Showing posts sorted by relevance for query death of american. Sort by date Show all posts
Showing posts sorted by relevance for query death of american. Sort by date Show all posts

Wednesday, October 12, 2011

Death of American Centaur

One night, in McCoy's, a couple of Youngblooders were bemoaning the endless series of readings and reading workshops that stud the new play landscape like ghost towns in a Western desert. You can "read" a play to death, can't you? Sometimes you just need to do the play.

This is an early pitch for Youngblood's Unfiltered series, and it's also a reminder that Rob Askins' Hand to God is happening soon.

But there's a second part of the story. "What if we did readings of classic plays, y'know? Just as a weird kind of revenge." "Yeah, we could do Death of a Salesman." "Yeah!" "Yeah. Yeah. Let's workshop the hell out of that play. You know? Cause in the end it'd be... it'd be.... Yeah. It'd be a really good play, still. Hm." And then we trailed off.

Well, Youngblood was smart enough to stop there. American Centaur, the company that's remaking American theater and human life as we know it, was dumb enough to keep going. Death of American Centaur is revenge and tribute -- a desperate plea from the pimply guy at the middle school dance, asking the gorgeous cheerleader (Arty Miller) on a date.

Also, American Centaur is the beloved group of lovely people I spend a lot of time making theater with. We have a lot of fun together, and want to include you.

Come check it out -- Death of American Centaur @ ArsNova's ANT Fest, Saturday, October 22nd, 8 o'clock. Tickets are $10.


Sunday, November 04, 2012

The Case for a Second Act


F. Scott Fitzgerald famously said ‘There are no second acts in American lives.’

As a playwright, I wish this were true.  Not only because I find second acts the hardest to write, but because first acts are so full of (for lack of a better word) hope.  Nothing needs to end in a first act, nothing needs to be definitive.  They can be full of possibility and potential and the sweet, narrative candy that keeps us interested. 

But they’re incomplete.

As an audience, we need those second acts.  We need them because they satisfy us in that deep, primal kind of way.  They bring with them the resonate weight of human truth.  Take Oedipus or Death of a Salesman, for example.  Without those second acts, the stories, on a subconscious level, feel false -- Oedipus is happily married to Mom, and Biff is going to that meeting with Willy thinking everything is going to be just fine.  And while the optimist in me always wishes they would end there, what makes them timeless pieces of ‘Literature’ or ‘Art’ is that they reflect life.  The cold, karmic hammer of reality comes down because it has to come down – not for the sake of the plot, but because as human beings we expect it, we need it -- we know it to be true.  Something within us craves resolution.  It’s scientific – every action has a reaction, factors result in a balanced equation; it’s the punchline to our jokes and why music makes us tap our feet. 

And it’s why we should re-elect President Obama. 

What does that have do with anything, you ask?  Hold on. 

If you ask me (and perhaps you didn’t), this whole American enterprise has grand tragedy written all over it.  Why?  Because, if we’re honest, the ‘greatness’ of this country, was built, like something from Sophocles or Shakespeare, on a tragic, pervasive flaw – which is, of course, slavery.  It haunts us to this day.  It lies at the root of our domestic problems and undercuts even the grandest ideas put forth by Washington, Jefferson, and the rest.   Because, really, America’s not unlike ol’ Oedipus or Willy Loman – we harbor this terrible truth we can never talk about because doing so would expose the fundamental lie that governs this country: that all men are created equal.   

Which is why, four years ago today, something incredible happened.  In some deep, unknown way, America (the character, of course) transcended its perceived limitations in that rare, amazing, Helen Keller kind of way – the kind of way you’d never believe if it wasn’t true – by electing an African-American man to the highest office in the land and put him up in a white house built by black slaves.  It was a choice – dramaturgs, holler if you hear me -- it was a choice to progress and, in some way, atone for what our ancestors had done.  That we could, at a crucial moment, make a euphoric choice, instead of a tragic one --that we could somehow stop the inertia of history, draw a line in the sand, and say ‘Now, we’re new.’ 

It was, in the story of America, an act break. 

But in the story of the Obama Presidency, of course, it was just the beginning.  It was, if you want to get technical about it, the inciting incident.  And I think the conflating of those two stories – what Obama’s election meant for the country and what it meant for the man himself – is why a lot of us have been frustrated by the lack of change over the last four years.  We were expecting a second act, when in practicality, it was really just the first.

Are you following?  I hope so.

My point is that the choice we make on Election Day isn’t for one man to have a job for the next four years, it’s the choice to finally usher in that second act we’ve been waiting for. 

Because if we think about the sad nature of our political system, a President’s first term is only the preamble to the bold moves he (or she – Hillary 2016!) could enact his a second.  And if we think of the narrative of President Obama -- from Hawaii to Harvard, from Chicago to the Presidency -- at every step of the way, he’s exhibited a profound political savvy, balancing between opportunism and pragmatism, knowing all the while he’s had to satisfy the expectations and prejudices of a fragile electorate (whoever it was at the time) in order to get ahead.  And I firmly believe that an Obama second term is a chance for him to gloriously reclaim the mantle of ‘Change’ he championed so passionately as a candidate.  And I know he can do it.  Because without the fear of political repercussions that a second Presidential term allows, I trust that he will have the personal power and legislative know-how to institute the kind of widespread systemic changes that America needs in order to thrive in the 21st Century.

As President Obama knows better than anyone, we are no longer a country of White Christian men.  And to succeed, to ‘win the future’ (as that terrible phrase goes), we have to embrace the growing diversity of our population and re-engage with the world as neighbors instead of bullies.  We have to lay the groundwork for an epic American second act in which we see a modern renaissance defined by diplomacy in global affairs, progressive social policies, and a new New Deal that invests in updating our creaky infrastructure while balancing our economy. 

It’s more than possible, but the time to make it happen is, and can only be, now.

If we falter, the second act we need so desperately will escape us, and not only will that make for one hell of a horrible story, but we’ll be headed down the same ignorant, self-satisfied path that has felled every empire over the course of human civilization – and the one, not to mention, that led to the mess we found ourselves in four years ago.  If Mitt Romney is elected, we will admit to ourselves and to the world that we’re not who we thought we were in 2008, and we’ll revert to taunting the looming dangers of climate change, Islamic extremism, and economic disparity with our American chauvinism.  And that cycle can’t keep repeating itself.  We don’t have time.  Sooner or later, the paradigm will shift, the egg will crack, and in a blaze of light or in blood on the streets, we won’t recognize ourselves anymore.   

America deserves a second act.  It’s about damn time we turned and faced the fundamental problems that plague us.  And we can – because of one man’s unique place in our history – yes, we can.  (Sorry).  But it takes looking beyond our little window on the world.  It takes empathy and guts and patience.  Kind of like writing a play. 

I’m sorry, but F. Scott Fitzgerald was wrong.  There are second acts in American lives. 

And the biggest one begins on Tuesday.  Go vote. 



Monday, May 02, 2011

Youngblood Credited with Death of Osama Bin Laden



Late Sunday night President Obama announced the death of Osama Bin Laden, leader of the Al Qaeda terrorist network and the most wanted man in the world, by American Special Forces and the Youngblood group for Emerging Writers.

"If it weren't for the brave work done by the military and young playwrights, the face of global terror and extremism would still exist today." The president said last night as crowds gathered outside the White House, Times Square, Ground Zero, and the Ensemble Studio Theatre to celebrate.

The historic day started late last summer, when an intelligence report surfaced that the terrorist leader may be hiding in a compound in Pakistan, while Graeme Gillis and RJ Tolan sifted through applications for new membership to Youngblood. Over the past few months, the president held several meetings with his National Security Council while Youngblood held several high level, successful brunches, a retreat, and it's "Asking For Trouble" series in what was a coordinated effort to take down the head of the organization which killed nearly 3,000 people on September 11th, 2001 as well as thousands of others around the world the past two decades, and spurred two American wars in the Middle East.

The operation is widely credited to Youngblood's Bloowdworks fundraiser party this past Friday, a huge success in which none of the guests reportedly knew that the hosts of the party were actually in the midst of one of the largest Special Forces operations of our time. "I was just dancing, getting crazy drunk, grinding up on Eric Dufault," said one member of the party, who wanted to remain anonymous for walk of shame reasons, "I thought maybe when I was getting raffle tickets for that dream date dude something weird might be up...but not like that!"

Many playwrights had suspiciously left the party early before clean up, presumably to coordinate operations with CIA Director Leon Panetta, though some analysts assume they were just too drunk and had rehearsal in the morning. The weekend continued culminating in the second to last brunch of the year, the Confessional Brunch. Shortly before Lydia Brunner's play went on stage, which featured sexual acts by puppets, she was on the phone with the State Department making sure a coordinated communications response was in place for the next day.

As the world celebrates and discusses the world post Osama Bin Laden, the United States military operations continue against Al Queda and Youngblood continues to write and produce new American Theater. This continues the next two months at the South Street Sea Port Monday nights for the Bloodworks reading series.

Rumors have surfaced following the death of Bin Laden, Youngblood member Patrick Link may be looking at a 2012 run for president.

Tuesday, May 10, 2011

Blogging Bloodworks: Bonds Edition

First, the details:

a reading of
ANNE & ADA
by Rachel Bonds
directed by Linsay Firman

After the sudden death of their parents, Anne and Ada are left to live alone and at odds with one another in their childhood home. As Anne folds in on herself, longing for the safety of childhood, Ada bristles under her new duties as caretaker. They each forge a relationship with the mysterious and sometimes malevolent figure, The Visitor, who allows the sisters to explore the far and dark reaches of their separate desires, memories and grief.

Monday, May 16th at 8:30PM

Walk down Fulton Street to the Seaport
The theater is on the second floor of the Pier 17 Mall

with Julie Fitzpatrick, Kevin Collins, Megan Tusing, Matt Steiner, Stephanie Wright Thompson and Joby Earle


I've been working on this play for some time now. Linsay served as a mentor for me during the play's earliest stages, and then we collaborated on a developmental workshop of the script at New Georges. I've completely revised the play since that workshop, but haven't had the chance to work with actors on this very new draft. I'm very excited. Linsay is very excited. The reading is the same night as the OBIES, unfortunately---so if you find yourself without a ticket to those, know that you will always have a ticket to the seaport, and to Bloodworks, and to my heart.

I write a lot about grief. This play is no exception. I got interested in exploring what happens to siblings after the death of a parent (or in this case, both parents), particularly after the shock has worn off---after the funeral and the planning and the ability to bury oneself in those "things that need to get done." I'm interested in that time a year or two years or three years after you lose someone, when the rest of the world seems to be running speedily by, as though nothing has happened. And you can't seem to get yourself back into the pace of things. Somehow you feel you can't catch up. This play explores that isolation experienced by two sisters, Anne and Ada---examining the way that grief has pulled them apart and put them at odds with one another. The Visitor*** character---a charismatic but eerie figure, a shape-shifter of sorts, embodies this conflict, emerging from the depths of their childhood home, the house that has come to represent for Anne their old life, happiness, the "way things used to be," and for Ada, all the things that make her feel old and far away from the life she wanted for herself.

The play is strangely relevant to me lately, as my grandmother passed away recently, and my sister, aunts, cousins and I are trying to figure out what to do with her house. It's in terrible disrepair---and I'm going down to Richmond in two weeks to start sorting through her belongings, photos, paintings, furniture, etc, as we decide whether to sell the house where my father and his sisters grew up, where I have so many memories, or to fix it up, maintain it, and keep it within the family. (The picture posted above is my grandmother's house.)

So---skip the OBIES and come to the reading. The cast is fantastic and expertly directed by Linsay Firman. I would love to have you there.

Also----here's a This American Life podcast that really gets at the tone and feeling I'm exploring in the play. My friend Dylan Dawson (of Forks! Forks! Forks! fame and a fantastic playwright) passed this on to me after reading an earlier draft of A&A.



***Footnote (because I love footnotes): I was taking a writing workshop in Prague (which I found to be a dark, beautiful, but very haunted city) when the seed of this play took shape. Robin Hemley, who led my workshop, said, (and this is not a direct quote...but it is how I remember it) "There are two kinds of stories. The Visitation and The Journey. Know which one you are writing." And so I got obsessed with that idea of "The Visitation," which is where the character of "The Visitor" originally came from.


Friday, November 04, 2011

Physics of a Pie-angle

1. Attend Death of American Centaur at Ars Nova featuring Youngblood luminary Alex Borinsky. 
2. Do not leave the theater when an actor announces that he will pay you back for your ticket if you’d prefer to take a walk outside.
3. Enjoy the scene where the company uses two whipped cream pies to induce tension into a heart to heart between Biff & Happy (seriously, the other brother in Death of a Salesman is named Happy?). Realize that every play could probably be better with two actors standing by with pies waiting for the perfect moment to strike.
4. At intermission, when the actors lay down a tarp and announce that the audience is welcome to pie actors or each other, turn to RJ Tolan and newly minted YBer Clare Barron and nod in unison. Attempt to convince Meghan Deans. Fail.
5. Clamber onto that tarp and stand in a rough triangle.
6. On the count of three, smash that pie into your assigned person’s face.

7. Realize that the whipped cream is actually shaving cream when you accidentally taste some.
8. Try to clean your face. Fail.
9. Turn back to see Meghan Deans from her pie-free seat in the audience with a Cheshire cat grin and an absurdly clean face.
10. Watch the rest of the play knowing that this evening was well worth that crumpled ten dollar bill.

Wednesday, February 06, 2013

Krista and Brendan Two-In-One Combo Interview Spectacular


 



 







 
New Youngblood Members
KRISTA KNIGHT & BRENDAN HILL
Use Technology to
Speak From Opposite Coasts
At Serious Length About
Ayn Rand, Family Mottoes, Ska Band Names, Desired Hair Height and Theatre, Eventually


Brendan Hill: Arright.
Okay. So! How do you think we should do this?
Also, how are you?


Krista Knight: Hi! good
I liked the idea of personas but maybe we just want to interview straight up
and then try to catch each other online when we're drunk and addendum something wacky :)
I mean I'm not saying I'm NOT drunk now - just, on guard.

BH: Considering your answers and their influence on your google results.

KK: oh dear
then again - the other Krista Knight is a porn star - so there's really nothing I can do to soil the name

BH: It could also be a super hero name. It sounds like a secret identity kind of name.
I'm the drummer in Blues Traveler.

KK: Who is winning on google search?


Monday, February 05, 2007

What Is Thicker Than Water?

Thicker Than Water is an annual theatrical event that in the past has staged the brilliant works of many of Youngblood’s most talented playwrights, such as: Amy Fox, Amy Herzog and Amy Christopher Snipes. I mean, Kevin Christopher Snipes.
You know what I mean.

Anyway, the plays are always great, at least the ones I’ve seen have been. This year’s crop of new works should be no exception.

(The following is courtesy of broadwayworld.com, where you can find this article and also something about Tony Danza):


Youngblood and Ensemble Studio Theatre will present Neglect by Sharyn Rothstein and Thicker than Water 2007, the eighth collection of new plays by members of Youngblood, E.S.T.'s company of emerging professional playwrights under the age of 30. Performances begin on Saturday February 10th, and continue through Saturday, March 10th at E.S.T. (549 West 52nd Street).

This year’s Youngblood series presents a repertory schedule of Neglect, a full-length play, in rep with Youngblood’s signature Thicker Than Water, this year featuring one-act plays, shorts and a song cycle, all having their world premiere. Descriptions of the shows follow:

Neglect, by Sharyn Rothstein, will be directed by Catherine Ward and star William Jackson Harper and Geany Masai. "During a heat wave, in an inner-city Chicago neighborhood, an elderly woman opens her home to the young man next door. Together they try to escape the heat and their own loneliness, but an unexpected betrayal leaves each irreparably changed. A heartbreaking new drama from a rising young writer, featuring two star-making performances," press notes state.

This year’s Thicker Than Water includes three one-acts, three shorts, and an original song cycle – the company’s largest, most ambitious production yet.

Bike Wreck, by Qui Nguyen, directed by John Gould Rubin
"A rookie to the world of Chinese food delivery learns the rules of the game."

Group, by Annie Baker, directed by Alex Timbers
"An aspiring author tries to quit her writer's group. Neurosis ensues."
And The Baby Makes Three by Courtney Brooke Lauria, directed by Melissa Kievman
"A young wife, traumatized by miscarriage, gets advice on how to cope from her home appliances."

Rob by Sam Forman, directed by Marlo Hunter
"Dumped for an obnoxiously attractive, compulsively masturbating actor, a young singer-songwriter desperately tries (and fails) to restart his life."

Triage by Sharyn Rothstein, director TBA
"A man watches his wife choke to death in a hospital lobby while the American medical system points and laughs. A comedy."

The Roosevelt Cousins, Thoroughly Sauced by Michael Lew, directed by Moritz von Steulpnagel
"A historical short about a young FDR and Eleanor Roosevelt at a polio clinic in Georgia. Drunk."



Songs: The Jamal Lullabies by Emily Conbere, directed by RJ Tolan
"Four high-school girls eulogize the no-account drug dealer they loved, in song."

Neglect previews February 10th and 11th at 7pm. Opening night will be February 12th. Performances will continue Wednesdays and Saturdays at 7pm and Sundays at 5pm from 2/21 through 3/10. Thicker Than Water previews February 17th and 18th at 7pm. Opening night will be February 19th. Performances will continue Thursday and Friday at 7pm and Saturdays at 3pm, through March 10th. Tickets will be $18, and can be purchased by calling 212/352-3101 or at www.theatermania.com.

Friday, May 15, 2009

AlumBlood News: Amy Fox & Lloyd Suh

In addition to the furious season finale that is Bloodworks, our Youngblood Alum Amy Fox and Lloyd Suh both have plays opening this week:


AMERICAN HWANGAP

by Lloyd Suh
directed by Trip Cullman

Now-June 7, 2009

Min Suk Chun returns to the ex-wife and family he left 15 years ago in a West Texas suburb, to celebrate his "hwangap" - the Korean expression for the much-revered 60th birthday that marks rebirth. But what's in store for his next life cycle, if it starts with no pants and a bottle of Jim Beam?

With Michi Barall, Mia Katigbak, Peter Kim, Hoon Lee, and James Saito

Tuesday-Friday at 8PM, Saturdays at 3PM and 8PM, Sundays at 4 PM

The Wild Project
195 East 3rd Street(Between Ave. A and Ave. B)

http://www.playco.org/


BY PROXY

By Amy Fox
Directed by Terry Berliner
Now- May 30th
By Proxy follows Sonia, an MD/Ph.D. specializing in Sudden Infant Death Syndrome, who must confront unsettling questions when her research comes into conflict with her growing suspicions about the deaths of several infants. Originally commissioned by the Alfred P. Sloan Foundation and the Ensemble Studio Theatre, By Proxy is being produced by the professional arm of The Collaborative Arts Project (CAP21), which offers playwrights a first chance to introduce their work to the public and the industry.
With Polly Adams*, Jordan Bloom, Denny Bess*, Julie Leedes*, Grace McLean, Jonathan Todd Ross*, and Josie Whittlesey*
These actors are appearing courtesy of Actors Equity Association.
Equity Approved Showcase.

PERFORMANCES:
May 15-16, 8PM
May 19-21, 8PM
May 26-30, 8PM
May 16 and May 30 - 3PM Matinees
THE SHOP THEATRE @ CAP21
http://www.cap21.org/theatrecompany.html

Wednesday, December 20, 2006

Casting Update: Schreiber & Brooksher in Dying City

The cast has been announced for Youngblood alumnus Christopher Shinn's two-character play Dying City. Rebecca Brooksher and Pablo Schreiber will star in the American premiere, which opens March 4th at Lincoln Center's Mitzi E. Newhouse Theater. Brooksher will play a therapist whose husband has died in Iraq. Schreiber (pictured) stars as her husband's twin, who is searching for answers about his brother's death. Schreiber recently received a Tony nomination for his Broadway debut last season in Clifford Odet's Awake and Sing! His Off-Broadway credits include Mr. Marmalade, Manuscript, Sin and Julius Caesar. His film credits include The Lords of Dogtown, The Manchurian Candidate, and The Mudge Boy. Brooksher is making her Off-Broadway debut. Dying City will be directed by James MacDonald, who directed the play's London premier.