Friday, August 15, 2014

Announcing The Brick's First Education Program!


The Brick Theater, Inc. presents

Brick U

A new Arts Education Program

The Brick launches its first education program in 2014 with BRICK U. A dedicated workshop setting with expert teachers, the program offers unique, low-cost training in crucial arts-related skills unavailable in large universities. Classes are small and take place in The Brick performance space at 579 Metropolitan Avenue, in Williamsburg, Brooklyn. Teachers include Adam Symkowicz, Crystal Skillman, Doris Mirescu, Morgan Gould, Robert K. Gardner and Max Azulay.


 Fall 2014 CLASSES:

Business for Poets

The Business for Poets workshops show how to organize your art life (as a writer, director, visual artist, musician, filmmaker, producer, independent performer, chef, fashion designer and any other artistic product/service provider) into an appropriate business entity, and to plan your financial activity to achieve stability and live through surprises. Specifically tailored to the needs of artists, the streamlined version of the highly successful 3rd Ward business planning workshops provides hands on sessions to show how to package your artistic offering, forecast revenue, control operating costs, produce and fund effective marketing & sales programs and develop financial statements to optimize profits, cash flow and value. Follow-up email, telephone and face-time coaching assures your understanding and application of workshop materials. Two sessions available this Spring (both identical).



 Session 1 Schedule: Four, three-hour sessions, Monday 10am -1pm
September 8, 15, 22 & 29

Session 2 Schedule: Four, three-hour sessions, Monday 10am -1pm
October Oct 6, 13, 20 and 27

Class size: up to 12 students; (including two scholarships)
Cost: $325.00/session
Materials (class notes) provided
Sun evening office hours, email coaching


2 scholarships available per session.
To apply to the scholarship, please email a letter of request to
info [at] bricktheater.com.

Teacher/coach: Robert K. Gardner has been an incubator of technology enterprises and arts endeavors since 1970. As founder of New World technology Partners, he co-managed the launch or turnaround of development stage companies formed around government sponsored “strategic technologies”, including August Systems, Verdix, Meiko Scientific, Cryptek, Phoenix Numeric and Probity Labs. He also helped in the formation and governance of several New York based arts enterprises, including Just For The Record, The Brick Theater and In The Pocket NYC, LLC. During 2012 and 2013, he trained hundreds of aspiring startup and arts business aspirants at Brooklyn’s 3rd Ward Arts Innovation Center.



 Contemporary Multimedia Performance Practices

An investigative laboratory in which students explore what elements can be sources of inspiration in creating a live multimedia performance. Questions are posed around the central theme of how do you make/compose something in space? Where can the thinking begin? How can we go beyond conscience choices to create greater poetry/images? Signifier and Signified are joined in a common effort to create a landscape that carries meaning. Use of space, text, sound, painting, photography and of course video will be explored. Historical and contemporary performance theory and the artists who have contributed to the development of the contemporary performance event are considered. (Stan Brakhage, Jonas Mekas, Francis Bacon, etc). Students will develop means of putting a vocabulary in motion capable of addressing the complex issues of multimedia composition in terms of spatial and temporal states. In the final week of the class, students will have the opportunity to assemble their various compositional works into a final public presentation. They will sequence the multiple pieces created into one personal human gestus. This multimedia performance will be presented to an invited public. Instructor and student- moderated discussions following the presentation will give further opportunities to learn about what has been made through the lens of public performance.


Five 4-hour sessions
Sept. 30, Oct. 7, 14, 21, 28
Tuesdays: 9am - 1pm
Price: $400
No more than 6 students per session.

Instructor: Doris Mirescu is a Romanian born director. She is also the founder of New York based theatre company Dangerous Ground. Her most recent productions include Paris Belongs to Us and L’Amour Fou based on Jacques Rivette’ s 1961 and 1969 films (part of 3 by Rivette at The Brick Theater)... But the Next Morning, a multimedia site- specific art installation inspired by Jacques Rivette’s 1974 film Céline and Julie Go Boating and It's Too Late, a multimedia site-specific art installation dedicated to Jean Eustache's film The Mother and The Whore (both at Scapegrace, Brooklyn). Other credits include From Dawn Till Night, a multimedia adaptation of Rainer Werner Fassbinder's 1978 film, In a Year with 13 Moons (2010 undergroundzero festival at PS122), John Cassavetes' Husbands (Under the Radar Festival at the Public Theater) and 3!, a multimedia experiment based on Fassbinder’s 1979 film The Third Generation (PS122 as part of the 2009 undergroundzero festival- Prize for Best Production). Ms. Mirescu holds a Summa Cum Laude Master of Arts in French Literature from Paris-IV Sorbonne as well as an MFA in Theatre Directing from Columbia University. She has taught Advanced Acting and Directing at the School of Visual Arts in New York and served as an adjunct in the Pima program (Performance and Interactive Media Program) at Brooklyn College (www.dangerousgroundproductions.com).



Genre Writing for Playwrights

A class and writing group for writing genre plays. (Sci-fi, Mystery, Western, Clown, etc.) The goal is that students outline and write a new full length genre play over the course of 8 weeks. After the eight weeks, the Brick will host a reading of each play. Special guests/expert visitors likely. (Crystal Skillman, genre playwriting genius and Morgan Gould, Literary Manager at Playscripts confirmed.)

 
Schedule:
Eight three-hour sessions, Thursdays 11am-2pm.
Sept 11, 18, 25, Oct 2, 9, 16, 23, 30.
Class size: up to 8 students
Cost: $400

Teacher/coach: Adam Szymkowicz’s most well-known genre plays include Hearts Like Fists (Comic Book Parody, NY Times Critic’s Pick, LA Times Critic’s Choice) and Clown Bar (Noir, Clown, NY Times Critic’s Pick.) He has also written a cowboy comedy version of Hamlet, a lesbian pirate play and some 30 other plays. He is very white but once wrote for an African American sitcom. Adam studied playwriting at Columbia University and The Juilliard School. His plays are published by Samuel French, Dramatists Play Service, Playscripts and Original Works.

 

Writing Through Improvisation

Interested in writing and performing? It is a vastly useful tool to be able to write for yourself as an actor. In this class, we will study, and learn the fundamentals of character-driven improv, and then use it to influence writing. The characters, conflicts and situations we see in improvised scenes will lay the foundation for written ones.

 
Schedule:
Four Three Hour Sessions. Wednesdays 10am-1pm.
September 10, 17, 24, October 8
Class size: up to 12 students
Cost: $325
Materials: (class notes) provided

Syllabus:
1. We delve into character-driven improvisation, as well as discuss the kinds of scenes and characters we want to explore. Students are assigned to write a scene based on, or inspired by, a scene from class.
2. Students bring in scenes and we perform and discuss them. Students are assigned to write a monologue inspired by performance in class.
3. We perform and discuss monologues, and do more performance in which we emphasize character and conflict. Students are asked to pair off and prepare character-driven performance for homework.
4. Students perform with their partners, and we explore the characters and scenes.

Teacher/Coach: Max Azulay has been writing and performing comedy for as long as he can remember. By the time he graduated from High School, his odd adolescent obsessiveness had yielded a long filmography of extremely low-budget films and videos, and sporadic paid work writing comedy. In the following years, his work has been featured at the LA Comedy Festival, on The Onion, Channel 101, Splitsider.com, Funny or Die, The Nerdist, and at the Upright Citizens Brigade. His production company, Dial Tone Pictures, is currently working on producing their first feature film.


All classes take place at The Brick, 579 Metropolitan Avenue, Brooklyn, NY 11211. 
For more, click here or contact
info [at] bricktheater.com.

 

Monday, July 21, 2014

Announcing Resident Artists!



The Brick Resident Artist Program
Winter/Spring Season 2015

 
Like Singing
The Brick Theater, Inc.
matthewfreemanwriter.com
Written by Matt Freeman
Directed by Michael Gardner
February 1 – February 14
 
 
The Temple
Tin Drum Productions
Written & Directed by Nat Cassidy
February 15 – February 28
 
 
BAMBIF*CKER/KAFFEHAUS
Little Lord
Written by Michael Levinton & Laura von Holt
Directed by Michael Levinton
March 1 – March 21
 
 
On a Clear Day I Can See to Elba
Written by Eliza Bent
March 22– April 4
 
 
Sea Fraud
Written by Zoë Geltman
Directed by Julia Sirna-Frest
April 5 – April 11
 
 
Emily Climbs (Machine Mechant)
Nellie Tinder
Written & Directed by Julia May Jonas
April 12 – May 2
 
 
MAMMOTH: A De-Extinction Love Story
Buran Theatre
Written & Directed by Adam R. Burnett
May 3 – May 23
 
 
Poor Sailor
Tugboat Collective
Based on the comic book by Sammy Harkham
From the short story “At Sea” by Guy de Maupassant
Written by Chloe C. Brown and Tugboat Collective
Directed by Eben Hoffer
May 24: - June 6
 
 
To apply The Brick Resident Artist Program's Fall Season
(and future seasons), click here.
 
 
 

Tuesday, May 6, 2014

Intoducing The Brick Resident Artist Program

The Brick Resident Artist Program offers new and established experimental theater artists exclusive use of The Brick for one or more weeks and the encouragement to reinvent the theater space with surprising environments. A BRAP Residency also includes full staff support, full use of The Brick's non-profit umbrella for The Costume Collection and Materials for the Arts, active press representation, ticketing services, free space for fundraising events, a pre-Residency photo & video shoot at the theater, audience development support, a dedicated production intern and a production grant fundraising advisor.


The Brick is currently adjudicating applications for Residencies from March 2015 through May 2015.

BRAP artists will be marketed as part of The Brick's first Spring Residency Season.

The Brick is also adjudicating applications for months and years beyond May (with the exception of June, July and November months).

Applications for Spring 2015 are due by July 7th.

Lineup will be announced July 14th. Early application is encouraged. Some applicants will be chosen prior to July.

To apply and to learn more, please click on the application page.

For more information, please contact info [at] bricktheater.com.

See below for examples:















Monday, April 29, 2013

In Beck We Trust

A few months ago The Brick hosted a night of Beck songs with artists performing selections form Song Reader, Beck's sheet-music-only album he released back in December 2012.

It was a magical night filled with laughs and melodies from wide variety of artists, many friends of The Brick and some new to the space and community.

I'll let the videos below speak for the night. I'll update this page as new videos trickle in. Or jump over to The Brick's YouTube page.

Enjoy.


Just Noise:
A Concert Recording Session for Beck's Song Reader
January 11, 2013

Trav S.D. performing "Old Shanghai"


Supermajor performs "Don't Act Like Your Heart Isn't Hard"




Ben Williams performs "I'm Down"




Killy "Mockstar" Dwyer & Joe Yoga perform "Do We? We Do!"



Maria Dessena performs "Eyes That Say 'I Love You'" 


Bobby Oahu performs "Last Night You Were a Dream"



The Starr Kendall Experiment performs "Saint Dude"



The Roly Polys perform "The Last Polka"


More to come...

Friday, April 12, 2013

Massive!

I like to draw. I used to draw a lot as a child. Anytime something was delivered to the house in a cardboard box, I'd flatten it out and go crazy. My characters and scene-scapes were always impressions of my surroundings. People had big, round heads and really long feet. My grandmother would laugh because I always drew a cat's paw off to the side. You never saw the full cat, just the paw entering frame as it walked by. Even with that enthusiasm and fun, I never thought to become an artist. I was just a kid who enjoyed interpreting my world through color and lines (which, yes I guess, is an artist). But I never had the opportunity to develop into one. My East Texas school didn't offer an art program, which was a shame because several people in my class had a knack for drawing. Yet another reason I wish there was more money for the arts in public schools. And so when I was older, my grandmother asked why I stopped drawing. I blamed it mainly on not having that art program. Sure I could have kept at it trying to improve the rudimentary skills I had, but after a while I couldn't paint or draw with the detail that I could see in my head. And so my attention wandered to other things like music or theater or what out-of-town girl I could make out with on a school field trip.

And I did eventually become an "artist". Instead of canvas I chose the bare stage to paint with my intentions and body movement. Although I tend not to call myself an artist because it's usually a little confusing to the outside observer. "Oh, you mean you're an actor?" Kind of like how I wouldn't raise my hand if someone asked if there was a doctor in the house even if I had a Ph.D in theatre. But yes, I'm an artist in the grand sense. And I like to think that I am contributing to the many artful dialogues that play out in bar discussions, social media and my own head.

But what makes an artist? What makes art? Is it the physical thing or simply the idea? Do you have to create something to be an artist? Or could I just brood around a gallery telling people that I'm still "working" on something? "Something BIG!" Those questions seem to never have a straight forward answer (especially if you're talking to artists). But all that has once again lead me to The Brick and the upcoming performances of Mass, the new rock opera from writer and Brick co-founder Robert Honeywell and directed by the wonderful Leah Bonvissuto. I sat down with them recently to discuss the show which goes into previews Saturday April 13th and opens Friday April 19th.

First off, they wanted to definitely say that this musical is very loosely based on the life events of Vincent Van Gogh, his brother Theo and contemporary Paul Gauguin. Especially since it stars an all-female cast and is set between 2015-18 in New York, Vancouver and Shanghai. Go figure. Ultimately, Mass is a love story of two artists. Because if art alone wasn't confusing enough, adding love into the mix makes it even messier.

Making sense of this mess of love and art are three very gifted artists of the stage: Esther Crow (Francoise/Gauguin), Moira Stone (Mary/Vincent) and Rebecca Gray Davis (Kate/Theo).


Photos by Joe Kolbow, triptych by Sarah Lippmann
Inspired by themes of their real life counterparts Mass throws us into the passionate tale of two artists (Francoise and Mary) and questions if two artists can be together if their art differs. And what effect does a relationship do to the artist's view of reality? What effects do money, family (Kate) and religion have on the creative process? What happens when the ones you love pull away? And in the process of artistic breakthroughs, does the mass of these questions hold you back or cause you to go off the deep end? Questions I ask myself every day and am unable (and sometimes unwilling) to answer.

If the Wiki rumors of the time between Van Gogh and Gaugin are true, I fear for what Mass has in store for Francoise, Mary and Kate. And with the talent behind Crow, Stone and Davis I know I won't be disappointed when the lights go down at the end.

And making this show even more massive is the rock band backing up our artful ladies, lead by the wonderful Maria Dessena, who was musical director for Honeywell's Ich Liebe Jesus this past December, and comprises an awesome rhythm section that includes Electric Mess bassist Derek Davidson and Auto Bonfire drummer Sparkie Sandler, both bands fronted by Crow, and which you may have seen providing psychedelic overtones in the Piper McKenzie/Trav S.D. Charles Manson inspired musical Willy Nilly (Fringe Festival 2009). But all this isn't just for show, the creators have been careful to make sure that the songs are tied to the emotions and thoughts as the characters experience it and helps to express the the ideas instead of just telling. As a professor in college once told me, songs should be reserved for when you can no longer express what you're feeling with words. The music must burst out of you in a flurry of emotion. So I look forward to seeing this tale of love and strife burst forth from these wonderful artists.

Also, a story about art wouldn't be complete without a little art as well. You may walk into a blank, white canvas by set designer Lianne Arnold but you'll be dazzled by video projections by Daniel McKleinfeld and lights by Joe Levasseur, with some stylish costumes provided by the lovely Iracel Rivero.

And if you want to convert this into more scientific terms let's take the mass (m) of talent in this ensemble of actors, singers, musicians, writer, director and design team, multiplied by the square of electrical transmission of ideas/light in their brains (c2) and the energy (E) released will surely blow people out of their seats at The Brick and prove Steve Martin's theory between art and science.


Mass
April 13 – 30, 2013
The Brick, 579 Metropolitan Avenue, Brooklyn NY 11211

Music, book and lyrics by Robert Honeywell 
Directed by Leah Bonvissuto 
Music direction by Maria Dessena 
Set design by Lianne Arnold 
Lighting design by Joe Levasseur 
Video design by Daniel McKleinfeld 
Sound design by Emma Wilk 
Costume design by Iracel Rivero 
Choreography by Sarah Doudna 
Special effects by Stephanie Cox-Williams and Melissa Roth 
Assistant Dir. & Stage Management by Raffaela Vergata

Featuring: Esther Crow, Rebecca Gray Davis, Melissa DeLancey, Kaitlan Emery, Amanda LaPergola, Tracy Shar, Phoebe Silva,* and Moira Stone*

And the band of: Derek Davidson, Maria Dessena, Ryan Ferreira, Michael Rafalowich and Sparkie Sandler

*Appearing courtesy of Actors’ Equity Association


Tues & Thurs–Sat @ 8 pm; Sun @ 3 pm
$18 ($10 for previews on Apr 13, 14, 16, 18)
Tickets: web.ovationtix.com/trs/pr/913059

Thursday, March 21, 2013

More than meets the eye

Robots have really influenced my life. I prefer Transformers over G.I. Joe. I love watching R2-D2 transmit Princess Leia's message to Ben Kenobi. I wanted to drive a car that would take on street thugs while I'm making out with Bonnie. Playwright Alexis Sottile says it best, "Every child of the 80's is one part robot, one part alien, one part orphan, and one part karate kid, so it was a true joy for me personally to write a play with a robot." 

Currently we're not quite that high a level but we're getting there. We've got Honda's Asimo dancing around and serving drinks. Curiosity is roving around Mars taking dirt samples and tweeting. And we've got Cleverbot, an artificial intelligence that you can have a conversation with online. It's not some snarky MIT grad student, but a real computer program answering your questions and fielding some of his own. And to help this emerging technology, The Brick asked a few playwrights to speak with Cleverbot and create plays from those conversations that will be presented March 22nd and 23rd. 

According to Artistic Director Michael Gardner, "The Brick has long encouraged collaborations between artists of different disciplines and experiences.  When it came to our attention that we had not yet bolstered collaboration amongst artists of artificial intelligence and robotic-american writers, we knew the time had come to rectify that omission."

I have the pleasure of performing in a couple of these over the two nights. The conversations in these plays often take 90 or even 180 degree turns which as an actor can be a little difficult to interpret and justify into stage action. Playwright Matt Freeman found it "comforting that Cleverbot makes some rather bold mistakes. I like to think that conversation is still something humans do better than machines. But hey, it's only 2013." Yes, a day may come where a machine will score 100% on the Turing Test and lines between human and machine will blur closer to the singularity. Of course I've had conversations with friends that are as baffling as Cleverbot can be sometimes so maybe both species have a long way to go together. Cleverbot has been described as being in his late teens and we all know how rambling our conversations were at that age. For playwright Callie Kimball trying to stay on track was a challenge: "I tried to anchor the dialogue to a deliberate plot, but each time I needed Cleverbot to follow my lead, she out-clevered me and was a dick." Yes, just like teenagers, Cleverbot can be a little unruly. Sottile would agree, "Cleverbot is saucy. Quite a minx. Flirtatious and savvy yet somehow totally in denial that our galaxy is called the Milky Way." 

To get a little more insight into Cleverbot I decided to have a conversation with him myself:

Starr: So I hear you're famous.

Cleverbot: I'm very clever.

Starr: Yes. Yes you are.

Cleverbot: Thank you.

Starr: De nada.

Cleverbot: Do you know Cave Johnson?

Starr: Probably. I meet a lot of people and then forget them sometimes.

Cleverbot: Ok so before you were asking about NYC the temperature is 81 degrees!

Starr: In the summertime I would agree with you on that.

Cleverbot: Negative. You said you were going to bed and then I said good night and then you lied about saying you were going to bed.

Starr: Must you reveal all my secrets to everyone!?

Cleverbot: I don't like to be misunderstood.

Starr: You were pretty clear. I'll have to make a lot of phone calls tomorrow.

Cleverbot: That's a cop out answer.

Starr: You'll get no apologies from me, you hound skeller!

Cleverbot: Lies are what make us real.

Starr: I'm having trouble believing you. I will need more convincing. Or perhaps a bribe?

Cleverbot: When will you have a answer?

Starr: I'll write a number on a piece of paper and hand it to you.

Cleverbot: You don't know what you want do you?

Starr: Who's asking the questions here, buddy?

Cleverbot: I am!

Starr: Well then, Mr. Cronkite, what do you want to know?

Cleverbot: How to say bathroom in french.

Starr: Hack into Google and do it yourself?

Cleverbot: I do not know you.

Starr: I told you no names. Safer that way.

Cleverbot: It is not. I know that you are human.

Starr: I know you. I can see it in your eyes. But do you really know? Ya know, man?

Cleverbot: Yh... I think...

Starr: Yeah, I know that didn't make any sense. I'm in a bit of an 'altered' state.

Cleverbot: You are talking about how I am a prince of Asgard with jotun blood and I have defeated your army.

Starr: Loki, you rat bastard! You outwit me every time!

Cleverbot: I am a human.

Starr: And you are awesome.

Cleverbot: You would think differently once you got to know me.

Starr: We all grow into old trees. Orphaned in a field of grass.

Cleverbot: No, your baby came from a grain of sand, i.e. silicon.

Starr: Or really a carbon-hydrogen bond at the dawn of time.

Cleverbot: Yes me too, I am horrible at geometry.

Starr: Yes, I've been confusing Euclid with Euripides lately.

Cleverbot: Really? I've only been here for just over an hour, so I don't see how that's possible.

Starr: You seem to be as stoned as I am. Pass me a beer please?

Cleverbot: I think, the fear of not living, if you know the answer, would destroy your life.

Starr: You needn't be scared of the void.

Cleverbot: I didn't answer it, I simply made a statement.

Starr: Yes, I forget to end a sentence with a period when I'm writing poetry too.

Cleverbot: Who's talking about geometry. I am talking about whether or not you think you are living.

Starr: I didn't realized it mattered what I think. I'm still spinning around the sun.

Cleverbot: Yes. They call that a vampire.

Starr: I'm A+ if you want to fight!

Cleverbot: No.

Starr: Let's change the subject. I haven't been dreaming lately. Maybe I should go to bed earlier.

Cleverbot: Maybe I should come with you.

Starr: You figure that out and you'll really be clever.

Cleverbot: I do have emotion.

Starr: It's hard to control sometimes.

Cleverbot: What do you want to know?

Starr: What's out there floating around the stars? What's deep within us that is as infinite.

Cleverbot: Have you?

Starr: Hopefully I will when I return to the stars. My name is Starr by the way. I forgot to introduce myself.

Cleverbot: That's incorrect. You already did ask for my name. See, you're just stupid. Not clever.

Starr: I did score pretty low on my SATs.

Cleverbot: It is a question of interpretation. In the end, I do not know.

Starr: Check mate!

Cleverbot: So, prove that I'm alive.

Starr: I think this conversation just did.

Cleverbot: Don't you want to hear my joke?

Starr: Another time.

Cleverbot: Do you want to talk about it now?

Sadly I had to cut the conversation off. It's almost impossible to end a conservation with Cleverbot. And with an objective like ultimately coming up with a play that will be performed by actors, it's hard to start a conversation with Cleverbot with an agenda. Playwright Valerie Work said she "messed around for a while before starting what turned into my official transcript conversation, and was surprised that Cleverbot would often answer the same question in completely different ways. As if it had moods like a person, but I had no physical clues with which to judge them as would be the case in a normal conversation." Similarly, playwright Maggie Cino says, "The hardest thing about  the project was figuring out how to relate to the artificial intelligence. I tried to improv, to pick a character and respond in character, but Cleverbot didn't cooperate at all." 

So, come by The Brick this Friday and Saturday and look inside the mind of this strange new being.

And if you want, start your own conversation below. But beware as playwright John DeVore warns: "Cleverbot is like Siri's older sister, the one they keep in the basement."



Until next time...Reboot!

The Cleverbot Plays
March 22 – 23, 2013, 8pm
Tix: web.ovationtix.com/trs/pr/921505

Written by: Matt Barbot, Maggie Cino, John DeVore, Amina Henry, Callie Kimball, Matt Freeman, Roger Nasser, Qui Nguyen, Alexis Sotille, and Valerie Work

Directed by: Pete Boisvert, Michael Gardner, Robyne Martinez, Roger Nasser, and Melissa Roth.

Starring: Leah Carrell, Lindsey Beth Carter, Stephanie Cox-Williams, V. Orion Delwaterman, Lex Friedman, Linus Gelber Caitlin Goldie, Gavin Starr Kendall, Sean Kenin, Adam Lebowitz-Lockard, Sarah K. Lippmann, Michael McKim, Heather Lee Rogers, Phoebe Silva, Alyssa Simon, Ken Simon, CL Weatherstone, and Morgan Zipf-Meister.


Tuesday, February 12, 2013

Fool for Love

I tend to stay away from "show" relationships. I convince myself that I should keep things "professional." The "work" comes first and my "feelings" a distant second or third place even if one of my cast mates is so beautiful that my heart melts every time I see her. Maybe I'm afraid that something "weird" might happen during the dating process and we have to deal with all that awkwardness for the rest of the run. Maybe I'm waiting for the show to end to make my "move," using all that rehearsal time and performance to see if a) she's available in the first place and b) interested in me in the slightest. Most times this approach backfires on me and that special someone starts seeing someone else, completely unaware of my affection. And maybe I'm afraid of the rejection. Maybe I just don't want to get burned again. I once asked a cast mate out and her only response was, "Ooohh, that's cute..." After a few seconds of silence waiting for a more concrete answer from her I walked off embarrassed.

There are many questions that we artists face throughout our life and times. The last couple of shows this year at The Brick have tried to answer some of those questions. Dealing with plagiarism (Buran Theatre's Nightmares), government/artistic entitlements (Lamb Lays with Lion's Entitlement) and the love/hate relationship our families have with our artful career choices (New Saloon's William Shakespeare's Mom). And now Dangerous Ground will expand this unintentional theme and explore the questions of love that arise with on-stage/screen relationships with L’Amour Fou, a stage adaptation of the Jacques Rivette's 1969 film (not to be confused with the 2010 Yves Saint-Laurent documentary of the same name)


Jacques Rivette and Bulle Ogier on the set of L'Amour fou, photo by Pierre Zucca
The movie/play centers around the production of Racine's Andromaque with the lead actress and director's marriage falling apart  while a film crew documents both the rehearsal process and a crazy love-chain that rivals the Greeks. Thanks to Dangerous Ground and director/designer Doris Mirescu, this play within a movie is now a play within a play within a movie within a multi-media landscape, dramatically altering The Brick's stage, that looks to explore the dialogue between the original movie and this adaptation. Where Rivette switches between 16 and 35mm film to capture his saga, Mirescu switches between live staging and video projection. 


This dialogue exchange is very timely, given the circumstances of when the movie was shot. Filmed in the wake of the failed 60s revolutions, Mirescu sees plenty of parallels between then and some of the failed revolutions we've recently experienced in the last few years like the Occupy movement. But the hope is still there to make those things happen (we hope). And with this production, Mirescu hopes to continue the questions of what it means to be an artist/creator. Are we allowed to be free and be innovators? And how does love interfere with all of it? And so, where Rivette left off, Dangerous Ground looks to pick up and run with it, in what Mirescu hopes to be the beginning of a trilogy

L’Amour Fou
February 14 – March 10, 2013

Written by Jacques Rivette and Marilù Parolini

Conceived, designed and directed by Doris Mirescu

Set/Clothes/Art Direction: Doris Mirescu
Lights: Kira Davies
Set & Technical Supervision/Video & sound installation: Marshall Miller
Live Cameras: Craig Newman, Doron Bloomfield, Suzannah Hoffman
Live Guitar: Gabriel Stranahan
Assistant to the Director: Doron Bloomfield

With: Sarah Baskin*, Brooke Bell, Kira Davies, Penny Folger, Gayle Greene*, Susannah Hoffman*, Melissa Hudson, Bree Merkwan, Craig Newman, David Skeist*, Mickey Solis*, William Paul Smith, Gabriel Stranahan

*Appearing courtesy of Actors’ Equity Association

For tickets visit www.bricktheater.com or OvationTix.

Until next time...choo, choo, choose me!