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.
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
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.
Vaudevisuals interview with Carlos Garcia Estevez. He talks about his work in ‘mask’ and experience working with Jacque LeCoq. His company “Manifesto Poetico” has many facets. He talks about these projects, workshops and more.
~ THIS SUMMER in PARIS ~ SPATIAL DRAMATURGY ~
Summer Workshop Laboratory directed by Carlos García Estévez with
laboratory assistants Paige Allerton, Paulo Serantes and Olmo Hidalgo.
From 23 to 27 of July at the School of Jacques Lecoq in Paris
For More information about this Laboratory.