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And then there are the brand new faces—artists just emerging or coming into their own with work that is exciting and original. Among these I'd name CollaborationTown (The Trading Floor), Invisible City Theatre Company (a host of shows at Manhattan Theatre Source, most notably a revival of Stoppard's Arcadia), Peter Sanfilippo and Shawn Nothrip (Titus X: The Musical), playwright Margie Stokley and AndHow! Theatre Company (Elephant), Alec Duffy (The Top Ten People of the Millennium Sing Their Favorite Schubert Leider), Josh Chambers and Fovea Floods Theatre (Bull Spears), Keith Mayerson (A Child is Being Beaten, part of Ontological Theatre's Blueprint Series last summer), Happy Accident Theater (Caz Dies Alone), International WOW Theatre (Expense of Spirit), The Flying Machine (Frankenstein), TOSOS II (a variety of readings plus the excellent Eisenstein's Monster), Firebrand Theory (Lynch Play), Mark Lonergan and Antoinette Dipietropolo (Powerhouse), Adriano Shaplin (Puglist Specialist), Women Seeking... (Wilde, New & Sizzling), Resonance Ensemble (splendid revivals of The Lower Depths and Time to Burn), and Feed the Herd (the annual Stampede Festivals, where The Iron Horseman 6:11, among other shows, premiered). I mention all these names because I really want people to know about the excellent work these folks—rising stars all—are doing. That's the very heart of nytheatre.com's mission, and I hope people are paying attention.
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