Why We Rehash & Revisit

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
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Notes from Justine-Forum Rehearsal 6/9/10

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

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

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



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Notes from Justine- Forum Rehearsal 5/19/10

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!

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

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V- DAY 2010

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/