Fool’s Progress and Dramahound Productions are pleased to
announce the world premiere of a one-act play by Anne Phelan, Hades.It will be read on Saturday, February 13 at 4:40 and 6 PM at 440 Gallery,
440 Sixth Avenue, Park Slope, Brooklyn.Admission is free.
The play was commissioned by Fool’s Progress Productions,
and is inspired by Tom Bovo’s Merge photographs
in the back space at 440 Gallery. It
features Patrick Avella and Jacob Grigolia-Rosenbaum as Dante and Virgil.
Dante has been driven from his home in Florence, Mass.Disillusioned, homeless and broke, he meets
Virgil on the streets of Brooklyn. Virgil then proceeds to guide Dante through
three circles of Hell in Park Slope and Gowanus where they encounter a
murdering wife, a notorious Welsh traitor from King Arthur’s time and finally
Marcus Junius Brutus the Younger, the murderer of Julius Caesar.By the end of the play, Dante has begun to
rebuild his spirit, and he and Virgil go off to further adventures.
Dramahound Productions is happy to be back at 440 Gallery,
for its fourth world premiere in conjunction with Fool’s Progress Productions.Previous plays include The Mermaid Won’t Sing for Tom Bovo’s The Other Side of Summer, The
Skull Beneath the Skin for Tom Bovo’s
Genius Loci and Ellen Chuse’s Everyone
inthe Pool; and Did YouHear the One About the Carp Who Hailed a Taxi? for Tom Bovo’s New York.
Directions:To reach 440
Gallery, take the F, G, or R train to Fourth Avenue/Ninth Street.718.499.0901
Abover: Detail of "Venus von Hamburg" by Cristian Bors and Darius Ritiu.
Photo credit: Anja Matthes, courtesy of Open Source Gallery
It's been a busy theatrical summer, which I'm winding up with a new play, "Venus von Merkel," which opens this Friday. It's much broader and more overtly political than I'm used to writing. But thanks to Open Source Gallery, I have the opportunity.
All the info is below.
Dramahound Productions and Open Source Gallery are pleased
to announce the world premiere of a one-act play by Anne Phelan, Venus von Merkel.It will be performed September 18 and 19 at
7:30 and 8:30 PM at Open Source Gallery, 306 17th Street, Park
Slope.Admission is free.
The play was commissioned by Open Source Gallery, and is
inspired by its current exhibition Venus
von Hamburg, Cristian Bors and Marius Ritiu’s sculptural take on the Greek
debt crisis. It features Alexandra Gellner (Romeo & Juliet, The
Cradle Theatre Company; Pericles, The New Ensemble Workshop; Coffee
& Biscuit, HERE Arts SubletSeries, NYC Fringe) as Aphrodite, and
Jacob Grigolia-Rosenbaum (Robert Moses, in Les Frères
Corbusier’s Boozy; Bernie Madoff in Woodshed Collective’s The
Confidence Man; Old Testament God in Les Frères The Franklin
Thesis) as German Chancellor Angela Merkel. The director is Christie
Marie Clark (Anne Phelan’s They All Know Me, Thespian Production Slam-a-Thon; Clown
Love, Strawberry One-Act Festival; The Diner, Caravan
Play Festival) with costume design by Anna Slocum.
Venus von Merkel imagines
a surreal summit between Merkel, dressed as a pirate of the Caribbean, and
Aphrodite, representing the Greek people.It is a satirical, questioning exploration of globalization, the euro
crisis and their the human cost.
This is Anne Phelan and Dramahound’s sixth production at
Open Source; previous plays include Brooklyn
(featuring Jacob Grigolia-Rosenbaum); Mi
Tigre, My Lover (featuring Jacob Grigolia-Rosenbaum); a reading of The Tiger Play; and Olmsted in Autumn.
Open Source Gallery is a 501(c)3 owned and curated by Gary
Baldwin and Monika Wuhrer.Directions:To reach Open Source, take the R train to
Prospect Avenue.306 17th
Street, near Sixth Avenue, Brooklyn NY.646.279.3969
"The Mermaid Won't Sing" is a new one-act by me, inspired by Tom Bovo's photograph "Harbor- Fog." It will be presented twice, at 4:30 and 6, on Saturday, July 18th at 440 Gallery, 440 Sixth Avenue (near Ninth Street), in Brooklyn, New York. It's directed by Christie Marie Clark, and features Jacob Grigolia-Rosenbaum as Barnaby, and Shannon Marguerite as Aphrodite the mermaid. Admission is free. The play was commissioned as part of Tom Bovo's solo photography show, "The Other Side of Summer."
Tomorrow morning there's a special guest at the Church of Monika at Open Source Gallery. Cezar Del Valle is coming at 11AM to talk about his new book, "Brooklyn Theatre Index, Volume III," about the history of theatre in Coney Island. I am a total theatre history geek in general, but I'm particularly interested in Coney Island because of Eddie Cantor, Chico Marx and Louis Roth. Roth was married to (and trained) Mabel Stark- they're both in my play "The Tiger Play." He learned to train big cats while working for a wild animal show in Coney Island, ca. 1900.
Open Source Gallery is at 306 17th Street, near the corner of Sixth Avenue.
Tom has got another solo show at 440 Gallery, and once again, he's commissioned me to write a play based on a photo of his (I chose the above). It's called "The Mermaid Won't Sing," directed by Christie Clark, featuring Shannon Marguerite as Aphrodite the mermaid, and Jacob Grigolia-Rosenbaum as Barnaby. The play will run one afternoon only, Sat., July 18 at 4:30 and 6PM.
Tom has many events for his show. This Saturday, there's an opening reception, 5-8. Sat. the 25th, I'm giving a talk on mermaids (really not for children, nor is the play) at 4. Sun. August 2nd, Jody Mullen is singing a pop and standards set; and Sunday, August 9th, there's a closing reception, 4-7.
440 Gallery is at 440 Sixth Avenue (near Ninth Street) in Brooklyn, New York. The nearest trains are the G, F, R at 4th Avenue/Ninth Street. For more information, www.tombovo.com or www.440gallery.com
There's a new biography of Joseph Mitchell by Thomas Kunkel called "Man in Profile: Joseph Mitchell of The New Yorker." It's reviewed by Janet Malcolm in the April 23rd issue of the New York Review of Books. I had a copy of Mitchell's "Up in the Old Hotel" which I kept for years- such an eerie tale of old New York, before the Brooklyn Bridge was built.
I didn't know Mitchell, but I saw him fairly often. He liked to come to the 11 o'clock service at Grace Church, and lurk in the back by the narthex (that's foyer to the uninitiated). He didn't discriminate between Morning Prayer and Communion, never approached the altar rail. The Rev. Fleming Rutledge, the assistant at the time, told the congregation that Mitchell came for the sermon.
I never felt like Mitchell was approachable, so I left him alone. Never asked him about his writer's block, or about the New Yorker's glory days. He was a man who wanted to be left alone. And I was a young writer who didn't want to upset an old man.