the final edition - The New York International Fringe Festival

Propaganda_Aug23_07.qxp
P8
8/21/07
www.fringenyc.org
4:56 AM
Page 1
August 23, 2007
THE FINAL EDITION
AUGUST
10-26 2007
THE OFFICIAL NEWSPAPER OF THE NEW YORK INTERNATIONAL FRINGE FESTIVAL • ISSUE NO. 3
They’re pissed off and not going to take it anymore
ANGSTY TEENS
MAKE ‘THE O.C.’
LOOK LIKE A REALM
OF TRANQUILITY
by Nikki Z. Dodd
FringeHIGH Reporter
From humble beginnings in a small
black box theater at the bottom of a
Minnesota church basement, Angst:
The New Teen Musical has taken the
leap all the way to New York City.
Fringe NYC welcomes the star of the Minnesota
Fringe Festival 2006. It was one of the Festival’s
top selling shows, too. “Angst” is entirely
written, directed and performed by teenagers
and was so popular that it received an encore
performance.
This summer at FringeNYC, prepare to enter
the daunting world of high school, one complete
with sex, drugs and MySpace seen through the
lens of the new and explosive musical, “Angst”.
Celeste Busa is the 18-year-old co-writer and
director of “Angst”, and she also plays the role
of Whitnee, the popular, flirtatious homecoming
queen of “’04, ’05, and cross your fingers…’06!”
Celeste describes “Angst” as her baby;
although it started as a joke, Celeste and her
friends nurtured “Angst” until it grew into
a full-scale musical.
The script was a collaborative project,
created by piecing together individual scenes
that the teenagers had written in small groups.
Developing the character
Originally imagined as a satire, the characters
of “Angst” represent various high school
stereotypes, such as the stoner kid, the
indecisive homosexual and the drunken party
girl. As the show developed, these stereotypical
teenagers transformed into dynamic and
truthful characters with each character
embodying one aspect of the respective
actor’s personality.
Call it 'Degrassi' FringeNYC. From left to right: cast members Michelle Hernick, Ross Orenstein, Jeff Rolfzen, Celeste
Busa, David Belt, Tara Borman, Derek Prestly and Eric Mayson.
Its talented teenage cast ignites the
magic of “Angst” as they portray themselves
and their friends with absolute sincerity.
Among “Angst’s” young talent is Eric
Mayson, composer and lyricist. “Angst”
features original musical numbers, including
“My Life Sucks,” “What? You’re Gay?” and
“I’m Pregnant. Surprise!?” Similar to current
rock musicals, “Angst” artistically employs
song to further the plot, as well as generating
Continued on p3
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P7
Notes from a dirty old director
‘Bukowsical’ wiseacre
Peracchio shoots the breeze
by
Laura Butchy
In the realm of bad
musicals, the bourbonsoaked pen of long
distance drunk poet
Charles Bukowski seems a
little too good to be true.
While the Time Out New York
theater critics chomped at the bit,
panning FringeNYC’s Bukowsical as
a third-rate Guttenberg: The Musical,
audiences proved those
gutterboaters wrong. They’ve
snaked around blocks outside The
Theaters at 45 Bleecker. Besides,
everyone else from LA Weekly to
NYTheatre.com ate it up.
Sometimes, those sneaky theater
critic devils over TONY don’t know
what the hell they’re talking about
(editor’s note: er, see page 6 for their
Best of Fringe picks).
Propaganda contributor Laura
Butchy recently talked with
Bukowsical director Joe Peracchio
about the sleeper hit of FringeNYC.
really about the company that
makes these misguided musicals
with their passionate founder and
the extremely talented performers.
It is based in the Bukowski of his
mind really, the Bukowski of legend
more than fact. This is the Bukowski
that the founder feels a kinship with
and whom he feels connected to. It’s
one legend to another. So while it
basically follows his true life and
events it is more about the theatre
itself, musicals themselves and the
wildly passionate artistic spirit
yearning to inspire and be inspired
by heroes like Bukowski who
encourage us to believe that “being
human is not a crime”.
knew when I met them that they
would make me better at what I do.
FringeNYC Propaganda: Are you a
Bukowski fan?
Joe Peracchio: I have been a huge
fan of his for 15 years. I even
played him in a stage version of
Barfly in college.
FringeNYC Propaganda: How would
you describe the show's musical style?
Joe Peracchio: This is the visionary
founder's last shot at greatness in a
way. So the show that he makes is
a display of and weaving of all the
styles of theater and musical that
he is trained in. It steals from all
the greats like Weill, Chorus Line,
West Side Story, and Sondheim. It
also cribs from his mask, mime,
clown training and Pseudo-therapy
Theater training in which the
performance is used to reform and
heal the audience. The founder is
reaching to create a new style of
theater wrapped around this
misguided idea.
FringeNYC Propaganda: Why did
you want to direct Bukowsical!?
Joe Peracchio: Well, it’s because I
am a huge fan of Charles Bukowski,
but also I am a huge fan of
Stockdale and Green. I was
originally an understudy for two of
the male roles in an earlier 50minute workshop version of the
piece last year. I became friends
with these guys and then they saw
other work I was directing and
performing in. When they
expanded this into a full piece and
wanted to bring it to New York,
they invited me to direct it. These
are truly two madmen of the theater
and they are extremely talented. I
FringeNYC Propaganda: How do you
pick an actor to play a singing Charles
Bukowski?
Joe Peracchio: I was looking for an
actor who had a dangerous edge
and, of course, a great voice. In
particular for this role, I was
looking for someone with wildness
in his blood. I envisioned an actor,
who on his way to hold auditions,
the founder would bump into on
the street and discover. I wanted an
actor who is less musical theater
but more one who growled and
swung at him on the street.
FringeNYC Propaganda: How does
the song "That's Los Angeles" fit in?
Joe Peracchio: It’s a glorious example
of a work from another of the
founder’s works entitled Rootin’
Tootin’ Ramparts. But the scene is
also about the relentless patriotism
of Los Angelinos (of which
Bukowski was a part of). It’s about
the battle between the largest
entertainment cities in the world
for the title of most artistic.
And finally Bukowski's estate
did once threaten to shut down our
show, but later gave up the battle
when they realized we were using
no copyright protected material
and in fact were paying homage to
our hero. I’m sure that they feel if
anything this musical will help sell
more of his books down the road.
FringeNYC Propaganda: What has
been the most interesting part of
putting on the show at FringeNYC?
Joe Peracchio: I’d say the
overwhelmingly supportive
response, reviews and attendance
by New Yorkers. We are selling
out constantly and New Yorkers
have welcomed us with open arms.
That’s not to mention the great and
supportive staff of FringeNYC.
FringeNYC Propaganda: Any future
plans for Bukowsical!?
Joe Peracchio: There are offers from
theatres in Los Angeles and
Chicago, but right now we’re
cooking up an Off-Broadway plan.
Our show is great for Bukowski
lovers and haters, musical lovers
and haters, and young and old alike
who enjoy crass and lewd edgy
entertainment. It’s for the literary
elite as well as the comedy seeker.
We want to run in New York City
for a long time. That’s what we’re
working on right now. I
FringeNYC Propaganda: Is it
accurate to describe the genesis of
Bukowsical! as a joke the lyricist made
to the composer in a list of terrible ideas
for Broadway musical titles?
Joe Peracchio: Absolutely true. Gary
Stockdale (Emmy nominated
composer for Penn & Teller) and
Spencer Green (writer for Mad TV
and In Living Color) became friends
on an industry chat list and their
senses of humor melded
immediately. Some of the other titles
of musicals that should never be
done that they came up with while
joking were Cheney Get Your Gun,
Holy Cow - the Gandhi Musical, Bergen
Belsen Bingo and the list goes on. At
one point they stumbled upon
BUKOWSICAL! and it was this one
that made Stockdale call up Green
and say, “let’s work on this one.”
FringeNYC Propaganda: Does the
show have any basis in Bukowski's life?
Joe Peracchio: Certainly, but it has
many departures and creative
license. It’s more about “the
essence of his being” than actual
events. That's because the show is
Top, from left to right: The Sacred Angel Fist Circle of Note Gang doing what it does best (Matthew Garland, Nadia Ahern, Michael
Lanahan, Marc Cardiff, Brad Blaisdell, Ian Gould, Lauren Rubin); Love is, indeed, a dog from hell (Lauren Rubin, Nadia Ahern, Brad
Blaisdell, Fleur Phillips). Bottom, from left to right: Bishop Fulton Sheen (Matthew Garland) prays for your soul; Sean Penn and
Mickey Rourke audition for Barbet Schroeder (Ian Gould, Michael Lanahan, Matthew Garland). Photos by Lili Von Schtupp
Propaganda_Aug23_07.qxp
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www.fringenyc.org
August 23, 2007
August 23, 2007
www.fringenyc.org
Reviews, reviews, reviews…
MARVELOUS SHRINE
Playwright Leslie Bramm,
director Pamela Butler, and
leading actors Jack Halpin, Sara
Thigpen, and Paul Hufker are all
at peak form in this gripping new
play about family values in
contemporary America.
See this play because it’s
pertinent and smart, or see it
because it showcases some of
indie theater's finest talents:
just see it.
(Martin Denton)
THE MONKEY MOO
The Monkey Moo combines
oddball original music and
uninhibited puppet play with so
much star-in-the-eye imagination
that I wish I could be a puppet in
this show.
Yoko Myoi is playful and so
very endearing as Moo. She and
her director, Kanako Hiyama,
have created a beautiful vision of
an ugly world. This show is just
how I like my Fringe.
(Richard Hinojosa)
ANOTHER DAY ON WILLOW ST
There is a great deal to
recommend Another Day on
Willow St, in which two couples
struggle to hold onto the things
that brought them together in
the first place.
Ike Schambelan directs with
Supplied by
a graceful economy and has a
terrific cast on hand. It’s a very
worthy evening of theatre and
deserves attention.
(David Hilder)
516 (FIVE SIXTEEN)
If you want to see what a top-notch
company can create together, go see
this production.
The script is solid and polished.
The acting is snappy and genuine.
And the design is streamlined and
unobtrusive.
516 (five sixteen) takes on many
subjects: education, communication,
exploitation, manipulation, isolation.
All of them are worthy of your
attention.
(Edward Elefterion)
LIGHTS RISE ON GRACE
Chad Beckim’s challenging new
play follows three New Yorkers as
they try to make sense of the
unorthodox love triangle they find
themselves in. His writing is strong
and doesn’t spoon-feed the audience.
Ali Ahn, Alexander Alioto, and
Jaime Lincoln Smith all bring a
convincing fullness to their roles.
Lights Rise on Grace is another
feather in Beckim’s cap.
(Michael Criscuolo) I
‘TONY’ critics weigh in with their Best of FringeNYC… so far
A SECOND
OPINION
This year, the staffers from Time Out New York have worked like
damned squirrels, trying to take in over 100 FringeNYC shows. Theater
editor Adam Feldman e-mailed us his co-workers’ picks for the Best of
FringeNYC... so far. (As of press time, they are still reviewing shows.)
1. As Far as We Know
Swiftly and creatively staged, this
two-hour topical drama not only
entertains but also provokes thought
and post-show conversation.
the soap-opera implications of the
plot, and the powerful actors form a
love triangle whose angles cut deep.
7. Mister Lucky
Director Joseph Ward creates a
meticulously detailed world,
capturing the squirmy, arm-punching
affection between a brother and sister.
The People’s Improv Theater, Second
City and Upright Citizens Brigade
provided training for most of the
players, and the pedigree shows: All
are deft at physical comedy and do
wonders with virtually no props.
3.) Dirt
8. Naked in a Fishbowl
Although Robert Schneider’s darkly
lyrical, Notes from Underground–esque
monologue was written in German in
1992, its currency has risen with the
recent tide of history. You leave
feeling sweaty, shaken and soiled.
This four-woman evening of longform character is totally different
each time it is performed. (With) no
awkward silences or stumbles, the
four women stay quick-witted and
(are) equally quick on their feet.
4. Double Vision
9. Notes to the Motherland
Double Vision…spirals into a chaotic
roller-coaster reminiscent of an
episode of The Twilight Zone.
Paul Rajeckas plays numerous roles,
each of which starts as caricature but
ends up feeling like flesh and blood.
The overarching tale—-involving his
mother’s abetting of Nazi atrocities—
-is a dark one, but the spry
performer's remarkable physicality
and offbeat humor make the show as
endearing as it is cathartic.
2. Bombs in Your Mouth
5. Helmet
The video game format relies heavily
on the performances, and both actors
are amazing, which is especially
admirable given the fact that they
must deliver most of their lines as a
series of catchphrases.
6. Lights Rise on Grace
Playwright Chad Beckim has a flair for
gritty urban tragedies in which race
plays an inevitable role, shattering
families and fostering abandonment
and surrogacy. Robert O’Hara’s
sensitive, minimal direction deflects
10. Up, Down, Strange, Charmed,
Beauty and Truth
Up, Down, Strange, Charmed, Beauty,
and Truth delivers gasp-inducing
rawness from beginning to end. It is
about love, honor, anger, betrayal
and, most importantly, the agony
of making decisions in a difficult
situation. I
From left to right: David Belt plays the Taking Back Thursday lovin' and nail polish
wearin' emo-gay to Celeste Busa's uber popular girl.
Continued from p1
a high-energy pulse that emanates
from the gifted teenage performers.
Many of these gifted teens
were acquaintances even before
beginning work on “Angst”.
Celeste Busa and others, including
Eric Mayson and Ross Orenstein
(co-director), knew each other
from their high school, St. Paul
Conservatory for Performing
Artists. St. Paul Conservatory
provided them with training in
theater, and many of the cast
members have also been involved
in numerous theatrical productions
outside of school.
Casting process
While casting “Angst”, Celeste
adds that she had fellow
classmates and friends in mind for
various roles beforehand, but still
held open auditions.
Celeste confesses that it felt a
little strange to be auditioning
friends. However, it was for the
best as the ensemble of “Angst”
turned out to be a group of
exceptional artists who work
together beautifully.
Ensemble work
The “Angst” cast has not only
managed to create an ensemble
onstage, but offstage as well.
Through the adventure of creating
and performing a musical, they
shared much of themselves with
each other, and last April, when
the envelope from FringeNYC
arrived, either accepting or
rejecting their application, Celeste
Angst is entirely
written, directed and
performed by
teenagers and was so
popular that it
received an encore
performance.
describes the company gathering
around the unopened letter in
anticipation.
“We didn’t know if that meant
yes or no,” she explained.
When the letter was opened,
the cast was thrilled to discover
that they were on their way to
New York.
Although “Angst” targets
teenagers with its pop culture
references, Celeste Busa believes
that “anyone who has had a high
school experience” will be able to
relate to this musical, whether they
connect with the MySpaceobsessed Tom, or with the
awkward creative writing teacher,
Mr. King.
While retaining its satirical
nature, “Angst” enlightens its
audiences, sharing insights about
the high school experience and
teenagers’ hopes, doubts, struggles
and desires. I
6 Lovers. 6 Secrets. 1 Ghost.
Another night in NYC.
Grant Aleksander
Veronica Cruz
Josh Clayton
Laurence Lau
Written by Philip Gerson
Jenn Miller Cribbs
Maureen Mueller
Directed by Michael Lilly
Stage Manager: Carol A. Sullivan
P3
P4
8/21/07
5:29 AM
Page 4
www.fringenyc.org
August 23, 2007
August 23, 2007
www.fringenyc.org
WHY THE HIPSTERS ARE ALREADY DEAD
“WILLIAMSBURG” CREATORS TALK ZOMBIES AND FRIED CHICKEN
Do hipsters have nine lives? They do in Williamsburg: The
Musical. The plot stars a bunch of Chuck Klosterman-reading,
L-train dwellers who fight off a horde of zombies. Heck, hipsters
are the walking dead and Williamsburg: The Musical hits it out
of the park with Rent-worthy zingers and an undercoating of
sarcasm. We recently sat down with a few cast members as
they dished on their favorite Billyburg dives.
Hello! My name is Mary Brigit
Poppleton, and I am writing an advice
column. Why am I writing an advice
column? Well— as a seventeen-yearold budding writer living a rough life
in Ashtabula Ohio, I feel that I can offer
a great deal of advice to the young, the
hopeless, and the confused. As a writer,
and as a citizen of the world, now is my
time to give back.
The Creative Team of Williamsburg! The Musical
“One of my favorite restaurants in
Williamsburg is Teddy’s. They have
great burgers and I love their spiral fries.”
Kurt Gellersted, Composer
“My favorite sign is one for a Puerto
Rican restaurant on Grand Avenue
which reads: “Las Americas Dinner:
‘We serve breakfast, lunch, and diner!’ ”
Roberto Carrasco, Jesus DeJesus
sermons of Jay Bakker and the
Revolution Church. It’s this sort of
diversity, celebration of spirit, and
creativity which makes Williamsburg
one of the most thriving neighborhoods
in New York.”
Will Brumley, Bookwriter
Dear Mary Brigit,
My dog, Jonathon, just died. He’s a
golden retriever, and my family has
owned him for nearly fourteen
years. Since it happened, I find
myself unable to get up in the
morning, unable to eat, unwilling to
interact with my friends, and
generally feeling very irritable and
out-of-sorts. It’s been three and a
half weeks, and I think that I
should be over this by now – I feel
like I might be depressed. Will I
ever be normal again? How can I
seek help?
My favorite memory of Williamsburg
comes when I first moved in and I was
moving boxes from the car into my
house. This crazy-looking and possibly
toothless woman yelled from across the
street, “You need any help, girl?” I said,
“No, thanks, I'm good.” She said,
“Welcome to Brooklyn! Sex and the City,
girl!” I’m not really sure what she
meant, but I definitely felt welcome.
Anna Jayne Marquardt, (Astrid)
Sincerely,
Regina Handbag
Big Rock, New Mexico
For more information on
Williamsburg: The Musical visit
williamsburgthemusical.com. I
My response:
Below: The actors from left to right are: Adam
Enright, Allison Guinn, and Damien D. Smith
in the song 'Peter Luger Lullaby'.
The Cast of Williamsburg! The Musical in the NYFringe Festival
“From the Williamsburg Spelling Bee to
bingo, stand-up and live performances,
Pete's Candy Store is not a candy store,
but a bar. It’s not just any bar, but sort of
the YMCA for the community’s best
talents and local events.
“It’s the sort of place where you
can grab a cheap beer, snake back
through the narrow, red and rustic
hallway, and grab a seat among the
tattooed-arm boys and witty regulars.
“The cute stage, wrapped with
bright vaudevillian stage bulbs, turns
out everything from poetry and quizoffs to the charismatic and honest
Photo by George Rand
Photo by Jonathan Grey
Our letter for today reads
“My favorite place or memory involves
me getting locked out of the apartment
on a Friday night after work. It was
pouring rain and I had several bags
of groceries.
“Not wanting to catch pneumonia, I
hid the bags under the steps and I went
to a diner to wait for my husband to
come home and let me in. I ended up
ordering a cup of coffee and the most
amazing crustini plate ever. It was sweet
cheese and peaches on a slice of warm
bread. My lord, it was amazing. The
wait staff kept telling me their “locked
out” stories as people were trickling in
for dinner service. Later, I was rescued.”
Brooke Fox, Lyricist/Composer
A Provocative
Modern Myth
Tickets :
www.fringenyc.org
Additional Information :
www.theterriblegirls.com
P5
Mary Brigit Poppleton is
Writing An Advice Column
Photo by Jonathan Grey
Propaganda_Aug23_07.qxp
Dearest Regina:
How sad! There is almost
NOTHING fun about death. Not a
thing. But— here’s something that
you might not know: Losing a
loved one is number four on my list
of literary tragedies that one might
encounter. We see dying
people/things in many of the great
stories of our time—Hamlet lost his
Uncle and eventually everyone else
in his life. Dylan Thomas loses his
father in his epic poem, “Do Not
Go Gentle Into That Good Night.”
A ton of people die in “Les
Miserables.”
So, Regina, I implore
you….when you are waking up in
the morning to the birds of Big
Rock, and all you want to do is
plug your ears and eyes to the
Photo by George Rand
impending day, think about
Hamlet. Think about how he was a
Prince, and then he became a King.
All because of the death of a loved
one. Think about Dylan Thomas,
and how famous he got because he
wrote that poem when his dad
died. Think about Les Mis—the
Third Longest Running Show on
Broadway! Think about it, Regina!
This is not a loss…it’s an
opportunity! This, Regina, is a
perfect example of the beauty of
being a writer. And now, Regina,
it’s your turn to be a writer.
Be a writer. And keep your chin
up, comrade.
With all due respect, and
of course, sincerely,
Mary Brigit Elizabeth Poppleton
Writer: Memoirs/Advice
Columns/Other Things
[email protected]
23 Raintree Lane
Ashtabula, OH 12453
(893) 555-8035 (please don’t call me—
this is my home phone number, and
you’ll most likely talk to my mother)
So—I hope that the rest of you
reading this column can take
something from my advice to the
dejected, dogless Regina Handbag.
It’s a sad day for her, readers, but
it’s a happy day for her also. She
just needs to see it like a writer. SoI leave you with those parting
words, and with well-wishes until
next we speak: if something dies,
see it as a writer.
Signing Off with Gusto,
Mary Brigit
P4
8/21/07
5:29 AM
Page 4
www.fringenyc.org
August 23, 2007
August 23, 2007
www.fringenyc.org
WHY THE HIPSTERS ARE ALREADY DEAD
“WILLIAMSBURG” CREATORS TALK ZOMBIES AND FRIED CHICKEN
Do hipsters have nine lives? They do in Williamsburg: The
Musical. The plot stars a bunch of Chuck Klosterman-reading,
L-train dwellers who fight off a horde of zombies. Heck, hipsters
are the walking dead and Williamsburg: The Musical hits it out
of the park with Rent-worthy zingers and an undercoating of
sarcasm. We recently sat down with a few cast members as
they dished on their favorite Billyburg dives.
Hello! My name is Mary Brigit
Poppleton, and I am writing an advice
column. Why am I writing an advice
column? Well— as a seventeen-yearold budding writer living a rough life
in Ashtabula Ohio, I feel that I can offer
a great deal of advice to the young, the
hopeless, and the confused. As a writer,
and as a citizen of the world, now is my
time to give back.
The Creative Team of Williamsburg! The Musical
“One of my favorite restaurants in
Williamsburg is Teddy’s. They have
great burgers and I love their spiral fries.”
Kurt Gellersted, Composer
“My favorite sign is one for a Puerto
Rican restaurant on Grand Avenue
which reads: “Las Americas Dinner:
‘We serve breakfast, lunch, and diner!’ ”
Roberto Carrasco, Jesus DeJesus
sermons of Jay Bakker and the
Revolution Church. It’s this sort of
diversity, celebration of spirit, and
creativity which makes Williamsburg
one of the most thriving neighborhoods
in New York.”
Will Brumley, Bookwriter
Dear Mary Brigit,
My dog, Jonathon, just died. He’s a
golden retriever, and my family has
owned him for nearly fourteen
years. Since it happened, I find
myself unable to get up in the
morning, unable to eat, unwilling to
interact with my friends, and
generally feeling very irritable and
out-of-sorts. It’s been three and a
half weeks, and I think that I
should be over this by now – I feel
like I might be depressed. Will I
ever be normal again? How can I
seek help?
My favorite memory of Williamsburg
comes when I first moved in and I was
moving boxes from the car into my
house. This crazy-looking and possibly
toothless woman yelled from across the
street, “You need any help, girl?” I said,
“No, thanks, I'm good.” She said,
“Welcome to Brooklyn! Sex and the City,
girl!” I’m not really sure what she
meant, but I definitely felt welcome.
Anna Jayne Marquardt, (Astrid)
Sincerely,
Regina Handbag
Big Rock, New Mexico
For more information on
Williamsburg: The Musical visit
williamsburgthemusical.com. I
My response:
Below: The actors from left to right are: Adam
Enright, Allison Guinn, and Damien D. Smith
in the song 'Peter Luger Lullaby'.
The Cast of Williamsburg! The Musical in the NYFringe Festival
“From the Williamsburg Spelling Bee to
bingo, stand-up and live performances,
Pete's Candy Store is not a candy store,
but a bar. It’s not just any bar, but sort of
the YMCA for the community’s best
talents and local events.
“It’s the sort of place where you
can grab a cheap beer, snake back
through the narrow, red and rustic
hallway, and grab a seat among the
tattooed-arm boys and witty regulars.
“The cute stage, wrapped with
bright vaudevillian stage bulbs, turns
out everything from poetry and quizoffs to the charismatic and honest
Photo by George Rand
Photo by Jonathan Grey
Our letter for today reads
“My favorite place or memory involves
me getting locked out of the apartment
on a Friday night after work. It was
pouring rain and I had several bags
of groceries.
“Not wanting to catch pneumonia, I
hid the bags under the steps and I went
to a diner to wait for my husband to
come home and let me in. I ended up
ordering a cup of coffee and the most
amazing crustini plate ever. It was sweet
cheese and peaches on a slice of warm
bread. My lord, it was amazing. The
wait staff kept telling me their “locked
out” stories as people were trickling in
for dinner service. Later, I was rescued.”
Brooke Fox, Lyricist/Composer
A Provocative
Modern Myth
Tickets :
www.fringenyc.org
Additional Information :
www.theterriblegirls.com
P5
Mary Brigit Poppleton is
Writing An Advice Column
Photo by Jonathan Grey
Propaganda_Aug23_07.qxp
Dearest Regina:
How sad! There is almost
NOTHING fun about death. Not a
thing. But— here’s something that
you might not know: Losing a
loved one is number four on my list
of literary tragedies that one might
encounter. We see dying
people/things in many of the great
stories of our time—Hamlet lost his
Uncle and eventually everyone else
in his life. Dylan Thomas loses his
father in his epic poem, “Do Not
Go Gentle Into That Good Night.”
A ton of people die in “Les
Miserables.”
So, Regina, I implore
you….when you are waking up in
the morning to the birds of Big
Rock, and all you want to do is
plug your ears and eyes to the
Photo by George Rand
impending day, think about
Hamlet. Think about how he was a
Prince, and then he became a King.
All because of the death of a loved
one. Think about Dylan Thomas,
and how famous he got because he
wrote that poem when his dad
died. Think about Les Mis—the
Third Longest Running Show on
Broadway! Think about it, Regina!
This is not a loss…it’s an
opportunity! This, Regina, is a
perfect example of the beauty of
being a writer. And now, Regina,
it’s your turn to be a writer.
Be a writer. And keep your chin
up, comrade.
With all due respect, and
of course, sincerely,
Mary Brigit Elizabeth Poppleton
Writer: Memoirs/Advice
Columns/Other Things
[email protected]
23 Raintree Lane
Ashtabula, OH 12453
(893) 555-8035 (please don’t call me—
this is my home phone number, and
you’ll most likely talk to my mother)
So—I hope that the rest of you
reading this column can take
something from my advice to the
dejected, dogless Regina Handbag.
It’s a sad day for her, readers, but
it’s a happy day for her also. She
just needs to see it like a writer. SoI leave you with those parting
words, and with well-wishes until
next we speak: if something dies,
see it as a writer.
Signing Off with Gusto,
Mary Brigit
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August 23, 2007
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Reviews, reviews, reviews…
MARVELOUS SHRINE
Playwright Leslie Bramm,
director Pamela Butler, and
leading actors Jack Halpin, Sara
Thigpen, and Paul Hufker are all
at peak form in this gripping new
play about family values in
contemporary America.
See this play because it’s
pertinent and smart, or see it
because it showcases some of
indie theater's finest talents:
just see it.
(Martin Denton)
THE MONKEY MOO
The Monkey Moo combines
oddball original music and
uninhibited puppet play with so
much star-in-the-eye imagination
that I wish I could be a puppet in
this show.
Yoko Myoi is playful and so
very endearing as Moo. She and
her director, Kanako Hiyama,
have created a beautiful vision of
an ugly world. This show is just
how I like my Fringe.
(Richard Hinojosa)
ANOTHER DAY ON WILLOW ST
There is a great deal to
recommend Another Day on
Willow St, in which two couples
struggle to hold onto the things
that brought them together in
the first place.
Ike Schambelan directs with
Supplied by
a graceful economy and has a
terrific cast on hand. It’s a very
worthy evening of theatre and
deserves attention.
(David Hilder)
516 (FIVE SIXTEEN)
If you want to see what a top-notch
company can create together, go see
this production.
The script is solid and polished.
The acting is snappy and genuine.
And the design is streamlined and
unobtrusive.
516 (five sixteen) takes on many
subjects: education, communication,
exploitation, manipulation, isolation.
All of them are worthy of your
attention.
(Edward Elefterion)
LIGHTS RISE ON GRACE
Chad Beckim’s challenging new
play follows three New Yorkers as
they try to make sense of the
unorthodox love triangle they find
themselves in. His writing is strong
and doesn’t spoon-feed the audience.
Ali Ahn, Alexander Alioto, and
Jaime Lincoln Smith all bring a
convincing fullness to their roles.
Lights Rise on Grace is another
feather in Beckim’s cap.
(Michael Criscuolo) I
‘TONY’ critics weigh in with their Best of FringeNYC… so far
A SECOND
OPINION
This year, the staffers from Time Out New York have worked like
damned squirrels, trying to take in over 100 FringeNYC shows. Theater
editor Adam Feldman e-mailed us his co-workers’ picks for the Best of
FringeNYC... so far. (As of press time, they are still reviewing shows.)
1. As Far as We Know
Swiftly and creatively staged, this
two-hour topical drama not only
entertains but also provokes thought
and post-show conversation.
the soap-opera implications of the
plot, and the powerful actors form a
love triangle whose angles cut deep.
7. Mister Lucky
Director Joseph Ward creates a
meticulously detailed world,
capturing the squirmy, arm-punching
affection between a brother and sister.
The People’s Improv Theater, Second
City and Upright Citizens Brigade
provided training for most of the
players, and the pedigree shows: All
are deft at physical comedy and do
wonders with virtually no props.
3.) Dirt
8. Naked in a Fishbowl
Although Robert Schneider’s darkly
lyrical, Notes from Underground–esque
monologue was written in German in
1992, its currency has risen with the
recent tide of history. You leave
feeling sweaty, shaken and soiled.
This four-woman evening of longform character is totally different
each time it is performed. (With) no
awkward silences or stumbles, the
four women stay quick-witted and
(are) equally quick on their feet.
4. Double Vision
9. Notes to the Motherland
Double Vision…spirals into a chaotic
roller-coaster reminiscent of an
episode of The Twilight Zone.
Paul Rajeckas plays numerous roles,
each of which starts as caricature but
ends up feeling like flesh and blood.
The overarching tale—-involving his
mother’s abetting of Nazi atrocities—
-is a dark one, but the spry
performer's remarkable physicality
and offbeat humor make the show as
endearing as it is cathartic.
2. Bombs in Your Mouth
5. Helmet
The video game format relies heavily
on the performances, and both actors
are amazing, which is especially
admirable given the fact that they
must deliver most of their lines as a
series of catchphrases.
6. Lights Rise on Grace
Playwright Chad Beckim has a flair for
gritty urban tragedies in which race
plays an inevitable role, shattering
families and fostering abandonment
and surrogacy. Robert O’Hara’s
sensitive, minimal direction deflects
10. Up, Down, Strange, Charmed,
Beauty and Truth
Up, Down, Strange, Charmed, Beauty,
and Truth delivers gasp-inducing
rawness from beginning to end. It is
about love, honor, anger, betrayal
and, most importantly, the agony
of making decisions in a difficult
situation. I
From left to right: David Belt plays the Taking Back Thursday lovin' and nail polish
wearin' emo-gay to Celeste Busa's uber popular girl.
Continued from p1
a high-energy pulse that emanates
from the gifted teenage performers.
Many of these gifted teens
were acquaintances even before
beginning work on “Angst”.
Celeste Busa and others, including
Eric Mayson and Ross Orenstein
(co-director), knew each other
from their high school, St. Paul
Conservatory for Performing
Artists. St. Paul Conservatory
provided them with training in
theater, and many of the cast
members have also been involved
in numerous theatrical productions
outside of school.
Casting process
While casting “Angst”, Celeste
adds that she had fellow
classmates and friends in mind for
various roles beforehand, but still
held open auditions.
Celeste confesses that it felt a
little strange to be auditioning
friends. However, it was for the
best as the ensemble of “Angst”
turned out to be a group of
exceptional artists who work
together beautifully.
Ensemble work
The “Angst” cast has not only
managed to create an ensemble
onstage, but offstage as well.
Through the adventure of creating
and performing a musical, they
shared much of themselves with
each other, and last April, when
the envelope from FringeNYC
arrived, either accepting or
rejecting their application, Celeste
Angst is entirely
written, directed and
performed by
teenagers and was so
popular that it
received an encore
performance.
describes the company gathering
around the unopened letter in
anticipation.
“We didn’t know if that meant
yes or no,” she explained.
When the letter was opened,
the cast was thrilled to discover
that they were on their way to
New York.
Although “Angst” targets
teenagers with its pop culture
references, Celeste Busa believes
that “anyone who has had a high
school experience” will be able to
relate to this musical, whether they
connect with the MySpaceobsessed Tom, or with the
awkward creative writing teacher,
Mr. King.
While retaining its satirical
nature, “Angst” enlightens its
audiences, sharing insights about
the high school experience and
teenagers’ hopes, doubts, struggles
and desires. I
6 Lovers. 6 Secrets. 1 Ghost.
Another night in NYC.
Grant Aleksander
Veronica Cruz
Josh Clayton
Laurence Lau
Written by Philip Gerson
Jenn Miller Cribbs
Maureen Mueller
Directed by Michael Lilly
Stage Manager: Carol A. Sullivan
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Notes from a dirty old director
‘Bukowsical’ wiseacre
Peracchio shoots the breeze
by
Laura Butchy
In the realm of bad
musicals, the bourbonsoaked pen of long
distance drunk poet
Charles Bukowski seems a
little too good to be true.
While the Time Out New York
theater critics chomped at the bit,
panning FringeNYC’s Bukowsical as
a third-rate Guttenberg: The Musical,
audiences proved those
gutterboaters wrong. They’ve
snaked around blocks outside The
Theaters at 45 Bleecker. Besides,
everyone else from LA Weekly to
NYTheatre.com ate it up.
Sometimes, those sneaky theater
critic devils over TONY don’t know
what the hell they’re talking about
(editor’s note: er, see page 6 for their
Best of Fringe picks).
Propaganda contributor Laura
Butchy recently talked with
Bukowsical director Joe Peracchio
about the sleeper hit of FringeNYC.
really about the company that
makes these misguided musicals
with their passionate founder and
the extremely talented performers.
It is based in the Bukowski of his
mind really, the Bukowski of legend
more than fact. This is the Bukowski
that the founder feels a kinship with
and whom he feels connected to. It’s
one legend to another. So while it
basically follows his true life and
events it is more about the theatre
itself, musicals themselves and the
wildly passionate artistic spirit
yearning to inspire and be inspired
by heroes like Bukowski who
encourage us to believe that “being
human is not a crime”.
knew when I met them that they
would make me better at what I do.
FringeNYC Propaganda: Are you a
Bukowski fan?
Joe Peracchio: I have been a huge
fan of his for 15 years. I even
played him in a stage version of
Barfly in college.
FringeNYC Propaganda: How would
you describe the show's musical style?
Joe Peracchio: This is the visionary
founder's last shot at greatness in a
way. So the show that he makes is
a display of and weaving of all the
styles of theater and musical that
he is trained in. It steals from all
the greats like Weill, Chorus Line,
West Side Story, and Sondheim. It
also cribs from his mask, mime,
clown training and Pseudo-therapy
Theater training in which the
performance is used to reform and
heal the audience. The founder is
reaching to create a new style of
theater wrapped around this
misguided idea.
FringeNYC Propaganda: Why did
you want to direct Bukowsical!?
Joe Peracchio: Well, it’s because I
am a huge fan of Charles Bukowski,
but also I am a huge fan of
Stockdale and Green. I was
originally an understudy for two of
the male roles in an earlier 50minute workshop version of the
piece last year. I became friends
with these guys and then they saw
other work I was directing and
performing in. When they
expanded this into a full piece and
wanted to bring it to New York,
they invited me to direct it. These
are truly two madmen of the theater
and they are extremely talented. I
FringeNYC Propaganda: How do you
pick an actor to play a singing Charles
Bukowski?
Joe Peracchio: I was looking for an
actor who had a dangerous edge
and, of course, a great voice. In
particular for this role, I was
looking for someone with wildness
in his blood. I envisioned an actor,
who on his way to hold auditions,
the founder would bump into on
the street and discover. I wanted an
actor who is less musical theater
but more one who growled and
swung at him on the street.
FringeNYC Propaganda: How does
the song "That's Los Angeles" fit in?
Joe Peracchio: It’s a glorious example
of a work from another of the
founder’s works entitled Rootin’
Tootin’ Ramparts. But the scene is
also about the relentless patriotism
of Los Angelinos (of which
Bukowski was a part of). It’s about
the battle between the largest
entertainment cities in the world
for the title of most artistic.
And finally Bukowski's estate
did once threaten to shut down our
show, but later gave up the battle
when they realized we were using
no copyright protected material
and in fact were paying homage to
our hero. I’m sure that they feel if
anything this musical will help sell
more of his books down the road.
FringeNYC Propaganda: What has
been the most interesting part of
putting on the show at FringeNYC?
Joe Peracchio: I’d say the
overwhelmingly supportive
response, reviews and attendance
by New Yorkers. We are selling
out constantly and New Yorkers
have welcomed us with open arms.
That’s not to mention the great and
supportive staff of FringeNYC.
FringeNYC Propaganda: Any future
plans for Bukowsical!?
Joe Peracchio: There are offers from
theatres in Los Angeles and
Chicago, but right now we’re
cooking up an Off-Broadway plan.
Our show is great for Bukowski
lovers and haters, musical lovers
and haters, and young and old alike
who enjoy crass and lewd edgy
entertainment. It’s for the literary
elite as well as the comedy seeker.
We want to run in New York City
for a long time. That’s what we’re
working on right now. I
FringeNYC Propaganda: Is it
accurate to describe the genesis of
Bukowsical! as a joke the lyricist made
to the composer in a list of terrible ideas
for Broadway musical titles?
Joe Peracchio: Absolutely true. Gary
Stockdale (Emmy nominated
composer for Penn & Teller) and
Spencer Green (writer for Mad TV
and In Living Color) became friends
on an industry chat list and their
senses of humor melded
immediately. Some of the other titles
of musicals that should never be
done that they came up with while
joking were Cheney Get Your Gun,
Holy Cow - the Gandhi Musical, Bergen
Belsen Bingo and the list goes on. At
one point they stumbled upon
BUKOWSICAL! and it was this one
that made Stockdale call up Green
and say, “let’s work on this one.”
FringeNYC Propaganda: Does the
show have any basis in Bukowski's life?
Joe Peracchio: Certainly, but it has
many departures and creative
license. It’s more about “the
essence of his being” than actual
events. That's because the show is
Top, from left to right: The Sacred Angel Fist Circle of Note Gang doing what it does best (Matthew Garland, Nadia Ahern, Michael
Lanahan, Marc Cardiff, Brad Blaisdell, Ian Gould, Lauren Rubin); Love is, indeed, a dog from hell (Lauren Rubin, Nadia Ahern, Brad
Blaisdell, Fleur Phillips). Bottom, from left to right: Bishop Fulton Sheen (Matthew Garland) prays for your soul; Sean Penn and
Mickey Rourke audition for Barbet Schroeder (Ian Gould, Michael Lanahan, Matthew Garland). Photos by Lili Von Schtupp
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THE FINAL EDITION
AUGUST
10-26 2007
THE OFFICIAL NEWSPAPER OF THE NEW YORK INTERNATIONAL FRINGE FESTIVAL • ISSUE NO. 3
They’re pissed off and not going to take it anymore
ANGSTY TEENS
MAKE ‘THE O.C.’
LOOK LIKE A REALM
OF TRANQUILITY
by Nikki Z. Dodd
FringeHIGH Reporter
From humble beginnings in a small
black box theater at the bottom of a
Minnesota church basement, Angst:
The New Teen Musical has taken the
leap all the way to New York City.
Fringe NYC welcomes the star of the Minnesota
Fringe Festival 2006. It was one of the Festival’s
top selling shows, too. “Angst” is entirely
written, directed and performed by teenagers
and was so popular that it received an encore
performance.
This summer at FringeNYC, prepare to enter
the daunting world of high school, one complete
with sex, drugs and MySpace seen through the
lens of the new and explosive musical, “Angst”.
Celeste Busa is the 18-year-old co-writer and
director of “Angst”, and she also plays the role
of Whitnee, the popular, flirtatious homecoming
queen of “’04, ’05, and cross your fingers…’06!”
Celeste describes “Angst” as her baby;
although it started as a joke, Celeste and her
friends nurtured “Angst” until it grew into
a full-scale musical.
The script was a collaborative project,
created by piecing together individual scenes
that the teenagers had written in small groups.
Developing the character
Originally imagined as a satire, the characters
of “Angst” represent various high school
stereotypes, such as the stoner kid, the
indecisive homosexual and the drunken party
girl. As the show developed, these stereotypical
teenagers transformed into dynamic and
truthful characters with each character
embodying one aspect of the respective
actor’s personality.
Call it 'Degrassi' FringeNYC. From left to right: cast members Michelle Hernick, Ross Orenstein, Jeff Rolfzen, Celeste
Busa, David Belt, Tara Borman, Derek Prestly and Eric Mayson.
Its talented teenage cast ignites the
magic of “Angst” as they portray themselves
and their friends with absolute sincerity.
Among “Angst’s” young talent is Eric
Mayson, composer and lyricist. “Angst”
features original musical numbers, including
“My Life Sucks,” “What? You’re Gay?” and
“I’m Pregnant. Surprise!?” Similar to current
rock musicals, “Angst” artistically employs
song to further the plot, as well as generating
Continued on p3