After establishing himself as resident doorman, stage manager and sex slave at the Caffe Cino, the historic Cornelia Street birthplace of Off-Off Broadway and America's gay theatre movement, Robert Patrick summoned up the courage to join the ranks of the venue's resident staff of playwrights (Lanford Wilson, Tom Eyen and William Hoffman among them) to begin submitting his own creations to owner Joe Cino. Eventually, the Broadway production of KENNEDY'S CHILDREN would help Patrick gain recognition as one of the significant dramatic voices emerging from New York's downtown scene.
'The New World Symphony: Dvorak in America' is a puppet and object theater work examining the influence of African-American and Native American music upon the great 19th-century Czech composer Antonin Dvorak (1841-1904). The piece is written and directed by Vit Horejš and performed by Czechoslovak American Marionette Theatre. It traces how Dvorak helped America accept its beautiful multicultural musical traditions by his enthusiasm for African-American and Native American music during his short but influential time in the USA. La MaMa Theatre will present the play's world premiere run March 10 to 27, 2016 in its Ellen Stewart Theatre, 66 East 4th Street (East Village). Composer and Musical Director is saxophonist James Brandon Lewis.
Czechoslovak-American Marionette Theatre (CAMT) has created 'The New World Symphony: Dvorak in America,' a play chronicling the American years (1892-1895) of Czech composer Antonin Dvorak, during which he produced a flurry of 'American' works. This puppet theater work is rich in classical and original music (played live!) and dramatizes one of the most significant cultural exchanges in American history. GOH Productions and Dvorak-American Heritage Association (DAHA) will present the piece as a work in progress January 30 and 31, 2016 at Bohemian National Hall, 321 East 73rd Street (Upper East Side). This production is preparatory to the play's upcoming world premiere run, which will be presented by La Mama Experimental Theatre, 66 East 4th Street (East Village), six weeks later: from March 10 to 27, 2016 (see more info below). The play is conceived and directed by Vit Horejs. Composer and Musical Director is saxophonist James Brandon Lewis.
Czechoslovak-American Marionette Theatre (CAMT) has created 'The New World Symphony: Dvorak in America,' a play chronicling the American years (1892-1895) of Czech composer Antonin Dvorak, during which he produced a flurry of 'American' works. GOH Productions and Dvorak-American Heritage Association (DAHA) will present the piece as a work in progress January 30 and 31, 2016 at Bohemian National Hall, 321 East 73rd Street (Upper East Side). This production is preparatory to the play's upcoming world premiere run, which will be presented by La Mama Experimental Theatre, 66 East 4th Street (East Village), six weeks later: from March 10 to 27, 2016 (see more info below). The play is conceived and directed by Vit Horejs. Composer and Musical Director is saxophonist James Brandon Lewis. Scroll down for a sneak peek at some of the puppets!
La MaMa presents PYLADE -- a play by the late, celebrated Italian film director Pier Paolo Pasolini -- in its U.S. premiere 40 years after the author's murder. The production directed by Ivica Buljan, director of the Croatian National Theatre, begins performances beginning tonight, December 3 at La MaMa's Ellen Stewart Theatre (66 E. 4 St.) with the press opening set for December 6, it has been announced by Mia Yoo, La MaMa's Artistic Director.
La MaMa presents PYLADE -- a play by the late, celebrated Italian film director Pier Paolo Pasolini -- in its U.S. premiere 40 years after the author's murder. The production directed by Ivica Buljan, director of the Croatian National Theatre, begins performances beginning December 3 at La MaMa's Ellen Stewart Theatre (66 E. 4 St.) with the press opening set for December 6, it has been announced by Mia Yoo, La MaMa's Artistic Director. This contemporary adaptation of the Greek myth, PYLADE will be performed by La MaMa's Great Jones Repertory Company (GJRC), a multi-faceted company of artists created 35 years ago by Andrei Serban, Elizabeth Swados and La MaMa's founder Ellen Stewart.
La MaMa presents PYLADE - a play by the late, celebrated Italian film director Pier Paolo Pasolini - in its U.S. premiere 40 years after the author's murder. The production directed by Ivica Buljan, director of the Croatian National Theatre, begins performances beginning December 3 at La MaMa's Ellen Stewart Theatre (66 E. 4 St.) with the press opening set for December 6, it has been announced by Mia Yoo, La MaMa's Artistic Director. This contemporary adaptation of the Greek myth, PYLADE will be performed by La MaMa's Great Jones Repertory Company (GJRC), a multi-faceted company of artists created 35 years ago by Andrei Serban, Elizabeth Swados and La MaMa's founder Ellen Stewart .
Great Jones Repertory - co-founded by Ellen Stewart in 1972 - will mark its 38th annual season this spring with the premiere of 'Great Jones Variations,' five short pieces presented during four days May 27 to 30 at La MaMa ETC's newly-minted Ellen Stewart Theatre (66 E. 4 St.) in Manhattan.
Great Jones Repertory - co-founded by Ellen Stewart in 1972 - will mark its 38th annual season this spring with the premiere of 'Great Jones Variations,' five short pieces presented during four days May 27 to 30 at La MaMa ETC's newly-minted Ellen Stewart Theatre (66 E. 4 St.) in Manhattan.
Great Jones Repertory - co-founded by Ellen Stewart in 1972 - will mark its 38th annual season this spring with the premiere of 'Great Jones Variations,' five short pieces presented during four days May 27 to 30 at La MaMa ETC's newly-minted Ellen Stewart Theatre (66 E. 4 St.) in Manhattan.
Historically, English adaptations of Aeschylus' 'Agamemnon' have rendered its ancient Greek poetry into proven English poetic forms. The results have been often good and occasionally brilliant. Yet the original Greek meters provide clues as to how a section of a play was performed (sung, spoken or spoken to musical accompaniment). This has prompted Alexander Harrington, a director known for his mastery of oratorical theater, to attempt something radical: approximating Aeschylus' actual, original poetic meters in a new translation. This intrepid idea has resulted in a script of surprisingly clear stage speech and unusual poetic quality. It will debut November 12 to 29, 2009 in La MaMa's large Annex Theater, performed by The Eleventh Hour Theatre Company.
Historically, English adaptations of Aeschylus' 'Agamemnon' have rendered its ancient Greek poetry into proven English poetic forms. The results have been often good and occasionally brilliant. Yet the original Greek meters provide clues as to how a section of a play was performed (sung, spoken or spoken to musical accompaniment).
Historically, English adaptations of Aeschylus' 'Agamemnon' have rendered its ancient Greek poetry into proven English poetic forms. The results have been often good and occasionally brilliant. Yet the original Greek meters provide clues as to how a section of a play was performed (sung, spoken or spoken to musical accompaniment). This has prompted Alexander Harrington, a director known for his mastery of oratorical theater, to attempt something radical: approximating Aeschylus' actual, original poetic meters in a new translation. This intrepid idea has resulted in a script of surprisingly clear stage speech and unusual poetic quality. It will debut November 12 to 29, 2009 in La MaMa's large Annex Theater, performed by The Eleventh Hour Theatre Company.
Historically, English adaptations of Aeschylus' 'Agamemnon' have rendered its ancient Greek poetry into proven English poetic forms. The results have been often good and occasionally brilliant. Yet the original Greek meters provide clues as to how a section of a play was performed (sung, spoken or spoken to musical accompaniment).
Historically, English adaptations of Aeschylus' 'Agamemnon' have rendered its ancient Greek poetry into proven English poetic forms. The results have been often good and occasionally brilliant. Yet the original Greek meters provide clues as to how a section of a play was performed (sung, spoken or spoken to musical accompaniment). This has prompted Alexander Harrington, a director known for his mastery of oratorical theater, to attempt something radical: approximating Aeschylus' actual, original poetic meters in a new translation. This intrepid idea has resulted in a script of surprisingly clear stage speech and unusual poetic quality. It will debut November 12 to 29, 2009 in La MaMa's large Annex Theater, performed by The Eleventh Hour Theatre Company.
Historically, English adaptations of Aeschylus' 'Agamemnon' have rendered its ancient Greek poetry into proven English poetic forms. The results have been often good and occasionally brilliant. Yet the original Greek meters provide clues as to how a section of a play was performed (sung, spoken or spoken to musical accompaniment).
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