#Abigail and Shaun Bengson

[danathon23]

"Hope Comes" by The Bengsons (YouTube video song link: https://youtu.be/K8AegG5en2g) ...

No, we are not alright we are not alright I'm just trying to make it thought this night. We can say, we are not alright, we are not alright We can help each other, help each other get through the night YEAH YA-E-YAAA ...

[meandmypagancrew]

Playbill’s 30 Day Song Challenge:

Day twenty-five: a song from an original musical

Hundred Days, Hundred Days

[sappymix1]

someone you’ve always known

[wait for you - hundred days (shaun and abigail bengson); eighteen -pale waves; all i’ve ever known - hadestown (anaïs mitchell); invisible string - taylor swift; vows - hundred days (shaun and abigail bengson); cut lyrics from come home with me - edmonton hadestown (anaïs mitchell); midnight - ghost quartet (dave malloy); hi, I'm dream - dream]

[strazcenter]

Thrilling new Jaeb show asks: What would you do if you only had a Hundred Days with the love of your life?

Thrilling new Jaeb show asks: What would you do if you only had a Hundred Days with the love of your life? #fromtheblog #HundredDays Straz #IWant100Days

Let’s say one morning you hustle into your favorite coffee shop, order your regular, and as you’re dawdling by the pick-up counter, you happen to make eye contact with someone at the high-top in the corner who happened to look up the same time you did. An exchange occurs in that moment: you capture each other, an undeniable knowing that you are supposed to be together passes between you. You…

[fanchonmoreau]

Up around Lake Michigan where we met I said I have no regrets I didn’t know anything. But the 10,000 suns in my chest I have just one left I have one left. 

The Bengsons (married couple Abigail and Shaun Bengson) perform ‘The Lucky Ones’ from their musical of the same name. I saw this just over two years ago at Ars Nova, and it’s a searing work about childhood trauma and how sometimes the only person you can heal is yourself. I still think about it often.

I miss theater so much. 

[tragedyposting]

Hey this might be weird but can you explain the plot of the lucky ones? I wanted to read about it but I can’t find a synopsis anywhere

Overview version: The Lucky Ones is an autobiographical (partly fictionalized for the protection of the family) musical by Abigail Bengson and her husband Shaun Bengson. It follows the unraveling of her extremely tight-knight family following a tragedy, ending in the free-thinking school they worked at together closing down and the family scattered to the winds.

Full Synopsis (Below the Cut because I am very bad at being concise):

We meet Abigail (Abigail Bengson) in the house where she grew up. It is bustlingwith her large extended family. Her high-spirited mother, Sherrill (Myra Lucretia Taylor) teaches at aschool, along with Abigail’s Aunt Mary (MaryannPlunkett), who is “basically her second mom.” The two, along with theirelder daughters, Phoebe (Jennifer Morris),and Amber (Amelia Workman), teach at theBlue Mountain School. Abigail’s father, Tom Naiman (Tom Nelis), and I believe his brother Greg (Mary’s husband),founded the Blue Mountain School, a small, intimate private school based on theidea that you should “question everything.”

During the years that followed, they alllived in one big house together, Tom and Sherrill had Emily (Ashley Perez Flanagan), and Greg and Maryhad Kai (Damon Daunno). Phoebe andAmber were born on the same day- and are as close as twins. Kai and Emily arebest friends. Next, Greg died, and Abigail was born not long after. The storybegins with Abigail at fifteen, socially awkward. “A lot of guys call hertheir best friend.” Her cousin Kai writes music, and that is all she wants todo. He is a stoner, full of youthful energy and that illusion of invincibilitythat young people often have. He is kind, but reckless- we learn that he has beenpulled over by a cop for having a marijuana pipe on his dashboard, andexplained that maybe reality is just a simulation. He believes- reallybelieves, that without fear holding us back, we can unlock more than just 10%of our minds, and fly. In fact, he’s working on it.

We then meet Emma (Adina Verson). She is anew student at the Blue Mountain School, fast friends with Emily, charged totour her around the school, etc. Abigail loves her- she is the type of girl Abigailwishes she could be. Kai, too, is taken with her. They begin to date, and Emmabecomes accepted as a part of the Naiman Clan. The family continues rompingthrough music nights, and days at the Blue Mountain School. The surface ispeaceful as it has been, but Kai grows distant. A sign comes to him- a Heron fliesup in the woods while him and Emma are out for the night. Kai hears the voiceof God. He is slipping away- missing school, disappearing days at a time.

Emma voices concern to Mary, who islooking after her as a surrogate mother when her father moves for businessleaving her to finish off the year. Mary assures her that Kai is changing- andthat change is natural. His disappearances grow longer and longer. One day, Kaifinally meets the Angel (Zach McNally). This is told through an intense,heart-shaking song, where Kai voices his fear of the Angel. Death, the angel tellshim, is liberation from fear, so there is no death. The music swells to itshighest intensity. Kai cuts Emma’s throat. END OF ACT ONE. If this show evercomes back you WILL spend the whole intermission entirely speechless.

In Act Two, everything crumbles. Abigailrecalls how the school was brought together, told that Kai was sick, and Emmahad died. They held a memorial where they walked through the woods, and sang asong for Emma which Kai wrote. When Abigail’s singing teacher, Sue, comes to comforther, it clicks in her mind that she hates her.

Next, hermother falls violently ill, and her father tries to convince her that it is allin her head. The nurses believe her father does not want her mother to get well.Soon, she catches him on the phone with Sue- he is her mistress. He beginsspeaking to Abigail with delusions of grandeur, that perhaps he is some kind ofchosen one or god. She reaches out to Mary, but Mary is plunged into a distantgrief and guilt. The school closes down. Phoebe and Amber are pitted againsteach other- Phoebe believing that the closing of the school ruined Sherrill’slife, Amber rushing to Mary’s side. Kai is in prison.

Abigail’s happiness is distant- it comesto her when she leaves her family for school and rebuilds her life. She meetsShaun and he completes her. She feels safe with him. He offers his arms forsupport. They marry in three weeks, and her new life begins. The two have a son-Louie. Abigail wonders how she might help heal her family for this future. Herand Shaun investigate in part three, the interviews.

In this part, we finally learn whathappened with Kai from Amber and Mary. It was a drug-induced psychotic break. Whenthey first visited him, he broke down in animalistic sobs in his mother’s armswhen he found out that what happened really happened. Amber and Mary both struggleto be there as a sister and mother, coping with the lost of Emma who was practicallyfamily to them. We hear from Emily, who no longer speaks to Kai, and from Sherrill,from Tom. Abigail is the only one who speaks to everyone. From Emily, wediscover that Kai is married, and she didn’t even know until she ran into Amberand Mary by chance. Last, we meet Kai. He is out of seventeen years of prisonand rehabilitation. He has recovered, living off the grid with a wife and a newbaby. Little by little, he is rebuilding his life, despite the guilt- which heknows he can never be free of- he doesn’t deserve it. Abigail proposes bringingthe family back together. They are hesitant. Nevertheless, Abigail and Shaunlook towards some kind of uncertain future, and sing together- “the Lucky Ones.”

[moodboardinthecloud]

Abigail and Shaun Bengson, a married pair of singer-songwriters who’ve turned their personal stories into theater, most recently in “The Lucky Ones.”Credit...Annie Tritt for The New York Times

[breakingbuzz]

‘The Keep Going Song’ Review: The Music of Faith Under Quarantine

By BY BEN BRANTLEY This streaming piece by Abigail and Shaun Bengson translates the agonies and ecstasies of lockdown into a cosmic hootenanny at his folks’ house. Published: August 17, 2020 at 08:45PM from NYT Theater https://ift.tt/2Q1MbBy via

[shadowybouquetnacho1233]

‘The Keep Going Song’ Review: The Music of Faith Under Quarantine

By BY BEN BRANTLEY This streaming piece by Abigail and Shaun Bengson translates the agonies and ecstasies of lockdown into a cosmic hootenanny at his folks’ house. Published: August 17, 2020 at 12:45PM from NYT Theater https://ift.tt/2Q1MbBy via Funny Dog Video 2020

[newsrustcom]

Review: Waltzing With Love and Death in ‘Hundred Days’

Photo

Shaun Bengson, left, and Abigail Bengson in “Hundred Days” at the New York Theater Workshop, a musical that charts the couple’s up-down-and-up-again relationship. Credit Sara Krulwich/The New York Times

“Hundred Days,” the luminous musical memoir by the Bengsonsand Sarah Gancher, is an everyday horror story with a very provisional happy ending —…

[newyorktheater]

President Donald Trump’s 2019 budget proposes ELIMINATING the National Endowment for the Arts, the National Endowment for the Humanities and the Corporation for Public Broadcasting.

(To send a letter of protest to your Congressman, and other suggested actions, click here)

My Fair Lady, Lincoln Center

Pygmalion, Bedlam

The Body in the World, MTC

Relevance MCC

THE B-SIDE: “Negro Folklore from Texas State Prisons” A Record Album Interpretation, The Wooster Group

Amy and the Orphans, Roundabout

Feeding the Dragon, Primary

A few days earlier, the NEA announced grants of $24 million (full list here), including some three million dollars for 149 theaters, dozens of which are located in New York City, for shows such as the ones above.

To give a sense of what the NEA does, below is a list of those New York theaters and what the money is for. The grants range from Bedlam’s production of George Bernard Shaw’s Pygmalion ($10,000) to Lincoln Center’s production of My Fair Lady ($35,000) which is based on Shaw’s Pygmalion.

Bedlam Inc. $10,000 to support a production of George Bernard Shaw’s “Pygmalion.”

Cherry Lane Theatre, $15,000 to support revival productions of “First Love” by Charles Mee and “The Man Who Had Three Arms” by Edward Albee.

The Civilians, $10,000 to support the development and premiere of “School Project” by Ethan Lipton and directed by Steve Cosson.

Classical Theatre of Harlem, $20,000 to support the annual Uptown Shakespeare in the Park performances.

Clubbed Thumb, $15,000 to support the annual festival of new plays Summerworks 2018.

Creative Ammo, $10,000 to support the Theater @ Downtown Urban Arts Festival.

Ensemble Studio Theatre, $10,000 to support a production of “Against the Hillside” by Sylvia Khoury.

Ping Chong Company, $25,000 to support the development and presentation of a new work in Ping Chong + Company’s community engaged Undesirable Elements series.

The Acting Company, $10,000 to support the commission and tour of new plays.

HERE, $40,000 to support the HERE Artist Residency Program for midcareer performing and visual artists.

Lark Theatre Company, $30,000 to support the Open Access Program, a play scouting initiative that supports writers and new play development.

Mabou Mines, $20,000 to support the creation of the “Vicksburg Project,” a song cycle performance by Eve Beglarian and Karen Kandel.

MCC Theater, $25,000 to support the premiere of “Relevance” by J.C. Lee, directed by Liesl Tommy.

MTC, $30,000 to support the New York premiere of Eve Ensler’s “In the Body of the World.”

New 42nd Street, Inc, $25,000 to support a series of presentations of theater for young audiences at the New Victory Theater

New Dramatists, $80,000 to support the Playwrights Lab

The New Group, $10,000 to support New Group/ New Works, a play and musical development program.

New York Classical Theatre, $15,000 to support a production of William Shakespeare’s “King Lear” in public parks throughout New York City.

New York Theatre Workshop,$40,000 to support the world premiere production of “An Ordinary Muslim” by Hammaad Chaudry, directed by Jo Bonney.

Playwrights Horizons, $45,000 to support the world premiere production of “Dance Nation,” a new play by Clare Barron

Pregones Touring Puerto Rican Theatre Collection,$20,000, to support the development of “Tito & the Cement Pagoda,” a new play with live music developed by Jorge B. Merced and Desmar Guevara, and to conduct related outreach activities.

Primary Stages, $25,000 to support the New York premiere of “Feeding the Dragon,” a new play by Sharon Washington.

Ripe Time, $10,000 to support a touring production of “Sleep,” an original theatrical work inspired by the short story by Haruki Murakami.

Roundabout Theatre Company, $20,000 to support the world premiere of “Amy and the Orphans,” a new play by Lindsey Ferrentino.

SITI Company, $20,000 to support SITI Work/Space, a new model for creating work as an ensemble, which will support the creation of new theater pieces.

Signature Theatre Company,$50,000 to support a production of “Paradise Blue” by Dominique Morisseau.

St. Ann’s Warehouse, $40,000 to support the development and production of new theater works.

Theater Breaking Through Barriers, $10,000 to support the development and a production of a new play by Bekah Brunstetter.

New Georges, $15,000 to support the Audrey Residencies, a new play and artist development program at New Georges.

Wooster Group, $20,000 to support the creation and presentation of “The B-Side: Negro Folklore from Texas State Prisons, a Record Album Interpretation.”

Musical theater

Amas Musical Theatre, $10,000 to support the development of new musicals through readings and workshops.

Ars Nova, $15,000 to support the premiere of “The Lucky Ones,” by married duo Abigail and Shaun Bengson.

Atlantic Theater, $30,000 to support the premiere of “This Ain’t No Disco,” by Peter Yanowitz and Stephen Trask

National Alliance for Musical Theatre, Inc. (aka NAMT) $60,000 to support the annual Festival of New Musicals and fall conference.

Pipeline Theatre Company, $10,000 to support the world premiere production of “Folk Wandering,” a new folk musical conceived by Jaclyn Backhaus and Andrew Neisler.

Prospect Theater Company, $10,000 to support the development and world premiere production of “One Thousand Nights and One Day,” a new musical with book and lyrics by Jason Grote and music by Marisa Michelson.

Vineyard Theatre, $25,000 to support the world premiere production of “The Beast in the Jungle,” a new musical with book by David Thompson and music by John Kander, directed and choreographed by Susan Stroman.

Lincoln Center Theater, $35,000 to support a revival of “My Fair Lady” by Alan Jay Lerner and Frederick Loewe at Lincoln Center Theater

NEA Gives Grants to Dozens of NYC Theaters. Then Trump Proposes Eliminating It President Donald Trump's 2019 budget proposes ELIMINATING the National Endowment for the Arts, the National Endowment for the Humanities and the Corporation for Public Broadcasting.

[meandmypagancrew]

“What becomes of girl and boy? Does girl overcome her fear? Does boy die? Well, boy will die one day — girl, too — but the existence of Hundred Days is proof that the Bengsons made it. No — are making it, day by day, step by step, through sickness, health, suffering, sadness, salt, and snow. Listening to their raw, celebratory songs echo against the brick walls, as lighting designer Andrew Hungerford’s gorgeous array of starry light bulbs glimmered overhead, I heard lines from my favorite poem running through my head: “We must risk delight … We must admit there will be music despite everything.””

-Sara Holdren

[frontmezzjunkies]

NYTW's Hundred Days: To The Band's Play, We Say "Yes"

#frontmezzjunkies reviews: @HundredDaysNY #hundreddays @nytw79 @TheBengsons

Dani Markham, Abigail Bengson, Colette Alexander,, Shaun Bengson, Jo Lampert. All photos by Joan Marcus. NYTW’s Hundred Days: To The Band’s Play, We Say “Yes”

By Ross

The set-up is familiar. When we arrive, it feels like we have all come together to hear a band play, rather than to hear a band’s play. Let alone, a play told by a band that starts and ends with talk about a wedding. But that’s not…