Through The Glass

Notes from Justine: Winter 2011 Writer/Director Forum

2011-11-29T12:05:00.000-08:00

Notes from Justine Winter 2011 Writer/Director Forum Rehearsals

WEEK 1 – DECEMBER 1-4: A Time and Place for Everything

What a great time I had on Monday, November 14 observing Forum Week 1 rehearsals! Each of these shows is about a very specific and very different place and time. It’s a rare treat to see inspiration coming from these unusual settings. Each setting (detailed below) creates a world that has its own rules and imperatives. The clarity of these backdrops helps each story being told to hold us captive and keep us questioning as the plot points are revealed

THE GOLDEN TICKET

Written by Jennifer Barclay, Directed by Anais Koivisto

Featuring: Kati Rae Cowardin, Joey Lozada & Thami Moscovici

Set in the not too distant future, The Golden Ticket is about a contest to receive an experience once common but now rare and precious, an uncertain daughter with a mom desperate to give something of her own youth to her child, and a daughter seemingly uncertain of the value of anything…as teens tend to be.

GARDEN OF ASHES

Written by Jan O’Connor, Directed by Estefania Fadul

Featuring: Cindy de la Cruz & David Harrell

Oscar, a record keeper for the "cremains" of thousands of unclaimed dead in a large city, is visited by a young woman looking for her long lost love. An office filled with records, books, organization and…remains- lost remains, unclaimed humanity. Who could be so uncared for they were not even claimed? Or was it the lost who choose not to care?

Pedestrian Casualty: Bronx, USA

By Nina Mansfield, Directed by Christina Neubrand

Featuring: Manny De La Cruz, Shannon Harris, Alexandra Hiotakis, Keenen Jones, Darla Juniper, Josh Mahaffey, Norma Perez-Hernandez & Austin Young

A school teacher. A student. A car crash. The Bronx; high school, teachers who care, students who don’t, or is it the other way around? Does anyone care? In fact it’s possible they all care. Sometimes caring isn’t enough and what’s broken doesn’t get fixed, just more broken.

This is a very strong threesome of plays. Original ideas told clearly and with sympathy to the human problems at the center of complicated situations. The three formidable ladies at the helm of these plays have ideas and a clear understanding of the material they are working with. I am excited to see these plays blossom into full production.

Extra thanks go to this week’s Assistant Directors/Stage Managers Francesca Galbo and Taylor Reynolds for being such a great part of our discussions and helping create smooth transitions throughout the night! Also what a great treat to have Lighting Designer Ryan Metzler attend the same rehearsals as I did. Why didn’t we think of that earlier…? Perhaps this could be the beginning of a beautiful policy…

WEEK 2 – DECEMBER 8-11: Strange and Stranger

Watching Week Two’s rehearsals on Monday 11/21 I was struck by all the many many ways humans can be strange, weird, unusual, odd. There’s flat-out insanity of course, there’s awkwardness that just might be normal but might be quite quirky and there’s the inherent strangeness of lying. People are so bizarre when they know they aren’t telling the truth aren’t they? Most of the time we don’t know what is making them act so odd but as an audience we are let into their internal machinations and can enjoy the weirdness. Of course these three plays also have stories and situations to go along with their odd inhabitants.

‘FRAILTY THY NAME IS WOMAN’

Based on the works of William Shakespeare,

Adapted & Directed by Katherine Sommer

Featuring: James Bascomb, Samantha Cains, Kevin Hoffman,

Lilli Stein & Nick Zappetti

This is an exciting mash-up of two great plays by the Bard. When you put together Ophelia and Lady Macbeth clearly the theme is madness. It’s fun to see these two ladies take their journeys through sanity and out the other side together. What do they have in common? More important in my mind was the question what do these two women need from each other? Wouldn’t it be a different world if Lady M. could advise Ophelia? Could the Lady learn to keep herself together if she had the presence of the fair Ophelia to shore her up? Although it’s a pair of tragedies the result is surprisingly fun.

THURSDAY MORNING

Written by Elizabeth Swearingen, Directed by Jessy Grossman

Featuring: Daniel Blatman, Olivia Boyle & Lesley Noyes

Sweet young love is here. Or is it? Um, that’s always the problem at the beginning isn’t it? Is this real? Are these feelings going to last? Does he/she REALLY LIKE ME??? Some of the most eternal questions of life are present in this slice of life. They may not be the meaning of life or even the answer to why the sky is blue but we’ve all been there and we feel the urgency and importance of that sweet moment keenly with the two young people breaking their fast together for the first time.

Azaleas

Written by Erin Leigh Steiner, Directed by Laura Hirschberg

Featuring: Rory Kulz & Chanel Thomas

What happens when the one you love is no longer the one you trust? This is about murder! Whodunnit? He said/she said. She says she doesn’t remember and he says it was her… but why? And they love each other so they are going to stick together whatever may come. But, still, why? Why would they kill him? What is the real reason for the tension in this moment? How could it not be the dead body!? People can be weird and sometimes the dead body is not the real skeleton in the closet. What are they really upset about? Could it be their relationship? And what are they going to tell the police?

I loved Assistant Director/Stage Manager Caroline Angell’s summation of the evening; An evening of Love and Murder! Perfect. I really enjoyed getting to know her through our discussions after each play!

WEEK 3 – DECEMBER 15-18: Brief but Not Slight

This Monday, November 28, I observed the final week of this December Forum. There are four plays in this one yet the evening stays well below two hours. Clearly they are short. Yet while not lengthy these plays are not insubstantial, they address issues of guilt (lots of guilt), loss, betrayal, and the human need for contact.

THE STAKEOUT

Written by K. Alexa Mavromatis, Directed by Sarah Simmons

Featuring: Kiley Rothweiler & Anna Drezen

In this piece we see two young girls watching someone. Over the course of the play we will discover who he is. We also see the girls’ relationship develop as they learn things about each other they may or may not have known but are only now coming to understand. Will they find the courage to approach this mystery man? Should they?

FRIENDS

Written by Karin Diann Williams, Directed by Karyn DeYoung

Featuring: Nathalie Frederick & Kea Trevett

Here again we have two young girls but these two are not friends. It’s even hard to understand why they are together. They are different. One of them is a bit strange but then what teenager isn’t a bit strange? In the end they are reaching for something. It might be human connection. It might be a bit of magic in their lives. Whatever it is I think they need it. I hope they find it.

He Says His Name Is John

By Laura Rohrman, Directed by Ashley Scoles

Featuring: Hazen Cuyler, Josiah Laubenstein & Caitlin Morris

A dream apartment seems to be the central issue in this play. What is wrong with this amazing apartment?? But there may be other things wrong here. Is this couple as happy as they seem? What has happened to her job? And then there’s this guy John, their real estate agent. But the new neighbor looks just like him…

SIDEWALK CRACKS

By Brit Hawkins, Directed by Gretchen Ferris

Featuring: Kate Dickinson, Billy Roberts and Jodi Savitz

Sometimes you know the difference between right and wrong. And then you do it anyway. A classic love triangle. He is cheating on her, with her. It’s simple and so is the play but then it’s complicated. Real human situations are always complicated and so is the play. On the verge of a stereotype the play sidesteps that completely by being real and making us care. These people are trying. They are imperfect and needy and it leads to a mess that can’t be easily swept under the rug. I particularly enjoy the depiction of a mistress who is not the obvious other woman. She is her own woman, not an extension of anyone else.

There is a lot of exciting work here. It doesn’t hang together in any obvious way but when I spoke with the Assistant Directors/Stage Managers Gina Femia and Kitty Lindsey about how they viewed the evening as a whole they had enlightening viewpoints to share. Gina said that these plays are all in some way about people wanting to be seen and accepted for who they are and Kitty added that in these plays we see people confronting their insecurities and facing the qualities in themselves they are least proud of. I thank them both for their wonderful insights throughout the evening!

This Forum is going to be an exciting and enlightening trio of evenings!

Justine Lambert
Artistic Director
Looking Glass Theatre - http://www.lookingglasstheatrenyc.com/

Read my recent director to director interview - http://www.2amtheatre.com/2011/08/24/spotlight-meet-justine-lambert-director/

Follow us on Twitter! http://twitter.com/LookingGlassNYC
Find us on Facebook! http://www.facebook.com/LookingGlassTheatreNYC
Follow our blog! http://lookingglasstheatre.blogspot.com/

THE GOLDEN TICKET

Written byJennifer Barclay, Directed by Anais Koivisto

Featuring: Kati Rae Cowardin, Joey Lozada & Thami Moscovici

Halloween Special- CALAMITY JANE!

2011-10-26T09:32:00.000-07:00

Friends of Looking Glass Theatre!

If you are reading this then you're in for a great deal!

To celebrate the Halloween weekend we are offering a special discount for this weekend (10/29, 10/30):

COME IN COSTUME and get a Special Discount for

CALAMITY JANE BATTLES THE HORRIBLE HOOPSNAKES

Thisweekend only: Adults $10, Kids $5!!!!!

So join us in the Wild Wild West for some wild wild fun!

Justine Lambert

Artistic Director

Looking Glass Theatre - http://www.lookingglasstheatrenyc.com/

Read my recent director to director interview - http://www.2amtheatre.com/2011/08/24/spotlight-meet-justine-lambert-director/

Find us on Facebook! http://www.facebook.com/LookingGlassTheatreNYC

Follow our blog! http://lookingglasstheatre.blogspot.com/

MAGNIFY YOUR DIRECTING- Workshop with Justine Lambert, 10/22

2011-10-12T10:54:00.000-07:00

Magnify Your Directing

With Justine Lambert

A directing workshop to put some oomph behind your urges.

Where: Looking Glass Theatre, 422 West 57th Street
When: Saturday, October 22, 3:30-6:30pm

You have the creativity, you have the ideas with inspiration to spare, now you just need to implement those ideas with as much passion and conviction as you feel.

This class is an accelerated sketch of what needs to be done. In three hours we will touch on implementing concepts, crafting the acting to serve your needs while being true to your actors own impulses and telling the story through the lens of your vision.

The class begins with an email exchange in advance to ensure that you are prepared and can get the most out of the class time. Scenes are assigned for you to read and think about in advance, and our talented Fall 2011 acting interns will be there; ready to work, grow and get to know you and your aesthetic.

Breakdown of activities; Meet and Greet; Accelerated Viewpoints Workshop; Concept Discussion, initial direction and showing of scenes; Staging with Viewpoints Workshop; Moderated Scene work; Final Showing; Wrap Up discussion

Cost: $20 suggested. No one will be turned away due to lack of funds.

Space is extremely limited, email lookglassjustine@aol.com to reserve your space.

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About Justine...

Justine Lambert is the founder and artistic director of Looking Glass Theatre in New York started in 1993. A recipient of The Lucille Lortel Award for her work with Looking Glass she has been working in theater in NY for over 25 years; directing, writing, acting in and producing dozens of shows, ranging from classical to contemporary, traditional to experimental. In 2003, she was named one of the top 100 New Yorkers by NY Resident magazine. Her direction of Three Sisters at Looking Glass won an Off Off Broadway Review Award for Best Production and her Direction of M at Turnip Theatre won her Honorable Mention as Best Director. From 1989 through 1991, she was co-Artistic Director of Peregrine Theater, a company that produced classics and children’s work in Central Park. http://lookingglasstheatrenyc.com/JustineLambert.html

Justine in the Press (selected quotes):

Blood Sky

"The production is wonderfully directed by Justine Lambert who is obviously gifted at coaching and working with performers. ~ Hi Drama

Cardboard Moon

"Cardboard Moon is a joyous piece of work. Writer/Director Justine Lambert focuses ... and moves through the story swiftly and efficiently, keeping the audience highly entertained while relating a simple but not insubstantial message." - Washington Square News
"The acting is daring from start to finish. The play calls for stylized, overblown bits of stage business and for snatches of absurd dialogue, all of which are performed delightfully." - Columbia Spectator
"Works wonderfully ... Lambert draws nice parallels between fantasy and reality, the past and the present, and new and old forms of theater." - TheaterMania.com

The Three Sisters

"Ms. Lambert directed a real dramatic feast against great odds." – OOBR
"...directed by Justine Lambert, has all the profound seriousness inherent in a Chekhov play coupled with all of the palpable energy and vivaciousness of a new theatrical company-a winning combination. Lambert's production has added many small touches to The Three Sisters that go a long way towards winning the audience's heart." - Columbia Spectator

Laodamia: Queen of Epirus

The director "discovered and sucked the passionate marrow of ...an obscure 17th century play.... (the director) and (her) cast are up to the challenge." -TheaterMania.com

Richard III

The production "breathes the enthusiasm and creativity of its cast and director." - The Fordham Observer
"The all-female cast (is) this change...valid? My answer ..was instantly yes." - The Hunter Word

Justine Lambert
Artistic Director
Looking Glass Theatre - http://www.lookingglasstheatrenyc.com/

Read my recent director to director interview - http://www.2amtheatre.com/2011/08/24/spotlight-meet-justine-lambert-director/

Follow us on Twitter! http://twitter.com/LookingGlassNYC
Find us on Facebook! http://www.facebook.com/LookingGlassTheatreNYC
Follow our blog! http://lookingglasstheatre.blogspot.com/

Worlds of Dragons and Snakes

2011-10-05T07:41:00.000-07:00

Worlds of Dragons and Snakes!

On Saturday September 24 we held a reading of Dragonslayer, the one woman show that I co-authored with the amazing Judy Sheehan http://www.judysheehan.com/. It was so exciting and HELPFUL! I can’t believe how much work these four talented actresses were able to do in only two rehearsals. Huge thanks to Shannon Altner, Emily Daly, Arielle Hader, and Hannah Tamminen.

After the reading there ensued such a lively and helpful discussion with cast, staff and audience that I never wanted it to end. Perhaps most gratifying for me was the participation of members of our creative community - Robert Gonyo, the artistic director of Co-Op Theatre East, the company in residence at Looking Glass this season, and Looking Glass staff members Aliza Shane, Rose Ginsberg and Erica Nilson. Knowing that I have a community to lean on for my creative needs is tremendously important to me!

I learned so many things about our play. I saw who this young woman we’ve created was, and the audience has made it clear that they want to know more; more about her inner workings and more about who she is. Who will she be after this play if she survives? Why does she need the things she needs? I am excited to continue to explore this character that I’ve come to love and this world I sometimes wish we all lived in.

Check out some clips of my fantastic four working as one:

http://www.youtube.com/watch?v=ZWAdmhD66Jc

http://www.youtube.com/watch?v=QAdjlzvH50Y

http://www.youtube.com/watch?v=3mI7R58wNag

http://www.youtube.com/watch?v=D4rUrsKLKZQ

The following Monday night I had the privilege of sitting in on rehearsal for Calamity Jane Battles the Horrible Hoopsnakes (Written by by E. J. C. Calvert, directed by Jacquelyn Honeybourne and featuringfor the first time. To my great joy, our preview in Time Out NY Kids came out the very next morning! http://tinyurl.com/3audvt7
Abraham Adams, Gianna Cioffi, Jessica Kelly, David Mangiamele, Monica O’Malley, Katie Proulx and Sarah Pullman)

I greatly enjoyed listening to director Jacquelyn Honeybourne giving notes when I first arrived. Then after getting the lowdown on set, scenes and snake costumes, the real fun began. I only saw four scenes run in their entirety, but within them was an encapsulated world - courageous Jane and her mom heading off to make a new life for themselves only to encounter the cowardly (adorable) inhabitants of a town harassed by Hoopsnakes.

As they try to fit in well enough to be allowed to spend the night something happens…Mom is mom-napped! But never fear; Calamity Jane is not panicked. She’s ready, willing and eager to embark on a rescue mission. She has quite a lot of convincing to do with the Townies however who are quite happy with their cowering ways.

We also see the other side of the situation. Mom is in the lair of the snakes. They have an interesting discussion (yup, discussion with snakes) regarding what Mom has done wrong (in her life or in Hoopersville is not certain yet) and discover things about snakes that you might not guess just by looking at them.

Whenever I am in a rehearsal room I inevitably learn something, sometimes about theatre (usually), sometimes about life. Last night I learned something that can be applied to both: snakes are not only scary (they’re a bit scary, that’s a given) they’re also funny. Slithery, slimy, limbless silliness.

Justine Lambert
Artistic Director
Looking Glass Theatre - http://www.lookingglasstheatrenyc.com/

Read my recent director to director interview - http://www.2amtheatre.com/2011/08/24/spotlight-meet-justine-lambert-director/

Follow us on Twitter! http://twitter.com/LookingGlassNYC
Find us on Facebook! http://www.facebook.com/LookingGlassTheatreNYC
Follow our blog! http://lookingglasstheatre.blogspot.com/

Notes From Justine 10-4-11

The Season is Upon Us- Fall Season HIGHLIGHTS from Artistic Director Justine Lambert

2011-09-21T10:11:00.000-07:00

The Season is Upon Us!

You might think that since our first full production is opening in October we’re having a calm start to the season, but Fall is already barreling full steam ahead. We’ve been so busy, in fact, with getting our programs up and running that I have barely had time to look up from the computer and appreciate the artists I’m working with. Here’s a quick rundown of what to look for this season!

Our Fall acting internship is well under way with 12 wonderfully talented performers working in the office, taking improvisation classes with our Fall acting instructor Naima Moffet-Warden and getting ready to perform in our Writer/Director Forum in December. The rising stars are: Joey Lozada, Olivia Boyle, Samantha Cains, Cindy de la Cruz, Nathalie Frederick, Josiah Laubenstein, Norma Perez-Hernandez, Kiley Rothweiler, Nathaniel Ryan, Jodi Savitz, Chanel Thomas and Nick Zappetti.

Dragonslayer -- A free developmental reading this Saturday, September 24 at 7 p.m. I co-wrote this with long-standing collaborator Judy Sheehan. This is the first time I’ve had the honor of co-authoring a piece with this consummate professional. One of the original co-creators of Tony-N-Tina’s Wedding, Judy has had eight shows (I hope I counted them all!) produced here at Looking Glass. I’m so excited to go on this journey as we create an entire world and one amazing character together.

Calamity Jane Battles the Horrible Hoopsnakes -- Already cast with rehearsals underway, this family show is a piece of laughter and childhood. Inspired by our own Jacquelyn Honeybourne’s love of the traditional American Tall Tales, E. J.C. Calvert has written an original story about the plucky heroine as a young girl faced with an unusual and hilarious situation involving scaredy snakes- wait, I meant scary snakes of course… or did I? ;-) Runs October 15 through November 20.

Co-Op Theatre East Residency-- We are so excited by our new partnership with this amazing company. They will be an artist in residence for the entire season starting this Fall with bi-monthly workshops and Radio COTE, their 2nd annual radio play festival on November 15.

Staged Readings of New Works – The 5 shorts for $5 bucks series returns! Title TBA. On Wednesday, October 26, we’ll be holding the third of our exciting new short play reading series. Based on the set of the current show (in this case it will be Calamity Jane, so who knows??!), so far the themes have been “Submerged” and “Naked.” With an open call for artists to create “on theme,” we’ve already had amazing and inspired work come out of this series from veterans and rookies alike. I am truly excited about the potential for growth and new projects this program is bringing us.

Big Benefit Party- Our Fall benefit party is set for Tuesday, November 8 from 6-10pm. That’s right, Election Day! So put it in your calendar; after you rock the vote, come rock with us. Planning is well underway; our interns have begun soliciting (and getting!) exciting raffle prizes and musical guests are banging down the doors (well…they’re emailing) for the opportunity to perform. It’s going to be a blast!

theater IN ASYLUM’s Frankenstein – This exciting Fall space grant recipient presents their re-imaging of Mary Shelley’s classic November 15-19. I enjoyed reading this proposal so much, and I can’t wait to see this show happen in our space.

Winter 2011 Writer/Director Forum -- Of course, this half of our season will culminate with our semi-annual festival of new works in December. We have a very full Forum with ten talented directors currently in the process of choosing their projects and getting geared up for the big meeting in early October. We have a perfect mix of experienced artists and new blood this go round and I am not exaggerating when I say this one promises to be one of the best. With planning started earlier than ever and the ideas flowing so smoothly already, I can’t believe I have to wait until December to see these shows!

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Justine Lambert
Artistic Director
Looking Glass Theatre - www.lookingglasstheatrenyc.com

Read my recent director to director interview - http://www.2amtheatre.com/2011/08/24/spotlight-meet-justine-lambert-director/

Follow us on Twitter! http://twitter.com/LookingGlassNYC
Find us on Facebook! http://www.facebook.com/LookingGlassTheatreNYC
Follow our blog! http://lookingglasstheatre.blogspot.com/

Notes From Justine- Spring 2011 Writer/Director Forum, Week 4

2011-06-10T11:48:00.000-07:00

Notes from Justine

The Queens of Comedy - Forum Rehearsal 6/6/11

Finally three shows that go together…sort of. Well, they don’t have all that much in common actually but they are all definitely comedy! They run the gamut of comic styles from full on realism to flat out absurdity!

GIN JOINT

Written by Gabrielle Fox, directed by Eva Gabrielle Schelbaum

Featuring Shea Davies & Gus Zucco

Of all the gin joints in all the towns, in all the world, she walks into his...in a wedding dress

This is a realistic comedy all about a silly situation. It may be shorter than your average sitcom (clocks in at about 12 minutes) but it certainly runs much deeper than one. The delightfully wacky setup involves a woman stuck in her sister’s wedding gown and the only person who can help her is a stranger. He’s an actor about to star in a production of Casablanca and that great film is a touch point helping to add the deeper notes to this charming ditty about possibilities that have passed us by while new ones open up.

WHO IS DAN SCHILLER?

Written by Bella Poynton, directed by Ariel Francoeur

Featuring Petra Denison, Jesse Kane-Hartnett, Dave Herigstad, Sarah Klein, Dan Lovley, Claire Nasuti, David O'Hara & Tom Simonetti

Please turn off all electric devices, make sure that your tray tables are in the upright and locked positions, and hold onto to your sanity...

This play is just absurd. In a good way! In fact one of my only notes was to go ahead and make it even more absurd! It’s about what the best absurd plays are all about: a sane person lost in an insane world. It begins on an airplane and may secretly be about the insanity we all feel when we are heading thousands of miles above ground in a tin can. The story actually follows a man’s descent into hell as he discovers first that his best friend is dead and is then accused of his murder. But plot isn’t really the point here. So what is? Sanity vs. Insanity? Style & Comedy? The way we all feel when faced with the shocking illogical nature of humanity? I’m reeling from "Weinergate" as I write! Life is absurd and I for one need a laugh!

SIGN ME

Written by Naima Moffet-Warden and Allison Ungar, directed by Naima Moffet-Warden

Featuring Richard McDonald, Margaret Odette, Ryan-Ashleigh Reid & Biniam Z. Tekola

When Adrian's business and love test her destiny, all she'll be screaming is... JUST GIVE ME A SIGN!

Not absurdist but not fully realistic either, Sign Me is about a young lady’s search for love or success or preferably both. It’s also about another kind of absurdity. The absurdity of trying to find a mate and doing it through the internet. But in this day and age, how else?? Being developed specifically for this Forum, the play is being written (and re-written) with the cast improvising to help develop it as we speak. The tight cast of four plays multiple characters of many astrological signs. They are experimenting with extreme and exciting physical choices/characteristics and the ride is funny, fun and sexy. If I wasn’t married I’d consider “sending out a sign” for love too.

Huge thanks go to the Assistant Directors/Stage Managers: Rebecca Cunningham & Estefania Fadul for making the evening go smoothly and listening patiently through my many absurd and/or realistic ramblings!

Week Four of the Spring 2011 Writer/Director Forum opens on June 23. I can’t wait! This evening of three has something for everyone and after all who doesn’t like comedy?

Justine Lambert
Founding Artistic Director

Notes From Justine- Spring 2011 Writer/Director Forum, Week 3

2011-06-02T10:09:00.000-07:00

Notes from Justine
Forum Rehearsal 5/31/11 -More Relationships and So Much More

I ended last week talking about how Assistant Director/Stage Manager Karyn DeYoung saw both of the Week Two plays as relationship plays…behold this week starts off with every artist in the room referring to the first two of these wonderfully diverse offerings as “relationship plays!”

THE TRACKS ARE ELECTRIFIED
Written by Jane Miller, directed by Abigail Strange
Featuring Tyler Gattoni & Bethany McNamara

How long are you willing to wait?

This show is about a young couple on a subway platform. First there’s banter. They seem happy, cute, if quirky. Then Rosy wants to play a game to pass the time, Max is reluctant. Why, we wonder? Does he dislike games, silliness? Is he easily embarrassed? There doesn’t seem to be anyone else waiting for the train at this time of night. Why not indulge her? When he finally gives in to her wheedling it turns out the game is a little scary. It also turns out her motives weren’t so simple. She knows her boyfriend’s issues and has chosen this moment to bring them up. This seemingly happy relationship may be in peril just as the train finally begins to pull into the station…

BACK IN THE BOX
Written by Mary Flanagan, directed by Gretchen Ferris
Featuring Rob Getz, Elyssa Mersdorf & Emilio Paul Tirado

When you arrive at a fork in the road, take it. ~ Yogi Berra

Back In the Box starts with a couple and a complication. This play takes us farther into the workings of a dysfunctional relationship. Helen is clearly unhappy. We don’t always know why as we watch her journey towards escape. What is she escaping from? Is it spousal abuse or cruelty of some kind? Not precisely. The issues here are subtle. There is indeed something wrong- too much of a good thing, perhaps. Love turned to need, dependence turned to obsession. I find myself hoping Helen’s journey will be a smooth one after the blackout.

FIRE THIEF
Written and directed by Laura Hirschberg
Featuring Emily Daly, Arielle Hader, Timothy Mele & Kevin Russo.

Prometheus brings the spark of inspiration to man. Is it worth it? Come play with fire.

I am inspired and delighted to discover that our talented director Laura Hirschberg is also an impressive talent as a playwright! Fire Thief is full of complex ideas that unfold with wit and clarity.

What a difference. And yet I’d be lying if I didn’t acknowledge the importance of relationships here too. Of course in Fire Thief they are relationships between gods. The fire Prometheus steals is the fire of inspiration. He steals it to bestow it upon his own favorite creation: mankind. Of course in doing so he incurs the wrath of the Gods but more importantly be betrays two people (well, gods) he loves. His journey of self discovery includes allowing an unusual relationship to grow; the one between himself and his creation. If he can love us mere mortals for more than just our finer traits (such as theatre I’d venture) perhaps he can survive what’s coming to him.

Big thanks to Assistant Directors/Stage Managers Jessy Grossman and Sarah Outhwaite. They were a delight to work with. Full of insight and ideas, they were an integral part of our discussion throughout the evening.

Week Three of the Spring 2011 Writer/Director Forum opens on June 16. I’m excited to see this thought provoking, wit filled grouping of three with all the finishing touches!

Justine Lambert
Founding Artistic Director

Notes From Justine- Spring 2011 Writer/Director Forum, Week 2

2011-05-25T13:19:00.000-07:00

Notes from Justine
Forum Rehearsal 5/23/11 -Challenges as Playthings

Dance and Shakespeare; these are the challenges the directors of Week 2 have taken on. These challenges also prove to be lovely toys to play with, adding multiple dimensions to a week of light uplifting fun.

HOW I THOUGHT THE MILONGA WOULD SAVE ME

Written by Yasmine Beverly Rana, directed by Christina Neubrand
Featuring Mike Holt, Tess Howsam , Anthony Perrelli & Jeffrey Walker

Close embraces, open embraces, and embellishments follow three couples through the complicated circle of dance and love.

This is practically a dance piece and yet it tells its story through dialogue seamlessly interwoven with the movement. The characters almost never sit still. It’s a simple story of a girl at a dance waiting to be asked. Why do women still feel we have to wait to be asked? I guess that’s a discussion for another time… This woman clearly feels she must wait for a man to request her company. She’s here to dance and so are the men who do indeed ask her. But are they looking for something else? Are they looking for more? She herself seems to be looking for more but it’s not necessarily the same more. She’s seeking depth, human connection, someone like herself, interested in more. We are rooting for her. I want her to find that something…or maybe even someone more.

TWELFTH NIGHT
Written by William Shakespeare, adapted and directed by Dana Dobreva.
Featuring Kevin Bunge, Michael DeSantis , Charlie Gorrilla, Robert Klein, Amie Lytle, Greg McGoon, Jacob Mondry, Rebecca Nerz, Elliot Wadsworth & Jillian Walker

The Hollywood Remix…

Twelfth Night is a favorite of the gender-bending comedies penned by the Bard, and it’s clear why; this play has all the tricks! A woman in love with a woman she thinks is a man, a man in love with a woman he thinks is a man, mistaken identity, drunkenness, debauchery and Beyonce. What? Yup Beyonce is making an appearance. It’s a modern setting and pop music abounds. You know the story right? Viola is shipwrecked and thinks her twin brother is dead (he’s not). She dresses as a guy and goes to work for Orsino (Why? Dunno, I’ve only seen it twelve times so c’mon.) Orsino sends Viola to court Olivia for him. Olivia falls for Viola (dressed as a boy, remember). Sebastian the missing brother shows up, gets mistaken for Viola, gets in a fight then marries (!?!) Olivia who thinks he is Viola. Immediately upon discovery that his male servant is a female Orsino proposes to Viola who has been pining for him the whole time. Meanwhile Olivia’s relatives are cavorting with and playing pranks on the help. And then there’s the fool. Forget Lucy, I love Will!

As I was leaving the theatre I had the opportunity to chat briefly with Assistant Director/Stage Manager: Karyn DeYoung about her experience working on these two very different productions. She observed (forgive me if the quote is imprecise) “I’ve realized they’re the same play.” In discussion it became clear that she has come to see both shows as “relationship plays.” It’s certainly true that the human connections or lack thereof are the focus in each. The universality of that need is expressed uniquely in both plays. Thanks so much Karyn for sharing a part of your experience with me and for all your hard work!

Week Two of the Spring 2011 Writer/Director Forum opens on June 9. I can’t wait to see these plays in performance. This should prove to be a joyful romp through relationship confusions. Can’t wait!

Justine Lambert
Founding Artistic Director

Notes From Justine- Spring 2011 Writer/Director Forum, Week 1

2011-05-18T07:56:00.000-07:00

Notes from Justine
Forum Rehearsal 5/16/11

And they’re off! My first observation for the Spring 2011 Writer/Director Forum last night was an exciting start to the process that will culminate in the Forum Awards on Monday June 27th. Three very different plays; (although two have a suicide theme…) these are extremely strong offerings with experienced Forum artists represented in each and every project.

First I observed IN THE CHANGELING,written by Maiya Pendleton, directed by Melody Erfani, featuring Heather Burgher, Lash Dooley, Andrew Dunn, Andrew Gelles, Sarah Miles, Kathleen O'Neal, Alzie Rejouis, Marianne Riera & Adam Tyrer. The tagline for this show is “In high school it is all about the drama...a reimagining of the classic by Thomas Middleton and William Rowley.”

Another classic translated to a High School setting. So different from Forum Producer Aliza Shane’s Misanthrope (Forum Winter ’06) yet similar. Why do artists want to set universal stories in High School? Because it’s a universal experience here in the US and one that brought out the worst in many of our lives. High School was miserable…so it’s the perfect place for drama! This compelling script follows the “It girl” and her machinations to get what she wants. She doesn’t mean to hurt anyone but then she doesn’t really mind when she does either. Will she get what’s coming to her? What is coming to her anyway? We sympathize, even while feeling appalled at the effects of her plotting. After all, who doesn’t “want it all”… but at what cost?

Next up was RISK,written by Yasmine Rana, directed by Ashley Scoles, featuring Brooke Hills & Jonny Schroeder. This plays description is (like the play) poetic and intriguing “Two lovers must decide whether to take the risk to love or become engulfed in the flames of hate.”

Spoiler alert; below I will give away a major surprise that comes out in the first 3rd of the play. Yasmine’s intense drama is about something none of us can imagine. What if you were about to go blow yourself up, with others…? How would you or anyone handle it? We understand that the emotional questions usually left unasked would not sit quiet at such a moment. But would you get the answer desired? Can the questioned party possibly know how to answer under such circumstances? Beautiful language examines an ugly situation in this challenging and powerful drama.

Finally I observed DOUBLE CROSS written by Annie Berke, directed by Katherine Sommer, featuring Benjamin K. Glaser, George Hutchinson, Stacy Ann Strang & Hannah Tamminen. The witty description of this play is: “Charles and Samantha are a happily married couple until the daily crossword drives a 5-letter word for "triangular tool" between them.”
Here we have a comedy of character. This married couple fights. They’re not even nice to each other. They seem to be trying to improve their behavior but they end up hurting each other. Even their innocent bystander friends get hit by the emotional shrapnel flying around. Clearly they shouldn’t be married to each other. Or should they? The surprises lie in the people and what they truly need from one another. The result? Comedy!

The charming and ever helpful Assistant Directors/Stage Managers, Anais Koivisto and Mary Trotter were both engaged and engaging in our discussions. I thank them for their work and insight all night long!

Week One of the Spring 2011 Writer/Director Forum opens on June 2. I can’t wait to see these plays in performance. It’s going to be a thought provoking and highly entertaining night!

Justine Lambert
Founding Artistic Director

NOTES FROM JUSTINE- Just A Reading opens tomorrow night, April 28!

2011-04-27T09:03:00.000-07:00

Notes from Justine

All about the Acting and Writing
Notes from the Just a Reading rehearsals Thursday 4/14 and 4/21.

Just A Reading is a play ABOUT acting and playwriting. More precisely, it’s about a writer writing about real people who are also actors who then play themselves. They must “act” like the real people they actually are. As such, rehearsal for Just a Reading is a rehearsal process about acting and writing. Together these two elements have to combine perfectly, to intertwine to make us believe, at least for a moment here or there, now and then, that what we’re watching is really happening.

Acting-wise, this is the ultimate job. These are roles any actor would salivate over. To begin with, the play has ultra-realistic, naturalistic behavior at its most extreme. You think Brando got away with mumbling? This show has potential for mumbling, shuffling, under-played acting at its best. But then the “actors” (played by the very talented ensemble of Jenn Boehm, Michael Sean Cirelli, Brandon Ferraro, Cas Marino, Alexandra Mingione and Stephen Reich) get to... wait for it...act! They show us their professional abilities to inhabit a character while pretending to do a cold reading. Tricky. Then, as the stakes get higher and higher tempers flare, emotions rise and the melodramatic passion lets fly! Whew. Fun, fun, fun if you’re crazy enough to love acting.

The writing, of course, has to support all this realism/transition/belief in two worlds with deftly smooth transitions and language that seems to say little while really telling us everything we need to know in order to care about, laugh at and worry for these flawed, needy actors.

What about directing? I’m afraid Chanda Calentine has a thankless job in this one. She is working incredibly hard juggling a million balls in the air, all for the sake of a disappearing act; her own. The direction of this piece (at least for much of the play) will be at its most brilliant when invisible: she makes the actors and writer look good. She makes them look real. They are lucky to have her and I am lucky to be privy to her process, but you the audience may never believe she exists. That is, if she does her job!

Just A Reading, written by Ryan Glass & Directed by Chanda Calentine, opens this Thursday, April 28th at 8pm at Looking Glass Theatre, 422 W.57th Street, NY NY 10019.

Justine Lambert
Founding Artistic Director

Notes from Justine- All About Readings... but not really

2011-04-13T11:20:00.000-07:00

Notes From Justine:

All About Readings….but not really.

Just a Reading/Submerged

Last week was such a fun week at super-busy Looking Glass Theatre. We just closed the beautifully theatrical and much adored (by audiences small and large) Three By the Sea. Read audience quotes and view photos here; http://lookingglasstheatrenyc.com/ThreeBytheSea.html

On Thursday (4/7/11) I got my first peek into rehearsals of Just a Reading (Written by Ryan Glass, Directed by Chanda Calentine).

We theatre people love a good play-within -a -play and this is quite a special one. It’s a full production masquerading as “just a reading.” A handful of actors (played by the very talented ensemble of Jenn Boehm, Michael Sean Cirelli, Brandon Ferraro, Cas Marino, Alexandra Mingione and Stephen Reich) casually enter the theatre, greeting each other, adjusting the folding chairs and picking up their scripts. We are introduced to the players and then hear the beginning of a witty little play about a new hit band about to embark on their first tour. So far this could indeed be a simple reading but some weird behavior begins to interrupt the action of the “play.” Actors break character and the playwright isn’t willing to discuss any of the problems that begin to arise. What’s happening becomes clear to us, the audience. This play is about these actors’ real lives and it’s freaking them out. As you can probably tell from the photo, at some point things go terribly wrong…. But Alan the playwright (now a big shot in Hollywood) has some clout (and manic energy) on his side and is going to see this through to the bitter (or will it be sweet?) end! I can’t wait to see how the play continues to evolve at rehearsal this week!

Friday night pre-show I attended a mysterious and exciting meeting with two Looking Glass artists Jacqueline Honeybourne and Mark Gordon. Have I piqued your interest? Good. There’s an unusual project on the horizon here, more on that in the future. Then I attended the first incarnation of a new play reading series. The brainchild of Producer/Director Aliza Shane, the concept is to solicit new short (10-15 minute) work from our artists based on the set of each mainstage production. This evening was based on the watery world of Three By the Sea so our theme was water and our title was Submerged. Billed as “5 shorts for $5 bucks” there isn’t a better deal in town! Also billed as “Staged Readings”, these five plays were almost mini productions. Most actors were off book and fully blocked. Scripts were in hand and referred to however which served as a good reminder that this was indeed work in progress. The evening went off without a hitch and was truly a blast. Actors, playwrights and directors all seemed charged up about the work and the new series. It was so exciting to see artists involved from our past, some who haven’t been with us for years. Just a couple of the shows represented were Adventures of the Puppet Princess (’08), Anna's Perfect Party & The Amazing Magician's Marvelous Mistake (’09), Ask Someone Else, God (’09), Are You There, Zeus? It's Me, Electra (’09), and many many more! I now find myself wondering what the theme might be for Just a Reading’s set? After all, it is basically an empty, stripped theatre.

Our very own bare black box.

The creative possibilities, as always with a blank page, are truly endless.

Justine Lambert

Founding Artistic Director

Notes from Justine-MORE Three By the Sea!

2011-03-21T13:43:00.000-07:00

Notes from Justine -Three By the Sea

Having seen Three By the Sea two times now in performance, I’ve realized that the gestalt of this combination of stories is an ideal introduction to theatre for children. There are so many things they are being exposed to here: it’s like sneaking vegetables into the dessert mix! While they watch the charming stories they learn to suspend disbelief and see fabric (or umbrellas, or balloons) as water, to decipher intent through behavior, to appreciate the difference an atmosphere can have on how you interpret the individual elements of a play and how to appreciate the rhythm and flow in storytelling, not to mention simply being introduced to the great theatrical tradition of story theatre.

I really find myself enjoying each play within the play for different reasons. Working backwards, I’ll start at the end:

Foghorn Franny is a crowd pleaser. With its modern characters and sharp clear tone, it gets laughs easily while supporting the most complex story and message of the trio. The oldest audience members get a lot out of this one (both adults and tweens) because the subplot about bullying is clearly and dramatically explored and resolved. Everyone in the audience is held tight in the grips of the plot and even the youngest audience members maintain the hush required for the few (I think it’s actually two) brief moments of reflection. Coming last in the running order it is well chosen in its modern language and depiction as it leaves the audience feeling happy and thoroughly entertained at the end.

The second piece, Coyote’s Moon, is ideal for the central role in this production in part due to its simplicity. There’s not a lot of story here and so we are able to just sit back and enjoy the puppetry, lighting, water (umbrella) ballet, and characterizations. We love Lil’ Rabbit, we fear Coyote (a little), we enjoy the lights and the trickery…and …we’re done!

Appropriately, while our audience’s minds are freshest they are presented with the most complex piece. We are asked to immerse ourselves in the world, the otherness of the mythical Ireland of old. We meet characters from the town of Gollerus and enjoy their quirkiness while sensing what a stranger in their midst might experience in such a self-contained environment. The lilting lyrical language pulls us along in the story while the theatrical elements, such as mermaid costume, Shadow Puppet plays, and ongoing bits of business from comic cap-snatching to ominous umbrella-opening, devised by super-creative director Julia Martin, help keep our young audience engaged throughout.

Enjoy the spinach brownies!

Justine Lambert
Founding Artistic Director

Notes from Justine- Three By The Sea

2011-03-03T13:33:00.000-08:00

Notes from Justine -Three By the Sea

Three By the Sea is opening this Saturday, March 5th at noon. I will be there with bells on with my family! I have been lucky enough to be a fly on the wall at three rehearsals for this complex, elegant bit of story theatre. This show manages to be both lyrical and fast paced. A study in the use of complexity in the service of simplicity this production uses multiple theatrical elements to tell its three enchanting stories. The stories are simple and sweet, funny and timeless.

“Paddy and the Mermaid” tells of an ordinary man who traps a mermaid. He learns that some things can’t be held by force, even if they are loved; perhaps especially if they are loved.

“Coyote’s Moon” is a classic tale of brains over brawn. In this case the brains belong to one sweet little bunny and the brawn to a coyote in a cowboy hat!

“Foghorn Franny” is a take on the idea that something seen as a weakness or even a fault can turn out to be a heroic strength. This story also addresses the timely theme of teasing and exclusion ever so gently and resolves with the teaser realizing the error of her ways.

This trio of tales comes across with clarity and a touch of the poetic and is wonderfully served by puppetry, music, lighting effects, shadow puppets, clever costuming, a beautiful set and even dancing umbrellas!

Speaking of those umbrellas, it’s worth mentioning that each play involves a body of water and each body of water is uniquely staged. As often seems to happen, the creativity and imagination involved in children’s theatre brings out the best (and hardest work!) in the creative team and cast. This group is no exception. Under the direction of Julia Martin this team has been in overdrive to realize the imaginings of playwright Donna Latham!

Justine Lambert
Founding Artistic Director

Seeking Assistant Directors/Stage Managers!

2011-01-12T09:11:00.000-08:00

Seeking Assistant Directors/Stage Managers for Three By the Sea - a new children’s play by Donna Latham featuring tales of the sea- produced by/at Looking Glass Theatre, directed by Julia Martin.

* Looking for highly-organized, creative, and well-rounded Assistant Directors/Stage Managers able to attend all performances and most rehearsals. Daytime rehearsals on Fridays, weekends and some weekdays begin January 21. Tech scheduled for February 28 – March 4. Show opens March 5, performances Saturday at 12 p.m. and 2 p.m., Sunday at 2 p.m. and 4 p.m. through April 10.

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.

More information at www.lookingglasstheatrenyc.com

Rehearsals Begin: 1/21/11
Opens: 3/5/11
Closes: 4/10/11

Please send all cover letters and resumes to juliastirlingmartin@gmail.com.
Place AD/SM in title of email when submitting.

Interviews for AD/SMs are currently being conducted.

THANK YOU!

LOOKING GLASS PERFORMANCE SPACE GRANT- Deadline Extended to Jan 17!

2011-01-04T13:49:00.000-08:00

ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT
MARCH / APRIL 2011

Deadline Extended to January 17, 2011!

Seeking proposals from theatre companies. Non-union productions only.

Grantee(s) will receive performance space (anytime between March 10-April 10, 2011) including one technical rehearsal, and marketing and publicity (text provided by you) to our email press and audience lists and a listing or link on our web site. Additional rehearsal time will be made available at a deep discount when available.

Prime-time profit sharing:
75% of ticket sales go to Looking Glass, 25% to Grant Recipient.

Grantee shows will be credited as COMPANY NAME, in conjunction with The Looking Glass Space Grant Program, presents SHOW TITLE.

DEADLINE: Applications accepted now through Monday, January 17 at 6pm.

Proposals must be submitted via email to Founding Artistic Director Justine Lambert at LookGlassJustine@aol.com as one (1) attachment. Companies are encouraged to make contact (via the above email address) in advance indicating their intent to apply and/or with any questions. Applicants will be contacted with the final decision no later than Friday, January 21, 2011.

What you provide: A production(s) that reflects our mission statement.

OUR MISSION-Reflecting life on the stage with truth and theatricality while exploring a female vision. See web site for more!
http://www.lookingglasstheatrenyc.com

Bottom line-Either playwright or director must be female (both is great, but not required). Cast must be half or more female (gender bending casts are accepted to meet this requirement). Female subject matter not required.

NOTE: We are a non union house. No project with AEA members can be considered.

1) The Proposal-A one-page description of the project including story, concept, and tone. Include running time. Include technical requirements and keep them MINIMAL, shows will be sharing the space.
2) Creative Team-List of all creative team members already on board with short bios. (Director or Playwright must already be chosen)
3) Space Request- Your ideal opening date and performance dates requested between March 10-April 10, 2011 (Maximum of 12 performances)
4) Marketing Description-A description of how you will attract a crowd!
5) Company Mission-Your mission statement and a description of activities along with current staff list.

Please put the above sections in their stated order and include the number and name of each section at the top of that section. Recommended length about four pages.

Scripts are not required but may be requested after initial proposal review.

Looking Glass Theatre is located at 422 West 57th Street (btwn 9th/10th Aves).
212-307-9467

------------------------
Justine Lambert, Founding Artistic Director
Jenn Boehm, Co-Artistic Director/Managing Director

Winter Forum 2010- Notes from Justine – Week 3

2010-11-30T09:35:00.000-08:00

Notes from Justine

Forum Rehearsal 11/22/10

As I was leaving my Week Three observations last night, Assistant Director/Stage Managers Ashley Scoles and Elizabeth Swearingen and I all noted how this week is the most diverse group of plays this Forum. Two of the pieces are realistic tales with similar subject matter but one of the directors is not content with realism and has made embellishments of her own. The third play (that will be sandwiched in between them) is a light comedy based on the Adam and Eve story.

The first piece I saw was Clean by Nina Mansfield, directed by Laura Hirschberg, featuring Jake Miller, Taylor Miller & Erin Neufer*.

This slice of life in real time takes place in.....a church basement. So establishing location shouldn't be too difficult! Two people run into each other in the middle of the night; one has a desperate reason for being there, the other a casual one but they are connected through the addiction they share. This uneasy subject gives them a basis for a relationship. When the Pastor arrives it becomes clear that he may indeed share this painful secret with them as well. Our talented acting intern Erin Neufer and her co-stars are exploring different aspects of their characters while working together to form relationships in this uncomfortable, hopeful depiction of the struggle with alcoholism.

Juice by Nancy Gall-Clayton, directed by Yoleidy Rosario, featuring Tessa Reynolds, Delnaaz Irani and Joshua Mahaffey is a drama about…an alcoholic.

Thematically related to Clean, this play goes at the issue from a different place. This is about family and fear. Additionally Yoleidy has added a framing device that explores the inner psyche of the main character in the play. This exciting theatricality makes the piece’s tone completely different and yet they grapple with the same weakness in humanity. Theme nights are not our usual choice in the Forum but the illumination of both how multifaceted this issue is and how multifaceted our theatrical art form is in addressing it is an excellent argument in favor of choosing plays connected by subject matter.

Adam's Angels by Jacquelyn Priskorn, directed by Katherine Sommer, featuring Leigh Adel-Arnold, Scott Andrews, Jacob Lasser, Josh Martin, Caroline Ritchie & Elizabeth Wessa will be performed between the two plays described above giving us a touch of comic relief that may help us absorb the heavier content of the others.

Seeing Clean and Juice back to back made for a specific experience. Not a bad one at all. It had definite advantages but I’m guessing putting Adam’s Angels in the center, like a creamy filling, will be even better. This stylized comedy about Adam and Eve takes a modern approach, telling the bible story in a tongue in cheek manner. Gently poking fun at the concept of Woman as mere companion for Man the play has all of the Angels depicting aspects of humanity. If they are stereotypical they are nonetheless accurate in their comic representations of just a few of the possible types of companions Adam might have had. The team is clearly having a blast and will continue to explore the comic potential in this confection.

Assistant Director/Stage Managers Ashley Scoles and Elizabeth Swearingen were with me the whole way and are certainly enjoying a theatrical workout by participating in these three unique processes! I thank them for their work and insight all night long.

Week Three of the Winter 2010 Writer/Director Forum opens on December 16. I’m excited to re-experience this combination. It should be quite a ride!

Justine Lambert

Founding Artistic Director

Winter Forum 2010- Notes from Justine – Week 2

2010-11-23T12:56:00.000-08:00

Notes from Justine
Forum Rehearsal 11/22/10

Week Two of the Writer/Director Forum is a satisfying evening of theatre consisting of two basically realistic tales and one non realistic play. Interestingly, the stories of the two that take place in the real world are less concrete and revolve around character and location as much as storytelling while the one set elsewhere (not fully in the world but I won’t give away where) has quite the developed little plot.

First I watched a run through of No Boundaries by Yvonne Delet, directed by Eva Gabrielle Schelbaum, featuring Adam Auslander, Kimberly Carvalho, Alexandra Hiotakis, Gary Warchola & Michael Young.

The loose story about an evening at an open mike night shows us the insanity of people’s need to perform, be seen and express themselves. Equally, we observe the disregard they often have for others needs in pursuit of their own. This creative team is clearly having a blast creating the extreme characters and wonderfully quirky world of this play. Lots of fun character work is apparent in the acting and the setting is rendered with both love and ridicule by the author. Two weeks from now this has the potential to be a real treat of the ridiculous.

Inside the Three-0-Nine by Ruth Tyndall Baker, directed by Gretchen Ferris, featuring Bobby Gámez, Andrea Lattanzio, Genevieve Tarricco, Harrison Unger & Jill Wurzburg is quite a lovely little script!

Clocking in at thirteen minutes it manages to tell a touching story and make us care about the characters. Its brevity rarely, if ever, sacrifices the truth of what is being expressed. Gretchen and her ADs have a clear grasp of the piece and are telling the story with a light touch. Within that lightness the depth is beginning to emerge and I truly look forward to seeing this piece once it does. By the way, I don’t want to give away the story here because if you don’t know what the title means, the surprise element is delightful.

Less Talk, More Efficiency by Diana Stahl, directed by McKenna Dabbs, featuring Clio Davies, Keilly McQuail, Allison Whittinghill & Sharon Zaslaw is a bit wacky, which certainly fits in beautifully with the tone of No Boundaries!

Creating extreme characters isn’t the focal point for everyone in this piece however. There are some subtle ideas about the people’s lives and personalities being exposed here. This play is about Jess and Beth and seeing their lives juxtaposed against a stressful environment. It’s a comic and telling element in the play that this very stressful environment is ironically supposed to invoke peace. These two main characters seem pushed by their environment beyond the limits of a normal working relationship. I can’t imagine they are being paid well enough for this…but who knows; in this economy we’ll put up with plenty, won’t we?
Thank you, thank you, thank you to the beautiful and wonderful Assistant Directors/Stage Managers: Ava Kelley and Sarah Simmons for their help with keeping things going, and for their invaluable creative input all night long! It was a real treat getting to know them.

Week Two of the Winter 2010 Writer/Director Forum opens on December 9. I’ll be there with bells on!

Justine Lambert
Founding Artistic Director

ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT!

2010-11-18T09:47:00.000-08:00

November 17, 2010
ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT-January/February, 2011

Seeking proposals from theatre companies.

Grantee(s) will receive performance space (anytime between January 5-January 16, 2011 OR February 14-February 27, 2011) including one technical rehearsal, and marketing and publicity (text provided by you) to our email press and audience lists and a listing or link on our web site.
For JANUARY: Non Prime Profit sharing! 60% of ticket sales go to Looking Glass, 40% to Grant Recipient.

For FEBRUARY: Prime time Profit sharing! 75% of ticket sales go to Looking Glass, 25% to Grant Recipient.

Grantee shows will be credited as COMPANY NAME, in conjunction with The Looking Glass Space Grant Program, presents SHOW TITLE

Additional rehearsal time will be made available at a deep discount when available.

DEADLINE: Applications accepted now through Monday, December 6 at 6pm.
NOTE: Early submission encouraged for January applicants. Will be considered upon submission.

Proposals must be submitted via email to Artistic Director Justine Lambert at LookGlassJustine@aol.com as one (1) attachment. Companies are encouraged to make contact (via the above email address) in advance indicating their intent to apply and/or with any questions. Applicants will be contacted with the final decision no later than Friday, December, 10, 2010.

What you provide: A production(s) that reflects our mission statement.

OUR MISSION-Reflecting life on the stage with truth and theatricality while exploring a female vision. See web site for more! http://www.lookingglasstheatrenyc.com/

Bottom line-Either playwright or director must be female (both is great but not required). Cast must be half or more female (gender bending casts are accepted to meet this requirement). Female subject matter not required. We are a non union house. No project with AEA members can be considered.

1) The Proposal-A one-page description of the project including story, concept, and tone. Include running time. Include technical requirements and keep them MINIMAL, shows will be sharing the space.
2) Creative Team-List of all creative team members already on board with short bios. (Director or Playwright must already be chosen)
3) Space Request- Your ideal opening date and performance dates requested between January 5-January 16, 2011 OR February 14-February 27, 2011 (Maximum of 8 performances)
4) Marketing Description-A description of how you will attract a crowd!
5) Company Mission-Your mission statement and a description of activities along with current staff list.

Please put the above sections in their stated order and include the number and name of each section at the top of that section. Recommended length about four pages.

Scripts are not required but may be requested after initial proposal review.

Looking Glass Theatre is located at 422 West 57th Street (btwn 9th/10th Aves). 212-307-9467

Justine Lambert, Founding Artistic Director
Jenn Boehm, Co-Artistic Director/Managing Director

Winter Forum 2010- Notes from Justine

2010-11-16T10:38:00.000-08:00

Notes from Justine
Forum Rehearsal 11/15/10

The three plays chosen for this week of shorts are a truly fascinating bunch. While only The Plane Ride is overtly non-realistic none of these plays is merely what it appears on the surface.

What a quirky, challenging piece Melinda Prom has chosen! Written by our own Artistic Associate Karin Diann Williams, The Cleaning Service featuring Suzanna Chmielarz, Maria Concha, Rick J. Koch & Kelsey Ruvolo is a play about communication and sometimes about the lack thereof. Two maids who don’t speak each others’ language do more communicating with gestures and charade-like behavior while working than the occupants of the house they are cleaning can manage at their leisure. Acting however does communicate to us everything we need to know about both pairs (the two maids and the couple in the house they must clean). I hope the subtleties in this thirteen minute play continue to emerge in the next couple of weeks of rehearsal. After my conversation with Melinda I feel sure that they will indeed and be added to with a few subtleties of her own.

The Plane Ride by Diana Stahl, directed by Alex Mallory, featuring Shannon Altner, Andi Bohs & Mark Vashro is about a family about to crash. What will they do? Well really, what can they do? Panic, and talk, and… How will they resolve unspoken frustrations, questions and needs? Yet we ask as an audience, is there really a plane or is it just their dysfunctional lives that are about to crash into the Pacific Ocean? Alex and her team have a lot of choices to make and questions to answer for themselves as they continue to delve deep into the myriad meanings behind the complex dialogue of this play. We as an audience just get to sit back and enjoy the ride.

Mayan Mask by Lynn Snyder, directed by Jen Browne, featuring Victor Albaum, Eliza Huberth, Ashley Rutherford & Michael Wetherbee seems on its surface a realistic piece about a couple and their friends at a crossroads in life. Will Mitch change jobs and throw all their life plans into flux? Will turning thirty really mean giving up Joan’s dreams? But the spotlight also shines on the friendship between the two couples. This “best” friendship is questionable. How can you lie for selfish needs to your closest friends and what about that affair back in college? But what I would like to know is, is there anything real or valuable in this world? Do the big questions matter and are these questions about being fulfilled at work and feeling comfortable where you live or are they about the meaning of friendship and love? Am I even asking the right questions about this play? My interest is totally piqued! Perhaps the Playwright, Actors, Directors and Assistant Directors will let me know on opening night.

Much thanks to Assistant Directors/Stage Managers Alisha Silver and Abigail Strange for all their work! Extra thanks to Abby for holding it together while things are in flux and listening patiently all night.

Week One of the Winter 2010 Writer/Director Forum opens on December 2. Can’t wait!

Justine Lambert
Founding Artistic Director
Looking Glass Theatre

Betsy is Bored, Bored, Bored, Bored, Bored!- Rehearsal Notes From Justine

2010-09-29T14:20:00.000-07:00

Betsy is Bored, Bored, Bored, Bored, Bored! is off to an interesting start!

I was able to watch a rehearsal on Monday night and enjoyed the fresh fun character interpretations beginning to emerge. The kids are well… kid- like; spunky, whiney and cute. Betsy is a girl who just can’t stay bored for long. She tries to act like a typical “tween”: moping, complaining and protesting that she has no imagination but she quickly finds herself completely engaged in her own brain’s crazy machinations. She’s helpless in her inability to stay bored! Her big sister is even less able to remain cranky and seems completely excited by slinky races and even washing dishes! Dad is adorable, funny and likeable in his efforts to be the perfect dad and have the perfect family while weathering a long rainy day and Mom is so sweet that when she has to be the bad guy (by sneezing…) we can’t be mad at her. Then there’s the cat…hmmm, catty and sassy, she may just be the most human of them all but I’m still not sure I believe in her…

My chat with director Amanda Thompson was lots of fun. She already knew what I was going to say and I already knew that she would, but I think we still managed to be quite productive in our meeting. For anyone who is closely following my blogs; yes I definitely feel like I’m getting to know her more and more. 

Can’t wait for next Monday when I get to see it again!

Betsy is Bored, Bored, Bored, Bored, Bored! runs October 16-November 21.

Justine Lambert
Artistic Director
The Looking Glass Theatre - www.lookingglasstheatrenyc.com

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ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT-November, 2010

2010-09-01T13:15:00.000-07:00

August 31, 2010
ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT-November, 2010

Seeking proposals from theatre companies.

Grantee(s) will receive performance space (anytime between November 3-November 21, 2010) including one technical rehearsal, and marketing and publicity (text provided by you) to our email press and audience lists and a listing or link on our web site.

Prime time Profit sharing!
80% of ticket sales go to Looking Glass with 20% going to the Grant Recipient.
Grantee shows will be credited as COMPANY NAME, in conjunction with The Looking Glass Space Grant Program, presents SHOW TITLE

Additional rehearsal time will be made available at a deep discount when available.

DEADLINE: Applications accepted beginning now through Monday, September 13 at 6pm.
Final Deadline: Monday, September 13 at 6pm.

Proposals must be submitted via email to Artistic Director Justine Lambert at LookGlassJustine@aol.com
as one (1) attachment.
Companies are encouraged to make contact (via the above email address) in advance indicating their intent to apply and/or with any questions.
Applicants will be contacted with the final decision no later than Friday, September, 17, 2010.

What you provide: A production(s) that reflects our mission statement.

OUR MISSION-Reflecting life on the stage with truth and theatricality while exploring a female vision. See web site for more! http://www.lookingglasstheatrenyc.com

Bottom line-Either playwright or director must be female (both is great but not required). Cast must be half or more female (gender bending casts are accepted to meet this requirement). Female subject matter not required. We are a non union house. No project with AEA members can be considered.

1) The Proposal-A one-page description of the project including story, concept, and tone. Include running time. Include technical requirements and keep them MINIMAL, shows will be sharing the space.

2) Creative Team-List of all creative team members already on board with short bios. (Director or Playwright must already be chosen)

3) Space Request- Your ideal opening date and performance dates requested between 3-November 21, 2010 (Maximum of 12 performances).s

4) Marketing Description-A description of how you will attract a crowd!

5) Company Mission-Your mission statement and a description of activities along with current staff list.
Please put the above sections in their stated order and include the number and name of each section at the top of that section. Recommended length about four pages.

Scripts are not required but may be requested after initial proposal review.

Looking Glass Theatre is located at 422 West 57th Street (btwn 9th/10th Aves).
212-307-9467 http://www.lookingglasstheatrenyc.com/
Justine Lambert, Founding Artistic Director
Jenn Boehm, Co-Artistic Director/Managing Director

LOOKING GLASS PERFORMANCE SPACE GRANT

2010-08-19T11:46:00.000-07:00

August 12, 2010

ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT
September-October, 2010

Seeking proposals from theatre companies.

Grantee(s) will receive performance space (anytime between September 15-October 9, 2010) including one technical rehearsal; marketing and publicity (text provided by you) to our email press and audience lists; and a full show page on our web site. Additional rehearsal time provided at a discount rate when available.

Prime time Profit sharing! 80% of ticket sales go to Looking Glass, 20% to the Grant Recipient.

Grantee shows will be credited as COMPANY NAME, in conjunction with The Looking Glass Space Grant Program, presents SHOW TITLE

DEADLINE: Applications accepted beginning now through Monday August, 23 at 6pm.
Final Deadline: Monday, August 23 at 6pm.

NOTE: Companies requesting performance time in SEPTEMBER may submit early and request early decision.

Proposals must be submitted via email to Founding Artistic Director Justine Lambert at LookGlassJustine@aol.com as one (1) attachment.

Companies are encouraged to make contact (via the above email address) in advance indicating their intent to apply and/or with any questions.

Applicants will be contacted with the final decision no later than Friday August, 27, 2010.

What you provide: A production(s) that reflects our mission statement.

OUR MISSION-Reflecting life on the stage with truth and theatricality while exploring a female vision and creating a community of artistic freedom. See web site for more! www.lookingglasstheatrenyc.com

Bottom line: Either playwright or director must be female (both is great but not required). Cast must be half or more female (gender bending casts are accepted to meet this requirement). Female subject matter not required. We are a non union house. No project with plans for an AEA showcase can be considered.

1) The Proposal-A one-page description of the project including story, concept, and tone. Include running time. Include technical requirements and keep them MINIMAL, shows will be sharing the space.
2) Creative Team-List of all creative team members already on board with short bios. (Director or Playwright must already be chosen)
3) Space Request- Your ideal opening date and performance dates requested between September 15-October 9, 2010 (Maximum of 12 performances). NOTE: If you have a show that is ready to go up early in September please submit your proposal ASAP. This will increase your chances.
4) Marketing Description-A description of how you will attract a crowd.
5) Company Mission-Your mission statement and a description of activities along with current staff list.

Please put the above sections in their stated order and include the number and name of each section at the top of that section. Recommended length about four pages.

Scripts are not required but may be requested after initial proposal review.

Looking Glass Theatre is located at 422 West 57th Street (btwn 9th/10th Aves). 212-307-9467 www.lookingglasstheatrenyc.com

Justine Lambert, Founding Artistic Director
Jenn Boehm, Co-Artistic Director/Managing Director

ENGAGING IN DIALOGUE (Spring Forum 2010 Wrap Up)

2010-08-05T13:38:00.000-07:00

Founding Artistic Director of Looking Glass Theatre, Justine Lambert begins the complicated process of Post- Forum Wrap Ups. After every Looking Glass Writer/Director Forum, each director has a one-on-one meeting with Justine to discuss the Forum: what went wrong, what went right, the overall creative process and how each artist can continue to move forward in her relationship with the theatre.
PART ONE: Engaging In Dialogue

First I got to meet with Amanda Thompson, Director of Ampersand: A Romeo & Juliet Story - ACT II by Mariah MacCarthy. We’ve done this before. This was Amanda’s fourth Forum so I feel like I know her a little. Yes, only a little. Isn’t that funny? People take a long time to really get to know and sometimes artists even more so. We put our stories out there in our work so often our personas are a bit guarded. But I digress. I’m really enjoying the process with Amanda. She’s talented and smart and a really interesting person to boot! I hope our relationship continues to grow.

We had so much ground to cover in our meeting. We discussed the current summer acting internship, the upcoming children’s show Betsy is Bored, Bored, Bored, Bored, Bored!, a new script she’s interested in workshopping and of course Ampersand. I’m afraid that with so many subjects each one only got a few minutes, but a lot of good information came out of the discussions. I’m very excited to see what she’s going to do with Betsy not to mention many other projects going forward.

I’ve also had the opportunity to meet with the three first-time directors who each directed work by the lovely playwright Jennifer Barclay. Dara Malina directed Constriction; Laura Hirschberg directed Swallow It; and Alex Mallory directed Snapshot.

Having my first Forum follow up with these ladies was enlightening. So exciting to hear that Alex just worked with three-time Forum playwright Lauren Yee in the Samuel French Off Off Broadway Short Play Festival. Small world. Who knew that Dara worked at the Prospect Park Alliance in my own ‘hood, Park Slope? What a great place to have a day job. And I learned that Laura just directed a full blown production of the opera The Magic Flute at The Kaye Playhouse at Hunter College with costumes from the Met - “.very posh!” Wow, these ladies are up to such cool stuff!

One thing all three agreed on was that Jennifer Barclay was terrific to work with, described as “lovely,” “wonderful” and “adorable.” I think Alex expressed something we all felt; that having a playwright be so enthusiastic and appreciative makes us all proud of our work and helps us remember that we’re doing something valuable.

As always, I felt honored by the opportunity to discuss these artists’ processes and get inside their heads. I learn so much from these conversations it’s like an ongoing class in directing and theatre

Justine Lambert

Artistic Director

Looking Glass Theatre - http://www.lookingglasstheatrenyc.com/
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Follow our blog! http://lookingglasstheatre.blogspot.com/

Why We Rehash & Revisit

2010-07-22T13:41:00.000-07:00

WHY WE REHASH & REVISIT

Follow up meetings are essential. This is where I get to know the directors I work with as artists & and people.

What do we talk about? Well, there’s a formula of sorts. First we chat, sometimes a lot, sometimes a little. I love hearing about all the other projects these artists are working on and hearing a bit about their lives. And of course I enjoy telling people about me too :)

Then we get down to business and discuss the other artists involved in the project. [See my previous blog on this subject: http://justinelambert.tumblr.com/post/804249271/discussing-without-trashing] It's important to get this part done at the top and out of the way so we can move on to more artistic subject matter.

Here’s where it gets more loose and fun. We discuss the show; how it went, what went right, what went wrong and what the director might have wanted to change. I give what feedback I have after I’ve heard what she thought. It’s great to know when we already agree. Sometimes I really have something relevant to say that speaks to the process. My notes are informed by having seen a stumble through, had a discussion with the director right after it and two weeks later seen a performance. Being inside the process means that if we both know that actor “A” was a last minute replacement there may not be much reason to critique his performance. In this case we can hopefully focus on more relevant issues (such as how to avoid this problem in the future!).

Of course just as often this mostly feels like a chance to hear what went on from the inside. To understand how things went and why the chips fell where they did. In these cases most of what I have to say falls in the category of “yeah, uh, huh, oh,” Which is to say that listening and understanding the director’s goals is quite important at this stage.

I often get the chance to discuss what the director’s hopes are for the future. Not just “I wanna make a living as a director” but what kind of project(s) would you love to sink your teeth into next? What areas are you hoping to delve into in your work? This way I get an idea of what kind of artist she is or aspires to be.

For myself lately (this year at least) I’m feeling like telling stories with a point of view that is challenging. I want to tell stories that are not necessarily easy to agree with. I need to tell these stories through theatrical language. I do love realism of emotion, character and relationship and the truth of existing as a human always has a place in my work but I need to feel Why my work is on a Stage as opposed to being a novel, film or TV show. I need a touch of “Theatricality” with a capital T. I need to combine my love of Meisner technique and deeply real acting with my love of the avant-garde.

I happen to be right in line with what I hear from many of the talented inspiring ladies I have the privilege to work with and discuss our art with. My desires echo a lot of what I hear them saying lately.

Justine Lambert
Artistic Director
The Looking Glass Theatre - www.lookingglasstheatrenyc.com
Follow us on Twitter! http://twitter.com/LookingGlassNYC
Find us on Facebook! http://www.facebook.com/TheLookingGlassTheatre?ref=ts
Follow our blog! http://lookingglasstheatre.blogspot.com/

Notes from Justine-Forum Rehearsal 6/9/10

2010-06-10T08:31:00.000-07:00

Notes from Justine-Forum Rehearsal 6/9/10
Week 4 is the week for theatricality - with visions of hell, continuations of fairy tales and after a very long intermission; Act II of our lesbian, drag musical version of Romeo and Juliet. I’m so proud. No, really.

First up I saw Constriction by Jennifer Barclay, directed by Dara Malina, featuring Joey Faranda, Ava Kelley, Rachel Lin, Melanie Siegel, Jeanne Lauren Smith and Lizzie Stemper. So cool, so dark, so loud! We talked about the intensity, how to maintain it and yet give the audience time to take it in. We talked about the vulnerability of the characters whether they are good bad or ambivalent. These characters have the opportunity to be quite complex within the constraints of this ten minute play. Do we have time to see that? I think so. In the upcoming rehearsals the creative team will make the time.

The second play of the night Swallow It also by Jennifer Barclay, directed by Laura Hirschberg featuring Toccara Castleman, Lauren Hayes and Kevin Russo is a vision of what comes after the traditional fairy tale Hansel and Gretel. You may think you know. Well, this version is quite different. Yes, they did escape but not undamaged. Is the damage physical or psychological? I think I’d have to say both. You’ll have to see the play to find out more specifics. Laura and I also discussed character but focused more on relationship. We also had a lively talk about the time and place of this play. Oh, did I mention? The singing is great.

Finally I settled in to watch ACT II of Ampersand: A Romeo & Juliet Story by Mariah MacCarthy, directed by Amanda Thomspon, featuring Brigitte Choura, Doug Harvey, Lauren Hennessy, Jeremy Michael Lagunas, Teddy Lytle, Sarah Primmer, Kevin Reed and Jordan Tierney. Finally! Been waiting to see how this thing would play out since the last Forum! You do not want to miss this. You’ll be able to say “I was there when” about this one. Fabulous play, fabulous director. OK, it’s a workshop and it needs some polish. Characters, relationships, structure, logic, love, violence, reverse-gender acting, etc, etc, what didn’t we talk about? I know things will change in the next couple weeks but there are so many possibilities as to direction. Is Tybalt a monster or just a bit of a jerk? What kind of friend is Mercutio? What kind of mothers are Mrs. Capulet and Mrs. Montague? And….how deep is their love? Tune in June 24-27 to find out. Oh, I can’t talk about the singing in this one because I didn’t hear the songs last night, but it is indeed a musical. Can’t wait to hear what the composer/musical director has cooked up.

I have to thank the ADs Eva Gabrielle Schelbaum and Katherine Sommer for keeping the evening moving along. We weren’t always on time (partly thanks to my keys) but they were extremely helpful in making sure things kept going and we stayed on track, even starting the third play a little early !

Week 4 promises to be a fantastically theatrical culmination of a wonderfully diverse Forum.

THIS week we get to see some reinvented Shakespeare, too. Othello with a female Iago as part of week 2 opening on Thursday June, 10!

Justine Lambert
Founding Artistic Director, Looking Glass Theatre

Notes from Justine-Forum Rehearsal 6/3/10

2010-06-07T10:13:00.000-07:00

Notes from Justine
Forum Rehearsal 6/3/10

Another Wednesday another Forum rehearsal! Once again we have two highly diverse plays. Yet it seemed to me that both center on victimized female heroines. Now I’d bet you good money that both playwrights would argue with that word “victimized” and for some very good reasons. So, why are they victimized? That question came up in both discussions (perhaps not in so many words). I wonder if I’ll find out the answer in two weeks.

Leap Year by Kate Marks, directed by Ariel Francoeur, Featuring Mark Gordon, Brianna Kalish, Laura Killeen & Stacy Ann Strang was sharp, clear, abstract, absurd, vague, precise and touching. In a word; Kate Marks. Ariel, Gretchen and I had a lively discussion about everything ranging from acting to sound cues to the effect of aging on the energy of the soul. Sounds complex doesn’t it? So is the play, and yet only 20 minutes long. Oh, I almost didn’t mention the crazy multimedia aspect. Seems a large portion of the play I saw (in rehearsal it was all done live) will be video projection! I think it’s going to be super cool. If any group can handle this kind of technical challenge, this is the one.

Jane's Room by Monet Hurst-Mendoza, directed by Rebecca Lewis-Whitson, Featuring Rosemary Brownlow, Juan Carlos Diaz, Lindsay Dunphy & Noreen O'Neill is possibly a period piece, possibly a ghost story, possibly an abstract discussion on women being trapped. Also sounds complex doesn’t it? This 50-minute piece by a newcomer to our Forum has the luck of starring not one but two of our acting interns this season! The team and I had a long discussion, which was still going full steam when we were ever so politely interrupted by Do These Jeans Make My Butt Look Massive? needing to rehearse. On my way out, I had the chance to say hello to members of the cast of week one having their dress rehearsal. Whew, another busy busy night at Looking Glass.

Assistant director Gretchen Ferris was super helpful throughout the evening. I’m so glad to have had the chance to work with her.

I’m very excited that this week I get to see one of the first fruits of these labors come to the stage. I’m attending week one of the Writer/Director Forum tonight!

Justine Lambert
Founding Artistic Director

Notes from Justine- Forum Rehearsal 5/26/10

2010-05-28T09:46:00.000-07:00

Notes from Justine
Forum Rehearsal 5/26/10

The second week of the Writer/Director Forum could hardly be more different from week one. This evening consisting of two completely different pieces was a blast to watch in stumble-through mode last night. Technically both plays were surprisingly far along, with some costumes in place and a clear beginning of design elements such as light cues and sound already happening.

First I watched Do These Jeans Make My Butt Look Massive? by Donna Latham, directed by Jenn Womack, featuring Leigh Ann Heidelberg & Jenn Remke, a charming 10-minute slice of life. I almost feel that if I say very much about our post-rehearsal discussion I’ll give something away. Jenn, Morgan, Taryn and I had a lively discussion about relationship, acting choices and even music usage. Suffice it to say that we all understood each other and rehearsals for the next couple weeks should be lots of fun!

Next up was Othello by William Shakespeare, adapted and directed by Melody Erfani, featuring Charles Brice, Xiomara Cintron, Kay Capasso, Julia Falamas, Brandon Ferraro, Keith Hendershot, Amie Lytle, Sarah Miles, Cara Sanders & Yoko. Wow, this thing was really getting into shape with some super cool, post-apocalyptic costumes and tight choreography/concept blocking. Fun! That Shakespeare sure could cook up a hot mess, and this version maintains the super intense plot at less than half the original length. Oh, did I mention, Iago is a woman? Just in case the original wasn’t passionate enough for you. Isn’t that casting just so Looking Glass? Love it!

The two Assistant Directors Taryn Kimel and Morgan Anne Zipf were super helpful and they seemed fully tuned into both processes. I’m looking forward to getting to know their work better.

Can’t wait to see what brews in the next two weeks. This exciting evening opens on June 10!

Justine Lambert
Founding Artistic Director

--------------------------------------------------------------------------------

Notes from Justine- Forum Rehearsal 5/19/10

2010-05-21T07:26:00.000-07:00

es from Justine
Forum Rehearsal 5/19/10

Had a blast observing Week 1 Forum rehearsal last night. I have to say that the policy of observing two weeks before opening has been working out so well. These plays are in great shape and the next two weeks promise to be super productive!

First up was Behind the Scene by Lenore Blumenfeld, directed by McKenna Dabbs, featuring Joey Faranda, Lindsey Freeman, Ashley Kuske, Kate Mickere and Craig Peterson. This snappy 10-minute comedy was so sharp, so snappy that McKenna and I actually discussed slowing it down. I suggested that the comedy could be enhanced by deepening the emotional reality of some of the characters. A number of possibilities presented themselves. Which character has the most invested? I think McKenna’s choice may surprise you. It wasn’t set in stone yet so I may be surprised, too!

Next I watched Snapshot by Jennifer Barclay, directed by Alex Mallory, featuring Andrew Breving and Rachel Pfennigwerth. What a cool concept, and these actors really get a fun workout/challenge. The discussion with Alex afterwards about how to insure that the play was clear enough to be rewarding for the audience was rewarding in itself as I felt we understood each other and were on the same page about what’s needed in the next two weeks to make this little gem shine.

Third was Buried by Kate Marks, directed by Dana Dobreva, featuring Kiersten Armstrong, Frank Leone, Carolina Ravassa and Scott Raven T. This discussion, like the play itself was the most complex. Kate Marks always challenges and this play on the subject of subway buskers about to be violently ousted from their domain is no exception. Dana’s vision is clear and strong. I’m so excited to see it come to life.

Huge thanks to Laura Brienza the Assistant Director for the whole evening for sitting in with me and being a rock star for all three shows!

This was a very satisfying evening of theatre. As always, when I advise directors what I mostly want is more of their directorial voice. The play is best served when that voice comes through loud and clear. I can’t wait to see the finished product on June 3!

Justine Lambert
Founding Artistic Director, Looking Glass Theatre

LOOKING GLASS PERFORMANCE SPACE GRANT!

2010-05-14T11:48:00.000-07:00

May 14, 2010

ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT-July/August, 2010
Seeking proposals from theatre companies.
Grantee(s) will receive performance space (anytime between July 19-August 29, 2010) including one technical rehearsal, and marketing and publicity (text provided by you) to our email press and audience lists and a listing or link on our web site. Additional rehearsal time will be made available at a deep discount when available.
Special Summer profit sharing! - 70% of ticket sales go to Looking Glass; 30% go to Grant Recipient.

Grantee shows will be credited as COMPANY NAME, in conjunction with The Looking Glass Space Grant Program, presents SHOW TITLE

DEADLINE: Applications accepted beginning now through Monday, May 31 at 6pm
Final Deadline: Monday, May 31 at 6pm.

NOTE: Companies requesting performance time in JULY may submit early and request early decision.

Proposals must be submitted via email to Artistic Director Justine Lambert at LookGlassJustine@aol.com as one (1) attachment.

Companies are encouraged to make contact (via the above email address) in advance indicating their intent to apply and/or with any questions.

Applicants will be contacted with the final decision no later than Thursday, June 3, 2010.

What you provide: A production(s) that reflects our mission statement.
OUR MISSION - Reflecting life on the stage with truth and theatricality while exploring a female vision. See web site for more! http://www.lookingglasstheatrenyc.com
Bottom line - Either playwright or director must be female (both is great but not required). Cast must be half or more female (gender bending casts are accepted to meet this requirement). Female subject matter not required. We are a non union house. No project with AEA members can be considered.

SUBMISSION REQUIREMENTS: Please put these sections in their stated order and include the number and name of each section at the top of that section. Recommended length about four pages.

1) The Proposal - A one-page description of the project including story, concept, and tone. Include running time. Include technical requirements and keep them MINIMAL. Shows will be sharing performance and storage space.

2) Creative Team - List of all creative team members already on board with short bios. (Director or Playwright must already be chosen.)

3) Space Request - Your ideal opening date and performance dates requested between July 19-August 29, 2010 (maximum of 12 performances).
4) Marketing Description - A description of how you will attract a crowd!

5) Company Mission & Staff - Your mission statement, including a description of company activities and current staff list.
Scripts are not required but may be requested after initial proposal review.

Please note: Looking Glass Theatre is in an old and historic, but not air conditioned building. Shows should be appropriate for summer (light costumes, etc.)

Looking Glass Theatre is located at 422 West 57th Street (btwn 9th/10th Aves).
212-307-9467 ** www.lookingglasstheatrenyc.com

Justine Lambert, Founding Artistic Director
Jenn Boehm, Co-Artistic Director/Managing Director

Follow us on Twitter! http://twitter.com/LookingGlassNYC
Find us on Facebook! http://www.facebook.com/TheLookingGlassTheatre?ref=ts
Follow our blog! http://lookingglasstheatre.blogspot.com/

V- DAY 2010

2010-01-26T16:35:00.000-08:00

VDAY 2010
1.26.10
by Lucy Spain

In the wake of the earthquakes in Haiti, our nation is once again haunted by a reoccurring ghost. This ghost that keeps us awake at night is the millions of faces of the homeless in Haiti as we are daily bombarded by them through the media. There are millions of mothers, fathers, and children all fighting for their lives in Haiti, but this was true before the earthquake hit. As we focus our attention on the Haiti catastrophe for the moment, I wonder why it takes a national disaster and thousands of lives to bring light to this ongoing crisis.

As a resident of New York City I know that not a single day goes by that my attention isn’t alerted to the issue of homelessness. Like many other New Yorkers I always think – “My 10 cents won’t do any good, why can’t these people go somewhere and try to get real help for the root cause of their problems?” Some of my friends will recant – “It’s not that easy,” which leads me to wonder if there are organizations out there that really do create easy and accessible assistance.

This leads me to WIN (Women In Need). Women In Need is an organization that has provided assistance to the homeless since 1983. Upon first glance, I was astonished by the multi-faceted categories of help that WIN envelops. WIN helps people in the areas of alcohol/substance abuse and treatment, obtaining GED or ESL certificates, securing employment, HIV prevention, on-site child care, and housing to name a few. They offer two housing options, transitional and permanent, depending on individual situations. There are housing locations through out New York City in Manhattan, Bronx, and Brooklyn.

So back to the original obstacle; is it easy? After my research, I can say that yes, this organization is making it as straightforward as possible to help those in need. There is assistance on-site at WIN. First, the interested person or family must go through PATH (Prevention Assistance and Temporary Housing); which is open 24 hours a day, 7 days a week, including holidays. If the applicant can obtain shelter eligibility (which is available to both families and single adults) they will be joined with an organization like WIN.

The government may not be able to provide immediate help, but we need to let these people know that they can help themselves. They are their best advocate and enabler of getting themselves and their family off the streets. Clearly the homeless do not have access to our most popular forms of media - television, phones, and the internet. So it us our job to make sure this information is accessible and available to those in need.

This is my plea to you: After reading this, please do what you can to spread the word about WIN to the people who need it most. Instead of dropping a coin into a toboggan or guitar case, drop these numbers: WIN – 212-695-4758, PATH – 800-994-6494.

Please remember to focus on your direct community and those around you. Looking Glass Theatre makes this a priority and you can too by attending our upcoming V-Day New York City 2010 benefit performance of A Memory, A Monologue, A Rant and A Prayer on February 12th and 13th. Proceeds will go to benefit WIN here in New York City and York Street Project in Jersey City, New Jersey.
For more information please visit our web site at http://www.lookingglasstheatrenyc.com/

Season’s Greetings from Justine Lambert and Looking Glass Theatre!

2009-12-29T17:29:00.000-08:00

Season’s Greetings from Justine Lambert and Looking Glass Theatre!

My most recently received email was to our house managers about how to handle the SOLD OUT crowds for our final week of the Winter 2009 Writer/Director Forum. Luxury Problem!

This (among other joyous) success doesn’t mean we don’t need your support. Please give. I’m sure you’ve heard the pleas and perhaps are feeling the crunch yourself, but if you value theatre, creative freedom and what we do for our lovely lady (and men!) artists, just be as generous as you are able. Any amount from $1 to $1 Million will truly help! Click here to contribute – or mail your contribution to the address below. Remember, all contributions are tax-deductible!

Now back to the fun stuff. We are going into the next decade with a lot on our plate. Our first Mainstage show is actually an old one, March 13 – April 25, we’re bringing back Ready, Set, Story! If you’ve read my past blogs or letters, you’ll know already how much I adore this children’s play. It’s simply a perfect combination of fun and learning (think Leapster on stage, with mythology). Rose and Emily (director/author) couldn’t BE a better team!

Next up is 70 Million Tons….of icky sticky grimy muck! We theatre folk can’t help loving a good self referential comedy about theatre. This one’s about how companies like ours can fight the good fight and go green! Sounds like a heavy subject, perhaps but this is comedy through and through. Can a pretentious big wig save the world with a scrappy cast and crew in under an hour…..or else….God’s bringin’ it on, floodwise, AGAIN! We love that it’s funny and we love the opportunity to learn about how we and perhaps you our audience can be a part of the solution. The show is scheduled April 5 -28. Look for talkbacks and surround events on re-using, environmental conservation and, of course, green theatre practices.

Speaking of events we’ve got two great ones coming up in February 2010. We’re holding our first-ever clothing swap, so save all your “gotta get this outta my closets” and get ready to find new wardrobe treasure. AND we’re planning a V-Day event to support this amazing cause and give Rose Ginsberg the chance to create more beautiful theatre for a cause that she cares about deeply.
OMG, I’m super excited that we’re having long term Artistic Associate Jennifer Goodlander bring in her latest project. As yet untitled, it’s a Balinese Puppet show based on a Woman Warrior myth! So cool. And so cool to get our beloved Jennifer back once again. This is a very limited presentation in March so get tickets as soon as they become available.

Our next benefit (always a great party) will be Tuesday, April 13 and I have to mention our amazing upcoming Space Grant, wait, make that Grants - plural. We received such strong applications this round that we had to choose THREE winners! You will be seeing their information on our web site soon.

Hey, don’t forget there will be another incredible gathering of women directors/playwrights for the Spring 2010 Writer/Director Forum, June 3-27.

DARN IT (stronger expletive deleted). I don’t have space to brag about our just-ending fall season! Please go look at our blog our Facebook page and our web site – or follow us on Twitter – to read about it, because I’m crazy proud of Aliza, Shari, Rose, Emily, and Kenneth, to name but a few. And see pictures of the Benefit (amazingly organized by Megumi - AKA rock star) and the Winter FORUM!
Enjoy magical theatre dreams this holiday season,
Justine
Justine Lambert
Artistic Director
Looking Glass Theatre
422 West 57th Street
New York, NY 10019
http://lookingglasstheatrenyc.com/

THE LOOKING GLASS PERFORMANCE SPACE GRANT-Feb.-March, 2010

2009-12-18T07:50:00.000-08:00

ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT-Feb.-March, 2010

Seeking proposals from theatre companies!
Grantee(s) will receive performance space (anytime between February 17-March 6, 2010) including one technical rehearsal, and marketing and publicity (text provided by you) to our email press and audience lists and a listing or link on our website.

85% of ticket sales go to Looking Glass with 15% going to the Grant Recipient.
Grantee shows will be credited as COMPANY NAME, in conjunction with The Looking Glass Space Grant Program, presents SHOW TITLE

Additional rehearsal time will be made available at a deep discount when available.
DEADLINE: Applications accepted beginning Monday, December 14, 2009 through Monday, December 21 at 6pm.
Final Deadline Monday, December 21 at 6pm.

Proposals must be submitted via email to Artistic Director Justine Lambert at LookGlassJustine@aol.com as one (1) attachment. Companies are encouraged to make contact (via the above email address) in advance indicating their intent to apply and/or with any questions.

Applicants will be contacted with the final decision no later than Wednesday, December 23, 2009.

What you provide: A production(s) that reflects our mission statement.
OUR MISSION-Reflecting life on the stage with truth and theatricality while exploring a female vision. See web site for more! http://www.lookingglasstheatrenyc.com

Bottom line-Either playwright or director must be female (both is great but not required). Cast must be half or more female (for classics gender bending casts are accepted to meet this requirement). Female subject matter not required.

1) The Proposal-A one page description of the project including story, concept, and tone. Include running time. Include technical requirements and keep them MINIMAL, shows will be sharing the space.

2) Creative Team-List of all creative team members already on board with short bios. (Director or Playwright must already be chosen)

3) Space Request- Your ideal opening date and performance dates requested between February 17-March 6, 2010 (Maximum of 12 performances).

4) Marketing Description-A description of how you will attract a crowd!

5) Company Mission-Your mission statement and a description of activities along with current staff list.

Please put the above sections in their stated order and include the number and name of each section at the top of that section. Recommended length about 4 pages. Scripts are not required but may be requested after initial proposal review.

Please note: The Looking Glass Theatre is in an old and historic, but drafty building. Shows should be appropriate for winter (warm costumes, etc.)

The Looking Glass Theatre is located at 422 West 57th Street (btwn 9th/10th Aves). 212-307-9467 www.lookingglasstheatrenyc.com

Justine Lambert, Artistic Director
Jenn Boehm, Managing Director

ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT-

2009-10-27T10:02:00.000-07:00

October 23, 2009
ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT-January, 2010

Seeking proposals from theatre companies.
Grantee(s) will receive performance space (anytime between January, 12-31, 2010) including one technical rehearsal, and marketing and publicity (text provided by you) to our email press and audience lists and a listing or link on our website.
-85% of ticket sales go to Looking Glass with 15% going to the Grant Recipient.
-Grantee shows will be credited as COMPANY NAME, in conjunction with The Looking Glass Space Grant Program, presents SHOW TITLE.
-Additional rehearsal time will be made available at a deep discount when available.

DEADLINE: Applications accepted beginning Wednesday, Oct. 28, through Friday, Nov. 13 at 6pm
FINAL DEADLINE: Friday, November 13 at 6pm.

Proposals must be submitted via email to Artistic Director Justine Lambert at LookGlassJustine@aol.com as one (1) attachment.

Companies are encouraged to make contact (via the above email address) in advance indicating their intent to apply and/or with any questions. Applicants will be contacted with the final decision no later than Wednesday, November 18, 2009.
What you provide: A production(s) that reflects our mission statement.
OUR MISSION-Reflecting life on the stage with truth and theatricality while exploring a female vision. See web site for more! http://www.lookingglasstheatrenyc.com/

Bottom line-Either playwright or director must be female (both is great but not required). Cast must be half or more female (for classics gender bending casts are accepted to meet this requirement). Female subject matter not required.
1) The Proposal-A one page description of the project including story, concept, and tone. Include running time. Include technical requirements and keep them MINIMAL, shows will be sharing the space.

2) Creative Team-List of all creative team members already on board with short bios. (Director or Playwright must already be chosen)

3) Space Request- Your ideal opening date and performance dates requested between January 12-31, 2010 (Maximum of 12 performances).

4) Marketing Description-A description of how you will attract a crowd!

5) Company Mission-Your mission statement and a description of activities along with current staff list.
Please put the above sections in their stated order and include the number and name of each section at the top of that section. Recommended length about 4 pages. Scripts are not required but may be requested after initial proposal review.

Please note: The Looking Glass Theatre is located in an old and historic, but drafty building. Shows should be appropriate for winter (warm costumes, etc.).

The Looking Glass Theatre is located at 422 West 57th Street (btwn 9th/10th Aves).
212-307-9467
http://www.lookingglasstheatrenyc.com/
Justine Lambert, Artistic Director
Jenn Boehm, Managing Director

Pantene Beautiful Lengths Hair Donation Event a HUGE success!

2009-10-22T09:57:00.000-07:00

The Looking Glass Theatre's 2009 Pantene Beautiful Lengths hair donation event was a HUGE success!!

What an outstanding turnout we had!

We estimate that more than 200 inches of hair was cut and countless ponytails donated to make much-needed wigs!

It was a fantastic celebration of community and giving. We are ever-so-grateful to Mark, Veronica and the outstanding team at Mark Garrison Salon for contributing their amazing talents and time for this event.

Thanks also to more than 20 donors who lopped off their gorgeous locks for this great cause! And thanks to our Looking Glass staffers Justine, Jenn, Chanda, Rose, Erica and Karin ... we did it, ladies!

AND, hooray for Looking Glass alum Michelle Foytek joining the party! A wonderful surprise and a great gift!

We hope to make this annual affair, so start growing your hair now and join us next October for the 2010 event!

READY, SET,STORY!

2009-10-17T19:45:00.000-07:00

Ready, Set, Story opened October 10th and we're all so incredibly excited!

I have always loved mythology. As a kid, I spent hours poring over stories of enchanted animals, bickering gods and goddesses, and brave heroes (and heroines!) on impossible quests. My favorites were the clever tricksters who didn't look like much, but always managed to outsmart even the scariest monsters. These tales were epic yet familiar, magical yet human, ancient yet totally alive, and I couldn’t get enough of them.

With Ready, Set, Story! I set out to recapture the sense of wonder and excitement that I always got from my favorite myths, as well as their incredible imaginative power. These stories have been around for centuries but they never get old, and I wanted to invite audiences of all ages to explore their fantastical worlds with me.

The process of bringing this play to life has been more fun than I can say, thanks to the brilliance of the cast and production team. Spending the last month with these “actors at play” has been a joy for me, and I am sure you will enjoy their company as much as I do. So, as Anansi the Spider says, “Ready, Set... Story!”

-Rose Ginsberg, Director of Ready, Set, Story!

Ready, Set, Story! runs this Saturday, October 10 through November 22. Performances are every Saturday at 12 p.m. and 2 p.m. and every Sunday at 2 p.m. and 4 p.m.

BUSY WEEK!

2009-09-29T08:45:00.000-07:00

Notes from the Artistic Director:
It's been a BUSY WEEK!

Busy week: ASK SOMEONE ELSE, GOD got a fantabulous review! Check it out: http://www.nytheatre.com/nytheatre/showpage.php?t=ask8595

Busy week: I was charmed by my first look at READY, SET, STORY! rehearsal. This children’s script may be the most perfect we’ve had. It fits every bill, it’s soooo cute, with animals and silliness and fast moving action. But it’s also over-the-top educational, exposing the audience to four different myths from four different cultures AND even teaching a gentle lesson about knowing when making jokes and playing tricks is great and when it can be inappropriate. This cast is having so much fun and director Rose Ginsberg is leading them in a joyous exercise of fantasy, pretend and pure storytelling. I wish I were in this play. Being involved in this process looks like more fun than…..a barrel of spiders!
Busy week: I also observed some rehearsal for ARE YOU THERE ZEUS? IT’S ME ELECTRA. At first glance a non-theatre insider would wonder, “what the hell are they gonna do for 4 more weeks?” That’s right, they have over 4 weeks left to rehearse and have already been in rehearsal for over a week, so watching the funny, already blocked, well-acted rehearsal would leave one wondering, “what now?” But I know, I know Aliza Shane (director). No way “funny with competent blocking” is enough for her! That blocking will become EXCITING and SPECIFIC to the moment, that acting will become more than good. I see the seeds of character work that will bloom into over-the-top but still recognizable humans that we can’t help laughing with. I know that the clever cool script will become so much more. Aliza and her cast are still improvising to sharpen, heighten and make specific each encounter and drive the story to that inevitable bloody end. I have to admit I also wish I was in this play it too. Looks like just as much fun with a macabre twist!

Busy Week: Meeting # 1 “LOGO”: So ... we’re trying to revamp our look. OK, if you’ve been following Looking Glass at all over the last 16 years (yup, we’re a troubled teen) you know that we’re a THEATRE company, not a marketing firm. But some of the wonderful artists who make up our core have gently persuaded me of the need to revamp! Now, more than ever, marketing is paramount. Not only has the Internet taken over the world, but we’re in a recession. And the theatre business was already suffering BEFORE the recession. But this team of talented mavericks is confronting these challenges and revamping our branding. And it's gonna rock. So keep your eyes open for the unveiling of our new logo and website in 2010!"
Busy week: Meeting #2, “MARKETING”: Yup, more business. Gotta get the word out! I love the promotional items we’re planning on: Ready, Set, Story! bookmarks and Are You There Zeus? It’s Me Electra. Buttons! This stuff is so cute I probably won’t be able to keep them for myself cause the kids’ll want ‘em (even the non kid show Electra stuff is darn cute…).

Busy week: Meeting #3, “BENEFIT”: Oh and we gotta raise money too so we get to throw an amazing party twice a year! Much talk about acquiring food and drink as well as ticket prices (a good deal at $18 or $15 in advance). SAVE THE DATE Tuesday Nov., 10!
Busy week: Meeting #4 “FORUM”: On Saturday morning we got together with all the directors, assistant directors and interns for our Winter Writers/Directors Forum. Scripts have already been chosen and now the work begins!
OK, I’m tired just from writing it all down, gotta go take a nap now…..NOT!

:) Justine
Justine Lambert
Artistic Director
The Looking Glass Theatre

www.lookingglasstheatrenyc.com
follow our blog! http://lookingglasstheatre.blogspot.com/
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Looking Glass Saves The Day!

2009-09-22T11:49:00.000-07:00

Looking Glass Saves The Day
A Heartwarming Tale of a Random Tuesday Morning

Everyone here at The Looking Glass Theatre has been working very hard on current and future productions, events and forums, but I wanted to quickly share a unique experience from the theater this morning...

As you know, we offer space grants to artists throughout the year. This spring we had some particulary wonderful groups present shows at the Looking Glass, great and funny groups of young and talented folks.

This morning - about 8:45am - a woman comes into the theater quite flustered. She explains that she was part of one of the space grant shows from the Spring and that she's on her way to a 9am interview at CBS around the corner... but she forgot to pack her shoes when she left home and is wearing flip flops. Fighting back tears, she asks if she can borrow my shoes or the shoes of the intern working in the office with me today. But we're both also wearing flip flops. Feeling defeated and out of options, she's overwhelmed by her situation and begins to cry, unsure of what to do next. Seriously, this gal is breaking my heart! Haven't we all had moments like this?
We offer to let her use a pair of shoes from our costume stock, if she can find something suitable. We go into the costume room and pull out the shoe tubs. The first pair of wearable shoes she finds and tries on are... a perfect fit! With a beaming smile, she dashes out the door proclaiming her gratitude and promising to return shortly to bring back this generous loan.

About 40 minutes later, she's back - shoes in hand - and a thousand times happier. Hopefully, she gets the job (whatever it may be, we really didnt' have much time for details!) and remembers us fondly... and tells the world (and maybe a television audience someday) about this very special experience!!
:)
-------------------------------------------------------
Jenn Boehm
Managing Director/Artistic Associate
The Looking Glass Theatre
http://www.lookingglasstheatrenyc.com/

Sneak Peak!

2009-09-18T07:56:00.000-07:00

Check out this sneak peek of ASK SOMEONE ELSE, GOD!

http://www.youtube.com/watch?v=cSmuyIsYKbg&feature=channel

Interview with director Shari Johnson about Ask Someone Else, God, a surreal comedy about the prophet Jonah, written by Kenneth Nowell.

www.lookingglasstheatrenyc.com

ASK SOMEONE ELSE, GOD - September 9 - October 4
Wednesday - Saturday @ 8pm, Sunday @ 5pm
ADDRESS: 422 WEST 57TH (btwn 9th/10th Aves)
TICKETS: www.lookingglasstheatrenyc.com or (212) 352-3101

News from Justine Lambert & The Looking Glass Theatre!

2009-09-09T07:55:00.000-07:00

WELL... Our fall season is upon us! Everyone always says that summer flies by, but when you’re producing three plays and a festival, it really zooms!

Ask Someone Else, God is happening now - in fact, it opens tomorrow (9/9/09)! I’m so excited by this show. The texture of the project is just what I love: deep emotion mixed with complex theatricality. Read more thoughts on this project and subject on our blog at http://lookingglasstheatre.blogspot.com/.

We also have a fun new children’s show coming up: Ready, Set, Story! How Katie Saved the Sneaky Spider’s Tales. You wouldn’t believe how much discussion went into that title!

In fact, titles have been a big issue this season. A lot of people were a bit scared of the Ask Someone Else, God choice. Many suggested changes, all of which included removing the word “God.” Yes, I admit I am a bit afraid to alienate people with that one word. But God is universal, whatever you call her, and so is this play. It’s based on a bible story and tells us about modern pain, through surreal comedy. What could be better? Check out photos at http://www.facebook.com/TheLookingGlassTheatre?ref=ts.

Ready, Set, Story! is about the stories of religion, the myths created by different cultures to explain the unexplainable. We all need some explanation. This play explores through the eyes of a child some of the funniest explanations humanity has come up with. This play (so well written by Emily Paul) manages to be funny and adorable entertainment while still imparting some real wisdom to our littlest theatre goers.

Next up, we have Are You There Zeus? It’s Me, Electra about a teenager who has REAL parental issues. No problems with the title on this one. We all LOVE it! And yes, there’s a deity in there, too. Perhaps our fear of the all-powerful is manifesting itself in our theatrical choices this season. We disenfranchised, poor, rebellious artists are seeking something bigger in this time of economic crisis. Luckily for our audience, rarely has there been assembled a more entertaining yet thought provoking trilogy of plays.

Last, but oh-so-not-least, one of my favorite collaborative and creative events within our programming: the Writer/Director Forum. Our semi-annual festival of new works features the wonderful talents of emerging female playwrights and directors…we have a fantastic group onboard and it’s going to be an amazing Forum!

AND, offstage this October, as part of our Breast Cancer Awareness efforts, we’re doing a GREAT event with Pantene Beautiful Lengths and Mark Garrison Salon – a group hair donation! We encourage everyone to join our staff and artists and donate their hair to create free, real-hair wigs for women who've lost their hair due to cancer. Spread the word and snip, snip, snip for an important cause with us!

Have I mentioned that I’m pretty excited about Fall ’09?

By the way, our managing director will want to be sure we ask for money. GOD knows we need it! Whether you can give one dollar, 10 dollars, 100 dollars or more… your contribution will go a long way this Fall!

All the best and enjoy the show… make that shows!
Justine :)

Justine Lambert
Artistic Director
The Looking Glass Theatre
http://www.lookingglasstheatrenyc.com/

Find us on Facebook! http://www.facebook.com/TheLookingGlassTheatre?ref=ts

Follow our blog! http://lookingglasstheatre.blogspot.com/

Your contribution counts! https://www.ovationtix.com/trs/store/881/donate

ASK SOMEONE ELSE, GOD- Notes from the Director

2009-08-25T07:52:00.000-07:00

NOTES FROM THE DIRECTOR
Shari Johnson

In Ask Someone Else, God, Ken Nowell has graciously given a director a lot of room to experiment. In order to make the production a sensory rich event, I decided to make all the sounds of the show live. For almost every scene, one actor or more is off to the side providing a soundscape. I tried to use everyday objects to make the sounds and also tried to find objects that relate to the scene. For example, the restaurant scene's sounds are made by a water glass and silverware. The argument scene in the city is accompanied by snick and click of spray cans. Finding and playing with these objects has been fun and exciting. It's surprising to discover the different sounds one object can make. When we find the right sound to balance the scene it's immediately obvious to all. I'll look over at my two AD/SM's (assistant director/stage manager) and we'll nod our heads and say "That's so cool!"

Ken wrote a scene towards the end of the play that is inspired by Thornton Wilder's Our Town. Like Wilder's Mrs. Gibbs and Mrs. Webb, two women sit and gossip while miming snapping beans. I wanted to find something that would make the sound of the snapping beans, something that was reproduce-able. One person suggested breaking pasta. That would be a perfect sound, snapping spaghetti, but it would leave us with a lot of broken pasta. Every night we'd have to have inches of spaghetti for dinner.

During some down time one afternoon at my workplace, I was looking around for inspiration. I tried clicking pens, snapping paper, shaking potato chip bags- nothing seemed to replicate the sound of a bean's stem being snapped off. I came across one of the plastic yellow woven strips used in binding large boxes. When I flicked it with my finger, it made a passable snapping sound. Happy with my discovery, I took the strips to rehearsal.

When I pulled them out for the scene and tried to demonstrate their usage, I was dismayed to discover that the noise didn't carry at all. What sounded great in the office was swallowed by the large theatre space! I handed the strips to my actors, challenging them to fix my "great idea". No problem; within half a minute, actor Adriana Disman had figured out a way to fold the strips over to double them and flick them against each other, doubling the sound. She quickly showed the other actor what she was doing and we got down to rehearsing the scene. We made a few adjustments, such as placing the sound makers where they can see the speaking actor's hands. We let everyone practice so that miming and the sound were timed perfectly together. Eventually, things started to click (or snap?). Maureen, one of my AD/SM's turned around to look at me. "That's so cool!"

-Shari Johnson
Director of Ask Someone Else, God

Notes from Justine Lambert on ASK SOMEONE ELSE, GOD

2009-08-21T08:26:00.000-07:00

Notes From Justine
Ask Someone Else, God
Rehearsal Observation

On Tuesday, I witnessed heart wrenching scenes between Husband and Wife, punctuated by extreme comedy between Father and Son.

Man, I love abstract theatre, but it sure is hard. Many “experimental” scripts aren’t. What they are is confusing, unclear and at worst meaningless. Don’t get me wrong; complete abstraction can be brilliant (Richard Foreman), but that’s not what I’m talking about here. I’m talking about trying to use surrealism to say something. That’s what Ask Someone Else, God is for me.

From the start I thought this marriage of Playwright and Director might be magic. I dared not hope too hard that the timing and circumstances would come together to make this project come to fruition. The skills and clarity of Shari blended with the surrealism and depth of Ken could be such a beautiful thing I could only pray (nice choice here, don’t you think?) that it might work out. Miracle of Miracles, it did.

So what I’m beginning to see emerge in rehearsals is that thing I continually seek: important observation about human nature and emotion told truly using theatre, not merely people talking (not that that can’t be brilliant-Williams, Miller, O’Neill). The stage offers a different medium for exploring this human world of ours, and I glory in the tricks of the trade. Realism mixed with experimentation is pure theatrical joy. This mix of material and director seems to be toying with this combination in ways that tickle and touch me.

The Jonah story here is about a person disheartened, discouraged, and beaten down by life, work and society, not to mention the themes of fatherhood and responsibility that run through the piece. Jonah is dealing with all of this by having a nervous breakdown, but instead of a therapist he has GOD. Yes, it’s Her, the Supreme Being, and she’s chatting with Jonah. Is it in his head? Not sure. But it’s certainly in the theatre. It’s jumping around in time and using wonderful simple transitional techniques to create both story and place without being a slave to “how.” Things happen. HOW is skirted, toyed with, and sometimes ignored - but never casually. We (the theatre audience, people who love this stuff) know we are in strong hands with Shari and Ken. They know how to bring it home, sew it together and make it resonate, sometimes with solid clear answers and deep human meaning, sometimes with more questions ... but always with purpose.

Justine Lambert
Artistic Director
The Looking Glass Theatre
www.lookingglasstheatrenyc.com
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ASK SOMEONE ELSE, GOD Rehearsal Photos

2009-08-12T18:43:00.000-07:00

Rehearsal Photos From

ASK SOMEONE ELSE, GOD

8/11/09

----------------------------------------------------------------------------------

Woman: Ugh! Nineveh! [She spits]
Jonah: You have a strong opinion.

Featuring: Janelle Mims, Will Ellis, Ricky Dunlop

----------------------------------------------------

Bound Man: You know, you might find it fascinating: one can’t tie oneself up like this

without assistance.
Jonah: I wouldn’t think so.
Bound Man: Essentially, it is impossible.
Jonah: Yet there you are.
Bound Man: Here I am.
Jonah: Obviously you had assistance.
Bound Man: Yes, but it’s not usually called that.

Featuring: Will Ellis, Hanlon Smith-Dorsey

-----------------------------------------------------

Captain: Well, what sort of scream was it? Fury?
First Fisherman: Aaaahhhhh!!!
Captain: Or terror.
Second Fisherman: Iiiiiiieeeeaaaa!!!

Featuring: Courtney Kochuba, Kristen Niché-Jeter, Adriana Disman, Will Ellis, Mary Regan

------------------------------------------

Jonah: One does feel the impulse to cry out for salvation. An absurd impulse. To cry out for release from the logical consequences of a chosen course of action. ... [Another splash]

Uh! Cough! Ah! Help! Help! Help! Save me! Sa …

Featuring: Will Ellis, Ricky Dunlop, Courtney Kochuba, Kristen Niché-Jeter, Adriana Disman, Mary Regan, Hanlon Smith-Dorsey

----------------------------------------------------------------------------------------------

The Looking Glass Theatre proudly presents the world premiere of ASK SOMEONE ELSE, GOD, a surreal comedy about the prophet Jonah-written by Kenneth Nowell and directed by Shari Johnson. ASK SOMEONE ELSE, GOD opens Wednesday, September 9. Performances are Wednesday through Saturday at 8 p.m. and Sunday at 5 p.m from September 9- October 4.

ASK SOMEONE ELSE, GOD (Opens Sept 9)

2009-08-01T13:15:00.000-07:00

Who’s that lady? Wait, that’s no lady, that’s the Super-Essential Godhead, source of all being! And she wants Jonah to go to Nineveh. But how does he feel about it?

The Looking Glass Theatre proudly presents the world premiere of ASK SOMEONE ELSE, GOD, a surreal comedy about the prophet Jonah written by Kenneth Nowell and directed by Shari Johnson, as part of its exciting Fall 2009 lineup.

Ask Someone Else, God opens at The Looking Glass Theatre, 422 West 57th Street, on Wednesday, September 9. Performances are scheduled every Wednesday through S aturday at 8 p.m. and every Sunday at 5 p.m. through October 4.

About The Show:
Jonah is simultaneously God’s prophet and a burned-out businessman working through personal issues. Just as he’s finally escaped the clutches of dehumanizing urban life and the suffocation of a middle class lifestyle, God commands him to return to Nineveh with a message of repentance. Jonah journeys first away and then towards his destiny through a kaleidoscopic dreamscape that evokes the worlds of folktales, Kafka and the Marx Brothers. And there’s that whale part.

Notes from the Director:
Shari Johnson uses the rich musicality of composer/playwright Kenneth Nowell’s text to create a layered production. Along with the songs inherent in the script, (sailors sing sea chanteys, prophets chant prophesy), the ensemble cast creates a live soundscape using both voices and props. Imagine humming and hand drums, the snick of a spray can or jars of water to create the sounds of the sea. The stage will be transformed with bizarre and unusual props, everything from skeletons to children’s flotation toys. Ask Someone Else, God celebrates and explores the absurdities of life along with its difficult choices. Expect deep laughs and deeper thoughts.

Justine LambertArtistic Director
The Looking Glass Theatre

www.lookingglasstheatrenyc.com

ASK SOMEONE ELSE, GOD

2009-07-28T07:41:00.000-07:00

ASK SOMEONE ELSE, GOD
A surreal comedy about the prophet Jonah

Written by Kenneth Nowell
Directed by Shari Johnson

September 9 - October 4

In ASK SOMEONE ELSE, GOD, a mysterious lady approaches Jonah. Wait, that’s no lady. That’s the Super-Essential Godhead, source of all being! And she wants Jonah to go to Nineveh. But how does he feel about it? Jonah is simultaneously God's prophet and an average person, a chosen messenger resisting his calling and a burned-out businessman working through personal issues. Just as he's finally escaped the clutches of a dehumanizing urban life and the suffocation of a middle class lifestyle, God commands him to return to Nineveh with a message of repentance. Jonah journeys first away and then towards his destiny through a kaleidoscopic dreamscape that evokes the worlds of folktales, Kafka and the Marx Brothers. And there's that whale part.

From the Playwright:
“The major inspiration for the work,” says the playwright, “was Elie Wiesel’s FOUR HASIDIC MASTERS AND THEIR STRUGGLE WITH MELANCHOLY. It profiles some 18th century spiritual leaders who felt a duty to share a message of love and hope in spite of feeling fundamentally depressed. Jonah struck me as archetypal in this regard. He saves and entire city from God’s wrath, and it makes him miserable.”
Nowell adds: “I wrote the core of the play after my first child was born. Like many new fathers, my joy was mixed with melancholy. I didn’t feel like a success in life. I didn’t know what I had to offer. I didn’t know that I could assure my daughter that the world was a good place. Yet looking ahead, I know that I have a duty to encourage hope. Ironically, there is something funny about this situation.”

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SPRING FORUM 2009- PRODUCTION BLOGS

2009-06-15T07:58:00.000-07:00

FORUM BLOGSSPRING 2009 WRITER/DIRECTOR FORUM
A semi-annual festival of new works featuring women playwrights and directors
JUNE 4 -28

Another set of blogs about our upcoming Forum:

NOTES FROM WEEK THREE, June 18-21

Please Remove this Stuffed Animal From My Head by Crystal Jackson, directed by Rebecca Lewis-Whitson
Featuring Andrew Hargrove, Sergio LoDolce, Jack Payne and Rosanna Plasencia

Casina by Plautus, adapted & directed by Jacquelyn Honeybourne
Featuring Katherine Booze-Mooney, Lindy Flowers, Laura Harrison, Sarah Pullman, Hanlon Smith-Dorsey and Audrey Yeoman

WEEK THREE AD: Elizabeth Carlson

Casina rehearsals have been going splendidly! The actors are well off book, with some paraphrasing/ad-libbing exceptions that actually work better than some of the true lines (thank you Lysidamus). The show has been a collaboration between myself and our actors, so when these ad-libs work, we're all more than willing to make them permanent. Looking Glass acting intern Katie Booze-Mooney, who plays Olympio, has come up with several good moments of improv herself which are now integrated into the script. We're now in the home stretch and making smaller, perfectionist adjustments most of which have to do with cranking that “character amp” up to 11. We're finding slight and specific ways to hone in and fine tune. Chalinus has developed a habitual manly scratch which is hilarious and Pardalisca is developing an inappropriate laugh that's cracking everyone up. Also, together with the actress playing Cleostrata, we've perfected the quick switch from jealous /harpy/mad woman to loving/hurt wife. All in all it's wonderful and we laugh until it hurts. I hope we get an audience, or as our Player calls them "Good spectators, men and women," ready to chuckle.

- Jacquelyn Honeybourne, Director of CASINA

For more info and tickets go to our website; www.lookingglasstheatrenyc.com
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SPRING FORUM 2009- PRODUCTION BLOGS

2009-06-10T07:52:00.000-07:00

FORUM BLOGS
SPRING 2009 WRITER/DIRECTOR FORUM
A semi-annual festival of new works featuring women playwrights and directorsJUNE 4 -28

Another set of blogs about our upcoming Forum:

NOTES FROM WEEK TWO, June 11-14

Canned Deux by Siobhan Antonioli, directed by Sara Moncivais
Featuring Cristina Lombardi and Laura Sorensen

The Reason Why I Lie by Chelsea Sutton, directed by Cristina Knustson
Featuring Ramesh Ganeshran, James Luster, Michelle Silvani and Kate Weinberg

Chasing Pavement written & directed by Krystal Osborne
Featuring Max Feist, Karen Green, Jeffery Howson, Lucia Mazzola, Victoria Scott and Brandon Wood

WEEK TWO AD: Alicia Mangelsdorf

I am a part of the upcoming production of Chasing Pavement. Up to this point, the rehearsal process has been very invigorating for me. The director is very encouraging of each actor making his/her own choices. In return, this experience has made me grow as an artist. It has taught me to trust my own instincts and those of my ensemble. I'm havinga wonderful time and am already dreading the close of the play. Not to mention; it has been one of the most welcoming cast of actors I've had the pleasure of working with!

-Victoria Scott, Ann in Chasing Pavement

For more info and tickets go to our website; www.lookingglasstheatrenyc.com
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THE LOOKING GLASS PERFORMANCE SPACE GRANT-August 2009

2009-06-03T08:45:00.000-07:00

The Looking Glass Theatre
ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT-August 2009
Please note: New SUMMER ONLY profit sharing!

Seeking proposals from theatre companies.

Grantee(s) will receive performance space (anytime between August 10- 23, 2009) including one technical rehearsal, and marketing and publicity (text provided by you) to our email press and audience lists and a listing or link on our website.

For Summer month Space Grants; 70% of ticket sales go to Looking Glass with 30% going to the Grant Recipient.

Grantee shows will be credited as COMPANY NAME, in conjunction with The Looking Glass Space Grant Program, presents SHOW TITLE
Additional rehearsal time will be made available at a deep discount when available.

DEADLINE: Applications accepted beginning Tuesday, May 26 through Tuesday, June 9 at 6pm.
Final Deadline Tuesday, June 9 at 6pm.
Proposals must be submitted via email to Artistic Director Justine Lambert at LookGlassJustine@aol.com as one (1) attachment.
Companies are encouraged to make contact (via the above email address) in advance indicating their intent to apply and/or with any questions.
Applicants will be contacted with the final decision no later than Friday, June 12, 2009.

What you provide: A production(s) that reflects our mission statement.

OUR MISSION-Reflecting life on the stage with truth and theatricality while exploring a female vision. See web site for more! http://www.lookingglasstheatrenyc.com
Bottom line-Either playwright or Director must be female (both is great but not required). Cast must be half or more female (for classics gender bending casts are accepted to meet this requirement). Female subject matter not required.

1) The Proposal-A one page description of the project including story, concept, and tone. Include running time. Include technical requirements and keep them MINIMAL, shows will be sharing the space.
2) Creative Team-List of all creative team members already on board with short bios. (Director or Playwright must already be chosen)
3) Space Request- Your ideal opening date and the number of performances requested between August 10- 23, 2009 (Maximum of 8 performances).
4) Marketing Description-A description of how you will attract a crowd!
5) Company Mission-Your mission statement and a description of activities along with current staff list.

Please put the above sections in their stated order and include the number and name of each section at the top of that section. Recommended length about 4 pages.

Scripts are not required but may be requested after initial proposal review.

Please note: The Looking Glass Theatre is not air conditioned. Shows should be appropriate for summer (light weight costumes, etc.)
Also note: This is our final Space Grant for 2009!

The Looking Glass Theatre is located at 422 West 57th Street (btwn 9th/10th Aves).
212-307-9467 www.lookingglasstheatrenyc.com
Justine Lambert, Artistic Director
Jenn Boehm, Managing Director

SPRING FORUM 2009- PRODUCTION BLOGS

2009-05-26T08:11:00.000-07:00

FORUM BLOGS

SPRING 2009 WRITER/DIRECTOR FORUM
A semi-annual festival of new works featuring women playwrights and directors
JUNE 4 -28

Another set of blogs about our upcoming Forum:

NOTES FROM WEEK FOUR, June 25-28

Potato Girl by Christine Rusch , directed by Amanda Thompson
Featuring Amie Lytle, Jim Staudt & Danielle Trzcinski

The Things She Kept by Aoise Stratford, directed by Fran Acuna
Featuring Emily Fortunato, Ashley Lovell & Meghan Powe

---------------------------------------------------------------------------------------
Being in week four, we have really been able to take our time and experiment with different ideas during the beginning of our rehearsal process. We’ve been playing with a very stylized version of acting, and using music to underscore the entire piece, making it more dynamic.

Today we had a research focused rehearsal. We looked at images that related to our play to give us inspiration and ideas for movement and body shapes. We also read material that pertained to the play to give us an idea of how people in more rural areas of the country live.

I really love the group of people that I have been working with. They’re all eager to contribute during rehearsal and willing to try new and slightly more experimental things. We have been able to work very collaboratively, and I’m excited to see what comes out of this rehearsal process.

-Amanda Thompson, Director of Potato Girl
---------------------------------------------------

So far we’ve had three rehearsals and the show has really changed since the first read -thru. We’ve played with music and creating pictures and have really explored the language and region in the play. For me the script was a bit hard to understand at first, but the more we go through it the more I learn and I love making discoveries with my fellow cast mates. I think the hardest part so far is scheduling because we all have such crazy lives. The solution: 9AM rehearsals!! It’s worth it though… :)

-Danielle Trzcinski, Spring 2009 Acting Intern, and Dorothy in Potato Girl
--------------------------------------------------

Potato Girl has been a thrilling rehearsal process so far! It is amazing how much the story comes alive with every new exercise we have attempted under Amanda's guidance. We are working to depict the bleakness of the characters’ lives using music and montage while still pursuing honest connections between the characters. Everyone has been fabulous to work with and I am so grateful for the open dialogue between the director and actors in this project!

- Amie Lytle, Narcilla in Potato Girl
---------------------------------------------------

As the AD/SM for Week Four, I am blessed to be stress free for the moment. It is nice to be able to take the time to iron out scheduling, find the perfect font for prop lists, and experiment with extreme styles in rehearsal. The directors, Fran and Amanda, are happy to answer my questions about their techniques and their motives for exercises. My focus is to extract as much knowledge from these two ladies as possible!

I’m realizing that I have responsibilities to the forum as well as to my productions. Helping out at the mailing party, house managing, and making connections to the other AD/SM’s are small ways to help out the festival as a whole. I’m going to try to keep working this aspect of the job, since my first instinct is usually to stay in my comfort zone, and NOT to volunteer! Maybe working with lots of people will force me to be a little more selfless.

- Ariel Francoeur, Assistant Director/Stage Manager for Potato Girl and The Things She Kept
----------------------------------------------------------

For more info and tickets go to our website; http://www.lookingglasstheatrenyc.com/
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PERFORMANCE SPACE GRANT

2009-05-21T09:46:00.000-07:00

The Looking Glass Theatre
May 21, 2009
ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT-August 2009
Please note: New SUMMER ONLY profit sharing!

Seeking proposals from theatre companies.

Grantee(s) will receive performance space (anytime between August 10- 23, 2009) including one technical rehearsal, and marketing and publicity (text provided by you) to our email press and audience lists and a listing or link on our website.

For Summer month Space Grants; 70% of ticket sales go to Looking Glass with 30% going to the Grant Recipient.

Grantee shows will be credited as COMPANY NAME, in conjunction with The Looking Glass Space Grant Program, presents SHOW TITLE
Additional rehearsal time will be made available at a deep discount when available.

DEADLINE: Applications accepted beginning Tuesday, May 26 through Tuesday, June 9 at 6pm.
Final Deadline Tuesday, June 9 at 6pm.
Proposals must be submitted via email to Artistic Director Justine Lambert at LookGlassJustine@aol.com as one (1) attachment.
Companies are encouraged to make contact (via the above email address) in advance indicating their intent to apply and/or with any questions.
Applicants will be contacted with the final decision no later than Friday, June 12, 2009.

What you provide: A production(s) that reflects our mission statement.

OUR MISSION-Reflecting life on the stage with truth and theatricality while exploring a female vision. See web site for more! http://www.lookingglasstheatrenyc.com
Bottom line-Either playwright or Director must be female (both is great but not required). Cast must be half or more female (for classics gender bending casts are accepted to meet this requirement). Female subject matter not required.

1) The Proposal-A one page description of the project including story, concept, and tone. Include running time. Include technical requirements and keep them MINIMAL, shows will be sharing the space.
2) Creative Team-List of all creative team members already on board with short bios. (Director or Playwright must already be chosen)
3) Space Request- Your ideal opening date and the number of performances requested between August 10- 23, 2009 (Maximum of 8 performances).
4) Marketing Description-A description of how you will attract a crowd!
5) Company Mission-Your mission statement and a description of activities along with current staff list.

Please put the above sections in their stated order and include the number and name of each section at the top of that section. Recommended length about 4 pages.

Scripts are not required but may be requested after initial proposal review.

Please note: The Looking Glass Theatre is not air conditioned. Shows should be appropriate for summer (light weight costumes, etc.)
Also note: This is our final Space Grant for 2009!

The Looking Glass Theatre is located at 422 West 57th Street (btwn 9th/10th Aves).
212-307-9467 www.lookingglasstheatrenyc.com
Justine Lambert, Artistic Director
Jenn Boehm, Managing Director

SPRING FORUM 2009- PRODUCTION BLOGS (The 1st of a series..)

2009-05-18T14:28:00.000-07:00

FORUM BLOGS

SPRING 2009 WRITER/DIRECTOR FORUM
A semi-annual festival of new works featuring women playwrights and directors
JUNE 4 -28

Here is the first in our series of blogs about our upcoming Forum:

NOTES FROM WEEK ONE, June 4-7
Without by Laura Rohrman, directed by Melody Erfani
Featuring Michelle Burns, Joey Faranda & Matt Turzilli

All the Pretty Girls by Pia Wilson, directed by Naima Warden
Featuring Judianny Compres, Megan Doss, Megumi Haggerty, Brit Lower & Allison Ungar

It has been a fast and furious process so far! Saturday was our first stumble-through rehearsal in the theatre as well as the first day for the actors to be off-book. It was rough, but a lot of work was done and being in the space was a huge help. It takes very talented actors to keep up with the short time span we have. Joey and Michelle have great chemistry onstage which makes my job so much easier. We worked on their kiss the other day and I was never so thrilled as when my AD Karen Pobicki said that it made her want to go home and kiss her man like that. This is my first time working with an AD/SM that is completely on top of her game and it has made my life much easier. Tonight my goal is do a few runs of the show without stopping and hopefully with no one calling for line.
-Melody Efrani, Director of Without

Working on the Week 1 shows is a really exciting process to be involved in. The best part about it is getting to experience the different ways that both casts and directors work. It's so interesting to watch the play develop from a table reading to a fully-staged production. As the actors develop their characters, the cast and crew are developing a strong bond and some great friendships. I'm really thrilled to be working with such talented, creative people!
-Karen Pobicki, Assistant Director/Stage Manager for Without and All the Pretty Girls

For more info and tickets go to our website: www.lookingglasstheatrenyc.com

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LGT Space Grant- Deadline Extended!

2009-05-06T08:06:00.000-07:00

The Looking Glass Theatre
May 4, 2009
ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT-July 2009
DEADLINE EXTENSION

Seeking proposals from theatre companies.

Grantee(s) will receive performance space (anytime between July 6- 26, 2009) including one technical rehearsal, and marketing and publicity (text provided by you) to our email press and audience lists and a listing or link on our website.

For Summer month Space Grants 70% of ticket sales go to Looking Glass with 30% going to the Grant Recipient.

Grantee shows will be credited as COMPANY NAME, in conjunction with The Looking Glass Space Grant Program, presents SHOW TITLE
Additional rehearsal time will be made available at a deep discount when available.

DEADLINE: Applications accepted beginning Monday, April 27 through Monday, May 18 at 6pm.
Final Deadline Monday May 18 at 6pm.
Proposals must be submitted via email to Artistic Director Justine Lambert at LookGlassJustine@aol.com as one (1) attachment.
Companies are encouraged to make contact (via the above email address) in advance indicating their intent to apply and/or with any questions.
Applicants will be contacted with the final decision no later than Friday, May 22, 2009.

What you provide: A production(s) that reflects our mission statement.

OUR MISSION-Reflecting life on the stage with truth and theatricality while exploring a female vision. See web site for more! http://www.lookingglasstheatrenyc.com
Bottom line-Either playwright or Director must be female (both is great but not required). Cast must be half or more female (for classics gender bending casts are accepted to meet this requirement). Female subject matter not required.

1) The Proposal-A one page description of the project including story, concept, and tone. Include running time. Include technical requirements and keep them MINIMAL, shows will be sharing the space.
2) Creative Team-List of all creative team members already on board with short bios. (Director or Playwright must already be chosen)
3) Space Request- Your ideal opening date and the number of performances requested between July 6- 26, 2009 (Maximum of 9 performances).
4) Marketing Description-A description of how you will attract a crowd!
5) Company Mission-Your mission statement and a description of activities along with current staff list.

Please put the above sections in their stated order and include the number and name of each section at the top of that section. Recommended length about 4 pages.

Scripts are not required but may be requested after initial proposal review.

Please note: The Looking Glass Theatre is not air conditioned. Shows should be appropriate for summer (light weight costumes, etc.)

The Looking Glass Theatre is located at 422 West 57th Street (btwn 9th/10th Aves). 212-307-9467 www.lookingglasstheatrenyc.com
Justine Lambert, Artistic Director
Jenn Boehm, Managing Director

LGT Performance Space Grant

2009-04-16T19:35:00.000-07:00

ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT-July 2009

Seeking proposals from theatre companies.

Grantee(s) will receive performance space (anytime between July 6- 26, 2009) including one technical rehearsal, and marketing and publicity (text provided by you) to our email press and audience lists and a listing or link on our website.
Grantee shows will be credited as COMPANY NAME, in conjunction with The Looking Glass Space Grant Program, presents SHOW TITLE

DEADLINE: Applications accepted beginning Monday, April 27 through Monday, May 4 at 6pm.
Final Deadline Monday May 4 at 6pm.
Proposals must be submitted via email to LookGlassJustine@aol.com as one (1) attachment.
Companies are encouraged to make contact (via the above email address) in advance indicating their intent to apply and/or with any questions.
Applicants will be contacted with the final decision no later than Friday, May 8, 2009.

All ticket sales go to Looking Glass. Grantee may sell concessions or promotional items (t-shirts, CDs etc.) and retain those proceeds.

What you provide: A production(s) that reflects our mission statement.

OUR MISSION-Reflecting life on the stage with truth and theatricality while exploring a female vision. See web site for more! http://www.lookingglasstheatrenyc.com

Bottom line-Either playwright or Director must be female (both is great but not required). Cast must be half or more female (for classics gender bending casts are accepted to meet this requirement). Female subject matter not required.

1) The Proposal-A one page description of the project including story, concept, and tone. Include running time. Include technical requirements and keep them MINIMAL, shows will be sharing the space.
2) Creative Team-List of all creative team members already on board with short bios. (Director or Playwright must already be chosen)
3) Space Request- Your ideal opening date and the number of performances requested between July 6- 26, 2009 (Maximum of 9 performances).
4) Marketing Description-A description of how you will attract a crowd!
5) Company Mission-Your mission statement and a description of activities along with current staff list.

Please put the above sections in their stated order and include the number and name of each section at the top of that section. Recommended length about 4 pages.

Scripts are not required but may be requested after initial proposal review.

Please note: The Looking Glass Theatre is not air conditioned. Shows should be appropriate for summer (light-weight costumes, etc.)

The Looking Glass Theatre is located at 422 West 57th Street (btwn 9th/10th Aves). 212-307-9467 www.lookingglasstheatrenyc.com

Justine Lambert, Artistic Director
Jenn Boehm, Managing Director

Come see the Intern Showcase April 21st!

2009-04-13T13:35:00.000-07:00

The Looking Glass Intern Showcase
Tuesday April 21, 2009
A fantastic night of entertainment and hors d'oeuvres
FREE (donations welcome!)

Time: 7pm and 9pm

Place: The Looking Glass Theatre
422 W 57th st.
New York, NY 10019
(we're downstairs!)

Starring the Looking Glass Winter '09 Interns
Anthony Caronna
Sharon Pinney
Kate Dickinson
Megumi Haggerty
Sarah Mack
Ashley Hankins
Noah Richardson-Smith
Natasha Ticotin

And the scenes are:

Lobby Hero by Kenneth Lonergan (Anthony Caronna, Ashley Hankins)
Reasons to be Pretty by Neil Labute (Anthony Caronna, Megumi Haggerty)
Where's My Money by John Patrick Shanley (Sharon Pinney, Kate Dickinson)
Sunday on the Rocks by Theresa Rebeck (Sharon Pinney, Natasha Ticotin)
Almost, Maine by John Cariani (Kate Dickinson, Noah Richardson-Smith)
The Children's Hour by Lillian Hellman (Sarah Mack, Megumi Haggerty)
Sylvia by A.R. Gurney (Sarah Mack, Noah Richardson-Smith)
Assassins by Stephen Sondheim/John Weidman (Natasha Ticotin, Ashley Hankins)

LGT and PANTENE BEAUTIFUL LENGTHS!

2009-03-18T10:49:00.000-07:00

Friends and Family of The Looking Glass Theatre,

As part of our Breast Cancer Awareness month efforts, The Looking Glass Theatre, a 501(c) 3 non-profit dedicated to reflecting a female vision on the stage, will be sponsoring a “Pantene Beautiful Lengths” benefit in mid-October.

Donating your hair is a heartfelt and life-changing act of women's cancer and breast cancer support. Pantene Beautiful Lengths is a campaign that encourages people to
grow, cut and donate their hair to create free, real-hair wigs for women who've lost their hair due to cancer. We are reaching out to artists, staff, designers, family, friends, and friends of friends to participate by either donating eight (8) inches of hair (see details below) or by sponsoring a hair contributor with a monetary donation.

We will be keeping track of each individual's progress by video and/or photographs in the upcoming months. If you are interested in participating or have questions, please email Chanda Calentine at develop@lookingglasstheatrenyc.com

Hair loss can strike an especially crippling blow to women fighting cancer. In fact, a recent study revealed that nearly 60 percent of women consider hair loss the most dreaded side effect they face when undergoing chemotherapy. Eight percent of these women are at risk of avoiding potentially life-saving treatment. Real-hair wigs can cost as much as $1200 and are often only partially covered by health insurance.

Donation Requirements

* Donated hair must be a minimum of (eight) 8 inches long (measure hair from just above the elastic band of the ponytail to the ends).
* Wavy/curly hair texture is fine—you may straighten hair to measure.
* Hair should be freshly washed and completely dry, without any styling products.
* Hair may be colored with vegetable dyes, rinses and semi-permanent dyes. It cannot be bleached, permanently colored or chemically treated.
* Hair may not be more than (five) 5 percent gray.

Here's why:

* It takes at least six (6) ponytails to make a Pantene Beautiful Lengths wig; in general, each ponytail comes from a different person and is a different color. Even though some hair colors may look similar, including gray hair, each is completely unique.
* For a realistic-looking wig that has consistent color throughout, donated ponytails must be processed and then dyed to the same shade. It is critical for each ponytail to absorb dyes at the same rate in order to create wigs of consistent, natural-looking color.
* Gray hair, as well as some chemically-treated or permanently-colored hair, does not absorb dye at the same rate as other types of hair. It is much harder to color and, once colored, fades more quickly.
* Most permanently-colored hair, once it is processed and re-colored, is too fragile and breakable under the rigorous processing required during the production of a Pantene Beautiful Lengths wig.

In appreciation of the sacrifice that a hair donation requires,Pantene Beautiful Lengths only accepts hair it knows can be used for its intended purposes.

PLEASE CONTACT US TO GET INVOLVED NOW!!

Notes from Justine: Slow and Steady Wins the Race

2009-03-18T10:46:00.000-07:00

Slow and Steady Wins the Race

I’m so excited that our second space-grant productions are about to open. We have 3 great shows opening this month. I’ll let you read about them on our website http://lookingglasstheatrenyc.com/

These shows get me excited about all the female-centric art being created around us. I recently read an article in Slate (http://www.slate.com/id/2213111) about how women still don’t get a fair shake in the literary world. No big surprise to us here at Looking Glass. We’ve been talking about and working to counteract the “canonization problem” for years now. Back when I first got interested in the forgotten classics it didn’t take long to figure out why the vast majority of the many works by women from the past have been forgotten. It’s not about quality but about who controls canonization. Now I’m not going to get myself in trouble by saying that Mary Pix is as “good” (whatever that means) as William Wycherley. But she certainly might be just as good as Oliver Goldsmith. Why aren’t any of Pix’s plays still produced as often as “She Stoops to Conquer”? Well, because no one’s ever heard of her plays. They were popular in their time, as were many of the plays by her many female peers, but they were all mostly forgotten. Why? Were ALL the plays by women just plain forgettable? Or was it that when it came time to collect, list, and basically REMEMBER the best works the process has been almost completely controlled by men.

I do think there is some change and growth happening. I’m not feeling doom and gloom even given the very slow trickle up that is happening on Broadway and Off- Broadway. There’s tons of great, great stuff happening here in the trenches with women at the helm in all the jobs. Eventually we will achieve true equal time. Not to mention pay, but, hey, little by little, it’s only been a few decades since we got the vote, ladies…maybe we should be more patient….LOL, just kidding, I’m not saying it’s OK, I’m just saying that slow and steady wins the race, and win we will.

Justine Lambert
Artistic Director
The Looking Glass Theatre
www.lookingglasstheatrenyc.com

Video from Anna's Perfect Party!

2009-03-06T08:00:00.000-08:00

Check out the brand new Anna video available on YouTube!

http://www.youtube.com/watch?v=bsR7xOn2844

THE LOOKING GLASS PERFORMANCE SPACE GRANT

2009-03-02T09:42:00.000-08:00

ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT

Seeking proposals from theatre companies.

Grantee(s) will receive performance space (anytime between May 18-May 31 2009) including one technical rehearsal, and marketing and publicity (text provided by you) to our email press and audience lists and a listing or link on our website.
Grantee shows will be credited as The Looking Glass Theatre presents the (name of your company) production of (name of show).

DEADLINE: Applications accepted Monday March 2-Monday March 16 at 6pm.
Final Deadline Monday March 16 at 6pm..
Proposals must be submitted via email to artisticdirector@lookingglasstheatrenyc.com as one (1) attachment.
Companies are encouraged to make contact (via the above email address) in advance indicating their intent to apply and/or with any questions.

Applicants will be contacted with the final decision no later than Friday. March 20, 2009.

All ticket sales go to Looking Glass. Grantee may sell concessions or promotional items (t-shirts, CD’s etc.) and retain those proceeds.

What you provide: A production(s) that reflects our mission statement.

OUR MISSION-Reflecting life on the stage with truth and theatricality while exploring a female vision.
See website for more! http://www.lookingglasstheatrenyc.com

Bottom line: Either playwright or Director must be female (both is great but not required). Cast must be half or more female (for classics gender bending casts are accepted to meet this requirement). Female subject matter not required.

1) The Proposal: A one page description of the project including story, concept, and tone. Include running time. Include technical requirements but keep them minimal, shows will be sharing the space.

2) Creative Team: List of all creative team members already on board with short bios or resumes attached. (Director or Playwright must already be chosen)

3) Space Request: Your ideal opening date and the number of performances requested between May 18-May 31 2009 (Maximum of 8 performances).

4) Marketing Description: A description of how you will attract a crowd!

5) Company Mission:Your mission statement and a description of activities along with current staff list.

Please put the above sections in their stated order and include the number and name of each section at the top of that section. Recommended length about 4 pages.

Scripts are not required but may be requested after initial proposal review.

The Looking Glass Theatre is located at 422 West 57 Street.
212-307-9467
www.lookingglasstheatrenyc.com
Justine Lambert, Artistic Director
Jennifer Boehm, Managing Director

Anna's Party has BEGUN!!

2009-02-24T09:49:00.001-08:00

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!

Seeking Assistant Director/ Stage Manager

2009-02-19T14:30:00.000-08:00

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.

Notes from the Playwright: Karin Williams

2009-02-14T12:46:00.000-08:00

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

Call for Submissions- Female Playwrights Needed!

2009-02-12T08:38:00.000-08:00

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

Notes From Justine 2/3/09...

2009-02-04T11:19:00.000-08:00

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

Notes From Justine...

2009-01-30T08:07:00.000-08:00

"ANNA” REHEARSAL OBSERVATION 2/27/09

Dreamers dream, and rhymers rhyme whisk the party back in time...

“I’m not quite sure how this time reversal thing goes,” says Alex, the actor who plays the Magician in Anna’s Perfect Party and The Amazing Magician’s Marvelous Mistake.

“Well who is?” I think from my seat, watching the character discussion unfold regarding this magician. Is he sure of his magic? Does he enter the world of this play knowing that everything he sets into motion will work out just fine or are there insecurities about how he can help these kids best? I wonder how it will all unfold in the coming rehearsals.

It's very early in the process, with two of 6 actors missing and the Playwright and the Artistic Director both observing for the first time. Some directors would quake in their boots. Not Nikki Rothenberg. She cheerfully puts her 4 out of 6 through their paces, quickly establishing that much work has already been done.

Already well on its way to full blocking, with real character work emerging through the generic kid-ness the play is just beginning to speak. When Anna is told strenuously “nobody’s perfect!” her plaintive “WHY NOT?” rings clearly. Children don’t seem to come into this world accepting this fact. Anna thinks it’s reasonable to expect perfection of herself and, come to think of it, so do I.

It’s not an easy lesson this play has at its heart: Mistakes are the mother of invention (excuse the misquote); love yourself, and embrace the uniqueness of fallibility. Quite a message for a play about a super fun, wacky birthday party with a magician who’s REALLY Magic, I think…can’t wait for next Tuesday.

Justine Lambert
Artistic Director
TheLooking Glass Theatre

www.lookingglasstheatrenyc.com

2009-01-28T09:12:00.000-08:00

Rehearsal photos from the upcoming children's show,
Anna's Perfect Party & The Amazing Magician's Marvelous Mistake

Coming soon to The Looking Glass Theatre!

2009-01-27T14:41:00.000-08:00

ANNA' S PERFECT PARTY & THE AMAZING MAGICIAN'S MARVELOUS MISTAKE

Written by Karin Diann Williams

Directed by Nikki Rothenberg

February 21 - April 5

Nobody’s perfect.

But Anna is a girl who won’t take no for an answer.

Can an Amazing Magician’s spell turn her into the perfect girl?

The Looking Glass Theatre proudly announces its production of Anna's Perfect Party and the Amazing Magician's Marvelous Mistake, a new children’s play written by Karin Diann Williamsand directed by Nikki Rothenberg, which opens at The Looking Glass Theatre on Saturday, February 21. Performances are scheduled every Saturday at 12 p.m. and 2 p.m. and every Sunday at 2 p.m. and 4 p.m. through March 29.

About The Show…
Anna has the perfect present for Betsy Bailey’s birthday. Now if only she could tie the perfect bow… Come to think of it, Anna wants to do everything perfectly! And although nobody’s perfect, she isn’t one to take no for an answer. Her best friend Marley thinks trying to be perfect takes too long, and isn’t much fun. But when Anna meets a magician known as the Amazing M, she convinces him to cast a perfect spell, unleashing an afternoon of unexpected mayhem at Betsy’s party, where Anna and her friends discover the pitfalls of perfection, learn how to value differences, and find the courage to try new things – even if that means making a mistake.

About the Playwright Karin Diann Williams…
Karin Diann Williams is a playwright and screenwriter whose work has been produced and published internationally. San Diego's Fritz Theatre – where she was Playwright-In-Residence from 1992-2001 – staged her plays Australia, Room, Susan Katrina and Jill, The Hatchet, Quiz, and The Third Voice of the Nightjar. She is currently an Artistic Associate at Looking Glass, where audiences have seen her plays Head, Time Troll, and Spirits!, among others. As a Partner in the motion media company CulpepperWilliams, she wrote and produced The Prisoner (winner – Best Web Series, NYTVF) and the independent feature film "Jordan" (currently in post production).

About the Director Nikki Rothenberg…
Nikki Rothenberg has been working with The Looking Glass Theatre since the summer of 2005 when she assistant directed the children's show, Not Enough Princesses. Since then, she has directed several pieces for the Looking Glass, including Out Of My Head: A Musical Review, and The Untitled Pregnancy. Other outside favorite directing credits include Into The Woods and Cradle Will Rock. Her most recent project at the Looking Glass was teaching the intern acting class. Nikki is a graduate from Emerson College and currently works at Don Buchwald & Associates.

About The Looking Glass Theatre…
The Looking Glass Theatre’s mission is to explore and expand the feminine aesthetic, producing works by historic female playwrights, new works by women, and productions of the classics re-imagined by contemporary women directors. In June 2006, The Looking Glass Theatre and Artistic Director Justine Lambert received The Lucille Lortel Award from The League of Professional Theatre Women.

------------------------------------
ANNA'S PERFECT PARTY & THE AMAZING MAGICIAN'S MARVELOUS MISTAKE
February 21 - April 5, 2009
SCHEDULE: Saturdays @ 12 p.m. and 2 p.m.; Sundays @ 2 p.m. @ 4 p.m.
TICKET PRICE: $15 Adults, $12 children 12 and under
ADDRESS: 422 West 57th Street, between 9th and 10th Avenues
PHONE: (212) 307-9467
TICKETS: (212) 352-3101 or go to http://www.lookingglasstheatrenyc.com/
TDF Vouchers Accepted!

Videos of last season's shows!

2009-01-27T14:16:00.000-08:00

Adventures of the Puppet Princess
A Balinese fairytale with music
Written & Directed by Jennifer Goodlander

The Spanish Wives: A Groovy Tale of Peace, Love and Restoration
Based on the Restoration play Mary Griffith Pix
Written & Directed by Aliza Shane

Shakespeare in the Living Room

2009-01-27T13:28:00.000-08:00

The Times reports that the Ohio Theater has six months to figure out how to pay competitive rent to their greedy new landlord:(http://www.nytimes.com/2009/01/22/theater/22Ohio.html?ref=theater).

This is sad, of course. But, for me, it's also surreal. The little, struggling theaters are always on the verge of closing. But these bigger spaces are just, you know, THERE. The Ohio Theater doesn't just cease to exist!

Theater is all about space. To tell a story, you have to block out distractions. As the size of the audience increases, the steps you have to take to shut out distractions grow more complicated.
Most of the challenges we face in theater spring from our collective idea about what level of complexity must be achieved to make a storytelling event qualify as "theater."
If I get some actors to perform a Shakespeare play in my living room for four weeks, does it count? Would it qualify? Let me put it another way: how quickly would an actor drop out if another opportunity came up? He'd say, "I'm really sorry, but ..." But what? But this other thing is a real production. Why is it real? Because it will occur in a space set aside for doing plays.

We all collectively draw a line. On this side is activity that uses theater-related abilities. On that side is a "real play." Of course, attitudes in this regard differ from individual to individual, but the collective result is that theater that matters has to take place in an indoor space used exclusively for performance.

Therefore, theater is real estate.

Think about this. Think about what we all go through to find a place to live in New York. Nothing makes the people back in North Dakota think we're complete idiots for living here more than the rent we pay and the tiny boxes we get for that rent.

Now imagine that you have to rent a 3-bedroom apartment in a doorman building on the upper east side to present your cross-dressing version of "The Taming of The Shrew."

Everything you experience both doing and consuming theater is a correlation of real estate. The texture of the toilet paper. The stray extension cord. The graphics on the flyer. The tear in the seat. The wobbly set piece. The house slippers peeping out under Julius Caesar's toga. It all goes back to real estate.

We need to redraw the line.

Acting in 3-D- Beware of flying chairs!

2009-01-13T10:21:00.000-08:00

Theater lovers should be amused by an article in The NY Times today about the headaches Hollywood faces with its 3-D agenda: http://www.nytimes.com/2009/01/12/business/media/12film.html?ref=technology

Here's the deal; movies are dying because everyone wants to stay at home. Hollywood is making this big bet on 3-D to offer a big enough spectacle to inspire people to get off the sofa.
Sound familiar? It's an old story. Theater began losing audiences to movies, then TV. So Broadway pumped up the spectacle ... the chandeleirs, helicopters, ocean liners. Now when some actor at The Looking Glass convinces Aunt Martha to come see her show, Aunt Martha wonders, "Where's the boat?" Off and Off Off Broadway still have to compete with this expectation of some sort of spectacle ... a helicopter or a movie star.

Now Hollywood is FINALLY facing the same sort of threat. We're all turning into those tubs of lard in Wall-E. People don't want to get off the sofa.

Plus, of course, we're dealing with this weird thing called "culture." Be honest; back when it was only the so-called "high arts" that had to worry about apathy, weren't you kind of thinking, "Well, you know, I have to admit I'd rather see Raiders of The Lost Ark than an opera"? But now, shock of shocks, watching a narrative sequence acted by human beings is "culture," it's old fashioned, and increasingly requires specialized education about what you're supposed to think and feel ... in the same way that you have to "develop a taste" for opera or theater. Researchers are finding that if you ask a tween "would you rather watch a movie or do stuff on the internet?" the latter wins hands down.

But think about Hollywood's solution: expensive, high tech 3-D. Meanwhile, what is theater? Isn't a live play the ultimate 3-D movie? You know, think of the hours of design and programing it takes to make someone feel as though an object is zooming right at her. Hey, an actor can just pick up a book or chair and lob it right out there.

Maybe someone should develop a play, maybe just an abbreviated Shakespeare show, as "The Ultimate 3D movie" ... work out the whole thing as though it really is the end result of years of production at PIXAR just to "create the illusion" of human beings on a stage, you know, "acting."

Happy 2009!
Hope to see you at "The Glass" this year...