January 2014
THE CAROLE BAYER SAGER PROJECT: ALBUM ONE
Friday, jan. 17, 2014, 8:00pm
The Loft @ Judson Memorial Church
New York, NY
Saturday, Jan 18, 2014 7:00pm
The Duplex
New York, NY
Between 1977 and 1981, the iconic Carole Bayer Sager released three albums of collaborations with Peter Allen, Melissa Manchester, Bette Midler, Marvin Hamlisch and many others. This performance is a loving recreation of the 10 perfect pop songs included on her first album, "Carole Bayer Sager" (1977).
Featuring Crystal Rona Peterson, with Jenny Selig and Micah Bucey as "The Carolettes", under the musical direction of Michael Conley, created and directed by Thom Fogarty for 360Repco.
$15 Cover & a 2 Drink Minimum
Friday, jan. 17, 2014, 8:00pm
The Loft @ Judson Memorial Church
New York, NY
Saturday, Jan 18, 2014 7:00pm
The Duplex
New York, NY
Between 1977 and 1981, the iconic Carole Bayer Sager released three albums of collaborations with Peter Allen, Melissa Manchester, Bette Midler, Marvin Hamlisch and many others. This performance is a loving recreation of the 10 perfect pop songs included on her first album, "Carole Bayer Sager" (1977).
Featuring Crystal Rona Peterson, with Jenny Selig and Micah Bucey as "The Carolettes", under the musical direction of Michael Conley, created and directed by Thom Fogarty for 360Repco.
$15 Cover & a 2 Drink Minimum
November 2013
LANCELOT
Written by STEVEN FECHTER
Directed by THOM FOGARTY
A Reading
Wednesday, November 20th
Doors at 7, Performance at 8
Ryan is a quiet young man who has a good job, a steady girlfriend, and a nice, normal life in Oklahoma – that is, until Ginger arrives. With Ginger come memories of a wanton and wildly creative boy Ryan thought he had buried ten years ago. But can anyone kill the part of themselves that is most madly alive? Ryan will soon find out.
Being a man in Oklahoma is the loneliest fate in the world.
Cast includes: Stephen James Anthony (War Horse LCT), Lulu Fogarty(Lillian Smith Being Heard) and ROMY NORDLINGER (Woman On The Bridge).
This is the third collaboration for Fechter and Fogarty.
STEVEN FECHTER is a playwright and screenwriter. His theatrical works have been produced throughout North America and Europe. Productions includeTHE LAST CIGARETTE (Lounge Theatre, Critic’s Choice by LA Weekly and Backstage-West) THE COMMISSION (NYC Fringe Festival; Theater Bielefeld, Bielefeld, Germany), THE GOLDEN AURORA (NYC Fringe Festival), and THE WOODSMAN (Old Red Lion Theatre, London; Theater Bielefeld, Germany). Most recently, in spring 2011, Resonance Ensemble Theatre produced his commissioned play SHAKESPEARE’S SLAVE at the Clurman Theatre in New York. As a screenwriter he co-wrote the script for THE WOODSMAN, based on his play, starring Kevin Bacon, for which he was a Humanitas Prize finalist in screenwriting. Steven also writes for ScriptWriting Blog, (atScriptShark.com), commenting on screenwriting and film. He is a proud member of Resonance Ensemble, EST Playwrights Unit, New River Dramatists, and The Dramatists Guild.
Written by STEVEN FECHTER
Directed by THOM FOGARTY
A Reading
Wednesday, November 20th
Doors at 7, Performance at 8
Ryan is a quiet young man who has a good job, a steady girlfriend, and a nice, normal life in Oklahoma – that is, until Ginger arrives. With Ginger come memories of a wanton and wildly creative boy Ryan thought he had buried ten years ago. But can anyone kill the part of themselves that is most madly alive? Ryan will soon find out.
Being a man in Oklahoma is the loneliest fate in the world.
Cast includes: Stephen James Anthony (War Horse LCT), Lulu Fogarty(Lillian Smith Being Heard) and ROMY NORDLINGER (Woman On The Bridge).
This is the third collaboration for Fechter and Fogarty.
STEVEN FECHTER is a playwright and screenwriter. His theatrical works have been produced throughout North America and Europe. Productions includeTHE LAST CIGARETTE (Lounge Theatre, Critic’s Choice by LA Weekly and Backstage-West) THE COMMISSION (NYC Fringe Festival; Theater Bielefeld, Bielefeld, Germany), THE GOLDEN AURORA (NYC Fringe Festival), and THE WOODSMAN (Old Red Lion Theatre, London; Theater Bielefeld, Germany). Most recently, in spring 2011, Resonance Ensemble Theatre produced his commissioned play SHAKESPEARE’S SLAVE at the Clurman Theatre in New York. As a screenwriter he co-wrote the script for THE WOODSMAN, based on his play, starring Kevin Bacon, for which he was a Humanitas Prize finalist in screenwriting. Steven also writes for ScriptWriting Blog, (atScriptShark.com), commenting on screenwriting and film. He is a proud member of Resonance Ensemble, EST Playwrights Unit, New River Dramatists, and The Dramatists Guild.
360 REPERTORY COMPANY
Presents
LILLIAN SMITH
BEING HEARD
Created and Performed by LULU FOGARTY*
Special Apperance by LORNA HAMPSON*
Lighting and Design by BILL STABILE
Directed by THOM FOGARTY**
November 7-16, 2013 for 6 Performances
The Loft @ Judson Memorial Church, 55 Washington Square South, NYC 10012
Presented by 360 Repertory Company (360REPCO)
Thursdays, Fridays and Saturdays at 7pm
$18 or Industry Card / Reservations (212) 924.4142
Runs 75 minutes
NEW YORK, October 2013, Thom Fogarty** directed LILLIAN SMITH BEING HEARD, written and performend by Lulu Fogarty*, which will be presented November 7, 8, 9, 14, 15 and 16, 2013 at 7pm by the 360 Repertory Company (360REPCO) in THE LOFT at Judson Church. This intimate production of Lulu Fogarty’s exciting one woman show, will include a Special Appearance by Lorna Hampson*. Music by “Blue” Gene Tyranny. Video by Anja Hitzenberger. Lighting and Stage design by Thom Fogarty.
In LILLIAN SMITH BEING HEARD, Lulu Fogarty explores the intersection of her life growing up in America today with that of Lillian Smith’s. Lillian Smith (1897-1966) was a white Southern liberal, unafraid to criticize segregation at a time when such actions almost guaranteed ostracism. Lillian Smith devoted her writing career to fighting against racism, segregation, and sexism in America. Lulu Fogarty tells of this brave woman’s life-long struggle to be heard, in her own words and on her own terms.
“I believe future generations will think of our times as the age of wholeness: when the walls began to fall; when the fragments began to be related to each other...”
~ Lillian Smith (from The Journey)
LILLIAN SMITH BEING HEARD asks the audience to consider who they choose to segregate themselves from. And why. In a post 9/11 America where immigration, gay rights, gun control and Homeland Security occupy the headlines, who are we really afraid of? It concludes that while we have come a long way toward creating a world of acceptance, there is still a long way to go.
Presents
LILLIAN SMITH
BEING HEARD
Created and Performed by LULU FOGARTY*
Special Apperance by LORNA HAMPSON*
Lighting and Design by BILL STABILE
Directed by THOM FOGARTY**
November 7-16, 2013 for 6 Performances
The Loft @ Judson Memorial Church, 55 Washington Square South, NYC 10012
Presented by 360 Repertory Company (360REPCO)
Thursdays, Fridays and Saturdays at 7pm
$18 or Industry Card / Reservations (212) 924.4142
Runs 75 minutes
NEW YORK, October 2013, Thom Fogarty** directed LILLIAN SMITH BEING HEARD, written and performend by Lulu Fogarty*, which will be presented November 7, 8, 9, 14, 15 and 16, 2013 at 7pm by the 360 Repertory Company (360REPCO) in THE LOFT at Judson Church. This intimate production of Lulu Fogarty’s exciting one woman show, will include a Special Appearance by Lorna Hampson*. Music by “Blue” Gene Tyranny. Video by Anja Hitzenberger. Lighting and Stage design by Thom Fogarty.
In LILLIAN SMITH BEING HEARD, Lulu Fogarty explores the intersection of her life growing up in America today with that of Lillian Smith’s. Lillian Smith (1897-1966) was a white Southern liberal, unafraid to criticize segregation at a time when such actions almost guaranteed ostracism. Lillian Smith devoted her writing career to fighting against racism, segregation, and sexism in America. Lulu Fogarty tells of this brave woman’s life-long struggle to be heard, in her own words and on her own terms.
“I believe future generations will think of our times as the age of wholeness: when the walls began to fall; when the fragments began to be related to each other...”
~ Lillian Smith (from The Journey)
LILLIAN SMITH BEING HEARD asks the audience to consider who they choose to segregate themselves from. And why. In a post 9/11 America where immigration, gay rights, gun control and Homeland Security occupy the headlines, who are we really afraid of? It concludes that while we have come a long way toward creating a world of acceptance, there is still a long way to go.
October 2013
JUDSON CHURCH and MAGIC TIME! Present
A TAVOLA:
A PERFORMANCE
Written and Performed by ELKE SOLOMON
Directed by THOM FOGARTY
October 23, 2013 at 7PM
One Performance Only.
Judson Memorial Church
55 Washington Square South, NYC
Performance is FREE
NEW YORK, October, 2013, Thom Fogarty directed the Premeire of ELKE SOLOMON’S A TAVOLA: A PERFORMANCE, which will be presented October 23, 2013 as part of the MAGIC TIME! series at Judson Church. This exciting follow up to Ms. Solomon’s A TAVOLA: AN INSTALLATION is a piece about FOOD and our relationship to it.
A TAVOLA: A PERFORMANCE was conceived to explore the multiplicity of everyday transactions which occur around the dining table - private, social, economic and cultural. With the A Tavola (to the table) series, Elke Solomon continues to pursue her interest in the intersection of the cultures of food and art. Her first endeavor with this issue resulted in A TAVOLA: AN INSTALLATION, where the gallery space was transformed into the familiar domestic space of a full scale hall and dining room. It functioned as both real and imagined place. The installation was dressed in a variety of crafted objects that she made including furniture, chandeliers, wallpaper, tablecloths, and additionally a collection of food related pictures and literature. The crafted objects, “mashed up” with ready-mades creates a context for the exchange and manipulation of meaning, inviting the participant to make the habitual strange. In A TAVOLA: A PERFORMANCE, Elke Solomon invites us into her personal space to continue the conversation about the history, culture and production of food. The work explores the parallels in the development of the discipline of food history and of her journey as an artist. Of particular interest has been the modern advent of globalization and the rise of “fusion” food. We can get anything we want anytime we want - divorcing food from not only place, but climate and time. The comparisons between the food world connoisseurship and art connoisseurship are both striking and disturbing - and in the end have provided Ms. Solomon with much food for thought.
“Am I making food or am I making art?”
A TAVOLA: A PERFORMANCE continues a relationship between Elke Solomon and Thom Fogarty that began in the early 80’s, when they performed their legendary performance piece, TUNA FISH TALES at venues like the Mudd Club.
A TAVOLA:
A PERFORMANCE
Written and Performed by ELKE SOLOMON
Directed by THOM FOGARTY
October 23, 2013 at 7PM
One Performance Only.
Judson Memorial Church
55 Washington Square South, NYC
Performance is FREE
NEW YORK, October, 2013, Thom Fogarty directed the Premeire of ELKE SOLOMON’S A TAVOLA: A PERFORMANCE, which will be presented October 23, 2013 as part of the MAGIC TIME! series at Judson Church. This exciting follow up to Ms. Solomon’s A TAVOLA: AN INSTALLATION is a piece about FOOD and our relationship to it.
A TAVOLA: A PERFORMANCE was conceived to explore the multiplicity of everyday transactions which occur around the dining table - private, social, economic and cultural. With the A Tavola (to the table) series, Elke Solomon continues to pursue her interest in the intersection of the cultures of food and art. Her first endeavor with this issue resulted in A TAVOLA: AN INSTALLATION, where the gallery space was transformed into the familiar domestic space of a full scale hall and dining room. It functioned as both real and imagined place. The installation was dressed in a variety of crafted objects that she made including furniture, chandeliers, wallpaper, tablecloths, and additionally a collection of food related pictures and literature. The crafted objects, “mashed up” with ready-mades creates a context for the exchange and manipulation of meaning, inviting the participant to make the habitual strange. In A TAVOLA: A PERFORMANCE, Elke Solomon invites us into her personal space to continue the conversation about the history, culture and production of food. The work explores the parallels in the development of the discipline of food history and of her journey as an artist. Of particular interest has been the modern advent of globalization and the rise of “fusion” food. We can get anything we want anytime we want - divorcing food from not only place, but climate and time. The comparisons between the food world connoisseurship and art connoisseurship are both striking and disturbing - and in the end have provided Ms. Solomon with much food for thought.
“Am I making food or am I making art?”
A TAVOLA: A PERFORMANCE continues a relationship between Elke Solomon and Thom Fogarty that began in the early 80’s, when they performed their legendary performance piece, TUNA FISH TALES at venues like the Mudd Club.
September 2013
Vancouver Fringe Festival
Fringe Mania - Bad Connections?
Posted on September 11,2013
by TravelTheatrics
‘You are not responsible for anyone’s reactions to how you live your life.’ I absolutely love this quote. It is something I feel a fair amount of guilt over at times but when it really comes down to it- it’s completely true. This is a quote from the play ‘Bad Connections?’ currently playing at Performance Works as part of the 2013 Vancouver Fringe Festival.
The production is phenomenal. The one man show, played by Paul Cosentino, depicts the lives of Nine New Yorkers. An unmarried couple with a young child and another on the way, their ailing grandfather who has just about given up on life, another couple involving a bitter Jewish woman and her doctor husband who has a gay lover on the side, and your Indian host for the night, who speaks in soothing tones directly to the audience, conducting calming exercises and offering words of wisdom.
Bad Connections deals with the intertwining lives of all the above characters and how an individual’s choice can indirectly affect an entire chain of people. Simultaneously it promotes the fact that positive choices can affect others as well. Bad Connections, Good connections- they are all connections and we are all inextricably linked.
Cosentino’s performance is astounding- fluidly transitioning from character to character, complete with vastly different accents and physicalities. He has the controlled and flexible body of a yoga master and the intensely captivating vocal abilities of a trained actor. He absolutely blew me away with his talent and his endurance in performing various vastly physical, emotional and challenging characters within a one man show lasting for an entire hour.
If you are looking for a fringe production that is a little more thought provoking, slightly more serious, and certainly high calibre, I think you’ve found it.
Fringe Mania - Bad Connections?
Posted on September 11,2013
by TravelTheatrics
‘You are not responsible for anyone’s reactions to how you live your life.’ I absolutely love this quote. It is something I feel a fair amount of guilt over at times but when it really comes down to it- it’s completely true. This is a quote from the play ‘Bad Connections?’ currently playing at Performance Works as part of the 2013 Vancouver Fringe Festival.
The production is phenomenal. The one man show, played by Paul Cosentino, depicts the lives of Nine New Yorkers. An unmarried couple with a young child and another on the way, their ailing grandfather who has just about given up on life, another couple involving a bitter Jewish woman and her doctor husband who has a gay lover on the side, and your Indian host for the night, who speaks in soothing tones directly to the audience, conducting calming exercises and offering words of wisdom.
Bad Connections deals with the intertwining lives of all the above characters and how an individual’s choice can indirectly affect an entire chain of people. Simultaneously it promotes the fact that positive choices can affect others as well. Bad Connections, Good connections- they are all connections and we are all inextricably linked.
Cosentino’s performance is astounding- fluidly transitioning from character to character, complete with vastly different accents and physicalities. He has the controlled and flexible body of a yoga master and the intensely captivating vocal abilities of a trained actor. He absolutely blew me away with his talent and his endurance in performing various vastly physical, emotional and challenging characters within a one man show lasting for an entire hour.
If you are looking for a fringe production that is a little more thought provoking, slightly more serious, and certainly high calibre, I think you’ve found it.
July 2013
May 2013
FALL PROJECT 2012
THE WORLD PREMIERE
THE MENTEE
Written by STEVEN FECHTER
Designed + Directed by THOM FOGARTY
Music by Francesca Beghe
Artwork by Mark DeMaio
October 17th - 28th , 2012
The Bridge Theater @ Shelter Studios
244 W. 54th Street, NY NY
Cast:
LULU FOGARTY*
CHRISTINE VERLENY
WALTER BRANDES*
In THE MENTEE a storm rages. A stranger arrives. A lonely widow and her teen-aged daughter let him in. The stranger makes disturbing claims: that the widow’s husband was his teacher; that he knows the widow well; that the daughter looks nothing like her father. The widow wants him to leave. The daughter wants him to stay. Lies are told, secrets are revealed: a mysterious death, a traumatic birth, a haunted room, and illicit sex. The stranger remains, dreaming of the future. He’s on a mission. He’s the mentee.
What does my body sound like, Chet? Does it hum? Or does it whistle?
THE MENTEE continues Steven Fechter and director Thom Forgarty’s shared exploration of powerful female characters and the enduring artistic soul.
Director Thom Fogarty brings his particular sensibility to this mysterious piece. His work, based in movement and told in an inherently theatrical style, has always dealt with the vastness of human conditions as told through the observance of small everyday gestures and their meanings. This shorthand movement vocabulary (consisting of traditional miming and gestures that are easily identifiable) allows the actors to be both profane and profound at the same time, constantly creating a duality acknowledging the yin and yang in daily life. His aim is to simultaneously make one laugh while another is moved to tears.
Steven Fechter is a playwright and screenwriter. His theatrical works have been produced throughout North America and Europe. Productions include THE COMMISSION (NYC Fringe Festival; Theater Bielefeld, Bielefeld, Germany), THE GOLDEN AURORA (NYC Fringe Festival), and THE WOODSMAN (Old Red Lion Theatre, London; Theater Bielefeld, Germany). In 2011, Resonance Ensemble Theatre produced his commissioned play SHAKESPEARE’S SLAVE at the Clurman Theatre in New York. As a screenwriter he co-wrote the script for THE WOODSMAN, based on his play, starring Kevin Bacon. For that work he was a Humanitas Prize finalist in screenwriting. Steven also writes for ScriptShark.com’s ScriptWriting Blog, commenting on screenwriting and film. He is a proud member of Resonance Ensemble, EST Playwrights Unit, New River Dramatists, and The Dramatists Guild.
Thom Fogarty has been active in NYC's downtown theater since 1977, appearing in dance and theatre productions, and creating works with Joseph Chaikin (The Open Theater), Paul Zimet (The Talking Band), Judson Poets Theater, DV8 Physical Theatre (London), and H.M. Koutoukas ("Dead at Sea," based on Mr. Koutoukas' journal entries). He has taught movement and performance throughout the U.S. and Europe. Since changing his focus to directing in 2011 he has directed: EURYDICE by Sarah Ruhl (The Bridge NYC); BAD CONNECTIONS? by Michael Levesque (Edmonton, Hollywood, Orlando and Toronto Fringe Festivals) ; CROSS HATCH (Judson Memorial Church) by Peter Mercurio; HELL IS WHERE THE HEART IS (Gene Frankel Theater), a new play by Melissa Skirboll for the Planet Connections Festival (which received 3 nominations for acting, as well as his win for Outstanding Lighting Design); IN THE NAME OF GOD by Peter Cohen (Judson Church, NYC); DESDEMONA by Paula Vogel (The Bridge, NYC); BEING HEARD by Lulu Fogarty (Dixon Place, United Solo Festival, Theater Row NYC and Syracuse University); and 10 TALL TALES ABOUT THE MEN I LOVE (which he adapted from a short story by Ronn Smith), in “walkabout” performances at Judson Memorial Church as a fundraiser for The Ali Forney Center. In April, he directed the critically acclaimed World Premiere of Steven Fechter’s THE ARTIFACTS. He is an Associate Member of Stage Directors and Choreographers Society.
Francesca Beghe was born and raised in New York City where she grew up studying classical piano and sang in the church choir. Francesca spent her early years developing her own songwriting and playing around the New York club scene performing in virtually every major venue in the area opening for Jerry Garcia, Jorma Kaukonen, Muddy Waters, Sonny Terry and Brownie Mcghee (among others) at The Ritz, Roseland, The Beacon Theatre and The Bitter End. Her first demo project was produced by Jimmy Miller, renowned producer of the Rolling Stones and Steve Winwood. In 1989, Francesca was signed to EMI Music Publishing when her song “Trust in Me” was recorded by Joe Cocker (featured in the Oscar nominated film starring Kevin Costner and Whitney Houston). In 1990, she was signed to SBK/EMI Records and in 1991 released her debut album for SBK/EMI Records to immediate critical acclaim. Reviews in such notable magazines as Rolling Stone, People and Musician became the standard as Beghe supported her release with a national tour opening for Michael Bolton and making multiple appearances on “The Tonight Show.” She was voted VH1’s Artist of the Month and is often compared to iconic female vocalists Aretha Franklin, Carly Simon, Bonnie Raitt and “…best of all, nobody you’ve ever heard of.” (People). Francesca’s followed this by going back into the studio with writer/producer Glen Ballard (Alanis Morrissette, Aerosmith, Dave Mathews). She emerged with a beautifully crafted and recorded album which was mixed by Ed Cherney and featured songs co-written with Ballard and other legendary writers including J.D. Souther, and Will Jennings. She has continued to record and write and lives upstate with husband and recording artist Ben Green and their son. This is Fran’s 5th collaboration with Thom Fogarty.
*Indicates member of Actor’s Equity Association (AEA).
THE MENTEE
Written by STEVEN FECHTER
Designed + Directed by THOM FOGARTY
Music by Francesca Beghe
Artwork by Mark DeMaio
October 17th - 28th , 2012
The Bridge Theater @ Shelter Studios
244 W. 54th Street, NY NY
Cast:
LULU FOGARTY*
CHRISTINE VERLENY
WALTER BRANDES*
In THE MENTEE a storm rages. A stranger arrives. A lonely widow and her teen-aged daughter let him in. The stranger makes disturbing claims: that the widow’s husband was his teacher; that he knows the widow well; that the daughter looks nothing like her father. The widow wants him to leave. The daughter wants him to stay. Lies are told, secrets are revealed: a mysterious death, a traumatic birth, a haunted room, and illicit sex. The stranger remains, dreaming of the future. He’s on a mission. He’s the mentee.
What does my body sound like, Chet? Does it hum? Or does it whistle?
THE MENTEE continues Steven Fechter and director Thom Forgarty’s shared exploration of powerful female characters and the enduring artistic soul.
Director Thom Fogarty brings his particular sensibility to this mysterious piece. His work, based in movement and told in an inherently theatrical style, has always dealt with the vastness of human conditions as told through the observance of small everyday gestures and their meanings. This shorthand movement vocabulary (consisting of traditional miming and gestures that are easily identifiable) allows the actors to be both profane and profound at the same time, constantly creating a duality acknowledging the yin and yang in daily life. His aim is to simultaneously make one laugh while another is moved to tears.
Steven Fechter is a playwright and screenwriter. His theatrical works have been produced throughout North America and Europe. Productions include THE COMMISSION (NYC Fringe Festival; Theater Bielefeld, Bielefeld, Germany), THE GOLDEN AURORA (NYC Fringe Festival), and THE WOODSMAN (Old Red Lion Theatre, London; Theater Bielefeld, Germany). In 2011, Resonance Ensemble Theatre produced his commissioned play SHAKESPEARE’S SLAVE at the Clurman Theatre in New York. As a screenwriter he co-wrote the script for THE WOODSMAN, based on his play, starring Kevin Bacon. For that work he was a Humanitas Prize finalist in screenwriting. Steven also writes for ScriptShark.com’s ScriptWriting Blog, commenting on screenwriting and film. He is a proud member of Resonance Ensemble, EST Playwrights Unit, New River Dramatists, and The Dramatists Guild.
Thom Fogarty has been active in NYC's downtown theater since 1977, appearing in dance and theatre productions, and creating works with Joseph Chaikin (The Open Theater), Paul Zimet (The Talking Band), Judson Poets Theater, DV8 Physical Theatre (London), and H.M. Koutoukas ("Dead at Sea," based on Mr. Koutoukas' journal entries). He has taught movement and performance throughout the U.S. and Europe. Since changing his focus to directing in 2011 he has directed: EURYDICE by Sarah Ruhl (The Bridge NYC); BAD CONNECTIONS? by Michael Levesque (Edmonton, Hollywood, Orlando and Toronto Fringe Festivals) ; CROSS HATCH (Judson Memorial Church) by Peter Mercurio; HELL IS WHERE THE HEART IS (Gene Frankel Theater), a new play by Melissa Skirboll for the Planet Connections Festival (which received 3 nominations for acting, as well as his win for Outstanding Lighting Design); IN THE NAME OF GOD by Peter Cohen (Judson Church, NYC); DESDEMONA by Paula Vogel (The Bridge, NYC); BEING HEARD by Lulu Fogarty (Dixon Place, United Solo Festival, Theater Row NYC and Syracuse University); and 10 TALL TALES ABOUT THE MEN I LOVE (which he adapted from a short story by Ronn Smith), in “walkabout” performances at Judson Memorial Church as a fundraiser for The Ali Forney Center. In April, he directed the critically acclaimed World Premiere of Steven Fechter’s THE ARTIFACTS. He is an Associate Member of Stage Directors and Choreographers Society.
Francesca Beghe was born and raised in New York City where she grew up studying classical piano and sang in the church choir. Francesca spent her early years developing her own songwriting and playing around the New York club scene performing in virtually every major venue in the area opening for Jerry Garcia, Jorma Kaukonen, Muddy Waters, Sonny Terry and Brownie Mcghee (among others) at The Ritz, Roseland, The Beacon Theatre and The Bitter End. Her first demo project was produced by Jimmy Miller, renowned producer of the Rolling Stones and Steve Winwood. In 1989, Francesca was signed to EMI Music Publishing when her song “Trust in Me” was recorded by Joe Cocker (featured in the Oscar nominated film starring Kevin Costner and Whitney Houston). In 1990, she was signed to SBK/EMI Records and in 1991 released her debut album for SBK/EMI Records to immediate critical acclaim. Reviews in such notable magazines as Rolling Stone, People and Musician became the standard as Beghe supported her release with a national tour opening for Michael Bolton and making multiple appearances on “The Tonight Show.” She was voted VH1’s Artist of the Month and is often compared to iconic female vocalists Aretha Franklin, Carly Simon, Bonnie Raitt and “…best of all, nobody you’ve ever heard of.” (People). Francesca’s followed this by going back into the studio with writer/producer Glen Ballard (Alanis Morrissette, Aerosmith, Dave Mathews). She emerged with a beautifully crafted and recorded album which was mixed by Ed Cherney and featured songs co-written with Ballard and other legendary writers including J.D. Souther, and Will Jennings. She has continued to record and write and lives upstate with husband and recording artist Ben Green and their son. This is Fran’s 5th collaboration with Thom Fogarty.
*Indicates member of Actor’s Equity Association (AEA).
SEE REVIEW @ http://www.theasy.com/Reviews/2012/M/thementee.php
BAD CONNECTIONS?
byMICHAEL LEVESQUE
starring PAUL COSENTINO
directed by THOM FOGARTY
Hit of last years Edmonton Festival
"REMARKABLE!" – Peter Shaffer (Amadeus, Equus)
"★★★★★ Mesmerizing Performance"
– EDMONTON JOURNAL
ORLANDO FRINGE FESTIVAL
May 16-28, 2012
7 Performances
[see review]
--------------------------------
TORONTO FRINGE FESTIVAL
July 4-15, 2012
5 Performances
---------------------------------
CABARET DOWNSTAIRS THEATER
Rochester, NY
9 Performances
July 2012
SPRING 2012 PROJECT
THE ARTIFACTS
by
STEVEN FECHTER
April 18th - 29th, 2012
The Bridge Theater
We were thrilled to present the WORLD PREMIERE of this exciting new work by the author of THE WOODSMAN.
In The Artifacts, two great divas of modern drama, Ibsen’s Hedda Gabler and Stringberg’s Miss Julie, form an uneasy relationship in search of sisterly companionship. Their target is a dedicated young graduate student of theatre in a modern American liberal arts college.
The play to celebrates the enduring power, beauty, tragedy, and danger of great dramatic art, which Hedda and Julie represent. It is a darkly comic satire of foolish academic mentors who prey upon vulnerable young students. In The Artifacts there are three powerful roles for women. We are looking forward to seeing them finally come to life on stage.
STEVEN FECHTER is a playwright and screenwriter. His theatrical works have been produced throughout North America and Europe. Productions includeThe Last Cigarette (Lounge Theatre, Critic’s Choice by LA Weekly andBackstage-West) The Commission (NY Fringe Festival; Theater Bielefeld, Bielefeld, Germany), The Golden Aurora (NY Fringe Festival), and The Woodsman (Old Red Lion Theatre, London; Theater Bielefeld, Germany). Other plays include Schiele (Ohio Theatre, NYC), about the life of artist Egon Schiele and The Land-Surveyor(Westbeth Theatre Center, NYC), based on Franz Kafka’s novel The Castle. Most recently, in spring 2011, Resonance Ensemble Theatre produced his commissioned play Shakespeare’s Slave at the Clurman Theatre in New York. As a screenwriter he co-wrote the script for The Woodsman, based on his play, starring Kevin Bacon. For that work he was a Humanitas Prize finalist in screenwriting. Steven also writes for ScriptShark.com's ScriptWriting Blog, commenting on screenwriting and film. He is a proud member of Resonance Ensemble, EST Playwrights Unit, The Dramatists Guild, and New River Dramatists.
In The Artifacts, two great divas of modern drama, Ibsen’s Hedda Gabler and Stringberg’s Miss Julie, form an uneasy relationship in search of sisterly companionship. Their target is a dedicated young graduate student of theatre in a modern American liberal arts college.
The play to celebrates the enduring power, beauty, tragedy, and danger of great dramatic art, which Hedda and Julie represent. It is a darkly comic satire of foolish academic mentors who prey upon vulnerable young students. In The Artifacts there are three powerful roles for women. We are looking forward to seeing them finally come to life on stage.
STEVEN FECHTER is a playwright and screenwriter. His theatrical works have been produced throughout North America and Europe. Productions includeThe Last Cigarette (Lounge Theatre, Critic’s Choice by LA Weekly andBackstage-West) The Commission (NY Fringe Festival; Theater Bielefeld, Bielefeld, Germany), The Golden Aurora (NY Fringe Festival), and The Woodsman (Old Red Lion Theatre, London; Theater Bielefeld, Germany). Other plays include Schiele (Ohio Theatre, NYC), about the life of artist Egon Schiele and The Land-Surveyor(Westbeth Theatre Center, NYC), based on Franz Kafka’s novel The Castle. Most recently, in spring 2011, Resonance Ensemble Theatre produced his commissioned play Shakespeare’s Slave at the Clurman Theatre in New York. As a screenwriter he co-wrote the script for The Woodsman, based on his play, starring Kevin Bacon. For that work he was a Humanitas Prize finalist in screenwriting. Steven also writes for ScriptShark.com's ScriptWriting Blog, commenting on screenwriting and film. He is a proud member of Resonance Ensemble, EST Playwrights Unit, The Dramatists Guild, and New River Dramatists.
The TIPSY Saga
continued MARCH 30th, 2012
at downtown's premiere home of emerging artist - DIXON PLACE.
MargOH! Channing brought her boozy tales, song and dance for
ONE NIGHT ONLY!!!!
MAGIC TIME! and THOM FOGARTY PRESENT
TEN TALL TALES
ABOUT
THE MEN I LOVE
Based on the short stories of
RONN SMITH
Adapted + Directed by
THOM FOGARTY
This ‘walkabout’ production, based on Ronn Smith’s short story collection and Thom Fogarty’s
reimagining for the stage, was a series of 10 overlapping scenes for 10 characters,
living in the time of AIDS, dealing with love, loss, and the meaning of life.
The cast of ten included: Armand Anthony, Micah Bucey, Quincy Ellis, Ken Kidd,
Jeff McMahon, Christopher Michael McLamb, Aidan O’Shea,
Adam Patterson, Carlton Tanis and Dustye Winniford*.
Lighting design by Bill Stabile.
Costume and Stage design is by Thom Fogarty
----------------------------------------------------------------------------------------------------------
TEN TALL TALES
ABOUT
THE MEN I LOVE
Based on the short stories of
RONN SMITH
Adapted + Directed by
THOM FOGARTY
This ‘walkabout’ production, based on Ronn Smith’s short story collection and Thom Fogarty’s
reimagining for the stage, was a series of 10 overlapping scenes for 10 characters,
living in the time of AIDS, dealing with love, loss, and the meaning of life.
The cast of ten included: Armand Anthony, Micah Bucey, Quincy Ellis, Ken Kidd,
Jeff McMahon, Christopher Michael McLamb, Aidan O’Shea,
Adam Patterson, Carlton Tanis and Dustye Winniford*.
Lighting design by Bill Stabile.
Costume and Stage design is by Thom Fogarty
----------------------------------------------------------------------------------------------------------
JANUARY 2012
BAD CONNECTIONS?
a new play for one actor
written by Michael Levesque
directed by Thom Fogarty
performed by Paul Cosentino*
_____________________
Jan 5th @ 8pm
Westmont High School (brand new!) Theater
4805 Westmont Avenue
Campbell, CA 95008-5725
__________________________________________________________________________________________
A hit at the Hollywood and Edmonton Fringe Festivals...
"★★★★★ Mesmerizing Performance" – EDMONTON JOURNAL
"★★★★★ A miracle of theatre. Cosentino is a master of his craft" – Edmonton SUN
"PITCH-PERFECT PERFORMANCE!" – Bryant Kirkland
"A Truly Satisfying Piece of Theatre" – Ashley Steed, Los Angeles Theater Review
"BAD CONNECTIONS? follows the lives of nine eccentric and delightful New Yorkers making their way through a rainy Manhattan day, realizing they might be getting it all wrong – or maybe not!"
"REMARKABLE!" – Peter Shaffer (Amadeus, Equus) _________________________________________________________________________________
*Actor appears courtesy of Actors' Equity
BAD CONNECTIONS?
a new play for one actor
written by Michael Levesque
directed by Thom Fogarty
performed by Paul Cosentino*
_____________________
Jan 5th @ 8pm
Westmont High School (brand new!) Theater
4805 Westmont Avenue
Campbell, CA 95008-5725
__________________________________________________________________________________________
A hit at the Hollywood and Edmonton Fringe Festivals...
"★★★★★ Mesmerizing Performance" – EDMONTON JOURNAL
"★★★★★ A miracle of theatre. Cosentino is a master of his craft" – Edmonton SUN
"PITCH-PERFECT PERFORMANCE!" – Bryant Kirkland
"A Truly Satisfying Piece of Theatre" – Ashley Steed, Los Angeles Theater Review
"BAD CONNECTIONS? follows the lives of nine eccentric and delightful New Yorkers making their way through a rainy Manhattan day, realizing they might be getting it all wrong – or maybe not!"
"REMARKABLE!" – Peter Shaffer (Amadeus, Equus) _________________________________________________________________________________
*Actor appears courtesy of Actors' Equity
November 2011
MargOH! Channing returns for an encore performance of her highly acclaimed drunkglama show aptly titled “MargOH! Channing is Tipsy” at The Duplex Cabaret, November 18 , 9:30PM, 61 Christopher Street on the corner of 7th Ave south in Greenwich village.
MargOH! will be fusing her raucous onstage persona and famously bombastic voice with The Jarad Astin Trio and backed by the vocal styling’s of the MargOH!-tini’s. Ms. Channing w...ill perform original songs including ‘Doing it Doggie”, “ I Love my Men Gay” and “I’m not a Drunk ,I Just Love to Drink” and sloshy standards made famous by Amy Winehouse, Tina Turner, Bette Midler and Spice Girls to name a few. As part of the celebration she will be joined by her long time 'gayiance MAN-ee Champagne and some surprise guests to be announced as she reminisces about her family, gay lovers and the ups and downs of her career.
The show will be directed by Thom Fogarty
Her hilarious stage shows have become something of an event on the downtown scene and are always must-sees for her ardent fans which have included several performances by her dear friend Nellie McKay.
After speaking by phone with Ms. Channing she says herself; "I’m so grateful to be returning to the Duplex in November and thankful to my fans for drinking right along with me…the more they drink the more I do…My shows are a win, win for everyone! I’ve been overwhelmed by the love, support and kind words for Tipsy by friends and fans”. Burlesque star World Famous *BoB* called the show “Gay-mazing” , Photographer, writer and nightlife queen Gerry Visco said “MargOH! really knows how to give it her all”, Mike Diamond of Logo said “MargOH! is one hell of a broad and true star”, Next Magazine said “MargOH! is one part voice, three parts panache and fours parts boozy which made for an hysterical evening” and Time Out NY thinks MargOH! is “Fierce”. Come see what all the buzz is about!
MargOH! Channing is the most decorated extra in the history of motion pictures and television having appeared in over 1,800 films including The Planet of the Apes, Steel Magnolia’s and the recent Sex and the City sequel. Meryl Streep once told her that “Your ability to do nothing in the background is amazing” and Sally field once mentioned that “MargOH!’s fake banter oozes realism”. MargOH! also created and hosted a highly successful variety show “The MargOH! Channing Show” that appeared on MNN from 2003-2006 and included such guests as Michael Musto, Penny Arcade, Ken Kleiber and Nellie McKay. MargOH! made her cabaret debut in 2006 with “The MargOH! Channing Variety Hour” at the Duplex Cabaret and additional performances at The D-Lounge at the Darryl Roth Theater. In 2007 she debuted her show “What makes a legend drink most?” for a 3 week engagement at the Laurie Beechman Theater, followed up by a command performance titled “MargOH! RAW”. These shows were followed by a series of burlesque events featuring the sultry sounds of The Dirty Boogaloo titled “Mamma MargOH!’s All Soul Burlesque Revue” performed at the legendary spots Lucky Cheng’s and Don Hills. In 2010 MargOH! performed two sold out shows of "What makes a legend drink more?" and made her London debut at the Phoenix Artists Club. Ms. Channing recently became a contributing writer for the nightlife magazine “Fierth”. If that weren’t enough MargOH! can be heard weekly on the GLBT political talk show “Joust It Out” on the MSC Radio Network .
MargOH! will be fusing her raucous onstage persona and famously bombastic voice with The Jarad Astin Trio and backed by the vocal styling’s of the MargOH!-tini’s. Ms. Channing w...ill perform original songs including ‘Doing it Doggie”, “ I Love my Men Gay” and “I’m not a Drunk ,I Just Love to Drink” and sloshy standards made famous by Amy Winehouse, Tina Turner, Bette Midler and Spice Girls to name a few. As part of the celebration she will be joined by her long time 'gayiance MAN-ee Champagne and some surprise guests to be announced as she reminisces about her family, gay lovers and the ups and downs of her career.
The show will be directed by Thom Fogarty
Her hilarious stage shows have become something of an event on the downtown scene and are always must-sees for her ardent fans which have included several performances by her dear friend Nellie McKay.
After speaking by phone with Ms. Channing she says herself; "I’m so grateful to be returning to the Duplex in November and thankful to my fans for drinking right along with me…the more they drink the more I do…My shows are a win, win for everyone! I’ve been overwhelmed by the love, support and kind words for Tipsy by friends and fans”. Burlesque star World Famous *BoB* called the show “Gay-mazing” , Photographer, writer and nightlife queen Gerry Visco said “MargOH! really knows how to give it her all”, Mike Diamond of Logo said “MargOH! is one hell of a broad and true star”, Next Magazine said “MargOH! is one part voice, three parts panache and fours parts boozy which made for an hysterical evening” and Time Out NY thinks MargOH! is “Fierce”. Come see what all the buzz is about!
MargOH! Channing is the most decorated extra in the history of motion pictures and television having appeared in over 1,800 films including The Planet of the Apes, Steel Magnolia’s and the recent Sex and the City sequel. Meryl Streep once told her that “Your ability to do nothing in the background is amazing” and Sally field once mentioned that “MargOH!’s fake banter oozes realism”. MargOH! also created and hosted a highly successful variety show “The MargOH! Channing Show” that appeared on MNN from 2003-2006 and included such guests as Michael Musto, Penny Arcade, Ken Kleiber and Nellie McKay. MargOH! made her cabaret debut in 2006 with “The MargOH! Channing Variety Hour” at the Duplex Cabaret and additional performances at The D-Lounge at the Darryl Roth Theater. In 2007 she debuted her show “What makes a legend drink most?” for a 3 week engagement at the Laurie Beechman Theater, followed up by a command performance titled “MargOH! RAW”. These shows were followed by a series of burlesque events featuring the sultry sounds of The Dirty Boogaloo titled “Mamma MargOH!’s All Soul Burlesque Revue” performed at the legendary spots Lucky Cheng’s and Don Hills. In 2010 MargOH! performed two sold out shows of "What makes a legend drink more?" and made her London debut at the Phoenix Artists Club. Ms. Channing recently became a contributing writer for the nightlife magazine “Fierth”. If that weren’t enough MargOH! can be heard weekly on the GLBT political talk show “Joust It Out” on the MSC Radio Network .
BAD CONNECTIONS?
a new play for one actor
written by Michael Levesque
directed by Thom Fogarty
performed by Paul Cosentino*
______________________________________________________________________________________________________________
November 15th @ 3pm & 7:30pm THE BRIDGE THEATRE
at Shetler Studios
244 West 54th Street
12th Floor
The performance runs 85 minutes.
__________________________________________________________________________________________________________
A hit at the Hollywood and Edmonton Fringe Festivals...
"★★★★★ Mesmerizing Performance" – EDMONTON JOURNAL
"★★★★★ A miracle of theatre. Cosentino is a master of his craft" – Edmonton SUN
"PITCH-PERFECT PERFORMANCE!" – Bryant Kirkland
"A Truly Satisfying Piece of Theatre" – Ashley Steed, Los Angeles Theater Review
"BAD CONNECTIONS? follows the lives of nine eccentric and delightful New Yorkers making their way through a rainy Manhattan day, realizing they might be getting it all wrong – or maybe not!""REMARKABLE!" – Peter Shaffer (Amadeus, Equus) _________________________________________________________________________________
*Actor appears courtesy of Actors' Equity
October 2011
Lulu got the piece into this amazing new [second year] festival.
Below is the letter stating the Lulu has the LES Foundation's blessing to proceed with the performance of this piece and the rights to using all of Lillian Smith's material.
The Lillian E. Smith Foundation, Inc.
____________________________
Lulu Fogarty has indeed “heard” Lillian Smith, and she has heard her in sensitive and significant ways.
She has not tried to imitate, replicate, or literally translate Lillian Smith. Instead she has let the vision, beliefs, humanity of the person move through her own sensibility and intelligence. In short, Fogarty’s work is not a strict biographical report, it is her response to a life that continues to leave message and meaning for us all.
Lulu Fogarty has spent time at the Lillian E. Smith Center, the site of the author’s home and her writing place. We have been moved and highly appreciative of Lulu’s talent and of her work. We are delighted that Lillian Smith: Being Heard will be passed on to others in futures venues.
Nancy Smith Fichter
President, LES Foundation
Co-Director, LES Center
____________________________
Post Office Box 766
Clayton, Georgia 30525-0020
***************************************************
Below is the letter stating the Lulu has the LES Foundation's blessing to proceed with the performance of this piece and the rights to using all of Lillian Smith's material.
The Lillian E. Smith Foundation, Inc.
____________________________
Lulu Fogarty has indeed “heard” Lillian Smith, and she has heard her in sensitive and significant ways.
She has not tried to imitate, replicate, or literally translate Lillian Smith. Instead she has let the vision, beliefs, humanity of the person move through her own sensibility and intelligence. In short, Fogarty’s work is not a strict biographical report, it is her response to a life that continues to leave message and meaning for us all.
Lulu Fogarty has spent time at the Lillian E. Smith Center, the site of the author’s home and her writing place. We have been moved and highly appreciative of Lulu’s talent and of her work. We are delighted that Lillian Smith: Being Heard will be passed on to others in futures venues.
Nancy Smith Fichter
President, LES Foundation
Co-Director, LES Center
____________________________
Post Office Box 766
Clayton, Georgia 30525-0020
***************************************************
LAB @ SYRACUSE DRAMA DEPT. OCTOBER 5, 2011
LILLIAN SMITH:BEING HEARD
Created and Performed by
LULU FOGARTY*
Directed by THOM FOGARTY**
Music by “BLUE” GENE TYRANNY
Visuals by ANJA HITZENBERGER
Special Appearance by Lorna Hampson*
*Member of AEA **Member of SDC
………………………………………………
This piece was originally produced by Thom Fogarty and Extra Pulp Ensemble
for Dixon Place’s Experimental Theatre, NYC.
……………………………………………..
This production has been created using the works of Lillian Smith, as cited. Whenever Lillian Smith is speaking – those words are hers. Other factual information is presented through the voice of “Paula”.
Lulu performed the piece back at Syracuse U. where the piece began in a class with Lauren Unberkant.
September 2011
DESDEMONA: A PLAY ABOUT A HANDKERCHIEF
by PAULA VOGEL
SEPTEMBER 21 - OCTOBER 2, 2011
THE BRIDGE THEATER @ Shetler Studios
Directed and Designed by THOM FOGARTY
with
LULU FOGARTY*, .COLISTA K. TURNER, and CHRISTINE VERLENY
*Member of Actor's Equity Association.
by PAULA VOGEL
SEPTEMBER 21 - OCTOBER 2, 2011
THE BRIDGE THEATER @ Shetler Studios
Directed and Designed by THOM FOGARTY
with
LULU FOGARTY*, .COLISTA K. TURNER, and CHRISTINE VERLENY
*Member of Actor's Equity Association.
IN THE NAME OF GOD
by PETER-ADRIAN COHEN
Based on FAITH AND DOUBT AT GROUND ZERO, the documentary by HELEN WHITNEY,
a Frontline Film by PBS.
A STAGED READING
ONE PERFORMANCE ONLY, Sunday, SEPTEMBER 11, 2011 @ 3pm
I directed this exciting new play by Peter-Adrian Cohen. Playwright Cohen stated that 75% of the play is based on testimony redacted verbatum from the film's 20 real people who were interviewed on how faith was tested and questioned in the aftermath of the nation's most horrific attack. The rest he gathered through research and has fashioned a dramatic piece, editing down the 'characters' to six, three real and three composites. We look forward to sharing this exciting look at the events of the day that change everything. We are particularly delighted to be presenting this AEA approved staged reading on the 10th Anniversary of 9-11 and at Judson Memorial Church, a partner in the citywide planning to mark this tragic and historic event. Cast included: FRANK ANDERSON*, MICHAEL ELLICK [Assoc. Minister @ Judson Church], DIANE KAGAN [Mildred Pierce/Julie and Julia], GEORGE KAREMAN [Biography Off-Broadway] JOSEPH MELENDEZ [Fast and Furious 5] and GRACE ZANDARSKI [Faculty member Theater Dept. of Yale].
by PETER-ADRIAN COHEN
Based on FAITH AND DOUBT AT GROUND ZERO, the documentary by HELEN WHITNEY,
a Frontline Film by PBS.
A STAGED READING
ONE PERFORMANCE ONLY, Sunday, SEPTEMBER 11, 2011 @ 3pm
I directed this exciting new play by Peter-Adrian Cohen. Playwright Cohen stated that 75% of the play is based on testimony redacted verbatum from the film's 20 real people who were interviewed on how faith was tested and questioned in the aftermath of the nation's most horrific attack. The rest he gathered through research and has fashioned a dramatic piece, editing down the 'characters' to six, three real and three composites. We look forward to sharing this exciting look at the events of the day that change everything. We are particularly delighted to be presenting this AEA approved staged reading on the 10th Anniversary of 9-11 and at Judson Memorial Church, a partner in the citywide planning to mark this tragic and historic event. Cast included: FRANK ANDERSON*, MICHAEL ELLICK [Assoc. Minister @ Judson Church], DIANE KAGAN [Mildred Pierce/Julie and Julia], GEORGE KAREMAN [Biography Off-Broadway] JOSEPH MELENDEZ [Fast and Furious 5] and GRACE ZANDARSKI [Faculty member Theater Dept. of Yale].
June 2011
January - February 2011
This was absolutely the high point thus far in my professional career. It was akin to a 'perfect storm' of talent and artistry. The actors, the script, the space, the audience, all conspired to make this a truly touching and exhilirating experience. The brilliantly conceived retelling of this myth by Sarah Ruhl, taught me a very valuable lesson - when in doubt look at the words on the page. She so clearly and succinctly defined the world she wanted us to inhabit that you couldn't help but be drawn to it.
The chance to continue to work with my daughter, Lulu Fogarty, had inspired me beyond what I could ever have dreamed of. To be able to still go to the 'playground' with your child is something I will always be grateful for.
The fact that so many people loved our little modest production, hearing from numerous people who had seen the gorgeous main stage NYC production at Second Stage, that they preferred our little jewel box production was more than gratifying. It was, for me, about giving the magic back to the audience, letting them be part of the journey and the story we were telling, and not just stunning spectacle. We proved that you can be elegant and moving in a black box with just the imaginations of all who have come together in that moment to share in the experience.
This is what live theatre does, and it renewed my faith in all that I do.
A heartfelt thanks to the actors and the audience for getting me to such a high plateau from which I must continue to strive to reach. I hope to be able to share this production in other spaces, in other places and with other people - actors and audiences - who want something a little more in their time spent out there in the dark than just spectacle.
The chance to continue to work with my daughter, Lulu Fogarty, had inspired me beyond what I could ever have dreamed of. To be able to still go to the 'playground' with your child is something I will always be grateful for.
The fact that so many people loved our little modest production, hearing from numerous people who had seen the gorgeous main stage NYC production at Second Stage, that they preferred our little jewel box production was more than gratifying. It was, for me, about giving the magic back to the audience, letting them be part of the journey and the story we were telling, and not just stunning spectacle. We proved that you can be elegant and moving in a black box with just the imaginations of all who have come together in that moment to share in the experience.
This is what live theatre does, and it renewed my faith in all that I do.
A heartfelt thanks to the actors and the audience for getting me to such a high plateau from which I must continue to strive to reach. I hope to be able to share this production in other spaces, in other places and with other people - actors and audiences - who want something a little more in their time spent out there in the dark than just spectacle.
| eurydice_program_pdf.pdf |
August 2010
A staged reading of PETER MERCURIO'S new play CROSS/HATCH
was presented as part of Judson Memorial Church's BAILOUT THEATER
with Jay Buol, Peggy Cosgrave, Lulu Fogarty, Dennis Hearn, and Joe Tannenbaum.
___________________________________________________________________________________________
After a sellout show in May, much loved gay icon MargOH! Channing returned with an encore performance “What makes a legend drink more?”
August 7, 10PM at The Duplex Cabaret
61 Christopher Street in Greenwich Village.
This was my first time working with the lovely MargOH! and crew and I look forward to many happy returns.
http://margohchanning.blogspot.com/2010_07_01_archive.html
___________________________________________________________________________________________
http://margohchanning.blogspot.com/2010_07_01_archive.html
___________________________________________________________________________________________
September - October 2010
A staged reading of MELISSA SKIRBOLL'S new play
HELL IS WHERE THE HEART IS
was presented at The Bridge Theater @ Shetler Studios
as part of THIRD EYE THEATRE COMPANY'S week long AEA approved showcase.
___________________________________________________________________________________________
June - October 2010
Over the Summer of 2010 his piece was performed in California, across Canada, and on 3 different occasions in NYC at The Bridge Theater @ Shetler Studios in June and September and at The Cell in October.
“MESMERIZING” – EDMONTON JOURNAL
“PITCH-PERFECT PERFORMANCE!” – Bryant Kirkland
“A Truly Satisfying Piece of Theatre” – A. Steed, Los Angeles Theater Review
Bad Connections?a new play written by Michael Levesque
directed by Thom Fogarty
performed by Paul Cosentino
Bad Connections? follows the lives of nine eccentric and delightful New Yorkers making their way through a rainy Manhattan day. One man brings them together as they face tragedy, loss, pain, hope, understanding, and forgiveness. Through his guidance, they begin to see their lives in a new way and realize that they might be getting it all wrong – or maybe not!
REVIEWS
THE EDMONTON JOURNAL
Reviewed by: Richard Helm Venue: Stage 10, Acacia Hall Rating: 5 stars
The first truly mesmerizing performance I’ve witnessed at this Fringe transports us to rainy day Manhattan and a cast of characters wounded by the ragged shear of love.
These sort of shows seem to pop up every other year at the festival — solo efforts by some adrenalin junky who conjures up a dizzying array of multiple players on the stage. Three years back, American comedienne Susan Jeremy animated a cast of 20-plus characters in P.S. 69, her one-woman tribute to life as a New York substitute teacher.
The whirlwind of theatrics is always impressive but sometimes the work can come off as a bit of a stunt. Well, the Paul Cosentino show now spellbinding Acacia Hall is no stunt. The moment-to-moment veracity that this California actor packs in every scene actually pulls you to the edge of your seat.
At first they seem a random bunch, these nine souls that Cosentino brings to life on a barren stage, largely due to their differences. The first character we meet is a guru, one of those placid beneficients so mellow and calming you might find yourself actually following along with his deep-breathing cues. The next is a pregnant Puerto Rican woman spitting fire into a subway pay phone after losing her purse. There’s a sad cardiologist, his woefully unfulfilled, woefully Jewish wife; a young Italian shopkeeper and his ailing grandfather; a child who’s seen a bit too much of the household drama; and a yoga instructor with his stuff locked down so tight and true he’d never dream of admitting that he’s absolutely miserable.
There are a lot of laughs with this self-deprecating bunch, as their various missed connections and evolving relationships weave slowly and intricately to the dramatic climax, and it’s to Cosentino’s great credit — as well as playwright Michael Levesque — that our anticipation builds unbearably for those moments when one character crashes into another.
Read more: http://www.edmontonjournal.com/entertainment/festivals/3301893/story.html#ixzz0x4Poo9Ho
___________________________________________________________________________________________
EDMONTON SUN
BAD CONNECTIONS? — 5 out of 5 Reviewed By CHAD HUCULAK August 19, 2010
“The universe is perfect,” announces an East Indian guru to the audience gathered to see Bad Connections?, “and if you are here it was because you were meant to.”
Stop, look, listen — the universe is trying to tell you something: try and nab a ticket to the one man show Bad Connections?
Paul Cosentino plays “nine eccentric New Yorkers” on a rainy Manhattan day in the play directed by Thom Fogarty. Don’t read into “eccentric” as being sitcom archetypes, rather these characters are each fully-defined thanks to Cosentino’s breathtaking skill at switching from one voice to the next.
A diverse assortment of hapless beings are on display: the after-mentioned guru, a sassy pregnant Puerto Rican woman unleashing obscenities to everyone within earshot after losing her purse; a wise-guy Italian shopkeeper wrestling with his dying grandfather; a young boy innocent to the turmoil overtaking his family; a doctor who can seemingly help others but not himself and his Jewish wife who yearns for some attention; and a gay yoga instructor trying hard to keep his life together.
All live separate lives yet they are connected through their actions and the forces of fate.
Characters wrestle with their feelings while on the phone, face to face, or in Catholic confession.
“I don’t take pleasure in making you cry,” the doctor tries to make clear to his wife, who has admitted to her therapist that she’s become the Invisible Woman in her 50s.
The ailing man confides to the other patient in his hospital room about “seeing the light” and looks forward to passing to a place where “you’re always forgiven.”
During a downward facing dog stretch, the yoga instructor frets over his secret lover’s indecisiveness: “What’s the point of having free will if you don’t exercise it?”
Sometimes their lines of communication break down, but as the guru says, “the connections either help or hinder you.”
Playwright Michael Levesque builds the storylines until the crucial juncture where everyone comes together. No detail is overlooked, even a simple pair of Pez dispensers carry significance that becomes apparent as the 90-minute play unfolds. Cosentino proves to be a master of his craft as he handles every accent and nuance with flair. Excited audience members were seen after the show counting the different characters with their fingers, recalling favourite lines.
“Miracles don’t happen, they are always there,” the guru reiterates to the audience towards the end.
Bad Connections? is a miracle of theatre, a Fringe connection you must make.
___________________________________________________________________________________________
LA THEATRE REVIEW
BAD CONNECTIONS? by Ashley Steed June 25, 2010 Five out of five.
Stop. Look. Listen. Sage advice from the placid, amiable guru who serves as an anchor in the interweaving lives of the 8 other characters – each played distinctly by Paul Cosentino. The guru asks the class participants to think over the connections they’ve made that day and to look deeper. From the middle-aged Jewish wife, to the young pregnant black girl, to the gay Yoga instructor – these characters remind us that we’re all connected.
Michael Levesque’s script craftily interweaves the story lines, each one beginning where the previous one leaves off, eventually building up to interaction between characters. With Thom Fogarty’s simple and genuine direction, Cosentino seamlessly flows from one character to the next. Although the script is not perfect (at times the text is contrived and the ending needs sharpening) between Cosentino’s stage presence and the humor that catches you off guard, it is a truly satisfying piece of theatre.
The show relies heavily on Cosentino’s acting prowess with subtle lighting shifts to set each scene. There are no gimmicks, highly charged dialogue or even that much action – what there is, however, is a reminder that there is no such thing as a bad connection. That if we take the time to stop, look and listen, then maybe we can get through.
___________________________________________________________________________________________
APRIL 2010
Where to start.
___________________________________________________________________________________
___________________________________________________________________________________
February - March 2010
FRED GIACINTO'S "MOMENTS AND LEMONS" IS OH SO SWEET.
SOHO JOURNAL ONLINE
by Mr. Norman Maine
I’m not a fan of plays, they generally put me to sleep, I like musicals only slightly more. The theaters are either too small, often to hot and the seats are for the most part quite uncomfortable. Having said all of that, the other night I was invited to one of the final rehearsals of an amazing play written by Fred Giacinto entitled Moments And Lemons. Shockingly this is Mr. Giacinto’s first produced work, but I can’t imagine everything else he’s written not being scooped up by clever producers on the hunt for remarkable new talents. This is a one-act play with no intermission and honestly it’s so good that if there were an intermission I think I’d stay seated so as no to miss a minuet of the next act.
Moments And Lemons is honest, brave theater skillfully, and masterfully directed by New York performing arts veteran Thom Fogarty. To say this is thought provoking and clever direction is an understatement of biblical proportions.
This story of a man’s life, his ups and downs and his struggle to put the pieces of his life back together after he suffers the consequences of bad decisions, his journey from late teens to his 80’s is brought to life by the gifted Tony King. As the main character Casper, King showcases his agile ability to transform from 18 to 80 with nothing more than a twist of his face, or a subtle vocal inflection, it is quite astonishing and I believe this handsome young man has a very bright future ahead of him.
Sharing the stage with King is Jessica Day, and I say this with all humility and sincerity, Jessica Day is BRILLIANT. This is a Meryl Streep like performance. Giacinto crafted a play with 7 characters played by two people. Mr. Kings as I said plays Casper and Ms. Day plays six other characters, five women and one man. This is a daunting task and in the hands of a less capable actress it could come across as laughable or hokey but Day brings individual voices and gestures to each of her charges so you almost feel like she’s changing clothes and adding a wig when in fact she never changes anything, except her voice and her nuanced movements, this is Obie or Drama Desk worthy performance, I’d say a TONY but I’m not sure if they give them to Off Broadway productions, but if they do…Jessica Day is absolutely deserving. I also firmly believe if she didn’t have the stability of the very talented Tony King to play against, she may not have felt confident enough to explore and delve into the depths that she has.
None of this, none of Mr. Giacinto’s brash, smart bold, often harsh words and intelligently written and shocking situations, none of Mr. Kings wonderfully powerful monologues, and none of the quirky, charming, violent, sexual and innocent characters brought to life by Ms. Day would be possible without the guiding hand of Thom Fogarty.
Thom Fogarty is an artist of many talents, actor, dancer, choreographer, director etc…etc…etc…and has been a fixture on the downtown arts scene for many a year; his resume and of list achievements, nationally and internationally are to long to reprint. Fogarty has drawn upon all of his many gifts and talents and they all culminate here, where he has reached an artistic pinnacle and directed his way into theatrical legend.
He takes us into a vivid, colorful world full of life, love, loss and more love with nothing more than two actors, four chairs, a couple of lights, no costumes and one tiny prop that makes its only appearance at the end of the show. WOW!!! I mean really, I’ve seen movies with 200 million dollar budgets and every effect known to man that couldn’t hold my interest like these four artists, Day, Fogarty, Giacinto, and King have done with nothing more than words, and their talents.
This is an impressive, inventive piece of theater and art and no one should miss it. Like I said I don’t like plays, but I’m going to see this again and I’m bringing friends and I suggest you do the same. When this ends up on Broadway or as I suspect, as a movie you can say you say it’s first run in the East Village. I don’t give stars for reviews but if I did, four would be the highest so I’d give this five!
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Moments and Lemons
Playing with Time
by Kelly Aliano
Off Off Off Broadway Online
reviewed February 19, 2010
Moments and Lemons, written by Fred Giacinto and directed by Thom Fogarty, is a truly meaningful work of theater. The performance is made from the bare bones elements of performance -- two actors, four chairs, some basic lighting tricks, a superb story to convey, and a beautiful utilization of a theater space -- but the result is so much greater than just the sum of its parts.
Tony King plays Casper, a man who is bent on telling the audience his life story. He comes on with some hesitation and is egged on by Jessica Day, who portrays Pepper. Casper is willing to carry on with his tale so long as she agrees to enact every part in the play he is constructing, beside his own. She agrees, and we in the audience are lucky she does.
The forward moving action is told in and out of time; Casper tells an anecdote and then jumps years ahead in time for his next detail, then steps out of the story completely to comment on the events with Pepper, who often also stands outside of the narrative frame. Casper's story is a difficult one: he speaks of his dog's death, his father's paralyzing and ultimately fatal accident, his tumultuous affairs, and his all-too-well-remembered stint in prison. It is this episode, more than any other, that he suggests had the power to define who he was and who he would become. Yet, his trying and at times overpowering circumstances are not without the glimmers that only interpersonal connections can provide. At all of his lowest moments, someone is there to comfort him, to protect him, even to save him. This forces him to remember that life is not a one-way, dead-end road. Casper must contend with the fact that no matter how bad things get, with some effort and a lot of determination, a person can transcend his or her past.
Jessica Day plays all of the supporting roles with grace, strength, and an immense depth in her character development. She carries herself in each role with poise, using both her voice and her body to create distinct, profound individual personages. Tony King plays off of her with bravado; he is at turns angry, bitter, sweet, melancholy, charming, and confused. These two performers make the world of this play come alive for the viewer with the assistance of little more than their selves and the poignant text.
This play is remarkably well-written. The storytelling is both believable dialogue and compelling poetry. The narrative arc builds beautifully to an honest and powerful moment of catharsis. A motif of yellow items -- for example: some mustard, lemon cupcakes, and sliver of yellow ribbon -- provides a wonderful thread to follow throughout the work and it is woven in with perfect consistency.
The lighting design by Alexander Bartenieff adds to the overall production's structure. The cues are extremely well-timed and executed and they work nicely at accentuating important moments and creating stark contrasts for the transitions. One particular instance, in which Casper finds himself in solitary confinement, is pulled off totally realistically with nothing more than a corner and an intense spotlight effect.
Moments and Lemons is one of the most worthwhile theater experiences imaginable. The performances are incredibly strong and the direction is satisfyingly simple. This simplicity facilitates the telling of a story that is difficult to confront but necessary to hear. It reminds its viewers of how dark life can be, but it never leaves them in that dark place for too long. It tackles important issues, but always leaves a sliver of hope that things can and do improve, no matter how bad things get. Life is made up of various moments -- some good and some total lemons -- but all worth remembering and sharing.
http://www.offoffonline.com/archiveprinterfriendly.php?id=1733
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“Moments and Lemons” at TNC
March 6, 2010
By Eva Yaa Asantwewaa
If you haven't already made your weekend plans--and even if you have!--you might consider MOMENTS AND LEMONS, the two-person play written by Fred Giacinto and directed by Thom Fogarty at Theater for the New City. Only two performances remain, and I think you'll be glad to meet a couple of very appealing actors, Tony King and Jessica Day.
Moments and Lemons tracks twists and turns over several decades of a man's life, as seen through the eyes of Casper, an ex-con. King, as Casper, creates a convincing performance of engrossing depth, flexibility and subtlety. Day animates Casper's seamless narrative by giving voice to people who strongly influenced Casper and steered his fate. She's razor-sharp, agile in mind and body, able to shift from character to character in a nanosecond as you'rewhipped through Casper's memories at warp speed.
Giacinto wrote the play for these two gifted players, and one can readily see why he'd take delight in their strengths and seek to challenge them. It's a big challenge, indeed--just the two holding down a 85-minute piece with billions of words, a torrent of words compressed in time. No intermission. No sets. No costume changes. No nothing.
Well, there are four chairs. And one significant, if tiny, prop that turns up late in the play. But that's it. And they do it beautifully and in a way that cannot help but break your heart.
