Showing posts with label 3rd season. Show all posts
Showing posts with label 3rd season. Show all posts

Monday, April 30, 2012

TEam Work

from Christa Kimlicko JonesAssociate Artistic Director, Director of Programming: 
We have begun the creative discussions. Last week we held our first production meeting for our fall shows NORMALCY and THE JUNGLE BOOK. What’s most exciting about this season is the challenge of discussing two productions at once that need to work together. It is a lot to take on in a short, 3-hour meeting, but because of the team that we have, we all left inspired and ready for the next steps. 
 
First production meetings are so much about coming to the table with initial ideas and problem solving. Everyone has been doing work on their own and the time has come to begin to put it together—to collaborate, to really work as a team. I’m always amazed to see what the various departments have been working on. In many ways it’s the same excitement we, as school children, felt on Show-and-Tell days. It’s a lot of oohs and ahhs. Set, lighting, costumes, sound and music—all these incredible folks gathered in a room presenting their ideas, supporting the director’s vision...and the production manager making sure it all stays within budget. 
 
It was a great beginning, resulting in very workable and exciting ideas. We all left inspired and ready for more! Go TEam! 
 
You can also be a part of the TEam and help make these productions happen.  DONATE TODAY  to Theatre East!


Sunday, March 4, 2012

When Life Gives You Lemons

from Judson Jones, Artistic Director


When life gives you lemons, make saturated calcium hydroxide1 
We’ve all heard the old adage before. And while we know it to be true, that doesn’t mean it’s easy.
The year is 1990. I’m a junior at Whitehouse High School. And for some reason, in the infinite wisdom of a 17-year-old, I opted to sign up for Physics class. Why? I still don’t know. I could say that I truly wanted to ponder the mysteries of the universe. Most likely there was a cute girl in the class; at 17 you tend to follow certain parts of the body more than others. So there I was. I had already plastered my textbook cover with my favorite bands, I had my new Chuck Taylors on (which I think the cute girl noticed), I was ready for some Physics. Then Mr. Tom Young walked in. You know that look on your face when you smell something but you can’t figure out exactly what it is, and you kind of turn your head one direction and then another to see if you find the source? That was my face for the next 50 minutes. Who cares about Bon Jovi? Who cares about red canvas Hi-Tops with black laces? Who cares about the cute girl?! I’m going to fail Physics!!! After school that day I went and drowned my sorrows in a tall  suicide2 Slush from Sonic.
As I lay in bed that night two thoughts kept creeping into my mind. Over and over. Incessantly. No matter how hard I tried, my mind was plagued with fear and grief. One: Cop Rock. Really?! From the same mind that created Hill Street Blues?! It made no sense! That was the problem with the ’90s! Things were too good! We left the depressing, gritty, cocaine-filled, recession-induced dramas with the ’80s! We didn’t want to see a brooding cop with a dark past who nurses a bottle of Scotch each night just to blot out the nightmares of the streets arresting some arrogant drug lord that had the cop’s partner taken out in an undercover sting that went bad two weeks ago! We didn’t want to see that! Instead we wanted to see the same brooding cop and the same arrogant drug lord SINGING AND DANCING TOGETHER! Ugh! It was such a rough time. Oh, and the other thought that kept penetrating my mind was sitting in Mr. Young’s Physics class for the remainder of the school year.
But much to my surprise Physics class got better. There was something incredibly special that Mr. Young brought to class every single day: Passion. And it was contagious. He loved teaching. He loved his students. He didn’t try to make science cool, instead he simply showed us how cool it was. Listening to him talk about quantum behavior or how a Dunking Duck works was like listening to a master painter talking about a piece of art. He was the myth buster before MythBusters came along! Plus he always had assignments you could do for extra credit. This was the secret to me passing. (Oh, and after the 11th episode—“Bang the Potts Slowly”—Cop Rock was canceled.)
We were getting close to midterms and we were each directed to conduct an experiment and document the process FULLY. This would count for half our grade. The stakes were high. So I chose the old lemon-powers-the-digital clock experiment. I already had a head start: we’d bought my dad one of those setups years ago for Father’s Day and my dad keeps everything! I had my digital clock, my piece of copper, my galvanized nail, my wiring, and most importantly my lemon. It went off without a hitch! Then I had to write about it. What was the chemical process that made it work. Mind you, this was before one could just Google it or go to Wikipedia to find out that it’s just an electrochemical reaction caused when oxidation and reduction occur. (I’m still not certain what that means.) Anyway, I pored over texts and labored over my predicament for days. And the night before it was due I found myself staring at the blinking colon on my lemon-powered-digital clock. Then an idea struck me. Partially because I’m stubborn and partially because it’s rumored that I’m a smart ass…I would write a play. Which Way Did He Go George could be called an homage to Of Mice and Men with a Frankenstein twist. It centered around an ill-fated lemon named Lenny and the painful choice that George would have to make. I don’t want to spoil anything for you, but yes, George kills Lenny! Sorry. But then George decides to resurrect Lenny in spectacular fashion and thus documenting my experiment began. I finished my masterpiece, went to class the next day, and handed in my death sentence with a smile.
When we came back from the break Mr. Young promptly started handing out our graded term papers. All but mine. He simply asked me to stay after class. Great. I was going to get an F and a lecture. I could hear it already: “You don’t apply yourself.” “Was this supposed to be funny?” “You’ve learned nothing in my class.” After everyone left the class I slowly made my way to his desk and was prepared to lay prostrate and receive my lashings. Mr. Young handed me my paper. B. “I would have given it a higher grade but I felt like the plot sort of fell apart towards the end. And it seemed a bit contrived at times.” I just stared at him. Oh my God, I’ve fallen asleep again. That’s what’s happening. I’m asleep at my desk and at any moment something is going to wake me up and I’m going to spring back and let out something like, “Uhwoodowha?” That didn’t happen. I was indeed awake. Mr. Young broke the silence, “You probably think I'm teaching you Physics don't you? I’m not. I'm teaching you that when you're faced with something and you don't know what to do or how to move forward…you don't close the book. You don't give up. You DO something.”
...
In this business of theatre, we are told “No” so many times. Whether it’s seeking a role, funding for a production, a home for a play, presenting a design or a score, we will hear “No” many times before we will hear “Yes.” And all too often it makes us want to throw up our hands and simply close the book. Over the past couple of weeks Mr. Young has come to mind often. Every time I think I can’t send another email, I can’t reach out to another possible funder, I can’t chew another TUMS…I take a moment. Breathe. And think, “Don’t close the book.”
Thank you, Mr. Young for that gift. It has made all the difference. What you put in motion…has stayed in motion.

Sunday, February 26, 2012

Are You Not Entertained?

from William Franke, Director of Development & Communications
 
While I realize that quoting the catchphrase from an Oscar-winning film from 11 years ago may not seem the most timely of ideas, I couldn't help but think of Maximus bellowing to the crowds at the Colosseum after reading the latest post at An Uncommon Mind. Subtitled An Autodidact's Guide to Public Education, it is the blog of Joanne O'Brien, who is a high school teacher as well as a longtime friend of Theatre East*.
 
In her post from last Sunday, Joanne addresses the challenges of Engagement vs. Entertainment in education, asking "How did we come to confuse engagement with entertainment, and to insist that teachers perform like marionettes, bouncing around the classroom, mouthing scripts prepared by others?" She goes on to argue that truly engaging educational instruction "challenges the student to seek out the answers to questions of 'how' and 'why' in addition to the 'what' and 'who' of a topic. This search goes hand-in-hand with challenging activities, and rewards students for delving deeply into subject matter."
 
As I read this, it occurred to me that what Joanne strives for in the classroom is what Theatre East strives for in the theater. In the classroom, the "why" makes learning so much more interesting than the simple rote memorization of names, dates & places. And of course in the theater it is enjoyable to see complex characters in interesting situations and it's rewarding to be able to parse out the "why"—the motivation— behind each character's words & actions. But that would stop at being merely entertaining. At Theatre East, as we lay out in our core beliefs, we believe that theatre enables a greater connection to the world and to each other & that it is a catalyst for critical thinking.
We
seek to advance the dialogue of the shared human experience through works that utilize simple storytelling,providing our community with a platform to deepen its understanding of themselves, each other and the world we share...works that provoke you to see the "what" up on stage, think about how the "who" is you, and challenge you to debate what your "how" & "why" would be under those circumstances. And not to have the solution laid out up on stage, but rather allow it to be  something you discover & unlock inside of you.

I feel we've done a pretty good job wrestling with some meaty issues in our past couple of seasons with EYE OF GOD (what are the limits of faith, especially where they intersect with a woman's right to choose?) and THE SOLDIER DREAMS (who has the right to make end-of-life decisions for a loved one? and how can we connect with them before it's too late?) and I look forward to the discussions that will follow NORMALCY in August-September. What will those post-show conversations be like? Well, you'll have to come to the show and see for yourself!
 
Support Theatre East

*(and wife to Theatre East's Resident Composer & Sound Designer, Scott O'Brien.)

Wednesday, January 25, 2012

Commitment

from William Franke, Director of Development & Communications
Those of you who have been reading this blog & paying close attention will note that this post is a few days later than usual. Which is ironic, as I am usually the one cracking the whip to get those other jokers to turn in their blog posts (and then they turn in some great stuff, don't they?).

It's this state of affairs that has gotten me to thinking about the word "commitment" for a couple of days now. It does seem like commitment is a pretty rare commodity nowadays. Meteorologists change their forecasts; corporations push back their product launches; politicians renege on their promises; judges & lawyers adjourn court dates; blog posts come in a few days late...

But when I think about the theatre, I cannot help but be a bit proud at the level of commitment shown by all involved. Despite the bad rap that artists often get, their commitment is often the strongest thing going. When you go to the theater, that curtain comes up because all of the artists involved made a commitment—to put on that show, to share something with the audience who have taken the time, spent the money, and are giving their attention to the folks on stage. They made a commitment of their time, talent & energy months in advance (often for little pay) to design the lights, write the score & design the sound, craft the set, learn the lines, delve into the characters...to create this world to share with an audience for 90 minutes a night (and beyond the walls of the theater)...to meet that curtain deadline with a quality product worth sharing. 

There's a reason the old adage goes "The show must go on."

I'm not thinking about this only because I'm behind schedule posting to this blog, though. As those of you who follow us on the Facebook know, on Friday the 13th, a number of our staff & design team did a walk-through of the Peter Jay Sharp theater on west 42nd Street. Yesterday, Jud & Christa (our Artistic Director & Associate Artistic Director) returned to put down the deposit on the space—to make a commitment to presenting our next mainstage production there (that's a sneak-peek, first-time announcement for those of you reading this).

Over the past year or so, a number of you have shown your support—monetarily & spiritually—because you have seen what we do and you believe it is worth sharing with the New York community. In return we've made a commitment to keep putting community back in theatre and do so by producing a full season. I'm proud that we've taken this next step in honoring that commitment, and I look forward to sharing it all with you when the curtain goes up.

Saturday, December 31, 2011

Did You See What You Did?

Today is your last opportunity to make tax-deductible donations in 2011. We hope that you will include Theatre East in your giving. As we gear up for our most ambitious season yet, we’re counting on your support once again. For the first time, Theatre East will produce a full season, starting off in fall 2012 with the WORLD premiere of Bennett Windheim’s NORMALCY, a play that uses transracial adoption as a catalyst to have an honest & candid dialogue about race in America through the prism of a well-meaning, well-to-do white couple contemplating the adoption of an African-American child.
Then in spring 2013 we'll produce the New York premiere of an amazing play that we're currently in negotiations for (and can’t quite announce yet). But you’ll hear about it soon! We’ll of course continue the Neighborhood Reading Series and educational programming. And we can’t wait to bring it all to you!
So, what do we need to pull all this off? $120,000.
That may sound steep, but a gift of just $25 can put us on our way. For more information click here. You can also go here to see all the benefits of giving; this is just a small way for us to thank you for your support. As always, every gift is truly appreciated.


Monday, December 19, 2011

Mother Teresa Would Want You to Donate to the Arts


from William Franke, Director of Development & Communications
Ahh, it's the holiday season...when everyone is so busy wrapping up work projects, shopping for gifts, going to parties...and attending fundraising benefits for nonprofit organizations.

I know that for me, it's hard to prioritize which types of charities to give to. Even for people in the arts, it seems like there are so many more important causes out there.

Then I heard this story on The Moth, which is a collection of real people telling their true stories on stage. The guest host for the Moth’s Chicago story slam evening, Peter Sagal (host of NPR’s news quiz show Wait Wait...Don’t Tell Me) related this story at the end of the evening that his friend, Morgan, had told him about Mother Teresa:

When she was younger, Morgan was a dramaturg and, for whatever reason, she became quite infatuated with Mother Teresa and thought her the apotheosis of humanity. Her obsession with her ran to the point that, when she learned Mother Teresa was in New York for some kind of official visit (back in the ’80s), she tracked down the hotel she was staying at and went to see her. She caught up with Mother Teresa as she was getting out of a car (with a cadre of nuns) and proceeded to gush “Oh, Mother Teresa, the work you do is so wonderful; the work you do is so important and it’s so wonderful and I just want to come to Calcutta and do that work with you. Because I just think it’s so wonderful.” 

And Mother Teresa gently shook her head and said “No, no, you don’t do this work because you think it’s good; you do this work because you so love the poor people of Calcutta with whom I work, that you can’t be away from them. That’s when you come and you do this work.”
Morgan stood there, realizing she’d been gently rebuked, when Mother Teresa asked what it was she did. Morgan replied “Well, what I do is not important. What I do is I work in a theater and I help put on plays, and what use is that?”
To which Mother Teresa replied, “There are so many different kinds of famine in this world. In my country there is a famine of the body. In this country, there is a famine of the spirit. Stay here and feed your people.”
With your help, we promise to continue doing our part to nourish & feed the people in our community as best we can.

Now, you may have noticed that Theatre East is not throwing a year-end fundraising gala, but that doesn't mean we aren't trying to raise funds! We'll be in touch about a live event in the spring. But for now, since we know everyone is so busy, we thought we'd keep the time commitment low with an event on Facebook; or you can go directly to our website.
With your donations, we'll be able to continue bringing you plays like The Solider Dreams and Eye of God.
We're currently ramping up for our most ambitious season yet—our first full season, starting off in fall 2012 with the WORLD premiere of Bennett Windheim’s Normalcy, a play that uses transracial adoption as a catalyst to have an honest and candid dialogue about race in America through the prism of a well-meaning, well-to-do white couple contemplating the adoption of an African-American child. We'll also be continuing our educational efforts with the New Rites Collective.

Thank you so much for your support, now at the end of the year & always.