Firebrand Theory Theater Company ...............::::::::::::::


RomAntic aGE
RomAntic aGE uses archetypal characters to illustrate the lost, angry and fantastic crisis of Narrator, who is suffering a deluge of personal attacks by life – first, he witnessed a death, then was betrayed by his wife and now his visions and dreams turn into real-life encounters with messengers not of this time, nor of this world. The verses of poet and artist William Blake provide the vision of this gothic journey. "There is another world, but it is in this one."- from surrealist poet, Paul Eluard - New York City - RomAntic aGE Gene Frankel Theatre April 30-May 23 quotes from May 1, 2004 by Martin Denton, nytheatre.com Firebrand Theory is a new theatre group formed by Michael Scott-Price and Jaime Robert Carrillo (they had previously done some work in Washington, DC as feeT of claY). RomAntic aGE is their New York City debut. Are they a company to keep an eye on? Sure. The piece, created and directed by Scott-Price, is abstract and performance-art-y. Some of the movement is richly evocative, particularly the exciting fight sequences. RomAntic aGE finds theatrical expression for its themes that is often surprising and lovely. - Winnipeg Fringe Festival - RomAntic aGE Firebrand Theory Theater Company (New York, NY) July 14, 2004 review by Con Sweatman, CBC Manitoba A challenging play to watch (and review), New York’s theatre company Firebrand Theory takes pinches from the romantic poetry of William Blake, and brews a confusing and wonderful play of love and love lost. RomAntic aGE is told by using the verses of Blake, which are sorted out brilliantly into a story about a nameless narrator, the archetypal man who loses his wife then wanders earth full of misery, cursing love and God. The language is difficult at first, as is the opening and exaggerated onstage sex between the man’s wife and her lover. But the piece unravels its message with ease, and strong performances that help guide the audience through the rich text. The work is sincere and honest, and it seems Blake knows a thing or two about love. As the narrator begins to let go of his pain and open to the words of Joy, there was a moment where I forgot to review and heard words of poetry. - Minnesota Fringe Festival - Audience Reviews ©Scott Pakudaitis ***stars Blake into theater? Yes, it works! Ever see a performance that not only stimulated your brain but also moved your soul? William Blake has been one of my favorite poets for years. His words breathed with vitality as they were used as the script in this expertly performed piece. –Scott Pakudaitis (Posted on Aug. 12) ©Scott Pakudaitis stars Lighten Up Bleaker Blake than Ginsberg singing little lambs to sleep. The cosmic mythic mix offered here has clever transitions and staging, but also funereal music occasionally so dank that it's like a cartoon sound effect. I liked the recitation pace, half of the cast (don't you have to really see some of what Blake saw to sell the lines, even via drone?) and the whole concept, which is good enough to up my rating a full, illuminated star. –Thomas Cassidy (Posted on Aug. 14) ©Scott Pakudaitis stars Romance and Rage (not antic) Firebrand Theory churned up some of the choicest nuggets of William Blake's poetry, and assembled them into a compelling story of alienation, loss and spiritual misguidance. Expert performances. –Bryon Gunsch (Posted on Aug. 8) - The ESB Dublin Fringe Festival - THE IRISH TIMES Wednesday, September 22, 2004 Reviews ESB Dublin Fringe Festival RomAntic aGE Andrews Lane Studio Belinda McKeon (THE ARTS section) Firebrand Theory, a New York-based company, has had an inspired rifle through the writings of the poet William Blake, and the result is an exploration of urban loneliness and redemption that, while erratic, is always impassioned. And always authentic – in a clever work of warp and woof, every last word spoke onstage by the five-member cast is a quote from Blake himself. Jaime Robert Carrillo plays the unnamed protagonist, a New York immigrant betrayed by both his wife and his city, and everything from The Chimney Sweeper to Never Seek to Tell They Love is recruited to translate his woe – neatly, indeed poignantly at times, but in too laboured and self conscious at others. Carrillo’s own performance is powerful, his anguish palpable, but the private angel and devil which shadow his ordeal are played with scant originality by his companions onstage, and other characters are thinly drawn, while a promising soundtrack is marred by jerky application. Still, fans of the poems may love this, and it’s an interestingly modern delve into a romantic notebook. Sunday Independent September 26, 2004 Emer O’Kelly (IRISH LIFE section) RomAntic aGE** by Michael Scott-Price. Firebrand Theory Company at Andrew’s Lane Studio A company of fairly young performers taking on the poetry of William Blake as the basis for a stage presentation is enough to strike terror into the heart of anyone who regularly has to listen to young Irish companies mangling Shakespearean verse. Firebrand Theory is based in New York, and its members have varied theatrical training backgrounds: any or all of them could be drafted into Irish drama schools with effect from today to give students a lesson how to speak verse as though it has some emotional and dramatic relevance. Blake was at the forefront of the Romantic movement, and six actors (one on voiceover) use his verse (and only his verse) to create a vision of love unfulfilled around the tormented figure of a Narrator who is all at once lover, husband, son and father, elevated and soaring as young love unfurls, only to be dashed down as its ashes blow about his crippled innocence. "Never seek to tell thy love, Love that never told can be; For the gentle wind does move Silently, invisibly." "Soon as she was gone from me, A traveller came by, Silently, invisibly: He took her with a sigh." But the company, with admirably controlled choreographed movement and emotional discipline, manage to speak love in all its aspects, as the central Narrator’s soul is laid bare on a park bench, the platform for his life. This is simple, accomplished and adult theatre in the best sense of the term: moving and mature. - End of Year Play - Firebrand has chosen its next NYC production. The 2004 season closes with a classical comedy in the vein of Commedia dell'Arte. Opens in December. The Lion is coming! For details and ticket information, please join the FT mailing list to hear the latest news. - 2005 Season Opens with Lynch Play - Firebrand Theory brings Lynch Play, a homegrown, original and subversive production exploring White guilt, Black anger, Stereotypes, the Cultural divide, and the Nation's silence. Playing at the Gene Frankel Theatre, opening March 2005. For details and ticket information, please join the FT mailing list to hear the latest news.

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