Tarhearted.

"THE SLUTS OF SUTTON DRIVE" IS IN THE UNFILTERED FESTIVAL.

Yay! My new play, The Sluts of Sutton Drive, is getting a brief studio production in Youngblood's Unfiltered Festival along with new plays by Anna Moench and Patrick Link. You should come.

UNFILTERED 2011

studio productions of three brand new full-length plays

 

Sweet Forgotten Flavor
 by Patrick Link
directed by RJ Tolan*
 
A wealthy lawyer commissions a talented but penniless painter to do a portrait, but during their first painting session a careless confession releases an unstoppable spring of sin, scandal and sensuality.
 

with Kristin Griffith*+, Richmond Hoxie*+, Haskell King*+, Diana Ruppe*+

and Michael Louis Wells*+

Thu 1/13 at 7pm, Fri 1/14 at 7pm, Sat 1/15 at 7pm, Fri 1/21 at 7pm, Sat 1/22 at 7pm

In Quietness

by Anna Moench

directed by Birgitta Victorson

A former CEO follows her born-again husband to a Southern Baptist seminary and enrolls as a student at the Homemaking House, a place where marital bliss means never having to say thank you for cleaning the toilet. 

with Katie Atcheson, Eric Feldman*, Julie Fitzpatrick*+, William Jackson Harper*+

and Clare McNulty

Wed 1/19 at 7pm, Thu 1/20 at 7pm, Mon 1/24 at 8pm, Fri 1/28 at 7pm, Sat 1/29 at 7pm

The Sluts of Sutton Drive

by Joshua Conkel

directed by Lila Neugebauer 

A working mother enrolls in a strip aerobics class only to realize she hates men. It's when she becomes addicted to drinking cleaning products that her life really begins to unravel.

with Denny Bess*+, Graeme Gillis*, Megan Hill+, Justin Noble and Amy Staats*+

Thu 1/27 at 7pm, Sat 1/29 at 2pm, Thu 2/3 at 7pm, Fri 2/4 at 7pm, Sat 2/5 at 7pm

 

Scenic Design: Maiko Chii · Sound Design: Hillary CharnasLighting Design: Cat Tate Starmer 
Costume Design: Danielle Schembre and Erica Evans
Props Design: Renee Williams · Production Stage Manager: Mark Karafin+ 

Stage Managers: Kelly Ruth Cole+ and Lisa McGinn+

Production Manager: Joshua Scherr · Technical Director: Michael Hetzer 

* denotes EST Member

+ appears courtesy of Actors' Equity Association · Unfiltered 2011 is an Equity-Approved Showcase

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Tickets: $20 general admission · $15 students/seniors

Click here or call 866-811-4111 to order now!

Questions?  Contact:
 [email protected] 
or 212-247-4982

 

BEING THERE IN 2011.

(Cross posted to the Youngblog.)

In the spirit of being there, I thought it would be nice to lay out who exactly I'd be showing up for in 2011. Who are the artists and companies I love? Whose shows do I recommend following in 2011? The writers of Youngblood, obviously, but also these:

The Debate Society
http://thedebatesociety.org/

 

 

 

 

 

 

 

 

 

 

 

 

The Debate Society is made up of actors Paul Thureen and Hannah Bos as well as director Oliver Butler. Buddy Cop 2 was one of my favorite shows of 2010, and its ironic title (and marketing image) belie what a smart, funny, natural, and touching piece it is. It's being remounted at The Atlantic in January. Don't miss it!

 

Half Straddle

http://www.halfstraddle.com/

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I love, love, love Half Straddle and the work of their resident playwright, Tina Satter. The girls and gays of Half Straddle combine poetic language with comedy and music and dancing in ways that are surprising and delicious. Tina Satter's Family was another one of my favorite shows of 2010. Their description: "Twenty-year old Lily is about to be impregnated with Rudolf Nureyev’s frozen sperm to make her mother happy. Little sister Frarajaca wants to stage an artistic gangbang. And Mum doesn’t want to deal with anymore goddamn idiots. It’s a family drama. Sort of." Amazing! My beloved Jess Barbagallo (from MilkMilkLemonade) is also a member of this company.

 

Michael Yates Crowley

 

 

 

 

 

 

 

 

 

 

 

I reviewed Michael Yates Crowley's Evanston: A Rare Comedy at PS 122 a while back and have been following his stuff ever since. He runs theater company Wolf 359 and a monthly salon series, Hearth Gods. Wolf 359 "takes a chainsaw to language and pretension to create a new kind of American theater." A to the motherfucking MEN. Michael is in the Soho Rep Writers/Directors Lab this year and I can't wait for his reading.

Joe Tracz

Full disclosure: Joe and I have worked together before. Not that this matters, really, since I'm not a critic. Joe is one of the brightest, funniest, nicest, cutest playwrights I know and a member of Ars Nova's Play Group. He writes plays about gay werewolves and dance parties aboard satellites. Enough said. He is really, really taking off.

 

 

 

 

 

 

 

 

 

 

The Amoralists

 

 

 

 

 

 

 

 

 

 

What can I say about The Amoralists that hasn't already been said? They are probably the single most important theater company downtown and resident playwright Derek Ahonen has a real set of brass balls. This is what mainstream theater would look like if it weren't so boring and dusty.

And finally, Little Lord

 

 

 

 

 

 

 

 

 

 

 

 

 

 

http://www.littlelord.org/Little_Lord/home.html

I'll confess to being partial to a junky, toy theater aesthetic and the Little Lords have mastered it. Little Lord "manipulates classic texts, pillages faulty nostalgias, and celebrates the homemade as a means to create vibrantly bawdy, offbeat, intelligent, queer, funny (and often musical) theater." I loved, loved, loved their version of Babes in Toyland with David Greenspan and I look forward to their version of the tale of John Smith and Pocahontas.

Happy New Year!

BRUNCH OF THE LIVING DEAD.

 

My play is inspired by 70's teenagers getting scary phone calls a la Black Christmas.

It's going to rule so hard.

More info:

If you think the weather outside is FRIGHTFUL... What better way to spend the very first Sunday of the New Year than cowering under your seat, clutching your bloody mary in abject terror.  Welcome [creaking door noises] to the BRUNCH OF THE LIVING DEAD... Six (it's a bonus pack!) brand new short plays in the horror/thriller/slasher genre.  Laughs, chills, thrills, creepy voices, a new musical -- we've got it all.  Kick baby New Year right in the diaper with the YOUNGBLOOD SUNDAY BRUNCH.   SKIING WITH JESUS by Lydia Brunner directed by Lila Neugebauer with Lucia Brizzi, Darcy Fowler and Nedra McClyde PASS IT ON  by Joshua Conkel directed by John Giampietro with Loren Brown*, Molly Carden and Maya MacDonald THE HORROR by Darcy Fowler directed by Moritz von Stuelpnagel* with Geneva Carr*, Frank Harts and Seth Kirschner BYE BYE VERONICA by Patrick Link directed by Jason Bruffy with Dylan Dawson, Julie Leedes* and Shawn Randall MURDERTOWN a new musical by Eric March directed by Abigail Zealey Bess* with Robert Askins, William Jackson Harper* and Bobby Moreno THE INNOCENT  by Erica Saleh directed by Kel Haney with Jackie Chung*, Jared McGuire and Megan Tusing * member of Ensemble Studio Theatre Five brand new plays, plus our fabulous BRUNCH BUFFET of pancakes, eggs, bacon, pastries and our fiscally irresposible open bar - all for just $18!  Special holiday beverages may be had! Reservations are ABSOLUTELY ESSENTIAL! [email protected] or call (212) 247-4982 x105 Sunday, January 2 doors open at 12:30pm for the buffet (food goes fast so get there early!) show starts at 1pm PLEASE NOTE: We usually have a waiting list, so any reservation not picked up by 10 minutes before curtain time can NOT be guaranteed. Ensemble Studio Theatre 2nd Floor 549 West 52nd Street (bet. 10/11)

"LONESOME WINTER" OPENS DECEMBER 2ND!

The Management and Horse Trade Theater Group

Present

Lonesome Winter

A Christmas comedy for the suicide set!

 

Written by Joshua Conkel and Megan Hill

Directed by Meg Sturiano

Winter Lipschitz is lonesome. She has no friends, an addiction to the Shop at Home Network has run amok, her nipple hair is out of control, and on top of everything else, her cat Sparkles hates her guts. After a failed suicide attempt, Winter is visited by life coach Debbie Metzger-Bolger. Will Debbie give Winter the tools she needs to get her life back on track? Or are the Pearly Gates the only thing in store for poor old Winter?

Featuring Nicole Beerman*, Megan Hill*, Kirsten Hopkins*, Nick Lewis, and Joshua Conkel

December 2-19^th@ UNDER St. Marks
Thursdays-Saturdays at 8, Sundays at 2
Tickets Available at www.smarttix.com

 

*Member’s of Actor’s Equity. Equity Approved Showcase.

 

 

"MilkMilkLemonade" IS ABOUT TO DROP IN QUEENS.

 

Presents

MilkMilkLemonade

By Joshua Conkel

 

Voted Best Off-Off-Broadway Show 2009
“An angry, bitter and very funny play about growing up gay in middle America.” “Theatrical gold.”
-New York Press

 

 

October 28th - November 13th

Thu - Fri at 8pm, Sat at 2pm & 8pm

 

BUY TICKETS HERE

 

THIS SHOW CONTAINS STRONG LANGUAGE AND SEXUAL CONTENT. CHILDREN UNDER 16 WILL NOT BE ADMITTED TO THE THEATER.

 

Astoria Performing Arts Center

Venue: The Good Shepherd United Methodist Church

30-44 Crescent St (@30th Rd)
Astoria, NY 11102

Directions: Take the N/Q to 30th Avenue. Walk down 30th Ave, past Mt. Sinai Hospital of Queens. Turn left on Crescent Street, then right on 30th Rd. The entrance is the second set of red doors on your left. Street parking only.

 

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Emory is an effeminate 11-year-old boy who lives on a farm with his chain smoking Nanna and his only friend, a depressed chicken about to be processed. Nanna wishes Emory would get his head out of the clouds, stop choreographing ribbon stick dance numbers, and be more like Elliot, the boy down the road with a penchant for burning things. But Emory and Elliot have a relationship — just not one Nanna would expect or approve of. With absurd, poignant dialog and brutal characterizations, MilkMilkLemonade is a bitterly funny exploration of gender, sexuality, life, death and the human body.

 

BUY TICKETS HERE

 

Starring

 

Jess Barbagallo, Nikole Beckwith, Michael Cyril Creighton*, Jennifer Harder, Andy Phelan*

 

Production Staff

 

Director: Jose Zayas
Choreographer: Nicole Beerman
Set Design: Jason Simms
Costume Design: Sydney Maresca
Lighting Design: Bruce Steinberg
Sound Design: David Margolin Lawson
Associate Set Design: Caite Hevner

Press Representative: Katie Rosin/Kampfire PR
Production Stage Manager: Alex Mark*
Production Manager: Annie Jacobs

Technical Director: Andrew T. Chandler
Assistant Stage Managers: Katy Moore* & George Spencer
Graphic Design: Kate Northern

 

*denotes member of AEA

 

BUY TICKETS HERE

Produced by special arrangement with Playscripts, Inc. (www.playscripts.com)

DRAG, HONEY.

The Fiance and I watched the 1977 film Outrageous! last night. How had I never heard of this movie? Is it because it's Canadian? It's an absolutely wonderful little movie about the tender friendship between a down-on-his/her-luck drag queen and a young schizophrenic woman recently released from a mental hospital. Craig Russell, who plays the drag queen Robin Turner, is magnificent. I was sad to see that he passed away in 1990. You should see it. Anyway, it was the perfect reason to blof about drag, which I've been meaning to do for a while.

Don Hall, whose blog I really love, wrote this entry about drag:

One of my least favorite things on the planet Earth is watching guys play women.  In a city with so many incredibly talented female actors, it almost seems insulting to have a man play a woman.  Most of the time, dudes perform drag roles as campy and train their voices in a higher pitch, become unnecessarily effeminate, and 'pretend' to be women-like.  Throw on some pancake make-up, rouge, fake tits and a wig, and you have the equivalent of a typing chimp on stage.  The device is most often used as a gimmick and I generally find the gimmick to be dull after about thirty seconds.

I know he didn't mean it in any kind of offensive way, but it really irked me for some reason and it's been sticking with me for a while. It took me a while to figure out why (in addition to using Divine's image to illustrate his point. Oh snap!) The thing is, he's half right. Drag is a gimmick. When straight people do it, anyway. A straight dude wearing a dress is embarrassing. A gay man wearing a dress is empowering. That's why Divine is masterful in Hairspray and John Travolta nearly ruins the entire remake single handedly. The film is meant to be a love note to outsiders, but it's constantly saying "look at John Travolta in this dress! John Travolta is a man! Ha ha ha!"

This is not to say that straight folks can't do drag well. A good performer is a good performer and many straight actors have rocked queer pieces in film and theater. But in those cases the piece is queer, even if the actor isn't. I think I'm starting to realize how important drag is to the telling of queer stories. It's a part of our culture and it kind of hurts me to see it tossed aside as if it were nothing. Brendan Kiley, a critic at The Stranger, kind of misses the mark on drag in this review too. His review is about something else entirely, but his brief comments on drag make me think he doesn't really understand it.

I've been thinking a lot about drag lately. I guess its because of MilkMilkLemonade opening this week. (Buy your tickets!) Drag is really important to me. I don't have drag in all my plays, but I'm always tempted to. It means a lot, but I'm not really sure why. I think maybe because it's a way for queer people to write about the mainstream, heterosexual culture. A way for queer people to access a culture they're shut out of. To satirize it, sure, but also to connect to it. There's an old adage in the queer/camp milieu: "Straight people don't understand camp because everything they do is camp." (Although I know plenty of straight folks who do get camp.)

Also, P.S. to Don Hall. Don't take this the wrong way, because I really like your blog and totally don't want to piss off the Angry White Guy, but...

The world is probably working on another George Clooney or Angelina Jolie as we speak. But we'll never have another Divine. A little respect?

THE SLUTS OF SUTTON DRIVE.

Oh snap! This totally snuck up on me. I have a reading of my new play THIS WEDNESDAY and you should come!

The Sluts of Sutton Drive

by Joshua Conkel

Directed by Lila Neugebauer

A vicious comedy about radical individualism vs the American family. Stephanie Schwartz is a working mother who enrolls in a strip aerobics class only to realize she hates men and promptly becomes addicted to drinking cleaning products. That's when her life really begins to unravel...

Featuring the most bananas crazy talented cast ever assembled: Hannah Bos (The Debate Society), Denny Bess (EST), Amy Staats (EST), Paul Thureen (The Debate Society) and Steve Boyer (EST). Stage directions read by Gwen Ellis.

Wednesday, October 13th @ 8:30 pm

549 W 52nd St., Sixth Floor
New York, NY 10019-7799
(212) 247-4982

FREE! FREE! FREE!

 

 

 

JENNIFER HARDER: MUSE.

Daddy is nursing a serious hangover today as a result of the Innovative Theatre Awards last night. My congratulations go out to Jennifer Harder who won Best Featured Actress for her turn as Linda in MilkMilkLemonade.

Jennifer has been one of my main collaborators since I was cast alongside her in The Management's second show, Aloha, Say the Pretty Girls- way back in 2004. Since then I've written two roles specifically with her in mind.

The first was Penny in The Chalk Boy, an angry 15 year-old Wiccan in Washington State. Her performance set the standard for the character. Jenny imbued the character with a sense of danger and an under current of sadness that seemed so, so real. Her performance was so definitive that the early sketches of the upcoming graphic novel adaptation have the character looking just like her.

I also wrote the role of Linda the Chicken in MilkMilkLemonade, and was worried that she wouldn't want to play it. What pretty blond girl wants to play a chicken with a Brooklyn accent who does lousy stand-up? (God, I do awful things to actors.) Thank goodness she took the role. Again, she brought depth to a character that didn't necessarily call for depth. Or so I thought, as the self-deprecating playwright. Turns out Jenny understood the character better than I did.

We don't always agree. We fight and then make-up like siblings, but I always have a deep respect for her, her talent, and her friendship. Jennifer Harder is one of the most generous, bold, and coo coo crazy actresses I know. I can't think of anybody I'd rather see get this award.

Here's to a lifetime of collaboration!

MilkMilkLemonade TRADING CARDS.

Better get ready, Queens!

Astoria Performing Arts Center's production of MilkMilkLemonade, with the original cast collected, is coming your way. Check out the cute (and collectible) post cards.

Collect them all!

BEST WORST PRODUCTION EVER: THE WIZ.

A community theater in my home town did a production of The Wiz with nary a black face onstage. You can't really blame them for not casting African American actors, as there aren't a lot in rural Washington State. (This theater also did West Side Story and just died a bunch of people's hair black and put them in brown face to be The Sharks, so...) I suppose some black actors could have commuted from Seattle, but the real solution to this problem would have been for this theater to have chosen a different musical. Oklahoma, maybe?

Anyway, the production was terrible. Seriously, among the worst I've ever seen. You know what else it was? Kind of amazing. It was the real life version of the joke on Strangers With Candy when Jerri's school does A Raisin in the Sun with all white kids. Unbearably bad.

Now I continue this tradition on a grand, Hollywood level. Onto the worst production of The Wiz...

As The Scarecrow, the obvious answer is Zach Braff, who earned his physical comedy stripes on Scrubs and whose trite ass film Garden State proved he has no brain!

Next up we have John Travolta as The Cowardly Lion, because why not? He's already proved he can ruin a musical with his offensive turn in Hairspray. Or maybe he should be the witch because apparently water melts him.

For the Tin Man, I say we bring in a Hollywood legend. I choose Rip Taylor, who's amazing at everything he does, from getting up in the morning to choosing which wig to wear.

Glenda is Ke$ha and that is that. Doesn't she seem good natured and magical in this photo?

As Evillene, the wicked witch, I'd cast Kirstie Alley. I don't know, I just love her and I think she'd have fun.

Finally, as Dorothy, we need an actress who can carry a fantastical story but not necessarily hold her own in a musical. That's why I nominate Sarah Michelle Gellar. Once more, with feeling!