Category Archives: Let’s Go

LET’S GO: ‘THE MIKADO’ FROM THE NEW YORK GILBERT & SULLIVAN PLAYERS, AMERICA’S PREEMINENT GILBERT & SULLIVAN REPERTORY ENSEMBLE ·

(via Sean Katz, Katz PR)

The New York Gilbert & Sullivan Players, America’s Preeminent Gilbert & Sullivan Repertory Ensemble, Presents

The Mikado

Novel Production of Enduring Classic

At The Kaye Playhouse at Hunter College

December 27, 2019 through January 5, 2020

(New York, NY – November 25) Since its founding in 1974, the New York Gilbert & Sullivan Players (NYGASP) has presented more than 2,000 performances of the Gilbert & Sullivan masterpieces throughout the United States, Canada and England, captivating audiences of all ages. America’s preeminent Gilbert & Sullivan Repertory Ensemble, continues its 45th season with its novel production of The Mikado, one of the most enduring musicals in theatrical history.

With 8 family friendly performances after Christmas, this production, which premiered to critical acclaim in December of 2016, will run at The Kaye Playhouse at Hunter College, 68th Street between Park and Lexington Avenues, Dec. 27, 2019 through Jan. 5, 2020.  Annual favorite special events include multi-generational Bring Your Grandparents Day (Dec. 30 – with pre and post show attractions) and Family Overture presentations before Saturday matinées (Dec. 28, Jan. 4 – musical introduction and plot summary made entertaining and free to all ticket holders).

The New York Times describes this production of The Mikado as “a comic gem” with “handsome designs, sharp acting and impressive singing.”

First performed at London’s Savoy Theatre in 1885, The Mikado pokes fun at topical aspects of Victorian society, but Gilbert & Sullivan cleverly cloak their satirical barbs behind a charming love story set in an imagined town in Japan, and NYGASP continues the time honored tradition of topical updating for a modern audience.  You’re sure to recognize someone on the “Lord High Executioner’s” comical list of people who “never would be missed”.

The show abounds with absurdity and astounding wit, clever wordplay, memorable tunes and endearing characters.  The romantic love story follows Nanki-Poo, the son of the Mikado (the Japanese emperor), who has fled his father’s court in disguise as a “Wand’ring Minstrel” to avoid marrying Katisha, an elderly suitor, and to find and marry his own beloved, the delicious maiden Yum-Yum, one of “Three Little Maids From School”. Yum-Yum, however, is the ward of Ko-Ko, the “Lord High Executioner”, and has become betrothed to him against her will.  As usual in a Gilbert & Sullivan imaginative plot, the tangled web unravels and everyone (well, almost everyone) lives happily ever after.

The NYGASP production features an original prologue that introduces the audience to the real life characters of the D’Oyly Carte Opera Company, which originated The Mikado in 1885 London, and emphasizes the work’s satire of human foibles and excesses that transcend generational and national bounds.  The comic opera will feature original choreography and direction by NYGASP Associate Stage Director David Auxier, who also authored the show’s prologue, and Assistant Direction by Broadway performer/director Kelvin Moon Loh.

The show’s cast includes: dynamic bass David Wannen in the title role; clever patter man David Macaluso as Sullivan and Ko-Ko; blustering Matthew Wages as Richard D’Oyly Carte and pompous Pooh-Bah; creative David Auxier as author Gilbert and town leader Pish-Tush; charming John Charles McLaughlin as romantic hero Nanki-Poo, formidable Caitlin Burke as lovelorn and overbearing Katisha; beautiful soprano Sarah Caldwell Smith as self-aware Yum Yum; Rebecca Hargrove as maiden sister Peep-Bo, and mellifluous mezzo Amy Maude Helfer as adventurous Pitti-Sing.

The production will showcase scenery designed by Anshuman Bhatia, costumes by Quinto Ott and lighting by Benjamin Weill.  The Mikado is produced by NYGASP Executive Director David Wannen. 

NYGASP has been hailed as “the leading custodian of the G&S classics” by New York Magazine and has created its own special niche in the cultural mosaic of New York City and the nation.  According to the Company’s Founder/Artistic Director/General Manager Albert Bergeret, NYGASP’s mission is “giving vitality to the living legacy of Gilbert & Sullivan.” He further adds that “everyone loves The Mikado and our new production, with its celebrated premise of imagination, keeps the revered story alive and colorful.”  As for his own participation in the storied production Bergeret states “I’m delighted to once more be involved in elevating the humor and musical values of this evolving and very theatrical production, while alternating on the conductor’s podium with my colleague, Joseph Rubin, as part of NYGASP’s commitment to the future development of the Company”.

 Performances:

Friday, Dec. 27, 2019 — 7:30 PM

Saturday, Dec. 28, 2019 — 2 PM* & 7:30 PM

Sunday, Dec. 29, 2019 — 3 PM

Monday, Dec. 30, 2019 — 3 PM**

Saturday, Jan. 4, 2020 — 2 PM* & 7:30 PM

Sunday, Jan. 5, 2020 — 3 PM

*Family Overture – Sat., Dec. 28 & Sat., Jan 4, at 12:45 PM (prior to the 2PM show) – Musical introduction and plot summary made entertaining for the entire family. Free to all ticket holders.

**Bring Your Grandparents Day – Monday, Dec. 30, at 1:45 PM – Respect your elders with a pre-show Family Overture and a backstage tour after the performance.

Ticket Prices

Orchestra: $95

Balcony: $50

Rear Balcony: $25

*Please note there is no elevator to the balcony*

Special Discounts:  50% off for children 12 and under accompanied by an adult. 10% off for seniors 65 and older.

Order by Phone:  212-772-4448

Order Online:  www.nygasp.org

Purchase in Person:  The Kaye Playhouse Box Office, 68thStreet between Park and Lexington Avenues. (Box Office Hours: Monday-Friday 12 PM-7PM)

Photo: Carol Rosegg

LET’S GO: ‘END ZONE’ AT DIXON PLACE ·

FOR IMMEDIATE RELEASE
Contact: Bob Shuman, Bobjshuman@gmail.com
Dixon Place Presents End Zone by Bob Shuman, starring Roger Hendricks Simon, the Simon Studio; Matt de Rogatis*; Michael Siktberg*;
directed by Tania Fisher
Equity Approved Showcase
PLEASE JOIN US:
Saturday, January 25, 2020 at 7:30pm
RSVP to Bob Shuman, Bobjshuman@gmail.com
AT Dixon Place: After spawning Dixon Place as a salon in her Paris apartment in ‘85, Artistic Director Ellie Covan pioneered the organization in her NYC living room for 23 years. After organic development & expansion, DP is now a leading professional, state-of-the-art facility for artistic expression. While other venues of its kind have since died off, or now only present established artists, Dixon Place remains at the heart of the New York experimental performance scene.
Covan has received a NY Dance & Performance Award (a Bessie), two Obies, a BAXten Award & the NY Innovation Theater Foundation’s Stewardship Award for service to the community. DP has also received CUNY’s Edwin Booth Award, & the Alliance of NY State Arts Organization’s Celebrate the Arts Award for outstanding contributions to NYC.
Many artists, such as Deb Margolin, Blue Man Group, John Leguizamo, Lisa Kron, David Cale, Penny Arcade, and Reno began their careers at Dixon Place. In addition to emerging artists, Dixon Place has also been privileged to present evenings of new and experimental work by more established artists, such as: Theatre/Performance by Justin Vivian Bond, Taylor Mac, Lily Tomlin, Wallace Shawn, Craig Lucas, BD Wong, James Lecesne, John Fleck, Kate Bornstein, Ethyl Eichelberger, Holly Hughes, Karen Finley, Kate Clinton, Peggy Shaw, Mac Wellman, Big Art Group; Literary: A.M. Homes, Rick Moody, and Oscar Huelos; Dance: Mark Dendy, Jane Comfort, Sarah Michelson, Douglas Dunn and Yoshiko Chuma; Music: Vernon Reid, Rodney Crowell, Diamanda Galas, Martha Wainwright, Lucy Wainwright Roche, Suzy Roche, Maggie Roche, Rodney Crowell and They Might Be Giants.
Dixon Place presents 
END ZONE 
Saturday, January 25, 2020 at 7:30 pm 
Directed by Tania Fisher
Produced by Bob Shuman, Stage Voices
Starring Roger Hendricks Simon, Michael Siktberg*
Rob Lariviere, Production Manager
Benjamin Soencksen, Business and Finance Director
Mike Griffiths, Marketing & Audience Development Associate
Ashley Brockington, Artistic Associate
Mark Hayes, Artistic Associate
Kai Chieh Tu, Marketing/Administrative Associate
Keshi Taryan-Kigel, Administrative Intern
The last thing a performance artist needs is a larger cast—yet that is exactly what he gets in End Zone, by Bob Shuman, set in the absurd world of a New England football reunion for a septuagenarian father, the teams he coached, and the sons he keeps forgetting.  Best characterized as a cross between That Championship Season and True West, the expressionistic tragicomedy chronicles new heights of dysfunction, both on and off the field, in workplace politics, multiple marriages, elder care—and even on a joyride in a hearse.
Performance length: 75 minutes, no intermission
Ticket prices at Dixon Place:
Students / Seniors / ID NYC $15 in advance $17 at the door
 
SAT JAN 25 2020 7:30PM
General Admission $17 in advance $20 at the door
Students / Seniors / ID NYC $15 in advance $17 at the door
AEA Showcase
Equity members will be entitled to one complimentary ticket upon presentation of their union card on
a stand-by basis at show time.
The Dixon Place Lounge is open before and after the show, and you can bring your drink in the theater! Bar proceeds directly support DP’s artists and mission.

ABOUT THE ARTISTS

A partial credits listing for Roger Hendricks Simon includes Yale Repertory Company founding member, director and actor for the New York Shakespeare Festival and London’s Royal Court Theatre, among many others.  Elected to Notable Names in American Theatre, he has premiered works by Williams, Shepard, Hare, and directed Lithgow, Travolta, Jones, to name only a few. As a teacher, his influence has been felt from the U.S.I.A. and U.S. State Department to UCLA, Columbia University, Yale University, N.Y.U., and beyond. Founder of The Simon Studio and the Los Angeles Theatre Center Classical Theatre Lab, he has been a producing director for NPR. His films include ‘Wall Street 2’ and, currently, ‘Love in Kilnerry.’
Bob Shuman (MFA, Tisch School of the Arts/NYU) is an award-winning playwright, professor, author, reviewer, composer, and owner of Marit Literary Agency and Stage Voices Web site.  The coeditor of several drama complications from Northwestern University Press and Applause Theater and Cinema Books, he is a Lark Fellow, and has presented his work at Second Stage, Hunter College, Ursinus College, the Amoralists,Phoenix Theatre Ensemble, and Sewanee Writers’ Conference, among others. 
Tania Fisher: Voice-over artist at 15.  By 20, acting in feature films. Became familiar face on Australian TV, guest starring in iconic soaps ‘Neighbours,’ ‘Secret Life of Us,’ ‘Gladrags,’ several national TVCs.  Attended Cannes Film Festival as actress in 2003, then film producer 2004 winning Co-Producer award. Starred in Alan Bennett’s ‘Kafka’s Dick’ Garrick Theater, UK, 2006. In NYC acted in theater/films, produced/managed Off-Broadway theater/films, writes industry-insider articles, is a theater reviewer, and children’s book author.
Matt de Rogatis* has played “Tom” in The Glass Menagerie (Wild Project), “Ken” in Red (Jim Kempner Fine Art Gallery), “Frederick Clegg” in the United States premiere of The Collector (59E59 Theaters), “Roy” in Lone Star (The Triad/13th Street Rep), and “Richard III” in Austin Pendleton’s Shakespearean mashup, Wars of the Roses: Henry VI & Richard III, also directed by Pendleton and Peter Bloch (124 Bank Street Theater). Other favorite NYC and regional credits include playing “Hamlet,” “Stanley Kowalski” in A Streetcar Named Desire, and “The Elephant Man” in The Exhibition. This summer he will be playing “Brick” in an Off-Broadway revival of Cat on a Hot Tin Roof at Wild Project.
Michael Siktberg* has extensive credits in musical theater, having performed in Rock and Roll Man (Bucks County Playhouse), Buddy! The Buddy Holly Story (Theatre By the Sea),  Million Dollar Quartet (St. Michael’s Playhouse), Saturday Night Fever (Ogunquit Playhouse), Million Dollar Quartet, (Fireside Theatre), Crude: The Musical (NYMF), Girlfriend From Hell (54 Below), and Joseph and the Amazing Technicolor Dreamcoat (Cumberland County Playhouse).  He has studied at the American Musical and Dramatic Academy and the Simon Studio.
Dixon Place: An artistic incubator since 1986, Dixon Place is a Bessie and Obie Award-winning non-profit institution committed to supporting the creative process by presenting original works of theater, dance, music, puppetry, circus arts, literature & visual art at all stages of development. Presenting over 1000 creators a year, this local haven inspires & encourages diverse artists of all stripes & callings to take risks, generate new ideas & consummate new practices.
The artist’s experience is given top priority through our professional atmosphere and remuneration, and their process is enhanced through the reaction of our adventurous audiences. Dixon Place is a local haven for creativity as well as an international model for the open exploration of the process of creation. If you have work that would be appropriate for Dixon Place, please read our open submissions policy.

DIXON PLACE DIRECTIONS

All shows are at 161A Chrystie Street, between Rivington and Delancey.
Nearby Subway Stops:
F to 2nd Avenue
J Z to Bowery
C to Spring
M to Essex
B D to Grand
You may also use Google Maps for DRIVING or WALKING directions or HopStop.com for SUBWAY, BUS & WALKING directions.st’s experience is given top priority through our professional atmosphere and remuneration, and their process is enhanced through the reaction of our adventurous audiences. Dixon Place is a local haven for creativity as well as an international model for the open exploration of the process of creation. 
Follow Bob Shuman:
Twitter: @DixonPlace; @Bobjshuman
#Dixonplace

LET’S GO:  ‘SUGIMOTO BUNRAKU SONEZAKI SHINJU’ (OCTOBER 19–22, 2019 AT LINCOLN CENTER’S FREDERICK P. ROSE HALL) ·

The Love Suicides at Sonezaki

U.S. production premiere

October 19–22, 2019 Rose Theater, Jazz at Lincoln Center’s Frederick P. Rose Hall

At the turn of 18th-century Japan, a clerk and a courtesan committed suicide in the forest of Tenjin. The Love Suicides at Sonezaki, a tragic play based upon these events, was banned after its 1703 premiere for more than two centuries. For this U.S. production premiere, renowned artist Hiroshi Sugimoto presents a bold, contemporary interpretation of the classic drama using bunraku puppet theater with music by Living National Treasure Seiji Tsurusawa and video by Tabaimo and Sugimoto. The puppets, imbued with life, captivate audiences with their lively movements rivaling the eloquence of actual human beings.

“Sugimoto breathed souls into the lifeless wooden puppets.”

– Le Monde

 

 

 

LET’S GO: THEATRE FOR A NEW AUDIENCE PRESENTS “THE EMPEROR,” A PARABLE ABOUT POWER, FEATURING KATHRYN HUNTER AND TEMESGEN ZELEKE, SEPTEMBER 9-30 ·

THE EMPEROR

Adapted by Colin Teevan
From the book by Ryszard Kapuściński
Directed by Walter Meierjohann
Co-Produced by the Young Vic, HOME, and Les Théâtres de la Ville de Luxembourg

“A resonant and troubling metaphor for the great melancholy of power.” — The Guardian

Theatre for a New Audience (TFANA; Jeffrey Horowitz, Founding Artistic Director) kicks off its 2018-2019 season with the U.S. premiere of The Emperor, featuring virtuosic shape-shifting actor Kathryn Hunter and Ethiopian musician Temesgen Zeleke, founder of Krar Collective. Walter Meierjohann directs this parable about power in decline—an adaptation by Colin Teevan of Ryszard Kapuściński’s celebrated and controversial 1978 book of the same title, about the downfall of Ethiopian emperor Haile Selassie. With two performers onstage,The Emperor explores political power by foregrounding the stories of those operating under it, from Selassie’s many servants (including his pillow-bearer, purse-bearer, and dog-urine wiper), to government bureaucrats, to students opposing Selassie’s rule. Performances of this co-production from the Young Vic, HOME, and Les Théâtres de la Ville de Luxembourg run September 9-30 at Polonsky Shakespeare Center (262 Ashland Place), TFANA’s home in the Brooklyn Cultural District.

The Emperor marks Hunter, Teevan and Meierjohann’s return to TFANA following their acclaimed Young Vic production of Kafka’s Monkey (based on Kafka’s “A Report to an Academy”), which came to TFANA in 2013. Once again, they present an engaging theatrical adaptation anchored by Kathryn Hunter’s riveting storytelling abilities.

Hunter—who has also played at TFANA as a memorable Puck in A Midsummer Night’s Dream (directed by Julie Taymor) and in The Valley of Astonishment (directed by Peter Brook and Marie-Hélène Estienne)—is a remarkable artist. The first British actress to play King Lear in a professional production, she transforms to create the physical shapes and inner hearts of characters she plays—female, male, animal, or spirit. When the play made its world premiere at the Young Vic in 2016, the “tiny, nimble, crackle-voiced” Hunter was praised for “her particular mixture of gravity and irony” (The Guardian), and, in a tour-de-force performance of 10 characters in loyal service to the Emperor, for being “probably…genuinely the only performer alive who could possibly pull [her shows] off.” (Time Out) “Tremendous musician” (The Guardian) Temesgen Zeleke, a former student of legendary Ethiopian jazz artist Mulatu Astatke, was praised for “beautifully reinforc[ing] the shifts in mood with his krar and pedal-drum” (The Independent), and as an actor and singer embodying various aspects of insurgency.

Jeffrey HorowitzTFANA’s Founding Artistic Director, says, “The Emperor raises important issues that extend beyond the production. TFANA is presenting this extraordinary work of art in part as an invitation to our audiences to engage in the complex conversations that this parable of power elicits. Our hope is that the dialogue will be as illuminating as the artistry on stage.”

Kapuściński, who many considered a candidate for the Nobel Prize during his lifetime, cagily used The Emperor to illuminate corruption and avarice in his native country, communist Poland. Today, as adapted and performed by this acclaimed theatrical team, the material just as strongly illuminates our world’s continuing and disturbing fascination with despotism. A series of panels will contextualize the production and the questions it provokes, and will be held on September 15, 22, and 29.

The cast of The Emperor is Kathryn Hunter (Southwark Playhouse’s Cyrano de Bergerac; TFANA: A Midsummer Night’s Dream, The Young Vic’s Kafka’s Monkey) and Temesgen Zeleke (leader of Krar Collective). The creative team includes Walter Meierjohann, Director (HOME’s Artistic Director, Theatre; In the Red and Brown Water at the Young Vic, TFANA: The Young Vic’s Kafka’s Monkey); Colin Teevan, Adaptor (The Bee starring Kathryn Hunter, Duke of York’s Doctor Faustus, TFANA: The Young Vic’s Kafka’s Monkey); Ti Green, Design (RSC Swan’s Dido, Queen of Carthage, Watford Palace/Bolton Octogon’s I Capture the Castle); Imogen Knight, Movement (West End: The Birthday Party; Royal Court Theatre’sNuclear War, National Theatre’s AmadeusMike Gunning, Lighting (West End: Alice’s Adventures in WonderlandAlice’s Adventures Underground ); Paul Arditti, Sound (The Young Vic’s The Inheritance and The Jungle, National Theatre’s Macbeth); Louis Price, Video (HOME’s The Funfair, the Barbican’s Unleashed); Dave Price, Music (National Theatre’s From Morning to Midnight; Royal Shakespeare Company’s CymbelineA Soldier in Every Son); Kathryn Hunter, Creative Associate; and Cat Robey, Assistant Director.

Performance Schedule, Ticketing, and Other Information

Performances of The Emperor will take place in the evenings, September 9, 11-16, 18-21, 25-28, and October 2-5 at 7:30pm; matinees on September 22, 23, 29, 30, and October 6 and 7 will take place at 2pm.

Panels will be held Saturday, September 15 at 5:30 (before the evening performance), Saturday, September 22 (after the matinee performance), and Saturday, September 29 (after the matinee performance).

Theatre for a New Audience is committed to economically accessible tickets and offers tickets at a range of prices for The Emperor.

$20 New Deal: all Performances.  Age 30 and under or full-time students of any age.  May be purchased online, phone, or at the box office, in advance or day-of, with valid ID(s) proving eligibility required at pickup.

$20 Brooklyn Pass: all Performances. Members of local Brooklyn non-profit organizations through Brooklyn Pass program.

$28 TDF: selected performances. 

$60: all performances with a TFANA subscription.  

Special Discounts: TFANA offers special discounts available by joining TFANA mailing list at www.tfana.org.

$90-$100: all performances.

$125 Premium Seats: all performances.

Polonsky Shakespeare Center is located at 262 Ashland Place, Brooklyn.

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WARS OF THE ROSES: HENRY VI & RICHARD III, DIRECTED AND ADAPTED BY AUSTIN PENDLETON, AT HB STUDIO, 124 BANK STREET ·

AUSTIN PENDLETON DIRECTS AND ADAPTS A NEW STAGE VERSION OF SHAKESPEARE’s GREATEST VILLAIN IN

WARS OF THE ROSES: HENRY VI & RICHARD III

STARRING PENDLETON AS HENRY VI and MATT de ROGATIS AS RICHARD III

PERFORMANCES BEGIN AUGUST 1st at THE 124 BANK STREET THEATRE

OPENING SET FOR SATURDAY, AUGUST 4TH

Tony nominated theatre luminary Austin Pendleton directs and adapts a new stage version of Richard III, Shakespeare’s greatest villain, in WARS OF THE ROSES: HENRY VI & RICHARD III, which begins performances August 1st at the 124 Bank Street Theatre.  The play combines texts from William Shakespeare’s Henry VI Part 3 and Richard III, to create a version, which has never been seen before. The production stars Pendleton as Henry VI and Matt de Rogatis as Richard III, while giving a fascinating take on one of history’s most notorious villains. The opening is set for Saturday, August 4th at 7PM.  WARS OF THE ROSES: HENRY VI & RICHARD III will play a limited engagement through August 19th.  Tickets are $25, for tickets and further information visit www.proveavillain.com.

With the two texts combined, director Austin Pendleton’s WARS OF THE ROSES: HENRY VI & RICHARD III explains how Richard III evolved into the events that shaped his tyranny. In the text of Henry VI, Part 3, Richard performs the role of a subjugated good brother while secretly behaving with bloodthirsty abandon.  Killing Henry, Richard then declares himself severed from his family and brotherhood and stands alone in his quest for the crown.  In the text of Richard III he is now the central character of the play stopping at nothing to become king, while keeping his subjects and rivals under his thumb.

“What’s always fascinated me about Richard III is how he became to be the way that Shakespeare so brilliantly portrays him in the play named after him” says Mr. Pendleton.  “I believe the answer to all of this is clearly dramatized by Shakespeare in Henry VI, Part 3, the play that leads up to Richard III.   So when Matt de Rogatis, whose exciting Hamlet I’d seen a couple years ago, came to me with the idea of Richard III, my first thought was to align the two plays.  I am very excited about WARS OF THE ROSES: HENRY VI & RICHARD III.  With a great deal of judicious cutting we to managed to get a swift and compact script and thus we can track the development of this troubled and terrifying Richard from a young man searching for love and acknowledgement to the monster that became King Richard III,” he continued.

Joining Austin Pendleton and Matt de Rogatis in the cast are:  Jim Broaddus, John Constantine, Milton Elliott, Debra Lass, Johanna Leister, Rachel Marcus, Pete McElligott, John L. Payne, Carolyn Groves, Greg Pragel and Michael Villastrigo.

Lighting is designed by Steven Wolf and “Project Runway’s” Maya Luz is the costume consultant.

Austin Pendleton’s Broadway directing credits include Spoils of War, The Little Foxes  (Tony Nomination), John Gabriel Borkman, The Runner Stumbles and Shelter. Off-Broadway, he has directed Hamlet, Ivanov, Three Sisters (Obie Award) and Uncle Vanya (CSC), Vieux Carre, and Toys In The Attic (Pearl) Fifty Words (MCC) and Between Riverside and Crazy.  He directed the London production of Detroit at the National Theatre and has directed many productions regionally including Say Goodnight Gracie at Steppenwolf, and Fathers and Sons, Beach House, The Master Builder, Miss Julie and The Dance of Death at Long Wharf. As a playwright, he has written Orson’s Shadow, Uncle Bob and Booth. He has most recently appeared in New York in Dress of Fire, City Girls and Desperados, Delta in the Sky With Diamonds, The Workshop, Consider the Lilies, The Sea Gull and King Lear.  He made his NY debut in 1962 in Oh Dad, Poor Dad …, directed by Jerome Robbins, In 1964 he made his Broadway debut, again directed by Mr. Robbins, as Motel the Tailor in the original cast of Fiddler on the Roof.  Since then he has appeared on Broadway under the direction of Alan Arkin in Hail Scrawdyke (Clarence Derwent Award); Mike Nichols in The Little Foxes in a cast which included Anne Bancroft, George C. Scott, Margaret Leighton, Beah Richards, E.G. Marshall, Maria Tucci and Richard Dysart; Morton da Costa in Doubles; James Lapine in The Diary of Anne Frank with Natalie Portman and Linda Lavin.  Next season he will appear in Choir Boy at MTC on Broadway.  Off-Broadway he appeared in the title role in The Last Sweet Days of Isaac and won an Obie Award.  He has appeared in about 250 movies, including “My Cousin Vinny,” “What’s Up Doc,” “Wall Street 2: Money Never Sleeps,” “The Front Page,” “Catch -22,” “The Muppet Movie,” “Mr. and Mrs. Bridge” and “Short Circuit.”  He wrote the libretto for A Minister’s Wife.  Mr. Pendleton is the recipient of the 2007 Drama Desk Special Award as “Renaissance Man of the American Theatre”

Matt de Rogatis was most recently seen as Roy in the critically acclaimed Off-Broadway revival of James McLure’s Lone Star at the Triad.  Before that, he played Frederick Clegg in the American premiere of The Collector at 59E59 Theaters and the title role of Hamlet at the 13th Street Repertory Theatre. Other New York Credits include The Elephant Man in The Exhibition, Charlie Gordon in Flowers for Algernon, Stanley Kowalski in A Streetcar Named Desire, and Ken in Red, which was revived and uniquely staged in Chelsea at The Jim Kempner Fine Art Gallery.

The playing schedule for THE ROSES: HENRY VI & RICHARD III is as follows: Wednesdays through Saturdays at 7PM, with Sunday matinees at 3PM through August 19th.  There is one Saturday matinee on August 4th at 2PM.   Tickets are $25 and can be purchased by visiting  www.proveavillain.com

Photo: de Rogatis and Pendleton: Chris Loupos.

Press: Glenna Freeman PR.