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Read the full review here!
Tuesday, October 9, 2012
Barbicide Review | Boo York
Read the full review here!
Monday, October 8, 2012
Commentary from HY Reviews
"It's hard to imagine a judging process resulting in nixing productions such as such as Non-Equity: The Musical and Fantasy Artists that, with rigorous development and further exposure, have real shots at eventual commercial runs, while saying "yes" to this mind-numbing mishap that's the most annoying Fringe play I saw this year."
See the posting here
See the posting here
Monday, September 10, 2012
NYtheatre: Barbicide Interview
Barbicide:
Christian Amato
An nytheatre.com Q&AQ: What is your job on this show?
A: Director and Producer
Q: When did you know you wanted to work in the theater, and why?
A: At the risk of sounding cliche, I am almost positive that my first family trip to Disney World is what sparked my love for the theatre. I was five, and I remember volunteering to participate in all the interactive performances. I realized that I had a love for stories. I enjoyed listening to them and telling them. Participating in all those events intrigued me. I admired the performer's ability to transport an audience. The idea of taking people on a journey has always inspired me. When my family and I got back to the city, my parents enrolled me in my first acting class. That is when I felt my first connection to what I wanted to do with my life.
Q: Who is more important in the theater: the actor, the playwright, or the director?
A: Truthfully, in a production, no one is more important than the other. With The Theatre Project, all concepts are discussed and opinions are shared. Our productions are shaped from an artist-driven environment, as opposed to one heavy decision. I believe that everyone has the right to contribute and I embrace multiple perspectives. This allows us to form a richer world for the show to exist in! That being said while I believe all members of a creative team should be treated as an equal, without a playwright, I as a director would not have plays to stage!
Q: What was the most memorable/funny/unusual thing that has happened during the development and rehearsal process for this show?
A: "Barbicide" has been in development for a year now, and the process began in August 2011, when Sean Pomposello and I first toyed with the idea. By October, Sean had a few scenes written. I had been producing a reading series called "Universal Monsters." At the last minute, we put the first pages of "Barbicide" in. The reading went great! My favorite moment is hearing the audience finally get that the play is a modern reflection on Sweeney Todd. At the reading, people were enjoying themselves, but at the moment of revelation, an audible acknowledgement is made that is pretty funny and pleasing. Audience members watch with intent, and then there is a gasp that says, "I know what this is. This is great. This is smart." This past Spring we performed a series of readings, of the completed script, in a barber shop. The environment really added to the growth of the piece. Audiences still had that audible reaction when they saw the barbershop series. We started having a real strong feeling that we were on to something!
Q: Which “S” word best describes your show: SMOOTH, SEXY, SMART, SURPRISING?
A: Smooth. Without a doubt. "Barbicide" is inspired by beat poetry and organized crime. There is a natural suave attitude that emits from the dialogue. We couldn't be in a better location for this piece as well. MacDougal Street has lived a interesting history that compliments our production.
Q: Who are your heroes?
A: There are a lot of people that I would consider to be a hero of mine. Though, anyone who has supported me in life is most certainly my hero. I also feel that my creative team as a whole are my biggest heroes. The energy they bring forth to their work is inspiring and overwhelming. Their attitude provides me with the desire to create!
See The original article!
Broadway World Photo Flash: Barbicide
The Theatre Project presents Barbicide, A haunting reflection of the Sweeney Todd legend, with just a dash of Mafioso mythology. Barbicide is a noirish revenge play of interwoven monologues, underscoring the consequences of coincidence and fate. From the team that brought you Bitch, fresh off its sold out run at The Historic Players Theatre, comes Barbicide. It’s a whole new twist on Fleet Street.
The new play Barbicide will celebrate its World Premiere off-Broadway run at The Historic Players Theatre beginning October 4. Barbicide is written by playwright Sean Pomposello and directed by Christian Amato. The show's cast features Arthur Aulisi, Paulette Oliva, Douglas Sharf and Angie Atkinson.
The cast for this modern adaptation of Sweeney Todd gathered together on August 25 at West Street Studios in Brooklyn for their first-ever photo shoot. Check out the photos below!
Photo Credit: Kelly Marsh/The Theatre Project
NON-EQUITY the musical – FringeNYC
Actors who are not yet members of the “Union - AEA” are considered non-equity. And these actors will do just about anything to get into the union - play cows, go out of town, stay at seedy hotels and pretend to be what they are not all the while smiling.
They have to if they want that all important card. But before they get their big break and their Actors’ Equity Card they spend hours and hours walking dogs, looking for an agent waiting tables and waiting to be auditioned - sometimes waiting for naught.
One such actress is Danielle Trzcinski. She has gotten so fed up with this system that she has written an exciting and savvy new musical about the trails and tribulations of such actors - NON-EQUITY the musical along with Paul D. Mills (at the piano) and they will most probably never have to worry about such problems again.
NON-EQUITY is a delight. A hybrid of FORBIDDEN BROADWAY and a prequel to A CHORUS LINE done in the format of a revue akin to THE UPSTAIRS AT THE DOWNSTAIRS harking back to traditional musical comedy songs that are terrific, satiric and melodic which come with a huge dose of heartfelt sentiment.
Ms. Trzcinski plays Wendy Gibson (her alter-ego) and there is not a bitter bone in her body. Well maybe one or two tiny ones but most of her bones are funny. As she explains through her characters in song what it is like to live the life of a non-equity actor you will be enlightened and thoroughly entertained.
Helping her is her talented company of distinctive non-union characters: Felicity (Lindsay Morgan) Ezra (Keith Antone) Luke (Pierce Cassedy) Charlie (Joe Donnelly) and Beonika (Nichole Turner). All fine, either singly or together as they chart the harmonious territory with the able direction of Christian Amato and choreography by Sam Doblick.
Playing a series of “Monitors” wearing an assortment of wigs and having a lithe body reminiscent of an Ibis, Emily Swan is an absolute dead pan riot. As we see the actors preparing and auditioning experiencing great difficulties along the way carefree Stephen (Dominic Sellers) pops in here and there and immediately is auditioned because he has some connection with the Monitor herself or with someone she is connected with. It is a great running gag.
One stand out song from the excellent score is “Phenomenal” - and it is just that sung by Wendy. We learn that the reason they go through such muck - humiliation and discrimination - is because they love what they do and have to follow their dreams in order to be happy.
The cast seems to be reveling in performing this show which surely will have an extraordinary future. If only they could cut about 15 minutes. I know it’s difficult when all the material is so good, but as they saying goes “leave them wanting more.”
At The Players Theatre 115 MacDougal Street
See The Original Artical here!
They have to if they want that all important card. But before they get their big break and their Actors’ Equity Card they spend hours and hours walking dogs, looking for an agent waiting tables and waiting to be auditioned - sometimes waiting for naught.
One such actress is Danielle Trzcinski. She has gotten so fed up with this system that she has written an exciting and savvy new musical about the trails and tribulations of such actors - NON-EQUITY the musical along with Paul D. Mills (at the piano) and they will most probably never have to worry about such problems again.
NON-EQUITY is a delight. A hybrid of FORBIDDEN BROADWAY and a prequel to A CHORUS LINE done in the format of a revue akin to THE UPSTAIRS AT THE DOWNSTAIRS harking back to traditional musical comedy songs that are terrific, satiric and melodic which come with a huge dose of heartfelt sentiment.
Ms. Trzcinski plays Wendy Gibson (her alter-ego) and there is not a bitter bone in her body. Well maybe one or two tiny ones but most of her bones are funny. As she explains through her characters in song what it is like to live the life of a non-equity actor you will be enlightened and thoroughly entertained.
Helping her is her talented company of distinctive non-union characters: Felicity (Lindsay Morgan) Ezra (Keith Antone) Luke (Pierce Cassedy) Charlie (Joe Donnelly) and Beonika (Nichole Turner). All fine, either singly or together as they chart the harmonious territory with the able direction of Christian Amato and choreography by Sam Doblick.
Playing a series of “Monitors” wearing an assortment of wigs and having a lithe body reminiscent of an Ibis, Emily Swan is an absolute dead pan riot. As we see the actors preparing and auditioning experiencing great difficulties along the way carefree Stephen (Dominic Sellers) pops in here and there and immediately is auditioned because he has some connection with the Monitor herself or with someone she is connected with. It is a great running gag.
One stand out song from the excellent score is “Phenomenal” - and it is just that sung by Wendy. We learn that the reason they go through such muck - humiliation and discrimination - is because they love what they do and have to follow their dreams in order to be happy.
The cast seems to be reveling in performing this show which surely will have an extraordinary future. If only they could cut about 15 minutes. I know it’s difficult when all the material is so good, but as they saying goes “leave them wanting more.”
At The Players Theatre 115 MacDougal Street
See The Original Artical here!
"Non-Equity The Musical!" at The New York International Fringe Festival
"Non-Equity The Musical!" at The New York International Fringe Festival
“Non-Equity The Musical!”
Book and Lyrics by Danielle Trzcinski
Music and Lyrics and Musical Direction by Paul D Mills
Directed by Christian Amato
Reviewed by Joseph Verlezza
Theatre Reviews Limited
After great anticipation and hearing the buzz from the seasoned fringe goers, I took my seat, prepared to enjoy a performance of “Non-Equity the Musical” currently appearing at the Players Theatre as part of the New York International Fringe festival: I was not disappointed. For the next hour and forty minutes, I found myself thoroughly entertained by a diverse cast of eight enthusiastic, talented (and of course) non-Equity performers. This show gives current or past non-union performers a chance to applaud their comrades as they relate to the all too familiar scenes that unfold, or perhaps bask in the fond memories of hard work, uncanny situations or valued friendships formed while reaching for the golden ring. Those not involved in “the business” get a fairly accurate, animated, comical view of how difficult it might be for inspired actors to realize and attain their dreams. Through melodic compositions, truthful lyrics and refined harmonies, these eight actors reveal their angst, inner thoughts and turmoil with a display of honestly resourced emotions. What brings this to the next level is that they are “true to the script” and have a great time loving what they do. They infect the audience with their spirit. All cast members have special individual strengths but it is as an ensemble that they shine.
On a constructive note, the material should be broader; it is a little heavy handed on the complaint side so it almost seems repetitive at times. Perhaps dwelling more on the positive aspects of the journey may produce a more well rounded script (after all, inspiration brought you this far). As a past non-Equity person and an Equity member for quite a while, this critic believes a focus on other reasons actors aspire to carry a card (other than auditions) can also be informative. Perhaps a comical musical parody, dreaming of health insurance, sanitary and comfortable working conditions, fair salary and pension. Just a thought to spark your creative minds.
What I can conclude is that whoever you might be, if you are in New York City during the Fringe Festival try to attend one of the remaining performances of this show. You will be entertained and treated to more than a few laughs as you are immersed in the lives of non-Equity performers.
See the original article here!
“Non-Equity The Musical!”
Book and Lyrics by Danielle Trzcinski
Music and Lyrics and Musical Direction by Paul D Mills
Directed by Christian Amato
Reviewed by Joseph Verlezza
Theatre Reviews Limited
After great anticipation and hearing the buzz from the seasoned fringe goers, I took my seat, prepared to enjoy a performance of “Non-Equity the Musical” currently appearing at the Players Theatre as part of the New York International Fringe festival: I was not disappointed. For the next hour and forty minutes, I found myself thoroughly entertained by a diverse cast of eight enthusiastic, talented (and of course) non-Equity performers. This show gives current or past non-union performers a chance to applaud their comrades as they relate to the all too familiar scenes that unfold, or perhaps bask in the fond memories of hard work, uncanny situations or valued friendships formed while reaching for the golden ring. Those not involved in “the business” get a fairly accurate, animated, comical view of how difficult it might be for inspired actors to realize and attain their dreams. Through melodic compositions, truthful lyrics and refined harmonies, these eight actors reveal their angst, inner thoughts and turmoil with a display of honestly resourced emotions. What brings this to the next level is that they are “true to the script” and have a great time loving what they do. They infect the audience with their spirit. All cast members have special individual strengths but it is as an ensemble that they shine.
On a constructive note, the material should be broader; it is a little heavy handed on the complaint side so it almost seems repetitive at times. Perhaps dwelling more on the positive aspects of the journey may produce a more well rounded script (after all, inspiration brought you this far). As a past non-Equity person and an Equity member for quite a while, this critic believes a focus on other reasons actors aspire to carry a card (other than auditions) can also be informative. Perhaps a comical musical parody, dreaming of health insurance, sanitary and comfortable working conditions, fair salary and pension. Just a thought to spark your creative minds.
What I can conclude is that whoever you might be, if you are in New York City during the Fringe Festival try to attend one of the remaining performances of this show. You will be entertained and treated to more than a few laughs as you are immersed in the lives of non-Equity performers.
See the original article here!
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