Author Archives: LDR

Meet the Private Prom Judges, Part 2: Ed Sylvanus Iskandar

On Friday, May 17, we’re reclaiming prom night with our spring fundraiser, The Private Prom. In our company’s tradition of re-inventing a classic, we’re re-imagining the typical prom court coronations with a much more inclusive, fun-loving awarding of prizes for our prom-goers.

To help us hand out the Private Prom prom court prizes, we have a panel of fun-loving, fabulous, fashion-forward judges. We interviewed each of them to get a feel for what they will look for how they will assess the crowd.

The second judge we’d like to introduce you to is the incomparable Ed Sylvanus Iskandar.

Occupation: 

Artistic Director, Exit, Pursued by a Bear (EPBB)

Affiliation/Connection with The Private Theatre: 

Friend

What is your relationship to fashion? How would you describe your personal sense of style?

I am a child of many cultures.  My style is based on mixing east and west.  How I represent myself and my personality through clothing is an opportunity for creative expression. 

You’ve been tasked with nominating the “Private Prom Court.” What will you be looking for when you select your nominees?

A sense of individuality that is unapologetic, and owned.

Did you go to prom? Do you have a favorite prom memory? A favorite prom song?

I was in high school in the United Kingdom.  No proms there, but believe it or not, as a senior, people couldn’t get enough of the Spice Girls, whose turn from innovators to also-rans happened in the blink of an eye.  “Say You’ll Be There” blared from every pub, party and Virgin Megastore for a whole year.

What are your hopes for The Private Prom?

That we get back to the pureness of being a high schooler, when we were old enough to know how hard things were about to get, but young enough to not know what that really means. 

Any words of advice for Private Prom attendees?

A greasy late night breakfast to circumvent the day after hangover. 

Here’s a photo of Ed as a teen, posing with his girlfriend

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Join us for The Private Prom on Friday, the 17th. Relive the magic … or just get it right this time.

 

 

Meet the Private Prom Judges, Part 1: Judy Bowman

On Friday, May 17, we’re reclaiming prom night with our spring fundraiser, The Private Prom. In our company’s tradition of re-inventing a classic, we’re re-imagining the typical prom court coronations with a much more inclusive, fun-loving awarding of prizes for our prom-goers.

To help us hand out the Private Prom prom court prizes, we have a panel of fun-loving, fabulous, fashion-forward judges. We interviewed each of them to get a feel for what they will look for how they will assess the crowd.

The first judge we’d like to introduce you to is the charming Judy Bowman.

Occupation:

Casting Director, Producer, Teacher

Affiliation/Connection with The Private Theatre:

Board Member, Casting Director, Officer

What is your relationship to fashion? How would you describe your personal sense of style? 

I am an unabashed Label Whore.  I once paid $50 for a plaid vest from Century 21 that was ripped up the side, but it was Prada.  I paid a tailor to fix it.  I wore it twice before I realized I looked like a leprechaun.  I love shopping on GILT, Outnet, and Zappos.   My fashion sense tends to be a bit matchy-matchy, so I try to play against that and challenge myself.  I am most comfortable dressing like an English prep-school boy.    Button-down, Cardigan, Oxfords.  If I dress like a professional,  I wear jeans and tall boots.  Lots of blazers.   I used to wear suits all the time, but I’ve realized I don’ t need those anymore.  If I dress up, a suit or a dress…but never skirts.  I grew up as a ‘mod’, fashioning myself after Molly Ringwald and her entourage.  “Alternative”, and black clunky shoes with weird tights.  I am addicted to Project Runway, and read fashion magazines, but don’t get much out of them.  I love men’s clothes, but try not to wear them.  I try not to dress like Ellen DeGeneres, even though I want to.  Designers I love:  Helmut Lang, Steven Alan, Thomas Pink, Adriano Goldschmeid, Esquivel, Loomstate, Missoni, Hugo Boss Orange, Marc Jacobs.

You’ve been tasked with nominating the “Private Prom Court.” What will you be looking for when you select your nominees?

I will be looking for traditional prom wear, which is a nod to the past.  And Vintage. I will also be looking for totally inventive prom wear.

Did you go to prom? Do you have a favorite prom memory? A favorite prom song?

Yes,  I went to my junior and senior prom and also another student’s junior and senior proms when I was a freshman and sophomore.    I remember going to prom with the only African-American kid in our school. We were mostly just friends, but it was interesting.   At that time, we got some interesting reactions, from both our friends and families.   When I was a sophomore, I went to Senior Prom with Bart DiSanto, whom everyone thought was gay.  He took me by the bowling alley to show his friends he had a date.  We made out in my parents’ garage and then he ran off because he ‘had to go to church’ the next morning.   He became a pastry chef.  But that’s all I know of him now.  I went to junior prom with a guy I almost lost my virginity to in his car, in his church parking lot.  But it didn’t happen, thank god.  We broke up not long after that.  He was a philanderer.    I also went to my senior prom with a would-be boyfriend.  He died of Hodgkin’s Disease a few years later.  It was very sad.   But I remember the proms as being fun and full of nerves.  Songs were: “I had the Time of my life”.   The only other song I remember is Journey’s “Open Arms”, but that was the 8th-Grade Dance. 

What are your hopes for The Private Prom?

That it will be really fun and GREAT MUSIC!

Any words of advice for Private Prom attendees?

Don’t try to re-live old Prom.  Take back the night!

Judy with Her Senior Prom Date, Bart

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Join us for The Private Prom on Friday, the 17th. Relive the magic … or just get it right this time.

 

 

Save these Dates: A Reading Series, and a PROM

We’re thrilled to announce our spring line-up. We hope you’ll join us in May and June in a little bit of work and a lot of “play”!

On the evening of Friday, May 17, The Private Theatre will host a fundraiser gala, The Private Prom. Continuing our tradition of blurring the lines between party and theatrical event, we invite you to choose the finest formal wear from your closet, to put on your dancing shoes, and to join us in celebrating the arrival of the warm weather. Join us on Facebook and Twitter beginning today to participate in our prom-related social media games — tell us about your prom adventures and misadventures, send us your prom photos, and help create our prom playlist!

Also, please mark your calendars for our Spring Reading Series. We are thrilled to present some works in development by our friends and colleagues on the three following evenings:

Monday, May 20 Mama’s Boy by Rob Urbinati (directed by John Gould Rubin)
Tuesday, May 28 Biolife by Cecilia Copeland (directed by Tony Glazer)
Monday, June 10 Blue Heart Afternoon by Nigel Gearing (directed by Evan T. Cummings).

We’ll be providing more details about these events in the coming days, but we hope your mark calendars today so that you may join us!

 

Happy 449th Birthday, William Shakespeare! And Thank You

William Shakespeare is arguably the most influential figure in the history of theatre, and to commemorate his birthday on April 23, we have decided to express all the ways in which he has influenced us as artists, producers, teachers, and theatre goers.

Summer Crockett Moore (Managing Member)

When I was 16, growing up in Paris, TN, I knew I wanted to go to New York to college for theatre school.  To do that, I needed to audition with one contemporary monologue and one Shakespearean monologue (so said all the college brochures).  I was only slightly terrified, having not really ever worked on Shakespeare (beyond the sophomore required reading of Romeo & Juliet)  because I had one of the most amazing drama teachers Tennessee had ever seen!  After several weeks of prep, I nailed my regional audition in Nashville, and was proud to learn that I had received a partial scholarship to my theatre school of choice the following fall  in NYC!  I arrived at that school, wind in my sails, and proceeded to my first ever Shakespeare class.  For our first day, we were told that we were to perform the audition monologue that “got us in to the school” and so I embarked with the same gusto as I had in my little town of TN … and was flatly told by my very first “official” Shakespeare teacher that “because I had such a strong southern accent, I sounded “uneducated”, and therefore could never “properly” perform Shakespeare”.  I literally picked myself off the floor and sat in my seat, my face on fire, as my new theatre classmates patted my hand and whispered words of “hang in there”.  That said, this did not deter the 17-year-old girl sitting there … it only fueled me. Angered me. Called me to action.  I wanted to be better for Shakespeare himself  — (not to mention how hilarious it was the following week when several of my newfound theatre compatriots showed up in bib-overalls w/ thick southern accents to do their weekly Shakespeare assignments … all as a call to action for my honor.) *Did I mention I was merely 17, and the average age in this post-graduate class was 26?  Yea — my fellow students rocked, and I was the baby in the class.*
 
So, yes, I signed up for speech therapy, and practiced extensively outside my regular classes each week, with a wonderful speech teacher, and I began to “neutralize my dialect,” all while working on Shakespeare.   Each week I was less and less afraid, and more and more empowered. Shakespeare was empowering me.  His wonderful women were teaching me.  I was finding a new identity through the wonderfully diverse characters in his plays.  There are many sub-stories that I could share, but just know, that I realized that the humanity in all of his characters was accessible no matter what accent I had been gifted with.
 
And to this end …. one year later, I had achieved “standard American speech,” all trace of my southern dialect now hidden — unless I decided to whip it out for dramatic effect — which proved very useful on dates, might I add — but I digress … and I was cast as one of the female leads in the graduate production of the play As You Like It.  #successachieved = perhaps.
 
What I take away is this: I brought who I was to the Shakespearean table, and came up a better, stronger, more well-rounded person as a result.  All in the name of “Shakespeare,” which is not nearly as scary as it sounds.

Lucy Di Rosa (Executive Director)

When I was in high school, William Shakespeare introduced himself to me, grabbed me by the collar, and shook me. And he’s continued to shake me ever since. Between the ages of 14 and 18, I read Julius Caesar, The Merchant of Venice, Macbeth, Othello, and Hamlet. I found them magical, scary, and gorgeous. I grew up in Toronto, Canada, not too far from Stratford, which is the home of one of the largest Shakespeare festivals outside of England. My school organized periodic visits to the festival. The live performances I saw on the beautiful thrust stage at the Festival Theatre influenced me deeply. I found it mesmerizing to see the actors perform, using such beautiful language and filling this distinct and striking space. Getting to know Shakespeare at a young age was one of the single most influencing factors in awakening my fascination with theatre.

As an adult, my first experience with The Private Theatre’s Artistic Director, John Rubin, came when I worked on a scene from Macbeth in John’s acting class, playing Lady Macbeth. This was Act I, scene vii, in which Lady Macbeth must convince her husband to kill the king after she realizes that he his having serious doubts about doing so. The scene is so powerful and the work was so engrossing that I still think back to the scene as though I had experienced Lady Macbeth’s complex emotions myself. And I had! In the moment of performance, Shakespeare (and John) made me feel a wave of panic as I realized that my ambition to become queen was slipping away, and made me realize that I had to somehow overpower Macbeth in order to get my way. Doing this work taught me how intense and how human Shakespeare’s characters are. I think his writing continues to influence us because not only is it astoundingly eloquent, it is also startlingly real.

Shane Bly Killoran (Literary Committee Member)

Admittedly, I groan with resistance at the thought of sitting through yet another Shakespearean production. This would be true if Sir Laurence Olivier and Richard Burton roused themselves from the dead to perform. My reluctance is not one of disrespect. Rather (with the exception of two outstanding productions), my love affair has always taken place on the page.

As a school-girl, he had me at, “Feather of lead, bright smoke, cold fire, sick health,
Still-waking sleep, that is not what it is!” Since then, his iambic worlds of language, history, love, the after-life, war, loyalty and dreams, have continued to work their way through me into my womanhood.

I couldn’t have known then, but this bard was the first to place me on the path to dramaturgy. Every play, every sonnet, is a fresh awakening to decode and demystify. Sitting with a Shakespeare text, armed with certainty only to find there is yet another universe to uncover, presents indescribable joy. He remains the constant reminder that I know nothing, but will forever find a universe altering something.

William Shakespeare, where you would, I humbly don’t have the eloquent words of thanks for properly introducing me to the text. Because of you; I consider, read, look, accept and seek differently.

“When you do dance, I wish you
A wave o’ th’ sea, that you might ever do
Nothing but that…”

Salomé M. Krell (Managing Member)

As a teen, I first fell in love with the mystery of Shakespeare’s language. I fell in love with uncovering the meaning of the text, a process which for me often required reading out loud and embodying his words. As the daughter of an academic, I was inspired to discover that I could understand Shakespeare’s texts by bringing his words to life. I didn’t have to simply think more or study harder or analyze intellectually. I could understand and discover by playing! It opened a whole new world.

In high school I was lucky enough to attend the Stratford Theatre Festival in Canada. I saw a rock and roll production of A Midsummer Night’s Dream, starring the epically talented Colm Feore. I was blown away. It was one of the most breathtaking, inspiring, moving and earth shattering experiences I’ve ever had in the theatre. To witness Shakespeare’s play interpreted in such a wildly creative way left me filled with awe. I remember weeping during Puck’s closing lines (“If we shadows have offended, think but this; and all is mended, that you have but slumbered here while these visions did appear….”). I wept and wept. Because it had felt like a dream. And I didn’t want it to end. I sat in the theatre, stunned. I wanted to stay in that world, to be part of it. It was an experience that made me so proud to be human. I was deeply inspired and filled with wonder at the beauty and power of what people could create together, and what we could witness together. It broke my heart…open.

Jean Gould Rubin (Artistic Director)

Shakespeare taught me the humbling intimidation of great writing; that craft produces poetry; that emotion is inspired automatically by words well crafted and properly spoken; and that art is larger than life.

The Private Theatre Hosts a Reading of A Queen for a Day Featuring Dan Lauria

The Private Theatre is proud to host an invitation-only reading of Mike Ricigliano’s new play, “A Queen for a Day,” on Sunday, January 27 at the Cherry Lane Theatre. The confirmed cast for the reading includes Dan Lauria (A Christmas StoryLombardi, “The Wonder Years,”), Matt Servitto (“The Sopranos”) and Heidi Armbruster (Revolutionary Road). The reading will be directed by The Private Theatre’s Artistic Director, John Gould Rubin.

Read the full story on www.broadwayworld.com.

CalArts Hosts The Private Theatre for a Workshop of Electra Despierta

The California Institute of the Arts (CalArts) hosted The Private Theatre at its Los Angeles campus in September, for a workshop of Electra despierta (“Electra Awakes”) by Mexican playwright Ximena Escalante. The Private Theatre’s Artistic Director, John Gould Rubin, attended the workshop along with Managing Member Salomé M. Krell, who will be a featured actor in the project. The two organizations hope to develop a bilingual production of this contemporary retelling of the Electra myth.

Read more about the workshop on the CalArts blog.

Travis Preston, the Dean of the CalArts School of Theater, is one of the founders of The Private Theatre.

The Private Theatre and Barbara Ligeti Present Turning Page

The Private Theatre is partnering with company board member Barbara Ligeti to present Turning Page, a new solo play by Angelica Page. This poignant and personal piece about Page’s mother, American actress Geraldine Page, will have an Off-Broadway run at the Cherry Lane Studio Theatre this October.

For more information about Turning Page, visit the show’s website:

http://turningpagetheplay.com/

What People Are Saying about Playing with Fire

“[An] inventive, bawdy transformation of August Strindberg’s 1893 one-act, Playing with Fire
-This Week in New York

“A wildly sexual, burlesque and fiery piece. This is Boogie Nights meets Cabaret meets Spanking the Monkey.”
-Off Broadway

“Offers titillation of a more rarified, [sic.] theatrical kind.”
-NY Post

“It was an extraordinary evening! Unforgettable, sexy and electric. Wow.”
-Jamey Hood

“If you enjoy [...] getting insanely turned on, then you HAVE to see Private Theatre’s Playing with Fire.”
-
Barb Kielhofer

 

Wanted: Dead or Alive?

Playing with Fire co-conceiver, Shane Bly Killoran, articulates some of the questions she posed in preparation for our production, by imagining a correspondence with August Strindberg, author of the one-act play that inspired us.

Herr Strindberg,

According to you, it’s 1893 in a small village outside Stockholm. According to me, it’s 2012 in the heart of a rather large village better known as New York City.

As your dramaturg, tell me, how do I transition your play over centuries, eras and continents? How can I possibly integrate two such vastly different worlds and assist the director and adaptor so they land on a plane that speaks truthfully to both sets of realities? How do I take a theatrical heirloom and render it relevant to our audience? How do I remain loyal to the interiors of your play while meeting the needs of a ‘modern’ production? Would this task be easier if you were still alive? Or is it better that you exist in another dimension, far from me and the realities of today’s rehearsal process? Fuck, Sir.

To complicate matters, you (in my opinion), have been lazily labeled a ‘misogynist’: interesting given your feminist tendencies. However, what rings more true, is an equal contempt for both genders in an era that overwhelmingly sympathized with yours. Again, Sweden to New York and with gender complications: Sir, Holy Fuck.

Ahead of time, yet strangled by the constraints of your day, you lived consciously at the precipice of the modern age. A more evolved way of speaking and thinking while still shackled to the morays of an Old World. But, what if the shackles of 1893 fell away? In my humbled arrogance, I had to ask and answer, ‘How would you stage “Playing With Fire” now?’ It was from that premise, Sir that The Private Theatre’s production has been built.

You realize, of course, this play appears deceptively simple. A family dealing with the eternal boredom that speaks to an era. Suspended in a middle-class or upper middle-class limbo with too much and yet not enough purpose to propel their lives in any meaningful way. Yet, like life, circumstances can appear normal until outside eyes peer in and the realization hits that our personal universe is thoroughly infected becomes startling apparent. The more I read, the more I saw that these characters are infected and the closer it seems your world mirrors ours. The evidence of something sinister and complicated begins to unfold with distressing vividness; where each revelation is delivered with the unexpected clarity of a cutting slap. And, lest us not forget, this play was/is considered a comedy…?

Being a subversive traditionalist (here we meet on common ground), understand, I took guardianship over your text while allowing for a new vision to illuminate the play. Yes, I know, I put myself in a perverse circumstance, which of all people, I’m sure you can appreciate. While alterations and additions were made, PWF remains a true representation of the story you told then, with the freedoms theatre practioners enjoy now. I assure you, I went to great lengths to maintain the integrity of your text, while ensuring that our conceptual device(s) serve to enhance your story rather than replace it or be mistaken for meaning in their own right.

I armed myself with as much of you as possible then threw it all out, trusting that it resided within my instincts that were tied back to you.

The old saying, “Dead men tell no tales” suggests that after one has passed, their secrets go with them to the grave. Would I rather you alive or dead- is one reality easier or at least less riddled with the strife of creative differences? Not so much. Through your text, I have learned, not only do dead men in fact tell most tales- they have told them first and enjoy the last word.

So Dear Sir, within its current age, I hope the deed has been done to your approval. And, I do believe this is a marriage in which you would approve plus fully appreciate the stench of our glittering cast.

All gratitude for this delinquently, healthy journey.

Yours, in respect- Shane Bly Killoran

 

 

 

The Playing with Fire Playbill Online

Playing with Fire

based on the play by August Strindberg

Our production of Playing with Fire is based on Royston Coppenger’s new adaptation of Strindberg’s 1893 play. The adaptation has been deconstructed into fragments and staged so as to create more of a spectacle than traditional drama would. We are using the entire venue of 189 Chrystie Street to stage the action. To enhance the experience, we are employing video that allows the audience to see the action from different perspectives. We are therefore creating an imagistic world that supports the dream world of the play. The sense of spectacle is enhanced via the music of composers Kwan-fai Lam and Sam Kidel. All of this amounts to an adaptation based on, rather than a straight production of, Playing With Fire.  We have 14 talented actors playing six characters. It is our hope that the decision to have multiple actors play the same characters will magnify one of Strindberg’s main themes, that we are all vulnerable to being trapped by convention. The demons these characters wrestle with are not unique to them. By having multiple actors step into the same character’s struggles and dilemmas, we feel the pervasiveness of the issues Strindberg is suggesting that human beings struggle with.

directed by JOHN GOULD RUBIN

adapted by ROYSTON COPPENGER

co-conceived by SHANE BLY KILLORAN

choreographer BRONWEN CARSON

technical director IAN BROWNELL

composer and sound designer KWAN-FAI LAM

set and costume designer ANDREEA MINCIC

lighting designer ISABELLA F. BYRD

cast

MATTHEW BOYCE

SOLONJE BURNS

HALEIGH CIEL

CHRIS DEVLIN

STEPHEN DEXTER

ALEXA ERBACH

JASON GRAY

TALYA HERNANDEZ-RITTER

MARK NOONAN

DAVID RYSDAHL

CASEY SHANE

SARAH STEPHENS

SARAH WHARTON

additional composer SAM KIDEL

sound engineer ANDY COHEN

assistant director MIRIAM IBRAHIM

stage manager AURORA HICKS BEACH

assistant stage manager LEONIE ETTINGER

video designers

IAN BROWNELL

RAJ KOTTAMASU

video editor IAN BROWNELL

live video mixer RAJ KOTTAMASU

camera operators

MEGAN ABELL

SHANE LACOSS

TERHI TUULIA LINTUKANGAS

TARA RICASA

press agent JOE TRENTACOSTA

assistant company manager DANIELLE CARROLL

the producers wish to thank

AMELIA ARKIN

GINA BARNETT

PATRICK BLAKE

PETER COLE

CECILIA COPELAND

JOSEPH CRAIG

MARTA COSENZA

JANE EMANUEL

C GREENLEE FANNING

PETER HIRSCH

KAREN HOOGSTEEN AND BARRY SCHACHTER

THOM KAINE

RACHEL KLEIN

JOHN KOEGEL

RADHA KRAMER

DAVID FARRELL KRELL

DANNY MENDOZA

MARIANNE MILLS

LARRY MOORE

MARCO MORSELLA

ALLEN MURABAYASHI

ALISON O’BRIEN

PAT PATTERSON

DIANE PROCTER

HEATHER RANDALL

JEFFREY SCHNEIDER

MARC SCRIVO

STEPHEN SCHLALKJER

JOEL SHAPIRO

FREDERICK SIMONIE

KELSEY SMART

JOHN HOWARD SWAIN

TOM WERMAN

associate producers

BARBARA LIGETI

PETER PICARD

ANNA RYAN

PLAYING WITH FIRE is a production of The Private Theatre:

SUMMER CROCKETT MOORE (PRODUCER)

CHERYL DENNIS (PRODUCER)

TONY GLAZER (PRODUCER)

SALOMÉ M. KRELL (PRODUCER)

LUCY DI ROSA (PRODUCER, EXECUTIVE DIRECTOR)

JOHN GOULD RUBIN (PRODUCER, ARTISTIC DIRECTOR)

Production Bios

Matthew Boyce (cast) is thrilled to be working with John and Bronwen again on this creative endeavor. Some of his past shows include; Det. Hugo in the world premiere of Jack’s Back! T.Schreiber Studios, The Gayest Christmas Pageant Ever! Players Theater, David in the one man show Santaland Diaries and Mickybo in Mojo Mickybo Workshop Theatre Group, Georgie in Over the Tavern Virginia Stage Company, Feste in Twelfth Night Hampton Roads Summer Shakes, Just SO Mercury Summer Stock. Matthew was a dance soloist in IN/TWO Thrive Dance Company and a vocal soloist in A Night of Jazz The Carnegie Center. He was also seen for three years as Matthew on the Emmy award winning series The NASA WHY-Files on PBS. Matthew attended The Governors School for the Arts, American Academy of Dramatic Arts, and T. Schreiber Studios. Much love and thanks to Rachael for all the support throughout the years!

Ian Brownell (Video Designer/Editor/Technical Director) has been a producer and director of film, video and theatre for 24 years and often combines the three media. He was co-creator, producer and video director for Faith Soloway’s schlock operas Jesus Has Two Mommies, Miss Folk America and The F Word, and director of Boston News Net. Since founding his company, BTI films, in 1988 he has produced and designed video for theatrical productions, corporate trade shows, concerts and comedy shows, and has produced and directed music videos, shorts and documentary films.  

Solonje Burns (Cast) moved to New York City after being accepted into The Stella Adler Studio Of Acting. Born and raised in Perth, Western Australia, Solonje found self-expression at a very early age through performance and costume! In pursuing her ‘calling’ to the stage Solonje also took to film, make-up artistry, journalism and public relations, fashion and design. As a huge fan of Dorothy and her ruby slippers, Solonje is a firm believer of the saying “There is no place like home,” but hungry for the stage-performance-theatre-film she is proud to call New York City her home away from home. The Big Apple seems to satisfy her bite! As a 2012 graduate from The Stella Adler Studio of Acting, Solonje is living in New York City pursuing her career as an actress. 

Isabella F. Byrd (Lighting Designer) was recently an associate on 13P/Sarah Ruhl’s Melancholy Play, (a new chamber piece). Act Before You Speak (Throes Theater @ The Flea). Selected designs: As You Like It (Queen’s Co.)  Judas Iscariot, Polaroid Stories, And Miss Reardon… (Lee Strasberg), Muzungu (E.4th St), Savage in Limbo (Rosalind Prod.), Once Upon a Time in New Jersey (Prospect Theatre), Binge (SLANT Theatre Project), Order (directed by Austin Pendleton) and Othello (Oberon), Long Way Go Down (Clurman Lab Theater), Golden Gate (Williamstown). Associate/Assist credits: The Lisbon Traviata (Kennedy Center), Play Dead (Teller & Todd Robbins), A Steady Rain (Broadway). Isabella has also worked with the Williamstown Theatre Festival, Spoleto Festival USA, The Alley Theater, and is a Producer and the Assoc. General Manager for 13Playwrights.

Danielle Carroll (Assistant Company Manager) is new to New York and is thrilled to have found The Private Theatre community so quickly.  Before moving to the city, she was in productions of Our Town, Chicago, and The Man Who Came to Dinner, among others.  She has worked with John Gould Rubin in his scene study classes and can’t wait to see what comes next.  Extra big thanks to Salomé for including her in Playing with Fire!

Bronwen Carson’s (Choreographer) professional career started at 15, when she became the youngest full company member of San Jose Dance Theater under the Artistic direction of Paul E Curtis and Shawn Stuart. She continued on at 17 with The Cleveland Ballet under Artistic Director, Dennis Nahat. Favorite classical roles include Snow Queen and Arabian in The Nutcracker, Swan Lake, Coppelia and Jody White’s Accordamento. Throughout her dance career Bronwen studied acting. She began with RADA alumni, Marc Jacobs, and after playing a small role in a film directed by Ed Norton was advised by him to add scene study class with Terry Schreiber. Bronwen is trained in Meisner, Michael Chekhov and Stanislavski techniques and now utilizes them as a director and choreographer. In February 2011, Bronwen founded Sounding Line, a production company focused upon innovation in biomechanics/physics, sound, lighting and costuming while staying deeply rooted in the art of storytelling. Sounding Line produces film and theatre. Its first full-length production, “49th Street and Other Stories,” is slated for a Fall 2012 Off-Broadway premiere. Bronwen has worked previously with John Gould Rubin and several members of the Playing with Fire family, when she choreographed the world premiere of the musical Jack’s Back!

Andy Cohen (Sound Designer) has worked extensively as composer, sound designer, and musical director for theatre. Recent credits include Black Milk at the 13th St. (Classic Stage Company) Theater, Listen! The River at 59E59 and The Edinburgh Fringe Festival, She’s Of A Certain Age off-Broadway at Theatre Row, and several T. Schreiber productions, including Jack’s Back! (musical direction), and Balm in Gilead (NYIT Awards Nominee for Sound Design). Andy has written music or designed sound in such venues as Lincoln Center, Fordham University, The Public Theater, La Mama, and Werdenberg Castle in Switzerland. For more information visit: www.andycomusic.com.

Royston Coppenger (Adapter/Additional Text) contributed the autobiographical piece “Ghost/King” to John Gould Rubin’s 1968 for the Labyrinth Theater’s Barn Series in 2009, and prepared a new English version of Hedda Gabler for a site-specific production in a New York City townhouse in 2010, also directed by John Gould Rubin. His award-winning translations of Bernard-Marie Koltès’ plays Roberto Zucco, In the Loneliness of the Cottonfields and Key West have been produced across the United States. Additional original plays and performance pieces staged in New York include Hopper, Moses, The Killer Inside Me, and The Last American In Paris/Le Dernier Americain à Paris (with John Gould Rubin and Travis Preston).  Royston’s extensive New York directing credits include Orpheus in the Underworld and The Tender Land for the Bronx Opera, The Great White Hope and Fahrenheit 451 for the Celebrate Brooklyn! Festival, and the world premieres of Carne Ross’ The Fox and Stevan Arbona’s Saturn’s Children.  His ongoing series of short films Das Kapital: The Movie have been shown at Anthology Film Archives and Oakland International Film Festival. Royston holds a Doctor of Fine Arts from the Yale School of Drama. He is currently Professor of Drama at Hofstra University.

Summer Crockett Moore (Producer) is a Managing Partner of Choice Films & Choice Theatricals (and the founder of its pre-cursor, Choice Productions) which has produced various multi-media theatre and film projects, including the world premieres of the following Off-Broadway plays: Reading Under the Influence, Stain and In The Daylight by Tony Glazer; and a revival production of Five Women Wearing the Same Dress by Alan Ball. Original works Off-Off Broadway include: Between the Lines, a multi-media piece combining five one-act plays and five short films; TUNE iN, an original multimedia sketch comedy show combining theatre and film at Caroline’s On Broadway; Love Angst & the Way In, another multi-media show; followed by the From Stage to Screen Workshop Series entitled “Looking for Limerance”; a workshop production of the new rock musical Crazy Head Space; and a development reading of Tony Glazer’s play American Stare. Summer serves as the President of the Board of Directors at the T. Schreiber Studio where she produced their annual Gala honoring Cynthia Nixon and the late Wendy Wasserstein. Summer was a lead producer on the films: A Younger Man (which appeared in several film festivals in 2011) and Junction (World Premiere Fall 2011). As an award-winning actress, Summer can be seen and heard in various national and international television and radio commercial spots (over 650 in her commercial career) and has appeared many times on the New York stage in both revivals as well as world premieres. She has had recurring roles on several television shows and has appeared in five independent films. Summer won the 2006 New York Innovative Theater Award for Best Actress in a Featured Role and was nominated for an International Voicey Award for Best Female Voice Talent for her work as a voice-over artist. Find Summer online at www.summercrockettmoore.com.

Cheryl Dennis (Producer) has worked as a general, company and theatre manager for the past 10 years. 2011 general manager credits include the New York productions of Reading Under the Influence by Tony Glazer, and Treasure Island by Tony winner B.H. Barry. Selected credits include, on Broadway: Barefoot in the Park, Steel Magnolias, Frozen, The Miracle Worker, Golda’s Balcony, ’night, Mother, Metamorphoses, True West, Def Poetry Jam; Off-Broadway: tick, tick, boom!, Jesus Hopped the ‘A’ Train, Our Lady of 121st Street, Passion Play, The Last Five Years, Little Willy, Have a Nice Life, and Tony Glazer’s Stain and In the Daylight and Reading Under the Influence. Cheryl currently serves on the board of the Fordham University Alumni Theatre Department. She is also an advocate of education in the arts and is working on several upcoming productions to promote literacy in schools.

Stephen Dexter (Cast) is both honored and grateful to be a part of Playing With Fire. Past New York theater credits include The Crucible, Ivanov, & The Winter’s Tale (Stella Adler Studio), Everybody Dies (Robert Moss Theater), Good Good Trouble On Bad Bad Island & Smoking Section (NYC Fringe), Mother Courage of Westchester (Access Theater), & Navigation (Barrow Group Theater). Film credits include the independent releases of Bystander (Burning Snowman Prod.) and Dumped (Roland Films), as well as the upcoming independent feature Rooftops. Stephen has also appeared on television for the Fine Living Network (Wingman), USA (Royal Pains), CBS (The Good Wife), and DirectTV (Damages). He has studied with Terry Schreiber, Louise Lasser, and Larry Moss in NYC and is a recent graduate of The Stella Adler Studio of Acting’s Three-Year Conservatory. He wishes to thank John, Bronwen, Aurora, Kwan Fai, Andy, Ian, Shane, Royston, his fellow Firestarters, and all the fantabulous, hardworking members of the crew. 

Lucy Di Rosa (Producer, Executive Director) began working in the theatre in graduate school, through Maschere Duemondi, an Italian-language student theatre program. Lucy worked as assistant director, language coach, and actor in the program, on productions such as Carlo Goldoni’s La locandiera. In New York, Lucy has studied performance with John Gould Rubin and through The Acting Studio, and has appeared in several Off-Off-Broadway productions. In addition to her exposure to the performing arts, Lucy has over ten years of experience as a writer and manager in financial services technology firms. Lucy is an experienced instructor, having taught university-level courses and co-authored an advanced level text for the self-teaching of Italian (Ultimate Italian: Advanced, Living Language, New York).  Lucy holds a Ph.D. from the Department of Italian Studies of the University of Toronto, with a specialization in cinema and literary adaptation.

Alexa Erbach (Cast) is excited to join the cast of Playing With Fire. Past credits include the world premier of Jack’s Back! (Ensemble/Dancer) at the Gloria Maddox Theatre, performance with Bill Irwin at the Jacob’s Pillow 50th Opening Gala Anniversary, Defying Gravity (Elizabeth), Ain’t Misbehavin’ (Ensemble), and the 2008 Summer Olympic inauguration activities in Beijing. Alexa holds a BA in Journalism from USC Honors College and is a former television producer at CBS.  She would like to thank the creative team and all the cast members of Jack’s Back! for a wonderful experience. She would also like to thank her own personal creative team, her parents (Nancy and Pert), for all of their love and support. 

Leonie Ettinger (Assistant Stage Manager) is a New York City based actress, stage manager, producer and an aspiring dramaturg. She graduated with a B.A. in Anthropology and Media from Goldsmiths College – University of London and recently completed three years of MFA-equivalent training at the Stella Adler Studio of Acting. Before moving to New York, she trained in the UK at London Drama School, London School of Dramatic Arts and Central School of Speech and Drama. She has acted and participated in various productions in Germany, Israel and the UK including the FFT Düsseldorf and The Tricycle Theatre, London. New York City collaborations include The Living Theatre, Poetic Theater Productions, LEIMAY, Urban Stages, undergroundzero and La MaMa ETC with Everett Quinton. She is Head of PR and Marketing at The Shades of Gray – a New York City based multi arts organization.

Lam Kwan-Fai (Composer/Sound Designer) winner of International Composition Completion of Hsu Tsang-houei Prize -3rd prize and 2nd place for the Asian Composer League – Young Composer Award. After graduating from Hong Kong Academy for Performing Arts, he wasawarded full scholarship from the Hong Kong Jockey Club Music and Dance Fund to complete the Master of Fine Arts in the Composition Program at California Institute of the Arts.  Lam’s film scores have screened and awarded in different film festivals including The 3rd Fresh Wave Short Film Competition (The Grand Prize), Festival International de Cine de Monterrey (Best Short Fiction Film Award), Indie Producers’ Award 2009 (Best Animation), His works also broadcasted by BBC, PBS, The Chosunilbo and NHK. In 2008, the Hong Kong Government and the International Association of Theatre Critics (Hong Kong) invited Lam to be the Music Director of the Musical Theatre Animateur Scheme. Lam is now working closely with Director John Gould Rubin and Emmy Award Nominee film composer Gil Talmi in New York.

Tony Glazer (Producer) is an award-winning writer, director and producer, and a Managing Partner and founding member of Choice Films and Choice Theatricals. Tony’s plays have been produced in New York, Los Angeles, Chicago, Philadelphia and Canada. He just wrapped production on his feature film, Junction, which he directed (www.junctionthemovie.com). Tony’s short film A Younger Man, produced by Pâté Productions, Ltd, Movie Ranch Entertainment and Choice Films Inc. (www.ayoungerman.com)  is now in several festivals around the country and has won several awards.  Tony’s short stories “Single White Mammal” and “Buster” won dual prizes in Writer’s Digest’s 2006 Best Short Story Competition and were published in Writer’s Digest’s 2006 Competition Collection. Tony’s stage plays include Stain, and Safe (both published by Samuel French), American Stare, The Substance of Bliss, In The Daylight, and Reading Under the Influence.  In 2011, Reading Under the Influence completed an extended Off-Broadway run at Union Square’s DR2 Theatre in New York City. Stain premiered Off-Broadway at The Kirk Theater on Theater Row.  Safe originally premiered at the Jose Quintero Theatre in New York. One of his short plays, Doll Play, recently premiered in the 34th Annual Samuel French Short Play Festival under his direction. Tony’s play, In the Daylight, premiered Off-Broadway in the fall of 2009 at the McGinn/Cazale Theatre under the direction of John Gould Rubin. Two of the monologues from this play were selected for publication in the 2010 Best Women’s Monologues Compilation published by Smith and Kraus.  Tony’s play The Substance of Bliss  won the L. Arnold Weissberger Award at The Williamstown Theatre Festival.  His latest play, American Stare, is in the final stages of development for production (season announcement coming soon).  Tony also serves on the Advisory Council of the  T. Schreiber Studio where he directed a production of Better Living for which received three NYIT (New York Innovative Theater) Award Nominations for excellence.  Tony received his BFA in Acting from Boston University and studied acting with Maggie Flanigan. Find Tony online at www.tonyglazer.com.

Jason Gray (Cast) is honored to make his Private Theatre debut alongside this tremendous cast. Theatre: Othello (lead, dir. Duane Boutté), The Crucible (dir. John Gould Rubin), Rounding Third (Hangar Theatre), Click Clack Moo (Hangar Theatre), Is Very Good Story (Hangar Theatre); Film/New Media: Charlie, Trevor, and His Girl Savannah (with Meagan Good), Special Report (The Onion News Network), Hipster Wars (web series). Love you, D. www.oneononenyc.com/jasongray

Sam Kidel (Additional Composer) is a young composer working from Bristol (UK). Growing up, Sam studied classical piano and guitar to a high standard, and played in a variety of jazz and rock bands, but chose to avoid the narrow horizons of an academic music education. Whilst studying for a degree in Anthropology (he graduated with first class honors), Sam continued to write and perform, composing a wide range of electronic music, much of which has been released by record labels. He has also worked collaboratively with visual artists on installation pieces, and more recently composed the soundtrack to a BBC documentary about the painter and stained-glass artist, Brian Clarke.

Shane Killoran (Co-Conceiver) received her B.F.A in Acting from New York University with a heavy concentration in Women’s Studies. After acting for several years in New York and Los Angeles, she realized she enjoyed the rehearsal process far more than performing. This realization took her to England and the University of London where she pursued her post-graduate work in Performance Studies and continued on as a Doctoral candidate focusing primarily in devised performance and representations of sexuality onstage. Upon her return from London, she is focusing full time on writing and taking her place at The Private Theatre as Literary Manager and Resident Dramaturg.

Raj Kottamasu (Video Designer/Live Video Mixer) is an artist working in video, animation, and now theatre. His most recent short film, Amnion, screened at the Queens International Film Festival, The Tank, and the Noua Gallery in Bucharest.

Terhi Tuulia Lintukangas (Camera Operator) is a Finnish Fulbright scholar, Puppeteer (BA) and Actress from the Actors Studio Drama School (MFA). She currently resides in Manhattan. www.terhilintu.com

Salomé M. Krell (Producer) is a tri-lingual actress, producer and creative coordinator based in New York City. Her recent acting credits include GI Joe Jared and his name is edgar at the Manhattan Repertory Theater; the role of Aphrodite in Per Bacco – 6 Stories from Ted Hughes’ Tales from Ovid at the Anfiteatro Eos in Stromboli, Italy. Salomé also appeared Off-Broadway in the New York premiere of My Wandering Boy directed by John Gould Rubin. National tours include Grimm’s Fairy Tales, Cinderella, and Beauty and the Beast. Film credits include a principal role in Like the Water, starring Caitlin FitzGerald and directed by Caroline von Kuhn. Salomé is the co-creator and producer of the Santorini Voice Symposium 2009, which brought together an international group of actors, philosophers and world-renowned voice teacher Kristin Linklater. The group met on the Greek island of Santorini and worked together for 12 days exploring the voice and philosophy. She has published two essays on the Santorini experience in the acclaimed periodical Mosaic: a journal for the interdisciplinary study of literature (University of Manitoba, Canada). Continuing her commitment to create opportunities for true collaboration and learning, she founded Creative    Collaborations and has been designing and coordinating workshops/classes with a handful of brilliant teachers and theatre artists, among them John Gould Rubin and Susan Main. Salomé is a graduate of the theater program at Northwestern University and she serves as The Private Theatre’s Director of Artistic Development.

Andreea Mincic (Costume and Production Designer) is a visual artist working in theatre as a set and costume designer.  This is her fourth production with John Gould Rubin after designing Hedda Gabler, The Fartiste and In the Daylight. Other companies Andreea collaborates with: Hoi Polloi, The Builders Association, Half Straddle, 31 Down, Nonsense Theater Company, Paper Industry.

Mark Noonan (Cast) started acting at the tender age of 24 at The Gaiety School of Acting in Dubli,n Ireland. Made his debut in Brian Friel’s play “Philadelphia Here I Come” at the historic Andrews Lane Theater in Dublin.  Mark moved to the U.S in 2004 and continued his training under the tutelage of Larry Moss and Jayd McCarty. He is one of the founding members of Orphanage Theatre Company and has appeared in many Off Broadway and Off Off Broadway Productions. Theatre Credits include “Rum and Vodka” (Nominated for Best Actor 1st Irish Theatre Festival for the role of  Mr. X), “Walking The Road” (Nominated for Best Actor 1st Irish Theater Festival for the role of Frank), Edmund in “Someone who’ll Watch Over Me” and Originated the role of Brett in “Grandma’s. Mark is excited to work with The Private Theatre on this exciting piece and is very grateful to John for the opportunity. Mark would like to thank all who are close and dear to him and Amber for allowing him to fly. 

Tara Ricasa (Camera Operator) is pleased to be making her camera operating debut with the Private Theatre. She was last seen onstage in A Shot Away with Red Fern Theatre Company. A recent alumni of Labyrinth’s Ensemble workshop and summer intensive, Tara is a proud founding member of the up-and-coming Vertigo Theater Company. Member Actors Equity. Offstage, Tara works with The Seany Foundation to help fight childhood cancer. www.tararicasa.com.

John Gould Rubin (Director/Artistic Director) was previously Co-Artistic and Executive Director of LAByrinth Theater Company for which he directed the premieres of Philip Roth in Khartoum; Penalties & Interest (both as part of Public/LAB at The Public Theater); STopless; The Trail of Her Inner Thigh (by Erin Cressida Wilson); John Patrick Shanley’s A Winter Party; (and co-created and directed:) Dreaming in Tongues; and Mémoire. He recently directed a NYC site-specific production of Hedda Gabler, which sold out in under two minutes once announced by The New York Times; and directed In The Daylight, by Tony Glazer Off Broadway; co-created and directed The Erotica Project for the NYSF; directed The Land of Little Horses, by Rebecca Gilman for Stella Adler Studios, Trial By Water for Ma-Yi, A Taste of Honey at Playwrights Horizons; Blood in the Sink at Urban Stages; both A Matter Of Choice and NAMI for Partial Comfort Productions; EST’s and Naked Angel’s Marathons; The Fartiste for the NY Fringe Festival (Best Musical.) He wrote (and played Ivan Boesky in) The Predators’ Ball (collaborating with Karole Armitage and David Salle) for the Teatro Comunale in Florence, Italy, and at BAM’s Next Wave Festival. He recently directed his first film, Almost Home for Trigger Street Independent, which appeared at The Berkshire Film Festival. As a Producer, For LAByrinth he produced Our Lady of 121st Street (and it’s commercial production Off-Broadway), and Jesus Hopped the ‘A’ Train at Center Stage/NY; Off-Broadway (two Drama Desk nominations.); at the Edinburgh Theatre Festival (Fringe First Award); at The Donmar Warehouse; and at The Arts Theatre on the West End in London (Olivier Award nom.) Mr. Rubin produced a tour of Macbeth with Stephen Dillane playing all the roles at the Almeida Theater in London, the Sydney Theater in Australia and New Zealand. As an actor, Mr. Rubin appeared at The Public in The Sacrifices and has appeared at Second Stage in John Patrick Shanley’s play, Cellini, on Broadway opposite Glenn Close and Gene Hackman in Death and The Maiden, under Mike Nichol’s direction; in the title role of Moliere’s Don Juan, at The Mark Taper Forum in L.A. under the direction of Travis Preston, for which he received the DramaLogue Award in Acting; as Jacques in John Tillinger’s production of As You Like It; in Martin Crimp’s adaptation of The Misanthrope, with Uma Thurman and Roger Rees; as well as in the lead role of Mr. Crimp’s Play With Repeats, with Francis McDormand. Mr. Rubin’s Film appearances include the Spanish film by Juanma Bajo Ulloa, Frágil, The Out-of-Towners, Three Men and a Baby and Dead Again. Television appearances include New York News, Good Advice, Law & Order (all versions, many times) and The Story Behind the Story.

Casey Shane (Cast) is excited to be playing with fire at 189 Chrystie Street with The Private Theatre. Casey’s past theatre credits include: Jack’s Back! (Herbert Wingate, T.S.S. Production, Dir. John Gould Rubin.)  The Tortoise and The Hare (Tommy Tortoise at NCTC), Brace Yourself (Andy at Irish Rep.), The Laramie Project (Multiple Roles) at The Drilling Theater Company, and The God Show (Francis at Davenport Studios).  Emerson College: Best Little Whorehouse in Texas  (Aggie/Watchdog Member), Iphigenia (Achilles), Merrily We Roll Along (Frank), and Parade (Young Soldier).  Thanks to his teachers: Terry Schreiber, Scott LaFeber, Ken Cheesemen, Kris Moon and the creative team of Playing With Fire.   Above all, love to his Mom, Dad, the UWS, and my friends.

Sarah Ellen Stephens (Cast) is a Cincinnati Native and proud of it. She is thrilled to be working with John and The Private Theatre and has loved every minute of this process. Film: Wifed Out (Laundry Service Media). Off Broadway: Classic Kitchen Timer (The Flea Theater, dir. Adam Rapp), The Rover (New York Classical Theatre). Off Off Broadway: Girls in Trouble (Flea Theater Black Box), Pretty White Room (SnapDragon Theatre Works). Regional: Doubt (Human Race Theatre Co.), She’Baltimore (The Pancake Gallery). She’d like to dedicate her performance to her grandmother, and thanks her mother for all her love and support.

Sarah Wharton (Cast) comes to theatre in New York by way of Chile, Bolivia, South Africa, Zimbabwe and Guatemala.  A graduate of Tisch School of the Arts and The Stella Adler Studio, Sarah is an actor and a writer.  As well as being part of the cast of Playing with Fire, Sarah is also a member of the company’s Literary Committee. She is currently assisting on various Private Theatre projects, including working as production assistant on The Peer Gynt Project.  Acting credits include Percival’s Big Night (Buffalo Picture House) and Decade At Glance (Teatro IATI, Artists Collective NOLA). She writes for Back Stage Magazine.

©2012 The Private Theatre, Corp.