YOU KNOW WHAT I MEAN by AnonymousMarch 2004
American Place Theatre, NYC
This was an exciting experiment in process, performed as part of Studio42's Studio Sessions: Trials and Errors. A surreal script was dissected, with a focus on repeated words and themes. These words were then turned into sets of "rules" by the ensemble, where a specific action or acting choice must be made whenever a "hot" word occurred in the dialogue. The cast was able to focus on their characters internal story line, while breaking away for abstract responses to the big picture. The goal of this piece was to create an entertaining piece of theater that was enjoyable to watch for the sheer spectacle of it, but was also ambiguous enough for the audience to project whatever they wanted onto it. Judging from the audience response cards (with comments rainging from "the piece was all about repressed feelings and the sense of being trapped in societal roles" to "Were you children? Were you in an asylum? Were you the collective hysterical psyche of America's women? I don't know and I don't care. I laughed my ass off. It was divine."), we did just that.
BETTER NEVER by Alex ArgyrosSeptember 2003
Theatre Studio Inc., NYC
This play offered challenges on many levels- the most complicated of which involved a 20 minute opening monolgue delivered by a 60 year old man still engulfed in his mother's womb from the neck down. As this was a fairly stationary piece, the rehearsal process focused on script analysis and choreographing emotional movement, as opposed to complex blocking.
THE TINDERBOX by Hans Christian Andersen, Adapted by Carrie DuBoisJune-August 2002
Washington Square Park, NYC
Set in the world of a traveling dog and circus show, THE TINDERBOX places the audience in the middle of the action breaking the barriers of traditional fourth wall theatre. Mark Greenfield and I designed the show so that each moment brings an exciting adventure and an even more exciting circus act; everything from juggling, to fire-breathing, to death defying escapes!
THE EASY SHOWCASE by VariousMarch 2002
The Times Square Theatre & Entertainment Center, NYC
After a three month reading series, Corey Carthew and I selected scenes to best showcase our cast of twelve's talents. Our goal was to show the widest range possible in the shortest amount of time. We used five stages to keep the action bouncing around the room, keeping the energy of the evening alive.
WASN'T ANY LAW by Sophie RandAugust 2001
The Fringe Festival, NYC
As with Baby With The Bathwater, this project required the actors to walk a fine line between the over-the-top sensibility of the story and the honesty of the characters' reality. The rehearsal process involved extensive improvisation to create the physical environment of a trailer inhabited by dead white trash and werewolves.
FRIENDS by Jules FeifferMarch 2000
Botanica, NYC
Jules Feiffer generously allowed The Faux-Real Theatre Co. to perform the premier of this new work as a fundraiser. The story revolved around a couple's 30+ year marriage. I focused on establishing the familiarity of the relationship through pacing and physicality.
THE NAKED SHOW by Constance TarboxSeptember 1999
The Pink Pony, NYC
Over the course of 1999, I used the Faux-Real's weekly reading series to develop and workshop an original text entitled The Naked Show. This process culminated in a sold-out August run at the Pink Pony on Ludlow Street, in association with the Pure Pop Festival. The staging involved four playing areas surrounding the audience, video and slide projections, and ensemble movement.
CHEEKY & VIVANDA & THANATOPHILIA by David AdjmiJune 1996
Diacapo Opera Theatre, NYC
I directed these original works for a young playwright's festival sponsored by Circle In The Square. I worked closely with the author to be true to the original absurd concepts and translate them to the actors. The pieces were honored by the sponsors and performed in an exclusive, "finalist" level.
BABY WITH THE BATHWATER by Christopher DurangFebruary 1996
Columbia University, NYC
I wanted to direct this piece since I fell in love with it in 1992. I finally directed Columbia undergrads in my first New York production. The cast explored the exaggerated, "cartoon" version of their absurd, satirical characters in a high paced, intense rehearsal process and performance. Along with directing the piece, I designed the set, lighting, and sound.
WILLIAM SHAKESPEARE'S HAUNTED HOUSE dir. Mark GreenfieldOctober 1996-2003
The Faux-Real Theatre Co, NYC
Belvedere Castle Central Park & South Street Seaport Museum's Tall Ship Peking
After creating and writing the piece with Mark Greenfield, I assisted in all stages of the production process. I was responsible for group and individual rehearsals and staging. I also co-designed the costume, set, and "spooky" effects with Mr. Greenfield.
FUNBOXTIMESSQUARE & FUNBOX2000 dir. Mark GreenfieldFebruary 2001 & May 1999
The Faux-Real Theatre Co, NYC
Chashama135 West 42 & The Piano Store
Through a developmental rehearsal process, I worked with the cast to create a visceral "theatrecoaster" of the 5 senses. I played a major role in casting, took turns leading rehearsals and exercises, and gave input in design and final scripting decisions. I helped translate the original staging and script when the pieced moved up from the Lower East Side to Times Square.
ALICE IN WONDERLAND dir. Christopher SandersonJune 1997
Gorilla Repertory Theatre Co, NYC
Federal Plaza, Henry Street Settlement
I was instrumental in casting, rehearsing, staging, and the running of the show. The director was absent from over a third of critical rehearsals and performances. I had complete artistic authority during those times and gave further input during remaining rehearsals.
A MIDSUMMER NIGHT'S DREAM dir. Christopher SandersonAugust 1997
Gorilla Repertory Theatre Co, NYC
Washington Square Park
Along with performing the role of Peter Quince in this environmentally staged version of MSND, I was instrumental in casting, rehearsing, staging, and the running of the show. When directing rehearsals and exercises, I had complete artistic authority and gave further input during remaining rehearsals.
TAMING OF THE SHREW dir. Christopher SandersonSeptember 1997
Gorilla Repertory Theatre Co, NYC
Washington Square Park
I was instrumental in casting, rehearsing, staging, and the running of the show. When directing rehearsals and exercises, I had complete artistic authority and gave further input during remaining rehearsals.
AFTERSCHOOL DRAMA September 2002-Present
PS 234 & PS 89, NYCEducator
Mark Greenfield, Laura Barnett & I teach an after-school program for grades 3-5, focusing on learning basic theatre techniques and vocabulary, culminating in a year-end performance.
DANCE OF THE ANCIENT SPIDERMarch 1996
I Giullarri Di Piazza, NYCStage Manager
Lincoln Center, Alice Tully Hall & Caramoor
I coordinated a cast of 20 actors, dancers, and musicians from the rehearsal process through performance. The production was so successful at Alice Tully Hall that it later toured upstate to the Caramoor Institute. I adapted the technical aspects from one space to the next, while arranging the scheduling and transportation.
WHERE I'M HEADEDFebruary 1996
Gypsy Road Theatre Company, NYCStage Manager
Theatre Row Theatre
I coordinated and scheduled a complex rehearsal process for a cast of 15. In rehearsal, I created detailed blocking notes. Because this was the first performance of this text, I was responsible for making sure each line spoken was word perfect. In performance, I called the show and acted as running crew for the quick transition from the previous show's set to ours.
GEORGE M! and DAMES AT SEAApril 1994 & 1995
Gettysburg Area High School, PAChoreographer
The Gettysburg School Board hired me to choreograph 8 core dancers and 35 ensemble members in all musical numbers. Most of the cast had no dance experience and left the production tap dancing their hearts out.
Barnard College, Columbia UniversityMask & MovementAmy Trompeter, Pati Hernandez
Shakespeare & Ren DramaPeter Platt
Chinese OperaLi Chang Chun, asst. Susan Jain
KabukiMiyoko Wantabe
Commedi Dell'ArteDan Chumley (SF Mime Troupe)
KathakaliSukanya Rahman
Stilt Walking/DancingPeter Hernandez
Dance/MovementTapGrand Performance, Dance Horizons, Kathy Whitmers
ModernNeta Pulvermacher
JazzFoothill Academy of Ballet
Belly DancingAmar
AfricanAtito
Alexander TechniqueBarbara Coulson
TrapezeJonathon Conant, Dave Pakenham
VoiceSinging: Belting & Head VoiceDeborah Birnbaum, Sandi Fujita, Carol McComb
DynamicsKen Schatz