Monday, December 06, 2010
Uranium Madhouse Associate Artist: Stanton Wood
Stanton Wood is a dramatic writer in a variety of media. His play THE NIGHT OF NOSFERATU, produced by Rabbit Hole Ensemble and subsequently moved to Wellfleet Harbor Actors Theatre, received 5 Midtown International Theatre Festival "Best of Fest" nominations as well as 6 New York Innovative Theatre Award nominations (including Outstanding Full Length Script) and was featured on a number of "Best of 2007" lists. Three of his plays, THE SNOW QUEEN, THE MAGICAL FOREST OF BABA YAGA, and THE BLUE BIRD, (co-written with Lori Ann Laster) were produced in NYC by Urban Stages Theatre Company over successive seasons, and he was the recipient of that company's Emerging Playwright Award in 2007. Other plays include THE TRAGIC STORY OF DOCTOR FRANKENSTEIN, CANDIDE AMERICANA, BIG THICK ROD (all produced by Rabbit Hole Ensemble), DOWN THE DRAIN (adobe theatre company), and MR. HOOVER'S TEA PARTY (Offworld Theatre Company) In addition to being a resident artist at Rabbit Hole Ensemble and Urban Stages, he has received developmental support from Algonquin Theatre Company, Manhattan Class Company, Playwrights Horizons, The Hangar Theatre, Primary Stages, New York Theatre Workshop, City Theatre in Pittsburgh, and the Carnegie Mellon Showcase of New Plays. His plays have been published in a number of literary magazines, by Original Works, and by Playscripts. His credits in film and television include a stint as dialogue writer on South Beach Story, a daytime drama, and as screenwriter on Heart to Heart.com, an independent feature film comedy now distributed by the Starz Network. He has also done radio and stage comedy, appearing as a writer/performer on the BBC in England, on local NPR, and live on stages in the San Francisco Bay Area as part of the comedy troupe Reverend Gary's Church of Fun. The proud contributing author to the screamingly funny Message Insertion System and Method (Patent Number 09/955,678), he has also worked extensively in the game industry, writing dialogue and designing characters for award winning projects at Zoesis Studios and Pandemic Studios, including Otto and Iris, Mr Bubb in Space!, and Full Spectrum Warrior: Ten Hammers. He has an MFA from Carnegie Mellon University.
Welcome Stan!
Sunday, December 05, 2010
Uranium Madhouse Associate Artist: Ben Miller
Ben Miller is the only AmSAT certified Alexander Technique teacher in Southern California who also holds a Master of Fine Arts degree in Performance Pedagogy -- the art of teaching actors. As such, he is uniquely qualified to assist actors in developing their craft and increasing their emotional fluidity. Ben resides and teaches the Alexander Technique in Los Angeles. In addition to his private teaching studio, he has taught the Alexander Technique in New York, London and Berlin. He has taught workshops for the Pasadena Playhouse's resident company, Furious Theatre, as well as The Five Willows in Lincoln, NE. Ben has taught acting and/or the Alexander Technique at the following schools: Lee Strasberg Theatre and Film Institute, Los Angeles. Pomona College, Claremont, CA, USC (assisting Babette Markus). Point Park University, Pittsburgh. University of Pittsburgh, Ben recently served as Associate Producer in charge of casting and assayed the role of Don on the independent full-length feature, "American Macho Buddha" (www.americanmachobuddha.com). He was also the casting director and inhabited the character of Rowan in "The Resurrection Man" (www.resurrectionmanmovie.com). Ben is also a member of Actors Equity Association and Screen Actors Guild. He served on the nominating committee for the Screen Actors Guild Awards in 2004 and 2009. Ben currently serves as the Treasurer on the Executive Committee for the American Society of the Alexander Technique (AmSAT).
Ben is an also experienced writer, producer and director.
Welcome Ben!
Saturday, December 04, 2010
one reason why I don't care much for Tony Kushner
Or, as some guy puts it in a new book:
The desire to treat terrible events as the harbinger of the end of civilization itself also has roots in another human trait: vanity.
We all believe we live in an exceptional time, perhaps even a critical moment in the history of the species. Technology appears to have given us power over the atom, our genomes, the planet—with potentially dire consequences. This attitude may stem from nothing more than our desire to place ourselves at the center of the universe. “It’s part of the fundamental limited perspective of our species to believe that this moment is the critical one and critical in every way—for good, for bad, for the final end of humanity,” says Nicholas Christenfeld, a psychologist at the University of California, San Diego. Imagining the end of the world is nigh makes us feel special.
New Yorkers: this show sounds very interesting
Eric Bland is becoming the voice of his generation. Is it too big a stretch to compare him to John Osborne, whose "Angry Young Man" in Look Back in Anger seemed to crystallize the angst and anxiety of postwar Europe? Bland, both more poetical and more avant-garde in his inclinations than Osborne was, speaks brilliantly about this particular American cultural moment in his remarkable new play Emancipatory Politics, which is currently being presented by Incubator Arts Project under the auspices of Bland's company Old Kent Road Theater. People who are interested in the way the world is now, and the way the theatre of today and tomorrow is going to be, will want to see this show.
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