Arts Independent

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.

Tony Award winner, FRANK WOOD and KELLEY CURRAN one of the stars of HBO’s The Gilded Age star in THE MEETING: THE INTERPRETER, a new play written by Catherine Gropper and directed by BrIan Mertes. 

Previews begin Monday, JULY 29 with an opening set for Sunday, AUGUST 4 at Theater at St. Clements, 423 West 46th Street, New York City. GET TICKETS

Set against the backdrop of the infamous Trump Tower Meeting of 2016, the play tells the story of an international interpreter thrown up against government systems of congressional and senate interrogations, catapulting him into circumstances beyond his control. “This man could be everyman … one of us,” says playwright Catherine Gropper.

This play is about the loss of individuality and privacy is based on actual events (a chance meeting between the playwright and an actual government interpreter). This two-person play supports a cast of thousands thanks to Mertes’ production scheme including puppetry, film sequences, projections, and intricate lighting and sound.

Design team includes OBIE and Henry Hewes Award-winning lighting designer, producer, and organizer, Barbara Samuels; Broadway composer and sound designer Daniel Baker; OBIE Award-winning choreographer, Orlando Pabotoy international Puppeteer and Animator Julian Crouch (TONY nominated); video artist and theatre designer, Yana Biryukova (Hartford Stage, Yale Repertory, Irish Repertory Theatre as well as the Venice Biennale 2022); Set Designer Jim Findlay (his works have been presented in 50 countries); and international costume designer, Olivera Gajic (credits include Jedermann (Salzburg Festival, Austria); God’s Ear (VineyardTheatre); and the film, I am a Seagull). All of this is then folded back onto itself in real-time through the lens of international videographer Tatiana Stolporskaya, creating a synthesis between documentary and narrative filmmaking.

Frank Wood was first celebrated for his work on the Broadway production of Side Man, a performance that earned him both a Tony Award and a Drama League Award. His portrayal of Gene, a jazz musician grappling with personal and professional turmoil, highlighted his profound emotional depth and versatility. It’s a role that parallels the soul searching experience of The Interpreter in many profound ways. Wood has an impressive array of Broadway credits, including notable performances in The Great Society, Network, The Iceman Cometh, Clybourne Park, August: Osage County, Born Yesterday, and Hollywood Arms. Off-Broadway, he earned a Lucille Lortel nomination for Toros at Second Stage and has graced stages at Signature Theatre, Vineyard Theatre, Lincoln Center, Atlantic Theater Company, Manhattan Theatre Club, and Playwrights Horizons. His filmography includes roles in acclaimed films such as She Said, Joker, St. Vincent, Changeling, Dan in Real Life, Thirteen Days, In America, Down to You, and The Royal Tenenbaums. On TV, he appeared in series like Billions, The Blacklist, The Night Of, Mozart in the Jungle, The Newsroom, Girls, Flight of the Conchords, The Sopranos, and had a recurring role on Law & Order: SVU.

Kelley Curran can be seen, as Turner, in Julian Fellowes THE GILDED AGE for HBO. Prior to the intricate characters she will now tackle in The Meeting: The Interpreter, she appeared off-Broadway in Half-God of Rainfall at NYTW; at The Public Theater opposite Glenn Close in Mother of the Maid, and as Clytemnestra in Ellen McLaughlin’s world premiere of The Oresteia at The Shakespeare Theatre Company. Kelley has also appeared on Broadway in Present Laughter with Kevin Kline, and at The Signature Theatre, Classic Stage Company, Theatre For a New Audience, and LAByrinth Theatre Company, among others. She made her network television debut on NBC’s The Blacklist, and recently appeared on the CBS drama God Friended Me. In 2019 she made her feature film debut in The Man Who Killed Hitler and Then The Bigfoot.  Kelley was nominated for a SAG Award, won The Callaway Award, Emery Battis Award, NTC Emerging Professional Award, and in 2016 was nominated for a Drama League Award alongside Lupita Nyong’o, Michelle Williams and Lin Manuel-Miranda. She has also been nominated for both a Princess Grace and Helen Hayes Award.

80 years ago… a play premiered in Paris that altered our perception of reality. Now, the C.A.G.E. Theatre Company under the direction of its artistic director, Michael Hagins, presents Matthew Tiemstra, Gigi Principe, Alaina Hammond & Charlotte Vaughn Raines in Jean-Paul Sartre’s existentialist masterpiece NO EXIT.

Translated from the original and adapted and directed for today’s reality by MICHAEL HAGINS, the production has a limited run of Fri., July 5 & Sat., July 6 @ 8:00 pm; Sun., July 7 @ 7:00 pm and Thurs., Fri., Sat., July 11, 12, 13 @ 8:00 pm at one of NYC’s edgiest theatres, The Theater Under St. Marks, 94 St Marks Place, NYC.

Arts journeyman, Michael Hagins, transports us into Sartre’s version of Hell: A mysterious impenetrable room where individuals are trapped and forced to see themselves through the eyes of others. In this interpretation, an immersive element is added to allow the audience to join in the claustrophobic atmosphere thus making hell more than “other people” it makes it ourselves.

Classically trained Matthew Tiemstra, celebrated for his portrayal of Hamlet, is part of the cast. We spoke with him about this masterpiece and what it takes to do it right.

What made you decide to do this play? 

I knew the play by reputation. And I’ve worked with Michael quite a bit, mostly on Shakespeare. When Michael approached me to do the project, I was thrilled to dive into one of the most iconic portrayals of H-E-double hockey sticks. I knew it would be a lot of work, but saying no was never an option. Like the characters in the play, there was no way I was leaving. 

Now, in the days of social media, avatars, and other “masks,” how has Sartre’s message stood up against the test of time? 

I’ll push back on the premise of this question – if a play only has one message, then it’s not a play, it’s a TED talk. Sartre does a deft job at imagining how one could be thrust into a Hell that needs no medieval-style torture, and certainly social media is a Hell of our own creation, that much is undeniable. The masks in his play are flimsy – at the end of the day, there’s no hiding in Hell, whereas today’s masks are far more effective at hiding malicious behavior. To answer what Hell is in the modern world one has to answer what Hell is, in general. Hell is accountability – it’s punishment for those who have done wrong. Frankly, in our world, most truly evil people get away with their misdeeds. It’s why people cling to this concept, this idea of a post-mortem retribution, so that they can console themselves over the injustice in the world.

What is your creative process? 

I love to be a sponge for information. I read all I can about previous productions, history behind the piece, and of course I take the script apart six ways till Sunday. Then I take all that noise and I stash that in a box. By the time our first rehearsal starts, I like to be as familiar with the play as I possibly can be. If I’m on the same page as the character, then the rest is easy- how do I feel about the people around me? The place? Once I set foot on stage, I want nothing in my brain other than the who, what, when, where, why, and how. The rest is safely accessible in my body.

Do you feel an extra sense of responsibility in doing a piece so known; so historic? 

Oh yeah – As someone whose done a lot of Shakespeare, I love knowing that there never was before and never will be a performance like mine. That’s the fun of live theater, is that classic stories never truly die – they are reimagined again and again for new audiences, in new styles. I find it thrilling to continue a storied legacy. Joseph Garcin has been played by Omar Shariff, Raul Julia, Sir Alec Guinness, and now me. It’s hard not to feel responsibility when these are the shoes you’ve been tasked to fill.

What is Hell to you?

Hell is…. well, some people spring to mind, but I won’t be so crass as to mention their names in this public forum. They know who they are.

Currently in workshop, Lour Yasin’s AREA D Is a Bright Candle in a Dark Time

The Story So Far: Israel is hosting Eurovision in Tel Aviv, and the theme of this year’s event is “Unity”. “I know some of you aren’t happy with our chosen finalists,” says Versace-wearing, fake sincerity-oozing Sheila Rich, the Israeli broadcaster. “But we assure you that this was a step in the right direction, to a more inclusive country free of conflict.”

The crowd bellows their distinct disapproval. The reason for their condemnation is that the group chosen to represent Israel is AREA D, a rock band made up of young Palestinian musicians. They are Rami Zein of the West Bank (Keys), Dessa Rashid of West Jerusalem (Bass), Samir Total of Haifa (Drums), and Athena Jamil of East Jerusalem (Guitar). The quartet was, as they acknowledge, “thrown together” just three months before by a music teacher as part of a school assignment, and they are now on one of the biggest stages in the world—representing a country that mostly doesn’t want to support them. But they are defiant in the face of this. Rather than perform the song that was expressly chosen for them, they launch into a power-punk anthem of revolt against the system of oppression they have been trapped in all their lives.

“You count your money and swim in the millions,” they sing, heads held high, pointing at the crowd. “Benefitting off of shooting civilians; Cause you’re a teenage war profiteer; You make everyone live in fear.” This act of insurgence, of course, gets the plug pulled on them immediately.

We then shift into “How-Did-We-Get-Here” mode, to a flashback of the new group getting stopped at a checkpoint—an ominous scene of barbed wire, teenage soldiers, and AK-47s. Despite their unified plight, the band members are seen barely tolerating each other; they argue (in the song “You Think You Have It Worse”) over which of them is taking the hardest knocks.

The band is arrested by Sheila Rich’s teenage daughter Sarah, former beauty pageant contestant and their own classmate, who has joined the local military. Sarah is an American from NYC, who hilariously switches her accent from British Estuary to French to Cockney for no apparent reason.  The group chastises her for joining their oppressors, who they see as co-opting the name of God for their own purposes.

“We do weaponize religion,” concedes Sarah, “but it’s such a smart political tactic.”

At Sarah’s behest the band films her performing TikTok videos, which constitute her own pretentious EuroVision audition. But to Sarah’s disgust it is eventually AREA D who are chosen, and told to perform a propaganda-infused song, “Unity”, that purports to champion inclusivity over conflict.

“It’s not a conflict, it’s a f-ing apartheid!” screams Dessa, leading into the rousing concluding song of Act 1, “Apartheid Anthem.”

AREA D is work in progress, but its first act already constitutes a Grand Slam for Lour Yasin, who wrote the book, lyrics, music, directs (with assistant Sari Klainberg), and stars as Athena in the initial readings. The songs soar and glisten with humor and heart and create excitement for the next Act. It’s a moving tribute to the real people that our now facing a most desperate situation, and a testament to the power of creation and connection in creating a glimmer of hope to hang on to.

A Reading of Act 1 of AREA D at the ’62 Center for Theatre and Dance is available at https://www.youtube.com/watch?v=wRT9H0QiU-w

Five Minutes with David Gutierrez

Award-winning playwright, David Zaragoza Gutierrez (Retraction, Wandering Blvd., Red Roses All Over Me) returns to New York with another compelling drama. AWAKE and BREATHING.

This INVITATION-ONLY industry reading marks the popular scribe’s return to New York theatre. With three shows at Cameo Studios, 307 West 43rd Street (Wednesday, June 5 @ 4:00 p.m. Studio B; Thursday, June 6 @ 1:00 p.m. – Cameo A; Saturday, June 8 @ 6 p.m. – Cameo B). The detail-oriented playwright is hoping for constructive feedback and enough encouragement to take this powerhouse play to the next level.

It concerns senior starter Stephanie Giacomo — on the day of the NCAA Women’s College Basketball National Championship game — reflecting on her past relationship with her ex-boyfriend Michael, her friendship with her teammate, Tanya, and the triumphs and tragedies in her life. Bouncing from past to present and back the past again (like a basketbacll) Awake and Breathing scores points for depicting love, heartbreak, hope, acceptance … and finding your way “home.”

The Staged Reading Presentation is directed by NJ Agwuna (assoc/asst. dir.) Broadway/Nat’l — MOULIN ROUGE; Helen Hayes Theatre — CLYDE’S by Lynn Nottage) and featuring Cecilia Trippiedi and J. Antonio Rodriguez, both from the Hadestown National Tour; and Daria Redus from the Spongebob National Tour.

We got the ball — or more likely — a few minutes with the playwright — to ask some questions.

What made you become a playwright?
I’ve always been interested in writing stories in general. When I was about 11 or 12 years old, I did write a couple of plays. But they were written on notebook paper and only about two or three pages long! But I’ve always been interested in writing stories, novels, plays, screenplays, and tv scripts. 

What was your creative process like on this? 

This one was a little bit different from my other writing projects. “Awake and Breathing” is based on an unfinished novel I tried to write when I was around 20 or 21 years old, which was back in 2002 or 2003. I wrote a detailed outline, wrote several pages, typed and handwritten, but never finished. But I actually came across some of those notes and pages in a box when I was going through my storage space a few months ago. Over the past twenty years, I had come back to the idea now and again and a few years ago I wrote and rewrote a screenplay treatment that was a few pages long. Then in late 2022, I decided to take that idea and instead of turning it into a screenplay, I decided to turn it into a stage play. I spent a few weeks writing what I call a S.T.O.S.–Summary Treatment Outline Scriptment—that ended up being about 15 to 20 pages long and about 5,000 to 6,000 words. After that, I started writing the first drafts of “Awake and Breathing.” Cate Cammarata is the dramaturg that helped me develop the story and script over the past year and a half. 

Your plays delve into interesting subjects almost like an “expose.” Is that your mission? To uncover truth like this? 

That may have been partly an intention of my previous play “Retraction”, but with “Awake and Breathing”, my intent was to explore the themes of love, acceptance, hope, and finding your way “home”–home being a place where you are happy. 

What have you learned about the play and your work once the actors began interpreting it?

Having put “Awake and Breathing” through several readings over the past 12 months, in person and by Zoom, one thing that continues to fascinate me, in a great way, is how so many different actors take away very different meanings and experiences from your work. It’s really amazing. 

What’s next?

Hopefully we get a good response from the invited audience at this industry reading. As for specifically what’s next, I’ll have to consult with Cate Cammarata. Stay tuned! 

Independent films like this have the challenge that there are deeper meanings, cultural mores, and so much more. Who will enjoy this film … Who is your audience and what do you hope they take from this film?

My audience is people with a soul. There’s so much loss, pain, and horror in this world. I didn’t want to tell a story that was disturbing. I wanted to bring a moment of joy and comfort to the audience. My audience is an international group who are willing to take a trip with an Immigrant driver and a cat. In the end, I hope the audience will leave with a smile and an appreciation for all that is beautiful and simple. There are low budget films being made. Someone referred to Strays as a ” no budget” film. That is probably true, but on the other hand, I spent most of my life savings to make this because I couldn’t live with myself if I hadn’t. I hope the audience will see things with their heart as well as their eyes.

You are part of a trend … Broadway actors appearing in independent film and television. How did you get these celebrities to get on board? 

I reached out to my friends and asked them to consider helping tell a beautiful story. I was blessed to bring on so many respected actors from the New York stage. My cast read the script and fell in love with the idea. We filmed this during the SAG strike. I didn’t think this would happen. Luckily, since I was using most of my life savings, SAG-AFTRA allowed us to film. On the day that most of the cast were set to film in Coney Island, it was raining terribly. These amazing souls got on the subway and traveled all the way through Brooklyn to film their scenes. For that I am forever grateful to them.

You yourself are a Broadway celebrity … how was it to work on “The Band’s Visit.” 

Thank you, but I am not a celebrity. If anything, I’m a respected working actor, and that is something I’m proud of. I’m respected and liked. In 2008, I was frustrated. I walked into a movie theater and saw the film The Band’s Visit. It literally changed my life. It was so simple yet so pure and beautiful. I remember saying to myself that I wished to someday do something as meaningful. In 2017, creatives took a risk and decided to include me in the Broadway company. I am forever grateful for that opportunity. The story touched me. It still touches me. I never wanted it to end. When the show closed on Broadway, I spent 2 years traveling North America with the First National Tour. I kept a detailed journal of the tour and have turned it into a book. I’m hoping to get it published. What’s extremely life changing is that during the show’s run, I got to meet and befriend Eran Kolirin, writer and director of the film. He is very aware of Strays. When I was in pre-production, I reached out to him for advice. I told him I was scared. He told me it’s good to be scared. He also told me to make this film and love it. Thank you, Eran.

Jamal ended our conversation by letting us know he is on tour once again: As I answer these questions from my hotel room, on tour with the Broadway production of The Kite Runner – another truly beautiful story. I swore to only do beautiful and moving work and I’ve been lucky to be doing so. The tour closes at the end of June. I am a jobbing actor, which means I have auditions. I have another short script I hope to someday make happen. If Strays does well, hopefully, I’ll not have such a difficult time saving money, but I must focus on bringing Strays to the public. It’s truly a lovely story and I hope it’s embraced by as many festivals as possible. Thank you.