Happy Thanksgiving- love ETG!!!

Some randoms

What a motley crew.

EMPAC

Up in Troy, NY on the campus of Renesselaer Polytechnic Institute, a state-of-the-art performance facility is about to officially open and the folks up there have planned some really exciting stuff*. The venue is called EMPAC - experimental media & performance art center.


They're throwing three weekends of free performances starting in October which yours truly hopes to go and see.

About EMPAC:

The Experimental Media and Performing Arts Center (EMPAC) is a place and a program where the arts, technology and science will challenge and transform each other. Founded by Rensselaer Polytechnic Institute, the nation’s oldest technological university, EMPAC draws strength from being part of a great research university. It will offer artists, visiting scholars, researchers, engineers, designers, and audiences opportunities that are available nowhere else under a single roof, providing unsurpassed facilities for creative exploration as well as for research in fields ranging from visualization to immersive environments to large-scale interactive simulations. EMPAC operates nationally and internationally, attracting creators from around the world, and sending new artworks and innovative ideas onto the global stage.

Rensselaer is the nation’s oldest technological university, offering degrees in engineering, the sciences, information technology, architecture, the humanities and social sciences. It is pre-eminent in research into biotechnology, nanotechnology, IT, and the media arts and technology. In addition to its MFA program, RPI offers bachelor degrees in Electronic Arts, and in Electronic Media, Arts, and Communication – one of the first undergraduate programs of its kind in the United States. As a facility, the new 220,000 square-foot center is like no other, boasting unrivaled presentation and production capabilities: a 1200-seat concert hall designed to the highest acoustical standards; an intimate 400-seat theater; and two highly flexible studio spaces, configurable as traditional black-box theaters or as fully immersive environments. Linked to a massive supercomputer, EMPAC’s potential for art and science spans the physical and virtual worlds and the spaces in between.

*some of that really exciting stuff include:

The Wooster Group's THERE IS STILL TIME.. BROTHER, a commission for an installation that consists of an interactive projection for a 360° screen.


Verdensteatret's LOUDER, a collaborative performance installation featuring loudspeakers, shadow puppets, video landscapes, and a huge mechanical spider, activated by actor-musicians.


Elevator Repair Service's GATZ, a six-hour performance marathon of a verbatim reading of F. Scott Fitzgerald's The Great Gatbsy.


dumb type's VOYAGE, a multimedia performance which examines the uncertainty and dislocation of the modern world through a combination of intense sound, movement, text and projected images.

Sintesi Dogpile

I'm putting something together for the Ontological Hysteric Theater's Sintesi Dogpile with Teddy, Katie, Chase, Mary and Ollie coming up in October. Keep checking for more details!

7 years ago

I was a senior in high school and I was heading to my Pre-Calculus class when the hallways were buzzing with news that terrorists were attacking NYC. At first I thought it was some stupid prank made by the juniors (who were notorious for causing mayhem). But when I got to class and our teacher was very quiet and still for a long time, I knew there was truth to it. Then our principal made an announcement on the PA system. "The World Trade Center has been the target of a terrorist attack. The details are unclear but school will remain open. We will notify you of any changes immediately." And then everyone was very very quiet. It was one of those rare times when you were in a high school classroom and it was dead silent and no one was taking a test or gossiping or laughing. Everyone just looked at each other, confused, scared, isolated.

The school day continued on (I went to Middletown High School which is 70 miles outside of NYC). There were fears that terrorists might attack Indian Point which held the closest nuclear power plant (40 miles from Middletown, 30 miles from NYC). Some students had parents who worked in the city and immediately left school to be with their closest relatives. Some of us stayed in our Electronic English classroom (the only place in the school where we could watch TV) and watched CNN.

And that was the day terrorism became a household word.

KIOSK @ The Japan Society

I just spent the morning/afternoon helping to build the set for a piece by the ARICA Performance Company entitled KIOSK.

Known for its Beckettian absurdity and stark aesthetic, ARICA Performance Company presents its critically acclaimed KIOSK. In this highly conceptual and visually arresting one-woman show, the narrative follows a day in the life of a woman working in a humble train station kiosk. Perched in her rolling chair, the woman sells newspapers and water. This simple premise is explored through fierce, physical repetition and live electronic music that unfolds the complex layers of the human body's relation to labor in this surreal landscape. ARICA Performance Company is a collective of artists from a variety of disciplines founded in 2001 by designer/director Yasuki Fujita with actress Tomoko Ando, musician Osama Saruyama, poet Shino Kuraishi and producer Keizo Maeda. Since then, the company has collaboratively created site-specific works in unconventional performance spaces. ARICA was awarded Best Solo Performance at the 2005 Cairo International Experimental Theatre Festival for Parachute Woman.

It's playing for three nights at The Japan Society: (9/18 thru 9/20 @ 7:30). And if you're interested, you can see the show for free by ushering the show. E-mail me if interested.

Buisness Cards

Here is a look at the all new ETG business cards. Come to a show, meet one of us, and maybe you will be lucky enough to get one!

Pic of the day

Teddy at the Binge Olympiad..

balancing act

I did mind numbing manual labor ( which I actually sort of like doing in a weird way) at my part-time day job for the past two days. But as a result, I fell behind on an article that I'm supposed to be writing for Discover Nikkei about the specificity of race and parenting.
I hate falling behind on work.
Yet, I'm procrastinating right now by writing this blog instead of my article.
Someone hit me in the face.

A Day in the Life of an Off-Off Broadway Stage Manager

Before I go into this post, I have to preface with the fact that I really dislike the terms Off-Broadway and Off-Off Broadway. These labels and terms not only categorize and demean most theatre, it actually puts people off and encourages a way of thinking that's very limiting.

This morning I woke up to discover that all of my actors and crew have sent me their bios for the program (almost on time too!). It's really lovely when you get people to do something on (or as close to on) time because it gives you an awesome sense of power. You say, "Can you please get this to me by Sunday?" And when they do it, it's amazing!

Compiled all the bios in one Word document and sent to House Manager. He shoots me back an e-mail asking me if we'd like credits and a thank you section. Have to consult with the director about this. Having only been on board with this show for 6 days, it's been kind of whirlwind wham-wham-here-we-go! Luckily, I'm the kind of person who performs really well under a lot of pressure, especially when thrown in the middle of something. Throw me into a production the week of tech, I'm like, SURE! OKAY! LET'S DO IT! (no joke)

After having done all that, I get an e-mail from the producer of the other show I'm SMg, asking me to gather all the bios for the program for the show that's not until late October. I'm thinking to myself, "That's way early but better way too early than way too late." Get an e-mail from one of the actors asking about the schedule which we don't have assembled yet. Have to get in contact with director about it ASAP.

Today start tech on the other show. A friend of mine has graciously accepted the role of Assistant Stage Manager and I must train her while training myself in the process. Must organize all props and costumes, finish tracking props (hopefully we'll have them all!) and make sure tech goes as smooth as possible.

I needed an ASM because not only am I SMg two shows simultaneously but I'm an extra in a big-budget Hollywood film shooting in upstate NY and I am called in to shoots during performances. Actually, my first day of shooting starts tomorrow and we're still teching then. Haven't told director (having just discovered early today) but hopefully he won't stress out too much about it when I assure him that my ASM is not only the most amazing person in the world but able to fill in for me as well.

It's kind of stressful but it's very rewarding. Beats folding shirts, stocking shelves and making coffee.

Fall '08 @ PS122

PS122 announced their upcoming Fall Season and they're kicking things off with Thomas Bradshaw's Southern Promises (which I will be Stage Managing). The play is definitely not for the faint of heart!

World Premieres include: WaxFactory's latest piece BLIND.NESS (Love is a Four Letter Word) and Joseph Silovsky's Jester of Tongues which features a robot named Stanley (note for Katie).

There's also a private performance installation piece by Yanira Castro + Company entitled Dark Horse/Black Forest which will play out in your very own bathroom (maybe we'll get them to perform in one of our own bathrooms).

Members of ETG will be seeing/reviewing these works to come (including my own personal observations on Southern Promises). Stay tuned for more.

Good Advice/ Bad Advice

It's hard for me to ask for advice because I'm shy and I find it especially excruciating to talk about myself to people who are more successful than me face to face. Despite my handicap, here are some things that were said to me in recently that I think have been very helpful. We'll call this series Good Advice/Bad Advice.

1. A person that I respect immensely ( and who is very smart, talented and is happy with his/her career) told me that it's crazy to be as poor as I am and try and pay off my student loans at $400/month at my age. Money should be the least of your worries ( which is difficult for me since I don't/never had any and am constantly worrying about it) when you are an artist in your twenties and you can afford the rent. This person said that you should get a job that pays enough that you can support yourself and do not hate- and to use your young age as a platform for training and discovering your passions within your passion- rather than being pressured pay off loans at a high rate and making enough money to start a retirement fund ( unless your passion is something like..finance or something that involves a hedge fund). This person also suggested that I should take the money I was using to pay off my loans and take a writing class. They noted that if I wanted to be super responsible and not defer all of the loans that I had- the most I should worry about paying is around $100 a month ( especially if you are on an extremely low salary). They also mentioned that most of their artist friends ( in their thirties and over) are still/just started paying off debt.

2. A performance artist in his/her forties told me not to consider being a playwright because it's too difficult ( and that I should listen to her because he/she also tried- and failed). This was good advice because it reminded me that you should always choose carefully as to whose advice you listen to- because a lot of it tends to come from a places of bitterness. When I first moved to New York, a friend who was relatively unhappy in the city would act extremely uncomfortable if I would talk to him/her on the subway or jingle around in my purse to look for change at the cash register when paying for something at a store. This person would also act really weird every time I quit a job in the city (and suggested that I would be blacklisted). This person said that in New York, you don't do stuff like that because well..it's New York. Sounds like a bunch of insecure horse poo...

3. Almost everyone who has a job that I'm envious of (these people are successful playwrights/theatre artists with a teaching job at a University) has confirmed that if you are an artist/writer who wants to teach someday- you have to get an M.F.A. ( an M.F.A isn't such a demanding requirement if you don't want to teach- though it must be nice) but it's okay if younger artists are not stressing about going to graduate school when they're in they're in their early- twenties. There are very few twenty-three year old theatre professors.
Side Note: I use to think that since I have no money- I would never get to go to grad school. Maybe this is still the case. Maybe I will magically strike gold within the next couple of years. There is some consolation though.. there are some affordable programs in New York (Brooklyn College, Long Island University, City College). A wise person once wrote that it's best to choose your school to suit your personal needs- and not to fall soley for a brand name.



Well...that's all for today's Good Advice/Bad Advice. More to come soon. Let me know if you have any interesting, good, bad, terrible, shocking advice that anyone has given you!

Binge Festival 2008

Last night we enjoyed our last performance of Big Girls Club at the Binge Festival. It was really great to direct Leah's work (and I can't wait to see what else she'll come up with, this isn't the end of BGC) and in the company of several other talented groups and performers.

I really enjoyed watching the other shows and performers, such as Delaney Britt Brewer's Dying of Consumption (which showcased the exuberant talents of Paul Fears and Vanessa Sparling). Dying featured a goth brother (Fears) and his wasted grunge sister (Sparling) who bond under odd circumstances.

Eric Sanders' Knife Party/Candle Party was a wicked little concoction involving three different couples who are seduced by a candle/knife saleswoman to the point of self-evisceration. I didn't catch the name of the woman who played the saleswoman but she really left an impression, what with her deadpan delivery of some bizarre lines.

Minerva's Muscles by Bekah Brunsetter was definitely an audience favorite. This little heartwarmer set in the depression featured an almost-Olympian shot-putter (Erin McCarson) whose spirits are lifted by a diminutive happy-go-lucky man (Dane Peterson). We definitely loved Minerva (a spirited and true Big Girl if ever there was).

And William Meny's Turning turned out to be the longest piece of the festival (I believe). Six different couples alternately take turns making terrible decisions in love, including one-night stands, cheating, gay sex, and stalking. Justin Swain did a terrific job juggling the various characters (some of whom seemed to appear out of nowhere) and finding the different notes within the play. ETG really wanted to see his adaptation of Joyce Carol Oates' The Corn Maiden (part of the Fringe) but we unfortunately missed it. Sorry Justin! We'll be keeping our eye out for Justin's next endeavor (as should you, reader).

Oddly enough, Tommy Smith's The Break-Up was also in the Binge Festival. I say oddly enough because I was the Stage Manager for the original production of the play at The Flea (directed by Sherri Kronfeld featuring The Bats). Watching this different version, under the reins of Jake Witlen, I had the most insane sensation of deja-vous. I think they even used the same knife as the Flea show did!

Overall, ETG would like to thank Cole Wimpee and the rest of the Workingman's Clothes Productions Company for inviting us to participate in the Binge Festival! It was definitely fun and exciting.

Virtual Love

It wasn't that long ago that facebook was just a University thing. Back in the day ( say ummm less than four years ago) it was just a tool that our generation started exclusively for ourselves. Of course, facebook has spiraled out of control ( predictably) into a multi-million dollar world networking site that anyone can join at anytime. It's so common now that even avant- garde downtown theater artists are using it!!! I say- the more the merrier! At first I thought the increasing use of facebook, youtube, myspace and blogger by older artists was a tactic reach out to a younger crowd- but I think they are just as addicted as we are. But hey, if that means I can be virtual friends with Anne Bogart- that's fine with me.

Other online goodies that caught my eye this week:

Young Jean Lee's Blog

Ars Nova's Media Page

The Fortress of Jason Grote

And of course-go check out ETG's Youtube Channel

And if you haven't already, come be our friend on facebook and join our group. We almost have 500 members and we ain't got no shame!

As the curtains close on adolescent dreams.

Today I was thinking of the many different ways in which I could make Big Girls Club into a short film. Flashy, colorful, distorted, horrific. This thought process occurred to me when I was at work screening an awful Spanish language film. As of late I find it harder and harder to balance all of the work in my life. Yet when I see the work that others have done I never think, "oh I could never do that." It's not as if my dreams are unattainable, it's merely a question of what my actual dreams are. Part of myself wants to create work that offers an escape for an audience, a spectacle, a show, not unlike the circus of yesteryear, something that will give ordinary people an escape from the trials and untimely boredom of life. An oasis in the sun. However the other part of myself wants to create work that exposes the untimely boredom and trials of life, and finds subtle beauty in them, beauty in the simplest of things. Returning home after a day at work and staring at an empty room. Calling your mother thanking her for her prayers even though you don't attend church. Or, standing at the crossroads of life and realizing that fate maybe doesn't exist, but you're still along for the ride.

Robotz!

Dear world,

I really love robots. I have recently been reading "Do Androids dream of Electric Sheep" "IRobot" and randomly searching robots on the internet. I am also obsessed with the future-not like the future in a literal sense but in an really advanced technological sense. For example, here is a photo of me a couple of years ago, Leah and I had a futuristic party and it was fucking awesome. So i have decided to make a film about robots. I am still in the brainstorming stages but I am thinking it will be about a girl who finds out that she is actually a robot and has been implanted with false memories. Then the mind blowing world of robot technology will be opened to her and she will have cool adventures! I am also currently writing a short play in which leah will play an georgous android and I will be a futuristic androgynous spaceship captain. It's going to be h-o-t.

Big Girls Club & The Field

Last night (or technically early-early this morning - around 1:20am) members of Everywhere Theatre Group performed Leah Winkler's Big Girls Club at Wings Theatre for the Working Man's Clothes Productions' 2008 Binge Festival. It was a raucous time for all involved and we're all very pleased to be part of it and to share our current development with the audiences of the West Village.

You can read my response to our first performance over at the Big Girls Blog.

We will be performing again next Friday night.

In other news, ETG will soon be joining The Field to become fiscally sponsored through a 501(c)3 not-for-profit company. This is very exciting because it will enable us to receive tax-exempt donations through The Field, benefiting our donors who we greatly appreciate. If you're at all interested in helping out, please feel free to contact us at info@everywheretheatre.org.

Big Girls Club performs tommorrow!

part of the

BINGE OLYMPIAD

the final annual NYC Binge Festival
a late night alternative to the Fringe
a side-arm jest to the Olympics
a ceremony of debauchery

Fridays and Saturdays
Aug 15, 16, 22, and 23
11pm - 3am

WINGS THEATER
154 W. Christopher Street
West Village, NYC
click here for directions!
Click here for Working Man's Clothes Productions
(and a promo vid. for the Binge)

BIG GIRLS CLUB
presented by EVERYWHERE THEATRE GROUP
written by Leah Winkler
directed by Teddy Nicholas
featuring Leah Winkler, Katie Hannigan, and Mary Mailhot
Friday Aug 15th at 1:20 AM
Friday Aug 22nd 1:20 AM
Exploring the duality between self-abasement with food and self acceptance, this piece showcases three women in their darkest and ugliest hour , bonding over food and their own self misery, while taking pleasure in the unhealthiness of BGDs (Big Girls Delights, i.e- cookies, brownies, waffles, etc)



show your FRINGE FESTIVAL PARTICIPANT BADGE
and get in for a discount + free drink!

Rehearsal: What it means to you. (or Me rather)

So day in day out we have been rehearsing for the All Star Gala that is "Big Girls Club." I find myself caught in a parallel universe at rehearsals. This is because I am also documenting them with a video camera. I need to strike a balance. When behind the camera I feel disconnected from what is actually going on, I am an objective eye merely trying to capture the events in front of me. This is why recently I have cut back on the amount that I document in these rehearsals, a log of footage always seemed like a good idea in theory but the more and more I think about it, how many takes of a particular scene or event do I need? I feel that it is ultimately more beneficial for me to be actively involved in the production, otherwise I have no passion for it. Overall I think I am happy with the direction that this production is taking. I like to make sure that our themes and "bigger picture" ideas stay intact. I think one of my biggest strengths as an observer and an artist both is my ability to see projects in a larger sense. In other words, you can have a lot of little pieces but if they don't add up to anything then what's the point. I don't know of anyone who keeps boxes of miss matched puzzle pieces around and then charges people to see them. (Not saying people wouldn't pay to see it.)

CONFUSED

The Olympics play in the background and I think about our culture. Last night, during the NBC interview, Bush said that he is proud that America is participating in the Olympics this year. He is proud because sports represent peace. How come it takes sports to signify this when there is a war going on? It is signifying peace, which is good enough, right? Olympics signify. Sports signify. Is there something wrong with this? It is irritating, even though I can't seem to stop watching them. The athletes' talent is intoxicating. What they do amazes and excites me. For me, there is a tension here. Why can't art be as accessible? How come sports to our country enables peace, when art can do the same? Today I guess I just have questions. To our world and country athlete's are the hero's......."AND MICHAEL PHELPS SETS A WORLD RECORD!!!!"

Money

So, I spent all of my birthday money and more booking rehearsal spaces for Big Girls Club.

One of the many things that I've learned, even though it's kind of common sense, is that if you are young, come from no money and are thinking of starting a theatre company- you have to know how to budget yourself. I find myself spending the majority of the little extra cash I do manage to have on production costs, application fees and other theatre related things ( like going to see shows) rather than things like….clothes or food or fun stuff to do on the weekends. But I don't think those sacrifices really weigh you down if you are truly passionate about what you want to do...I still think good theater can come from no money. Do you?

Submission DVD's

Hey everybody, Chase here, I've been working a lot lately between designing the new big girls blog, and getting materials generated for submission forms. I am also in the process of updating the ETG reel to feature some footage from "Untitled", as well as the promo shots from Big Girls Club.

As of right now I'm working on putting together a DVD with selections of our work on it for a residency submission. This process is always difficult for me because I feel that when you cut up projects into 2 min. clips they really lose their appeal. Especially when it's sections of a play or sections of a video installation. Which 2 minutes do you single out? Do they even make any sense without any context? I mean, I personally know what's going on as I watch the selections, but the viewer surely doesn't have a clue. Which means that in the viewers mind, the work in is reduced to the lowest common denominator. Viewers ( including myself) usually just look for flashy things...something to grab their attention, instead of a well developed story. These are my grievances with submission DVD's.

Big Girls Blog

Hello everybody! Just thought I would let you all know that Leah has been contributing some wonderful blog entries over on the page for Big Girls Club (our upcoming production). Also be sure to check out and contribute to the Big Girls Photo Contest.

http://biggirlsblog.everywheretheatre.org

State of Terror

Everywhere Theatre Group Presents:

By Teddy Nicholas

Starring
Allie Summers, Michael Hosp, and Jeremy Lee

with Kristy Clement

Directed, Recorded, Edited and Scored by Davison Robie and Nickolas Hartgrove

Director’s Note:

Nick and I still haven't met Teddy. Leah first sent me the script for The State of Terror about five or six months ago. I originally read it with hopes to set it to music as an operetta, but the director for that project shot it down. It sat on my desktop for a while...

Then, Leah sent Nick and I some information on a radio program Jason Grote was/is putting together for WFMU. We had only three weeks until the deadline, and so in hopes of having a production schedule with some semblance of sanity, we needed to pick a pre-existing script.

State of Terror has a lot of sound already implied in it. If you listen to the text, there isn't too much that we have to come up with on our own. Balloons turn out to be very aurally expressive, and Amanda's monitored pulse provides a pulse for the entire scene. Most importantly, there is playful description of how terror sounds--we get a lot out of gurgling.

The score also sort of wrote itself-- and is inherit in the script by proxy of a simple chance operation. Dr. Ramsey, when recalling a childhood memory, names off some colors: red, green, blue, yellow, and purple. Now, you see, there are twelve colors in the color wheel. There are also twelve notes in most Western music, which are sometimes arranged around a circle in a similar manner as the color wheel both chromatically and as a circle of fifths. When these two circles of notes are placed over the color wheel, red, green, and yellow yield the same note, and blue and purple are both off by one half step. The resulting sequence, C, F#, G# and A, E, Bb and B provides the musical tone of the entire play. The score is performed by Nick on both vibraphone and glockenspiel.

So, yeah. It's our first directorial outing, and we learned a lot from the experience. Special thanks to our cast for being so great to work with, especially Kristy who provided us with some extra emergency 'body sounds.'

Go check it out, and we hope you enjoy.

For myself and Nick Hartgrove,
Davison Robie

Playwright’s Note:

I wrote The State of Terror a few months back when my mother had a heart attack and was in the hospital for a few days. I remember I was sitting in the Emergency Room corridor near the Nurses’ Station, in some state of shock, watching as the chaos unfolded before me. It wasn’t just that my mother was undergoing some kind of treatment unknown to me, or that I didn’t know how serious everything was yet (a doctor wouldn’t even talk to me for what seemed like forever). But that there was all of these other people there with their own personal tragedies unfolding around me and it all seemed to be blending together in my mind like a strange montage of family members gathered around beds, ambulance men and women wheeling in new patients on gurneys, doctors buzzing back and forth while nurses chase after them with clipboards. It was a weird sort of hell. It was a hospital.

I had spent about eight hours waiting in this corridor and a peculiar sensation of childhood dread and fear started to overcome me. Anyone who knows me knows that I have an irrational fear of balloons, always had it since birth, I believe. And as it happened, just nearby were these get-well balloons floating in the air just above someone’s bed—or maybe the Nurse’s Station had it, I don’t really remember very well—and a strange panic seized me. All I wanted to do was run as far away as possible until everything went away and then I could just collapse into a deep sleep. But I was waiting for my mom to get better. And this panic sort of went away and when I finally got home, I wrote State of Terror.

I’m really grateful that Leah sent Dace the script. I had no idea what Dace would do with it, and when I finally heard the outcome (the day of Untitled’s performance at Dixon Place), I was so impressed and thrilled by it that I played it as the pre-show for Untitled. My mom, who was in the audience, heard it for the first time and she immediately knew where it came from.

Thanks to Dace, Nick, Allie, Michael, Jeremy and Kristy for turning a few odd words into something thrilling.

Teddy Nicholas

Thank you!

We had our first and last showing of Untitled-a Play, last night at Dixon Place. I was thrilled to see that so many young theatre-goers had come to see us- being that at most downtown shows I've been to lately, the main audience demographic have been thirties and up. ETG hopes to kill that cliché and help show the arts community that our generation still cares about and loves seeing and making theatre. Yesterday was a great start! I was definitely a nervous wreck backstage before the show, but the overall performance went smoothly with no major mishaps. I always love how an audience's energy changes a play and obliterates expectations. The audience last night seemed quiet in comparison to Teddy's random outbursts of laughter during rehearsals. The pseudo silence kind of wierded Tos and I out but to the audience's credit, this play is actually totally weird. We all found everyone's reactions truly helpful and exciting. Teddy facilitated a post show discussion which was fantastic because, being a young group with no name or fame or money or reputation, people are always quick to give advice without typically refraining from giving honest criticism. And criticism, without a doubt, is the most helpful and crucial when you are in development of a show. My only regret is that we didn't pass out an ETG mailing list sign up sheet!!!!!! ARRRRRRRGH!!!! WHY?????!!!!!!!!!!!! So, if you happen to have seen the show last night and want to be involved with ETG's inception by joining our community, please contact me at Leah@everywheretheatre.org and I'll add you right in! Thank you so much to all who made it last night ( and thank you to Dixon Place, who we are in love with) we truly appreciate your support and feedback. If you have anything you want to say about the show, please drop us a line at info@everywheretheatre.org or please visit our message board. Oh…after the show, a friend of mine asked me, "You guys did ALL this work just for one performance?" Of course we did! We put 110% in to every opportunity we can get and hopefully, Untitled-a Play will get another chance. We'll keep you posted.


Tos and I backstage before the show!!! NERVES!


Post-show Teddy and ETG actor Katie Hannigan!


Sound Designer Brendan Byrne relaxing post-show...


Untitled cast and crew at Dixon Place: (from left- Chase Voorhees,
Leah Winkler, writer/director Teddy Nicholas, Tos Sasitorn, Brendan Byrne)

Big Girls Club at the Binge Festival

Between Teddy and I, ETG is constantly making proposals for theater festivals in and around NYC to get our work produced in front of an audience- such as yourself (Teddy's Untitled is still coming up at the HOT Festival at Dixon Place- don't forget!) Details are pending but we just received confirmation that Big Girls Club, a short play I am in the process of writing (and partially devising with Katie Hannigan) is going to be a part of Working Man's Clothes' Binge Festival this August. Big Girls Club will be an exploration of women's fetishism with unhealthy food as well as our simultaneous self-loathing, yet celebratory attitude toward our own gender. The piece centers around big girls Leah, Katie and Mary M. ( keeping in mind the term big girls refers to an attitude, not a size), on a single night, taking part in BGC (founded by Luke List) a commonly known universal event where women of all age groups binge on extremely unhealthy food in solidarity. While most people were partying this weekend, Chase, Katie and I (Mary M. is out of town on a dance retreat until late July) took some promo pics in my bathroom. We're all winners here. Above is Chase's rough cut of the final poster ( there is still missing text at the bottom regarding show dates and times) where our concept was to fill the tub with BGDs ( Big Girl's Delights). Here are also some photos of the preparation for the shoot:

Katie putting tape around the corners of the tub for the plastic
that will preserve the BGDs.


Chase sneaking a BGD in between shots ( we bought $14 worth of Little Debbies!)


Inception of the BGD tub!!!!



( I secretly don't really like sweets that much...)


Kudos to Chase and his neon colored illusions :-)


More to come on BGD as well as Untitled- a play!!!! Happy Monday!

Updates and News

Hi guys! Leah-here, and I'm very excited that our site is getting some traffic! We're still working on completing our site where you will soon see member profiles, video blogs, and more general information about our mission. ETG is currently working extremely hard rehearsing for Untitled- A Play, written and directed by Teddy Nicholas at Dixon Place schedule for ONE PERFORMANCE on JULY 9th. as part of the HOT Festival. Don't forget to get your tickets! In other news, my short play, Little Girls, is being produced by the Source Festival at CUDC in Washington, DC this weekend. Best of luck to the cast and Scott Fortier of the Catalyst Theater Company and if you happen to be in DC, get your tickets here.

untitled: a play - The Trailer

untitled: a play

dear friends,


i have written a play and it is this:



with Tosaporn Sasitorn & Leah Winkler
sound design by Brendan Byrne

untitled is an original tri-lingual (english, japanese, thai) play about what it feels like when you are talking to someone and it sounds like you (or they) are speaking two completely different languages.

JULY 9th @ 8PM
THE DIXON PLACE
258 Bowery, 2nd Floor
(part of the HOT! Festival)

PURCHASE TICKETS --> HERE or call (212) 219-0736 to reserve

BLOG --> HERE

72hr. Film Fest at the Brick Theatre (Brooklyn, NY)

Here is our 10 minute movie that we had 72hrs. to complete from start to finish (but actually when you all work full time jobs, 72hrs. isn't as long as it seems). The film was required to include: an element of tragedy, someone looking through a hole, the line "ow my brain!",and an element of film (photography). Entries were limited to 10 mins. Our final product let's the audience in on some of the subtleties of our various personalities. The four group members who participated were Leah Winkler, Katie Hannigan, Oliver Brooks, and myself Chase Voorhees. Friend of the group Ben Geller filled in for all of the best parts.

Enjoy.

Beginnings...

Hello all, I just wanted to go ahead and get the posting started. I just finished setting up this Blog portion of the website and just for the sake of writing let me give you a little preview of what to expect from the ETG internet interface. ETG is working hard to develop an internet presence unlike that of any other multimedia group we know of. The website will be updated regularly with content ranging from video blogs, written blogs, to documentaries of our productions. We are a group that has a somewhat misleading name, while it suggests that we are only involved in theatre we also hope to produce a number of films and installations. I myself am a film director/editor.

What to expect...

1. Video Blogs,
2. Video Episodes (with multiple group members)
3. Documentaries
4. ETG store
5. Member Profiles
6. Ability to easily contact members.

Through this site you will be able to journey along with us as we create a theatre company for better or for worse. You will be able to become an Everywhere Groupie by donating to the group, so you can stake your claim in the creation of our productions.

More to come soon.

Thanks

Welcome

Hello world. We are the Everywhere Theatre Group.