All About Image/We Are The Elite

All About Image

Marcina Zaccaria’s All About Image/We Are The Elite

Directed by Tony Tambasco

 

A drama written in the present time, taking place in New York City and other parts of the U.S., All About Image/ We are the Elite is a journey of the people who make images. In the process of capturing and making these images, the characters explore their personal relationships while re-affirming their aesthetic principles.

What they see is under critique. What they present is a complete outpouring of their entire vision.

Part of the New York International Fringe Festival

Photos courtesy Steven Pisano

Kraine Theater

85 East 4th Street

New York, NY 10003

View Map

October 3 @ 7:00pm

October 4 @ 7:00pm

October 5 @ 5:15pm

October 6 @ 5:30pm    

Featuring:

David Arthur Bachrach *

J. Dolan Byrnes *

Frances McGarry *

Jeff Burchfield *

Don Carter *

Catherine Luciani

Milton Lyles II

Nana Ponceleon

Akin Salawu

Lourdes Severny

Kelsey Shapira Katy Wilson
* Appears courtesy of Actors’ Equity Association


Further details at Fringe BYOV.

Tickets available through Eventbrite

 

 

 

 

 

 

 

It’s All A Game: an interview with Erin Cronican, Executive Artistic Director, The Seeing Place Theater

The take away for audiences who come to see The Maids is to “make people stop and think about how they treat people, particularly people who are in service; that our society is built on people in service positions and we can treat people with humanity . . . to understand what it’s like to be ‘less-than’ and to walk out with a new found empathy for those in the service industry.”

Gaia Visnar, Erin Cronican

Gaia Visnar and Erin Cronican Photo credit Russ Rowland

“The Game — can we continue with it?” a question posed in The Maids, an absurdist play by Jean Genet is not so remotely detached from the current complicity confronting both American and global citizens. Pretending to strangle their employer, Claire and Solange, sisters and maids to Madame, struggle for their sense of selves under the guise of a game of make-believe; at first, the fantasy is amusing but then turns darkly tragic for the women who find themselves prisoners of their own diversion.

 

Produced by The Seeing Place Theater, Executive Artistic Director Erin Cronican exposes the dilemmas associated with the abuses of power in the class system. Selecting plays rarely seen, Cronican chooses to utilize her theater programs to focus on “creating edgy and compelling reinterpretations of works by playwrights that reflect the struggles and triumphs of our current society.” Honing a three-phase methodology, Cronican guides the ensemble through an organic two-month process: Pre-Rehearsal “Discovery”; Rehearsal Inquiry; Performance Feedback. One full month is spent “just breaking down the play, talking about it, talking about its impact on society, and what the playwright is trying to say, what he’s trying to do.” The Maids has its singular challenges in that there “are no definitive texts or quotes to pull together the things that have been written . . . hours were spent exploring the play’s meaning.” Once the ensemble creates a vision for its production they then proceed to getting it staged. Rather than have directors bring their singular perceptions to the play, Cronican’s approach invests in the imaginations of its talented cast — Gaia Visnar as Claire, Christine Redhead as Madame. “We don’t have the directors do it separately,” explains Cronican, who serves in both roles as actor/ Solange and director, “[that way] the actors are part of that developmental process.” Once the cast is “up on [their] feet trying out a lot of things discussed in the pre-production period . . . by the time we get to performances we have plumbed the depths of these plays very, very personally, and I think that makes the play very different for our audiences because we know them so intimately.”

The outcome of this organic process compels the cast to answer the major dramatic question: What is the effect of the abuses of power in the class system? In its final performance phase “we want the audience to look at this and say, ‘I recognize this struggle of power, maybe not in my own life, but maybe I recognize it elsewhere and what do we do about it?’”
Gaia Visnar personally shared how “it speaks to me today because . . . [as an immigrant working in the USA on a VISA] it’s about being subordinate and not having power and not being fair.” Cronican adds how artists pursuing their art, be it music, dance, theater feel a sense of “helplessness . . . being an artist in the city, wanting to take care of people but not necessarily have the resources to do so.”

At the close of the fast and furious hour and twenty-minute performance, actors go in the lobby to address audience questions so they “have someone to talk to about what they saw.” Feedback has been favorable: “People so far have really loved the play.” Audiences are encouraged to “come up with the answers for themselves.”

The take away for audiences who come to see The Maids is to “make people stop and think about how they treat people, particularly people who are in service; that our society is built on people in service positions and we can treat people with humanity . . . to understand what it’s like to be ‘less-than’ and to walk out with a new found empathy for those in the service industry.”

For Erin Cronican, the Arts truly are transformative. “‘The Seeing Place’ is the literal translation of the Greek word for theater, theatron: ‘the place where we go to see ourselves’ and if we can open up our [hearts and minds] and really listen to a piece of art, and try to find [ourselves] in it — painting, music, dance, that’s everything; then it opens your heart . . . it opens up your empathy. And it just makes you a better citizen.”

TSP The Maids

OLD RINGERS: a new comedy by Joe Simonelli

old ringers revised outside

A Hilarious Comedy By Joe Simonelli

Directed by Carol Dorn

It’s Golden Girls meets Calendar Girls in this semi-sequel to Men Are Dogs where four senior women try to fight the shrinking economy and their shrinking pocketbooks by investigating alternative means or generating income.  
A wrong number leads to interesting possibilities in this adult bawdy comedy.

*Mature Audiences Only*

.fran on phone mouth open

February 1 ~ 23
Fridays and Saturdays at 8pm
Sunday February 10th & 17th at 2pm

GET TICKETS

Cabaret Seating ~ Bring Food & Drink

Doors open one hour prior to curtain 

Featuring:
Frances McGarry
Linda Seay
Laurel Lettieri
Stefanie Rosenberg
Sarah Ahearn
Mark Rubino
and Joshua Adelson

Ripple Effect Artists: Guarding the Bridge

July 18, 2018 was Nelson Mandela International Day:  “Education is the most powerful weapon which you can use to change the world.”  Change your perspective.  Visit those dark spaces.  Shed some light on it and spread the love. 

Final performance  July 30th at 7pm!!! Tickets

Guarding the Bridge CoverWhat a fierce evening of theater and substance!GUARDING THE BRIDGE with authentic performances by Scott Zimmerman, Tim Dowd  deftly directed by Jonathan Libman and one-woman wonder, Spoken Word Artist, Dawn Speaks!

It is the mission of Ripple Effect Artists to address injustice and causes social impact through art — primarily by producing masterful plays – presenting them along with talk-back discussions in partnership with educators and advocacy groups.  Jessie Fahay, Founding Executive Director recollected seeing A Normal Heart and was so incredibly moved and thought “theatre moves people.  What can I do about this? Theater can cause a ripple effect”; thereby, becomes the laser focus of Wednesday evening’s performance of Guarding the Bridge by Chuck Gorden and Spoken Word Artist Dawn Speaks.

The juxtaposition of the powerful one-act play about the roots of racism and Dawn Speaks’ one-woman jam-poetry entertaining narrative candidly tackles issues of racism, fear, and bigotry.  Following this, a panel featuring Erika L. Ewing of Got To Stop Think TankDawn Speaks, Chuck Gorden and two representatives from Center for the Study of White American Culture, Inc. shared their insights and solutions to start a conversation about these issues:

“People are hungry.  And what am I gonna do about it? People are helpless. And what am I gonna do about it? Bring humanity back. Be willing to hear; be interested to hear it.  Systems [are] designed to suppress.  [We] have to be in that conversation.” ~Erika L. Ewing

“Why we hate we? The material is not new but the conversation is very old. . . I decided to educate; that’s how I intend to spark a revolution.”  ~Dawn Speaks

“You can’t say I’m not a racist – it’s inherent.  As long as you’re not aware of it it perpetuates. White people fear [being called] racist.”   ~Chuck Gorden

Catch a glimpse of their exchange:

https://www.facebook.com/jessica.l.jennings.33/videos/10156557155178887/?comment_id=10156557162083887&notif_id=1532011170859783&notif_t=comment_mention

July 18th, 2018 was Nelson Mandela International Day:  “Education is the most powerful weapon which you can use to change the world.”  Change your perspective.  Visit those dark spaces.  Shed some light on it and spread the love.

Final performance on July 30th at 7pm!!! Tickets: https://www.rippleeffectartists.com/productions #socialjustice

The Trauma Brain Project PODCAST!

THE TRAUMA BRAIN PROJECT is a unique theatrical narrative about the personal journey of one of its survivors, playwright Dayle Ann Hunt. Actress Marsha Mason talks about her role in the play and how The Arts can spark a conversation about early sexual trauma.

Following the NYC performance, a panel of neurologists, psychologists, and body-oriented psychotherapists discuss the relationship between early sexual trauma, PTSD and its hidden effects.