JAC ANNOUNCED IT IS PUBLISHING MARCINA ZACCARIA’S VILLAGE, MY HOME

In a chaotic business world, do we know the difference between astrophysics and Buddha? Can it all be solved with yoga? Featuring characters at various points of their lives, Village, My Home questions how we choose New York City and what are the comforts that draw us back home. We meet the Old Woman, a matriarch who loves to paint and remembers the horrors of greater storms. We get a glimpse of out-of-towners and travelers from other boroughs, willing to take the City. Just when you yearn for your fax machine, we meet a new school, techno-tribal Computer Geek who threatens to interrupt the very subways that connect us every day.
With theatrical movement and state-of-the-art sound design, Village, My Home promises to warm the heart and calm the most unsettling times.

NEW YORK, October 15, 2018 – JAC Publishing announced that it is publishing Playwright/ Director Marcina Zaccaria’s critically acclaimed drama Village, My Home, a provocative and timely play about New Yorkers confronting cultural and political uncertainties.

Village My Home Poster

When it originally ran for a special limited engagement at the Dream Up Festival in August 2017, critics said,“The great thing about writer/director Marcina Zaccaria’s reportage is its humor” and “it will make you consider to slow down and rethink what home really is.”

With theatrical movement and state-of-the-art sound design, Village, My Home promises to warm the heart and calm the most unsettling times.NEW YORK, October 15, 2018 – JAC Publishing announced that it is publishing Playwright/ Director Marcina Zaccaria’s critically acclaimed drama Village, My Home, a provocative and timely play about New Yorkers confronting cultural and political uncertainties.

Village, My Home is available at  https://www.amazon.com/Village-My-Home-Marcina-Zaccaria/dp/1605132853  It’s also available on Kindle:https://www.amazon.com/Village-My-Home-Marcina-Zaccaria-ebook/dp/B07JVPBC8F

More information can be found at: https://www.facebook.com/VillageMyHome.

Photo of Marcina ZaccariaMarcina Zaccaria is a writer, director, and arts administrator. She has directed readings and performances in venues that include New Dramatists, TheaterLab, HERE Arts Center, 13th Street Repertory Theatre, Soho Rep, Dance Theater Workshop, and the Museum of Jewish Heritage.  She curated a Salon at Dixon Place, which featured visual artists, spoken word artists, dancers, filmmakers, and theater artists. Zaccaria has written monologues, published in InterJACtions: Monologues from the Heart of Human Nature (Vol. II), available on Amazon.  She has been published in the New Crit section of Howl Round, and her clips can be found on Twitter.  An editor at The Theatre Times, Marcina is a member of the League of Professional Theatre Women.

 

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.

A Conversation with …Marcina Zaccaria, Playwright/Director VILLAGE, MY HOME

Being a playwright, a critic, and a theater director has given me the opportunity to work with such smart, creative people, who every day search for deeper meaning.  The world can be a challenging place, so I ask myself: What role does our belief structure play?  Is it our friends who lift us out of difficult times?  
Marcina Zaccaria is directing the debut of her new play VILLAGE, MY HOME at the DREAM UP FESTIVAL at Theater for the New City.  We had a chance to chat about her play and what it means to be playwright, director, and arts advocate.
MARCINA PICTURE
Share with us a little bit about the germ of the play.  How did it come about?  What was its evolution? 
I used to live in Greenwich Village, and my first husband was a filmmaker who later won an Emmy Award for his work as an Editor for television.  Greenwich Village is sort of Mecca for artists.  When I reflected on what is like to live in such a creative environment every day, I, of course, experienced a wide range of emotions.  
I was so impressed by how “interconnected” the world can be, particularly when you involve people in different stages of their lives.  Also, I thought a lot about the difference between theater and film.  Both are truthful, and shed light on the human condition.  With theater, you can hear the voice re-bounding in space, so it’s very differently “live” than film.  I kept interrogating these ideas about the difference between theater and film, and I tried to find a way for sight to be as important as sound.  Also, I love multi-media art.  So, what began as a concept for a multi-media play became a theater piece, with a Facebook component. 
We were thrilled when the show got accepted to the Dream Up Festival at Theater for the New City.  This would provide a possibility for a live audience in a physical theater space, while, at the same time, not completely abandoning the notion of “live” camera coverage, that would be in use on stage. 
What outcomes do you hope to have with the premier of VILLAGE, MY HOME? 
I hope people will find humor in the show.  Also, I hope that plenty of people will chat with their friends about Village, My Home, and talk about the images. 
The play struggles with the notion of enlightenment, and I hope that the audience can find some recognition in the every day dilemmas they see onstage.
How have The Arts personally impacted your life? 
The arts have had an enormous impact on my life. When I decided to go to Drama School at Tisch School of the Arts, I had no idea that I would wind up feeling so rewarded by the journey I have taken over the last 20+ years.  
Being a playwright, a critic, and a theater director has given me the opportunity to work with such smart, creative people, who every day search for deeper meaning.  The world can be a challenging place, so I ask myself: What role does our belief structure play?  Is it our friends who lift us out of difficult times?  
I do believe in the transformative nature of theater, and I was so glad that Village, My Home is going to be performed the East Village in NYC.  It’s just a very spiritually sound place.
Dream Festival

VILLAGE, MY HOME BY MARCINA ZACCARIA
An exploration of the Village’s many colorful characters

August 27 to September 3, 2017
Theater for the New City,
155 First Avenue

Community Space Theater

Sunday, August 27 at 5:00 PM 

Tuesday, August 29 at 9:00 PM,

Thursday, August 31 at 9:00 PM 

Friday, September 1 at 9:00 PM,

Saturday, September 2 at 2:00 PM 

Sunday, September 3 at 8:00 PM


Tickets $15. Box Office: (212) 254-1109, http://www.dreamupfestival.org
Running Time: 45 minutes. Critics are invited to all performances.
Buy Tickets

In preparation for the New Year, a Village housewife joins businesspeople, locals and tourists as they question what matters to them. As technology continues to fascinate, isolate and shape our lives, how do we encounter our New York City? Village, My Home,  written and directed by Marcina Zaccaria, embraces the very human experience of what it means to live and survive in the 21st century against the backdrop of cultural and political uncertainties.

With theatrical movement and state-of-the-art sound design, Village, My Home promises to warm the heart and calm the most unsettling times.

Village, My Home stars LPTW Member Frances McGarry; Marjorie Conn*; Michael C. O’Day*; Kelsey Shapira; Jeff Burchfield*; Madalyn McKay; Christina Ashby; Maile Souza Sean Evans; Maria Severny; Stephanie Roseman; Meaghan Adawe McLeod; Rebecca Genéve; and Catherine Luciani. Jak Prince is the lighting designer. Maria Ortiz Poveda is the costume designer. Dana Robbins is stage managing.
*Appears Courtesy of Actor’s Equity

The eighth annual Dream Up Festival is an ultimate new work festival, dedicated to the joy of discovering new authors and edgy, innovative performances. Audiences savor the excitement, awe, passion, challenge and intrigue of new plays from around the country and around the world.

The festival does not seek out traditional scripts that are presented in a traditional way. It selects works that push new ideas to the forefront, challenge audience expectations and make us question our understanding of how art illuminates the world around us.

A unique and varied selection of productions will again be offered that draw upon a variety of performance specialties including singing, clowning, poetry, street music, magic and movement. The Festival’s founders, Crystal Field and Michael Scott-Price, feel this is especially needed in our present time of declining donations to the arts, grants not being awarded due to market conditions, and arts funding cuts on almost every level across the country and abroad.

Extraordinary Women Telling an Extraordinary Story: SHADOWS ROUND THE MOON

“This is a story of incredible love and extraordinary loss. The play is a chance to introduce an amazing woman to the world since Mary Shelley has not received the attention she deserves. People will be astounded to learn about the many tragedies she suffered. And yet, she survived. This play allows her to talk about how she did that, in her own words, her own voice.” ~ Kate Burton

“Many people know Mary Shelley as the writer of Frankenstein, but they don’t know what an extraordinary person she was,” says actress Kate Burton. “I didn’t know until I read Janice’s play.”

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Mary Shelley, author FRANKENSTEIN

Shadows Round the Moon came to Kate after playwright Janice Kennedy presented an excerpt at the Santa Monica Library and an actor in the audience asked her for a copy of the script. “He contacted me later and said he knew someone who would be a great match for the material, ” remembers Janice. “I didn’t know it was Kate, but he was absolutely right. Kate is perfect.”

Janice had a chance to see Kate as Mary Shelley when Kate did a reading of Shadows Round the Moon at a Women in Film benefit in Los Angeles. “It was extraordinary to watch her,” says Janice. “Even with no movement or staging, Kate transformed herself into Mary Shelley and the audience was mesmerized. They gave her a well-deserved standing ovation.”

Flash forward to Spring 2017 with Kate in a critically acclaimed revival of Present Laughter on Broadway. Kate and Janice decided this would be a good time to introduce Shadows Round the Moon to New York people. They set up an informal presentation at the Dramatists Guild and invited several Broadway producers and a rep from the Williamstown Theatre Festival. Janice gave an overview of the play and Kate read a couple of excerpts. The May presentation was so successful that a full reading of the play took place this past Wednesday, July 12th at the Dramatists Guild.

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Janice Kennedy and Kate Burton   Photo Credit Ellis Gaskell 

 

“This is a story of incredible love and extraordinary loss,” says Kate. “The play is a chance to introduce an amazing woman to the world since Mary Shelley has not received the attention she deserves. People will be astounded to learn about the many tragedies she suffered. And yet, she survived. This play allows her to talk about how she did that, in her own words, her own voice.”

 

To find that voice, Janice read Mary’s letters and journals as well as biographies of Mary and her husband, the Romantic poet Percy Bysshe Shelley. Janice found that even though Frankenstein was a publishing sensation, Mary did not receive much money for it. Copyright laws at the time she wrote the book did not favor the “creators” of literary works and music.

After Percy Shelley died, Mary was dependent on her father-in-law for money and forbidden by him to write Percy’s biography, even though she was constantly asked to do so by publishers. “This became the catalyst for the play,” says Janice. “What if Mary, as a way to write about Percy, wrote the story of her own life?”

This story begins with the death of Mary’s mother, Mary Wollstonecraft, when she was but a few days old. In the play, Mary Shelley talks about this being her introduction to “Mr. Bones,” her personification of Death.

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Kate Burton Photo Credit Ellis Gaskell 

The death of Mary Wollstonecraft reverberated throughout England because she was both revered and reviled as the founder of modern feminism with her book, A Vindication of the Rights of Women. After Wollstonecraft’s death,  Mary was raised by her father, William Godwin, a radical philosopher whose house was often visited by other philosophers and poets of the day, including Percy Shelley. As Mary grew up, she often hid on the stairs to listen to the talk of these men.

Kate Burton says she can relate to this experience of Mary’s. Recently, an old friend of her father’s came to see Kate in Present Laughter. He told her of sitting on the stairs as a child and listening in on the gatherings his father would have with people like Noel Coward, John Gielgud, Terrence Rattigan and Somerset Maugham.

At sixteen, Mary meets and falls in love with Percy Shelley at her father’s house. Janice’s research told her that the relationship that developed was not typical of the times. “Percy was devoted to the writings of Mary Wollstonecraft and truly believed the younger Mary was his equal — that she was as smart as or smarter than him,” says Janice. “Percy and Mary fell deeply in love and established an extraordinary partnership where they fueled each other’s ideas. Unfortunately, their life together was marked by tragedy after tragedy that began with the death of their first child when she was but a few days old.”

A few days after their baby’s death, Mary woke to tell Percy that she dreamed their little girl was “only cold and that we rubbed her by the fire, and she lived.” This dream of “reanimation,” Mary would say later, provided the seed for Frankenstein.

Two more of Mary and Percy’s children would die as small children and Mary suffered a miscarriage while in Italy that almost took her life as well. It was in Italy that Mary and the world suffered the loss of Percy Bysshe Shelley when he drowned at age 29 while sailing in the Mediterranean. Mary was only 25.

“These are things I do not want to remember,” Mary says in the play. “But remember I must, as we all must. What we have known, we cannot cease to know.”

Janice says she titled her play “Shadows Round the Moon” because Percy Shelley used the moon as his symbol for Mary in his poetry. And as Mary recounts her life in the play, all of the deaths she endured are like shadows surrounding and haunting her. “I made it a one-woman drama so that Mary is finally the focus of the story,” says Janice. “While Mary was alive, no one but Percy seemed to realize her brilliance. The irony is that he was largely credited with writing Frankenstein, something he consistently denied.”

Critics especially had a hard time believing that a young woman, only 17 at the time, could have written such a tale. One reviewer of Frankenstein exclaimed that “this is the foulest toadstool that has sprung up on the dung heap of mankind.”

“But what do critics, know?” counters Kate, who seems to intuitively understand Mary Shelley since Mary was raised in a “British culture” as she was. And Kate grew up in an artistic and literary family as well. Her father, Richard Burton, was an actor as was her mother Sybil, who became a literary agent and then a theatre manager. Sybil, in fact, founded The Bay Street Theatre in Sag Harbor, NY. But Kate says she didn’t know she was going to pursue the arts until her senior year of college:

I was going to be a diplomat but in my senior year at Brown, I decided to apply to drama schools. I knew that as the daughter of a famous actor, I would need all the proper  training. The basic decision became whether I would go to graduate school in England or  America because I am a British National. So, that was the only big fight in the family. Not with my mom, but with my dad. He wanted me to go to Britain and I said no, I was an American. So I went to Yale. I had a very interesting, good, and hard time while I was there. My first big job after graduate school was playing the ingénue in Present Laughter directed by George C. Scott, which was crazy.

For nearly 17 years, Kate was a working actress and then in her 40s, Hedda Gabler and The Elephant Man came along and “that changed my life as an actress because suddenly I was being moved into a different pantheon: I was no longer an ingénue and I was no longer a character actress. I could do more. That was 16 years ago. Then I went through a fallow period and I auditioned for this television show about doctors called Grey’s Anatomy. I was to be the mom of the leading lady, a mom who had early onset Alzheimer’s. I thought , ‘Oh my God, what a horrible thing.’ And I ended up [with] THAT [changing] my life and that was great.”

What does Kate think about the challenge of doing a one-woman show like Shadows Round the Moon?  “It’s very hard learning an hour-and-twenty-minute monologue and then, of course, I love being on stage with my fellow actors. But it has to be Mary’s story. It has to be her voice.”

Realizing the significance of providing role models, Kate values women writers like Mary Shelley and playwright Janice Kennedy.  “We’re in a time when women are being heralded in a way they haven’t been before . . . I am glad that women are being rewarded not because they’re women but because they’ve done a fantastic job.  We have two plays on Broadway right now written by women and that’s exciting.  They’re both Pulitzer Prize winners from before. They have stayed the course.”

Kate’s career arc is one built over the years:  “I came into my own in my 40s,” she says. “For me, now it’s about focusing in on what I really want to do for the rest of my time.”

After taking five years off from being active in the Union, Kate is running for the Council at Actor’s Equity  “because I know that I’m good at that, I know that I’m good at being a Union person. That’s a place that I can be helpful.” She is on the board of Broadway Cares and works with the AIDS Foundation in AIDS education. Her life is good, says Kate, and she wants to give back.

“I am very lucky to be in this amazing Broadway production right now that is going incredibly well critically and financially,” she says. “It’s so thrilling. Now, I’m about to become a “Professor of Practice” at the University of Southern California in August.” Kate’s husband, Michael Ritchie, is the artistic director of the Center Theatre Group (CTG) in LA so she’s happy she’ll be living on the West Coast again. The CTG includes the Taper Forum, the Ahmanson and the Kirk Douglas theatres.

And the best is yet to come with the possibility of her own one-woman show about Mary Shelley. Helen Mirren once said, “Your 40s are good. Your 50s are great. Your 60s are fab.  And 70 is fucking awesome.“ Kate would probably agree with that as she looks forward to more incredible opportunities coming her way.

For more information about the play contact Janice Kennedy