Interview with Peter Kors

TRIBUTE TO CARLO MAZZONE-CLEMENTI

From Wikipedia: Carlo Mazzone-Clementi (12 December 1920 – 5 November 2000) was a performer and founder of two schools of Commedia, mime and physical theater as well as a contemporary and colleague of leaders of the modern European theater. From his arrival in the USA in 1957, he was largely responsible for the spreading of commedia dell’arte in North America. He first gained attention in Italy in 1947 alongside Marcel Marceau in the mime’s first tour outside of Paris. From 1948 to 1951, he assisted Jacques Lecoq, while Lecoq taught and directed the Players of Padua University. In 1954, Mazzone-Clementi was at Piccolo Teatro di Milano with Dario Fo and Franca Rame. Click here for more information from their post about Carlo.

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Interview with Elise Gainer – “The Bloody Deed of 1857”

Someone murdered Dr. Harvey Burdell on January 30th, 1857 in his New York City home on Bond Street. It was the most scandalous crime to occur in the city primarily because all evidence pointed at his rejected lover, a petite but conniving widower named Emma Cunningham. But the jury didn’t believe a woman could commit such a violent act. Officially, the case remains unsolved and has left restless ghosts behind to battle for eternity. Journey with us into another dimension on an immersive experience into the past. Our spirits now reside in a secret, 1833 parlor in the landmarked Colonnade Row where historic documents and actual witness testimony help to bring the truth to light.

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Performances are at 8 PM on Fridays and Saturdays ~ March 2nd through March 24th. The audience is limited to 25 seats and ticket prices start at $30. The exact location will be provided upon purchase. For more details and tickets please visit bloodydeed1857.com.

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Built in 1832-33, this historic row of landmarked townhouses were the first conspicuously extravagant homes in New York pre-Civil War.  Inspired by palatial row houses in London and Paris as well as classic Greek architecture, the homes quickly sold out to New York’s most elite families. Astors, Delanos, Roosevelts, & Gardiners lived here as well as Washington Irving and other writers. The salon now presents historic lectures and is used as a development space for a variety of creative projects, both artistic & commercial. Special events also happen regularly and can be seen on Instagram and Facebook @colonnaderow

Interview with playwright Brendon Cole and director Michael Di Jiacomo

Karen Jenson interviews playwright Brendon Cole and director Michael Di Jiacomo of “Imperfect Love” at The Connelly Theater. Closes Sunday 2/18/18.

IMPERFECT LOVE is a story of love and betrayal, set just over 100 years ago, between the actress Eleonora Della Rosa, and her playwright lover Gabriele Torrisi. (Inspired by the real-life relationship between the great Eleanora Duse and the poet D’Annunzio). It’s a story set at the turning of an epoch, and the turning of two styles of theater: the more visceral and emotional style that Eleonora and Torrisi are exemplars of, and the ‘new’ psychological style epitomized by Nordic writers like Ibsen and Strindberg. Our characters Eleonora and Torrisi are both vulnerable and aware that their day may have passed, and along with it, their love. Should Torrisi abandon Eleonora and strike out for a collaboration with her arch-rival, the Parisian Sarah Bernhardt? Should Eleonora withdraw her support (and love?) from the possibly outmoded Torrisi and try to work with up-and-coming Ibsen? In the middle of all this is the classically trained leading-man Domenica, who doesn’t know which way to turn in his professional life, or in the tangled world of his emotional allegiances. One other delight of the play is how the traditional clowns Beppo and Marco not only comment on the action in a comical and human way, but how they themselves also embody the conflicting epochs – the rambunctious farce of the Commedia dell’Arte, set against a premonition, a whiff of the bold futurism of a Beckett or a Pirandello, a modernism that will eventually make all earlier styles redundant. In the end, matters of theater and matters of the heart come together in a climax both affirming and bitter-sweet. The play’s the thing. At least, until the curtain falls.
Go here for more information.

Introducing ‘The Radio Show Program’.

The exciting conclusion, featuring such instant classics as “Faith in Filicide,” “My Stomach is in Pittsburgh,” and “The Story of a Woman and a Horse,” plus the first epic installment of MEGA TIGER, and other ridiculous adventures!

Written and produced by Noah Diamond and Amanda Sisk. Starring Ellie Dvorkin, Matt Roper, Seth Shelden, Matt Walters, C.L. Weatherstone, Noah Diamond, and Amanda Sisk. With additional music by Kevin McCleod, Arthur Fordsworthy, Alpha Hydrae, Gioachino Rossini, Jelly Roll Morton, and Shorthopper.

Radio Vaudeville Interview with Gary Ray – “Darinka”

Darinka: A Performance Studio was opened on April 21, 1984, by Gary Ray Bugarcic (aka Gary Ray). The club served as a venue for artists of all disciplines, including performance, theatre, music, dance, film, video, fine art, and poetry and prose. In keeping with the Eastern European roots of the East Village/Lower East Side, the club was named after Gary’s mother, who was Croatian-born. Darinka is a derivative of the Slavic word dar, meaning “gift.”

The club was located at 118 East First Street, two doors down from Avenue A, and had a speakeasy type entrance under the residential stoop of the building. Up to the late 1970s, the space was used as a local Italian Social Club until a fire destroyed it. During the renovation of the space, all the old charred beams were laid in the backyard to provide an urban rustic wood patio enjoyed by patrons during the hot summer months. The interior of the club had a small proscenium stage that was described by many as looking like a live television. A variety of local painters such as James Romberger and Mark Kostabi showed their work on the walls of the club until the permanent murals and stencils were painted. Regular performers included They Might Be Giants (considered the house band), performance artist Steve Buscemi (still a fireman when he started performing), Karen Finley, Jack Smith, Charles Long, William Pope L., Kembra Pfahler, Nick Zedd, Anna Deavere Smith, and John S. Hall. In addition, there were many writers who read during the Sunday prose and poetry nights, including Darius James, Patrick McGrath, Hal Sirowitz, Lynne Tillman, Mark Dery, Nina Zivancevic, Peter Cherches, Bob Holman, Ira Cohen and Taylor Meade.

On June 29, 1985, the NYPD raided the club during a mushroom party and performance by artists David West and Andy Somma. Gary Ray and the bartender, Robin Clements, were arrested for operating an unlicensed bottle club. Several months later Darinka reopened as a private club with Randy Lee Hartwig and John Gernand as managers. As a private club, each new member would fill out a membership application card upon entrance. The application cards were kept in a file near the door in case of a police inquiry. Membership cards were also distributed.

Darinka was the first home of “The Church of the Little Green Man.” The church was founded by conceptual artist Mike Osterhout and had its first service in December of 1986. Darinka closed in May of 1987.

Articles mentioning Darinka have appeared in The Village Voice, New York magazine, Performance, East Village Eye, Toronto Globe and Mail, The New York Times, and The Drama Review (Spring 1985). The club is also acknowledged in the documentary Gigantic: A Tale Of Two Johns.

Gary Ray Bugarcic, a graduate of The American Academy of Dramatic Arts, has worked as an actor and stage director in almost every downtown New York theatrical venue. As a musician, he played in several bands, including State of Desire and The Academy, which performed regularly at CBGB and Danceteria before opening Darinka. After closing the club he toured with Karen Finley in her play The Theory of Total Blame and worked with The Ridge Theatre Company as well as with Kestutis Nakas and in Jeff Weiss’s “Hot Keys.” He has also appeared in such indie films as Todd Haynes’ Poison and Desperately Seeking Susan. New Blood magazine published his poetry in the 1980s and his “3-D Lenticular Photographs of the Eighties” have been shown in several New York City galleries, including the Participant Gallery.