Arts Independent

“ I am an actor and writer born in Miami, but everyone thinks I’m from Brooklyn,” says the hirsute and jubilant Mark Levy. Packing a smile and 1000 watt energy, he continued to say “I am a unique character actor so I tend to write for myself and love doing it.” There is a master plan to this as he offered his freeing philosophy, “getting to decide what you want to do is so freeing as an artist.”

Mark is enjoying doing his solo-show, BLOCKBUSTER GUY, maybe because he is … a Blockbuster guy.

HUB Theatricals revives his award-winning one-man show, directed by Kristen Keim, as part of the Frigid Festival, February 16 @ 7:00 pm and March 4 @ 6:30 pm at The Kraine Theatre, 85 East 4th Street, NYC. Tickets: $20 in person/$15 for virtual. Tickets Available: www.frigid.nyc/event/6897:57/

Mark Levy allows us to return to those thrilling days of yesteryear when you had the ritual of going to the video store, hunting down the aisles, finding your cinematic choice and returning to your home to watch it for a limited time. This might seem alien to a generation that can watch a movie on their phones anytime, but some of us miss it.

“All my life, I have been a die-hard movie nerd” says Levy, “I have always wanted to share my stories of my time actually working at Blockbuster Video and my love of movies. Its original run wowed sold-out crowds garnering the Frigid Festival Audience Award in 2020. “I worked there from 2004-2007, arguably the last peak of Blockbuster, also when they could’ve bought Netflix, which would’ve been interesting!”

In the past few years, nostalgia for Blockbuster Video has grown and grown. And Levy has always wanted to tell his stories from his time there. Mark Levy grew up an outcast and thus, became a movie nerd. So much so that he worked at Blockbuster Video in college in small town Florida. He – uproariously and heart-breakingly – shares the highs and lows of choosing escapism, DVDs, and what movies can do to someone in this compelling storytelling experience.

“Blockbuster Guy deals with the escapism we all feel when we go to the movies and how movies help us cope with growing up “different”…also this play is hilarious” says director Kristen Keim. Levy and Keim, are up to their 5th collaboration.

Ai caught up with Mark to find out more about his love affair with renting films.

What made you create this production? 

I have wanted to do a play about/inspired by my time at Blockbuster since I started writing plays when I got to NYC. Biggest issue always came up: by page 3 it became “Clerks”(Kevin Smith’s iconic film from 1994, you must see it if you haven’t). 

I never could figure out how to come at this and make it feel unique, original and my voice. Eventually, it clicked. I knew it had to be a solo show about how movies have helped me be ok with being “the weird kid” and how Blockbuster made me who I am. Once I figured that, I let my frequent collaborators Kristen Keim and Adam Sherwin know (they know me better than most and are amazing Directors and Stage Managers) and we started working it out and I’m quite proud of the current product. (I will never call it a finished product, the show changes every run)

Are there a lot of “Blockbuster guys” out there? 

There are! I work at the Alamo Drafthouse in Brooklyn and there are a lot of people with more extensive knowledge than me that worked at Blockbusters and elsewhere. I think what makes me so happy about everything involving this is that there has been so much love and support from fellow people that worked at Blockbuster Video. I somehow have talked to some higher ups in the company and other people at other stores (my coworkers in the store in small town FL, most know about the play and let me use their names).  

But the idea of a “Blockbuster Guy” is cool because it means you are the best to that person as you resemble their idealized experience (or worst experience, I try not to think that way though). You are their movie person

What do you miss most about the good old days?

Literally walking around the store and discovering cool movies. It’s the best. Love a good box cover. I still try to do that at best buy buying DVDs but it’s different.

Do you think we are better off without the video rental store and have everything right on our screen?

In theory yes because “everything” is at your finger tips but you can’t find Miami Connection streaming and other hard to find/weird/vintage/unique things streaming. 

What’s next for you and for the play?  

Trying to get a producer involved so we can move to Off-Broadway or a commercial run.  Also would be cool to film it in a husk of a Blockbuster

Patrick Hickey Jr. is a full-time Lecturer of English and Assistant Director of the Journalism program at Kingsborough Community College and is the Founder and Editor-In-Chief of ReviewFix.com. He’s also a former News Editor at NBC Local Integrated Media and National Video Games Writer at Examiner.com where his work was mentioned in National Ad campaigns by Disney, Nintendo and EA Sports.

But that’s not all.

Hickey’s work has been published in The New York Daily News, The New York Times, Complex, The Hockey Writers, Yahoo!, Broadway World, Examiner, Bay Currents Newspaper, where he served as the paper’s Sports Editor, the Brooklyn Papers, the Wave of Long Island, Brooklyn Free Press, Blasting News, Tri-Games.net, The Lo-Down, the Brooklyn View, NYSportsday.com, NYSportScene Magazine, ProHockeyNews.com, GothamBaseball.com, The Syracuse Post-Standard, BBallCentral.com, PlayLikeAGirlSports.com, NYCityWatch.org, Scout.com and the official sites of the Brooklyn Aces and New York Islanders.

But that’s not all.

His new book, The Minds Behind the Games: Interviews With Cult And Classic Video Game Developers is chock full of interviews with legendary developers, in an ESPN 30-for-30 style that allows them to tell their story. Currently, Hickey is working on a sequel to the series.

But that’s not all.

In addition to journalism, Hickey Jr. is a voice-actor, having starred in the 2018 indie hit The Padre (also serving as English language Story Editor), from Shotgun With Glitters and is currently writing the story for the upcoming game, Tr.1.S, where he will also be performing voiceover duties. Hickey also plays the role of Rex in the upcoming indie game “Relentless Rex,” which just completed a successful Kickstarter campaign and the narrator in “The Kaiju Offensive.”

But … well, you get the point.

Hickey now serves as co-creator/founder and writer for the new Comic Book company, Legacy Comix. His bevy of tough world-weary characters reads like anything out of magical realism.

Patrick begins a series of interviews with the masterminds behind LEGACY COMIX:

Tell us about YOU

I’m an author of seven books on video game history that are in over 100 colleges worldwide including Harvard, Yale, Stanford, UCLA and more. My non-fiction work consists of my series plus the comics, Condrey, as well as my new series KROOM and The Job. I’ve also done voice over work in over a dozen video games and am a former NBC Editor. During the day, I’m a full-time college journalism professor. 

You seem to have immersed yourself in pop culture avenues (games, comix), what’s the attraction?

They are two of the most important forms of pop culture media in the world. If you’re a creator, this is what you should be creating. 

Was this always a dream of yours to run a comic book company? 

Absolutely. I’ve been an editor everywhere I’ve ever worked and after my first experience in comics, I knew I was ready for more responsibility. 

Two words: Comics & Comix, what’s the difference? 

Comics is all BLAM and BOOM, a reflection of the times of our great grandparents. Comix is a movement. One to tell important stories. With and without characters that wear underwear over their clothes. 

What’s the mission of Legacy? 

To deliver kick-ass narratives with memorable characters. 

Stan Lee is famous for creating superheroes with super problems. What do you want to be famous for in the creation of the characters in Legacy? 

I want our characters and plots to be remembered. Period. It’s up to our readers to finish that thought for us. 

Comic books are one of those things that looks like every part of it is fun. What’s the truth? 

Comics are not fun. They are hard. They are unforgiving. They are impossible. That’s making comics. Releasing comics and hoping to get the right eyes? That’s even scarier. But when someone comes up to you at a signing and tells you about your work? Now that’s fun. 

Digital comics seem to be on the rise yet you’re going with the old fashioned printing, why? 

We are going with both digital and print because we know there’s a market for each. We know there are diehards that want physical books and then those who just want to read. We will cater to both. 

The Marvel Cinematic Universe is based on comic books of 10 or even 20 (and longer) years ago. Do you hope for film and TV versions of your characters?

No hope needed. All of these characters are written extremely cinematically. I can see it happening for all five of our originals and even our Dracula prequel. 

How do you feel about animated series of your characters? 

My characters are more on the mature side, so as long as they are done with that in mind, I’m fine with that too. 

How do you choose artists? How do you choose writers? 

They have to be the right fit. They have to understand deadlines and promotion. If they can’t make deadlines and don’t promote themselves, they aren’t going to last long with us. 

Ten years from now I will go to my comic book store and look for Legacy Comix. What do I find?

My first hope is that comic book stores still exist ten years from now. After that, I’d love to see some expensive key issues and a whole lot of cheap issues that people can purchase so they can get hooked. 

Channel i continues this series later this month. Support Legacy at Kickstarter

Channel I presents a series of interviews and reviews of Web-TV-Series creator, Eli Sundler and his latest creation, an ode to games and gamers, Godlike Gaming.

“I have a lot of experience in performing on stage doing circus shows and fire shows,” smiles Eli Sundler, creator of the new web-series, Godlike Gaming; “I studied circus for a year in Norway and we had acting classes because we were telling stories through circus. Fire shows are something I have done for over ten years, but it’s a very different kind of acting than in movies. You very rarely act through words, but instead through body movement.” An intro like that you don’t often find.

Godlike Gaming concerns four 20-something gamers and their adventures. The comedy webseries about gaming, friendship and dreams centers around a competitive 5 vs 5 game that requires tactics, teamwork and high mechanical skills. It is inspired by shows like Video Game High School, The Guild and Spaced as well as Edgar Wright’s other projects.

The main protagonist, Sky, (Nicole Murray) is a MOBA (Multiplayer Online Battle Arena) player that dreams about being the best of the best, competing on the biggest stages and winning The World Championship in a big e-sport game. Her reality on the other hand is far from that. No money, terrible apartment, and she looks it. She and her team are living their normal geeky lives when they suddenly get into a local tournament, Battle of Legends. This would have been amazing if it wasn’t for the fact that one of their members dropped out. Not only will they have to find a new member, they also need to come together as a team and work with each other like never before if they are going to have a chance in their biggest shot of fame so far.

Eli is creator, writer, director, and one of the producers of this fast-paced series that both lampoons and pays tribute to the lucrative and OBSESSIVE world of professional gaming.

Part I: Getting into the game

What event in your life made you decide to work in film? 

I made up my mind that I was gonna work with film fairly late in my life and I don’t really have one event, but looking back at my life I can see that my whole life was leading up to this. As a kid I used to draw a lot and I wanted to be a comic book artist/writer. Telling stories, creating characters and worlds is just something I have always done. In my teens I started playing music. High Schools in Sweden are a bit different than they are here. You select a program that you want to study just like you do for college. I always thought I was going to study art, but when the time came I was more into music so I ended studying that instead and I did my thesis on storytelling through music. My question for it was how much of a story could come across with music alone. First year of high school was also when I started doing fire performance/circus which became my passion for the next ten years or so. There are times when I would perform something that just looks cool, but what always got me most excited was when it was well thought through and you’re conveying a story/emotion through the show. I started to film/edit videos for my fire duo. With no experience with film I was learning quickly and had so much fun. I started to realize that this is what I was meant to do and that this is probably something I always wanted to do (I used to love to see how film was made, when ever I picture my stories as kid I saw it as movies with clear shots and cuts), but my mind set had been “I don’t know how to do it so I can’t do it”. When I realized that the only way to learn how to do it is to start doing it, I became like a sponge and sucked up all the info I could about film making. My spare time was watching tutorials and testing things out. Even though it took me this long to get into movies I don’t regret it because like I said, I feel like everything was leading up to this and I think it has made me a better filmmaker. Art (and later photography) taught me about composition, framing, colors and values. Music told me about sound, emotion through music and what makes music powerful. Circus taught me about blocking, how to express story/emotion through “show don’t tell” (especially with your body) and storytelling in general. 


Why do you want to work here in the U.S.? 
The film industry in Sweden is much smaller than it is here and the movies that are produced in Sweden are not really the types of movies I am drawn to. I could probably count all the Swedish movies on one hand that really impacted me and that I love, but if I would do the same thing with films from the states the list would go on for a long time. Another thing that I absolutely love about the industry here is all different cultures. It feels like anytime I’m on set I meet people from new countries. I haven’t met as many people from different countries as I’ve done since I moved here in my entire life.

What obstacles have or (or are you) facing here? 

The biggest obstacle coming here is that I didn’t know anyone and even though I have met a lot of amazing people and gotten some of my best friends here it just can’t compare to having contacts from your entire life from all different parts of your life. Here I mostly have filmmaking friends and even when it comes to filmmaking that could be limiting. Back in Sweden I have friends who make costumes, armor, props etc for larps and renaissance fairs, I have tons of musician friends, project leaders, photographers and more. 

How is it different from working in your own country? 

In Sweden the only project I did I directed and as my full time job I was a circus teacher, but here I’m working on other sets as well and it has taught me so much. Seeing other people direct teaches you almost as much about directing as doing it yourself if you’re paying attention. The work I’m doing here is also in general a lot more professional.

Learn more about GODLIKE GAMING

Playful Substance Theater Company-Pithy Party

Playful Substance, one of NY’s premiere indie arts organizations known for fostering emerging writers, went “retro” and presented a telethon fundraising event of three programs. Writer-at-large, JEN BUSH, covered the event. This is Part I

Under the Bridge

Written by-Jacqueline Reason

Cast-Naila Negron, Brianna Suarez-Thomas, Anastacia Tucker and Jeorge Bennett Watson

Review by Jen Bush-12/7/21

Artists have a voice, a vision and a story to tell through mediums such as art, music and theater. What they need is an opportunity. Playful substance provides those crucial opportunities as well as support to artists. This is what Playful Substance is all about in their own words:

Playful Substance is a New York based theater company dedicated to fostering new works through our Writers Groups, developmental workshops, community events and fully staged productions. We believe that lifelong artist development, work-life balance, and the vitality of an inclusive creative space are integral to the artist’s practice. “Playful Substance” is the mission; substantive work approached with joy, cooperation, sensitivity and humor.

Their Pithy Party is an annual event putting Playful Substance’s writer’s groups in the spotlight with staged readings featuring excerpts of works in progress directed and read by company members and friends. This year’s event was roughly four hours long and showcased 10 writers, 10 directors and 30 cast members. The live performances were spread out over 3 seatings. The online performance featured bonus content such as artist interviews and a more in-depth look at Playful Substance.

If I’m a little biased toward Under the Bridge, kindly forgive me. You see, I was born and raised in The Bronx and remained there till just a few years ago. I was eating up all the familiar references with great nostalgia in my heart. Regardless, my love of the Boogie Down does not detract from the fact that this was a quality production on every level.

The playwright describes this production as a story of 3 women of color living in a white neighborhood in the 70’s. The 3 women are Laura, her mother and her sister. Laura is a teenager living in The South Bronx. That geographical area experienced horrific fires in the 70’s. Laura just experienced her first “house party” while hiding behind the couch. When she couldn’t contain her laughter listening to a Richard Pryor comedy album, everyone got in trouble. Laura’s mom was not pleased. House parties were very popular in The Bronx in that era and gave rise to the genre of music known as Hip Hop. Between the fires and bad influences surrounding her children, Laura’s mother is seeking a better life for her family. She successfully finds a doorman apartment in Riverdale.

Riverdale is considered to be an elite section of The Bronx though it’s still The Bronx. If you ask someone from Riverdale where they live, they will never utter the words, The Bronx. I think it’s forbidden. They always look at you square in the eye and say with unwavering pride, I’m from Riverdale. There is even a line in the play that references that phenomenon. Laura’s friend Yvonne says, “Isn’t Riverdale The Bronx?” Laura says, “Yeah but it’s near Yonkers.” For a frame of reference, Yonkers is very nice but it’s no Beverly Hills. The great comic book artist Howard Chaykin referred to Yonkers as a better Bronx. I would agree with that as I now reside there.

Under the Bridge has themes of urban life, teenage life and race relations. It has substance and heart. This production will make you laugh and break your heart all in one evening. In the 70’s, Riverdale did not embrace having people of color reside there and some very sad and telling dialogue in the play reflected that fact.

The acting was rock solid with everyone matching beautifully to their roles. The actors crafted subtle maturity, tenderness, sassiness and humor. It definitely leaves the audience wanting to see more of young Laura’s journey.

It’s a rare treat to see a play and then get the author’s perspective immediately following the performance. After the production of Under the Bridge, Jacqueline Reason was briefly interviewed. This was the third time that she participated in Pithy Party. It was so interesting to find out that this play began from a poem. It was the author’s desire to bring to life fully dimensional characters. I can say with certainty, this desire was fully achieved.

Review by Dara Jemmott

“Black women are not a monolith,” was my immediate take away after seeing the diversity of our thoughts at The Joke Sistas at New York Comedy Club.

Walking into the SOLD-OUT show presented by New York Comedy Festival and Black Women in Comedy Laff Fest, you could feel the energy in the air.

Glo Butler as a host was funny, warm, energetic and interacted with the “Aunties” in the audience like your favorite play cousin.

The entire show was giving family reunion vibes, set by Glo and continued when founder of BWICLF, Joanna Briley hit the stage. With over twenty years of experience, she sparkled and delighted the audience with her radiance, joy and crazy stories working for the MTA.

Creative Director of BWICLF and late night talk show host, Hollie Harper lit up the stage with her honest and hilarious stories of motherhood. Special guest Moonie had the entire audience on her side, which is not something every lawyer can say! 

Getting the chance to watch comedy veterans that I’ve seen on TV, all performing on one show, in real life was such a treat!  Calise Hawkins (That Damn Michael Che Show, HBO), Erin Jackson (They Ready, Netflix), and Mugga (Manifest, Power, Orange is the New Black) all took the stage and owned the room, with the crowd sounding more like a laugh track than a live audience. Their comedy covered so many different experiences and watching them finesse each punchline, it’s evident why each of them have lasted and excelled in the game. 

The headliner who is also a writer for Nickelodeon, Mechelle “The Indie Mom of Comedy” gave a master class in shutting a room down! Closing out the show with such a wave of infectious and explosive laughter, it was no surprise she left the stage to a standing ovation. There was a genius to her ability to have act outs, layered with call backs and surprises, creating a rollercoaster of entertainment, leaving the audience hanging on every word.

From beginning to end the Joke Sistas felt like the food for the soul we have all been missing in quarantine.

It’s been a while since someone with such abundant imagination and creativity stepped onto the independent theatre stage. Kaitana Magno, who descibes herself as a classically trained ballet dancer and nightlife creatrix, who presents dazzling, experiential productions for folks who think they’ve seen it all, but ain’t seen nothing yet. What’s great about this monger is … it’s correct.

Kaitana Magno helms Variety Life Productions, a dynamic new NYC-based experiential theatre company, driven by the belief that art is essential. Kaitana is also driven by an insatiable desire to illuminate the human condition and challenge audiences psychologically, emotionally, and spiritually so that they will ultimately leave genuinely moved.. Kaitana and VLP productions marry live music, dance, nightlife, variety, circus, and immersive entertainment in spectacular site-specifc performances. Their maiden voyage: Carmen: To Havana & Back, a Cuban-infused re-imagining of the opera, Carmen, premiered in 2018 to critical acclaim and sold out performances until its necessary closing due to Covid in March, 2020. Forbes magazine called it “… a tremendous combination of concept, music and choreography that makes for an incredible evening.”

Now, Kaitana and partner, James Sutherland, join Broadway in the greatest live entertainment comeback in recent history, with a fantastical re-imagining of Shakespeare’s own “rom-com” called Midsummer: A Shakespearience.

Again, music, magic, vaudeville, spectacle and artistic innovation, marinate – this time – in a souffle of Shakespearean prose.

Magno & Sutherland both come from strict & rigorous – and highly disciplined – dance backgrounds, and have performed professionally for around the world for more than two decades and were mentored by prolific innovators in the field. It was the inspiration gelaned from these artists that laid the foundation that today is their path.

Ai: Tell us about the genesis of Midsummer a Shakespearience.

Kaitana: Several synchronistic events came together as magically as the characters and the circumstances in the play itself. During the pandemic, we moved near family to a little town in northern Georgia that sits in a national forest. To keep ourselves connected to our love and sanity, we hosted a weekly virtual gathering of actors where we read full plays, one of which was A Midsummer Night’s Dream. Not long after, I was outside on my porch as this summer storm rolled through. I listened to the sounds of the birds as they quieted with the dimming sky and the sound of thunder in the distance. I was reminded of the suspenseful feeling of being in a theater and hearing the orchestra warm up before the lights dim and the curtain opens. I saw this hazy clearing within the forest, the sounds of nature becoming sweet melodies of a saxophone, with thunderous rhythms of drums, and a singer crooning effortlessly. I saw fairies dancing, aerialists dangling within the trees, and a jazz band swinging hard. I just started seeing it. The characters and the whimsical plot lines unfolding.

MIDSUMMER: A SHAKESPEARIENCE presented by Variety Life Productions
OPENING OCTOBER 13 (Wednesdays thru Sundays at 8:00pm)
CASA 51 located at 625 W 51st Street, NYC
Tickets start at $99
Tickets: www.midsummershakespearience.com
More Info: www.varietylifeprodutions.com

THIS IS PART I OF A SERIES OF INTERVIEWS WITH KAITANA MAGNO ON HER SHOWS AND HER CAREER. Look for Part II in ShowTones next week.