Flux Theatre Ensemble

If you haven't met producer/artist extraordinaire Michael Roderick yet, don't worry - you will. There is no producer I know so selflessly dedicated to every aspect of theatre in New York City - from commercial runs to Indie theatre - he's either seen it or more likely, had a hand in it. He's helped out Flux before, most recently (I think) in helping us with our Poetic Larceny, and he understands just how important a vibrant, connected community is to the field, hosting events to introduce artists/producers to each other. Oh, and did I mention he also blogs about his adventures?

But you probably know all that. What you might not know is he now has a column at Broadway World, looking at the movers and shakers of Indie Theatre. Past columns have looked at Jeremy Bloom and Manhattan Theatre Source. His most recent column featured Flux, and is a great look at the ethos of the company and how it manifests in The Lesser Seductions of History. He compares our model to Steppenwolf's, and that is as much a charge to responsibility as it is an honor. I do believe that Ensembles can create a certain kind of work no other model can; but it is a difficult model to keep running, and we're just at the beginning.

My favorite quote on this one is easy, and one I hope you'll take to heart:

The show has a few more performances at the Cherry Pit before it takes its rightful place amongst the classics of Indie Theatre History. The book's still open so you can catch it before it closes.

Only 3 more shows and then we're done. So, read the whole column, and then get your tickets, and after you've seen the show, please share your thoughts here.