ICE FACTORY 2012
Written by Jess Barbagallo
Additional Writing by Chris Giarmo
Directed by Jess Barbagallo & Chris Giarmo
Sound & Props Mike Cacciatore
Lights by Zack Tinkelman
Visual Art Molly Allis
Stage Manager - Liz Nielsen
Technical Advisor - Nathan Lemoine
Costumes from Chris Giarmo’s Personal Sweater Collection
*Appear courtesy of Actors' Equity Association
Good Year For Hunters is a queer horror play about a mysteriously orphaned brother and sister who fall in love with a closeted husband and wife in a world of fractured time and secrets. Its creation was inspired by Tori Amos’ seminal 1992 album “Little Earthquakes,” an earnest and abstract document of a young woman’s struggle to find her voice under oppressive cultural, religious, and sexual circumstances, and the soundtrack of artistic team Chris Giarmo and Jess Barbagallo’s teenage years. Using a poor theatre aesthetic of minimalist design and physical acting, the Hunters cast creates a darkly comedic landscape of yearning turned nightmare. Good Year For Hunters is a looped reliving of traumatic loss in which memory rewrites history interminably, capturing the very contemporary problem of deferred adulthood.
"Erratic and elliptical, the play forms a loose love polygon among men who like boys, girls who like women, and bears who like girls…Rather than writing a funny play, a chilling play, a melancholy play, or an absurdist play, Barbagallo and Giarmo have frapped multiple genres."
-The Village Voice
"There is a certain tender sweetness in the portrayal of this web of dysfunction…The six-member company captures the aching longings of these desperate people."
Everywhere Theatre Group
Written & Directed by Leah Nanako Winkler & Teddy Nicholas
Choreography Sara Pauley
Video/Sound Design Chase Voorhees
Set/Lighting Design Barbara Eldredge
Costume Design Sarah Snider
Stage Manager Alyson Fortner
Video Technical Asst Scott Fetterman
T. Ramon Campbell
T. J. Collins
Sean Patrick McGowan
Peter Mills Weiss
*Appear courtesy of Actors’ Equity Association
Flying Snakes in 3-D is an epic fusion of sci-fi parody, the avant-garde, and brutally autobiographical elements, in which a young and broke theater company challenge themselves to the ultimate task in order to pack the houses: to successfully make a play that is better suited for film. What they come up with is “Flying Snakes in 3-D,”where mutant killer snakes are accidentally released from CIA-enlisted scientific headquarters under the setting of earth under attack, and violent, bloody chaos ensues. Will The Heroes be able to defeat the snakes? Will the theatre company be able to make their play succeed in the face of overwhelming financial, technical and emotional obstacles? Packed with dance, cheap special effects, and absolutely stunning video design, this tongue-in-cheek parody wildly entertains while daring to ask the question: If theater is a dying art, why are we still making it?
"A hilarious and unexpectedly touching story of why we make theatre and how to save the world from killer flying snakes... It’s a refreshingly original piece of theatre that is pretty damn funny... It examines and rages against the privileges offered by gender, race and class... Flying Snakes in 3D is just pretty freakin' fantastic."
-Theatre is easy
"Only Everywhere Theatre Group can successfully juxtapose the struggling artist message with a science fiction narrative about snakes...
There’s so much to like in this play: Fun quirky retro characters, bloody attacks, pontification, a cowboy, a baller, a (female!) ninja who reads minds, parody of trust fund babies, snakes flying over a NYC skyline, fancy explosions, and a snake ballet!"
-New York Theater Review
"It’s cheesy and upbeat, played out over what’s presented as a profound personal drama."
Godlight Theatre Company
Based on the novel by Will Elliott
Adapted by Matt Pelfrey
Directed by Joe Tantalo
Fight Choreography Rick Sordelet
Dramaturg/State ManagerChristina Hurtado Lighting Design Maruti Evans
Sound Design Ien DeNio
Anthony Cumberbatch, Jr.
*Appear courtesy of Actors’ Equity Association
"You have two days to pass your audition. You better pass it, feller. You're joining the circus. Ain't that the best news you ever got?”
The Pilo Family Circus is recruiting and whether he likes it or not, Jamie is auditioning. He never dreamed of running away to join the circus, but you just don't say no to a troupe of exuberantly sadistic clowns out headhunting. Darkly funny and gleefully macabre, Will Elliott's The Pilo Family Circus, adapted by Matt Pelfrey, follows Jamie's furious descent into the nightmare world of a centuries-old carnival where amid the acrobats, clowns, dwarves, freaks and fortune tellers, you may lose more than just your way. Jamie finds that his worst enemy is himself. When he applies the white face paint, he is transformed into JJ – the most vicious clown of them all. And JJ wants Jamie dead...
"This extraordinary company, which has perhaps the most consistent track record of producing excellent, thought-provoking, challenging fare with dazzling production values in spite of indie-level budgets."
Written by Bekah Brunstetter
Directed by David F. Chapman
Producer Eileen Lalley
Scenic Design Caite Hevner
Light Design Gertjan Houben
Puppet Design/Choreography James Ortiz
Sound Design Jill BC Du Boff
Properties Design Sarah Dowling
Production Stage Manager Ryan Gohsman
Fight Choreographer Brian Belcinski
*Appear courtesy of Actors’ Equity Association
Miss Lilly, a Sunday school teacher, has been waiting patiently for God to drop a man in her lap. When a new student – a young South African boy whose mother was killed by an elephant – disturbs the harmony of her classroom and his father disturbs the harmony of her heart, Miss Lilly is forced to re-examine her own sense of faith and self. Right or wrong, sinful or holy – a natural force is at work in Miss Lilly’s classroom where her hymns are accompanied by the rumble of angry elephants and her prayers are answered by a stranger to her god.
“You should look into what Studio 42 has cooking. It's DOWNRIGHT INSPIRATIONAL!”
"In its first half Bekah Brunstetter's sort-of-comedy actually feels like a sweetly
twisted send up of the [Hugh] Grant-model romcom. But there's more to 'Miss Lilly...'
than that. ... A witty, likeably bonkers little play!"
-Time Out London
Clancy Productions in association with The Occasional Cabaret
Written by John Clancy
Directed by Peter Clerke
Music Composed Tim Brinkhurst
Set & Costume Design Ali Maclaurin
Technical Director Kevin McCallum
Production Manager Camilla O’Neill
The Apocalyptic Road Show, a contemporary, comic, profane cabaret celebrating the end of the world, is a transatlantic collaboration between The Occasional Cabaret (Edinburgh) and Clancy Productions (New York). Join your hosts Gdjet and Lulu and their mysterious musical companion as they guide you through the coming apocalypse and bid a fond farewell to the late, great, damned and doomed human race.
The Occasional Cabaret is the latest incarnation of Peter Clerke and Catherine Gillard of the renowned Scottish touring company benchtours.
"What's exciting about this fierce and ragged show is the way in which it tries to shake up theatrical form… timely, disturbing, and so well worked out in the best of Clancy's writing - that the show is impossible to resist, and it slices down to the hidden reality of the way we live now, in a way that makes the rest of our theatrical world seem pallid, and a little short of the courage it takes to face a terrible truth."
-Joyce McMillan, The Scotsman
Written & Directed by Jeremy Bloom
Adapted from the 1911 novel by David Belasco
Music/Additional Words Catherine Brookman, Ellen O'Meara, and Joe White
Sound Design/Additional Music Lucas Segall
Set Design Brian Rady
Set Design Asst Andre Sguerra
Lighting Design Jeanette Oi-Suk Yew
Costume Design Kathleen Doyle
Costume Design Asst Ariel Pellman
Dramaturgy & Stage Manager Shannon Deep
Asst Director Dana O'Brien
Exploding onto the frontiers of uninhabited California, the only female in the entire Gold Rush town of Cloudy Mountain sets up her saloon. Mythologized in David Belasco's grandiose 1911 novel and canonized as one of the great spaghetti westerns - a play turned-novel-turned-Puccini-extravaganza - this modernized golden paradigm is a new music and soul-filled ode to the unexplored and untouched expanse of our nation’s forgotten periphery, and the baffling potential successes of what could’ve been.
"In those strange days, people coming from God knows where, joined forces in that far Western land, and, according to the rude custom of the camp, their very names were soon lost and unrecorded, and here they struggled, laughed, gambled, cursed, killed, loved and worked out their strange destinies in a manner incredible to us of to-day. Of one thing only are we sure—they lived!"
-David Belasco’s epigraph to The Girl of the Golden West
"Much like the pioneering characters in The Girl of the Golden West, the production pushes boundaries…Bloom and the rest of the cast and crew bring amazing energy, enthusiasm, and dedication to this wholly inventive production."
-The Drama League
"It blows the dust off an American classic while remaining true to the spirit of the original… Bloom establishes a detached, presentational style in the performances, giving his actors room to play freely and riff on their characters but keeping them in the same theatrical world."