Hunger Theatre fills up on American classics! Hunger Theatre, a NYC-based theatre company, described as “small but relentless in their pursuit of excellent storytelling,” will honor one the 20th Century’s greatest storytellers, Arthur Miller, with a new production of The Crucible. The Access Gallery Space, 380 Broadway, New York City. Opening May 2; Running Thursday-Sunday @ 8pm through May 18. Special matinee performance, Saturday, May 11 @ 3pm.

Co-founded by Allison Wick and Luke Wehner, alumni of Circle in the Square Theatre School and students of prominent acting coach, Ken Schatz, Hunger Theatre began in 2016 with a series of new one-act plays and later, a contract production of Mark Schultz’ Everything Will Be Different. Show-Score gave this production a plethora of accolades, including “First off, the entire cast deserves a standing ovation for their performance. Allison Wick (Charlotte) laid it all on the stage and it was magnificent. Ms. Wick handles the emotional weight brilliantly.” “The lead actress is so brilliant that it’s worth seeing just for that… The story is powerful, well written and leaves you truly impacted. This is the kind of theater that makes me love living in New York.”

Ms. Wick will direct and appear in Crucible. Casting will be like the company itself: experimental, non-traditional, unique. “I want to combine the emotion and urgency of the piece with the experimentation that comes from a smaller ensemble and pared-down production.” Ms. Wick remarked with auditions about two weeks away. “This play is a masterpiece. It doesn’t need to be ‘reimagined’ to make it compelling or relevant. That being said, our production won’t be stuffy or strictly by-the-book,” she said emphatically.

Allison shared some clever and deep insights into theater, Miller, and her own mission.

Tell us about yourself as an artist? Tell us about your company? 
I started Hunger Theatre in 2016 with my partner, Luke Wehner. We have a closely shared artistic vocabulary and way of thinking about acting, and we wanted a way put that to use, doing projects we love and creating theater on our own terms. What began as the two of us putting up one-act plays with our friends on a little stage in Brooklyn led to our first fully-produced, full-length play in Manhattan last year, and now The Crucible this May. I am an actor first and foremost, but as the company has grown, I’ve come to love producing and directing as well. In addition to directing The Crucible, I’ll be playing Abigail, which of course is a huge undertaking, but one I’m relishing.

What drew you to tackle a legend like Miller and why that piece? Do you find it topical … again? 
Like a lot of people, my first experience with it was in high school, when I played Elizabeth Proctor at the age of fourteen. It’s stuck with me since then, and when thinking about roles I wanted to play and stories I had a strong vision for, I was really inspired by the possibility of directing it. I think the play’s current relevance is undeniable – it deals very powerfully with the topic of threats against democratic rights and freedoms. We face such threats more intensely each day in this society, although they originate long before our current administration (and are far bigger than the Republican Party, for that matter). If you want a direct connection between the play and our current political situation, consider that Joe McCarthy’s righthand man, Roy Cohn, was Donald Trump’s close friend and mentor (and as writer and theatre critic Frank Rich points out in his recent piece on this subject for New York Magazine, both were given copious help from Democrats as well as Republicans in their wheeling and dealing from the 70s onwards).

What innovation or personalizing (if you will) do you plan to bring to the production? 

What I’m most excited about with this production is our ensemble. We have a cast of fifteen, and five of those actors will be portraying eleven characters, which accounts for half of the roles in the entire play. This gives us some opportunities to explore the text in ways that are a little non-traditional, and, I hope, exciting and dynamic. That being said, my primary goal is to honor Miller’s story. I think that sometimes with “innovative” or “experimental” productions of the classics, there’s a danger in distracting from or missing the true substance of the play, and I’m very mindful of that. 

What do you hope the audience will take away from this piece? What have you done to make it as universal as possible? Or Have you? 

While reading about the Salem witch trials and McCarthyism in preparation for this production, I kept finding myself fascinated by the driving forces behind both events. Interestingly, there’s a theory that the Salem witch trials were caused by a poisoned food supply that caused people to hallucinate. I can understand the appeal of explaining the events away like that – what else could cause the disturbing fits that so utterly convinced the court (and perhaps the accusers themselves) that they were being physically attacked by spirits? The play only gives a small taste of the real testimony given by those in Salem who cried “witch”…but I’m very dubious of that explanation. I think it’s much more likely that scarcity, wealth, politics, and power were the real motive forces behind the Salem witch trials, just as they were with McCarthy’s witch hunts. Another interesting factor which is woven into the play very vividly is the repressive sexual norms of Puritan New England, which I think are not dissimilar from those of the United States generally in the 1950s. In any case, I think the actions of the characters in the play and the real people they represent have much less to do with insanity or deep-seated evil, and much more to do with the conditions of their lives and their personal interests. For me, these events are a testament to the way that external pressures and material conditions mold what people believe and do, even to these terrifying extremes, and so I suppose I hope the audience leaves with a sense of that. As far as universality goes, I think Miller has already taken care of that for us!

What’s next for you?

We are brewing up plans to produce something by Chekhov and something by Camus in the near future – can’t announce details yet, but stay tuned! You can follow us on social media @hungertheatre, or sign up for our mailing list at hungertheatre.com for updates.

Art is more than imitating life – as the expression goes – it facilities; it communicates, it combats it. Articulate Theatre Company explores the role of the artist’s role in activism with the Art of Protest.

ArtsIndependent joins all the sites of Five Star Arts Journals in sharing the thoughts of the soldiers of Articulate Theatre as they declare war…

Articulating The Arts: The Art of Protest: April 3 – 6 (April 3 – 5 @ 8pm; April 6 @ 7pm) at TADA Theatre 15 W. 28th St, NYC, 2nd Floor. Tkts: http://www.articulatetheatre.com/ata-5-the-art-of-protest.html

We asked the entire company one question:

Why are you doing this? 

Articulate will team playwrights with visual artists to create a signature benefit event examining other art forms through the lens of theatre. It brings together the ATC ensemble and guest artists with unique works of art to use as a springboard and source of inspiration for new theatre works.

Participating Playwrights: J. B. Alexander, Jaisey Bates, Thomas C. Dunn, Jeff Dunne, Elizabeth Gordon, Liv Matthews, Robin Rice, Scott C. Sickles, Judd Lear Silverman, and Bara Swain

Bara Swain – Playwright (Yearning for Peace)

Why am I doing this project?  Like all of Articulating the Arts (AtA) programming, the call for submissions on a specific theme is simply too challenging to ignore. I enjoy finding inspiration from a topic that isn’t in my comfort zone, and then finding a way to be true to my voice as I craft a response.

Elizabeth Gordon – Playwright (Perversity)

I’m doing this project because it honors two of the noblest activities humans can perform: protesting and art-making. And when those two passions come together, the result can change people’s minds, and as such, the world. As a playwright, I’m interested in telling stories about people who are moved to take action, to question authority and tradition, to act according to their deepest beliefs. Protest artists do that. They wake us up to our better selves. We damn well ought to listen.

Scott C. Sickles – Playwright (#Bastille)

I am doing this project because I’m pissed off. I’m pissed off at the government for taking corruption to such great new heights that people on the far left are not only looking back wistfully at Bush/Cheney, but they’re also longing for the halcyon days of Richard Nixon! I’m pissed off that on the opposite end of that archconservative white supremacist blight, people on the left are driven by a crippling misguided idealism and an absence of pragmatism. In the middle of all that, I’m pissed off that over the past two and a half centuries (almost) we’ve created a technological arsenal so powerful that, in the wrong hands, it could make 1984 look like a Peanuts cartoon… all of which only feeds the power, corruption and lies on one end and the half-assed idealism on the other. I AM PISSED OFF! That said, I also wanted to work more closely with Articulate after being a member for over a year and, like all playwrights, crave attention and applause. I mean at this point, why lie?

Jaisey Bates – Playwright (Eenie Meenie Miney NO)

It is Wednesday – response deadline day – and I am writing a paragraph about why I wrote. Idk how I learned of the submission but it caught my eye with its specificity and as an eternal student wired to meet assignment deadlines with my utmost effort but at the final possible moment the structure and limited time spoke to me and it was the day before the deadline I think so I studied each image carefully held it up to my words’ heart and said See this art – does it speak to me – does it speak to we who walk through words and worlds so differently?  And each image spoke stories but then last on the list was if we wished to suggest other protest art and our shared heart leapt with sudden fevered hope wanting and unleashed oceans of pleas and prayers: There. That image. That image that haunts us still with hope grief horror wonder awe: The Grim Reaper. The children. A warrior child between them – she stands rooted ready. She looks up. She says No. Even now, to write of this image I weep.  And so I wrote to ATC and they (rapidly thank goodness) responded to me Yes. And my words and I on fire wrote. We made the deadline. Barely, if I recall. Why are we – my words and me – doing this project?  Because children in school are writing last wills and I love you goodbyes during lockdowns cowering in closets and corners crying. Because children are dying. Because we’ve written a world where children are unwritten – it’s all in the language of our lives – how we learn to read our world. Because if we wish our children and ourselves and our world to survive we have to open our language’s eyes and so we — my words and me — shared words in response to protest art and said Here, our heart. The place where our heart beats. We hold this space for you. “Why are you doing this project?” Because ATC read these words and found them worthy, and we are so grateful our heart – our grief hope faith and fire – will have a chance to speak to others.

Robin Rice – Playwright (Before Yesterday Was Better)

Why am I doing this project?

*Because Articulate Theatre Company productions are creative, exciting, and beautifully executed.

*Because Articulate Theatre Company’s Articulating the Arts productions are unlike any other productions of short plays inspired by a theme. Their themes are meaningful. They challenge playwrights (that’s me), designers, directors and actors to rise to material that has heft and depth. And audiences are left with something to think about.

*Because decisions must be made. Thousands of theater companies and competitions are soliciting short plays and there’s only one of me with only so much time. I have to pick and choose how to use my time and where to direct my energy. Although I mostly write full-length plays, the Articulate theme of Protest Art is right in my wheelhouse. I was a visual artist before I began writing plays, and I’ve been an activist all my life. Clearly, this is a project I needed to tackle. I’m very grateful that my play, which examines some of the many ramifications of gun ownership, was chosen for ATA.

Judd Lear Silverman – Playwright (Consequences)

In an age where public action seems legislated by politics and the almighty dollar versus the will of the people, it is vital that artists stand up for human values, leading the way to a finer, more inclusive and considered society.  Art is the surest form of protest, for it awakens an emotional response and encourages a change in the status quo.  It is our job to get people to think and to feel, to recognize our common humanity—and to help that humanity lead us to respond with compassion.  Playwrights in particular can lead, not only by dramatizing a specific incident (or in this case a particular image), but by showing how the reflection of a public statement has a ripple effect, stretching out in unexpected and unanticipated ways.  Articulating the Arts:  The Art of Protest examines how both graphic art and theatrical art can make people pause and think, to guide how they react to an issue, perhaps, but more importantly to make sure that they are stirred to participate, to get involved on a personal level.  Art stirs emotion, which in turn produces action.

Thomas C. Dunn – Playwright (Triggered)

Every day, the citizens of the United States play Russian Roulette. Approximately 100 people die each day from gun violence. Annually, we average 12,830 homicides. 487 accidental deaths. 22,274 suicides – all of which are exponentially more likely with a gun in the house. So we know today in the U.S, there were 100 gun deaths. Tomorrow there will be 100 more. And the next day… But we, as a society, are still willing to let the triggers be  pulled, simply hoping the gun barrel is not aimed at someone we love. Rather than pass sensible gun legislation, we roll the dice. And there is nothing that seems to be able to change us from this course. Mass shootings with high-powered rifles? No. Kindergartners gunned down in classrooms? No.The deaths of Abraham Lincoln, JFK, RFK, Martin Luther King Jr,, Marvin Gaye, Tupac Shakur, John Lennon? No. Is there anyone we love enough where our overwhelming grief would actually foster change? There is. And that is why I wrote my short play TRIGGERED. When it is a gun supporter’s child, one they are raising and love and would sacrifice their life for who is directly in the line of fire, I think they would want change at that moment. They would trade their gun for their son or daughter. Just not for yours.

Review by Michael D’Antoni

As I sat back to enjoy this afternoons performances I recalled to mind that over the past few years I’ve noticed that the media profile of mental health and it’s related awareness has been raised significantly, partly due to the campaigning from mental health charities and in part due to high-profile people and celebrities speaking publicly and candidly about their own mental health problems.  All of this welcome exposure removes the stigma around mental health and encourages people who are suffering in silence to seek the necessary help.

I further noticed that the awareness movement is not without its pitfalls. As I was doing research for this very review it was brought to my attention that sometimes the movement has been co-opted by people who wish to advance their own agenda by grabbing media time using this very serious topic as their personal platform.

Likewise, the elevated awareness movement has also, at times, been hijacked by politicians and bureaucrats, who publicly declare their commitment to raising awareness, drawing obvious plaudits for their sensitivity and bravery, while simultaneously under funding or shelving quality proposals that would only benefit the mental health services community.

Well, today’s fundraiser was none of that! Just the opposite. With all the hyperbolic noise on the sidelines this event without question, circumvented the empty chatter and got right to the heart of the movement using pure live theater as its vehicle! The audience was treated to, through a series of minimalist short plays, all of which raised true awareness of the issue. All the presentations possessed nothing less than pure, unadulterated, genuine, unpretentious focus on the agonies and anguish of mental illness, while also celebrating the triumphs and accomplishments over those living with, or those living with someone who suffers from mental health issues.

The special fundraising event known as “TALKING IT OUT”  is a collection of dramatic readings of short plays in support of mental health awareness as presented by award winning playwright and producer ANTHONY J. PICCIONE featuring artistic works by CLAUDIA I. BASS “Alice, Pursued by a Bear”; EDWARD PRECHT “Bipolar (A Workplace Comedy); KEITH ECKERT “No One Returns”; DWAYNE YANCEY “Veronica’s Doll”; ED VELA “Honor”; ENILY HAGEMAN “The Orchid”; MICHAEL TOOHER “Hit Men”; DANIELLE VINITSKI MOONEY “Puddles and Ash”

“Alice, Pursued by a Bear” A girl named Alice who has worked at keeping her an anxiety at bay. But something deeper lurks. The more she tries to squelch it, the stronger the “Bear” gets.  Alice is finally forced to face the bear head on.
Starring, EMMA ROMEO, HOLLY PAYNE-STRANGE, TRAVIS MARTIN
“Alice, Pursued by a Bear” was cute, warm and charming. A welcome introduction to this afternoons readings.

“Bipolar (A Workplace Comedy)” Two employees of a company that they enjoy working for are called into a conference room and  receive news that will shake the very foundation of their employer as well as, their tenuous relationship.
Starring, HOLLY PAYNE-STRANGE, GEMIA FOO, EMMA ROMEO, ANDRES GALLARDO BUSTILLO. “Bipolar” was linear and compelling as the playwrights wise choice to give the characters generic monikers allowing their individual dialog to stand out and make an impact. GEMIA FOO’s overt anxiety gave the character just what it needed.

“No One Returns” A soldier returns from war. Suffers severly from PTSD that overcomes his very being.
Starring, NATHAN CUSSON, GEMIA FOO, EMMA ROMEO, ANDRES GALLARDO BUSTILLO.  “No One Returns” dealt with death from the very first line and that’s what made this piece a success. NATHAN CUSSON delivered nice voice inflections during his monologue as EMMA ROMEO’s read was most commanding.

“Veronica’s Dolls” A teenagers dolls come to life in a desperate effort to save her life after she attempts suicide.
Starring, LOUISE HELLER, EMMA ROMEO, NICK CAPRIOTTI, GEMIA FOO, TRAVIS MARTIN. “Veronica’s Dolls” was most innovative and creative what with its conveyance of human feelings  vis-a-vis inanimate objects. This piece happily was reminiscent of the popular Twilight  Zone episode: “Five Characters in Search of an Exit”. EMMA ROMEO gave a nice characterization while NICK CAPRIOTTI was well in command of his lines and performance.

“Honor” During a therapy session a young patient is prompted by his psychologist in an effort to discover why he attempt suicide in the wake of his younger brothers accidental boating death.
Starring, ANDRES GALLARDO BUSTILLO, NICK CAPRIOTTI. “Honor” was touching, heart warming and embracing. Both NICK CAPRIOTTI and ANDREA GALLARDO BUSTILLO did rather nice work here conveying the intensity of the piece.

“The Orchid” When Ryan tried to commit suicide, his friend Jake visits him in the hospital. The Orchid deals with strength, masculinity and enduring friendship as well as the fact, that it’s OK to be fragile in the heat of what is ordinarily a “men must remain strong” world.  Starring, NATHAN CUSSON, NICK CAPRIOTTI. “The Orchid” used awkward yet simple chatter conversation throughout and it works quite well, as the characters try to find common ground in their close friendship. Both NICK CAPRIOTTI & NATHAN  CUSSON were in control of the characters and the piece as a whole.

“Hit Men”  Family members are reminiscent about their dad, a victim of suicide. Starring, LOUISE HELLER, NATHAN CUSSON, EMMA ROMEO. “Hit Men” gave us a nice platform and a vast juxtaposition  whereby members of the same family weighed in on their relationships with their deceased man who was their husband and father.

“Puddles & Ash”  One character is in mourning over a death, while one continues to insist that she still exists. This short play deals with loss, regret, love as well as missed loves.
Starring, HOLLY PAYNE-STRANGE, ANDREA GALLARDO BUSTILLO. “Puddles & Ash” dealt with denial as well as, the dealing with the stages of a lost loved. Eternal and difficult nonetheless an interesting dichotomy. At some point we all must deal with the reality of death and the actors served it up well.

The spotlight shone bright on all these pieces. Collectively the works should be praised for bringing real sensitive attention to the very serious subject of mental illness.

For eight years, (that’s eight THEATRE years, which is -like- 25 in “normal” years), the Improvisational Repertory Theatre Ensemble has been one of the leading improvisational companies in New York and making the rest the country laugh out loud as well.

IRTE is a powerhouse group of theatrically-trained artists who come together to create spontaneous and uproarious retro-themed improv-comedy shows. Their brilliance at stage craft makes each event deeper and funnier than any other troupe of its kind.

IRTE writes, develops, produces, and performs a season of original themed improvisational shows, following the basic model of traditional repertory theatre. While they are New York based, they also tour the country with their clever on-the-spot antics.

When in NYC, they make The Producers Club, 358 West 44th Street, NYC, their home. There, the highly-skilled fighting force of fun-makers present a season celebrating the best of pop culture.

This year, artistic director Nannette Deasy and her rep of rapid fire revelers have grabbed another group of back-in-the-day-themed routines. They start with an interactive bachelorette party where the audience are “guests” of the bride-2-be (or NOT to be!); then they set sail on a send-up of disaster films; supply a sequel to their classic “stupid kid” show… only this time, it’s a slumber party … and – wait for it – shades of Tim Curry … IRTE meets a secluded cabin full of ITs!

Adding to the fun, IRTE features a musical guest and guest improvers as well. In the past, IRTE spotlighted cabaret artists like Tym Moss and instrumentalists like guitarist John Munnelly.

Tell us about yourself as an artist? 

After college, I studied to be an actor at various studios and with various teachers. (Roger Simon, Sam Schacht and Terry Schreiber were most influential.) I joined Equity after appearing in an Off-Broadway play in the late 90s at LaMama.  At some point, I saw my first comedy improv show at Chicago City Limits and was really taken with the idea of unscripted comedy. It seemed really fun, funny and dangerous. During the late 90s, early 2000s there was a strong indie theatre and indie comedy movement on the lower east side of NY. I was impressed with a lot of what I saw coming out of that scene and with the thought that theatre could really be fluid and self-created.

What is funny? How do you get to be funny?  

It’s super difficult to tell what other people might find funny (although an audience will be quick to let you know either way). It’s best to just dig into whatever makes you laugh and let go of expectation. Personally, I tend to like somewhat over the top characters who have overly strong worldviews.

How do world affairs play into making an audience laugh? Is it better when times are hard?  

Hooboy, I’m not sure I’d call it “better,” but yes, laughter and pure entertainment are really important in tough times. As a people, as a community, we need a release, we need a de-stressor. We need to escape, together in a darkened theater, even if it’s just for an hour and feel better for it. I know I do!

Have you even been in a situation where the audience just didn’t laugh?

What are you saying? (Clutches her pearls and faints). Yes, of course, what I think is funny is not always what other people are going to find funny. I’d like to think, though, that an (ahem) “quiet” audience is simply waaay too enthralled to risk missing a word we say, and a (cough) “angry” audience member (yes, we’ve gotten those) is just very, very moved (sometimes right out the door). LOL

As actors, more than improv’rs, do you create a “moral” or message in each piece or does that happen organically? 

As an actor, I hope to deliver whatever message the playwright and director are trying to convey through their work. That’s part of my job. As an improvisational actor, I’m creating the work, myself, on the spot. Personally, I don’t have any agenda other than my own character’s selfish wants and needs in that particular moment. Consciously trying to deliver some sort of message, to me, can be distracting. However, I am a human being and I am affected by the world around me (I hope) and whatever is going on inside me in relation. That does tend to come out and express itself in performance if I’m truly being open.

What do you hope the audience will take away from this piece?

I hope they laugh. I hope their chests feel a little less tight and their foreheads uncrease. I hope they get that warm happy feeling in their stomach from laughing really hard.

What have you done to make it as universal as possible? Or Have you? 

I guess I’ve paid attention to what tickles me the most and hope that other people can relate.

What’s next for you?

We have IRTE’s season opener, Tammy’s Bachelorette, which is going to be, literally, a party for the performers and the audience.

The IRTE 2019 Season:
Tammy’s Bachelorette
Conceived by Nannette Deasy
Directed by Robert Baumgardner
FRIDAYS & SATURDAYS March 8, 9, 15 & 16, 8:00pm
Tickets $15 Online / $17 at the Door
The Producers Club, 358 West 44th Street, New York City
Blonde, beautiful Tammy Tucker is getting married, and you’re invited! She’s reunited all her besties, one male stripper and an ex-boyfriend or two to say goodbye to single life in this improvised and interactive Bachelorette Party of the CENTURY!

The Ship Be Sinkin’
Conceived and Directed by Robert Baumgardner
FRIDAYS & SATURDAYS April 5, 6, 12 & 13, 8:00pm
Tickets $15 Online / $17 at the Door
The Producers Club, 358 West 44th Street, New York City
The largest cruise ship ever built is going down!! What did it hit? Who will survive? Why does that singer keep singing? Find out at the hilarious improvised comedy that will float your boat!

Evil Clowns Have Feelings, Too
Conceived by Izzy Church
Directed by Nannette Deasy
FRIDAYS & SATURDAYS May 3, 4, 10 & 11, 8:00pm
Tickets $15 Online / $17 at the Door
The Producers Club, 358 West 44th Street, New York City
When their car breaks down in the woods, the Poolander’s family vacation comes to a screeching halt, forcing them to seek refuge in an old cabin in the woods until help arrives. Little do they know, that a bunch of evil clowns own the cabin and are having a really, really bad day. Join the IRTE jesters, fools and jokers in this improvised and totally terrifying comedy… for the whole family!

Go to Sleep, Stupid Kids!
Original Concept by Nannette Deasy
Directed by Robert Baumgardner
FRIDAYS & SATURDAYS May 31, June 1, 7 & 8, 8:00pm
Tickets $15 Online / $17 at the Door
The Producers Club, 358 West 44th Street, New York City
Jamie’s been twelve for THREE WHOLE MONTHS and has NEVER had a “big kid” slumber party. That’s all going to change in this improvised sequel to IRTE’s hit comedy “Happy Birthday, Stupid Kid!” Grab your sleeping bag and your best PJs and hope that Jamie’s dysfunctional family doesn’t embarrass him in front of the cool kids!