#Lily Riopelle

[writemarcus]

Gingold Theatrical Group to Present SPEAKERS' CORNER New Play Development Workshops

Featuring: Karma Sutra Chai Tea Latte, Vigil-Aunties, There Goes The Neighborhood, and Howl From Up High.

by Chloe Rabinowitz May. 18, 2022  

Gingold Theatrical Group, now in its 17th Season, is continuing its new play development with the Plays-In-Progress AEA-approved Showcases of this year's SPEAKER'S CORNER Writers Group. This season, writers Aeneas Sagar Hemphill, Divya Mangwani, Marcus Scott and Mallory Jane Weiss are developing works in response to prompts from the revolutionary activist humanitarian writings and precepts of George Bernard Shaw. These Actors Equity Association approved 29-hour workshops culminate with a presentation as an opportunity for each playwright to assess where they are with their work and to determine the next steps to be taken. These invitation-only presentations will take place at ART-NY Studios (520 8th Avenue). Space for each final presentation is extremely limited and reservations must be made, so to request the opportunity to attend any of these events please email info@gingoldgroup.org This year's showcases will be:

Howl From Up High

by Mallory Jane Weiss, Directed by Lily Riopelle Thursday May 19th at 6pm Purva Bedi, Tori Ernst, Jacqueline Guillen, Sarah Rose Kearns, Adam Langdon, Collin McConnell; Assistant Director, Margaret Lee

Vigil-Aunties

by Divya Mangwani, Directed by Arpita Mukherjee Friday May 20th at 7pm Anya Banerji, Aadya Bedi, Sayali Niranjan Bramhe, Rahoul Roy, Mahima Saigal, Salma Shaw, and Rita Wolf; Assistant Director, Sara Vishnev

There Goes The Neighborhood

by Marcus Scott, Directed by Dev Bondarin Friday June 3rd at 7pm Phillip Burke, Shavanna Calder, Anthony Goss, Ashley Jossell, Olivia Kinter, Monique Robinson, David Rowen, Cliff Sellers; Stage Manager Elliot J. Cohen.

Karma Sutra Chai Tea Latte

by Aeneas Hemphill, Directed by Arpita Mukherjee, Monday June 6th at 2pm Shawn, Jain, Sean Devare, Salma Shaw, Khyati Sehgal, Mahima Saigal; Stage Manager Elliot J. Cohen

"Among the many programs we've developed over the last 17 years, developing new plays with the intent to produce and publish, has always been the most ambitious dream of all of us at Gingold. While we continue to produce our annual full off-Broadway productions of plays by George Bernard Shaw, we plan to add at least one new play to our schedule to share with our devoted patrons," said David Staller. Named after the corner of London's Hyde Park where George Bernard Shaw and other political speakers have delivered speeches since 1855, GTG's SPEAKERS' CORNER brings together six to ten writers each year who will spend the year exploring a specific Shaw play and writing individual new plays in response to that text and Shaw's forward thinking humanitarian ideals. Speakers' Corner members meet bi-monthly, and GTG will host showings of the works that Speakers' Corner develops at the end of the season. The group's members were identified through an open application process under the guidance of Becker, GTG Artistic Director David Staller, and this season's Speakers' Corner Readers and Advisory Committee: Ilana Becker, Stephen Brown-Fried, Ralph B. Peña, Daphne Rubin-Vega, Sharon Washington, along with Speakers' Corne alumni Hank Kim, and Lorenzo Roberts.

WRITERS:

Aeneas Sagar Hemphill (he/him) is an Indian-American playwright and screenwriter based in NYC and DC. Weaving through many genres, his work builds new worlds to illuminate our own, investigating the ghosts that haunt our lives and communities with passion, pathos, and humor. He was a 2019 Resident Artist with Monson Arts Center and 2017-2018 Playlab fellow at Pipeline Theatre, as well as semi-finalist for the 2019 Princess Grace Award, semi-finalist for the 2019 Mabou Mines Resident Artist Program, and finalist for the 2017 Many Voices Fellowship. His plays include: Black Hollow (Argo Collective, Dreamscape Theatre), The Troll King (Pipeline), Childhood Songs (Monson Arts), The Republic of Janet & Arthur (Amios), The Red Balloon (Noor Theatre), A Stitch Here or There (DarkHorse Dramatists, Slingshot Theatre), A Horse and a Housecat (Slingshot Theatre). MFA Playwriting, Columbia University. Divya Mangwani is a writer and theatre artist from Pune, India, based in New York. She examines the absurdities of the social, political and mythical. Her work focuses on global identity and belonging. Divya was the founder and Artistic Director of Moonbeam Factory Theatre, where she wrote, directed, and produced plays in India, Singapore and Glasgow. In New York, she has developed work with UNICEF, Soho Rep, New York Theatre Workshop, Gingold Theatrical Group, Rattlestick Theatre, Mabou Mines, Hypokrit Theatre, The Flea, Project Y, Pipeline Theatre, Rising Sun, and Governors Island. Divya is a recent fellow of the Soho Rep Writer/Director Lab and the Gingold Theatrical Group Speakers Corner and was a NYTW 2050 Artistic Fellow, Hypokrit Theatre Tamasha playwright, Project Y Writers Group and Playlab fellow at Pipeline Theatre. Divya has also worked as a journalist and editor at The Times of India, ESPN, Crisis Response Journal, and Daily News & Analysis. Marcus Scott is a dramatist & journalist. Selected work includes Tumbleweed (finalist for the 2017 Bay Area Playwrights Festival; semifinalist for the 2022 Eugene O'Neill Theater Center National Playwrights Conference, the 2022 Blue Ink Playwriting Award & the 2017 New Dramatists Princess Grace Fellowship Award), Sibling Rivalries (finalist for the 2021 Seven Devils Playwrights Conference; semi-finalist for the 2022 Lanford Wilson New American Play Festival, the 2021 Blue Ink Playwriting Award & the 2021 New Dramatists Princess Grace Fellowship Award) and Cherry Bomb (recipient of the 2017 Drama League First Stage Artist-In-Residence). He was commissioned by Heartbeat Opera to adapt Beethoven's Fidelio (Librettist/Co-writer; The Met Museum; NY Times Critic's Pick). Recently developed at Gingold Theatrical Group (Speaker's Corner), Zoetic Stage (Finstrom Festival Of New Work), Queens Theatre (New American Voices series) and The Road Theatre Company's Under Construction 3 Playwrights Group and Cohort 2 of the Southern Black Playwrights Lab at the Mojoaa Performing Arts Company. Scott is a 2021 NYSAF Founders' Award finalist and a 2021 Doric Wilson Independent Playwright Award semi-finalist. His articles appeared in Architectural Digest, Time Out New York, American Theatre Magazine, Playbill, Elle, Out, Essence, The Brooklyn Rail, among others. MFA: GMTWP, NYU Tisch. Mallory Jane Weiss's plays include Big Black Sunhats (The O'Neill National Playwrights Conference 2022; Clubbed Thumb Biennial Commission finalist 2020), Lights Out and Away We Go (Clubbed Thumb reading June 2022), The Page Turners (The O'Neill National Playwrights Conference finalist 2021), Pony Up (Princess Grace Finalist 2019; SPACE on Ryder Farm semi-finalist 2020), Howl From Up High (in development with Gingold Theatrical Group), Evermore Unrest (Red Bull Short New Play Festival 2020), Dave and Julia are stuck in a tree (Playing on Air's James Stevenson Prize 2020), and Losing You, Which Is Enough (workshop readings at The Lark and Cherry Lane Theatre). She is a member of Clubbed Thumb's Early Career Writers' Group (2021-2022), The COOP's Clusterf**k vol. 2 (2021), Gingold Theatrical Group's Speakers Corner, and Fresh Ground Pepper's BRB Retreat (2019). Mallory earned her B.A. from Harvard University and her M.F.A. in playwriting from The New School. She also works as a Senior Writer for Ethena, where she creates harassment-prevention training in the form of short-form articles, graphic novels, audio plays, and more. In addition to Speakers' Corner, GTG's on-going play development also includes PRESS CUTTINGS, which, in recognition of Shaw's career as a theatre critic, supports the development of new plays written by theatre journalists. Press Cuttings has commissioned new plays by Jeremy McCarter, Robert Simonson, and David Cote, and, in June of 2017, presented an AEA workshop of David Cote's Otherland directed by May Adrales. This fall, GTG returned to live, in person performance with the acclaimed revival of Bernard Shaw's Mrs. Warren's Profession starring Robert Cuccioli, David Lee Huynh, Alvin Keith, Nicole King, Raphael Nash Thompson, and Tony® Award winner Karen Ziemba as Mrs. Warren, which recently completed its acclaimed Off-Broadway engagement at Theatre Row, directed by David Staller. Terry Teachout, reviewing Mrs. Warren's Profession in The Wall Street Journal, declared "Mr. Staller, who knows everything there is to know about Shaw, has not only staged the play but edited the text with his accustomed skill. All the more reason, then, to praise David Staller, the artistic director of Project Shaw, a long-running series of semi-staged concert readings of the playwright's 60-odd shows. In addition to Project Shaw, Mr. Staller's Gingold Theatrical Group presented fully staged small-scale off-Broadway versions of Heartbreak House in 2018 and Caesar and Cleopatra in 2019, and now they're doing Mrs. Warren's Profession. The production is completely satisfying... Sprinkled with tart, school-of-Wilde epigrams ('There are no secrets better kept than the secrets everybody guesses') and overflowing with glittering talk, it's a foolproof vehicle for six accomplished actors and a director who, like Mr. Staller, knows better than to let the play become a static chat-fest. Instead, he keeps the actors moving and the pace brisk, and the results are immensely pleasurable." GINGOLD THEATRICAL GROUP creates theater that supports human rights, freedom of speech, and individual liberty using the work of George Bernard Shaw as our guide. All of GTG's programs are inspired by Shaw's humanitarian values. Through full productions, staged readings, new play development, and inner-city educational programs, GTG brings Shavian precepts to audiences and artists across New York, encouraging individuals to breathe Shaw's humanist ideals into their contributions for the future. Shaw created plays to inspire peaceful discussion and activism and that is what GTG aims to accomplish. GTG's past productions include Man and Superman (2012), You Never Can Tell (2013), Major Barbara (2014), Widowers' Houses (2016), Heartbreak House (2018), and Caesar & Cleopatra (2019). Founded in 2006 by David Staller, GTG has carved a permanent niche for the work of George Bernard Shaw within the social and cultural life of New York City, and, through the Project Shaw reading series, made history in 2009 as the first company ever to present performances of every one of Shaw's 65 plays (including full-length works, one-acts and sketches). GTG brings together performers, critics, students, academics and the general public with the opportunity to explore and perform theatrical work inspired by the humanitarian and activist values that Shaw championed. All comedies, these plays boldly exhibit the insight, wit, passion and all-encompassing socio-political focus that distinguished Shaw as one of the most inventive and incisive writers of all time. Through performances, symposiums, new play development, and outreach, as well as through our discussion groups and partnerships with schools including SUNY Stony Brook, Regis, the De La Salle Academy, and The Broome Street Academy, GTG has helped spark a renewed interest in Shaw across the country, and a bold interest in theater as activism. Young people are particularly inspired by Shaw's invocation to challenge the strictures society imposes, to embrace the power of the individual, to make bold personal choices and to take responsibility for these choices. GTG's new play development lab, Speakers' Corner, created to support playwrights inspired by Shaw's ideals, is now in its second cycle. Through monthly prompts and feedback, writers develop work inspired by or in response to a specific Shaw text. Plays developed through Speakers' Corner will be nurtured in workshops and readings with the expectation that GTG will publish or produce them. GTG encourages all people to rejoice in the possibilities of the future. All of GTG's programming is designed to inspire lively discussion and peaceful activism with issues related to human rights, the freedom of speech, and individual liberty. This was the purpose behind all of Shaw's work and why GTG chose him as the guide toward helping create a more tolerant and inclusive world through the exploration of the Arts. For more information about the Workshops or any of Gingold Theatrical Group's projects, please call 212-355-7823, email info@gingoldgroup.org, or visit online at www.gingoldgroup.org.

[art-now-france]

Mes Nympheas, 33, Joelle Kem Lika

To paint water lilies in 2015 ?? I have been longing to meet Claude Monet for a long time, by this dialogue between painters that has been going on for... a long time... Monet has created this work of art surprising by the modernity of its volume, Monet as the precursor to monumental art works, but also by the way he shaped his increasingly abstract flowers, the harmony of the colours... the choice to abandon the structuring logics of landscape painting... announcing impressionism. Realism and abstraction... In his time, Monet used to dialogue with Jongkind, Bourdin, his elders... And also Courbet, Manet... Courbet used to hate idealism. « Because the ideal, according to him, is far poorer, far less vast, far less mysterious than reality. » (text by Yvon Taillandier in his book : Monet) My search between abstract and figurative-realism has led me to create an accessible kind of abstraction, full of possibilities, thanks to a little figurative «key», inspired by the realism of a water lily... Monet has inspired a whole generation of painters such as Jackson Pollock, Joan Mitchell, Jean Paul Riopelle, Sam Francis. Each one of them moves me, profoundly... I love Pollock’s work, the freedom of his movement, his will to exceed the limits of the frame, Riopelle and his overlapping colours a contemporary vibration and impressionism, Mitchell and her completely abstract paintings, so full of vivid colours... the pure abstraction of Sam Francis, and Jenkins... When contemporary art is recognized by its provocative quality, I want to take a different path that leads, not to construction, structuring, nor to destruction or destructuring, but to feeling our « pulse of life », in our bodies, reconnect this inner source. To feel the link between the beauty of nature, the strength of the living energy, and our lives, our bodies,. A planet like a big body, a common emotion and sensuality. With these paintings, I would like to draw the viewer towards the beauty of real nature, magnificent and so close, all the time, in every context, ocean, forest, field, flowers, rivers, mountains... that needs nothing else but a benevolent and admiring eye. I enjoy approaching the theme of these flowers, in my work with trowels, knives, and other tools created for the occasion... my search for matter effects... of transparencies, light... I have worked with a harmony of colours composed of blues, yellows, greens, turquoises, violets, contemporary and gay, lively... close to Nature. And played with the reflections, the shadows. I love to start off with the beauty of Nature, real, and to let inspiration come to me... an inner vision, that guides my movements. My work on water lilies has procured me great pleasure : to create abstract paintings, and to open a gate to a whole imaginary world... Are we in a blue jungle, on a river bank, a lake... under trees and reflections of the sun... ??? Surprised at first, every viewer travels as he pleases and remains contemplative, calm, peaceful, joyous... The meaning I want to give to my paintings... : to testify of the threatened beauty of our planet… We can generate a new world, new relationships… a new consciousness of being, in order to change the vicious circle of destruction in which we are… I believe there is a whole part of humanity who want to fight to save our planet, and to build in stead of destroying... I have been surprised to read the following in the dictionary of symbols : « A big lotus brought out of the essential waters is the cradle of the sun in the first morning. Opening their corolla at dawn and closing it in the evening, the white water lilies, to the Egyptians, concretized the birth of the world from the wet. » In India, water lilies also represent the beauty of Life, searching the light of the sun, born in the rich mud at the bottom of the water... Even if we wade in the mud of our human meanders, we can feel the richness of our pulse of life, in the bottom of our hearts, and choose to live it, to express it, to let it get the upper hand over our death pulse... Surviving... is exhausting, and doesn’t lead any where... I choose to paint the pulse of life, Eros rather than Thanatos... I would like my water lilies to tempt people who contemplate them to dive into peace, beauty, and so finding a kind of resource of natural tenderness and strength, this pulse of life that is present inside all of us, in each flower, each grain of sand, each drop of water, for what we need to do : to reveal ourselves alive, and change every thing. To abandon constraints, to believe in Life... to believe in the butterfly effect, there are already many people on earth who believe in Life... and fight for Life... I love to believe that we can create a force of Life... stronger than anything else.

https://www.saatchiart.com/art/Painting-Mes-Nympheas-33/718590/3257592/view

[theatredirectors]

268 Directors and the end of the blog

This post marks the end of the Ask a Director experiment. I’m so grateful to all who have contributed, supported and engaged with it over the past six and a half years. 

This blog was started at a time when I felt incredibly alone in the directing field. I had always been taught that a director operates solo, that it was a lonely career and above all, it was based on scarcity. This was a style of working and living that didn't fit for me. I wanted to talk to other directors about their practice and thoughts about the field, both national and international. This blog was started as a way to connect, to uplift other directors and to create a conversation about the changing field and practices. 

It's surpassed all of these goals and brought me more joy than I can name. 

I'm now at a moment where my practice and advocacy are taking different and exciting paths and it's time for me to put this site to bed. I remain committed to uplifting other directors, to talking about the practice, to flattening hierarchies, to opening doors for new ways of working, and leading rehearsal rooms, companies, and classrooms away from silos and vacuums. Featuring these 268 different directors was just the beginning. 

I encourage you all to hire them (and others), advocate for them (and others) and choose to work in a system that values connection and generosity. 

Abhishek Majumdar

Adam Fitzgerald

Alice Stanley

Aliza Shane

Amanda McRaven

Amy Corcoran

Amy Jephta

Anisa George

Ana Margineau

Andrew Scoville

Anna Stromberg

Anne Cecelia Haney

Ariel Francoeur

Arpita Mukherjee

Ashley Hollingshead

Ashley Marinaccio

Andrew Neisler

Beng Oh

Ben Randle

Ben Stockman

Benjamin Kamine

Beth Lopes

Bo Powell

Bogdan Georgescu

Bonnie Gabel

Brandon Ivie

Brandon Woolf

Brian Hashimoto

Cait Robinson

Caitlin Ryan O’Connell

Caitlin Sullivan

Catie Davis

Cara Phipps

Carol Ann Tan

Carsen Joenk

Chari Arespacochaga

Cheryl Faraone

Chloe Treat

Christin Eve Cato

Christine Zagrobelny

Christopher Diercksen

Colette Robert

Colleen Hughes

Cyndy Marion

Dado Gyure

Dan Rothenberg

Daniel Irizarry

Danielle Ozymandias

Danny Sharon

Dara Malina

David Charles

Dennis Yueh-Yeh Li

Derek Spencer 

Donald Brenner

Doug Oliphant

Eamon Boylan

Elena Araoz

Emily Lyons

Emma Miller

Eric Kildow

Eric Wallach

Eric Powell Holm

Estefania Fadul

Evelina Stampa

Evren Odcikin

Evi Stamatiou

Francesca Montanile Lyons

Gabriel Vega Weissman

Gian Marco Riccardo Lo Forte 

Graham Schmidt

Gregg Wiggans

Hannah Ryan

Hannah Wolf

Heather Bagnall

Horia Suru

Ilana Becker

Ilana Ransom Toeplitz

Illana Stein

Ioanna Katsarou

Ioli Andreadi

Irina Abraham Chigiryov

Iris Sowlat

Isaac Klein

J Paul Nicholas

Jack Tamburri

Jaclyn Biskup

Jacob Basri

Jake Beckhard

Jaki Bradley

Jamie Watkins

Javier Molina

Jay Stern

Jay Stull

Jenna Rossman

Jenna Worsham

Jennifer Chambers

Jenny Bennett

Jenny Reed

Jeremy Bloom

Jeremy Pickard

Jerrell Henderson

Jess Hutchinson

Jess Shoemaker

Jesse Jou

Jessi D Hill

Jessica Burr

Jessica Holt

Jillian Carucci

Joanne Zipay

Jo Cattell

John Michael Diresta

John Kurzynowski

Joe Hedel

Jonathan Munoz-Proulx

Jose Zayas

Josh Kelley

Josh Sobel

Joshua Kahan Brody

Joshua William Gelb

Julia Sears

Justin Schlabach

Kareem Fahmy

Karen Christina Jones

Kate Bergstrom

Kate Hopkins

Kate Jopson

Kate Moore Heaney

Katherine M. Carter

Katherine Wilkinson

Kathy Gail MacGowan

Katie Chidester

Kendall Cornell 

Kendra Augustin

Kholoud Sawaf

Kimberly Faith Hickmann

Kim Weild

KJ Sanchez

Knud Adams

Kristin Marting

Kristin McCarthy Parker

Kristin Skye Hoffman

Kristy Chambrelli

Kristy Dodson

KT Shorb

Kyle Metzger

Kylie M. Brown

Larissa Fasthorse

Larissa Lury

Laura Brandel

Laura Steinroeder

Lauren Hlubny

Lauren Keating

Lavina Jadhwani

Jenn Haltman

Leta Tremblay

Lila Rachel Becker

Lillian Meredith

Lily Riopelle

Lindsey Hope Pearlman

Lisa Rothe

Lisa Sanaye Dring

Liz Thaler

Lori Wolter Hudson

Lucie Tiberghien

Luke Comer

Luke Tudball

Lyndsay Burch

Lynn Lammers

Mallory Catlett

Manon Manavit

Margarett Perry

Maridee Slater

Marina Bergenstock

Marti Lyons

Martin Jago

Matt Cosper

Matt Ritchey

Max Hunter

Megan Sandberg-Zakian

Megan Weaver

Meghan Finn

Melissa Crespo

Melody Erfani

Michael Alvarez

Michael T. Williams

Michaela Escarcega

Michelle Tattenbaum

Mimi Barcomi

Miranda Haymon

Molly Beach Murphy

Molly Clifford

Molly Noble

Morgan Gould

Morgan Green

Murielle Borst-Tarrant

Nana Dakin

Natalie Novacek

Neal Kowalsky

Nell Bang-Jensen

Nick Benacerraf

Noa Egozi

Norah Elges

Normandy Sherwood

Olivia Lilley

Orly Noa Rabinyan

Oscar Mendoza

Pablo Paz

Padraic Lillis 

Patrick Walsh

Pete Danelski

Pirronne Yousefzadeh

Portia Krieger

Rachel Karp

Rachel Wohlander

Randolph Curtis Rand

Raz Golden

Rebecca Cunningham

Rebecca Martinez

Rebecca Wear

Renee Phillippi

Renee Yeong

Rich Brown

Rick St. Peter

Robert Schneider

Ryan Anthony Nicotra

Sammi Cannold

Sammy Zeisel

Sanaz Ghajar

Sara Holdren

Sara Lyons

Sara Rademacher

Sarah Elizabeth Wansley

Sarah Hughes

Sarah M. Chichester

Sarah Rose Leonard

Sash Bischoff

Scarlett Kim

Seonjae Kim

Seth Pyatt

Sharifa Elkady

Shaun Patrick Tubbs

Sherri Eden Barber

Simon Hanukai

Sophia Watt

Suchan Vodoor

Stephen Cedars

Steven Kopp

Steven Wilson

Talya Klein

Tana Siros

Tara Ahmadinejad

Tara Cioletti

Tara Elliott

Tatiana Pandiani

Taylor Reynolds

TerryandtheCuz

Tommy Schoffler

Tracy Bersley

Trevor Biship

Tyler Mercer

Wednesday Sue Derrico

Will Dagger

Will Davis

Will Detlefsen

Will Steinberger

Yojiro Ichikawa

Yoni Oppenheim

Zi Alikhan

Zoya Kachardurian

[ivisitlondon]

iVisit... National Galley for Impressionist Decorations: The Birth of Modern Decor

IMPRESSIONIST DECORATIONS: THE BIRTH OF MODERN DÉCOR

11 September 2021 – 9 January 2022

Claude Monet, Water Lilies, 1908, Dallas Museum of Art, gift of the Meadows Foundation Incorporated; Edouard Manet, Jeanne (Spring), 1881 © The J Paul Getty Museum; Digital image courtesy of the Getty's Open Content Program 

Three of Monet’s most spectacular large paintings of water lilies will be brought together at the National Gallery in September 2021 in the first-ever exhibition of decorative arts by the Impressionist painters.  

In addition to including paintings on canvas, Impressionist Decorations: The Birth of Modern Décor will show how the Impressionists were interested in painting as decoration throughout their careers and made decorative panels, painted doors, tapestries, ceramics, fans, and in one instance, even a mirror frame. 

These artworks will be brought together from around the world in the first exhibition to focus on the intimate and elegant objects and the painted interiors that the Impressionists thought should enhance modern life. It will reveal a little-known yet enthralling aspect of the Impressionists’ work through a selection of pictures and rarely seen objects, from Pissarro’s small, delicate faience tiles to Monet’s spectacular Water lilies linked to the artist’s late, colossal Water Lilies cycle which he called his ‘grandes décorations.’  

Organised by the National Gallery and the Musées d’Orsay et de l’Orangerie, Paris, the exhibition will cover five decades of Impressionism, starting in the 1860s, when these young, striving artists started to engage with ornamental projects, until the 1920s – a journey through which they completely renewed the genre of decorative painting, while revitalising their art. 

The exhibition will feature more than eighty paintings and objects by Monet, Renoir, Pissarro, Morisot, Degas, Cassatt, Cézanne, Manet and Caillebotte, borrowed from major collections including the Musée d'Orsay, Paris, The J. Paul Getty Museum, Los Angeles, the Art Gallery of Ontario, Toronto, the Dallas Museum of Art and the Wadsworth Atheneum, Hartford – as well as important private collections on three different continents.

Visitors will be able to experience a largely unexplored facet of the Impressionists’ work; far less familiar than the bright, spontaneous plein-air (painted outdoors) canvases for which they are most celebrated today, but no less crucial for the development of their art. 

Late in life Degas confessed that ‘it had been [his] lifelong dream to paint walls.’ The exhibition shows how consistently the Impressionists produced ornamental paintings throughout their lives, often for specific interiors, sometimes on speculation: decorative schemes conceived to achieve visual harmony in intimate domestic spaces, whether for their own homes, or for those of their clients. 

Initially producing the works in the hope of earning a living, the Impressionists soon used them as a springboard for their careers, and through which they redefined the fundamental idea of decoration and the ‘decorative’. Experimenting with unusual formats and techniques, turning scenes from modern life and directly observed landscapes into décors - bringing nature indoors - they radically transformed decorative painting, while always striving for harmony and visual unity. Renoir’s conviction was that art is made, above all, to ‘brighten up the walls’. 

The exhibition will also be seen at the Musée d’Orsay, Paris (13 April – 1 August 2021).  

It is curated by Anne Robbins, Associate Curator of Post 1800 Paintings at the National Gallery; and Sylvie Patry, Director of Conservation and Collections at the Musée d'Orsay, Paris; with Christopher Riopelle, The Neil Westreich Curator of Post 1800 Paintings at the National Gallery.  

Exhibition organised by the National Gallery, London, and the Musées d’Orsay et de l’Orangerie, Paris

[wallpapernifty]

Here’s What People Are Saying About Peace Lily Watering | Peace Lily Watering

Bringing our burghal to your active room

While the city’s galleries are closed, we’re delving into the lives of London’s favourite artworks. We appetite to accompany you afterpiece to these masterpieces, with the advice of the experts and curators who apperceive added about them than most.

This anniversary it’s Claude Monet’s The Water-Lily Pond (Japanese Bridge), which can be apparent at the National Gallery.

“In the 1890s Claude Monet began to lay out a garden adjoining to his country abode at Giverny in Normandy, to the west of Paris,” says Christopher Riopelle, the National Gallery’s Neil Westreich Curator of Post 1800 Paintings. “It was the additional garden on the site. The first, abreast the house, consisted of rather academic annual beds in the French style. The new one, however, on the far ancillary of adjacent railroad tracks, would be far added informal, centring on a baby pond abounding with water-lilies, with irises in affluence on the banks and complaining willows overhead.

“At Monet’s direction, in 1895 the pond was traversed by an arching board footbridge in the Japanese style. (He was a agog beneficiary of Japanese prints.) This additional garden would be the armpit of Monet’s primary painting action for the blow of his activity absolute some 250 paintings, abounding on a awe-inspiring scale, as he depicted the clandestine paradise he had created beneath every action of ablaze and atmosphere and at every season.”

(The National Gallery, London)

“The paintings centred

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[twoheadedrep]

Announcing Our Fall 2017 Season!

We are thrilled to announce our next rep, coming to the Workshop Theater, November 4-18!

This fall, Two Headed Rep's pairing of plays find themselves in the workplace, inhabited by people who, every day, confront, consider, and carry out what's expected of them. What weighs on us when we're expected to do everything? What about when nothing is expected of us? And what do we do about the dog? Two Headed Rep asks these questions and more with their fall rep: a new adaptation of Miss Julie by Brittany Allen, Will Arbery, and Amanda Keating, and Reno & Moll, a new play written in response to Strindberg's classic by Emma Horwitz.

Reno & Moll

by Emma Horwitz directed by Lily Riopelle

In Reno & Moll, Harper has played the most beloved dog on children's TV for ten years. She knows her lines and she knows her choreography, she just doesn't know why she's still doing this job. Is it for the fans who adore her? Do they adore her or just her canine alter ego? And what's the difference anyway? When Harper's longtime co-star leaves the show, she wonders whether it might be time to make a change as well. But how do you change when you've played the same character for so long that you can't remember what it's like to be yourself?

Miss Julie

by August Strindberg adapted by Brittany Allen, Will Arbery, and Amanda Keating directed by Molly Clifford

To bring Miss Julie into the 21st century, Two Headed Rep has commissioned three writers to explore and adapt one character each from Strindberg's classic to form a new, singular work. This process mirrors the play itself: when three people, each practically on different planets, find themselves crowded in a single room, they insistently prod, occasionally torment, and, most importantly, desperately need each other. It's Halloween night in the break room of Count's Chicken, a fast food franchise in Corsicana, Texas. What Julie, Gene, and Krissy expect of themselves and each other drives them to questions they thought they'd never ask and choices they never thought they'd make.

[theatredirectors]

Lily Riopelle

Hometown?

NYC.

Where are you now? 

NYC. 

What's your current project?

Reno & Moll, a new play by Emma Horwitz about actors in long-running TV shows. The play is structurally and stylistically so fun – it jumps back and forth between the shows these women are/were on and their interactions in the green room, and it moves so quickly that these changes need to happen almost entirely through really abrupt shifts in the actors' voices and bodies – and it deals with big questions about how our work affects our sense of self over time. Emma wrote the play in response to Strindberg's Miss Julie, and my company Two Headed Rep is producing both plays this fall.

Why and how did you get into theatre?

Growing up, my family took me to the theatre a lot. I definitely always liked watching theatre, but I was a pretty athletic kid and didn't really see myself as the dramatic type. Then in fifth grade I fell down a flight of stairs while carrying a big pile of textbooks (for the record, I'm still this clumsy) and was pretty badly injured, so I couldn't play sports for a year and did a lot of thinking about what my actual interests were. The specifics here are a little fuzzy, but somehow I started acting in school plays (always playing the men), and spending a lot of time reading my way through the theatre section at Barnes and Noble (obviously I had a lot of friends), and also I got it in my head that I wanted to make Very Experimental Physical Theatre (?!). And around that same time, my younger brother started acting and dancing, and he was a really naturally talented performer. And seeing his talent made me realize I should stop wanting to be a performer and start wanting to be something I'd be better at, and somehow at the age of twelve or thirteen I decided I was a director, even though I definitely had no idea what that meant, really. And I'm a super stubborn person, so it stuck!

What is your directing dream project? 

This sounds kinda cheesy and fake but I swear it's true: any time I get to direct a play that I love with a cast and creative team that I love, it really feels like a dream project. I mean, I guess I do have this crazy idea about an adaptation of Mrs. Dalloway that takes place in two townhouses across the street from one another over the course of a whole day, but that's not even fully formed enough to qualify as a dream yet. (If you're reading this and you happen to have access to two townhouses across the street from each other and a gajillion dollars and this sounds like your jam, call me maybe?). Also this started as a joke, but I maybe want to make a trilogy of plays called Gym / Tan / Laundry?

What kind of theatre excites you? 

Lots of kinds! Plays that fill people with wonder and joy and social and political fire, rather than demoralizing them or telling them what they already know. Plays that embrace their limitations and make magic out of their constraints. Plays that were made by people who loved each other and the process of making something together so much that you can feel their love out in the house. Plays that borrow their structure from other live events: athletic competitions, or lectures, or yoga classes, etc. Plays that have a sense of humor about themselves and about the theatre in general. Plays with music. Plays whose form and content are related in smart and interesting ways.

What do you want to change about theatre today? 

I wish we were better at getting non-theatre people to come see our shows instead of staying home and watching TV. Don't get me wrong, I love TV, but I wish that going to the theatre was in the regular rotation for weeknight entertainment for a greater percentage of the population. I think a lot of that has to do with making the tickets cheap and the vibe casual and inviting and ideally offering people free booze/snacks/onsite childcare with the price of admission. 

I also wish institutions with lots of resources would produce more work that embraces aesthetic economy so that the people who see shows there might come to scrappier productions with lower budgets and see them as being the fullest expressions of a certain kind of theatricality, instead of viewing them as a cheaper alternative to the big-budget spectaculars they see at the fancier theatres.

What is your opinion on getting a directing MFA?  

I think there are lots of ways to work on your directing skills, and grad school is one of them! I don't have an MFA, and right now it's hard for me to imagine taking three years to get one, but I'm not opposed to the idea. If the timing worked out and I had a really clear sense of my goals for grad school, and I could get an MFA without getting myself into debt, I would certainly go. 

Who are your theatrical heroes?

Molly Clifford, who happens to be one of my best friends and also the co-Artistic Director of Two Headed Rep. She's one of the smartest and most dramaturgically rigorous directors I've ever known. She also has a deep and unapologetic appreciation for the dumb and funny and weird, and being her friend and collaborator has helped me tap into those qualities in my work. For that, I am super grateful. The designers I regularly collaborate with—Cate McCrea, Nicole Slaven, and Cheyenne Sykes—are all heroes and you should hire them for everything. They question my assumptions, ask the best questions, and produce beautiful, functional, totally inhabitable physical worlds. Anne Kauffman, whose work is so precise and also so full of heart, and who maximizes the storytelling potential of every single moment of stage time she has to work with.  She's also one of the warmest and most generous leaders I've ever watched run a rehearsal room – she's a master of putting people at ease so they can do the bravest and most vulnerable version of their work. 

Any advice for directors just starting out? 

1) Make friends who write plays that you love. Tell them you'd like to be there when they read their plays aloud in their living rooms. Offer to read stage directions! Bring wine and/or gummy candy and/or chocolate to these readings. Eventually you will be directing your new friends' plays!

2) If financial anxiety makes you a less productive artist, take a little while to experiment with your income sources to figure out what kinds of jobs a) pay you enough to live on and b) leave you some time to make the work you want to make. Sometimes (often!) you will have to focus more on your day job(s) than on your art, and you shouldn't beat yourself up about it. You're not a bad artist because you care about being able to pay for your necessities. (Side note: I think very few people are actually motivated to make great art by not knowing how they will pay rent, and we should all forget that the glamorous starving artist narrative ever existed because it's not doing anyone any good.)

3) Befriend other directors! There's this myth that directors are super solitary and competitive, but all my favorite directors have director pals. It's really nice to have someone you can call to talk through a problem you're having in pre-production or rehearsal, and it's really nice to have friends who are working toward similar goals so you can all celebrate each other's successes.

Plugs!

Come see Two Headed Rep's fall shows: Reno & Moll / Miss Julie – November 4-18 at the Workshop Theater's Jewel Box Theater! Head on over to twoheadedrep.com for tickets!

Also, check out my website! lilyriopelle.com.

Photo Credit: Ashley Garrett

[writemarcus]

SPEAKERS' CORNER New Play Development Plays-In-Progress 29-Hour Equity Workshops to Continue

Coming Up: Karma Sutra Chai Tea Latte by Aeneas Hemphill, Directed by Arpita Mukherjee; and There Goes The Neighborhood by Marcus Scott, Directed by Dev Bondarin.

by Chloe Rabinowitz May. 31, 2022  

Gingold Theatrical Group, now in its 17th Season, is continuing its new play development with the Plays-In-Progress AEA-approved Showcases of this year's SPEAKER'S CORNER Writers Group. This season, writers Aeneas Sagar Hemphill, Divya Mangwani, Marcus Scott and Mallory Jane Weiss are developing works in response to prompts from the revolutionary activist humanitarian writings and precepts of George Bernard Shaw. These Actors Equity Association approved 29-hour workshops culminate with a presentation as an opportunity for each playwright to assess where they are with their work and to determine the next steps to be taken. These invitation-only presentations will take place at ART-NY Studios (520 8th Avenue). Space for each final presentation is extremely limited and reservations must be made, so to request the opportunity to attend any of these events email info@gingoldgroup.org. This year's final two showcases will be:

There Goes The Neighborhood

by Marcus Scott, Directed by Dev Bondarin Friday June 3rd at 7pm Phillip Burke, Savanna Calder, Broderick Clavery, Anthony Godd, Ashley Jossell, Olivia Kinter, Monique Robinson, Cliff Sellers Stage Manager: Elliot J. Cohen.

Karma Sutra Chai Tea Latte

by Aeneas Hemphill, Directed by Arpita Mukherjee Sunday, June 5th at 5pm Rajesh Bose, Shawn Jain, Mahima Saigal, Salma Shaw, Khyati Sehgal, Imran Sheikh Assistant Director: Sarah Vishnev Stage Manager: Elliot J. Cohen

This season's two previous showcases, Vigil-Aunties by Divya Mangwani, directed by Arpita Mukherjee, and Howl From Up High by Mallory Jane Weiss, directed by Lily Riopelle, were held in May. "Among the many programs we've developed over the last 17 years, developing new plays with the intent to produce and publish, has always been the most ambitious dream of all of us at Gingold. While we continue to produce our annual full Off-Broadway productions of plays by George Bernard Shaw, we plan to add at least one new play to our schedule to share with our devoted patrons," said David Staller. Named after the corner of London's Hyde Park where George Bernard Shaw and other political speakers have delivered speeches since 1855, GTG's SPEAKERS' CORNER brings together six to ten writers each year who will spend the year exploring a specific Shaw play and writing individual new plays in response to that text and Shaw's forward thinking humanitarian ideals. Speakers' Corner members meet bi-monthly, and GTG will host showings of the works that Speakers' Corner develops at the end of the season. The group's members were identified through an open application process under the guidance of Becker, GTG Artistic Director David Staller, and this season's Speakers' Corner Readers and Advisory Committee: Ilana Becker, Stephen Brown-Fried, Ralph B. Peña, Daphne Rubin-Vega, Sharon Washington, along with Speakers' Corner alumni Hank Kim, and Lorenzo Roberts.

WRITERS:

Aeneas Sagar Hemphill (he/him) is an Indian-American playwright and screenwriter based in NYC and DC. Weaving through many genres, his work builds new worlds to illuminate our own, investigating the ghosts that haunt our lives and communities with passion, pathos, and humor. He was a 2019 Resident Artist with Monson Arts Center and 2017-2018 Playlab fellow at Pipeline Theatre, as well as semi-finalist for the 2019 Princess Grace Award, semi-finalist for the 2019 Mabou Mines Resident Artist Program, and finalist for the 2017 Many Voices Fellowship. His plays include: Black Hollow (Argo Collective, Dreamscape Theatre), The Troll King (Pipeline), Childhood Songs (Monson Arts), The Republic of Janet & Arthur (Amios), The Red Balloon (Noor Theatre), A Stitch Here or There (DarkHorse Dramatists, Slingshot Theatre), A Horse and a Housecat (Slingshot Theatre). MFA Playwriting, Columbia University. Marcus Scott is a dramatist & journalist. Selected work includes Tumbleweed (finalist for the 2017 Bay Area Playwrights Festival; semifinalist for the 2022 Eugene O'Neill Theater Center National Playwrights Conference, the 2022 Blue Ink Playwriting Award & the 2017 New Dramatists Princess Grace Fellowship Award), Sibling Rivalries (finalist for the 2021 Seven Devils Playwrights Conference; semi-finalist for the 2022 Lanford Wilson New American Play Festival, the 2021 Blue Ink Playwriting Award & the 2021 New Dramatists Princess Grace Fellowship Award) and Cherry Bomb (recipient of the 2017 Drama League First Stage Artist-In-Residence). He was commissioned by Heartbeat Opera to adapt Beethoven's Fidelio (Librettist/Co-writer; The Met Museum; NY Times Critic's Pick). Recently developed at Gingold Theatrical Group (Speaker's Corner), Zoetic Stage (Finstrom Festival Of New Work), Queens Theatre (New American Voices series) and The Road Theatre Company's Under Construction 3 Playwrights Group and Cohort 2 of the Southern Black Playwrights Lab at the Mojoaa Performing Arts Company. Scott is a 2021 NYSAF Founders' Award finalist and a 2021 Doric Wilson Independent Playwright Award semi-finalist. His articles appeared in Architectural Digest, Time Out New York, American Theatre Magazine, Playbill, Elle, Out, Essence, The Brooklyn Rail, among others. MFA: GMTWP, NYU Tisch. In addition to Speakers' Corner, GTG's on-going play development also includes PRESS CUTTINGS, which, in recognition of Shaw's career as a theatre critic, supports the development of new plays written by theatre journalists. Press Cuttings has commissioned new plays by Jeremy McCarter, Robert Simonson, and David Cote, and, in June of 2017, presented an AEA workshop of David Cote's Otherland directed by May Adrales. This fall, GTG returned to live, in person performance with the acclaimed revival of Bernard Shaw's Mrs. Warren's Profession starring Robert Cuccioli, David Lee Huynh, Alvin Keith, Nicole King, Raphael Nash Thompson, and Tony® Award winner Karen Ziemba as Mrs. Warren, which recently completed its acclaimed Off-Broadway engagement at Theatre Row, directed by David Staller. Terry Teachout, reviewing Mrs. Warren's Profession in The Wall Street Journal, declared "Mr. Staller, who knows everything there is to know about Shaw, has not only staged the play but edited the text with his accustomed skill. All the more reason, then, to praise David Staller, the artistic director of Project Shaw, a long-running series of semi-staged concert readings of the playwright's 60-odd shows. In addition to Project Shaw, Mr. Staller's Gingold Theatrical Group presented fully staged small-scale off-Broadway versions of Heartbreak House in 2018 and Caesar and Cleopatra in 2019, and now they're doing Mrs. Warren's Profession. The production is completely satisfying... Sprinkled with tart, school-of-Wilde epigrams ('There are no secrets better kept than the secrets everybody guesses') and overflowing with glittering talk, it's a foolproof vehicle for six accomplished actors and a director who, like Mr. Staller, knows better than to let the play become a static chat-fest. Instead, he keeps the actors moving and the pace brisk, and the results are immensely pleasurable." GINGOLD THEATRICAL GROUP creates theater that supports human rights, freedom of speech, and individual liberty using the work of George Bernard Shaw as our guide. All of GTG's programs are inspired by Shaw's humanitarian values. Through full productions, staged readings, new play development, and inner-city educational programs, GTG brings Shavian precepts to audiences and artists across New York, encouraging individuals to breathe Shaw's humanist ideals into their contributions for the future. Shaw created plays to inspire peaceful discussion and activism and that is what GTG aims to accomplish. GTG's past productions include Man and Superman (2012), You Never Can Tell (2013), Major Barbara (2014), Widowers' Houses (2016), Heartbreak House (2018), and Caesar & Cleopatra (2019). Founded in 2006 by David Staller, GTG has carved a permanent niche for the work of George Bernard Shaw within the social and cultural life of New York City, and, through the Project Shaw reading series, made history in 2009 as the first company ever to present performances of every one of Shaw's 65 plays (including full-length works, one-acts and sketches). GTG brings together performers, critics, students, academics and the general public with the opportunity to explore and perform theatrical work inspired by the humanitarian and activist values that Shaw championed. All comedies, these plays boldly exhibit the insight, wit, passion and all-encompassing socio-political focus that distinguished Shaw as one of the most inventive and incisive writers of all time. Through performances, symposiums, new play development, and outreach, as well as through our discussion groups and partnerships with schools including SUNY Stony Brook, Regis, the De La Salle Academy, and The Broome Street Academy, GTG has helped spark a renewed interest in Shaw across the country, and a bold interest in theater as activism. Young people are particularly inspired by Shaw's invocation to challenge the strictures society imposes, to embrace the power of the individual, to make bold personal choices and to take responsibility for these choices. GTG's new play development lab, Speakers' Corner, created to support playwrights inspired by Shaw's ideals, is now in its second cycle. Through monthly prompts and feedback, writers develop work inspired by or in response to a specific Shaw text. Plays developed through Speakers' Corner will be nurtured in workshops and readings with the expectation that GTG will publish or produce them. GTG encourages all people to rejoice in the possibilities of the future. All of GTG's programming is designed to inspire lively discussion and peaceful activism with issues related to human rights, the freedom of speech, and individual liberty. This was the purpose behind all of Shaw's work and why GTG chose him as the guide toward helping create a more tolerant and inclusive world through the exploration of the Arts. For more information about the Workshops or any of Gingold Theatrical Group's projects, please call 212-355-7823, email info@gingoldgroup.org, or visit online at www.gingoldgroup.org.

[theatredirectors]

Molly Clifford

Hometown?

Brooklyn, NY!

Where are you now? 

…Brooklyn, NY. 

What's your current project?

A new adaptation of Miss Julie created by the strange and brilliant minds of Brittany Allen, Will Arbery and Amanda Keating.  They’re all writing one of the three characters which is bonkers and so much fun because they’re all writing in response to each other on a big Google doc.  Watching them make it has been a private play just for me!

Why and how did you get into theatre?

My parents played lots of old musicals (like legit records) when I was a kid.  My brother could do the entirety of the Witch’s rap from Into The Woods by the time he was six and I was parading around singing Kiss Me Kate not much later.  So I guess I was always in theater...

What is your directing dream project?

I feel like it changes every few months.  Mostly it’s just about working with people I love.  I’m definitely fixating on Our Town at the moment.  My dad died last fall and it was his favorite play so it’d probably be an homage to him and realizing that I can’t get those days with him back.  I can’t really say I know what the production would look like but I sort of wonder if it would include La-Z-Boys…

What kind of theatre excites you? 

I like theater that makes me laugh and then makes me cry - so whatever does that.  I think I’ve got a bit of a dark sense of humor - I find funny in the tragic.  Also pretty much anything with awesome music.  I’m a sucker for kickin' transition music.

What do you want to change about theatre today?

I think more rehearsals should include brownies.

But really of the many many things I would change if I could (and someday will try to) is to make good theater more accessible to kids.  I grew up on Theaterworks USA productions and that has made ALL the difference.

What is your opinion on getting a directing MFA? 

I mean if they’d take me… I actually haven’t applied ever.  I think if you find the right program for you (aka no debt, shared artistic values, etc.) the opportunity to hone your craft for two or three years is valuable and like WHY NOT? That said, I haven’t tried to figure out if there’s a right program for me yet.

Who are your theatrical heroes? 

LILY RIOPELLE - my partner in producorial crime and a director who finds magic in every corner of a script.  She makes work that I never could - it’s sharp and theatrical and embraces the unreal in a way that is visceral and totally comprehensible (a super impressive combo in my opinion).  And she stages the sh*t out of everything she does.

AMANDA KEATING - my artistic soul mate (also the best roommate a girl could ask for) - an incredible writer who finds the profound in the mundane: a chemex, the early days of AIM, a movie theater on thanksgiving day.  Also reading her work legitimately makes me laugh out loud (and then usually cry).  She writes the most props into plays and while I give her a hard time about it as a producer, I love nothing more as a director.

Also Tim O’Brien. He’s not a theater person but I guess he’s still a theatrical hero for me. “In The Things They Carried” O’Brien talks about how lies can be closer to the reality of a moment than the truth itself. I remember my brain exploding when I read this and I try to always keep it in the back of my mind when I’m making a play.

Any advice for directors just starting out? 

I assisted for a while and it was incredibly valuable but as soon as I got the bug to venture forth on my own, I listened and that has made all the difference. I think it’s important to learn from people further along than you but if you stick around too long you’ll get resentful you’re not running the room! Go forth! Make your own stuff! And do it impulsively - we did the first Two Headed Rep shows with 3 months notice and just did it for as little money as possible and it was to this day one of my favorite life experiences.  We rehearsed in my apartment.  No one got paid.  But it was a process filled to the gils with excitement and joy.  And really, no one is ever going to get paid enough so there should always be excitement and joy.

Also don’t start a theater company unless you really want one.  IT TAKES OVER YOUR LIFE (in the best way).

Plugs!

Come see Two Headed Rep’s Reno & Moll // Miss Julie running Nov 4-18! Ticket are available at www.twoheadedrep.com. 

My website: https://www.mollyroseclifford.com

Photo by Ashley Garrett

[theatredirectors]

250 Directors

Abhishek Majumdar

Adam Fitzgerald

Alice Stanley

Amanda McRaven

Amy Corcoran

Amy Jephta

Anisa George

Ana Margineau

Andrew Scoville

Anna Stromberg

Anne Cecelia Haney

Ariel Francoeur

Arpita Mukherjee

Ashley Hollingshead

Ashley Marinaccio

Andrew Neisler

Beng Oh

Ben Randle

Ben Stockman

Benjamin Kamine

Beth Lopes

Bo Powell

Bogdan Georgescu

Bonnie Gabel

Brandon Ivie

Brandon Woolf

Brian Hashimoto

Cait Robinson

Caitlin Ryan O’Connell

Caitlin Sullivan

Catie Davis

Cara Phipps

Carol Ann Tan

Carsen Joenk

Chari Arespacochaga

Cheryl Faraone

Chloe Treat

Christin Eve Cato

Christine Zagrobelny

Christopher Diercksen

Colette Robert

Colleen Hughes

Dado Gyure

Daniel Irizarry

Danielle Ozymandias

Danny Sharon

Dara Malina

David Charles

Dennis Yueh-Yeh Li

Donald Brenner

Doug Oliphant

Eamon Boylan

Elena Araoz

Emily Lyons

Emma Miller

Eric Kildow

Eric Wallach

Eric Powell Holm

Estefania Fadul

Evelina Stampa

Evren Odcikin

Evi Stamatiou

Francesca Montanile Lyons

Gabriel Vega Weissman

Graham Schmidt

Gregg Wiggans

Hannah Ryan

Hannah Wolf

Heather Bagnall

Horia Suru

Ilana Becker

Ilana Ransom Toeplitz

Illana Stein

Ioanna Katsarou

Ioli Andreadi

Irina Abraham Chigiryov

Iris Sowlat

Isaac Klein

J Paul Nicholas

Jack Tamburri

Jaclyn Biskup

Jacob Basri

Jake Beckhard

Jaki Bradley

Jamie Watkins

Javier Molina

Jay Stern

Jay Stull

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Jenna Worsham

Jennifer Chambers

Jenny Bennett

Jenny Reed

Jeremy Bloom

Jeremy Pickard

Jerrell Henderson

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Jess Shoemaker

Jesse Jou

Jessi D Hill

Jessica Burr

Jessica Holt

Jillian Carucci

Joanne Zipay

Jo Cattell

John Michael Diresta

John Kurzynowski

Joe Hedel

Jonathan Munoz-Proulx

Jose Zayas

Josh Kelley

Josh Sobel

Joshua Kahan Brody

Joshua William Gelb

Julia Sears

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Karen Christina Jones

Kate Bergstrom

Kate Hopkins

Kate Jopson

Kate Moore Heaney

Katherine M. Carter

Katherine Wilkinson

Kathy Gail MacGowan

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Kendra Augustin

Kholoud Sawaf

Kimberly Faith Hickmann

Kim Weild

KJ Sanchez

Knud Adams

Kristin Marting

Kristin McCarthy Parker

Kristin Skye Hoffman

Kristy Chambrelli

Kristy Dodson

KT Shorb

Kyle Metzger

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Larissa Lury

Laura Brandel

Laura Steinroeder

Lauren Keating

Lavina Jadhwani

Jenn Haltman

Leta Tremblay

Lila Rachel Becker

Lillian Meredith

Lily Riopelle

Lindsey Hope Pearlman

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Liz Thaler

Lori Wolter Hudson

Lucie Tiberghien

Luke Comer

Luke Tudball

Lyndsay Burch

Lynn Lammers

Mallory Catlett

Manon Manavit

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Marina Bergenstock

Marti Lyons

Matt Cosper

Matt Ritchey

Megan Weaver

Melissa Crespo

Melody Erfani

Michael Alvarez

Michael T. Williams

Michelle Tattenbaum

Mimi Barcomi

Molly Beach Murphy

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Molly Noble

Morgan Gould

Morgan Green

Murielle Borst-Tarrant

Nana Dakin

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Nick Benacerraf

Noa Egozi

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TerryandtheCuz

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