The show opened Feb 21 and runs until April 5.
The show is filled with a cheerful bunch of actors and things are going smoothly. The opening was amazing with packed houses and gorgeous set and costumes!
Soon we'll have some video footage!
Tuesday, February 24, 2009
Anna's Party has BEGUN!!
Here are a couple photo's from Anna's Perfect Party & The Amazing Magician's Marveoulous Mistake.
The show opened Feb 21 and runs until April 5.
The show is filled with a cheerful bunch of actors and things are going smoothly. The opening was amazing with packed houses and gorgeous set and costumes!
Soon we'll have some video footage!
The show opened Feb 21 and runs until April 5.
The show is filled with a cheerful bunch of actors and things are going smoothly. The opening was amazing with packed houses and gorgeous set and costumes!
Soon we'll have some video footage!
Thursday, February 19, 2009
Seeking Assistant Director/ Stage Manager
Seeking Assistant Directors/Stage Managers for a fun, new children's show produced by/at The Looking Glass Theatre: Anna's Perfect Party and The Amazing Magician's Marvelous Mistake.
Looking for highly-organized, creative, and well-rounded Assistant Directors/Stage Managers able to attend all performances and most rehearsals. Show opens 2/21, runs Saturday at 12 p.m. & 2 p.m. and Sundays at 2 p.m. & 4 p.m., and is a 7-week run. AD/SMs should have knowledge of basic lighting and sound board operation, an interest in directing and great time management skills. No pay, but possible future directing opportunities. This is a great way to start a wonderful relationship with a great local theatre company.Place AD/SM in title of email when submitting.
Rehearsals Begin: Already in progress
Opens: 2/21/09 Closes: 4/5/09
Please send all cover letters and resumes to nikki.rothenberg@gmail.com.
Interviews for AD/SMs will be conducted immediately.
Looking for highly-organized, creative, and well-rounded Assistant Directors/Stage Managers able to attend all performances and most rehearsals. Show opens 2/21, runs Saturday at 12 p.m. & 2 p.m. and Sundays at 2 p.m. & 4 p.m., and is a 7-week run. AD/SMs should have knowledge of basic lighting and sound board operation, an interest in directing and great time management skills. No pay, but possible future directing opportunities. This is a great way to start a wonderful relationship with a great local theatre company.Place AD/SM in title of email when submitting.
Rehearsals Begin: Already in progress
Opens: 2/21/09 Closes: 4/5/09
Please send all cover letters and resumes to nikki.rothenberg@gmail.com.
Interviews for AD/SMs will be conducted immediately.
Saturday, February 14, 2009
Notes from the Playwright: Karin Williams
Why I wrote this play...
When you're a parent, you end up going to a lot of birthday parties. After a while, you realize birthday parties for children are not all that different from the parties adults throw for themselves. Yeah, it's fun to run around laughing and screaming on a cake-and-ice cream high.
But, for many kids, attending a birthday party is kind of like attending the inaugural ball. It's monumentally exciting, but it's also full of anxiety. What are you going to wear? Will everybody like your dress, or will your picture end up all over the tabloids with a big red "don't" banner splashed over it? If the band plays a tango, will you know how to do the steps right? Will everybody laugh at you if you trip? Will anybody talk to you, or will you end up sitting in a corner all by yourself? Kids worry about all these issues the same way adults do, and the kids with the most anxiety are usually the ones trying hardest to get everything right.
In this play, I wanted to tell the story of a little girl who's worried about being good enough. She's afraid she won't be good enough at the games, or at the crafts. She's worried her present won't be good enough. And because she's so worried about what everyone else will think of her, she ends up becoming her own harshest critic. Anna's Perfect Party is a story about perfectionism, but really it's a story about self-esteem - which starts with accepting your own strengths and weaknesses - and how you can build self-confidence, one party at a time.
- Karin Williams
But, for many kids, attending a birthday party is kind of like attending the inaugural ball. It's monumentally exciting, but it's also full of anxiety. What are you going to wear? Will everybody like your dress, or will your picture end up all over the tabloids with a big red "don't" banner splashed over it? If the band plays a tango, will you know how to do the steps right? Will everybody laugh at you if you trip? Will anybody talk to you, or will you end up sitting in a corner all by yourself? Kids worry about all these issues the same way adults do, and the kids with the most anxiety are usually the ones trying hardest to get everything right.
In this play, I wanted to tell the story of a little girl who's worried about being good enough. She's afraid she won't be good enough at the games, or at the crafts. She's worried her present won't be good enough. And because she's so worried about what everyone else will think of her, she ends up becoming her own harshest critic. Anna's Perfect Party is a story about perfectionism, but really it's a story about self-esteem - which starts with accepting your own strengths and weaknesses - and how you can build self-confidence, one party at a time.
- Karin Williams
Thursday, February 12, 2009
Call for Submissions- Female Playwrights Needed!
Yes, it's that time again!
The Looking Glass Forum in NYC needs new short plays by women (guidelines below). The Forum is a one-act festival showcasing new works written by women and directed by women. Submission is free- get involved now!
Submission Guidelines -2009
THE LOOKING GLASS FORUM, a twice-yearly festival in which emerging female directors present their interpretations of new and classic short works, is now seeking new short plays (running time 10-35 minutes) by women.
The Forum is an established festival which has been in regular production at the same location since 2001. We charge no fee of any kind for the submission of scripts. We are dedicated to providing an expressive avenue for women's voices.
There is no restriction as to style or subject matter, but we are particularly interested in pieces that explore the possibilities of the theatrical medium, a place where the dead and the living, the real and the imaginary, the rational and the fantastic can all interact on a level field.
We require plays to include at least two good roles (no monologues, please), of which at least one should be female. The characters should relate to one another in some way, not just tell a story and make way for the next person.
Bear in mind that it is easier for us to cast roles in the 17-35 year old age range.
THE LOOKING GLASS THEATRE is also looking for late-night plays by women and plays for children by women to include in our season. These plays should run between 40 and 60 minutes and provide at least five solid roles, of which at least two should be female. Large casts are encouraged. In order to succeed a late night show should either be extremely silly comedy or very sexy/scary/shocking. Children's shows must be appropriate for VERY YOUNG children as they are a big part of our audience. Musicals will only be considered if the playwright or composer can provide the accompaniment on CD.
We do not accept unsolicited full-length scripts.
We do not accept unsolicited works by male authors.
Send complete scripts, by mail, to:
THE LOOKING GLASS THEATRE
422 West 57th Street
New York, NY 10019
Attn. Erica Nilson
Scripts may also be dropped off in person at the address above during office hours: Mon-Wed 8-noon, Tues 8-5, Fri 8am-3pm. Hours Subject to change. Call 212.307.9467 to confirm.
Enclose a cover letter (to Erica Nilson, Literary Manager) with your contact information on it. Production history and biographical info are also useful. In addition, please submit a digital version of your script via email. We now request that work be submitted both in hard copy by mail AND digitally by email. Work submitted without an e-version will be at a great disadvantage because it is difficult to disseminate to directors. E-versions should be sent to lgtlit@yahoo.com. Please send only one script per email and put the title of the play in the subject line. In the TEXT of the email, provide a brief synopsis, character breakdown, and approximate running time. You should also mention whether you have had a play produced at Looking Glass before, and if not, how you heard about us. Please do NOT use Final Draft or WordPerfect formats, as we do not own this software.
Please do not submit work via email only, however; we need the hard copy for our files. Unfortunately, because of the new postal restrictions, it is no longer practical for us to return these manuscripts, so please do NOT send a SASE. We apologize for the additional expense to you.
Always put your name and address on your script. We will consider up to 3 submissions per author at a time. The deadline for the June Forum is March 1st and for the December Forum is September 1st, but later submissions may be considered for subsequent Forums.
The Forum is not a union production. There is no pay available for authors or anyone involved. It is a labor of love! To find out more about The Looking Glass Forum and The Looking Glass Theatre, visit our website at: www.lookingglasstheatrenyc.com
You can also reach us by phone at 212-307-9467.
I look forward to hearing from you.
Sincerely,
Erica Nilson
Literary Manager
Looking Glass Theatre and Forum
422 W. 57th St.
New York, NY 10019
The Looking Glass Forum in NYC needs new short plays by women (guidelines below). The Forum is a one-act festival showcasing new works written by women and directed by women. Submission is free- get involved now!
Submission Guidelines -2009
THE LOOKING GLASS FORUM, a twice-yearly festival in which emerging female directors present their interpretations of new and classic short works, is now seeking new short plays (running time 10-35 minutes) by women.
The Forum is an established festival which has been in regular production at the same location since 2001. We charge no fee of any kind for the submission of scripts. We are dedicated to providing an expressive avenue for women's voices.
There is no restriction as to style or subject matter, but we are particularly interested in pieces that explore the possibilities of the theatrical medium, a place where the dead and the living, the real and the imaginary, the rational and the fantastic can all interact on a level field.
We require plays to include at least two good roles (no monologues, please), of which at least one should be female. The characters should relate to one another in some way, not just tell a story and make way for the next person.
Bear in mind that it is easier for us to cast roles in the 17-35 year old age range.
THE LOOKING GLASS THEATRE is also looking for late-night plays by women and plays for children by women to include in our season. These plays should run between 40 and 60 minutes and provide at least five solid roles, of which at least two should be female. Large casts are encouraged. In order to succeed a late night show should either be extremely silly comedy or very sexy/scary/shocking. Children's shows must be appropriate for VERY YOUNG children as they are a big part of our audience. Musicals will only be considered if the playwright or composer can provide the accompaniment on CD.
We do not accept unsolicited full-length scripts.
We do not accept unsolicited works by male authors.
Send complete scripts, by mail, to:
THE LOOKING GLASS THEATRE
422 West 57th Street
New York, NY 10019
Attn. Erica Nilson
Scripts may also be dropped off in person at the address above during office hours: Mon-Wed 8-noon, Tues 8-5, Fri 8am-3pm. Hours Subject to change. Call 212.307.9467 to confirm.
Enclose a cover letter (to Erica Nilson, Literary Manager) with your contact information on it. Production history and biographical info are also useful. In addition, please submit a digital version of your script via email. We now request that work be submitted both in hard copy by mail AND digitally by email. Work submitted without an e-version will be at a great disadvantage because it is difficult to disseminate to directors. E-versions should be sent to lgtlit@yahoo.com. Please send only one script per email and put the title of the play in the subject line. In the TEXT of the email, provide a brief synopsis, character breakdown, and approximate running time. You should also mention whether you have had a play produced at Looking Glass before, and if not, how you heard about us. Please do NOT use Final Draft or WordPerfect formats, as we do not own this software.
Please do not submit work via email only, however; we need the hard copy for our files. Unfortunately, because of the new postal restrictions, it is no longer practical for us to return these manuscripts, so please do NOT send a SASE. We apologize for the additional expense to you.
Always put your name and address on your script. We will consider up to 3 submissions per author at a time. The deadline for the June Forum is March 1st and for the December Forum is September 1st, but later submissions may be considered for subsequent Forums.
The Forum is not a union production. There is no pay available for authors or anyone involved. It is a labor of love! To find out more about The Looking Glass Forum and The Looking Glass Theatre, visit our website at: www.lookingglasstheatrenyc.com
You can also reach us by phone at 212-307-9467.
I look forward to hearing from you.
Sincerely,
Erica Nilson
Literary Manager
Looking Glass Theatre and Forum
422 W. 57th St.
New York, NY 10019
Wednesday, February 4, 2009
Notes From Justine 2/3/09...
So what a crazy theatre night...
First, my early evening meeting cancels (hi Krystal). OK, so be it. It gives me more time to say "Hi" to my kids before rushing out to Looking Glass to observe Anna rehearsal and then see Plan B - our first of (hopefully) many wonderful Space Grant recipients. I’m totally psyched about both; to hell with the snow!
So I’m there. Rehearsal starts a bit late but the whole cast is there. Energy is high and they’ve just started very detailed stop/start work from the beginning of the play when I get a call from Jenn. I LOVE Jenn (our managing director). She’s gotta be one of the best people in this whole crazy theatre scene, BUT, if she’s calling my cell at 7:20 at night when she knows I’m observing rehearsal……it can’t be good. Whew! It’s not anything horrible BUT we (through some last minute cancellations and misunderstandings) don’t have a House Manager for TONIGHT!
Hmmmm... it takes me a minute to process this….of course, I have to do it. I’m here after all, and the show must go on, but I’ll miss my rehearsal observation. These observations are not casual. I move heaven and earth and a lot of people's schedules to make darn sure that I can be a part of each show, truly a part of it -- give feedback, offer support, help, etc. So what to do? Duh, Jenn makes the obvious suggestion. Observe the second part of rehearsal during Plan B. Oh, decisions, decisions….both so important, both so enjoyable! I decide to observe rehearsal and skip the show. Difficult. My decision is based on the rationalization that I can do more good at a rehearsal than just being an observer of a finished product. Still, it’s unsatisfying. Especially considering how lovely the House Managing experience was.
Now I haven’t HM’d for quite some time, so the practical aspects may have been sketchy (what the heck is $18 times three anyway?) but the social part was FUN. I like talking to the audience and these folks were lovely. I want to see and work with people who bring in such a diverse and enthusiastic audience! The Stage Manager was great, as well, and getting to chat with Playwright Daniel Matura was a treat.
Ah, well, life in the theatre goes on and rehearsal was rewarding and challenging. They’re at the stage of rehearsal that is my favorite: the meat of the process. Detail, do the same few lines, again, and again, and again. Tweaking each time, forgetting the note in the moment so we go back, Nikki gently reminding, actors laughing, “oh right, the whole reason we went back!” Why do I love this part? This is why, as much as I LOVE acting (where I started) and writing (like pulling artistic teeth for me) I’m a director. This stuff is pure joy. I can keep going and going like that bunny. I often have to be reminded by SMs or the actors themselves that it’s time to stop because I just can’t get enough of this detail work.
Two curious questions came up in rehearsal, 1) How does an actress (with her director) make an obsessive perfectionist not be a B word? Of course in this case the B word in question is Brat (come on, she’s 5!). We have to love Anna, but she’s not always nice to her friends. She doesn’t know this. She’s too obsessed with herself (aren’t we all). Good luck ladies, it’s an ongoing question in the rehearsals that I’m eager to see more of. Question number two is how to break a piñata without actually breaking a piñata OVER and OVER at EVERY PERFORMANCE? To find out you’ll just have to see the show but be forewarned; here at Looking Glass we don’t have pyrotechnics, so it’ll be creative, cute, and funny but not fancy!
Justine Lambert
Artistic Director, The Looking Glass Theatre
www.lookingglasstheatrenyc.com
Subscribe to:
Posts (Atom)
