NO LAUGHING MATTER: NEW YORK COMEDY CLUBS ARE FLOURISHING ·

(Charles Passy’s article appeared in The Wall Street Journal, 11/26; via he Drudge Report.)

AFTER OVEREXPANSION, MORE SPOTS ARE OPENING AND ESTABLISHED ONES ARE TURNING AWAY PATRONS

New York is getting serious about joking around.

The city is enjoying a comedy boom with the opening of several new clubs in the past few years. West Side Comedy Club, a 100-seat venue on Manhattan’s Upper West Side, is one of the latest additions to the scene, launching in early October.

And other venues are adding comedy to the mix. Fishbowl, a bar and lounge at the Dream Midtown hotel, has launched a monthly comedy program, with the next one slated for Wednesday night.

Established clubs say their business has been growing as well. Case in point: Carolines on Broadway, the 284-seat Times Square club that has a roster of such familiar comedians as Tracy Morgan, Kathy Griffin and Dave Chappelle.

Owner Caroline Hirsch says attendance has increased by about 50% during the past 25 years to a current figure of about 150,000 a year.

Comedy is “bigger than ever right now,” Ms. Hirsch said.

(Read more)

https://www.wsj.com/articles/no-laughing-matter-new-york-comedy-clubs-become-a-draw-in-tough-times-1511618400

Photo: Wall Street Journal

RESURRECTING MAYAKOVSKY (BBC RADIO 3—LINK BELOW) ·

Listen at: http://www.bbc.co.uk/programmes/b09fmkh5

Vladimir Mayakovsky was THE poet of the Russian Revolution.

A revolutionary in his personal life as well as in his art, Mayakovsky sought to overthrow traditional practices and became the spokesperson for a radical new society. But the tensions and demands of speaking on behalf of the state would take its toll. In 1930 a nation went into mourning when Mayakovsky took a pistol and shot himself through the heart.

Ian Sansom has been reading Mayakovsky since he was a teenager, inspired by Mayakovsky’s uncompromising example as a total artist, prepared to sacrifice everything for his vision.

Ian travels to Mayakovsky’s birthplace in Georgia and speaks to poets, translators and academics who are seeking to keep Mayakovsky’s legacy alive. With rare archive recordings of Mayakovsky reading his own work, a Russian Futurist soundtrack from the period and on-location recordings from Moscow, Georgia and London, Ian attempts to resurrect the spirit of Mayakovsky.

Producer: Conor Garrett.

 

HOW TO MEMORIZE SHAKESPEARE ·

(Malia Wollan’s article appeared 11/22 in The New York Times; via Pam Green.)

 “Get up on your feet, and speak the words aloud,” says Jacqui O’Hanlon, the director of education at the Royal Shakespeare Company. Shakespeare wrote these lines some 400 years ago; the worst way to learn them is sitting down and reading them in your head. Start with a few image-rich lines from, say, “Henry V.” Young people should consider choosing something from star-crossed lovers, as when Juliet says, “Come, gentle night; come, loving, black-browed night, give me my Romeo.”

It helps to read through a synopsis of the play first to know the basic plot. Get a partner to whisper the lines while you repeat. With professional actors and students alike, the Royal Shakespeare Company begins with something they call “imaging the text”: Act out the images. It will feel silly, but making a window with your limbs or galloping like a horse embeds the lines in your mind. Listen for the playwright’s beat. Shakespeare mostly composed in iambic pentameter, a rhythm in which unstressed syllables are followed by stressed ones; O’Hanlon describes it as “the rhythm of your heart.”

(Read more)

https://www.nytimes.com/2017/11/22/magazine/how-to-memorize-shakespeare.html

TONEELGROEP AMSTERDAM AT BAM: ‘THE FOUNTAINHEAD’ BY AYN RAND, ONLY 11/28-12/2 (NEXT ON THE STAGE VOICES CALENDAR) ·

US PREMIERE

The Fountainhead

NOV 28—DEC 2, 2017 

THEATER

Based on the book by Ayn Rand
Toneelgroep Amsterdam
Directed by Ivo van Hove

The 2017 Richard B. Fisher Next Wave Award honors Ivo van Hove and the production of The Fountainhead.

Part of the 2017 Next Wave Festival

Its controversy precedes it: Ayn Rand’s notorious 700-page paean to radical individualism, wrapped in a saga of sex, architecture, and skybound ambition. In this brutal reexamination, Belgian director Ivo van Hove updates the action to a buzzing co-working loft, where egos collide over mobile drafting tables and stiff drinks. Blueprints come and go, as idealist New York architect Howard Roark—determined not to conform to public taste—vies with pandering colleagues while navigating the desires of the elusive Dominique Francon. As overhead cameras voyeuristically capture creative and carnal acts from above, Van Hove unravels a bête noire of the left, letting the audience decide where to cast its stones.

 

Translation by Erica van Rijsewijk, Jan van Rheenen
Adaptation by Koen Tachelet
Dramaturgy by Peter Van Kraay
Set and lighting design by Jan Versweyveld
Music by Eric Sleichim
Video design by Tal Yarden
Costume design by An D’Huys

The Fountainhead by Ayn Rand used by permission of Curtis Brown Ltd. Copyright © 1943. All Rights Reserved.

PERFORMANCES

  • Tue, Nov 28 at 7pm
  • Wed, Nov 29 at 7pm
  • Thu, Nov 30 at 7pm
  • Fri, Dec 1 at 7pm
  • Sat, Dec 2 at 7pm

LANGUAGE

In Dutch with English titles

RUN TIME

Approx 4hrs with intermission

VENUE

Peter Jay Sharp Building

BAM Howard Gilman Opera House

TICKET INFO

TICKETS START AT  $35

Buy 4 or more events and save 15—30%

Major support provided by Edward Jay Wohlgemuth.

“… [an] awesome, air-clearing thunderclap brought about by Ivo van Hove’s mammoth production …”

— THE GUARDIAN (UK)

“… [Ivo van Hove] creates electrifying theatre in which word and spectacle find a perfect, symbiotic balance.”

— THE GUARDIAN

Photo:  BAM.org

Visit BAM: https://www.bam.org/theater/2017/thefountainhead

EARLE HYMAN, REST IN PEACE (1926-2017) ·

(George M. Johnson’s article appeared in Broadway Black, 11/18; via Pam Green.)

October 11, 1926 – November 16, 2017

It is with heavy hearts that we report television actor and theater great Earle Hyman passed away* late evening November 16th, 2017, at the age of 91. Hyman was born October 11th, 1926 in Rocky Mount, North Carolina, of African-American and Native American ancestry. Hyman’s parents, Zachariah Hyman (Tuscarora) and Maria Lilly Plummer (Haliwa-Saponi/Nottoway), moved their family to Brooklyn, New York, where Hyman primarily grew up.

According to an interview in The Villager, Hyman’s interest in theater started at the age of 13 after seeing a production of Norwegian playwright Henrik Ibsen’s Ghosts.

(Read more)

http://broadwayblack.com/tony-emmy-award-nominated-cosby-show-actor-earle-hyman-passes-91/

Photo: CNN.com

LLOYD WEBBER/RICE: ‘EVITA’  (REVIEW FROM LONDON) ·

By Marit E. Shuman

 Rainbow High or Rainbow Low?

In the revival of Andrew Lloyd Webber’s Evita, at the Phoenix Theatre in London, panache seems to overtake sincerity in this gilded, but nonetheless, enjoyable production. Title-role: Emma Hatton, no stranger to the West End (her credits include Elphaba in Wicked) or to the world of jazz and blues, seems to rely heavily on the latter in the delivery of her performance.

A vocally taxing role, Evita swoops from dusky, barely audible low notes all the way up to belted passagio, and then some. To quote Patti LuPone, originator of the role of Evita on Broadway, “There’s a couple of notes that aren’t as strong as your top notes or your bottom notes and that’s exactly where the score sits.” Where LuPone punched through the Es, Fs, and Gs, that characterize the vocal line (at the cost of her vocals, to be fair), Hatton backs down and floats them, in a breathy, bluesy manner. This approach adds a layer of sensitivity to Evita, by the addition of more dynamic contrast, but at what cost? Some of the strength, drive, and fearlessness of Eva Perón seem to be lost.

 

Playing opposite Hatton, making his West End debut in the role of Che, is Gian Marco Schiaretti.  Extremely handsome, he moves about the stage with ease and confidence.  Classic Che beard tightly clipped, army reliefs tightly fitted, and vibrato tightly coiled, this “boyband Che” brings charisma to the role, and, when he moves to his higher register and gives up trying to speak-sing, reveals an expressive and powerful voice. Unfortunately, the honesty and gravity of Che, as narrator, are glossed over by all the glitz.

Whereas the roles of Evita and Che seem to be lacking something, in terms of integrity, so too does the music. As is the norm nowadays, with theatres trying to cut costs, the orchestra that Webber’s iconic songs were written for consists of three keyboards–playing the parts of various instruments, such as strings and harps–a couple of trumpets, and a guitar.

All in all, a fun production but fluffy–ephemeral and insubstantial.

© 2017 by Marit E. Shuman.  All rights reserved.

Photos: Pamela Raith

BRIAN FRIEL: ‘FATHERS AND SONS’, AFTER TURGENEV (LISTEN NOW ON BBC, RADIO 3—LINK BELOW) ·

Listen at: http://www.bbc.co.uk/programmes/b09czx1d

‘Fathers and Sons’ by Brian Friel, after the novel by Ivan Turgenev. Fathers: Charles Dance, James Fleet. Sons: Edward Bennett, George Blagden.

In Turgenev’s prescient 1859 story of generational collision, both young heroes seem, at first, passionate revolutionaries, believing the old Russia should be swept away. But they’re unsure what they’d replace it with. This clash of values is dramatic, funny and recognisably up-to-date, with Julia McKenzie as a batty princess, Lisa Dillon a self-searching widow, Gabrielle Lloyd a loving mother and Martin Jarvis as odd-ball Uncle Pavel. 

Turgenev’s darkly observant human comedy examines a particular period in Russian history which, in this epic production, foregrounds the eventual political struggle. And Friel, with benefit of hindsight, allows a glimpse of the future. Movingly, the play reminds us that it’s the eternal values of love, friendship, loyalty and devotion that will, ultimately – hopefully – survive.

Nikolai Kirsanov … James Fleet 
Arkady … George Blagden 
Vassily Bazarov … Charles Dance 
Yevgeny … Edward Bennett 
Princess Olga … Julia McKenzie 
Anna Sergeevna … Lisa Dillon 
Pavel … Martin Jarvis
Arina … Gabrielle Lloyd
Fenichka … Lucy Phelps
Dunyasha … Joanna Cassidy
Katya … Matilda Wickham
Piotr … Kieran Hodgeson 
Fedka … Darren Richardson
Prokofyich and Timofeich … Nigel Anthony

Musicians: Michael Lan, Stavros Dritsas, Louis Baily, 
Djordje Gajic, Richard Sisson 
Music advisers: Lucy Parham, Richard Sisson
Sound design: Mark Holden

Produced and directed by Martin Jarvis and Rosalind Ayres 
A Jarvis and Ayres Production for BBC Radio 3.

 

AFTER A NOMINATOR IS DENIED ACCESS, ‘1984’ IS INELIGIBLE FOR TONYS ·

(Michael Paulson’s article appeared in The New York Times, 11/10; via Pam Green.)

This year’s Broadway production of “1984” will be ineligible for Tony Awards because the production refused to allow the journalist Jose Antonio Vargas, who is a member of the nominating committee, to see the play.

 The play’s lead producer, Scott Rudin, did not explain why Mr. Vargas was denied access, and neither Mr. Rudin nor Mr. Vargas immediately offered any comment. Another lead producer, Sonia Friedman, said, “I don’t have a comment on the matter other than I am disappointed with the outcome.”

The Tony Awards administration committee made the unusual decision to disqualify “1984” during a meeting on Thursday. The awards rules require that producers invite all members of the Tony nominating committee — there are currently 49 — to a performance.

“It was determined that not all elements of the required eligibility were fulfilled,” the awards administrators said in a statement Friday. “Both the production and the committee have discussed the matter in private. While all parties involved do not necessarily agree on the outcome, all parties agree that the issue was handled properly.”

A Tonys spokeswoman would not confirm that Mr. Vargas was denied access to the play, but several theater industry leaders confirmed that he was the excluded nominator. Last season, his first as a Tony nominator, he recused himself from voting.

Continue reading the main story

CHARLES LUDLAM: ‘CONQUEST OF THE UNIVERSE  OR WHEN QUEENS COLLIDE’ (REVIEW FROM NEW YORK) ·

By Bob Shuman

Theatregoers looking for an artistic reflection of the age of Harvey Weinstein might sit in on Conquest of the Universe or When Queens Collide, written by Charles Ludlam, a 1967 work from the Theatre of the Ridiculous, now playing at La MaMa until November 19.  Superficially, the comedy is about the takeover of the solar system, a retelling of Christopher Marlowe’s Tamburlaine—there, the conqueror subjugates the Arab world–but elements of Hamlet, Candide, and Titus Andronicus, to name three, are also apparent.  Offering a premonition of today, Ludlam’s unfeeling characters manipulate, objectify, and abuse subordinates in their lust for power and sex. Unlike the sickening Titus Andronicus, however, Ludlam’s pileups of abuses aren’t shocking or alarming–and no one needs to leave the theatre feeling queasy. 

Much like listening to what is coming out about Hollywood and show business, those in the play know offenses are happening, but they’re too self-involved and power hungry to notice.  Shakespeare might think the elements in Conquest of the Universe should add up to tragedy but Ludlam’s characters only see momentary diversions and opportunities for histrionics.  Although this makes the cast difficult to distinguish—actors might play the opposite sex or take multiple parts—perhaps what is most important to emphasize is that, in this world, no one is in real pain–they can no longer feel it and they’re too busy anyway.  Virtually all the assembled components stand in the way of finding what’s human:  loud and garish sets and props (blacklight planets, huge plastic phalluses, and even a seashell worthy of Bette Midler); costumes of neon green, orange, red, silver, and blue; scene structuring with no builds or modulation; as well as the artificiality of the language: “I free mankind from the yoke of reason, which weighs upon it.  Rape and behead them.”

Identification with real, nuanced emotional distress is a point that recently flummoxed Alec Baldwin and made him shut down his twitter account—he couldn’t see that anyone was being hurt in the sex-to play schemes of the entertainment world.  Despite her own protests regarding her rape, Rose McGowan believes, “no one cared.”  Being ignored, but used, is captured in the lively, blaring, attention-grabbing, “anti-moral” Theatre of the Ridiculous–perhaps this is its point–evidenced by what was happening during the time in which it was born: deep discrimination against gays and minorities, the Vietnam War, and to come, the AIDS epidemic. America, in the ‘60s, would probably be seen as rather heartless compared to what is politically correct today—and the Weinstein story is a holdover from years when many felt they had to accept the unacceptable (in fact, felt they had to be tough enough to take it).  Like a 3,000-year-old shark with razor-sharp teeth, dredged up from the bottom of the sea, Weinstein reminds us of what’s inhuman, in a hypercompetitive business, ironically one about feelings.  

Like a three-dimensional Drudge Report, Ludlam’s theatre demonstrates why society is too preoccupied to care.  The playwright offers distractions, from blood-craving stories of the Renaissance to dirty jokes and puns from below Fourteenth Street; from discussion of the conflict in Indo-China (“Life is a war that never ends”) to references to Elmer Fudd and the Three Stooges; from poetry, stylized or lewd, to the tough talk of the city and boroughs.  Conquest of the Universe is an allegory about the Weinstein era, written long before anyone ever heard of him.  Entertaining as it is, the play also shows the significance of Ludlam’s vision and work.  Like a Rorschach, important art can announce itself without being premeditated—it simply describes where we are, now.  At the end of the play, Ludlam explains it is time to stop: a witch says: “Life is but a lying dream.  He only wakes who casts the world aside.”  Previous to this, the author has been temporally prescriptive:  “The vast majority of men as well as women are sexually disturbed. . . .  What is necessary, therefore, is the establishment of a sufficient number of clinics for . . .  treatment.”  Harvey Weinstein’s lawyers might have been listening.  As many know, the tyrannical producer was booked into an Arizona sex addiction clinic–for a week.  

Ridiculous?

As it was, he missed counseling.

© by Bob Shuman.  All rights reserved.  

Visit La MaMa: http://lamama.org/

ABOUT THE ARTISTS:

Charles Ludlam was an American actor, director, and playwright. Ludlam joined John Vaccaro’s Play-House of the Ridiculous, and after a falling out, became one of the founders of the Ridiculous Theatrical Company in New York City in 1967. He taught or staged productions at New York University, Connecticut College for Women, Yale University, and Carnegie Mellon University. He won fellowships from the Guggenheim, Rockefeller and Ford Foundations and grants from the National Endowment for the Arts and the New York State Council on the Arts. He won six Obie Awards, the Rosamund Gilder Award for distinguished achievement in the theater in 1986 and in 2009, Ludlam was inducted posthumously into the American Theater Hall of Fame. He wrote nearly 30 plays, some of which include: Turds in Hell, an adaptation of The Satyricon (1969); Bluebeard (1970), an adaptation of H. G. Wells’s TheIsland of Dr Moreau; Corn (1972); Camille (1973); Der Ring Gott Farblonjet (1977), an adaptation of The Ring Cycle; The Enchanted Pig (1979); Exquisite Torture (1982); The Mystery of Irma Vep (1984); Galas (1983), inspired by the life of Maria Callas; and The Artificial Jungle (1986)

Everett Quinton recently directed Charles Ludlam’s, THE ARTIFICIAL JUNGLE with Theater Breaking Through Barriers.  Everett also directed IN THE BAR OF A TOKYO HOTEL by Tennessee Willliams with Theater 292 and THE WINTER’S TALE by William Shakespeare with Yorick Theater. As an actor Everett recently appeared as Enobarbus and one of five Cleopatras in Shakespeare’s ANTONY AND CLEOPATRA.  Everett also appeared as Paulina and Autolycus in THE WINTER’S TALE, and Idris Seabright in DROP DEAD PERFECT, to name a few. Everett is a long time member of THE RIDICULOUS THEATRICAL COMPANY where he appeared in Charles Ludlam’s CAMILLE, BLUEBEARD AND THE SECRET LIVES OF THE SEXISTS.  Georg Osterman’s DR. JEKYLL AND MR. HYDE and BROTHER TRUCKERS.  As well as his own plays, A TALE OF TWO CITIES, LINDA AND CARMEN.

CONQUEST OF THE UNIVERSE cast includes: Everett Quinton, Géraldine Dulex,
Beth Dodye BassGrant Neale, Jeanne Lauren SmithJohn GutierrezLenys SamáSommer CarbucciaShane Baker, Brian Belovitch & Eugene the Poogene.

Production images by Theo Cote

(from top):  Shane Baker, Beth Dodye Bass and Everett Quinton

production postcard

Shane Baker and Everett Quinton

Ludlam photo: Pig Iron Theatre Company

 

“CONQUEST OF THE UNIVERSE OR WHEN QUEENS COLLIDE” BY CHARLES LUDLAM–ONLY UNTIL 11/19 AT LA MAMA ·

LA MAMA

In Association with HOWL ARTS

Proudly Presents

“CONQUEST OF THE UNIVERSE OR WHEN QUEENS COLLIDE”

By Charles Ludlam

The 50th Anniversary Production

 

Strictly Limited Engagement // November 2nd – 19th, 2017

Opening Night: Monday, November 6 at 8pm

CONQUEST OF THE UNIVERSE OR WHEN QUEENS COLLIDE – which marked the birth of the The Ridiculous Theatrical Company, co-founded by the late groundbreaking playwright and performer Charles Ludlam in 1967 – will return on the occasion of the play and the company’s 50th anniversary with a production, starring and directed by Everett Quinton, a long-standing member of RTC who assumed leadership as Artistic Director when Mr. Ludlam died 30 years ago, in 1987.  With previews starting November 2 prior to an official press opening on Monday, November 6 at 8pm, CONQUEST OF THE UNIVERSE OR WHEN QUEENS COLLIDE is presented by La MaMa in association with Howl Arts at the Ellen Stewart Theatre (66 E. 4 St.) in Manhattan.

CONQUEST OF THE UNIVERSE is an epic collage inspired by Marlowe’s Tamburlaine the Great that is as outrageous and timely today as it was when first performed in 1967. It’s a futuristic tale of war across the universe. Tamburlaine, President of Earth, proceeds from planet to planet, capturing and enslaving Bajazeth and Zabina-King and Queen of Mars-Venus, and Natolia, Queen of Saturn, among others. Cosroe-a Martian prince and twin brother of Zabina-leads the rebel forces against Tamberlaine in Ludlam’s mind-bending experimental classic, his theater of “sexual, imperialistic war.” Literary, film, and dramatic treasures are ransacked and pillaged, resulting in hilarious dialogue and multiple ts in this original, humorous tale of unbridled space queens!

The play embodies Mr. Ludlam’s core belief, and the mandate for The Ridiculous Theatrical Company:  that every play/production was an experiment.  According to Mr. Quinton, even Ludlam’s breakout ‘commercial’ success – THE MYSTERY OF IRMA VEP, a long-running hit at the Sheridan Square Theatre – was totally abstract and as such, an experiment.  Mr. Quinton adds that RTC and its trademark outlandishness resulted as a reaction to the cultural upheaval of the 50’s and 60’s and the perceived Fascism during that time. 

“There was much to rage at in the 60’s,” Mr. Quinton states.  “And the theater of rage often made good company with the high comedy.”

Performance Schedule

November 2 through 19:  Thursday, Friday and Saturday at 8:00 PM; Sunday at 4:00 PM and Monday, Nov. 6th at 8:00 PM.

VENUE: The Ellen Stewart Theatre at La Mama, 66 E. 4th St., NYC

TICKETS: All tickets $30 // $25 students and seniors

To purchase, please visit: www.lamama.org or call OvationTix at: 212-352-3101

 

ABOUT THE ARTISTS:

Charles Ludlam was an American actor, director, and playwright. Ludlam joined John Vaccaro’s Play-House of the Ridiculous, and after a falling out, became one of the founders of the Ridiculous Theatrical Company in New York City in 1967. He taught or staged productions at New York University, Connecticut College for Women, Yale University, and Carnegie Mellon University. He won fellowships from the Guggenheim, Rockefeller and Ford Foundations and grants from the National Endowment for the Arts and the New York State Council on the Arts. He won six Obie Awards, the Rosamund Gilder Award for distinguished achievement in the theater in 1986 and in 2009, Ludlam was inducted posthumously into the American Theater Hall of Fame. He wrote nearly 30 plays, some of which include: Turds in Hell, an adaptation of The Satyricon (1969); Bluebeard (1970), an adaptation of H. G. Wells’s TheIsland of Dr Moreau; Corn (1972); Camille (1973); Der Ring Gott Farblonjet (1977), an adaptation of The Ring Cycle; The Enchanted Pig (1979); Exquisite Torture (1982); The Mystery of Irma Vep (1984); Galas (1983), inspired by the life of Maria Callas; and The Artificial Jungle (1986)

Everett Quinton recently directed Charles Ludlam’s, THE ARTIFICIAL JUNGLE with Theater Breaking Through Barriers.  Everett also directed IN THE BAR OF A TOKYO HOTEL by Tennessee Willliams with Theater 292 and THE WINTER’S TALE by William Shakespeare with Yorick Theater. As an actor Everett recently appeared as Enobarbus and one of five Cleopatras in Shakespeare’s ANTONY AND CLEOPATRA.  Everett also appeared as Paulina and Autolycus in THE WINTER’S TALE, and Idris Seabright in DROP DEAD PERFECT, to name a few. Everett is a long time member of THE RIDICULOUS THEATRICAL COMPANY where he appeared in Charles Ludlam’s CAMILLE, BLUEBEARD AND THE SECRET LIVES OF THE SEXISTS.  Georg Osterman’s DR. JEKYLL AND MR. HYDE and BROTHER TRUCKERS.  As well as his own plays, A TALE OF TWO CITIES, LINDA AND CARMEN.

CONQUEST OF THE UNIVERSE cast includes: Everett Quinton, Géraldine Dulex,
Beth Dodye Bass, Grant Neale, Jeanne Lauren Smith, John Gutierrez, Lenys Samá, Sommer Carbuccia, Shane Baker, Brian Belovitch & Eugene the Poogene.

About La MaMa

La MaMa is dedicated to the artist and all aspects of the theatre. The organization has a worldwide reputation for producing daring performance works that defy form and transcend barriers of ethnic and cultural identity. Founded in 1961 by award-winning theatre pioneer Ellen Stewart, La MaMa has presented more than 5,000 productions by 150,000 artists from more than 70 nations. A recipient of more than 30 Obie Awards and dozens of Drama Desk, Bessie, and Villager Awards, La MaMa has helped launch the careers of countless artists, many of whom have made important contributions to American and international arts milieus.

Our 56th season reflects the urgency of reaffirming human interconnectedness. Our stages will embrace diversity in every form and present artists that persevere with bold self-expression despite social, economic, and political struggle.

MEMBERSHIPS — La MaMa continues its popular Experimental Theatre Club Memberships, offering $10 Tickets to all shows and other perks to members for the full season. Memberships start at $56.

www.lamama.org