marked by a myth about a female nymph known for her beautiful voice. Six artists — with five of them local, including Managing Director Terry Brennan of the 700 block of Reed; director Adrienne Mackey of the 200 block of Snyder Avenue; actress Kate DeRosa of the 1700 block of 11th Street; actress Karina Kacala of 12th and Clarion streets; and actor David Sweeney of the 600 block of Reed — perform multiple roles in the production that has gods Hera, Zeus and Narcissus in a movement-based piece that begins its run Sept. 12.
Although the telling of this ancient story won’t be modernized, Brennan said it is interesting and accessible to a 21st-century audience.
“I’ve found that a lot of people in South Philly, especially the older folks, have a really great understanding for and appreciation of classical work,” Brennan, who began performing during a break between high school and college, said.
DeRosa added it is these people, as well as their neighbors, she’d like to see at this year’s festival.
“It seems that the audience base is growing steadily as the Fringe reaches into more and more neighborhoods,” she said, “but I do wish more people would realize that the Fringe is for them, too, not just artists.”
The Alternative Route
by Caitlin Meals
Aug 30, 2007
http://www.southphillyreview.com/news/features/79695037.html?page=3&comments=1&showAll=&addFav=Y
Aug. 31 begins the Philly Fringe and Live Arts Festival with a slate of performances featuring residents representing their roots.
The stage is set, costumes pressed, make-up done and the curtain moments from rising. A faint buzz hovers over the workweek, as Friday brings the opening of Philly Fringe and the Live Arts Festival. Residents — in unprecedented numbers — are among the sea of talent that make the next two weeks unlike any other for the city’s arts scene.
In the second of a two-part series, the Review highlights neighborhood performers whose passion for expression unleashes a new set of one-of-a-kind productions.
Thirteen has proven lucky for The Waitstaff. In its fourth year in the Fringe, the 60 minutes of sketch comedy dished up in “Served the Way You Like It!” by the 13-member troupe “runs the gamut from silly to sophisticated and ridiculous to raucous,” group writer/performer/General Manager Kurt Runco of the 900 block of Bainbridge Street said.
Runco calls the group, who joined forces when they met at the Brick Playhouse, 623 South St., “a true Philadelphia success story.” Jumping into sketch comedy, The Waitstaff consistently sold out shows at the Brick, and eventually moved to the bigger Five Spot in Old City before it burned down.
The show’s material is completely new and characters are taken right from the streets, since “they’re so distinctive and recognizable,” Runco said. Past sketches have included the pain of being an Eagles fan and the destruction of Veterans Stadium.
Members’ backgrounds include directing, producing, dance, music, acting and, of course, improv and each has collaborated to write material for the show, which premieres Aug. 31. The piece spans cultural satire to slapstick dance, a type of performance Runco says is unique to the event.
“The Fringe is a safe environment to do something risky. That goes for the audience as well as the performers,” he said. “With the Fringe tickets so inexpensive and the shows usually only an hour long, someone doesn’t have to plop down a lot of money or time. They can risk going to a show they might never normally see.”
Keeping in line with a lighter performance is New Paradise Laboratories (NPL) “BATCH: An American Bachelor/ette Party Spectacle.” Opening Aug. 31 as part of the Live Arts Festival, this bawdy and sometimes suggestive twist on the popular pre-marital tradition uses the talents of six actors — including Jeb Kreager of the 200 block of Federal Street and Lee Etzold of the 800 block of Pemberton Street — playing three characters each in the story of a betrothed couple who have never touched.
“BATCH” co-creator/director/sound designer Whit MacLaughlin, who also is NPL’s artistic director, started the company in Virginia and brought it to Philly, now their home base.
MacLaughlin said, while it’s good to bring theater everywhere, for this part-performance art, part-sporting event show in particular the area is key. “South Philly is the center of the bachelor/bachelorette party universe,” she said.
And, as far as residents go, they are just the type to be cast in an NPL show.
“In South Philly, the men are men and the women are women,” she said. “We really mess around with that idea, but we respect it nonetheless.”
Natasha Lee Martin is bringing good karma to the neighborhood that welcomed her to Hoffman and Front streets three years ago.
“I moved here literally a few days after I lost my mom to cancer,” the co-producer/writer said. “I was amazed by the support and selflessness of my neighbors who didn’t even know what I had been through until later. I feel it is right to give something back that is a reflection of them.”
The actress, along with a cast and crew of 14 make up Trajectories Theater Group. “Acts of Sedition,” opening Sept. 5, consists of original pieces, stand-up comedy, live music, burlesque and video montage that comes together by way of “no topic too scared to explore” Martin said, citing terrorism, consumerism and ethnic diversity as just a few. By presenting an array of issues, the show relates to the “common, hard-working American having a say in what’s happening in their own neighborhoods,” Martin said.
For their third year in the Fringe, Martin strives to give her neighbors an event like no other.
“Aside from the Mummers’ Parade once a year, most of the South Philly audience come to see a show expecting for it to exist within the confines of a theater where they are observers of an experience, but not a part of it,” she said. “The Fringe Festival is a great addition to allowing South Philly’s audience to participate in an unconventional performance … such as outside in an alley, or inside someone’s bedroom or a local South Philly restaurant.”
OK, so vacation time is almost over, but those looking to take a trip half-way around the world will relish “Tar.” Charles Anderson’s Live Arts contribution has 11 dancers and 10 collaborators bringing the traditional African and trickster tales that later became part of American folklore in “Uncle Remus” and “Br’er Rabbit” to the stage starting Sept. 5. As artistic director and founder, Anderson, from Broad and Reed streets, dancer Michael Velez, of Broad and Federal, and costume designer Heidi Barr of Moyamensing Avenue and Ellsworth Street, represent the area Anderson said has been literally experiencing an arts movement since the late 1990s.
“Since then, I have seen a huge number of my former students at both Temple University and Muhlenberg College move here because there is such a strong artists’ community,” he said. “Some of my strongest artistic relationships were forged and nurtured here.”
The piece, presented at the 2006 Live Arts Festival as a work-in-progress, is set to the beat of traditional African drumming and song, remixed Southern blues and recitations of folklorist Joel Chandler Harris.
Living in an art-friendly neighborhood allowed Anderson to form bonds he said helped him “develop a rhythmic exploration” for the piece.
“I don’t think it’s about bringing performance to South Philly, but more to the point, performance thrives in South Philly,” he said. “This area boasts some of the most prolific and interesting artists in Philadelphia. If anything, it is important to bring greater attention to how much performance takes place here.”
Michael Passafiume is a newcomer to the Fringe and his one-man show is inspired by another known for his solo stage performances. “Swimming to Spalding,” premiering Sept. 6, was penned by the resident of 21st and Jackson streets after the 2004 suicide of monologist Spalding Gray.
Although written while living in Brooklyn, Passafiume draws a great deal of motivation from his home turf.
“I like the diversity and watching it as an area, such as Passyunk Avenue, transform right before your eyes,” he said, “but mostly I draw inspiration from the people. Sometimes they’re so stereotypical, like some of the folks who gather at the Starbucks at Broad and Jackson streets. It’s like they just walked off the set of ‘The Sopranos’ and yet those people aren’t stereotypical at all: there’s a real genuineness to them. And I’m equally inspired by how approachable folks in South Philly are — whether it’s a silent smile as you walk by, a quick ‘hello’ or a conversation when you’re least expecting it from the least likely of candidates.”
The Fringe is a perfect outlet, despite the obstacles.
“I like the variety of the shows and performers, and the fact that the Fringe is open to anyone,” he said, “but it’s definitely a challenge putting a show together with limited resources.”
New York City transfer Stone Soup Theatre Arts makes its Fringe debut with “Stone Soup by Edward Bond” Sept. 7. The piece, based on the fable of cooperation during difficult times, has a young man delivering a stone to a mason’s house that ultimately is a journey to find his place in the world. A corruptive and chilling tale, it is told through original music, iconographic costumes and a striptease.
Managing director/producer Leigh Goldenberg said, upon moving to the area in June, she wanted some place with a sense of community and history, both of which she found in the 1400 block of Franklin Street.
“South Philly has the perfect balance of historical pride and community-driven growth, along with being affordable, adorable and convenient,” she said.
The four-member group met in college in Manhattan. Their concept, which they first tried in China six years ago, was to create by targeting a specific area, going there and writing and performing. Jumping back to the States, and Franklin Street, Goldenberg said she was greeted with open arms — literally.
“When we pulled our moving van into our street, the entire block came out to greet us and immediately started carrying our furniture into our new house,” she said. “I had never seen such a welcoming group of people that actually want to know about you and look you in the eye when you pass them on the street.”
Despite the uproot from New York, Goldenberg likes what she has seen of the Fringe.
“From the perspective of a spectator up until now, it has proven to have the highest caliber of work I’ve seen in any festival of its kind,” she said. “The artists are unafraid to make a statement and amaze me with their talent. It is a much more genuine support network than we have found in New York City.”
As if putting together one show isn’t enough, The Collaborative’s Artists’ Collective goes for a twofer with “‘Heebs in the House:’ Word to Your Zada!” and “‘Heebs in the House:’ Oy, the Drama” Sept. 8 and 9, respectively. The Jewish performance group features two actors — Matt Sutin of the 2600 block of Carlisle Street and Molly Russakoff of the 1000 block of Ninth Street — who bring spoken word, poetry, monologues and music to the shows. Director Ross Berkowitz said the productions “combine a Jewish sensibility with concepts born of living in a multiethnic, diverse community.”
By using “heeb” — an empowering form of “hebe,” a slur against a Jewish person — Berkowitz said the troupe is reclaiming the fun and humor found within Judaism.
“Zada” is a mix of melodies and spoken word with topics from romance to stream-of-consciousness. Several guest collaborators, including Q102 on-air personalities and musician Todd Young and his Rock Band, will be on hand as well. “Drama,” featuring theater company Tongue & Groove, takes a slightly different approach with monologues becoming long-form improv.
As a Fringe first-timer, Sutin used past experiences to make the transition from audience to stage.
“As an audience member, I always wanted to experience quality creativity that I would not normally see,” he said. “As I gear up for my performance, I go through my poetry and find the poems that will speak to the spectators. Philadelphians don’t just walk into a pretty art gallery with landscape paintings. They want something edgy and they have an entire festival for this.”
A tragic car crash splits people into two quasi-existences that go back and forth between a miniature world of dolls and a relay race of unattractive, self-important characters.
The dark comedy “Machine World Gospel” takes screens, projectors, lights, cameras and even puppets, using it all to make the stage come alive.
Writer/director/performer David Commander, of Third and Wharton streets, housemate and fellow performer Violet Sweet, and actors Jimi Mooney, of 13th Street and Passyunk, and Gwen Witherspoon, of 18th Street and Washington Avenue, are part of the six cast members that share several roles, as well as backstage duties, like live video mixing, moving screens, and controlling lighting and puppets.
The work in putting the 45-minute piece together is “exhausting,” Commander said. “There is an endless amount of work to do and an ever-approaching army of deadlines to meet. Fortunately, there is a very strong support network in Philly that manages to make the most impossible things happen.”
And it’s the people in these areas Commander and crew are targeting in the show, which opens Sept. 12.
“Most of the people I cast … [are] kind of more homegrown performers,” he said. “Less formal training and more of a blue-collar work ethic. It’s a more hands-on approach to performing that I think the South Philly resident can relate to.”
It’s all Greek to Tribe of Fools and evident in “Echo,” their second year in the Fringe marked by a myth about a female nymph known for her beautiful voice. Six artists — with five of them local, including Managing Director Terry Brennan of the 700 block of Reed; director Adrienne Mackey of the 200 block of Snyder Avenue; actress Kate DeRosa of the 1700 block of 11th Street; actress Karina Kacala of 12th and Clarion streets; and actor David Sweeney of the 600 block of Reed — perform multiple roles in the production that has gods Hera, Zeus and Narcissus in a movement-based piece that begins its run Sept. 12.
Although the telling of this ancient story won’t be modernized, Brennan said it is interesting and accessible to a 21st-century audience.
“I’ve found that a lot of people in South Philly, especially the older folks, have a really great understanding for and appreciation of classical work,” Brennan, who began performing during a break between high school and college, said.
DeRosa added it is these people, as well as their neighbors, she’d like to see at this year’s festival.
“It seems that the audience base is growing steadily as the Fringe reaches into more and more neighborhoods,” she said, “but I do wish more people would realize that the Fringe is for them, too, not just artists.”
SouthCoastToday.com
"Actress with Fall River Ties Makes a Run at the Silver Screen"
by Richard Costa, Fall River Spirit Correspondent January 24, 2007
http://www.southcoasttoday.com/apps/pbcs.dll/article?AID=/20070124/PUB/701240400
Natasha Lee Martin, top, stands in front of a tenement complex on Healy Street where her grandfather used to live many years ago before he moved to Tiverton. Photos by RICHARD COSTA/ Fall River Spirit
Natasha Lee Martin has it all working for her: a diversified life, a well-traveled history, an excellent education, remarkable acting ability and disposition. The photogenic 33-year old lives in Philadelphia where she teaches acting at a community college. She also performs in many theater events. But the Providence-born and -raised Natasha also has roots in Tiverton and Fall River, where her grandparents are from. In many ways, it's where her journey started.
I asked her about that journey over a cup of coffee at King Philip Lunch when she visited her father in Tiverton over the holidays.
"It began when I was 5," Natasha remembers. "My uncle, David Tully, worked for WSAR in Somerset. In the evening he was a radio persona. He commissioned and produced 'The Man in the Snow,' a radio play. He needed the character of a little girl."
The little girl was the character who finds a lost Santa Claus freezing in the snow. She leads Santa to her parents and brother. Natasha rehearsed and performed the show on microphone for a broadcast audience in the late 1970s.
She would continue her stage work in high school and move on to travel the world, including undergraduate work in acting at the University of New Mexico and graduate studies at the Actor's Studio Program in Manhattan.
But her roots always tug at her heart wherever she goes. Her paternal grandfather, John Martin Sr., grew up in the Flint while her grandmother, Evelyn Martin, was from the Globe district. Evelyn lived on Heatley Place off Spraque Street along with her parents until she married John Sr. and moved to Tiverton.
Natasha remembers the area well.
"I've been to various parks in Fall River and I used to sail in Fall River and Tiverton. My grandpa had a 25-foot sailboat. We'd sail to Newport and back to Fogland and the Tiverton Bay.
"I also knew all the local Portuguese bakeries and I was introduced to Polish food here at places like the Ukrainian Home. My dad would take us to the factory outlets and flea markets in Fall River. We used to go the China Royal and Burlington Coat Factory."
The memories never leave.
"The ethnic food here is a tradition within my family, like the Portuguese food. When I'm here I realize how much I miss it. I miss the smells, the sandwiches and the way people speak. It becomes a part of you."
She's also seen the city change dramatically over the years from the end of the textile era until now.
"It's now an artistic hub. The factory/warehouse on the waterfront is where the Narrows Center for the Arts is. It's good to see."
Natasha's Uncle David was so involved with the arts it sparked a creative flame within her. As a teenager, she used to go to Newgate Theatre in Providence. Her Uncle David performed there while other relatives, like cousin Patricia Tully, ran much of it. Natasha watched him work and hung around the Trinity Repertory Conservatory backstage, where she eventually acted in a Christmas Production at Rhode Island College.
"I saw so many performances, I became completely enamored with acting while I observed it."
Her family was equally inspirational. David Tully was very arts savvy, as was her cousin Patricia Tully, who is presently the chairwoman of the Salve Regina University Theatre Department. But it was Natasha's family, friends and professors who proved to be her greatest source of inspiration.
"I owe a tremendous thank you to the late Marvin Simms, my acting teacher, and Dr. Noreen Barnes-McLain, who's been an incredible mentor. She gave me many opportunities to direct and teach and develop my work as an actress. I also couldn't have done this without the support of family members who stuck by me, especially my mother, Judith Dimaio, and my father, John Martin."
Judith passed away in 2004. Natasha's father John owns a Fall River based business called TCIC, The Competitiveness Improvement Co. It provides grant-funded training to strengthen a company's ability to compete.
In her late teens, Natasha was accepted at Salve Regina but elected to go to the University of New Mexico instead.
"I studied under some unbelievable people and ended up fully enrolled in production. I had many leading roles there."
While she was enrolled for her MFA in acting at the Actors Studio in Manhattan, she had the opportunity to ask Jennifer Jason Leigh a question on James Lipton's now famous A&E show, "Inside the Actor's Studio."
"I stood up and I was nervous. I asked her what she does when her 'gut' fails her as an actress. She described her 'tool box;' her life experiences, the methods and techniques which she draws on. That's what I do now, draw on my growing experience."
She also witnessed the beginning of the artistic renaissance of Providence, which has culminated recently with the growth of 'Hollywood East' and numerous Providence- and Rhode Island-based productions. It's an effect that has rippled to Connecticut and Massachusetts as well. The 2002 film "Passionada" was produced in New Bedford and Disney is presently producing "Dan in Real Life" in Jamestown.
Natasha recently did an episode for Japan's Nippon TV on a program called "Astonishing News" in which contestants try to solve famous American crimes. In short, the audience is shown dramatized parts of the case and has to solve them. Natasha played Betty Gow, the nanny for the Lindberg baby and chief suspect in the case.
Between sips of hot coffee, she mentions another recent project which was very special to her, a short film called "The Audition." It's about a struggling actor who has an endless array of things go wrong for him in a single day.
"I play one of the horrible things that happen to him. It was a role that was dark, maniacal and mysterious."
She embellished what she thought about playing these "nefarious" parts.
"I enjoy playing the antithesis of what I believe. I enjoy acting opposite my nature to get to know myself. You stretch your limits and realize your potential. I also like historical re-enactments for the same reason. In some films, history is speaking to you in a way you wouldn't otherwise realize. You get to know a culture or environment and how people function in it. You come to understand how much humanity we keep alive — it's a universal feeling to see a character struggle."
Natasha's done numerous short films and continues to do a lot of stage work as a writer, director, and actress. She was an extra in films like the "Summer of Sam" and more recently in "Annapolis" starring James Franco. She co-starred in the 2005 independent feature film "St. Cecelia." The film was shot in the Northeast and distributed to numerous film festivals. Natasha plays Gloria, a bar owner in the middle of a love triangle with the main character. Her character has a tough, world-wise demeanor on the outside but a softer sensibility on the inside.
Natasha was also in an episode of the third season of the "Simple Life" with Nicole Richie and Paris Hilton and in 2005 and played in the short comedy film "Posse," which won best acting at the Philadelphia Film Festival.
"I played an office worker who kept falling asleep at the meetings."
This year, she plans to work on a ghost story that's slated to be shot this summer. "1,000 Words" is a combination of film noir, detective story and psychological thriller. It will be filmed in rural Pennsylvania and parts of the Northeast.
But Natasha never forgets where she's from.
"Every actor experiences some shock when they come from a small city or town, such as when I went to New York City and now Philadelphia. You realize you're just one of many people trying to have your voice heard in this industry and still stay true to yourself. When I go home, I look at the faces of the people here, and it reminds me of what's important in life. But this is where I'm from, who I am and I can always go back. It's a comforting feeling to know — it makes you comfortable in your identity. This area is so much about family. At heart I'm a small town girl."
Let's hope Natasha keeps coming back to visit and when more films get cast and developed here she'll have the opportunity to lend her experienced touch to the project. That may include a project in Fall River or the surrounding area.
"I would be honored to film in my hometown if the opportunity arose. I would love to work on a project in this area. I can't imagine what a thrill it would be. I always felt that this area would be good for a project. It has such a rich cultural history that people don't know about it."
She'll keep us posted. Meantime take a look at www.natashaleemartin.com if you want to find out more about Natasha and her work.
"Actress with Fall River Ties Makes a Run at the Silver Screen"
by Richard Costa, Fall River Spirit Correspondent January 24, 2007
http://www.southcoasttoday.com/apps/pbcs.dll/article?AID=/20070124/PUB/701240400
Natasha Lee Martin, top, stands in front of a tenement complex on Healy Street where her grandfather used to live many years ago before he moved to Tiverton. Photos by RICHARD COSTA/ Fall River Spirit
Natasha Lee Martin has it all working for her: a diversified life, a well-traveled history, an excellent education, remarkable acting ability and disposition. The photogenic 33-year old lives in Philadelphia where she teaches acting at a community college. She also performs in many theater events. But the Providence-born and -raised Natasha also has roots in Tiverton and Fall River, where her grandparents are from. In many ways, it's where her journey started.
I asked her about that journey over a cup of coffee at King Philip Lunch when she visited her father in Tiverton over the holidays.
"It began when I was 5," Natasha remembers. "My uncle, David Tully, worked for WSAR in Somerset. In the evening he was a radio persona. He commissioned and produced 'The Man in the Snow,' a radio play. He needed the character of a little girl."
The little girl was the character who finds a lost Santa Claus freezing in the snow. She leads Santa to her parents and brother. Natasha rehearsed and performed the show on microphone for a broadcast audience in the late 1970s.
She would continue her stage work in high school and move on to travel the world, including undergraduate work in acting at the University of New Mexico and graduate studies at the Actor's Studio Program in Manhattan.
But her roots always tug at her heart wherever she goes. Her paternal grandfather, John Martin Sr., grew up in the Flint while her grandmother, Evelyn Martin, was from the Globe district. Evelyn lived on Heatley Place off Spraque Street along with her parents until she married John Sr. and moved to Tiverton.
Natasha remembers the area well.
"I've been to various parks in Fall River and I used to sail in Fall River and Tiverton. My grandpa had a 25-foot sailboat. We'd sail to Newport and back to Fogland and the Tiverton Bay.
"I also knew all the local Portuguese bakeries and I was introduced to Polish food here at places like the Ukrainian Home. My dad would take us to the factory outlets and flea markets in Fall River. We used to go the China Royal and Burlington Coat Factory."
The memories never leave.
"The ethnic food here is a tradition within my family, like the Portuguese food. When I'm here I realize how much I miss it. I miss the smells, the sandwiches and the way people speak. It becomes a part of you."
She's also seen the city change dramatically over the years from the end of the textile era until now.
"It's now an artistic hub. The factory/warehouse on the waterfront is where the Narrows Center for the Arts is. It's good to see."
Natasha's Uncle David was so involved with the arts it sparked a creative flame within her. As a teenager, she used to go to Newgate Theatre in Providence. Her Uncle David performed there while other relatives, like cousin Patricia Tully, ran much of it. Natasha watched him work and hung around the Trinity Repertory Conservatory backstage, where she eventually acted in a Christmas Production at Rhode Island College.
"I saw so many performances, I became completely enamored with acting while I observed it."
Her family was equally inspirational. David Tully was very arts savvy, as was her cousin Patricia Tully, who is presently the chairwoman of the Salve Regina University Theatre Department. But it was Natasha's family, friends and professors who proved to be her greatest source of inspiration.
"I owe a tremendous thank you to the late Marvin Simms, my acting teacher, and Dr. Noreen Barnes-McLain, who's been an incredible mentor. She gave me many opportunities to direct and teach and develop my work as an actress. I also couldn't have done this without the support of family members who stuck by me, especially my mother, Judith Dimaio, and my father, John Martin."
Judith passed away in 2004. Natasha's father John owns a Fall River based business called TCIC, The Competitiveness Improvement Co. It provides grant-funded training to strengthen a company's ability to compete.
In her late teens, Natasha was accepted at Salve Regina but elected to go to the University of New Mexico instead.
"I studied under some unbelievable people and ended up fully enrolled in production. I had many leading roles there."
While she was enrolled for her MFA in acting at the Actors Studio in Manhattan, she had the opportunity to ask Jennifer Jason Leigh a question on James Lipton's now famous A&E show, "Inside the Actor's Studio."
"I stood up and I was nervous. I asked her what she does when her 'gut' fails her as an actress. She described her 'tool box;' her life experiences, the methods and techniques which she draws on. That's what I do now, draw on my growing experience."
She also witnessed the beginning of the artistic renaissance of Providence, which has culminated recently with the growth of 'Hollywood East' and numerous Providence- and Rhode Island-based productions. It's an effect that has rippled to Connecticut and Massachusetts as well. The 2002 film "Passionada" was produced in New Bedford and Disney is presently producing "Dan in Real Life" in Jamestown.
Natasha recently did an episode for Japan's Nippon TV on a program called "Astonishing News" in which contestants try to solve famous American crimes. In short, the audience is shown dramatized parts of the case and has to solve them. Natasha played Betty Gow, the nanny for the Lindberg baby and chief suspect in the case.
Between sips of hot coffee, she mentions another recent project which was very special to her, a short film called "The Audition." It's about a struggling actor who has an endless array of things go wrong for him in a single day.
"I play one of the horrible things that happen to him. It was a role that was dark, maniacal and mysterious."
She embellished what she thought about playing these "nefarious" parts.
"I enjoy playing the antithesis of what I believe. I enjoy acting opposite my nature to get to know myself. You stretch your limits and realize your potential. I also like historical re-enactments for the same reason. In some films, history is speaking to you in a way you wouldn't otherwise realize. You get to know a culture or environment and how people function in it. You come to understand how much humanity we keep alive — it's a universal feeling to see a character struggle."
Natasha's done numerous short films and continues to do a lot of stage work as a writer, director, and actress. She was an extra in films like the "Summer of Sam" and more recently in "Annapolis" starring James Franco. She co-starred in the 2005 independent feature film "St. Cecelia." The film was shot in the Northeast and distributed to numerous film festivals. Natasha plays Gloria, a bar owner in the middle of a love triangle with the main character. Her character has a tough, world-wise demeanor on the outside but a softer sensibility on the inside.
Natasha was also in an episode of the third season of the "Simple Life" with Nicole Richie and Paris Hilton and in 2005 and played in the short comedy film "Posse," which won best acting at the Philadelphia Film Festival.
"I played an office worker who kept falling asleep at the meetings."
This year, she plans to work on a ghost story that's slated to be shot this summer. "1,000 Words" is a combination of film noir, detective story and psychological thriller. It will be filmed in rural Pennsylvania and parts of the Northeast.
But Natasha never forgets where she's from.
"Every actor experiences some shock when they come from a small city or town, such as when I went to New York City and now Philadelphia. You realize you're just one of many people trying to have your voice heard in this industry and still stay true to yourself. When I go home, I look at the faces of the people here, and it reminds me of what's important in life. But this is where I'm from, who I am and I can always go back. It's a comforting feeling to know — it makes you comfortable in your identity. This area is so much about family. At heart I'm a small town girl."
Let's hope Natasha keeps coming back to visit and when more films get cast and developed here she'll have the opportunity to lend her experienced touch to the project. That may include a project in Fall River or the surrounding area.
"I would be honored to film in my hometown if the opportunity arose. I would love to work on a project in this area. I can't imagine what a thrill it would be. I always felt that this area would be good for a project. It has such a rich cultural history that people don't know about it."
She'll keep us posted. Meantime take a look at www.natashaleemartin.com if you want to find out more about Natasha and her work.
What's it like acting with `Loose Women'?
ABQ Tribute
By Ollie Reed Jr.
Friday, September 15, 2006
http://www.abqtrib.com/news/2006/sep/15/whats-it-acting-loose-women/
"Loose Women of Low Character" continues through this weekend at Sol Arts, 712 Central Ave. S.E.
After seeing a production of "Loose Women of Low Character" at Sol Arts recently, I felt compelled to talk to Joseph West.
"Loose Women" is a collection of more than 20 sketches written by 13 women, directed by two women and performed by a cast of nine women and one man. Joseph West is the one man.
I called him at his day job at an Oriental rug store to see what being the lone man among "loose women" is like.
"Exciting," he said. "I knew about half the women who wrote the pieces, and I was interested to see what they had done."
"That's good," I said. "Uh, did you have your own dressing room?"
"No, we all used the same one," he said. "Sometimes I'd duck into the bathroom because it could get pretty crowded in (the dressing room). But they were really comfortable around me, and I was pretty comfortable with them.
"When the stage manager cued us backstage, she'd just say, `Ladies,' so I guess I just became one of the girls. It was fine."
As you might expect of a show drawn from so many different sources, "Loose Women" is uneven. But at its best, it is funny, sad, heartbreaking and thought-provoking. And even though it's relatively long, it's not tedious.
It is often edgy, and I bet it has a different impact on women than on men. After all, it's a show in which strong-minded women sound off about aspects of their lives - including men.
"I think the show may be a little harder for men to take, because they are going to be automatically on guard," West, 27, said. "A lot of the monologues are about how women feel about men. And in some cases, I've been that guy they're talking about - because I was young and didn't know how to act around women."
West is in five sketches.
He's not much more than part of the set in "Oversexed"; he's a geek trying to be macho in "Girl Walks Into a Bar"; he's a jerk trying to coax girls into a motel bathtub with him in "The Canadian"; he loses his pants and gets tied up on a motel bed in "Pizza Man"; and - well, we'll get to "Mirror Ball."
West says his favorite roles were the geek in "Girl Walks" and the jerk in "The Canadian."
"Because I kind of view myself as a comic actor," he said "Those pieces gave me the chance to do some of the schtick I love, some of the stuff - like Dick Van Dyke, Jerry Lewis and Jim Carrey - that I watched growing up."
"Mirror Ball" was West's most demanding sketch. It must have been for everyone involved, including those of us watching. It may be the longest piece in the show, but it's the one that has the audience holding its breath - to catch every word, to grasp what has happened, to find out what will happen.
It's about a woman (Rachel Tatum) who has had unprotected sex with a man even though she suspected at the time that he might have a venereal disease.
Now, scared and lonely, she confronts her alter egos (Ann Beyke) and (West) in two mirrors.
Beyke is the good-girl ego, nagging but encouraging, too. West is the bad girl ego, the hard, ugly truth that's difficult to face.
All three of the actors in the sketch wear black women's nightgowns.
"My character is definitely kind of queeny and draggy," West said. "But it's also the most dynamic character I play. It was challenging physically, emotionally and mentally. There's a level of discomfort in `Mirror Ball.' But the challenge was worth it because it pushed all of us."
West said his work in "Loose Women" has helped him grow - not only as an actor but maybe also as a man. He learned things backstage as well as on stage.
"I've definitely seen how women of all ages and races are with each other," he said. "I definitely think it will have an effect on me. Maybe it will change the way I am in my relationship with my girlfriend - or the way I relate to my sister or to my mom."
ABQ Tribute
By Ollie Reed Jr.
Friday, September 15, 2006
http://www.abqtrib.com/news/2006/sep/15/whats-it-acting-loose-women/
"Loose Women of Low Character" continues through this weekend at Sol Arts, 712 Central Ave. S.E.
After seeing a production of "Loose Women of Low Character" at Sol Arts recently, I felt compelled to talk to Joseph West.
"Loose Women" is a collection of more than 20 sketches written by 13 women, directed by two women and performed by a cast of nine women and one man. Joseph West is the one man.
I called him at his day job at an Oriental rug store to see what being the lone man among "loose women" is like.
"Exciting," he said. "I knew about half the women who wrote the pieces, and I was interested to see what they had done."
"That's good," I said. "Uh, did you have your own dressing room?"
"No, we all used the same one," he said. "Sometimes I'd duck into the bathroom because it could get pretty crowded in (the dressing room). But they were really comfortable around me, and I was pretty comfortable with them.
"When the stage manager cued us backstage, she'd just say, `Ladies,' so I guess I just became one of the girls. It was fine."
As you might expect of a show drawn from so many different sources, "Loose Women" is uneven. But at its best, it is funny, sad, heartbreaking and thought-provoking. And even though it's relatively long, it's not tedious.
It is often edgy, and I bet it has a different impact on women than on men. After all, it's a show in which strong-minded women sound off about aspects of their lives - including men.
"I think the show may be a little harder for men to take, because they are going to be automatically on guard," West, 27, said. "A lot of the monologues are about how women feel about men. And in some cases, I've been that guy they're talking about - because I was young and didn't know how to act around women."
West is in five sketches.
He's not much more than part of the set in "Oversexed"; he's a geek trying to be macho in "Girl Walks Into a Bar"; he's a jerk trying to coax girls into a motel bathtub with him in "The Canadian"; he loses his pants and gets tied up on a motel bed in "Pizza Man"; and - well, we'll get to "Mirror Ball."
West says his favorite roles were the geek in "Girl Walks" and the jerk in "The Canadian."
"Because I kind of view myself as a comic actor," he said "Those pieces gave me the chance to do some of the schtick I love, some of the stuff - like Dick Van Dyke, Jerry Lewis and Jim Carrey - that I watched growing up."
"Mirror Ball" was West's most demanding sketch. It must have been for everyone involved, including those of us watching. It may be the longest piece in the show, but it's the one that has the audience holding its breath - to catch every word, to grasp what has happened, to find out what will happen.
It's about a woman (Rachel Tatum) who has had unprotected sex with a man even though she suspected at the time that he might have a venereal disease.
Now, scared and lonely, she confronts her alter egos (Ann Beyke) and (West) in two mirrors.
Beyke is the good-girl ego, nagging but encouraging, too. West is the bad girl ego, the hard, ugly truth that's difficult to face.
All three of the actors in the sketch wear black women's nightgowns.
"My character is definitely kind of queeny and draggy," West said. "But it's also the most dynamic character I play. It was challenging physically, emotionally and mentally. There's a level of discomfort in `Mirror Ball.' But the challenge was worth it because it pushed all of us."
West said his work in "Loose Women" has helped him grow - not only as an actor but maybe also as a man. He learned things backstage as well as on stage.
"I've definitely seen how women of all ages and races are with each other," he said. "I definitely think it will have an effect on me. Maybe it will change the way I am in my relationship with my girlfriend - or the way I relate to my sister or to my mom."
Local IQ Magazine – Albuquerque
Loose Women of Low Character
Arts - Stage
Sunday, 27 August 2006
http://www.local-iq.com/index.php?option=content&task=view&Itemid=55&id=304
BY JONISE ORIE
If someone called you a loose woman of low character (male readers please exercise a little creativity here) what would you do? It’s not something we as a society normally celebrate. Its not something a woman “should” be proud to call herself. But if someone is implying that if the shoe fits, why not wear those shoes with a little pride and pizzaz.
Loose Women of Low Character is a vignette of stories compiled by Brand Slagle and Tiffany McQueen, the team that wrote Ladyslipper, a play performed at Sol Arts last year. The idea for the show came during a breakup in which Slagle’s significant other bestowed the derogatory but eloquent title of Loose Women of Low Character onto Slagle and her friends. She was so angry she decided she wanted to make a show about it, and explore the meaning of that insult.
Slagle e-mailed all her women friends who were creative and brave enough to embrace that title. She urged them to “ write something, write anything!” about what it means to be a bitch, to be a loose woman, to be a bad girl. To ensure continuity, she asked the writers to set the scene at a roadside motel — in the bar, in the parking lot or in the coffee shop.
Slagle’s friends answered her call with monologues, dance scenes, therapy sessions, bitches anonymous, conversations with alter egos, bar dating 101, poems and other creative contributions. In the end, 13 women contributed. Nobody’s piece was cut out; instead Slagle and McQueen underwent the long process of compiling, editing, and working with the writers to mold a narrative that unfolds at a seedy roadside hotel. Veteran local directors Kristen Loree and Laira Morgan were asked to join the fun.
Sol Arts advertises this production as “A collection of short original works about the sometimes dark but predominantly comic side of what it means to be a ferociously free female.” The theater is presenting this play as part of their Second Annual Women’s Words Festival. Slagle and McQueen were part of the first festival, during which Ladyslipper was performed.
Loose boasts a cast of nine women in the female roles and one male actor playing all of the male parts in the play. In casting for all these parts, the writers and directors looked to assemble a wide variety of women. They vary in age from 18 to 60, and are all quite disparate. “They are all just really beautiful women and just sexy in their own way.” says Morgan of her cast.
Morgan asserts that the play has been a lot of fun and everyone coming into the show has been excited about it. Since it was a very collaborative play, there was a lot of discussion during rehearsals and exploring what it means to be a bad girl or a bitch, and the consequences involved. Rehearsals rarely ended on time because those involved in the play found themselves caught up in talking about their experiences. Morgan describes the first rehearsal as being almost like a slumber party.
Loose Women of Low Character
8p Fri and Sat, 2p Sun Aug 25-Sep 17
Sol Arts, 712 Central SE, 244.0049 Opens Fri, Aug 25, reservations required No performance Sun, Sep 3
Pay-What-You-Can Night, 8p Thu, Aug 31
$10 general, $8 Students
Loose Women of Low Character
Arts - Stage
Sunday, 27 August 2006
http://www.local-iq.com/index.php?option=content&task=view&Itemid=55&id=304
BY JONISE ORIE
If someone called you a loose woman of low character (male readers please exercise a little creativity here) what would you do? It’s not something we as a society normally celebrate. Its not something a woman “should” be proud to call herself. But if someone is implying that if the shoe fits, why not wear those shoes with a little pride and pizzaz.
Loose Women of Low Character is a vignette of stories compiled by Brand Slagle and Tiffany McQueen, the team that wrote Ladyslipper, a play performed at Sol Arts last year. The idea for the show came during a breakup in which Slagle’s significant other bestowed the derogatory but eloquent title of Loose Women of Low Character onto Slagle and her friends. She was so angry she decided she wanted to make a show about it, and explore the meaning of that insult.
Slagle e-mailed all her women friends who were creative and brave enough to embrace that title. She urged them to “ write something, write anything!” about what it means to be a bitch, to be a loose woman, to be a bad girl. To ensure continuity, she asked the writers to set the scene at a roadside motel — in the bar, in the parking lot or in the coffee shop.
Slagle’s friends answered her call with monologues, dance scenes, therapy sessions, bitches anonymous, conversations with alter egos, bar dating 101, poems and other creative contributions. In the end, 13 women contributed. Nobody’s piece was cut out; instead Slagle and McQueen underwent the long process of compiling, editing, and working with the writers to mold a narrative that unfolds at a seedy roadside hotel. Veteran local directors Kristen Loree and Laira Morgan were asked to join the fun.
Sol Arts advertises this production as “A collection of short original works about the sometimes dark but predominantly comic side of what it means to be a ferociously free female.” The theater is presenting this play as part of their Second Annual Women’s Words Festival. Slagle and McQueen were part of the first festival, during which Ladyslipper was performed.
Loose boasts a cast of nine women in the female roles and one male actor playing all of the male parts in the play. In casting for all these parts, the writers and directors looked to assemble a wide variety of women. They vary in age from 18 to 60, and are all quite disparate. “They are all just really beautiful women and just sexy in their own way.” says Morgan of her cast.
Morgan asserts that the play has been a lot of fun and everyone coming into the show has been excited about it. Since it was a very collaborative play, there was a lot of discussion during rehearsals and exploring what it means to be a bad girl or a bitch, and the consequences involved. Rehearsals rarely ended on time because those involved in the play found themselves caught up in talking about their experiences. Morgan describes the first rehearsal as being almost like a slumber party.
Loose Women of Low Character
8p Fri and Sat, 2p Sun Aug 25-Sep 17
Sol Arts, 712 Central SE, 244.0049 Opens Fri, Aug 25, reservations required No performance Sun, Sep 3
Pay-What-You-Can Night, 8p Thu, Aug 31
$10 general, $8 Students
RENT
Copyright Albuquerque Journal
Jan 2, 1997
http://business.highbeam.com/2872/article-1G1-107628716/passion-permeates-easons-love
There's a late Christmas present for theater lovers playing at the Hiland Theatre tonight, a concert performance of "Rent."
Called "Seasons of Love: a concert celebrating highlights from Jonathan Larson's 'Rent,' '' it's a gift from a talented group of performers and from Larson's parents, who live here in Albuquerque.
What a show! "Rent" has been the hottest ticket in New York since it opened in January. Based on Puccini's opera "La Boheme," it's the story of a bunch of young artists living on the edge in Manhattan. It's fresh, fast, full of passion and energy.
It's about youth in the face of death, about living for the day, and it's heartbreaking because its young creator died last January before the show opened.
This production is a benefit; the ticket price is pay-as-you-wish, a donation to the Jonathan Larson Performing Arts Foundation, which is designed to give grants to the struggling artists represented in the show, much like Larson, who supported himself as a waiter while he wrote and composed. And much like the cast and crew of this production -- many are current or former students of UNM's theater program, and from the passion of their performances, you can tell this show belongs to them, not like some ponderous mega-musical with a helicopter dropping to the stage, or a revival of something first staged 20 or 50 or 70 years ago.
It's the story of Mark (Adam Kidd, who also co-directs with Adriana Rowe) and Roger (Jon Krenrich), who live in a skanky loft and haven't paid rent in a year. Their old friend Benny (Byron Laurie) owns the building. But Benny has married into money, and he wants to convert the building into a cyber-virtual-something and kick Roger and Mark out. Mark's ex-girlfriend Maureen (Rowe) stages a protest concert with the help of her new lover Joanne (Amani Malaika). In the meantime, their friend Collins (Matt Vasquez) falls in love with Angel (Bryan Cummins), and Roger falls in love with Mimi (Virginia Olivas). People die, people sell out, people break up, people change. People even think about soaking the rich by opening a restaurant in Santa Fe.
There are some great songs here; it's easy to see why "Rent" won the Tony this year for best musical. And even when it's not great, it's so fresh and passionate that it feels great. And it's a great cast, especially Kidd, Rowe, Cummins and Vasquez. Olivas as Mimi looked wonderful, but she was hard to hear over the band. This was the one overall problem at Monday's performance; the band (music director Joel Gelpe on keyboards, Lawrence Dominguez on guitar, David Lopez on bass and Bill Mudd on drums) was good, but the sound was mixed so that it overwhelmed the singers, especially those with softer voices, like Olivas and Krenrich. But that's a problem that can be fixed. How is the Hiland Theatre, recently purchased by Albuquerque Civic Light Opera, as a venue for live performance? Wonderful, big and more intimate in feeling than Popejoy Hall or the Kiva.
If you love theater, you should not miss tonight's performance of "Seasons of Love." It's a good show with a good cast, staged to benefit a good cause. It's full of life, and that's what theater is supposed to be all about. "Seasons of Love" Highlights from Jonathan Larson's "Rent" WHEN: Tonight at 8 p.m. WHERE: The Hiland Theatre on Central SE at Monroe HOW MUCH: Admission is a donation to the Jonathan Larson Performing Arts Foundation; give what you can