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New Georges Announces Fall Production at The Brick

New Georges (Susan Bernfield, Producing Artistic Director; Sarah Cameron Sunde, Deputy Artistic Director; Jaynie Saunders Tiller, Managing Director) announce the World Premiere of Trish Harnetiaux's How to Get Into Buildings at The Brick in December, along with a New Georges Supported Production, the Big Benefit in Tribeca at the end of October, and new Audrey Resident projects in The Room all year long.

World Premiere of ...

How to Get Into Buildings

Written by Trish Harnetiaux, Directed by Katherine Brook

December 3-18 @ The Brick (579 Metropolitan Avenue, Brooklyn)

How To Get Into Buildings takes an exploded view of love, in which confusion blends with confidence, time keeps shifting, amateurs are experts, and brunch can be fatal.

As a blueprint for her play, Harnetiaux used the structure of exploded view: an illustration or diagram used in manuals (for lawnmowers, bicycles, computers) that shows an object's parts apart from the whole, but in positions that indicate their relationship to it. Roger and Lucy meet in a convention hall, Daphne and Nick break down at a diner, their stories intertwine as the play swirls around you, rotating on its axis, to articulate the experience of love, with its alternating moments of intimacy and isolation.

New Georges Big Benefit

The Finale to The Spree: a progressive festivity to benefit New Georges

Monday, October 26 7pm-9pm

This year New Georges put a new twist on fundraising by planning three very varied events scattered throughout the season: a New Orleans style brunch paired with a performance of Lisa D'Amour's Airline Highway; a sold-out revival reading of their 2008 hit play Hillary: A Modern Greek Tragedy with a (Somewhat) Happy Ending; and now a more traditional benefit party in a 5-story Tribeca townhouse, featuring a mini-play written on the spot by playwright Jenny Schwartz (Iowa; God's Ear, originally produced by New Georges in 2007). Tickets ($125+) are available at www.newgeorges.org

New Georges is also pleased to announce the third cycle of the Audrey Residencies, their core program for instigating new works. In 2015-16, New Georges will support 11 resident artists who are creating 7 highly theatrical projects (several in collaboration). The new resident group includes longtime members of New Georges' artistic community along with brand-new affiliated artists; many are tackling something new for them, in terms of process, aesthetic or collaboration. This year's artists and collaborations are director Colette Robert; playwright Caitlin Saylor Stephens and director Portia Krieger; writer/directors Julia May Jonas and Meghan Finn; director Jessica Bauman; playwright Hilary Bettis; playwright Stephanie Fleischmann and director Debbie Saivetz; playwright Sarah DeLappe and director Morgan Green.

New Georges' Supported Production program, which provides advice, mentorship and additional resources to affiliated artists who self-produce, continues with support of Toilet Fire: Rectums in the Rectory, Eliza Bent's ceremony and celebration of the one thing that unites us all: our need to go. Using the structure of an ancient religious ritual to talk about matters of digestion, philosophy, and faith, Toilet Fire explodes with song, audience participation, and unexpected textual twists. First seen at JACK last May, Toilet Fire moves to Abrons Arts Center, where it runs October 29 to November 14. Tickets ($15) are available at www.abronsartscenter.org/performances/eliza-bent-toilet-fire.html

NEW GEORGES has premiered 43 new full-length plays and 11 festivals of new work; hundreds of original works have passed through The Room, New Georges' workspace, on their way to venues in New York City and beyond. Notable productions have included: Kate Benson's A Beautiful Day in November on the Banks of the Greatest of the Great Lakes (Obie Awards for playwright and director); Lynn Rosen's Goldor $ Mythyka; Kara Lee Corthron's AliceGraceAnon; Peggy Stafford's Motel Cherry (Huffington Post Top Ten); Sylvan Oswald's Nightlands; Heidi Schreck's Creature; Eisa Davis' Angela's Mixtape (New Yorker Top Ten Off Broadway Shows); Jenny Schwartz's God's Ear (Time Out New York Top Ten); Wendy Weiner's Hillary: A Modern Greek Tragedy With a (Somewhat) Happy Ending; Susan Bernfield'sStretch (a fantasia); Sheila Callaghan's Dead City (Susan Smith Blackburn Prize); Deb Margolin's Three Seconds in the Key (Kesselring Prize); and Lisa D'Amour'sAnna Bella Eema.


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