Personable, powerful, and pulsating with ideas. Anghus Houvouras is displaying his playwright skills at the DOWNTOWN URBAN ARTS FESTIVAL next month. 

AI caught up with Anghus for a quick rap-session on his views and works.

Tell us about yourself as an artist.

I used to be extremely skeptical of the word ‘artist’.  At one point in my life i found it pretentious to apply that label to yourself, but i think it was actually because i didn’t understand what being an artist was.  I started writing and had some success, but a lot of my motivation and inspiration came from seeking success and validation.  The work wasn’t coming for a place of artistry.  It’s not to say that all the work was bad, but it was lacking something.  It took me about 10 years to figure out the voices in my head and what they were trying to say.  I stopped writing and i started listening, and that’s when i think i transitioned from a guy who makes stuff to someone pursuing artistic endeavors.

I think if you look at my body of work, there are a few themes that consistently emerge.  First is a fascination with society and our perpetual hypocrisy.  How no one ever thinks of themselves of the villain or will take even a fraction of responsibility for the horrors happening in the world around us.  We are a species obsessed with self and have created this amazing, opulent society that is a living visage to our narcisissm.  We create institutions to bring structure to our beliefs and then forego any sense of responsibilty for the terrors they unleash upon the world.  I suppose that’s a very verbose way of saying I enjoy exploring the cracks and fissures in the foundations of everything we hold dear.  These dark areas are where i find inspiration and its where the best characters are usually hiding.

SATURDAY, APRIL 21 @ 8:00 PM

A CIVILIZED WORLD BY ANGHUS HOUVOURAS
An opioid addict is sentenced to death in the near future where being an unproductive member of society is a capital offense.  The play centers on the condemned, Eleanor Reed, and her final conversation with Andrew Goodman, a life long government shill tasked with explaining the value of her sacrifice.

Also on the program: HELP ME GET OVER YOU BY ROLLIN JEWETT

Where did you get the idea – the inspiration – for the play?

I’ve always been disturbed by how comfortable we, as a society, are with the suffering of others, so long as it doesn’t impact our day to day lives.  You can walk down the street and pass a dozen homeless people, many of whom probably suffer from mental illness, and it won’t even register.   Or we can sit back and hear ghastly statistics of the number of innocent people killed by a drone strike and it doesn’t even register as upsetting.  Most people put more thought into their daily lunch order than the plight of the disenfranchised.  I find that equally disturbing and fascinating.  At some point in our lives we accept that human suffering is ultimately tolerable as long as it isn’t happening to us.

Then i started thinking about the divide between those living in polite society and those who are deemed as ‘uncivilized’, i.e. anyone we are comfortable with being abused and destroyed as long as it doesn’t interfere with the trappings of a civilized world.  I wanted to see these horrors play out in a very simple way; A conversation between someone whose job involves invoking death sentences and someone who has just been sentenced to die.  How would it work? What it would be like being told you no longer have a place in this world.  That your life holds almost no meaning.  And it all kind of started flowing from there.

For the characters, I was inspired by some of the circumstances around places i’ve lived in recent years.  I went to college at Marshall University in Huntington, WV which has the highest rate of opioid addicts in the nation.  From there i moved to Wilmington, NC which also ranks in the top five nationally for opioid abuse.  The idea of making the unproductive member of society an opioid addict felt perfect.  And her punishment isn’t based on being an opioid addict, it’s that she’s stealing people’s medication.  In my near-future dystopian scenario, you can be addicted to opioids, you just can’t steal them.  Much like today, we’re fine with addiction so long as its done through a Doctor’s office and a prescription pad.  You can be strung out as you want, as long as its done legally.  God bless America.

Futuristic? Are you a sci-fi fan or

Absolutely a sci-fi fan. There’s a lot of A Civilized World that feels rooted in Orwell and Huxley. The idea that someone can be deemed as an unproductive member of society and be sentenced to death felt like a good, dystopian sci-fi premise.

The longer i developed it the more it felt like it was something from a very plausible, very near future. We already live in a world where the disenfranchised are cast off. Where we watch people die needlessly and do nothing to help. We watch kids getting gunned down in schools and nothing changes. We are ambivalent about suffering so long as we are spared the impact. The idea that one day we could begin to push these pour souls off the edge rather than wait for them to step off themselves doesn’t feel like too much of a stretch.

What are your hopes for this play … and goals in general?

I hope the play makes an impact on people.  That at the end you have to swallow a little sadness and realize that at times in are life, we are both characters in the play.  There are days where we are the young, idealistic person who believes things can change for the better.  And there are times when we grow older and become more accustomed to how the world works, and we become less empathetic to those in need and more tolerant of terrible things being done and become comfortably complicit.  And it’s as true of me as anyone else.  I am the vapid, self-absorbed consumer who understands that every day people suffer and die because of my ignorance, my tolerance and my inability to find the strength to be better to my fellow man.

There are brutal truths in this story and i hope audiences walk away with a little more perspective.

For me, the goal is always the same; continue writing honest work, find cool people to collaborate with and find an opportunities to get the work out there for people to see.  I’ve been fortunate to be able to work with the Downtown Urban Arts Festival twice now and a number of other festivals who have showcased my work.  There’s no better motivator for creativity than finding people who appreciate the stories you’re trying to tell.  I had my first festival showcase at DUAF in 2016 and it has led to a number of other opportunities.

Any ideas for a full length play?

I’ve been working on a full-length play called Beard, about an actor trying to rehabilitate his career after being outed as gay at a time when it was a career death sentence. His plan involves getting an actress pregnant to quell rumors of his homosexuality. It’s a very intimate story about someone so obsessed with what other people think of him that he’s willing to forego his personal happiness to maintain a certain public image. As their relationship develops, she becomes intent on helping him become honest about who he is, but the harder she pulls the further into the closet he recedes. It plays with similar themes in A Civilized World, the examination of how we define ourselves in a society and the pressures of living within certain boundaries of acceptance and the lies we tell ourselves to maintain our sanity.

What’s next?

I’m hell-bent on getting A Civilized World onto more stages.  I think the story is ridiculously relevant today and brings something new to the conversation.

I’ve also been meddling in a lot of different mediums lately.  I have a novel that should be out later this year called The Fence Mender.  I haven’t made a film in a few years, so i’m looking at dusting off the cameras and filming something soon.  I’m one of these horribly obsessive creative types.  There’s always an idea bouncing around my head and i don’t feel right until I find the best medium for it and get it done.

Richard Skipper takes his guests seriously.

One might think lightly of cabaret, but don’t be deceived. Richard Skipper has elevated the art into a monthly ritual of celebration and total abundant joy. Richard Skipper Celebrates is currently in the middle of an amazing season honoring such names as Carol Channing and — on March 18 — John Kander. Skipper invites talented leaders of music and art to share stories and tunes with an enthusiastic audience in a lavish theater (the Laurie Beechman in Times Square).

Richard and his producer, the charismatic Russ Woolley make magic at the Laurie Beechman Theater every month

Skipper’s comic banter with guests and musicians are as joyous as the musical numbers themselves

A toast of Broadway toasts the 21st century Toastmaster: David Sabella, from the original company of the current Broadway production of Chicago, raises a glass to Skipper as producer Russ Woolley looks-on with pride.

All photos courtesy of Jay Michaels Arts & Entertainment

Step1 Theatre Project’s mission is to practice and promote artistic freedom.

It’s easy to talk the talk but they walk the walk. Jazmyn Arroyo & Janelle Zapata, while presenting their own bold, meaningful productions, also help make the creative visions of many independent artists in NYC realities. They know that financial challenges and crew needs can make the difference between a show and no show. So these two stage warriors under the guise of S1TP have made a commitment toward new, innovative ways of supporting fellow artists; this includes sharing resources, promoting new works, donation of funds, rehearsal space, and/or performance space–anything within their means–that will result in one more platform an artist did not previously have. They seek to foster and inspire the next generation of artists and encourage them to produce their projects fearlessly, regardless of the challenges.

One of their star-playwrights, Michael Hagins (and not just them as Mr. Hagins’ name appears on many indie theatre playbills these days – not to mention awards), has offered up a suspenseful piece of live theatre ready for viewing. THE VENGEANCE ROOM.

Step1 Theatre Project opens its 2018 season with his gripping thriller about five strangers afflicted with amnesia find themselves in a secluded room with a table and four weapons – and a set of instructions with only one way to leave.  Who will survive the deadly guidelines?  And who is behind the torturous game? Vengeance Room features Ariel Cohen, Michael Mena, Mateo Moreno, Kat Moreno, and Ashley Rogers. The production, part of the 11th Annual FRIGID Festival (February 14 – March 5) performing at UNDER St. Marks & The Kraine Theater, will have a run of five-showings:

Thursday Feb 15th –  5:30pm; Sunday Feb 18th –  12:00pm; Thursday Feb 22nd – 10:30pm; Saturday Feb 24th –  8:20pm; Sunday March 4th –  1:50pm
Ticket info and venue will be announced shortly. Visit www.step1theatreproject.org for more details.

We met-up with the founding mothers of S1TP, playwright Michael Hagins, and members of their cast to hear what they think of art in NYC.

You – S1TP – are growing in leaps and bounds. What are some constant hurtles and how do you conquer them?

Jazmyn Arroyo: Speaking from my perspective, I’d say my biggest challenge is securing funding and space consistently! I haven’t found the secret formula yet, but so far the solution has been to think outside the box. For instance, our very first fundraising endeavor was a Karaoke Fundraiser, at a karaoke bar that was willing to let us host our event on one of their slower nights in exchange for all bar proceeds. In terms of performance space, we were also once able to produce a Christmas show at a theater that waived rental costs in exchange for a split of the box office. You have to really do some digging, but folks should be encouraged to explore as many different avenues as possible!

How do you choose the works for your seasons?

Jazmyn Arroyo: We have been very open to the types of works we present, so I’m constantly on the look-out for scripts–published, unpublished, production history, unproduced, whatever! My interest as a producer is not only in the work but in the artists themselves, so we tend to lean toward an open submission process. I’m happy and proud to say that we’ve worked with artists of many different backgrounds, races, and gender identities because of it!

So Michael, tell us about this latest work?

Michael Hagins: This work of mine, The Vengeance Room, has been around for a few years.  I’ve been trying to improve it little by little and right now I feel very proud of the cast and crew that have brought new life to it.  The story focus on 5 strangers with amnesia who are stuck in a room with 4 weapons and only 1 way out.  I like the idea of what a situation like that would bring out in people, and have the challenge of not knowing who you are or what you’re capable of.

Your plays pack powerful messages, and this one by you, Michael, is no exception. Do you feel compelled to write on such topics?

Janelle Zapata: I think it is so important to tell interesting stories from a new perspective. We want to give voices that have been underrepresented the chance to connect with an audience that we know exists and is underserved.

Michael Hagins: I am always compelled to write powerful messages and topics.  I only wish I could do it more consistently.  I have so many ideas but it sometimes takes a while to spit it out and get it on paper.  I used to write more about combat and swordplay, but in today’s climate, I can get so angry that I need to let it out and let people hear it.  Maybe this work isn’t as political as previous works, but I hope it’ll still keep people riveted.

Give us your thoughts on the importance of Indie Theatre and Film.

Janelle Zapata: There are so many people who believe that art is for the privileged. Money brings you access to art and being an artist is for people who can afford it and that is just not true. With indie Theatre we are able to create an outlet for those who may not have had access before. The community is so strong and so interesting and innovative and necessary that we work hard at Step1 to both support ourselves and the community as a whole!

Michael Hagins: Everyone must start somewhere.  There are so many young filmmakers that are doing genius work out there, and their films go unnoticed, so you can only imagine how unknown playwrights and directors and actors there are out there.  I hope everyone takes the time to support even ONE indie production out there that you don’t know someone in.  Your one ticket and your presence as an audience member could be the difference in a work of art becoming more than just a project.  Every award nominee and winner begin in a school or on a small project, and they didn’t stop.  Why should any of us?

Actors, you have the task of creating roles – that’s the biggest joy and probably the hardest task in Indie Theater.  How do you prepare for your roles?

Kat Moreno: Whenever I begin the rehearsal process, I really enjoy starting by delving into the psychology of the character, picking out clues in the script and analyzing the things and actions my character does and doesn’t do. Once I feel comfortable with her thought process, I then like discovering what she is like physically. How does this character move, how does this character stand, posture, walk, ect. That way as the rehearsal process continues I learn as much as I can about my character, from the inside out, and in turn learn a little bit more about myself.”

Mateo Moreno: “I know that this is such an “actor” way to respond to the question, but I prepare for this role as I do all my roles: by finding the truth. Since The Vengeance Room is an incredibly high tension play, I have to put myself into that scenario and find out what I would do and then ask myself what this character on the page (without any of my characterization) would do. Once I realize that they are two very different reaction there’s then this journey to find something interesting in the middle of those two and that’s where the magic of discovery has been. There’s a lot of room to journey in this piece (some lines feel like you could say them to completely different people and change the way the character would evolve) and I am continuing to find something fresh and rewarding with each rehearsal.”

What’s next? 

Jazmyn Arroyo: Step1’s company tagline is “Artists Supporting Artists”, so I really would like to return to that a little more this year. In our first two years we’ve hosted recurring play-reading sessions (aka R&D: Reading & Drinking) that give playwrights the opportunity the chance to hear their unproduced plays read aloud, and actors the chance to discover new roles in a safe & casual environment. We’ve also launched a free educational workshop series (Step it Up!) for our local theatre community. Our last workshop, Creating Trans & Non-Binary Narratives for Performance, hosted by Ashley Rogers (playing G in The Vengeance Room),  gave folks the opportunity to learn valuable perspective from a trans activist/educator and playwright on authentic story-telling & representation within a new/developing script. We’re also working on how to coordinate and launch a grassroots grants campaign! But for now, the very next thing is, our 3rd Annual Fundraiser. Stay tuned!

We spoke with Anthony J. Piccione about his latest work, WHAT I LEFT BEHIND. 
The prolific playwright adds another thought-provoking drama to his eclectic canon of works. WHAT I LEFT BEHIND explores teen suicide, its impact, and repercussions it has on those left behind.
THE PLOT: The play focuses on a young high school student, in severe depression brought on by bullying at the hands of classmates, who shocks everyone by taking his own life. In a unique retelling of the events leading up to the decision, we see what – and who – brought him to make this life-ending move … and how they are forced to deal with it.

SEE IT: January 25th @ 9:00 pm; January 26th @ 6:15 pm; January 28th @ 8:30 pm.
Hudson Guild Theatre, 441 West 26th Street, New York City
Tickets cost $23 and can be purchased up to one month prior to opening night by visiting www.newyorktheaterfestival.com/winterfest-festivals.
Click HERE to go to the Direct ticket Link

Tell us about this latest work?

What I Left Behind is a short drama about a young teenager who has committed suicide, and is now forced to exist in a fictional afterlife and reflect on her decision, and the impact it has had on others who she left in her wake. I wrote it with the purpose of starting a conversation about bullying and youth suicide, and also the role that we can play in doing a better job at helping others who are dealing with mental health issues. It’s my 2^nd play that I’ve put up at the NYWinterfest, and my 5^th overall production in New York, and it’s quite different from most of the other one-acts I’ve put up so far. I’m working on it with a wonderful director, Sarah Jane Schostack, and a relatively large cast – compared to some of my past productions, anyway – of talented actors. I’m intrigued to see what people think of it, and I hope it proves to be a very thought-provoking experience for the Winterfest audience.

Your plays pack powerful messages. Do you feel compelled to write on such topics?

I think it just comes naturally, for me. Early on, when I start work on a play, if it’s dealing with a specific issue or debate topic, then of course, I’m writing about it because it’s something that I feel very strongly about. That said, I will say that I don’t necessarily see it as my role, as a playwright, to lecture or preach. Rather, it’s to start conversations and possibly provide different perspectives about an issue – whether it’s mental health or the environment or media consumption or even the existence of God – that deserves more attention than it may be getting from politicians, pop culture, or the broader society. Many people will have their own strong views on certain subjects, and I don’t pretend that my plays will always be able to get every single person to agree with my own personal views. But if I can get just a small handful of those theatergoers to start thinking seriously about something that they weren’t thinking about before, or maybe even to at least consider a viewpoint other than their own, then I’ll have considered my work a success.

Give us your thoughts on the importance of Indie Theatre and Film?

For starters, it feels like there’s a certain level of creative and artistic freedom that flourishes in independent theatre and film. Unfortunately, that isn’t always available for artists who may be working with a big Broadway producer or a big Hollywood studio. Especially in the case of theatre, the indie scene is where some of the most original and thought-provoking writing is thriving, and I’m not just saying that because I myself am a playwright working in independent theatre. If you look at most commercial art today, either in theatre or film, there’s some good work being put out there, sure. But there’s also a lot of shows and films that are completely unoriginal, and are often made for the purpose of making profits over great storytelling. Furthermore, when there is commercial art that turns out to be great, it’s often when there is a certain level of creative freedom that is granted to the artists. With commercial film, one example I like to use is with the Batman movies, where studio interference on the part of Warner Bros. was a big part of what led to the monstrosity that is Batman and Robin, but after that, they pretty much let Christopher Nolan do whatever he wanted with the franchise, and we got the masterpiece that is The Dark Knight Trilogy. I could throw out other examples, too, but that’s one good example of how allowing artists to have creative freedom – which is far more common in independent art than with commercial art – can make a huge difference, and I think that’s just as true for theatre as it is for film. I hope maybe we’ll eventually get to a point where that’ll change, but for now, even if I am ever lucky enough to have a play produced on Broadway or adapted into a blockbuster movie, I’ll still be putting up new plays in venues and festivals like where my work is being produced today, for those exact reasons.

The Minds Behind the Games: Interviews With Cult and Classic Video Game Developers

Patrick Hickey’s long-awaited and highly praised tome on the evolution and revolution of Games featuring interviews with the creators of 36 popular video games–including Deus Ex, Night Trap, Mortal Kombat, Wasteland and NBA Jam is now on pre-order. This definitive book on they that have helped form the industry that Gaming is today gives a behind-the-scenes look at the creation of some of the most influential and iconic (and sometimes forgotten) games of all time. Recounting endless hours of painstaking development, the challenges of working with mega publishers and the uncertainties of public reception, the interviewees reveal the creative processes that produced some of gaming’s classic titles.

While Mr. Hickey – or rather – Professor Hickey is an accomplished writer and editor, this is his maiden voyage as a book-writer. After a whirlwind tour that included the customary stops like book stores and radio programs and the more colorful stops like conventions and game stores, we wanted to ask Patrick one simple question… how’s it feel?

It’s a great feeling. I’ve been promoting this book just as long as I’ve been writing it and along the way, I’ve gotten so much support from the indie video game community and video game journalists. To be accepted into those fraternities has been huge for me as well and has opened up so many more opportunities. Away from the birth of my daughter and marriage to my wife, I’ve never been so excited for anything in my entire life. This book is without a doubt the most important thing I’ve ever written and something I feel the world needs more of. I hope this plays a part in people understanding just how unique and passionate video game developers and the industry is. It’s so much more than fun and games. 

Pre-Order:

https://www.barnesandnoble.com/w/the-minds-behind-the-games-patrick-hickey/1126605556?ean=9781476671109

Coming off of a triumphant run at TheatreLab of her play, Soundview Summer, playwright Kate Gill goes from scaring us about the all-too-real threat of nuclear radiation to the near-distant future threat of lab life ala science fiction. This focused article writer shared a few comments about art and life and its intersection.

Tell us about this latest work?

My play, “Rescuing Reagan”,  is a comedy in which this government-funded, scientific experiment at a University lab has reached young adulthood – he’s Reagan, the hybrid ape/human aka “Project Gunga Din”. Although he lives in a cage and has never left the lab, he’s moody, difficult and focused mainly on food and sex (not unlike most of the University students.) Now the government wants to claim him for use in medical experiments. Can he be rescued from this fate? Can he find his way in the world? Can people embrace him as one of them.

Your plays pack powerful messages. Do you feel compelled to write on such topics?

The inspiration for this was a rumor years ago that people were seeing these giant chickens running loose in northern Connecticut. It might have very well have been the drugs these people were taking but it did get me thinking about what might be secretly going on in government-funded labs.

There was a so-so sci-fi movie a long time ago called Night Of The Lepus about giant rabbits and then there’s H.G. Wells’ Food of the Gods. Go-on…

It seems likely they have created hybrid humans. Which means we may need to deal with the moral and social issues these “experiments” create. Sometimes it’s easier to laugh about things that scare you so I guess that might be why “Reagan” became a comedy.

Of course these days you don’t need a lab to create an underclass that is not seen as fully human and given the rights and dignity they deserve – including food, house, education, work and freedom to decide how they will be governed and they will worship.

Give us your thoughts on the importance of Indie Theatre and Film.

Indie Theater and Film are on the cusp of being mainstream. If you look online you can see that the advances in technology (and the decrease in its cost) have made film production accessible to almost everyone. And technology is also transforming the theater experience in exciting and cost efficient ways – get a space and a couple of projectors and your play can be anywhere.

This is for a more serious site about playwrights and productions called Arts Independent

1) What is your creative process?

It takes time for me to create something, whether it be original work or just the concept.  I have to be properly motivated.  I know so many great directors and writers who can just start and subscribe to the “just start writing and it’ll come.”  Sadly I’ve never been able to do that.  A lot of my ideas come when I see the actors do their thing.

2.) Does this play have any special – or personal – purpose for you? Example: are there elements that are autobiographical? 

Two Gentlemen of Verona was the first play that I got to produce in the New York International Fringe Festival, and it’s always had a special place in my heart.  It was the first time I really discovered my love of Shakespeare.  It’s not autobiographical though cause I’m a little past the “young-men-finds-themselves” phase.

3) What’s the parable or universal message we will come away-with?

Along with even Shakespeare can mess up a play…that love and friendship still mean something.  Valentine and Proteus both grow up in the show, and find themselves through a lot.  And I’d like to think a few original ideas thrown in will give a little nod to feminism and LGBTQIA members.

4) How does it feel to be a part of something like this?

It’s always a wonderful experience to be a part of Shakespeare, and this show has been no different.  It’s been an honor to have a fresh take with Ariel at the helm and a new cast to bring out some freshness.

5) When I say “being your own boss” what goes through your head immediately without thinking?  

Success.  Being able to call your own shots, pick your own projects.  Control your own destiny.  Things like that.

6) Final Thoughts? 

Come see Two Gentlemen of Verona: A Swashbuckling Comedy!  It’s safe for young audiences, and has a little something for everyone, from the novice who has never seen Shakespeare to the experienced scholar!