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!

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.

Alice In Wonderland NOM for Best Family Show | Off-Broadway Allianc

The Off Broadway Alliance, the organization of Off Broadway producers, theaters, general managers, press agents and marketing firms, has announced the nominees for the 2nd Annual Off Broadway Alliance Awards, honoring commercial and not-for-profit productions that opened Off Broadway during the 2011-2012 season. Awards will be presented in six competitive categories: Best New Musical, Best New Play, Best Musical Revival, Best Play Revival, Best Special Event and Best Family Show. Winners in all categories will be selected by secret ballot by members of the awards committee of the Off Broadway Alliance. In addition to the competitive awards, five Off Broadway Alliance Legend of Off Broadway Awards are being presented for sustained achievement in the world of Off Broadway. The 2012 Legend of Off Broadway recipients are Edward Albee, Gerard Alessandrini, Kathleen Chalfant, Catherine Russell and Mary Louise Wilson. Two 2012 Off Broadway Alliance Hall of Fame Awards are being presented posthumously to Howard Kissel and Theodore Mann. Winners will be announced on May 22. A complete list of nominees follows. Nominees and Honorary Award Recipients 2012 Off Broadway Alliance Awards Best New Musical The Blue Flower Once Queen of the Mist SILENCE! The Musical Sistas: The Musical Best New Play 4000 Miles Milk Like Sugar Sons of the Prophet Tribes Unnatural Acts Best Musical Revival Carrie Ionescopade Rent Best Play Revival Beyond the Horizon The Cherry Orchard Cymbeline The Lady From Dubuque A Moon for the Misbegotten Best Special Event The Devil’s Music: The Life and Blues of Bessie Smith An Iliad The Patsy Traces Voca People Best Family Show Alice in Wonderland The Amazing Max and the Box of Interesting Things The Berenstain Bears LIVE! The Lion, the Witch and the Wardrobe The Ohmies Stinkykids, The Musical Legend of Off Broadway Honorees Edward Albee Gerard Alessandrini Kathleen Chalfant Catherine Russell Mary Louise Wilson Off Broadway Alliance Hall of Fame Honorees Howard Kissel Theodore Mann The Off Broadway Alliance is a non-profit corporation organized by theater professionals dedicated to supporting, promoting and encouraging the production of Off Broadway theater and to making live theater increasingly accessible to new and diverse audiences. The Alliance holds monthly meetings and membership is open to everyone in the Off Broadway theater community. Among its initiatives, The Off Broadway Alliance founded and sponsors 20at20, the biannual event that lets theatergoers purchase $20 tickets to dozens of Off Broadway shows 20 minutes before curtain. It produces a free Seminar Series focusing on the culture, business and history of Off Broadway featuring major players from the Off Broadway scene. And the Alliance created the Off Broadway Economic Impact Report, which outlines Off Broadway’s over $500 million annual impact on the economy of the City of New York.

Tico Tales Review

Tico Tales review Literally Alive's first free summer production for children celebrates Central American traditions. By Lindsey Garland

Brenda Bell and Michael Sgouros, the creative team behind children’s theater company Literally Alive, now in its twelfth season, have always looked to classic children’s stories like The Velveteen Rabbit, Beauty and the Beast and Stone Soup as the inspiration for their original musicals. But for their most recent production, Tico Tales, the pair turned their eyes southward—more specifically, to the Central American nation of Costa Rica. Named after a term for Costa Rican natives, the musical, Literally Alive's first free summer production, uses music, dance and storytelling to present a series of traditional folktales and rituals from the so-called “Coast of Riches.” The show comprises eight separate scenes from Costa Rican legend, each introduced by Mother Earth (Bell) and Daughter Earth (precocious twelve-year-old Myla Marino). The content runs the gamut from the creation myth “When woman became the sea” to the legend of the sneaky goblins los duendes and a performance of the cumbia courtship dance. Connecting them all is a common thread—each scene is highly relevant to the traditions and folklore of Costa Rica. Historical narration about the country, from its discovery by Christopher Columbus to the arrival of the Spanish consquistadors and the African slaves, enhances the storytelling. Caribbean-tinged, percussion-heavy musical numbers—played by musical director Sgouros and percussionist Sean Statser on more than 30 different instruments including the murumba, dundun and djembe drums, and castinets—are worked in throughout the show, setting a distinct mood for each scene and serving as the accompaniment for original songs like “Coast of Riches” and “A Walk in the Woods." The dancing, inspired by traditional Costa Rican dances, is quite good—Brianna Hurley’s fluid depiction of the sea, gracefully flourishing her long and multilayered skirt to mirror the movement of the water, is a particular standout. The confined space onstage, though, causes some clumsiness as performers occasionally collide with the seaweed-like stage hangings. The purpose of the production, of course, is to expose children to Costa Rican culture, and in this it succeeds admirably. Although the show is described as bilingual, it’s performed primarily in English, with brief Spanish translations here and there. For instance, as Mother Earth recites stories in English, Daughter Earth often repeats key words in Spanish—la lluvia, el mar—making this a useful tool for children learning Spanish, but perhaps not ideal for those who speak only Spanish, as the translations aren’t quite enough to follow the stories. But linguistics aside, the narration is educational, the performances are energetic, and the music is truly fantastic, making this as good a way as any to take in a social studies lesson with the whole familia.