Margaret Curry News

Bad advertising couldn't keep away the crowds who knew what was really happening last night at Don't Tell Mama.

The new music ensemble, International Street Cannibals (ISC), presents "The Easily Satisfied Lover" - an evening of vocal works from the period of early modernism, which turns its lens on archaic male narratives of romance and reframes them through the voice and sensibility of a 21st century woman. Central to the evening is the performance of Arnold Schoenberg's monodrama, Pierrot Lunaire, op. 21 (1912) - a fantastical setting of 21 poems by Belgian symbolist poet Albert Giraud and freely translated in German by Otto Erich Hartleben. The program is a creation of soprano Ariadne Greif, Los Angeles-based director Gray Palmer, and ISC's founder/director Dan Barrett. It features conducting by maestro Christopher Lyndon-Gee; film footage by Swiss-Japanese filmmaker Caroline Mariko Stucky, especially created for this performance; and technical direction and stage management by Tyler Learned.

Thinking Time tells the story of two young women who are in the same predicament, although they are divided by several generations: young Nina is infatuated with a Roma street musician and Nina's grandmother, Ruth, remembers her love for a Nazi officer during German occupied Norway in 1942. 

West of 10th is currently presenting Lonely, I'm Not by Paul Weitz at The Workshop Theater in New York City for a limited engagement now through January 22nd.

West of 10th will present its production of Lonely, I'm Not by Paul Weitz at The Workshop Theater in New York City for a limited engagement beginning tonight, January 18th.

West of 10th will present its production of Lonely, I'm Not by Paul Weitz at The Workshop Theater in New York City for a limited engagement beginning January 18th.

West of 10th will present its production of Lonely, I'm Not by Paul Weitz at The Workshop Theater in New York City for a limited engagement beginning January 18th.

It would be wise to call this as a great piece of theater, yet there is so much more to say about Bill Holland's Hounds of War, it would be a shame to simply refer to this wonderful play as just another show to go and see on a Saturday night. Upon seeing a show, being part of an audience that has witnessed a given story from beginning to end, there are certain ones that a person knows are special - ones that, when actor and script meet, you know will be something special. Holland has created something more than a simple plot with a beginning, middle and end, relinquished from the minds of those who saw within a few days of their attendance. His genius in writing this play has created something much more lasting - a theatrical experience, really, that not only captures the attention of the audience, but is also able to delve deep inside the minds of each character and so intricately and carefully dissect each part of his or her mind so that no idea, no feeling or emotion goes unnoticed. The characters seen upon the stage at the Dorothy Strelsin Theatre turn into actual people, and combined with the psychological complexity of the plot, form a production that is incredibly unique and admirable to all playwrights ever hoping to write the next great story.

Wee Man Productions presents Hounds of War, a gripping new play written by Bill Holland about the a family struggling to hold on as a unit and which asks us to consider the wars we wage within ourselves. Mark Cirnigliaro directs a cast of five, including Christopher LaPanta, Margaret Curry*, Tony Head, Justin Hofstad, and Patrick Massey. Performances will be staged at the Dorothy Strelsin Theatre, 312 West 36th Street, 2nd Floor, New York, NY 10036 from March 21-April 5, 2014. *Member, Actors' Equity Association. AEA Showcase.