The Revenge of the NYtheatre "i"

Martin Denton's blog, the "i," is up and running again. In its original incarnation, the "i" was the first theatre blog I ever read, and you have Martin to thank/blame for the 90 posts that I've published on Stolen Chair's blog since Thanksgiving of 2006 (I'll be throwing a live blog party to celebrate the 100th post...the party will consist of me drafting the 101st post over a glass of canned champagne).

"i" v. 2.0 is a Wordpress template, so this go-round it will be much much easier to comment on Martin's posts (in the past one had to email Martin directly).

Enjoy!

Video clip from Shockheaded Peter

Perhaps useful to see before our retreat to make sure we don't accidentally create a poor-man's version of this incredible show (though I don't think that's actually a problem given the very clear Victorian stamp their production has). Here's the show clip and here's a link to the promo video.

More noir

For those of you in noir withdrawal since Kill Me... closed, Mathew Freeman just posted a link to Dreamscape Theatre Company's Marlowe-inpisred radio play.

We're still planning on doing a radioplay version of Kill Me... at some point down the line, but we're so insanely busy right now that this is likely a project for early April; we'd have to change quite a few scenes to make the play fly without the visuals...or at least throw in some voice-over :) Actually, I wonder if we could just add voice-over to the audio from our DVD of the show...I'll have to try "watching" the DVD with a blindfold on (otherwise I'll be too tempted to peek!).

Erik Erikson on Childhood

Hat tip to Kiran for finding this quote from Erikson's Childhood and Society:

"Every adult, whether he is a follower or a leader, a member of a mass or of an elite, was once a child. He was once small."

Alma Mater matters: On Stolen Chair and Swarthmore

Stolen Chair HQ received 3 big emails from Swarthmore College this week. For those of you who don't know the lore (if you already do, you can click ahead to the announcements below), Stolen Chair was founded in 2002 by 10 Swarthmore College students and recent alumni to create a piece for the Philadelphia Fringe Festival. Though today's Stolen Chair is by no means comprised solely (or even mostly) of Swarthmore alumni (aka "Swatties"), we have maintained a close relationship with the college ever since.

After Kiran and I moved the company to New York in fall of 2002, we continued to collaborate in New York with founding members Kathy Walley and Keetje Kuipers, as well as a handful of other New York Swatties. Kathy is now on our board of directors and training to be an ASL interpreter, and Keetje continues to provide frequent moral support as she pursues a career in poetry.

While part of "growing-up" has obviously meant casting a wider net and beginning to play nicely with children from other schools, some uncanny connections to the college have persisted. David Bengali, our resident designer and director of production, was introduced to us through our former costume designer and current board member, Caroline Barnard, when we were looking for a lighting designer for 2005's Commedia dell'Artemisia. Caroline knew him from Princeton and knew he dug Commedia...turns out he had also collaborated quite a bit with another company founded by Swarthmore alums: Philadelphia's Pig Iron Theatre Company, a major inspiration to us while we were undergrads. And Emily Otto, our composer and dramaturg, spotted our Craigslist ad after seeing Pig Iron's Hell Meets Henry Halfway at A.R.T. (where she was working on her MFA) and meeting with the show's dramaturg, Allen Kuharski, the Swarthmore theatre professor (and continuing mentor) who inspired us to create a theatre company in the first place. And I met Alexia and Cameron while we were training with the SITI Company at....(can you guess where?)...SKIDmore--wait, that's not Swarthmore; ah well, close enough!

And somehow, strangely, the line-up of collaborators for this weekend's retreat represents the most Swattie-dominated residency we've had since that very first summer creating Portrait of Dora as a Young Man, and, I, frankly, never could have predicted that we'd be working with these three very talented Swarthmoreans. Aviva Meyer, who had never worked with a theatre company previously (but had, since Stolen Chair's inception, been the company's fairy godmother, providing house management, set-up/strike help, and endless origami out of the goodness of her own heart), was finishing up her masters in public health at Columbia in 2004 when we begged her to come head up Stolen Chair's "offices." And though Sam Dingman (who co-founded the company when he was just a wee college sophomore) performed a curtain-raiser for Commedia dell'Artemisia, Kiran and I hadn't collaborated with him in over 4 years when we began work on Kill Me...! Elisa Matula, another co-founder of the company (who, as you might be able to glean from the inset picture, co-starred with Sam in my directing thesis production of The Dybbuk, adapted by Kiran), has returned to play with Stolen Chair after an even longer hiatus: nearly 5 years living in Paris! Elisa trained for two years at the Ecole Jacques Lecoq and spent a few years after that touring work to international festivals throughout Europe and training at the Roy Hart Theatre (and about a dozen other places I'm still slowly learning about), and though Kiran and I treasured our annual dates in cute little Parisian cafes and wine bars (Kiran has family she visits regularly in Paris and I accompany her to hang out in her Parisian digs and get some work done in what is certainly our most "fancy-pants" retreat destination), we never imagined we'd ever see Elisa in New York, let alone have the opportunity to create work with her again.

And speaking of opportunity, with the support of the Swarthmore Project in Theatre, a program that grants creative residencies in the college's Frear Ensemble Theatre (often with cozy lodgings in a nearby bed and breakfast), Stolen Chair has kicked-off the development processes of 5 of our 9 original productions. Retreats, both at Swarthmore at our Greenwich, CT location, have since become a vital part of each project's conceptualization.

Lastly, whenever we're producing a show, we reach out as much as possible to the Swarthmore alumni network in New York; they're smart, politically engaged, ready to laugh their asses off, and equally willing to be moved--could there be a better audience?!

Now onto the emails:

1. A tear-sheet from the Kill Me Like You Mean It review and Stolen Chair profile which Jeff Lott wrote for the forthcoming March issue of the Swarthmore Alumni Bulletin. I'll post a scan of the review when we get it in the mail in a few weeks.
2. Allen Kuharski, head of Swarthmore's Theatre Department, invited Stolen Chair to present a work as part of the featured entertainment for the 2007 Alumni Weekend. This will be a really nice way to commemorate Stolen Chair's 5th anniversary and Kiran and my (and Elisa and Kathy's) 5th college reunion. We just received confirmation that funding has come through for the project so now we're trying to decide which piece we should resuscitate from our repertory. I'll post details as soon as I have them.
   
3. Okay, to be fair, this item isn't exactly Stolen Chair news, but yours truly is currently trying to sort through logistics so that I can be the guest director for a Swarthmore acting student's solo performance thesis. This is exciting for at least half a dozen reasons, but one that I just realized while typing is that I was the first directing student to devise an original work with professional actors hired by the theatre department for my thesis (a movement-theatre adaptation of The Dybbuk...yes, I did double-Dybbuks for my thesis, I'm that guy!). Coming back to the program as the "hired help" has will be a nice dramaturgical book-end :)
   

Long enough post?

Onwards...

After a very busy weekend featuring our 2nd Annual Unfundraiser Party, two Commedia dell'Arte masterclasses taught by Maestro Antonio Fava and a sold-out performance of Fava's Pulcinella's War, Stolen Chair is taking a break...for a couple days until we go into creative retreat next weekend to begin developing The Weimar Fairy Tale Project.

As we all scramble to get through the thick reading packet that Emily and I prepared, I wanted to throw out some more suggested reading material: Politicizing Puberty: The Zoning of Childhood Sexuality in Art, Advertising, and the American Household. Read it here.

Ben Brantley on CineTheatre

...well, sort of. It's an article on hip London auteur directors but he writes about a variety of projects that have CineTheatrical leanings.

Here's the article.

An open letter of apology to Roald Dahl

Dear Mister Dahl,

I'm sorry your work was not included in the reading packet for The Weimar Fairy Tale Project. Your work will, without a doubt, still be primary influence on the creation of the piece, and to make amends, I am hereby suggesting that all collaborators working on the project read a 2005 New Yorker article written about your work: "THE CANDY MAN: Why children love Roald Dahl’s stories—and many adults don’t"

I hope you will accept our humblest apologies and a pair of complimentary tickets to the fall world-premiere of our production. The tickets and an industry packet will be waiting at the box office in your name.

Best,
Jon Stancato
Co-Artistic Director, The Stolen Chair Theatre Company

Breakin' the law, breakin' the law!

Well, there wasn't too much happening in Stolen Chair-land this long weekend (though next weekend we have our unfundraiser party, a weekend of Commedia masterclasses taught by Antonio Fava, and the NYC premiere of Pulcinella's War performed by Fava and Merve Engin), so I've spent the day lurking around the blogosphere...

Quite a few of the theatre bloggers have been buzzing about David Cote's new posting on "fraud" over at Histriomastix, and Isaac Butler from Parabasis pointed to Jonathan Lethem's related article on plagiarism, copyright, public domain, and intellectual property. Anyone who's heard me ranting about the public domain, cursing Mickey Mouse, Sonny Bono, and George Gershwin for infinitely extending copyright laws, and threatening to go to law school so I can defend artists against monopolistic estates in intellectual property disputes can see why Lethem's open-source approach appeals to me.

While Stolen Chair has certainly been guilty of cribbing a line or two for each of our shows, we are more conspicuous creative criminals in our theft of styles and stories. Though we didn't have this sort of theft in mind when we chose our name, it's become the company's calling card over the past half-decade. While I don't think we're in danger of finding ourselves in court anytime soon, I do spin my wheels thinking about where, exactly, legal lines should be drawn.

In some senses (and this could be the director in me talking), the poaching of style is perhaps more commercially threatening than stolen stories, which, provided they are attributed in the program materials, are, in many ways an advertisement for the original source material. Commedia and Kabuki troupes in days gone by fought bitterly (um...not with each other; or rather, yes with each other, but "like with like"...though I would pay good money to see Harlequino take on an Onnagata) when they found themselves competing with copycats trying to ride on the coat-tails of their innovation. (From my understanding, contemporary popular entertainers in the burlesque, circus, and neovaudeville circuits tend to be rather intolerant of an "uncredited homage.")

But that's what Stolen Chair proudly does: ride on the coat-tails of any theatrical or cinematic tradition that had, in its own time, broad popular support. Just because Raymond Chandler (and Ionesco and Moliere and Ludlam and Hugo, for that matter!) is not around to complain doesn't mean he would be too keen on our mimicry. And if we became profitable in sampling his literary voice [insert laughter here], I find that becomes almost as troubling for the concept of intellectual property law as Vanilla Ice's infamous dispute with Queen...all right, it's true: few things are as troubling as Vanilla Ice...

So, where does that leave us outlaws? Well, I don't really know. I'll keep thinking...Comments?

Long and thick...

...is the best way to describe our reading packet.

140 pages.

141 if you include the table of contents.

We're such dorks!

Click here for a .pdf of the table of contents.

Special blog-reader discount

Use coupon code "BLOG" when you order on SmartTix for $5 off adult admission to Fava's February 24th performance, Pulcinella's War.

Legendary Commedia dell’Arte performer, maestro, and maskmaker, Antonio Fava presents his signature show, performing lazzi from the life, death, and resurrection of Pulcinella, the stock character he inherited from his father and one of comedy’s most beloved scoundrels.

The following is an excerpt from Maestro Fava's press release:

War, unfortunately, is a timeless and universal situation experienced by all cultures and peoples-- it is also a classic situation for the Commedia dell’Arte. Pulcinella’s War, by Antonio Fava, features Pulcinella and Zazzà: two masks, of the oldest and longest lasting comic theatrical tradition still on the boards - the Commedia dell’Arte, with almost five centuries of uninterrupted history.

Pulcinella’s War tells the comic story of Pulcinella who goes to war not for glory or honor but to solve his problem of love. To Pulcinella, war appears as a refuge, a solution, a form of intentional, planned suicide. The audience follows Pulcinella’s exploits and his relationship with Zazzà, the woman who is his match.

Fava gained a passion for Commedia dell'Arte through his father, a famous Pulcinella in Scandale, Calabria, Italy. From this, he would go on to become the world's leading teacher and director in the Rennaisance art-form so few know about or even understand. In 1980, he created the International School for Comic Acting in Reggio Emilia, Italy for the purpose of teaching and training performers from around the world in Commedia, Masks, Mask-making, Opera Regia, Tragedy and the original variety show.

New newsletter up

A poem for Valentine's Day:

Roses are red,
And so is your sweater.
We'd love you much more
If you read our newsletter.

Party time!!! Excellent!!!

It's official. The second annual Stolen Chair un-fundraiser (no cover charge, no suggested donation, no reason not to come and party away with the Chairs) will be held at.......Drumroll please.....I said, drumroll please......Dammit, who hired this drummer anyhow?!.....Could we get a triangle?.....Anyone?....Cowbell?....Okay: cue cowbell!....[clank clank clank clank clank]....

February 23rd

8pm until our Dramaturg says "Stop!"
Slainte Bar & Lounge
304 Bowery (Betw. Bleeker and Houston)
Drink specials from 8pm-1opm...

Raffle prizes...

A slideshow of Stolen Chair's greatest hits playing on the bar's TV system...

And the first public announcement of our next collective creation!

Get yer tickets now!

Tickets for Stolen Chair's presentation of Antonio Fava's signature piece Pulcinella's War have now gone on sale at SmartTix. Buy 'em now!!!

Kuttel Daddledu? More like Kuttel DaddleDon't!

So, I sat down with Kathy to translate the "Kuttle Daddledu" fairy tales by Joachim Ringelnatz. Turns out that Ringelnatz's book Kuttle Daddledu doesn't actually have any fairy tale adaptations in it. I was able to find the German version of Ringelnatz's take on "Little Red Riding Hood" (in a collection of Ringelnatz stories called 21 Erzählungen), but I already had the English version of that in Jack Zipes' Fairy Tales and Fables from Weimar Days. I wrote Prof Zipes to ask if he could direct us to some more of Ringelnatz's fairy tales, but it looks like we'll have to put this whole pursuit on hold for now...

In the meantime, Kathy's (rough-draft) translation of Ringelnatz's "The Stamp"

A male stamp experienced
Something wonderful before he was stamped.
He was licked by a Princess
And so love was awakened in him.
And he wanted to kiss her back.
But then he had to go on his journey
And so he loved her in vain.
That is the tragedy of life.

Toolkit #4

Mini toolkit update, mostly kid-vice instead of Weimar-vice (I didn't read any of the German sources today...):

• A keg that pumps apple juice (or what happens when a keg that is supposed to pump apple juice actually pumps beer!)
  
• Kids as mini-scientists: "Hey, come see what I discovered!"
• Temper tantrums
• The horror and anxiety of "Monkey in the middle"
• Costumes that are too tight, that look shrunk in the wash (as if adults were actually wearing kids' clothing)
  
• Cardboard boxes
  

I was hoping this entry would cure my insomnia. No dice.

Tomorrow (or rather, later today) is exciting though: while 1/3 of Stolen Chair will be in Long Island City seeing the Force trilogy, I'll be meeting with our Kathy (our resident Germanophile and loyal board member) and translating a few more passages from Ringelnatz's Kuttel Daddledu fairy tale (the German version is in the public domain and is online at Projekt Gutenberg).

"Dada" is often a baby's first word!

While I can't seem to find anything on the web to back me up on this, I'd like to pretend that the Dadaists took the name of their movement from one of the first syllables babies can easily pronounce (okay, Kiran, you're an exception--we couldn't all start with bird!). I was combing through some entries in David Cote's blog (Histriomastix) last night and found this fun comment on the work of Richard Foreman:

Sounds pretentious and headache-inducing, maybe? Not at all. It’s simply a yearly pilgrimage into the antic, forbidding cranium of Richard Foreman and I seriously, frivolously enjoy it. (I would like to see the work presented in a matinee performance for kids. See how they react to it. As I recall, there’s nothing inappropriate for children.)

Read the full entry here.

Perhaps, in developing the concept for this piece, we've been so singularly focused on identifying the grotesque with childhood glee (Shockheaded Peter, Roald Dahl et al) that we're neglecting the hypnotic delight kids get from surrealism, dadaism, and pretty much any other -ism that splinters signs from their usual signifiers (sidenote: one of the audience members for Kill Me Like You Mean It mentioned he was regretted not bringing his 7 year-old son "who would have had a blast with all that repetition."). I think kids would really dig Foreman in much the same way they dig Dr. Seuss (and, I suppose, "Teletubbies").

And, in chatting with Kiran over the past few days (especially after watching the gorgeous 1926 silhouette stop-action animation The Adventures of Prince Achmed), I realize we've missed another possible element of kid-vice: "wonder. " Now, Kiran is reluctant to use "wonder" as a shorthand because it is too passive to describe a child's very active appreciation of "beauty" (a term that I am, in turn, bothered by because it is so culturally-mediated that it becomes reductive when trying to evaluate the complex web of associations that cause "wonder"). Kiran thinks the way around "wonder" and "beauty" is to talk about "immersion" and "atmosphere," and I like this framework because the appeal of The Little Princess, Shockheaded Peter, Slava's Snowshow, Disney World (total theatre for tots?), and even Richard Foreman can all be analyzed using these same two constructs.

All right. That's it for now. I'm probably not going to post again until Tuesday, but, in the meantime, make yourselves at homes in the "Comments" section.

The Blue Angel and Toolkit #3

So I Netflix'ed disc 2 of The Blue Angel, even though it was the "English" version, because it promised special features that disc 1 didn't have. Alas, the disc doesn't have any special features and English is only actually spoken when they can justify it within the plot, leaving me with a bit too much unsubtitled German to process (though the plot is easy enough to follow in any language). Good news: it's as fabulous (and sad) as I remember it, with stunning performances by Dietrich and Jannings, delightfully disturbing glimpses (onstage and backstage) of what Berlin Cabaret calls a "tingeltangel" club (not a "cabaret" proper...apparently there are quite a few semantic rules about cabarets vs. nightclubs vs. revues, etc), and some what seems, from some of my other readings, to be a fairly authentic peek at an authoritarian German classroom. We'll cue up a bit of the film for the retreat and add one of the scenes from the screenplay to the reading packet...

And here are some toolkit additions:

• Noise that floods in from outside sources whenever a door or window is opened
• Caricatures
• A character that never speaks
• A policeman or other authority figure who makes rounds
• Costumes with peekaboo elements
• Tophats and canes
• First time inebriation (like in the Fantasy Island scenes in Pinocchio)
• Other performers messing around while another performer is featured
• Handkerchiefs
• Greased down hair
• Failed and/or anticlimactic magic tricks
• Performance posters hanging on the wall
• Piaget's stages of child development
• Freud's stages of child development
• Lacan's stages of child development
• Prosthetic noses
• Postcards of the lead performers
• Clowns not doing clowny things, for that matter any highly stylized performer behaving "incorrectly"
• Backstage banter in German

Fava in Performance: Pulcinella's War

Presented in association with The Stolen Chair Theatre Company...

Legendary Commedia dell’Arte performer, maestro, and maskmaker, Antonio Fava presents his signature show, performing lazzi from the life, death, and resurrection of Pulcinella, the stock character he inherited from his father and one of comedy’s most beloved scoundrels.

UNDER St. Marks, 94 St. Marks Place
8pm
February 24th ONLY

Check out the full press release here. SmartTix info coming soon...

...and if you haven't booked your place for his workshop yet, HURRY UP!!!

Girls Gone Wild Effect

This issue of Newsweek has a strangely relevant (for us, at least) article about the effect that the celebutantes are having on parenting. Read it here.