Tuesday, June 17, 2008

Wow: Becoming Britney part of NYC Fringe Festival

Congrats to Daya Curley and Molly Bell who are bringing their original musical, Becoming Britney to the New York International Fringe Festival, among a long list of other independent works.

This show features Molly Bell (World premiere of Memphis) as Britney, Riette Burdick (Regional Tour of Crazy for You), Keith Pinto (European tour of Fame, the Musical), Alison Ewing (Cabaret: Broadway at Studio 54, 1st National Tour and Paris production), Carrie Madsen (AMTSJ's Touring production of Cabaret) and Sean Grady (World premiere of Insignificant Others in San Francisco), all Actor's Equity members who have performed throughout the country. Book, music and lyrics by Molly Bell and Daya Curley. Daya Curley directs.

This is a pretty amazing accomplishment, and I congratulate Molly and Daya!

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Sunday, June 15, 2008

Interesting theatre transplant in San Francisco: Blasted

Received info on the following limited run production in San Francisco...happening this coming week only, so if it intrigues you hop on it. Sounds like they're taking it off a normal stage and into an environmental setting to give it a new spin. This was a hit production in the UK, and I'm told half that cast has made the trip over to stage it in SF with the rest being local actors.

WHAT: Transatlantic production of Sarah Kane's Blasted by 19;29
WHEN: Premieres Thursday 19th-25th June 2008. Entry: 3pm, 5pm, 7pm & 9pm
WHO: 19;29 theatre company.
WHERE: A room at The Mosser Hotel, 54 4th Street, San Francisco Ca 94103, near Union Square.
BOX OFFICE: Tickets available from www.nineteentwentynine.co.uk

MORE INFO: www.nineteentwentynine.co.uk or call: 5108095852
Press Contact: Maria Garbutt-Lucero, email: maria@nineteentwentynine.co.uk, tel: 415-601-3150

A little more about it from the theatre company:

19;29 invites you to a night at The Mosser Hotel with tabloid hack Ian and epileptic Cate for a radical reassessment of Sarah Kane's seminal 1995 work Blasted.

Highly controversial in its time, Blasted has become a modern classic for its unflinching depiction of the depths of humanity and the personal impact of war.

In the cloying intimacy of a hotel suite, 19;29's transatlantic cast seek to sear Kane's dystopic vision onto the audience's consciousness. The physical immediacy of the action has a stomach churning intensity, which cannot fail to provoke thought and debate as civilization and barbarity collide before your very eyes.

Kane's social critique explores private and public despotism through domestic human conflict and the psychology of war. Blasted remains relevant and visceral thirteen years after its debut at the Royal Court, London.

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