Logophile Productions present…A New Play by Luke Bond

The Revolution Continues!

STILL WAITING FOR LEFTY Join us Independence Day WeekendJuly 4th @ 7:00 p.m; July 5th @ 7:00 p.m
July 6th @ 2:00 p.m. & 7:00 p.m. Teatro Latea — 107 Suffolk Street — NYC; TICKETS; Visit the WEBSITE for more info

“Waiting for Lefty” by Clifford Odets was produced in 1935 by The Group Theater and was heavily influenced by the 40-day cab drivers’ strike the previous year. Luke Bond’s play continues where Odets left off — showing us how little has changed. Set in the very recent past and the uncomfortably near future, “Still Waiting for Lefty” follows the lives of various warehouse workers for “New World Tech.” This all too familiar looking predominant and monstrous tech company with international influence continuously profits on the back of the working class. As workers of the world unite to battle for equitable wages and working conditions, they must overcome New World Tech’s sinister and underhanded tactics for resolving labor disputes, wherein workers’ integrity and solidarity will be tested.

A cast of dozens represents a “cast” of millions … of workers. Featured in the cast: Bill Blechingberg,* Ivan Goris, Laura Jones, Ron Brice, Tatiana Grey,* Len Nash, Greg Seel,* Majo Bermudez, Federico Mallet, Brian Cook, Tut Gregory, Ronald Barshop, Hannah Williams, Preston Johnson, Maria Christina Perry,* Maria J. Payares, Alan Gonzalez, Kamailyah Floyd, Emily Song Tyler, Alex Morrison, Luke Hodgeson, and Grant Williams. (*appearing courtesy of Actors Equity Association); Original Music by Zac Wood; Fight Choreography by Gabriel Rosario; Assistant Fight Choreography by Tristan Mesmer; Dance Choreography by Silvana Gonzalez; Life Jacket Ad by Bri Thomas; Program Artwork by Kevin Wadee; Photography by Ketak Dhiman. Written and Directed by Luke Bond

We spoke to Luke Bond about tackling the next level of this great classic.

“I’ve been working as writer/director/editor in NYC for over a decade,” says Bond. “I’ve been doing films as of late. Bond rattled off a litany of award-winning motrion pictures under his command that are available on Amazon Prime among others. The diversity of topics allowed a fine segue into our questions:

What was the inspiration for this play?

“Inspiration” is a difficult term to quantify when it comes to producing a specific project. There are so many details as to why one project or script gets chosen over another, such as do I have the right people to bring onboard? Will I be able to amass the required resources? Will I have access to a venue? Will I survive the bankruptcy when its all over? Do I have an upcoming gig that can perhaps scratch the artistic itch instead? Do I have an upcoming gig that will help repay the bills once the show is done? Is this project susceptible to being canceled if disaster strikes? Ultimately, “inspiration” is for amateurs, and is not to be relied upon if one hopes to be able to create art at any level of consistency. On the more sentimental side, this is a story that has been on my mind for many years, and I’ve always wanted to do something that expresses my admiration for The Group Theater, and how their artistry defied all the practical expectations of their time.

How do you go about creating your characters … and did you utilize the original Odets play for your research?

Not only Odets’ original play, but his entire body of work, as well as the work of his contemporaries. There is a sly reference to almost every single one of Odets’ plays in this adaptation. The vernacular of the time is unique and lends itself to the language of the theater.

Powerful topic… never out of the news. Why now? Why did you want to premiere it now?

Again, the timing of a premiere for independent art is never dictated by the artists and always by the extenuating circumstances. I’m just happy it’s a weekend, as the majority of my plays have had runs exclusive to weekdays. While I hope the play has an immediate relevancy, I hope even more it has a universal relevancy to the working class throughout the course of history, and the fate of the working class to come.

You run during Independence Day weekend… very clever. Does that help the message? 

I think it is nothing more than a cheeky coincidence. The theater going audience of NYC are not partial to Independence Day regardless, as I think most are aware of the multiple layers of irony in celebrating Independence Day; most of us don’t feel particularly independent, and even historically the day only applied to 20% of the population when it was first inaugurated.

What’s next for you? 

I will be repaying the money required to fund this project for the next three years – I would not expect anything anytime soon! Our world changes so quickly, looking three years ahead feels futile and foolish.

“Teatro Latea” is located two blocks from the J/F/M Train stop at Delancey/Essex Street. There is a sign on top of the entrance that reads “The Clemente.” Once in the foyer, enter through the double doors on the left, and the theater is located on the second floor. Bathrooms are located on the third floor. Please be advised there is no elevator. The show runs two hours and ten minutes, which includes a 15 minute intermission. Tickets are $15 if purchased in advance (which includes all service fees), and are $20 if purchased at the door. Ticket purchases at the door can only be made with cash or venmo.