True West
EXTENDED BY POPULAR DEMAND!
Thursday thru Saturday @ 8PM and Sunday at 2PM
January 28 - February 14, 2010
Theatre Row
410 42nd Street (btw 9th and 10th Avenues),NYC
www.TicketCentral.com
Tickets now on sale: www.ticketcentral.com
The Glory of Living
By Rebecca Gilman
Finalist for the 2001 Pulitzer Prize
Osborn Award, an After Dark Award, a Jeff Citation, the George Devine Award, and the Evening Standard Award for Most Promising Playwright.
October 9 - November 21
Fridays and Saturdays at 8PM
(Please note: DARK on 10/31)
The El Centro Theatre
804 N. El Centro Ave
Los Angeles, CA 90038
Athena Theatre & El Centro Theatre presents THE GLORY OF LIVING by Rebecca Gilman, directed by Alice Ensor and Joe Koonce. The award-winning, "viscerally powerful" (The Guardian) early play by the author of Spinning Into Butter and Boy Gets Girl. Set in the rural Deep South, Rebecca Gilman's The Glory of Living received critical acclaim rare for a new American play when it had its British premiere in 1999, garnering the Evening Standard Award for Most Promising Playwright. Having opened in New York in the fall of 2001, this work focuses on fifteen-year-old Lisa, the daughter of a prostitute, and Clint, the car thief she runs away with to escape the misery of life with her mother. But the happier times that sullenly childlike Lisa yearns for never materialize, as Clint orders her to procure young runaways for him. Rebecca Gilman has created a riveting, unsentimental portrait of a young woman whose most striking quality is not her capacity for evil but the depth of her emptiness, in an environment as harsh and unyielding as the contours of her life.
Playwright: Rebecca Gilman
Director: Alice Ensor and Joe Koonce
Set Design: MonkeyBoy Productions
Lighting Design: Extended Visions Design
Starring
Brett Aune*, Mark Deliman, Jules Hartley, Kate Huffman, Therese McLaughlin, Michael Mims, Chuck Raucci*, Carolyn Stotes, Victoria Truscott, Jeorge Watson*
Ovation Award Eligible
Reservations: 323-230-7261
Plenty of street parking
*Member of Actors' Equity Association. The Union of Professional Actors and Stage Managers in the United States.
This performance is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission.
Broadway World Interview
The Glory of Living is a co-production between Athena Theatre and El Centro Theatre running October 9th thru November 21st at the El Centro Theatre in Hollywood Directed by Alice Ensor & Joe Koonce
Q: What drew you to The Glory of Living?
Alice: Rebecca Gilman - seriously, her writing is so incisive, and her characters so complex and fascinating - after months of holding readings of various plays, this piece was the one that haunted me. The fact that I could not stop thinking about it - or how it was actually so analogous to far too many of today's actual news headlines, made me want to explore it, and its characters further.
Joe: After seeing a reading of it I found the gritty, humanly flawed characters really hit a chord in me. No one is "just" evil, or "just" wonderful - and that human ability to have both live side by side within one person is an amazing thing.
Q: I hear this play is based on true events, how much of that inspired your direction?
Alice: To be honest, I didn't look at any of the accounts of the actual events the play was based on until we were about ? of the way through the rehearsal process. I think Ms. Gilman used the facts of the real life story as a jumping off point. I didn't want to "recreate" the real life individuals, but rather delve into the possibilities of what motivates individuals to behave as these characters do. What was more fascinating to me was comparing Glory to say the Jaycee Dugard- Phillip Garrido case that exploded in the news while we were in rehearsal. I found myself looking at Lisa and comparing her to Phillip Garrido's wife - what made that woman stay with Garrido knowing what he was doing. Where does nature vs. nurture fit into the evolution of an individual's morals and their own self image. Those were the true event questions that inspired me more than the actual accounts of the exploits of "Lady Sundown and NightRider".
Joe: It wasn't a part of my process at all - I tried to base the work solely on Ms. Gilman's script, and the rehearsal process with our particular actors.
Q: As a Co-Director how much of the process is eased or hindered?
Alice: I think that overall having a partner on this project really eased the process as a whole. Joe and I have the same respect for theatre. We share an ideology of what we think theatre can do, and how we want to affect an audience. Now that doesn't mean that there weren't many heated discussions at home on how to proceed on certain things... but when we were in the theatre with our incredibly talented group of actors - we were almost always on the same page and that was huge help to the process.
Joe: Because Alice and I have worked together for so many years, we had very similar ideas about how to handle the material - it was great to have someone to bounce ideas off of whose opinion you really trusted.
Q: What do you think the story is really about?
Alice: I actually believe that "Glory" is a love story. A very warped and twisted version of love, but a love story none-the-less. Each of these characters is incredibly human - they each seek to be loved, to show love, to understand love - and that driving need for, or inability to attain what they seek, creates behavior. Some of it we can identify with, and some of it is completely foreign to us, but we can't deny that it's out there, and that someone right now, is possibly feeling exactly that way. We can either explore it and discuss it, in which case we shine a light on darker corners of humanity - or we can ignore it, and potentially fall victim to it. If our production generates a spark of debate on any of it - I feel that we've done our job.
Joe: It's the audiences place to take what they want from it - it's my place to hopefully start the conversation about these characters, and their similarities and differences to each audience member.
Athena Theatre & El Centro Theatre presents THE GLORY OF LIVING by Rebecca Gilman, directed by Alice Ensor and Joe Koonce. The award-winning, "viscerally powerful" (The Guardian) early play by the author of Spinning Into Butter and Boy Gets Girl. Set in the rural Deep South, Rebecca Gilman's The Glory of Living received critical acclaim rare for a new American play when it had its British premiere in 1999, garnering the Evening Standard Award for Most Promising Playwright. Having opened in New York in the fall of 2001, this work focuses on fifteen-year-old Lisa, the daughter of a prostitute, and Clint, the car thief she runs away with to escape the misery of life with her mother. But the happier times that sullenly childlike Lisa yearns for never materialize, as Clint orders her to procure young runaways for him. Rebecca Gilman has created a riveting, unsentimental portrait of a young woman whose most striking quality is not her capacity for evil but the depth of her emptiness, in an environment as harsh and unyielding as the contours of her life.
Starring: Brett Aune*, Mark Deliman, Jules Hartley, Kate Huffman, Therese McLaughlin, Michael Mims, Chuck Raucci*, Carolyn Stotes, Victoria Truscott, Jeorge Watson*
General Admission $15, Ovation Award Eligible Reservations: 323-230-7261
Plenty of street parking: *Member of Actors' Equity Association. The Union of Professional Actors and Stage Managers in the United States.
This performance is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission.
The Tolucan Times--The Glory of Living
"The production is outstanding: sets resemble the reality of the environment, costumes are spot-on and the theme draws you in. Directors Alice Ensor and Joe Koonce utilize the actor?s talents with great invention. Standout performance was by Jeorge Watson as a prison guard." -M. Jarrett Christensen
Metamorphoses
By Mary Zimmerman
Based on the Myths of Ovid
![Meta_Front_Final[1].JPG](http://www.athenatheatre.com/mt/archives/Meta_Front_Final[1].JPG)
Thursday, July 10th through Saturday, August 9th
Thurs-Sat at 8PM; Sun at 2pm
The Historic Lankershim Arts Center
5108 Lankershim Blvd. North Hollywood, CA 91601
?Technically, of course, water is not the element in which we humans usually move. Ms. Zimmerman makes you see it as our truest natural environment: the place in which dreams and reality, the primal and the particular melt and merge, devastate and console.? ? Ben Brantley, New York Times
August 1, 2008?Los Angeles?The award-winning, critically acclaimed Athena Theatre is entering its fifth season, proud to present their first production for the 2008 season, Mary Zimmerman?s astounding theatrical experience Metamorphoses, based on the Greek myths of Ovid.
Metamorphoses opened in New York in 2001 and in Los Angeles at the Mark Taper Forum in 2002. What is extraordinary about the play is that its scenes are played in and around a swimming pool. This is not only an innovative concept for theatre ? one that definitely attracts an older and younger audience alike, but artistically adds unforgettable touches of beauty for all that see it.
The stories in Metamorphoses are the most exciting and astonishing ever written. They are full of comedy, tragedy, pathos, laughter, tears, passion, violence, grief, regret and redemption. Six male and six female actors portray such characters as Midas, Eros, Bacchus, Zeus, Aphrodite, Ceres and Psyche. To quote the Wall Street Journal, ?Funny one moment, achingly sorrowful the next, Metamorphoses somehow manages to both lift you out of the moment you?re living in and speak to it with piercing directness.?
Playwright: Mary Zimmerman
Director: Patrick Varon
Movement Director: Adria Dawn
Production Stage Manager: Kevin Jordan
Assistant Stage Manager: Monica Greene
Set Design: Stefan Depner
Lighting Design: Johnny Ryman
Costume Design: Kaori Mita
Projection Design: Eric Silva
Sound Design: David B. Marling
Composer: Andrew Edwards
Properties Design: Elspeth Weingarten
Publicity: Don Grigware
Postcard Design: Jeremy Asher
Starring
Brett Aune as Vertumnus and others
Sally Conway as Alcyone and others
Robin Dal?a as Nursemaid and others
Sara Beth Lane as Aphrodite and others
West Liang as Orpheus and others
John A. Lorenz as Phaeton and others
Billy Mayo as Erysichthon and others
Veronique Ory as Eurydice and others
Guy Perry as Hunger and others
Gugun Deep Singh as Midas and others
Tania Verafield as Myrrha and others
General Admission $20 presale on-line
Or $25 cash only at the door
Ovation Award Eligible LAStageAlliance.com
Reservations: 818-754-1423
Wheelchair accessible, plenty of street parking
Please note: Eros, God of Love, is nude for a few minutes ... "to make us transparent." It is in the Mary Zimmerman text which we are following.
Note from our Director:
So here we are... METAMORPHOSES by Mary Zimmerman... such a bold and brave choice of material for the Athena Theatre Company! After all, our namesake is drawn from the goddess of heroic endeavor. Indeed what a storied and heroic endeavor this show has been for us...
Before we began our epic journey into the unknown, we understood this show had special challenges that would demand high amounts of interpretation, creative energy and stagecraft to render. With the blessings of Athena herself, we started on our humbling task of realizing one of the most poetic plays ever written.
Our understanding of the material would be different from the start....
An intelligent and honest understanding of Ovid, Slavitt and Zimmerman would serve as the basis for a more personal and authentic production. An ethnically diverse cast would also best service the text by demonstrating the universal struggles of love, loss and the inevitability of change. Although these myths are classic in their origin, they remain universal in their meaning and appeal.
As we proceeded, we understood the complications of maintaining a large body of water on stage. After an exhaustive search for space, we decided to bring this play here to the historic Lankershim Arts Center. The LAC was perfect for all the right reasons; location, audiences, staffing, etc. Besides, it was a former Department of Water and Power Building! Where else would a play with water be staged? Only late into the rehearsal was an assessment of the building made. Math won. Water weighs 8.337lbs per gallon. Multiplied by the 3,000 gallons we suggested, we about to place over 25,000lbs of water stress above the art gallery. It was simply was not a risk LAC was unwilling to take. Stage magic and the willing suspension of disbelief would be our answer. Perhaps we don't have the water, but we do have the power. The power to suggest. The power to imagine. The power to create and the power to dream....
Come dream with us for a while won't you?
ab imo pectore...
P.Varon (July 2008)
Back Stage West-Pterodactyls
July 18, 2007
By Les Spindle
Nicky Silver's off-kilter tragicomedy is about an upper-crust family's dysfunctions of apocalyptic proportions; the script suggests that unless we find ways to adapt in an increasingly complex world, our species could go the way of the dinosaur. To spin his bizarre tale, the playwright has drawn from a cornucopia of sources -- a little Eug?ne Ionesco here, a touch of Joe Orton there, a flash of Thornton Wilder's The Skin of Our Teeth, and, most strongly, echoes of Edward Albee's The American Dream. Yet, Silver isn't so much a dramaturgic larcenist as he is a shrewd craftsman who stirs up his pot with a lot of time-proven dramatic devices to create a highly original stew. Director Patrick Varon pulls off a generally fine rendition of this challenging piece.
Each member of this grotesque clan -- despite the Ozzie and Harriet fa?ade -- has loose screws. Patriarch Arthur (Christopher Bradley) is prone to adultery and incest. His wife, Grace (Gillian Doyle), is a lush who worries more about social proprieties than about dealing with her children's personal crises. Daughter Emma (Veronique Ory) suffers from amnesia and panic attacks. Prodigal son Todd (Todd Kubrak) returns after years of separation, confessing that he's a sex addict afflicted with AIDS. The odd man out -- literally -- is Emma's sexually confused fianc?, Tommy (Ryan Baylor), the family servant, who wears a French maid's outfit and lusts after Todd.
Silver's self-absorbed characters talk at -- rather than with -- one another, leading to a lot of non sequiturs, driving home the point of a noncommunicative family. Varon could better modulate these exchanges, as they sometimes fly by too quickly for us to absorb needed information. The playwright's themes become clearer when the zany tone shifts to stark tragedy. The finest work comes from Doyle, whose basket-case matriarch feels like a cross between Katherine Helmond in Soap and Faye Dunaway's Joan Crawford in Mommie Dearest. Kubrak excels as the loony artist turned amateur archaeologist, as does Ory as the seriocomic sad sack. Baylor is a hoot as the cross-dressing groom-to-be. Those with an appetite for nihilistic farce will enjoy this gleefully acidic satire.
Los Angeles City Beat-Pterodactyls
Theater Critic?s Choice: ?Pterodactyls?
Nicky Silver was a fashionable young playwright in the ?90s. Two of his plays, including this one, quickly reached South Coast Repertory. But, strange to say, his work never reached Los Angeles County, at least not in reviewable form, until now, with Athena Theatre?s Pterodactyls. As an asymptomatic AIDS patient returns to his deeply denying and screwed-up Philadelphia family, a script that begins as a bitter farce ends as simply bitter ? make that despairing. Silver?s targets now look familiar, and not all that funny, but director Patrick Varon?s actors hit them with precision. It?s good for L.A?s audiences to finally get to measure what the Silver rush of the ?90s was all about.
?Don Shirley
Entertainment Today.net and Reviewplays.com-Pterodactyls
For ReviewPlays.com and EntertainmentToday.net, 7/17/07
*** CRITIC?S PICK ***
TICKETHOLDERS
by Travis Michael Holder
Pterodactyls
Stella Adler Theatre
Denial is definitely not a river in Egypt in the Duncan household, a family that bleakly absurdist playwright Nicky Silver put through their paces with almost cruel delight in his 1993 masterpiece Pterodactyls, now lovingly revived by the ever-prolific Athena Theatre Company at the Stella Adler.
Although Pterodactyls takes place in a grandly appointed living room along the historically pish-tosh Main Line of Philadelphia and is set during the era in which the play first debuted, the spectre of the dinosaur isn?t far behind in either its own time zone or ours.
The bones of one of our gigantic reptilian predecessors that returning prodigal son Todd Duncan (Todd Kubrak) prophetically finds buried on the grounds of the family estate obviously parallels the impending fate our troubled species as we crash on into our own obsolescence at breakneck speed. ?They raped the planet,? Todd offers with a kind of skewed devotion to those massive first marauding creatures of the earth, ?but they cared for their young.?
As Todd arrives home after a long absence to inform his parents (Gillian Doyle and Christopher Bradley) he has AIDS (has, as opposed to dying from, he?s quick to correct), his wigged-out sister Emma (Athena?s co-founder Veronique Ory) is about to wed Tommy (Ryan Baylor), not much of a catch according to the social requirements of her designer-obsessed shopaholic mother, especially when the kid brags that along his career path he has ?scratched and clawed? all the way from busboy to waiter.
Rather than trying to dissuade the certifiable Emma to abandon her plans, however, Grace Duncan instead offers Tommy a position she feels worthy of his skills: replacing her maid, whose sudden disappearance from her barking employ is not hard to imagine. Much to the horror of Grace?s husband Arthur, Tommy fits perfectly in his predecessor?s little black-and-white satin French maid outfit?and here this definitely signals out-fit?his scruffy patch of chest hair peeking curiously from above the uniform?s ruffled neckline. Worse yet, Tommy?s perfectly comfortable wearing it.
Under Patrick Varon?s sturdy direction, the classic-in-the-making Pterodactyls still has a lot going for it, this particular return to the crazy and incredibly dark Land of Silver made all the more relevant by exceptional performances all around, particularly Doyle?s wonderfully vapid mother and Ory?s perplexed innocent lost in a sea of modern dysfunction and avoidance?kinda like most of us these days in our country, a place where we?ve let a regime we know is lying brazenly about almost everything and shafting us all as it continues to make its murderous descent on the world, prevail despite the wishes of any American with a conscience left standing.
If nowhere earlier in his script, Silver?s point is made glaringly obvious in Pterodactyls? last line, referring to the recovered dinosaur bones Todd gradually reassembles throughout the play in the corner of the family living room, long after his sister?s suicide, Tommy?s death from the bug Todd passed along to him, Arthur?s descent into an unemployed shell of his former stuffy businessman self, and Grace?s vacuous resilience to all pain as she continues to obsessively shop for Prada and come on to her gay son.
While ruminating on the mystery of what happened to the dinosaurs, Todd comes up with a scarily prophetic answer: ?Maybe they just ran their course,? he suggests. ?Maybe their end was just the order of things.?
Not only does that line clearly summarize the world of refutations oppressing and systematically destroying the Duncan household as envisioned by Nicky Silver in his vintage Pterodactyls, it eerily echoes the highly probable impending fate of our entire species if we don?t collectively attempt to beat extinction ourselves by bearing the responsibility to make some major changes?and purdy damned quick, too.
Pterodactyls plays through July 29 at the Stella Adler, 6773 Hollywood Bl., Hollywood; for tickets, call 818.754.1423.
* * *
TRAVIS MICHAEL HOLDER has been writing about LA theatre since 1987 and in Entertainment Today since 1990. As an actor, he received the Los Angeles Drama Critics Circle Best Actor Award as Kenneth Halliwell in the west coast premiere of Nasty Little Secrets at Theatre/Theater. Four years later, he was inducted into the LADCC himself, thus becoming the only member in its 39-year history to also hold an award for performance. He has also been honored with a Drama-Logue Award as Lennie in Of Mice and Men at the Egyptian Arena, four Maddy Awards, a ReviewPlays.com Award, both NAACP and GLAAD Award nominations, and five nominations from LA Weekly. Regionally, he won the Inland Theatre League Award as Ken Talley in Fifth of July, three awards for his direction and performance as Dr. Dysart in Equus, was up for Washington, DC?s Helen Hayes honors as Oscar Wilde in the world premiere of Oscar & Speranza, toured as Amos ?Mr. Cellophane? Hart in Chicago, and traveled twice to New Orleans for the annual Tennessee Williams Literary Festival, opening the fest playing Williams himself in Lament for the Moths in 2003 and performing in An Ode to Tennessee last spring. Never one to suffer from typecasting, Travis? most recent LA performances have been as Giuseppe ?The Florist? Givola in Brecht?s The Resistible Rise of Arturo Ui for Classical Theatre Lab, Ftatateeta in Shaw?s Caesar and Cleopatra at the Lillian, Cheswick in One Flew Over the Cuckoo?s Nest at the Rubicon in Ventura, and he will appear as Dave Moss in Glengarry Glen Ross at the Egyptian Arena in Hollywood Sept. 28 to Nov. 18. As a writer, he?s also a regular contributor to Back Stage West, Gorgeous and Boulevard Magazines, and ReviewPlays.com. Five of his plays have been produced in LA and his first, Surprise Surprise, for which he wrote the screenplay with director Jerry Turner, is about to begin the international festival circuit as a feature film with Travis playing opposite John Brotherton, Luke Eberl, Deborah Shelton, Mary Jo Catlett and Jesse Boyd. His first novel, Waiting for Walk, will hopefully be published before he jumps off the goddam Hollywood Sign. www.travismichaelholder.com.
Reviewplays.com-Pterodactyls
PICK OF THE WEEK
Author Nicky Silver seems to know "? what evil lurks in the hearts of men?? He may not be The Shadow, but he manages to put his finger on some of the deepest and darkest sentiments of people, and then pries them up for exposure, wrapping them in absurd and incongruous situations. The Athena Theatre pulls another nifty number adding once again to their vast number of success laden offerings.
As families have skeletons in closets, the Duncan family?s symbolic skeleton is constructed in the living room when oldest son Todd (Todd Kubrak) returns to the family home after a few years of estrangement bringing with him some old bones he found in the garden, which he assembles sporadically, eventually turning out to be a Pterodactyls skeleton. He also makes a pronouncement that he has AIDS . One should keep in mind this story first hit the boards in 1993, when AIDS was much more lethal than today and infection was a certain death sentence. That said, the play still holds its own today with compelling and gripping situations.
The well-to-do family of Arthur and Grace Duncan (Christopher Bradley and Gillian Doyle) is somewhat taken back by the news, but the reaction is not quite what one would expect, what with daughter Emma bringing home her boyfriend Tommy and the maid quitting. (Veronique Ory and Ryan Baylor) Grace feels that it?s important to keep things in perspective, and the maid quitting is far more devastating because now she?ll have to get her own drinks. However, when she meets Tommy she badgers him into staying with them and makes him wear the maid?s uniform, forcing him to do all the house-hold chores. Daughter Emma has a serious problem. She forgets things. She forgot she had a brother, for example, and now that she?s going to marry Tommy, she seems to be more distant from reality. Arthur has lost his job as bank president, which devastates Grace because they won?t be able to keep up their life style. However will they afford Emma?s lavish wedding?
All around there are signs that this family is on its way to extinction, (a fact that Silver pounds into the audience with the metaphoric skeleton of the Pterodactyls) but their journey is a darkly lit tunnel of comedic tragedy. As the play progresses, it?s as if director Patrick Varon is guiding us through a gilded alley, and once in awhile opens a window into the family?s past where we see shades of abuse at one time, alcoholism another, repressed sexual fantasies from the father towards Emma, selfish egotism and even hatred among the family members. When Todd tells his father his life on the street, he uses brutally graphic language, to which the father reacts almost indifferently. When the mother wants to spend tender time with her son, it becomes borderline incestuous and one wonders what habits the family has practiced. Homosexual encounters, pre-marital sex and other ?scandalous? activities are commonplace for these people, each of whom is marching to a different agenda that Nicky Silver has constructed without apparent regard to cohesiveness or continuity. Except that he may be giving us a look at an amalgamation of society, wrapping many of the foibles he sees into the lives of this family in hopes of sending a message.
The wonderfully gifted ensemble responds brilliantly to the challenge, with Gillian Doyle almost walking off with the show as the neurotic alcoholic, self righteous society matron who has no clue why the family is the way it is, or even how to begin interacting with her children. As usual, Veronique Ory finds that special essence of the character and allows it to take over, giving a performance that abounds with tenderness, confusion, and sympathy while Ryan Baylor is nothing if not game for spending most of the show in a French maid?s outfit, as he delivers some of the best subtle comic lines of the show. Todd Kubrak is a mix of eccentric madness, rebellion and downright arrogance playing Todd. We don?t know why he chose to return home, but clearly didn?t find what he hoped for. It?s as if Gertrude Stein?s statement of ?There is no there there? applied directly to him. Christopher Bradley is a strong presence as the father who never really knew how to raise a family.
With scenes jumping back and forth from the past to the present and the characters addressing the audience as if pleading their case, one must follow this closely. In this darkly comic offering be ready to go on a highly charged ride where for every laugh there is an equal conflict and for every solution at least three new problems pop up. You?ll love it!
