For our final introduction, meet…

Jack’s Back!  Director John Gould Rubin

John Gould Rubin’s recent directing credits include: “Hedda Gabler” which he staged in an apartment for 25 people per performance, “Little Doc” at Rattlestick, and “In the Daylight” at the McGinn-Cazale. He is a member of LAByrinth Theater Company for which he served as co-Artistic and Executive Director, and with which he directed “Philip Roth in Khartoum” and “Penalties and Interest” (both as part of the Public/LAB); created and directed “Dreaming in Tongues,” and directed the premieres of “STopless,” by David Deblinger; “The Trail of Her Inner Thigh” by Erin Cressida Wilson,” John Patrick Shanley’s musical, “A Winter Party,” and. “Mémoire,” which he directed and co-created with Tomoko Miyagi and Florencia Lozano. Other credits: Julie Marie Myatt’s “My Wandering Boy” at SPF; Edith Freni’s “My Dog Heart,” at EST, Dan Klores’s “Myrtle Beach” in Naked Angels’ Armed and Naked in America festival and Qui Nguyen’s “Bike Wreck” for EST’s Youngbloods, “NAMI” and “A Matter of Choice” for Partial Comfort, “Little Willy,” at the Ohio and “Trial By Water” for Ma-Yi at The Culture Project, Sue Costello’s one-woman show, “The Evolution of a Sexy Mutha Fukah!!” at The Zipper and in LA at The Triplex. He directed his first film “Almost Home,” for Trigger Street Independent (which appeared in the Berkshire Intl. Film Festival,) and the musical, “The Fartiste,” by book writer Charlie Schulman and composer/lyricist Michael Roberts at The NY Fringe Festival (which won the “Best Musical” Award;) “The Cherry Orchard” at SUNY Purchase and “Hamlet” for the graduating class of Columbia University’s MFA program. He co-created and directed “The Erotica Project” on WBAI radio, at HERE and The NYSF, and “A Taste of Honey” at Playwrights’ Horizons lab theater, “Blood in the Sink” by Josh Ben Friedman at Urban Stages. In 1996 Mr. Rubin wrote and played Ivan Boesky in “The Predators’ Ball,” in collaboration with Karole Armitage and David Salle, which premiered at the Pergola Theatre, in Florence, Italy, and was then the Gala Production for the Next Wave Festival in the Opera House at BAM.

For the LAByrinth Theater Company he produced “Our Lady of 121st Street,” by Stephen Adly Guirgis, directed by Philip Seymour Hoffman both at LAByrinth and then produced the show off-Broadway. He also Produced “Dirty Story” written and directed by John Patrick Shanley, at the Harold Clurman Theatre on Theatre Row, and “Jesus Hopped the ‘A’ Train,” (Guirgis and Hoffman) at LAByrinth, off-Broadway (two Drama Desk nominations), at the Edinburgh Theatre Festival (Fringe First Award), at The Donmar Warehouse in London, and The Arts Theatre on the West End in London. He produced “Macbeth” with Stephen Dillane playing all the roles, directed by Travis Preston at The Almeida Theatre in London (Olivier Nomination, Best Actor, Best Shakespeare Production and Best Solo Performer Nominations, Peoples Choice Awards) and then in Australia at The Sydney Theater (Helpman Award Nomination) and The Adelaide Festival.

For more info on John’s Theatre Company, The Private Theatre,  check out www.theprivatetheatre.org

For our Second introduction, meet…

Jack’s Back! Composer and co-Playwright of the JB! book TOM HERMAN!

Tom Herman has had his compositions performed both in the United States and Canada as well as in Europe.  He has written art songs, chamber music, orchestral and choral music as well as musical theater, for which he has served both as composer and lyricist.  Mr. Herman has received various grants for composition, including a National Endowment Fellowship Award for his theater piece Objets trouvés.  His CD, Tom Herman/Music for Voice features soprano Rebecca Luker.  Mr. Herman has taught at Fordham University and Sarah Lawrence College.

For more info on Tom click HERE to check out this brilliant review of his CD Music for Voice

For our first introduction, meet…

Our lovely and wildly talented choreographer Bronwen Carson! (PS, you too can experience Bronwen’s brilliance, click here to see where she teaches)

Bronwen Carson’s professional career started in classical ballet at 15 with SJDT in the San Francisco Bay Area under the Artistic direction of Paul E Curtis. At 17, she joined The Cleveland Ballet under Artistic Director Dennis Nahat. She has also performed leading and supporting roles in Me and My Girl, Kismet, Joseph and the Technicolor Dreamcoat and The Will Rogers Follieswith American Musical Theatre of San Jose. In AMTSJ’s The Music Man, starring Dirk Lombard, she received a Bay Area Equity Ginny Award for her depiction of Zaneeta Shinn.

After being spotted in an open dance call by film director Randa Haines (director, “Children of a Lesser God”), she was cast in a supporting role in Ms. Haines ballroom film, “Dance With Me,” starring Vanessa Williams. Bronwen then went on to dance in a number of National commercials, Print Campaigns and more films including “Center Stage,” Choreographed by Susan Stroman.

At the encouragement of Rainda Haines and RADA alumnus Marc Jacobs, Bronwen moved to New York to pursue acting professionally. After playing a small role in a film directed by Ed Norton, “Keeping the Faith,” she was advised by him to study with Terry Schreiber in NYC. Bronwen studied with Terry for 4 years, focusing on the works of Anton Chekhov, Harold Pinter, Tennessee Williams, John Guare and Sam Shepard. Bronwen is trained in Meisner, Michael Chekhov and Stanislavski techniques and now utilizes them as a director and choreographer.

Bronwen is a member of SAG, AEA and SDC. Performer Credits Include Films: “The Winter of Her” (lead), “The Ballad of Mary Jo” (lead), “Fragole” (lead), “Leave it” (supporting), “Z.Cafe” (lead) and “Blur” (lead) — Theater: The Pacifier, The Woolgatherer (Rose), A Streetcar Named Desire(Blanche) and The Gravedigger. Director/Choreographer Credits  Include: Viva America- B’dway Workshop (Assoc. Choreographer), The Cherry Orchard - Off-B’dway (Choreographer), In The Key of Cy - Off B’dwy (Assoc. Choreographer), Two Days til Dawn - Off B’dwy (Choreographer), A Tribute to Michael Jackson- 2010 Astaire Awards (Choreographer), Myopia - Neighborhood Playhouse (Director), Dim Sum - The Neighborhood Playhouse (Director), Fugue (Director) and 49th Street and Other Stories (Director/Choreographer)

Bronwen has Co-Produced two red carpet benefits for The Helen Sawaya Fund for Breast Cancer Survivors and Angel on a Leash at the Danny Kaye Playhouse, presented by Melanie LaPatin and Tony Meredith of Dance Times Square starring Parsons Dance, Mercedes Ellington and Pasha & Anya of Burn the Floor.  She currently Co-Produces The Annual Astaire Awards  in NYC, which celebrates excellence in choreography and dance on Broadway and in Film. This past year’s awards were attended by theatre and film luminaries such as Susan Stroman, Sutton Foster, Jacques d’Amboise and Daniel Radcliffe.


In February 2011, Bronwen founded Sounding Line, a production company focused upon a high level of theatricality while staying deeply rooted in the art of storytelling. Sounding Line produces film and theatre. Sounding Line’s current projects include “49th Street and Other Stories”, a full-length dance play set to premiere  in NYC Spring 2013 and an untiltled television series based in New York.


For more info on Bronwen check out her website www.bronwencarson.com

NYC Acting Schools Produce Off- and Off-Off-Broadway Shows

Photo by T. Schreiber Studio
Noelle P. Wilson in You Never Can Tell by T. Schreiber Studio

The T. Schreiber Studio has been producing Off-Off-Broadway work since its establishment in 1969, and the school’s founder, Terry Schreiber, says performing in full-fledged productions is an invaluable component of the students’ education.

“It’s been my goal since I started that actors not only have a professional training environment but that they get a chance to do work besides just scenes in class,” explains Schreiber, who just released his e-book “Producing on a Short Shoelace,” about his years of producing OOB theater. “It’s absolutely vital that these actors be given a chance to do a performance in front of an audience.”

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To prevent actors from coming to his studio just to audition for the productions, Schreiber requires students to matriculate for at least three months before they may try out. “It’s unfair to the people that have been studying here if someone comes in and gets cast and then just blows out right after the production,” he says.

Student Noelle P. Wilson says she didn’t pursue the T. Schreiber Studio for the opportunity to perform. Wilson has studied with the school on and off since 2003, and she appeared in the 2011 production of “You Never Can Tell.” Though she wasn’t seeking performance opportunities at the studio, she appreciates the school’s collective mindset.

“When you go into the workforce, you’re going to have to work with people who you don’t necessarily agree with or don’t get along with,” Wilson says. “Going into a show where we all have similar processes, it’s kind of like a gift from the gods.”

Read Full Article Here: http://www.backstage.com/bso/news-and-features-features/nyc-acting-schools-produce-off-and-off-off-1006075352.story

What do you like most about T. Schreiber?

Steve Carrieri (Judas): Terry Schreiber is great because he gives you the chance to try different things in class and during rehearsals without ever feeling insecure about the choices you make as an actor. Also there’s always been an inherent sense of community throughout the whole studio.

Ben Prayz (Caiaphas the Elder): Two things: one is the full faculty spectrum – acting, body, voice, dialect, etc. This creates the ideology that your whole being is the instrument. You have the opportunity to work on, and the staff is all aware of, different components, besides only the emotional, to allow your gifts to unfold.  Second, the bar here is set high.

Alexandra Turshen (Jesus): I walk through the doors and I know I have a place amongst some of the most talented, hard-working, and generous actors in NYC.

Brennan Vickery (Simon the Zealot/Matthias): I really enjoy the maturity and the commitment of the students and the faculty. I’ve attended other acting schools and there was definitely a lack of devotion to acting as something serious. I was left many times is frustration. Rehearsal is not going over the lines twice sitting on your bed!

What do you like most about Off-Off-Broadway theater?

Benjamin Jones (Butch Honeywell): My favorite part is non-corporate productions – it allows the real creative art to flow through the hearts of those who pay attention.

Turshen: More risk! Less ego!

Vickery: Off-Off Broadway theater gives artists, actors, writers, directors, the freedom to explore new work and have it be seen. I enjoy the daring and innovative risks some artists take when approaching new work.

When did you decide to become an actor, and why?

Erica McLaughlin (Saint Monica): I did theater since I was a little girl, but I still never thought I’d make a profession out of it. I was getting ready to go off to college to study political science or computer engineering, you know, something “practical” that my parents would like, when I won a playwriting competition and was awarded $2000. I used it to pay my own tuition at a community college which had an equity theatre company attached, and began acting there, guided by some of the finest performers in the country. I haven’t been able to quit.

Prayz: Recently, actually. I went to the High School of Performing Arts from there went straight to the conservatory at Purchase, then a year with Hagen.  So, I’d been around acting in my teens and as a younger man, and worked some, but mostly plodding around. I didn’t do anything with that training until five years ago. I was looking for something else, (I worked in business for many years), thought I’d open a coffee shop, and had a genuine eureka moment, when I remembered that I had acted years ago. In 2007 I enrolled at TSS, and started auditioning for, and getting, things. In 2010 I made the switch in my head and heart to move forward on this path and follow whatever it was that the road ahead would lay before me.

What do you like most about The Last Days of Judas Iscariot?

Jones: the play provides and humorous look through one’s eyes that raise the real questions of the missing pieces. I, too, have similar outlooks on the whole “Bible” and religion thing. Is it true? Was it real? How much has been skewed as the stories were passed down?

McLaughlin: What don’t I like? This play is freaking epic. Like from comic to serious in a moment, from challenging the Bible to quoting hip hop, it captures the heart of what urban Americans experience in terms of religion in daily life. There is something in it for everyone, and Stephen is such an amazing writer that you also get to listen to the poetry in motion as it all goes along.

Prayz: this cast – WHEW! Absolutely knocks my socks off, out the window and into the street with their talent and love. Goosebumps.

Turshen: This play has everything: philosophy, spirituality, humanity, and such humor!

Vickery:  Judas is a very raw play. I like that it requires actors to explore characters who are street; probably not those kids alongside them in acting school. I’m a spoken word artist and there are many overlapping themes found in this play and spoken word: mostly the heartache cause by some life choice. Spoken word tends to tackle serious subjects like bullying, abortion, faith, homosexuality, death, so on and so on. Judas explores these through dialogue and a very diverse mix of characters. It seems there is no way anyone couldn’t find the play to hit some hidden or more obvious conviction.

Stephen Alan Wilson (Satan): The writing.  Stephen is truly gifted and it’s a pleasure to speak his words.  I grew up in the church and I find the story very intriguing and thought provoking.  To see all these people come to life and interact with others, both fictional and real, is a lot of fun.

Have you ever seen Judas before?

Prayz: Nope.

Vickery: I have never seen this play before.

McLaughlin: Nope! But I heard it is pirated on YouTube. I’d never watch it before playing a character in it though.

Wilson: I’ve never seen a production of this play. On a side note, I did play Judas in a passion play many many years ago.

What is the most challenging thing about your character?

Prayz: Not seeming like a “bad” guy.

Turshen: I’m Jesus. It’s the most simple and most complex character I’ve ever played.

What do you hope the audience gets out of this show?

Prayz: Forgiveness is the number one healing component we can give ourselves as human beings and it does not mean one has to be weak – as a matter of fact, it requires great strength.

Do you have any pre-show ritual?

McLaughlin: Only about a billion. The one I can share with you is that I will be listening to 2Pac as part of my prep.

Adyana de la Torre (Cunningham): I apply organic essentials oils that release confidence, courage, alertness, and magnetism. And a little caffeine! I need my brain to work!

Wilson: I definitely have my routine, although it does very slightly from show to show. No matter what, it always starts with a good physical and vocal warm-up. With this show, my first entrance is not until an hour into the show so I have to be ready to jump on a moving train when the time comes.  I look forward to sitting off-stage every night and listening to my fellow cast members working and enjoying the audience’s energy before I join the fun.

Who is the biggest prankster in the cast?

Omar Bustamante (Pontius Pilate): Tommy Buck, hands down!

Prayz: Buck.

Torre: Tommy Buck.

Turshen: Tommy Buck or Bud!

What is your favorite role of those you have ever played?

Jones: Hal Carter from Picnic and Otto from Borrowed Parts.

Prayz: Marco in A View from the Bridge. Miller’s dialogue is butter and Marco has a clear point of view, gold for me.

Torre: Estelle in No Exit. Similarly that play also takes place in purgatory. Hmmmm….

What role would you like to play the most?

Bustamante: I’d definitely like a crack at John Wilmot in The Libertine.

Wilson: Santa Claus in the Radio City Christmas Spectacular. New York is a magical place during the holidays and I know it would be a blast!  Not to mention I have two nieces and a nephew and they’d love it.

 
Doug Strassler is a freelance writer covering film, theater, television, and pop culture. He is the managing editor at OffOffOnline and editor of the newsletter for the New York Innovative Theatre Awards. His work can also be seen on such sites as New York Press, Theatermania, Show Business magazine, Back Stage, Our Town Downtown, West Side Spirit, Tail Slate, and The Critical Condition. Additionally, Doug is a past member of the Drama Desk nominating committee.

We are pleased to announce the publication of Terry’s new book: Producing on a Short Shoelace, the culmination of 40 years of experience producing off-off Broadway theater. Actors and supporters of The T. Schreiber Studio and Theatre have had an indelible influence on the work and philosophy outlined in this publication.

We are so thrilled to share this book with you, just as you have shared your talent and dedication with us. Published by New York Theatre Experience, Inc., a Kindle edition of Producing on a Short Shoelace is now available through Amazon.com.  It may also be read on your PC, iPhone, iTouch, BlackBerry, Android and many other mobile devices.
http://www.amazon.com/dp/B006ACBAXI 

Amazon Summary
Terry Schreiber is a noted theater producer, director, acting teacher, and
founder of the prestigious T. Schreiber Studio in New York City. Terry here
traces his forty-year career in the vanguard of New York’s off-off-Broadway
scene, crisply summarizing the tricks, survival techniques and tensions
entailed in striving to stay alive while producing scores of quality
productions on little capital, much love, imaginative entrepreneuring, the
aid of many others, and a bit of good luck here and there. Filled with
anecdotes and pragmatic advice, the richly textured book moves beyond a
chronological account of Terry’s career and the history of his Studio to
present Terry’s thoughts on past events and how they shaped his philosophy
as both a teacher and a long-standing leader of the theater community. This
is a must-read for up-and-coming indie theater artists. It contains
invaluable how-to-and how-not-to-guidance on making theater on a “short
shoelace.”

By Doug Strassler

Michael Black takes on the role of Jeff in the challenging Kenneth Lonergan show Lobby Hero. Below he talks about his love for the show and some of the other writers that inspire him.

What do you like most about T. Schreiber?

You get more hands-on time with the teachers than you do at other acting schools.  As an acting student, you’re frequently being asked to step outside your comfort zone, but in ways that are necessary. I think any actor has limits to their thinking as to what they can or can’t do and what I have found at T. Schreiber is those concepts are always being challenged. I frequently walked away from classes going “Well, maybe I could play ____ after all” or being surprised by what was drawn out of me.

But the thing that makes T. Schreiber a must, particularly for people new to New York, is the sense of community. You genuinely get to know people in your classes—much more so than any other acting classes in New York I have attended–and that is completely invaluable.  New York City probably has the most supportive community of actors in the world, but I have felt T. Schreiber is the best place to get that started. I know of at least two off-off Broadway theater companies that have been generated by like-minded students who first got things started here.

What do you love most about Lobby Hero?

For my money, it’s one of the very best plays of the last twenty some-odd years. I remember first reading it and just glowing by the end of it, going “I HAVE to do this!”. It’s a very simple play but it’s such a confluence of love story, character study, play of ideas and something resembling a thriller that is totally unique…the way Lonergan blends all this so seamlessly is just incredible to me. Anyone interested in great writing should check it out one way or the other.

What is most challenging about your character, Jeff, and/or the play?

Nobody writes better dialogue than Kenneth Lonergan.  Nobody. He writes almost exactly the way Americans talk—jagged, repetitive, incomplete sentences that convey more in their skips and jumps than what is clearly communicated. It’s brilliant. And it is SUCH a challenge to memorize, my God! I think we all struggled with it.

When did you decide to become an actor, and why?

When I was very, very young my family took me to see Up With People. And I remember asking my mom, “How do I get to do that? Do they get paid?? Can you make a living doing that?” Mom was decidedly worried about my line of questioning but my mind was completely made up: I was going to be a performer in Up With People and that was how I was going to live my life. Period. Somewhere down the line, an interest in the likes of Streep and Brando distracted me from my lofty goal. I have yet to play any football stadium, which is just heartbreaking as you can imagine. So, yeah, if you come see Lobby Hero and hate my performance…blame Up With People.

What is your favorite role of those you have ever played?

Jeff is up there…oh, boy is Jeff up there. Years ago, I played Moritz in Spring Awakening—the play, not the musical—which is still a big one for me; it just such a beautiful play, I’d love to direct it one day. I also had a lot of fun doing this workshop of a really wonderful, crazy play by Craig Lucas called The Singing Forest. I really love working on new pieces.

What role/play would you love to do most?

The ones that pay me? Other than that, anything by Caryl Churchill, Kenneth Lonergan, Craig Lucas, Tony Kushner…I’d be happy to play window dressing for free in any of their plays. Oh, and Albee’s Tiny Alice!

Doug Strassler is a freelance writer covering film, theater, television, and pop culture. He is the managing editor at OffOffOnline and editor of the newsletter for the New York Innovative Theatre Awards. His work can also be seen on such sites as New York Press, Theatermania, Show Business magazine, Backstage, Our Town Downtown, West Side Spirit, Tail Slate, and The Critical Condition. Additionally, Doug is a past member of the Drama Desk nominating committee.

We got a little behind in our Lobby Hero of the week…so…

Our fourth Lobby Hero of the week is Noelle and Stephen Wilson! Our fifth Lobby Hero of the week is Matt Brogan!

Noelle and Stephen are the kind of people who also have a helping hand to give. They are the first people to arrive and the last people to leave and they always have a smile on their face. TSS producing director Barb Kielhofer said of the couple, “they are the kind of people who make my job easy just by being who they are. They are a massive asset to the studio and two of the best people I know.” Stephen and Noelle are also brilliant performers as well as being all around amazing humans. To find out more about them check out Noelle’s website and Stephen’s website.

Matt Brogan is the set designer for Lobby Hero. He also has previously designed sets for Balm in Gilead, Joking Apart and Fifth of July here at TSS. Matt was nominated for a 2011 NYIT Award for his Balm set and was named a person of the year in 2010 by NYTheatre.com. In addition to being a supremely talented designer Matt is also supremely dedicated. He has been putting in numerous hours to make sure everything looks perfect and that is why his sets are always a cut above. TSS producing director Barb Kielhofer said of Matt, “Brogan is my saving grace. His sets always look impeccable and interesting. And he is a joy to work with on top of that!” For more info on Matt check out his website.

T. Schreiber Studio and Theatre is thrilled to announce our win for the 2011 New York Innovative Theatre Award:  Outstanding Production of a Play for Balm in Gilead. The award was presented by John Patrick Shanley to our Producing Director Barbara Kielhofer at the NYIT Awards on September 19th, 2011. Thank you to our audiences, students, and supporters for making the 2010-2011 season an amazing experience. Looking forward to the 2011-2012 season (starting with Kenneth Lonergan’s Lobby Hero, previews starting October 13th). Hope to see you there!

Our Third Lobby Hero of the week is Jim Heaphy!

Jim is the very definition of a Lobby Hero! Jim gives and give and just when you think he can’t give any more, he does! Jim has kindly agreed to do pro bono consulting for us to make sure all our NYPD info is accurate AND he’s agreed to do a few after-show talkbacks with the audience for us. We are very grateful to have Jim as a member of our team!

Jim was in the police academy from July 1983 to December 1983 at the age of 20 years old. After the academy, Jim went to training unit for 6 months before he was assigned to the Midtown North Precinct located on 54th street. Jim stayed at Midtown North from 1984 until 2003, when he left the Police Department to pursue his dream of being an actor. While with the NYPD Jim was a uniformed officer who worked midnights, he was in a plainclothes burglary unit, then a pickpocket unit before moving upstairs to the Detective Squad. Jim was promoted to Detective third grade in 1993 and again in 2000 he promoted to Detective second grade before retiring in the spring of 2003. Jim is currently a New York based professional actor and a member of AEA, SAG and AFTRA. In addition to his work in the theatre, Jim has been fortunate enough to do principal work in both film and television. In 2011 he began studying at T. Schreiber Studios by taking the “Six Week Winter Conservatory.” For a list of his Credits and Contact Info go to http://www.imdb.me/jamesheaphy