Flux Theatre Ensemble

Post by August Schulenburg
Food:Soul is back this Wednesday, October 5th! And we are thrilled/ecstatic/super-psyched to be returning with Liz Duffy Adams' (of Dog Act glory) play Wet, or Isabella the Pirate Queen Enters the Horse Latitudes.

Not only does this Food:Soul features the return of Liz' mighty pen to Flux territory, but Dog Act-ers Becky Byers and Julian Stetkevych and director Kelly O'Donnell return, as well. Throw in Members Tiffany, Isaiah and Matt, Food:Soul veteran Elise Link and old friend Daren Taylor, and you have the recipe for a souffle of awesome. And as always, Food:Soul features free food and even freer theatre.

Here are the deets:

WET OR, ISABELLA THE PIRATE QUEEN ENTERS THE HORSE LATITUDES
by Liz Duffy Adams
Directed by Kelly O'Donnell

See you there, matey? Read the full story

Who is that terrifying assassin with the great hair?

(Photo: Isaiah Tanenbaum.)

Read the full story

Dog Act opens tonight to a sold our house! After a great rehearsal period and (ongoing) intense tech week, we're thrilled to share this play with you.

First things first: if you haven't already purchased your tickets, you can do so here, and use the code "FUGHAT" for $14 tickets for shows on the 6th, 8th, 9th and 10th.

Now on the pictures! All are courtesy of the ever amazing Isaiah Tanenbaum, and we'll be sharing more of the dress run and tech as we go on.

MVP Tiffany Clementi gives some costume loving to Julian. (Photo: Isaiah Tanenbaum. Pictured: Julian Stetkevych, Becky Byers, Tiffany Clementi)

So get your tix now, and we'll see you at theatre! Read the full story

(What is Flux Sunday?)

Playwrights: Katherine Burger (Ever, Ever), Aja Houston (Superwomen?), Brian Pracht (Wendell Wants), August Schulenburg (The Temptation Show)

Directors: Tiffany Clementi, Katherine, Isaiah, Kelly O'Donnell

Actors: Ken Glickfeld, Matthew Archambault, Carissa Cordes, Leila Okafur, Kathleen Wise, Matthew Murumba, Lynn Kenny, David Crommett, Damon Kinard, Alex Marshall-Brown, Tiffany, Chudney Sykes, Isaiah, Aja, Gus, Jaime Robert Carrillo

Yup, it was a jam-packed Flux Sunday for our last Sunday of 2010, and there was all sorts of good work going on.

Highlights:
-A hot Flux Sunday for Tiffany Clementi, with a turn as the foul-mouthed gorgeous Sadie in Wendell Wants, calculating therapist in Superwomen?, and then bringing a playful directorial focus to the 2nd scene of Aja's pageant play.
-The trifecta for Isaiah Tanenbaum, with funny turns as an actor (Wendell), director (1st scene in Viva Fidel) and as a playwright, the comic highlight of the day in the 2nd scene of Fidel, where Matthew Archambault played the (literally) puppet dictator in a ludicrously staged scene by Kelly O'Donnell.
-But the scene that stuck with me the most was Chudney Sykes monologue in the first scene of Superwomen?. Aja crafted a subtly troubling monologue for Cleopatra about dreams and body image that Chudney handled beautifully.
-Personally, any day that I can act in a Katherine Burger play with both David Crommett and Ken Glickfeld is a good day. And so it was, in Ever Ever (if not for ever ever).
-Matthew Murumba easily fitting into a role I may just be writing for him in mind (The Temptation Show).

If you were there, what do you remember (other, than of course, Archambault's brilliantly flailing limbs?) Read the full story

(What is Flux Sunday?)

After two weeks off (one for Thanksgiving, one for NET's Micro-Fest), we returned to our trusty Flux Sunday back-up at 520 8th ave. That meant reads around the table, which, while not as fun as playing on our feet, does give us the opportunity to read more pages. And they were some solid pages, if I do so solid myself.

Playwrights: Fengar Gael (Devil Dog Six), Aja Houston (Superwomen?), Brian Pracht (Wendell Wants), August Schulenburg (One More Go Around The Darkness)

Actors: Will Lowry, Matthew Archambault, Alisha Spielmann, Jason Howard, Ken Glickfeld, Carissa Cordes, Isaiah Tanenbaum, Kathleen Wise, Ryan Andes, Ingrid Nordstrom, Heather Cohn, Garth McCardle, Regine Mont-Louis, Tiffany Clementi

Highlights:
-Aja's hilarious pageant play (wish we could have staged that second scene!) with a goofily lovable Grier from Regine and a fiercely focused Tiffany Clementi as Venus.
-Ken Glickfeld was ON this day: relaxed, nuanced, focused reads as Bernard in Devil Dog Six and Eliot in Wendell Wants.
-Watching our progression of Wendell's, from Isaiah's perfectly pitched younger Wendell to Garth's irony-laced teen Wendell to Jason's painfully present lover Wendell; it was a wide world of Wendell Wants.
-Ryan Andes dangerously funny cool kid. If you were there, you know what I mean.
-Ingrid Nordstrom taking my note of excitable and running with it as Charity in One More Go About The Darkness. I also appreciated Kathleen Wise's formidable Ellen.

What fireflies of the day did you catch in your bottle? Leave them in the comments below! Read the full story

I think we're going to like it here.

Our fourth Flux Sunday at Judson was a moving recovery from our haunted Halloween Sunday. really strong, heartfelt work marked all 3 scenes.

Playwrights: Katherine Burger (Ever Ever), Fengar Gael (Devil Dog Six), August Schulenburg (The Hand That Moves)

Directors: Tiffany Clementi, Katherine, August

Actors: Alisha Spielmann, Kari Riely, Mariam Habib, Gretchen Poulos, Nora Hummel, Jason Howard, Carissa Cordes, Isaiah Tanenbaum, Ken Glickfeld, Becky Kelly, Marnie Schulenburg, Jane Taylor

-Marnie and Mariam making the ex-lover reunion scene between Lois and Aaseya in The Hand That Moves (formerly The Baby Play), especially Marnie's handling of the rush of fear over Aaseya's safety.
-Tiffany directing the living daylights out of Devil Dog Six! Jane leaning cool against the wall, Carissa skipping fiercely between the horses, all of it flowing from one strong stage picture to the next.
-Jason Howard's crocodilian Dial in Ever Ever was as close to a tour de force as one can get in a hastily staged scene: strutting, leering, carelessly picking the lost boy from his teeth.
-Kari's handling of Paula's confession - full of simple feeling in a difficult monologue.
-Nancy's moving read as the dreaming lost boy terrorized by Dial. I won't ever forget that scene that left my cheeks wet.

If you were there, what do you remember? Read the full story

Flux Sunday has gone through several significant evolutions, and on October 17th, we took the next good-sized step forward. It was our first Flux Sunday hosted by Judson Memorial Church, and it was an auspicious beginning to that hopefully long-lived partnership.

It was our first day back on our feet staging things since leaving NYR Studios, and it was good to be moving again. The difference between a cold read and an audience engaging with an hour's worth of staging is all the difference in the world.

It was our first day with an audience member for the last hour - Jonny Goodman and Joe Powell joined us, and we hope to have more Judsonites engage with the work in the future.

It was the first day for the amazing Amy Staats of Hearts Like Fists fame, and one of the first days someone took advantage of our new guest policy (thank you, Mr. Szymkowicz; welcome, Mr. Rose).

AND...it was the first time we ever had a baby in the Flux Sunday house! Kira and Joe's beautiful daughter Dylan was exposed to some high levels of theatre, and we soaked in the cute. On a day when Flux took a big step forward in our mission to building a creative home, Dylan's presence seemed right.

Oh, and we worked plays, too. Here are the peeps and the highlights:

Playwright: Kira Blaskovich (Untitled), Katherine Burger (Legends of Batvia, Ever Ever), Zack Calhoon (Untitled), Brian Pracht (Unplugged In), August Schulenburg (Denny and Lila)

Actors: Ryan Andes, Amy Staats, Gretchen Poulos, Mariam Habib, Kari Swenson Riely, David Crommett, Anthony Wills Jr, Alisha Spielmann, Ken Glickfeld, Marnie Schulenburg, Tiffany Clementi, Brent Rose, Isaiah Tanenbaum, Nora Hummel

Directors: Kira, Katherine, Ken, Tiffany

Highlights included:
- Kira's debut as a playwright AND director with Flux (we've known her primarily as an actor); with her nuanced, deeply felt scene between two old lovers, feeling each other out; and a vital staging of the madcap tragic climax of Denny and Lila (we made it to the cliff, and are about to jump)
-Marnie and Tiffany playing a pair of bad news rich girls in Zack's new play; so hung over they can barely text, they still made the scene snap with laughs and a textured friendship - who knew the line "you're not fat" could have so many comic layers?
-Alisha's LEAH in Unplugged In was somehow both terrifyingly manic and movingly vulnerable; though after two straight shout outs for the actors playing LEAH, I'm beginning to suspect Brian's rewrite of her may have something to do with it, too
-Katherine's new play Ever Ever, about Peter, Wendy and the Lost Boys some 40 years later, still trapped in their boyish Never Land. Its whimsical surface hides a white knuckled anxiety that was a joy to play.

If you were there for Flux and Judson's big Sunday...what did you walk away with? Read the full story

(What is Flux Sunday?)

Playwrights: Fengar Gael (The Spell Caster), Brian Pracht (The Misogynist, Unplugged In), August Schulenburg (Where It Comes and Where It Goes, Symbolic Gestures, Carrin Beginning)

Actors: Candice Holdorf, Richard Watson, Kari Swenson Riely, David Crommett, Gretchen Poulos, Anthony Wills Jr, Jason Howard, Ken Glickfeld, Kelly O'Donnell, Alisha Spielmann, Isaiah Tanenbaum, Heather Cohn, Matthew Archambault, Tiffany Clementi, Ryan Andes, Lynn Kenny

An actor heavy Flux Sunday made for three lucky playwrights and an upbeat three hours. We heard the next installment of The Spell Caster, Brian brought in a rewritten ending for The Misogynist and a rewritten beginning for Unplugged In, and I brought in two new shorts and the first (good) play I ever wrote, Carrin Beginning, nearly 12 years after its original production.

Highlights included:
-One of Tiffany's best Flux Sundays ever, with a feisty Maxine a-gabbin' in The Spell Caster; one of my favorite line readings ever as Libby in The Misogynist ("Um..YES!"); and a revelatory read of Leah in Unplugged In (had always seen this role very differently, but she brought a fascinating maturity-gap/power-dynamic to Leah's relationship with Chris).
-Kelly O'Donnell, Anthony Wills Jr, and Gretchen Poulos finding the perfect balance of comedy in heartbreak in my little Living Wage short, Symbolic Gestures.
-Ryan's sultry stage directions, which turned the sex-role-playing scene of The Misogynist up a few degrees
-Ken's brief but memorable turn as Scaramanga in Unplugged In
-Richard's unsettling/charming delivery of Turlough in Carrin Beginning

What were your thoughts? Did you like a happy ending Misogynist? And what do you think will happen in the power struggle between Mayra and Louisa in The Spell Caster? Read the full story

(What is Flux Sunday?)

After 3 weeks off for our 5th Annual Retreat (aka, Flux Sunday all day long), we returned to action with a high spirited Flux Sunday.

Playwrights: Johnna Adams (Nurture), Fengar Gael (The Spell Caster), August Schulenburg (Denny and Lila, The Refrigerator Hums)

Actors: Isaiah Tanenbaum, David Crommett, Alisha Spielmann, Richard Watson, Candice Holdorf, Nancy Franklin, Matthew Archambault, Tiffany Clementi

Highlights:
-David Crommett as Doug reading a litany of comforting, loving words in his near-oblivious effort to win over Cheryl in Johnna Adams' Nurture. It's been so exciting to watch him get more of this role every time!
-Finally getting to share Isaiah Tanenbaum's work on Marcus in Denny and Lila - we'd worked on it at the retreat, but ran out of time to share some of the scenes.
-Mary's super-theatrical mirror-maze scene in The Spell Caster - the carnies chasing each other through the distorting maze, and through Mayra's strange powers of perception - I'd love to see this scene on stage
-Nancy Franklin as the Italian conjurer of self, Louisa, in The Spell Caster - when she speaks as this character, we all look around and smile at how good she is in the role
-Our post Flux Sunday impromptu hang out w/Candice, Tiffany, Alisha, Heather and I...sometimes, you're not quite ready for Flux Sundays to be over (hence the incoming innovation of Speak Easy - more on that anon!)

If you were there, what highlights or discoveries did I miss? Read the full story

Thanks to everyone (around 100!) who came out for our sixth Food:Soul, Adam Szymkowicz's Hearts Like Fists. This was a special Food:Soul for us, as our first Food:Soul was Adam's Pretty Theft. It was also our second partnering with Judson Memorial Church's Bailout Theater series, a relationship we're hoping to deepen.

(*Remiss in our first posting was including a thank you to the businesses that provided food, including John's Pizzeria of Bleecker Street, NoHo Deli and Juice Bar, and Norwich Meadows Farms, provider of the Judson Church Community Supported Agriculture program.)

It was also our first event after our 5th Annual Retreat, and so was the first chance to test out our newly articulated Core/Aesthetic Values and Mission in action. Part of that mission is to treat our audience as partners in our process, so if you were there, PLEASE share with us your thoughts in the comments section below. What were you favorite parts in the play? What worked at the event, and what could we do better?

To inspire you, here are some beautiful shots of the reading, all courtesy of Isaiah Tanenbaum.


Thanks again to everyone who made this possible - now share your thoughts in the comments below! Read the full story

What is Flux Sunday?

Playwrights: Rob Ackerman (Throwing Gumballs), Zack Calhoon (Hell, West, and Crooked; Stolen), Kristen Palmer* (The Stray Dog), Brian Pracht (The Misogynist), August Schulenburg (Denny and Lila)

Actors: Susan Ferrara, Nancy Franklin, Ken Glickfeld, Kari Riely, Gretchen Poulos, Heather Cohn, Matt Archambault, Cotton Wright, Tiffany Clementi, Jason Paradine, David Crommett

This was our last Flux Sunday for a few weeks, as our next two weekends will be spent at our annual retreat at Little Pond (more on that anon, huzzah!) But we went into the break on a resilient note, as Tiffany rode to my rescue and ran the first half of the session as my bus crept slowly through the Sunday rain.

That means I can't tell you about the 1st half, so if you were there, reader, let me know what worked in the comments. But for the 2nd half highlights:

-Brian's The Misogynist ending on a pleasingly ambiguous note, as our troubled Ethan seems to be finding some measure of self-awareness that has eluded him until now; and the last scene between him and Libby is lovely.

-Tiffany as Davia loving her plaything John (Matt A) in Zack's Stolen; it was great to see Tiff revel in her power and cruelty

-Kari winsomely playing the con artist Lila seducing the small town doctor in Denny and Lila

-But above all, the read-through of Rob's Throwing Gumballs that followed; this zany heart attack of a play conceals a sincere crisis of an artists' moral responsibilities. Thanks to all who stuck around and joined us as we finally heard the whole play at a go.

So if you were there...what did I miss that's worth remembering?

*Kristen had to cancel last minute, but I believe her scene was read anyway. Read the full story

Just a few fun pictures from our Jacob's House rehearsals - don't forget to take advantage of the $11 tickets for opening weekend with the discount code MANIFEST! (All photos by Isaiah Tanenbaum except where noted).

Dinah (Jane Lincoln Taylor) faces off against Tamar (Jessica Angleskhan) as Joe (Zack Calhoon) tries to play peace maker.
Scheck (Anthony Wills Jr.) watches as Young Dinah (Bianca LaVerne Jones) admires the black diamond he found.
Jacob (Matthew Archambault) and Rachel (Kelli Dawn Holsopple) drunkenly tease Leah (Tiffany Clementi).
(Photo by Anthony Wills Jr) The Messenger (Isaiah Tanenbaum) has come to collect from Jacob (Matthew Archambault).
So get your tickets now - or face the racketful wrath of Tamar (Jessica Angleskhan)! Read the full story

Monday 10.5.09 Another good rehearsal. I really appreciate that we start the reheasals with a discussion of what may have happened to the characters between the years that are not written in the script. It really helps me to connect not only with my character, Marie, but the other characters as well. Also Heather goes through a list of happenings that happened that year in history, which is another great way to get us into the world of the year, what is going on politically, artistically and in everyday life, like how much a cup of coffee was. Then we always take a few minutes to breath and stretch in our own space, which for me is really important because I have a day job and then I go straight to rehearsals, so I really treasure those few moment of breath to get me into rehearsal mode.

Tuesday 10.6.2009 Last night's rehearsal was a little tough for me. I had a very busy day before hand with no breathing room! Which is why being alone and breathing at the start of the rehearsals is vital. I think in NYC, well in life, we forget how much we need to just stop and be quiet for a moment. We also had to skip a year which I think threw us off a little but Heather (our director) did a really great job in facilitating a discussion about what happened to the characters in the year that we skipped and really delving into what happened to them in the year that we worked on, 1964. 1964 is sort of like a dance to me, I think if we figure out the "choreography" of 1964 it will be a really powerful, beautiful year.
Thanks for reading! Read the full story

Tiffany here,
Flux has started rehearsals for Lesser Seductions. Friday night I was really anxious and excited for the rehearsal process to finally begin. A rehearsal process for me is a chance for me to grow as an actor and sometimes as a person. It is really exciting to me that all Flux members are involved with this project, either as a dramaturg, playwright, actor or director. The designers gave their presentations first. As an actor in the show, hearing these presentations really helped me to connect my character, Marie, to the world of the play. Sometimes as actors (I guess I should just speak for myself, but I won't) we forget how important the design aspects of a production are. If you are imagining one thing and the designers come up with something totally different it can change how you move in the space. When I say "move" I don't just mean physically as an actor but as your character. Does anyone else feel this way? There were some great discoveries during the first two rehearsals. I especially liked the discovery of how to deal with the "seductions" with in each year and how they make me as Marie feel. What a special opportunity this is to be working with such a talented group of people and to be part of something that is bigger than myself. Read the full story

The event went really well! Thanks to everyone who made the trek on a grey day to support our work and share in Rob Ackerman's Volleygirls. Our extreme staged reading was a whirlwind process, but we landed in a good place, and thanks to the commitment of the cast, the reading captured a little of the kinetic thrill of Rob's play.

We'll be posting pictures and a deeper round-up, but I wanted to try something new on the blog by first directly soliciting feedback from the audience and artists who were there in the comments section: what did you like? Any performances or moments you thought were particularly successful? Any sets you weren't quite able to spike? Any thing we could've done to make the event run more smoothly? PLEASE post your responses in the comments.

As for me, I'm remembering many things fondly, but here's a few specifics:

1. Tiffany's Jess chastizing Isaiah's Xavier immediately after kissing him.
2. DeWanda's 'nice' face as Ingrid - it still makes me laugh when I think about it.
3. David's Phil and Jane's Carla rocking out to the Ladyhawk's cheers.
4. Jessica's delivery of "passing" as Marisol - a little detail that probably no one noticed but me - but she captured Marisol's conflict of needing to lead but being afraid of the consequences in that one moment (and throughout).
5. Cotton's "And I am by myself. All alone. Do you get that?" as Katie, the girl who has dominated everyone she meets, and by doing so, made herself entirely alone - in that moment, Cotton showed us the cost.

As for things we could have done better, I wish I'd taken Rob's suggestion for Jocelyn's entrance - she rocks out privately to some MJ before realizing she's being watched, then runs from embarassment - and I chose to have her notice the audience watching her. Despite Caitlin's hilarious and heartfelt cut-loose dancing, I think Rob's suggestion of having Katie (another character) walk by and notice her might have played more clearly - I had thought the convention of the audience being an equal partner in the play would carry the discovery, but I think Rob was right.

SO how about you? What do you think worked? What didn't? And THANK YOU again for everyone who showed their support! Read the full story

(Photo: Justin Hoch. Pictured: Tiffany Clementi, Gregory Waller)

Just because Flux itself doesn't have anything cooking in June, doesn't mean our Members and friends aren't busy.

This Sunday the 7th and 7PM, check out Core Member Tiffany Clementi at the 48 hr Film Festival. There is a judges vote and an audience vote, and she needs your vote, as the 10 best films will be screened at the Cannes Festival. Click here to purchase your $10 tickets - her team's name is Goose & Bunny. And click here to learn more about the event.

That very same day, support Pretty Theft director and Member Angela Astle's next production by attending this cool event at 4PM.

Have you got your tix for the Brick Theatre's Anti-Depressant festival yet? We're excited for this, this, and this. Of course, your safest bet is to see them all. Read the full story

What is Poetic Larceny?

And how can I learn more about Flux's upcoming production of Pretty Theft?

TIFFANY CLEMENTI

Actor, April 6th

Previous Flux stuff: Tyclee in Rue, Estrella in Wake to Dream (The Dream Project), AD for Life is a Dream, Sheila Callaghan in Brantley/Lightening, 1/3 of God in The Alpha and the Suzan, Philostrate in A Midsummer's Nights Dream, co-Costume Designer for Other Bodies, Nola in Angel Eaters, Lolo in Channeling (Battle of the Bards), Lulu in Lipstick and Wrenches (Poetic Larceny), upcoming Marie in The Lesser Seductions of History, Food:Soul coordinator and all around Core Member rock star!

We asked the amazing artists of our upcoming staged reading series Poetic Larceny to answer some questions about stealing, beauty, and consequences. Read on for their answers!

Question #1: What is the worst thing you've ever stolen?

Beautiful legs! I think I would steal my wedding day so that I could do it all over again. It was such an amazing day and I had so many of my friends and family there, it was beautiful. I think if I could I would also steal anger from everyone so all the anger in the world would be gone. Read the full story

Read the full story

WHAT A NIGHT!
And long overdue. After our first two Food:Souls - Adam Szymkowicz's Pretty Theft and Jason Grote's This Storm Is What We Call Progress - somehow a year snuck by and we were, well, ravenous.
Luckily, our third Food:Soul featured Erin Browne's Narrator 1, a play we've been hungry to spend some time with since we staged a scene from it at our 1st Have Another.
Here was our artistic team:

Zara: Christina Shipp

Dan: Jake Alexander

Narrator 1: Polly Lee

Narrator 2: Michael Davis

Haiku: Isaiah Tanenbaum

Ari: Cotton Wright

Noah: Brian Murray

It was great to see Membership so well represented, and especially exciting to have Packawallop Productions superstars Polly Lee and Scott Ebersold in the action! But the best part of the evening was hearing Erin's beautiful play...

Narrator One is about the stories we tell ourselves about our own lives. It is a romantic comedy, and therefore especially concerned with the stories we tell ourselves about love. And like any true romantic comedy worth it's salts, the question of whether the story of looking for love is better than actually finding it hangs over the play like an axe. If they fall one step too far in love with their own stories, our lovers will miss each other.

This danger is especially keen when our lovers are writers. In a brilliant theatrical move, Erin conjures two Narrators who tell the story of our lovers, Dan and Zara, even as Zara and Dan write their novels and poems of love. These three worlds - the 'real-life' Dan and Zara, the fictional Narrators, and the fictional fictional Haiku, Noah and Ari - weave in and out of the action around the question lingering in Narrator 1's description of Zara's love for Dan:

To want want...to need emptiness. The question is simply will Dan and Zara allow themselves to be happy, or at least find that kind of happiness that comes from not being a coward towards love.
Of course, it's easier to muck up loving someone else if you suck at loving yourself (though we manage it all the time, thankfully). And a second theme emerges of the self-loathing that only the overly thoughtful perfect - the minds of our two lover/writers turn in on themselves and devour any trace of earned confidence or ease. They don't have what they want, or if they do, they don't deserve it.
And so, both our writer/lovers write about simpler things. Dan turns to (spoiler alert) haikus, embodied by enigmatic Haiku who urges Dan to act through his seventeen syllables:


Zara (I nearly wrote Christina, so closely paired are the two in my mind) writes about two teen lovers, Ari and Noah, who in contrast to her own ceaseless doubts, live so simply he speaks to animals and she walks on water. Of course, being a romantic comedy (about a writer writing a romantic comedy), something stands in their way of being together; and even if Zara wanted to, she is unable to write them an entirely happy ending. Their story is about the opening of love, where suddenly you realize everything is possible, colliding with the opening of maturity, where you eventually realize you can't have everything you want.
But to quote the famous philosophers, if you try some times you just might find you get what you need. Do our lovers, and their fictional (and fictional fictional) counterparts, get what they need? Well, to quote our eminently quotable Narrators:


There were many exciting surprises in the evening - how funny the play is! how funny Polly Lee is! how fast a play about thinking can move! And Jake brought a soulfulness to the troubled Dan, Michael's wry Narrator 2 was a perfect foil to Polly's inspired Narrator 1 (her Maggie's crying brought the house down), new friend Brian Murray found the sweetness of Noah, with Cotton finding the bittersweetness of their journey; Isaiah made of his seventeen syllables a character of intention and hope; and Christina slipped on Zara like a perfectly tailored elegant suit, and the part (and play) sang.

A great thanks to Scott (and Kyle!) for his excellent direction - he was able to capture the three interlocking worlds with grace and simplicity. A huge thanks to Tiffany Clementi for making everything run smooth. And above all, a thanks to everyone who came (and brought delicious food) to our third Food:Soul.

I left full. Read the full story