 |
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!
Non-Equity The Musical @ Broadway Sessions
Check out the cast of Non-Equity The Musical! performing the opening number at Broadway Sessions!
Talkin Broadway | Non-Equity the Musical!
Theatre Review by Matthew Murray
If energy necessarily translated to quality, Non-Equity The Musical!, playing at the Players Theater through next Saturday as part of the New York International Fringe Festival, would deserve to be fast-tracked to Broadway. Written by Paul D. Mills (music and lyrics) and Danielle Trzcinski, it's a desperately cute look at six young musical theatre performers who are "living their dream" but not yet part of the actors' union — to say nothing of earning much money. Trzcinski, who stars as the pretty and talented but pushed-aside Wendy, and Keith Antone, Lindsay Morgan, Pierce Cassedy, Joe Donnelly, and Nichole Turner are all delightful as the hopefuls who line up for cattle calls, stand in hallways, try to stay chill during cold readings, and endure pay-to-play meetings unlikely to give them the jobs and recognition they crave.
The show around them, alas, does not capture your imagination so easily. Lodged between "too inside baseball" and "too accessible," it renders the deepest difficulties of the actor's lot into dopey bits that sing endlessly (if seldom effortlessly) without establishing solid emotional connections. Songs about wishing for that big break, being better than producers realize, and struggling to match casting requirements you don't know mingle haphazardly with maudlin tales about the loved ones the stars leave in their careers' wake, inane one-offs that could have come from any show (a song about straight women longing to be men to get better jobs? Really?), and overly glitzy ballads about the wonders of show business, make the 100-minute show at once sluggish and schizophrenic.
Director Christian Amato and choreographer Sam Doblick have staged things well enough, but they haven't overcome the show's inherent flaw: It feels like a revue laden with far too much book. The songs are pleasant, though obvious and forgettable, but Trzcinski needs to either abandon some of the stereotypes she so freely employs (the heavy black girl who belts, the question of how actresses date when surrounded only by gay men, and so on) or cut some characters so they're less noticeable. When everything is this general, it's difficult to achieve either pointed satire or focused entertainment, and Non-Equity manages neither.
It is, however, an outstanding showcase for two of its cast: Dominic Sellers, who blissfully underplays a superbly connected and strangely lucky actor who's always finds a way to get seen, and especially Emily Swan, who plays every audition monitor supervising the members of the lead sextet. Swan hilariously fashions each one as a complete and unique woman, with different voices (from nerd to authoritarian), mannerisms, and even apparent backstories that make them the most sparkling and dynamic fixtures of every scene in which they appear. Her ingenious, detailed work reminds you that serious acting chops can be found even in the least-expected places. Non-Equity The Musical! wants to promote the same goal itself, but never gets as close as Swan does.
Non-Equity The Musical!
Through August 25
The Players Theatre, 115 MacDougal Street (West 3rd and Bleecker)
Tickets and current schedule FringeNYC.org
See the original article here.
FringeNYC Interview with Director Christian Amato on Non-Equity The Musical!
Non-Equity The Musical! : Christian Amato
An nytheatre.com FringeNYC Q&A
Q: What is your job on this show?
A: Director
Q: What type of theater do you like most to work on?
A: When it comes to directing theatre, I really try to maintain an open approach - I don't have any boundaries with regards to the kinds of shows I direct. Recently I have been focusing on involving myself with new play development. I enjoy building and interpreting new work, which is why I was happy to be asked to direct Non-Equity The Musical. With a new play or musical, the possibility of shaping a play truly inspires me. It is challenging. With new productions, the choices made in the directorial process can be more beneficial to the play's future life. Shaping the great plays and musicals of tomorrow is an exciting prospect for me.
Q: Have you been part of FringeNYC in the past? If so, how did you particpate? (Be specific! Name shows, etc.)
A: This is my third year working with FringeNYC! I have been a Venue Director for three years, working on around 60 shows, but this is my first year Venue Directing for the festival while also directing a festival production. It has been a lot of fun. The Fringe Festival is a crucial part of the downtown theatre scene as well as great outlet for new work. My involvement in the festival is always exciting. I love meeting people, and as a Venue Director you get to interact with some very interesting creators. This year as a Director has also made me more aware of the time crunch that other shows in the festival encounter, so I feel that it will improve me as a Venue Director. I'll be Venue Directing at Cherry Lane this year so I encourage people to come chat with me!
Q: In your own words, what do you think this show is about? What will audiences take away with them after seeing it?
A: Non-Equity the Musical is about the passion and drive to make something of yourself. It's about following your strongest impulses and forging a path of your own. The musical follows the life of six non-union actors in New York. The ups and downs of involving yourself with New York's theatre community. I believe that audiences will see how difficult a career in the arts can be. While it is not a career for one who seeks instant gratification, it informs people on how grateful we should all be for the opportunities we are awarded in life.
Q: Groucho, Chico, Harpo, or Zeppo?
A: Is all of the above a choice? We have had a great time preparing this piece! The cast is unique, young and extremely talented. The music is highly sophisticated. And the show as a whole takes you on a pretty emotional journey. The Marx Brothers would approve.
Q: How important is diversity to you in the theater you see/make?
A: I constantly push myself to work on diverse projects, in all aspects of the production as a whole. We have a responsibility to future theatre practitioners to make the field as accessible as possible. I have set a lot of personal goals with regards to the type of projects I work on this year, and most of them stem from the desire to continue directing with a focus on diversity.
See the original Q&A here!
Non-Equity The Musical! | FringeNYC '12 | NYtheatre
Non-Equity The Musical!
nytheatre.com review
reviewed by Kristin Skye Hoffmann · August 11, 2012
Non-Equity The Musical! seems to have been a long time in the making. It was born of endless frustrations from its star and creator, Danielle Trzcinski. She was just too close to getting her big break too many times and the result is the play.
This show is for actors and the “civilians” who are curious about the day-to-day lifestyle aspiring performers experience. It explores the individual frustrations of a handful of Non-Equity actors while they audition for general EPAs (Equity Principle Auditions), Summer Stock Companies, Tours and Cruise Ship shows. What we find is that the challenges are in essence the same at each. The vicious cycle that keeps the lowly Non-Equity actor down goes like this. You cannot get into an Equity show unless you are an Equity actor, and you can’t be an Equity actor unless you qualify for your Equity card. You can’t get your Equity card unless you are in an Equity show. There are some opportunities for getting a foot in the door but this requires waking up at 5am to be the first to get on “the list” that the AEA auditioners may or may not dip into on any given day.
They also struggle with being type-cast, being forced to act in roles they aren’t interested in, the way they are treated like peasants at the AEA building (not even being allowed to use the bathroom while they wait all day since they don’t have their cards yet), the imbalance of available female actors and male ones (two girls sing a duet about how life would be much easier if they possessed a penis) and on and on. Although there is a genuine effort to stay positive the story borders on being exhaustingly whiney and I frequently found myself thinking to myself, “Wow. If you all hate all of this so much, you should probably stop.” Still numbers like, “Living My Dream” help yank them back from the edge.
Trzcinski and Director Christian Amato have assembled quite a talented cast of performers. The ensemble as a whole seems to be having a blast showing off their chops and there are certainly some stand-outs. Lindsay Morgan as the brassy and irresponsible party girl, Felicity, shines. She has a beautiful voice and I always looked forward to her solos. Emily Swan in the role of The Monitor is funny and easy to watch. She plays a variety of different Monitors and various auditions. Nichole Turner as Beonika has excellent comic timing and is a no-nonsense diva. As the classically trained African American opera singer who is only ever offered servant and maid roles she tells it like it is. The running gag of the mispronunciation of her name never disappointed. Trzcinski herself as the endlessly sweet Wendy has a lovely voice and great sense of humor and she certainly deserves a showcase of her talents such as this.
As an off off Broadway Producer in this great city, I would have liked to see that point of view explored as well as the experience of actors who actually have their cards. Instead we witness the vicious cycle that, in the 1 hour 40 minute run time, really does get overly repetitive. A little editing on the book might be in order. I also thought the play was going to end two or three times before it actually did.
Still, Trzcinski’s play is a funny take on an honorable mission. The system is flawed and should be reexamined. This may not be something that will happen any time soon, but raising awareness about the system certainly couldn’t hurt. If you are looking for a funny inside look on the most frustrating parts of being an actor in NYC performed by an enthusiastic ensemble of gifted performers, Non-Equity The Musical! is for you.
See The Review Here!
Non-Equity The Musical! | FringeNYC '12 | Backstage
“Non-Equity: The Musical!,” while more than a bit rough around the edges, is a fairly enjoyable 100 minutes, thanks to its breezy humor and gamely enthusiastic cast. Certainly it will resonate with any actor just starting out and working hard to gain that elusive union card.
The brainchild of nonunion actor Danielle Trzcinski—who wrote the book, co-authored the lyrics with composer Paul D Mills, and plays Wendy, a would-be ingénue—the musical touches on many of the career trials of a struggling performer, such as getting on the Equity audition list, typecasting, dealing with audition-room monitors, the pros and cons of touring, and more. Though the show gives its prototypical actors character names, it plays more like a revue than a plotted story and is structurally slapdash, with only a so-so score of blandly pleasing tunes and lyrics full of the usual false rhymes and bad accents.
Still, Trzcinski’s cheeky sensibility is refreshing, and the inventive Emily Swan is a riot as a succession of audition monitors from hell. Luke Thomas Miller does a fine job with the show’s best song, “It’s the Nights,” about how important his boyfriend is in his life. When the company sings “Living My Dream,” you definitely believe they are.
Self-presented as part of the New York International Fringe Festival at the Players Theatre,115 MacDougal St., NYC. Aug. 11–25. Remaining performances: Tue., Aug. 21, 2 p.m.; Thu., Aug. 23, 2 p.m.; Sat., Aug. 25, 8:15 p.m. (866) 468-7619 or www.fringenyc.org.
Critic's score: B-
See the review.
Monday, July 16, 2012
Alice In Wonderland NOM for Best Family Show | Off-Broadway Allianc
Saturday, July 14, 2012
Tico Tales Review
BARBICIDE Receives Off-Broadway Run At The Historic Players Theatre
Alice In Wonderland | New York Times
A New "Alice In Wonderland" Musical hits NYC.
Goldstar Reviews | B*tch
"Interesting scenario, good performance and touching subject. I would definitely recommend this show."
"Gritty, urban play exploring human motivation and family ties/loyalty. Performed in an intimate space in the Village, B*tch was a thought-provoking and fun theatre experience. The shots of whiskey available at the door on the way in were a great touch!"
"The play was not what I expected but it was good"
"VERY impressed with this production...go see it now!!"
"this was a cliffhanger there needs to be a part two!!!!"
"Very good writing . . . the acting was fine and all in all a good evening in the theater. So many performances with uninteresting text or badly written, and so this was a pleasure to listen to and to watch."
"Going into a play with such a title, one can not really be sure what to expect. I had basic bullet points of background, i.e. dog fighting, brothers, money. B*tch is the perfect revelation of the truth behind high stakes situations involving family members, and the skeletons in the closet of each individual. As an audience member, I felt fully engrossed in the development of the relationship or lack thereof between each character, finding moments of empathy for one, and disgust of the other, and finding my feelings changed a scene or two later for the same. The director's vision is unbelievably clear, and has brilliantly opened a space where one feels a sense of comfortable, quiet invisibility and belonging for most of the play, and oppositely, one will undoubtedly feel excitingly uncomfortable at times, further explained: there are moments you will be thankful you cannot be seen in the room for how skillfully, and tragically the events are carried out by stunning and intelligent actors, hitting every note so precisely. The writing allows for a tempo that is coordinate and balanced throughout the play, and words flow like water tying streams of emotions together from all angles and perspectives, as each character represents a different set of conflict. In short, prepare yourself for a no intermission, shot through the heart, full speed, and exhilarating experience with B*tch and it's inhabitants."
"A great performance by a very talented group of people. Would definitely recommend."
"This is a GREAT show! The writing is edgy and the story-telling is tight. Uniformly excellent cast. Good work, Theatre Project!"
"We are very familiar with experimental theatre having lived in Chicago and attended a great deal of theatre. This was a very professional production and exceeded our expectations. We will come again. 'A family from Connecticut'"
Violence and Comedy Compliment in The Theatre Project's "B*tch"
Violence and Comedy Compliment in The Theatre Project’s ‘B*tch’ (via Downtown Magazine NYC)
With a title like B*tch, a show could take any number of gruesome turns, but the current production from The Theatre Project at The Player’s Theatre in the West Village is not entirely what you might expect. The show is about dog fighting and human nature, not a nasty woman. In fact it’s the men…
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