#Peter Sinn Nachtrieb

[fuckyeahgreatplays]

What if this is it? What if I've set a series of events into motion that will doom me to be trapped forever in some desperate monotonous life and in my last breaths, when I look back at all the mistakes I've made, I'll remember this moment, now, as the moment I truly fucked it all up. And then I die.

boom

[larryland]

Barrington Stag Musical Theatre Lab Presents a Reading of “Fall Springs” (Pittsfield, MA)’s Barrington Stage Company Musical Theatre Lab (MTL), under the leadership of MTL Artistic Producer William Finn and Artistic Director Julianne Boyd, will present a reading of the new musical, …

[thetheateroffensiveblog-blog]

The TTO Reading List

I’ve been thinking a lot about the word “inaugural” recently, for probably obvious reasons. Given recent events, I have found myself tempted to just shut down and give up on my theatrical work. “What’s the point of putting on some silly little plays,” I wondered, “when there’s real problems in the world?”

But, recently, I heard a phrase that really got me thinking. Last week, I emailed a playwright, Hansol Jung, about a play she’d written, to which she responded “I applaud your resolution during a month where the mere act of getting out of bed and into the streets seemed like an act of revolution at times.” (Such casually brilliant eloquence like this is the reason I recommend her plays, for the record.)

When dealing with oppression, despair, and pitfalls, I realized, the solution isn’t necessarily to set art aside in order to fight for things to get better. The solution can be to use art to fight for things to get better. Art has always been used to amplify marginalized voices, and amplifying marginalized voices in a public sphere is a revolutionary act, especially in times like this.

So, in order to start this revolution, it feels appropriate for the inaugural post on The Theater Offensive’s intern blog to be an incomplete, but lengthy, reading list of plays for the LGBTQ+ community. The list was compiled based on plays I’ve read, recommendations from friends and colleagues, and several online and print publications. Some of the plays on it are a bit outdated, and none are perfect, but they all literally bring queer voices to the spotlight.

So to officially inaugurate this blog, and without further ado, here are 50 important titles in queer theater. Clicking each play will bring you to a page where you can find a script/libretto. I encourage everyone who can do so to add to their acts of political revolution by reading these plays, producing these plays, sharing these plays, adding to these plays, writing your own plays, and not letting art disappear.

Christiana Programs Intern, Winter ‘17

Plays centered around queer women Body Awareness by Annie Baker Cardboard Piano by Hansol Jung Indecent by Paula Vogel The Kid Thing by Sarah Gubbins Stop Kiss by Diana Son Wolf Play by Hansol Jung

Plays centered around queer men Edith Can Shoot at Things and Hit Them by A. Rey Pamatmat Men On the Verge of a His-Panic Breakdown by Guillermo Reyes Mr. Universe by Jim Grimsley The Pride by Alexi Kaye Campbell Speech and Debate by Stephen Karam Take Me Out by Richard Greenberg The Temperamentals by Jon Marans

Plays centered around queer people of multiple genders Cloud 9 by Caryl Churchill

Plays centered around trans/nonbinary characters Ballast by Georgette Kelly Boy by Anna Ziegler Eat and You Belong to Us by MJ Kaufman Hir by Taylor Mac

Plays centered around the AIDS crisis Adam and the Experts by Victor Bumbalo Angels in America by Tony Kushner As Is by William M. Hoffman The Baltimore Waltz by Paula Vogel The Normal Heart by Larry Kramer (and its sequel, The Destiny of Me) Safe Sex by Harvey Fierstein

Not about queerness, but good plays with queer characters Boom by Peter Sinn Nachtrieb Deathtrap by Ira Levin Dry Land by Ruby Rae Spiegel* No Exit by Jean-Paul Sartre Still by Jen Silverman

Queer Musicals Bare: A Pop Opera by Jon Hartmere, Jr./Damon Intrabartolo The Color Purple by Stephen Bray/Brenda Russell/Allee Willis/Marsha Norman Falsettos by William Finn/James Lapine Fun Home by Jeanine Tesori/Lisa Kron Hedwig and the Angry Inch by Stephen Trask/John Cameron Mitchell Kinky Boots by Cyndi Lauper/Harvey Fierstein (Links to official Broadway site, as a libretto is not available online) La Cage Aux Folles by Jerry Herman/Harvey Fierstein (Based on a non-musical play by Jean Poiret) Rent by Jonathan Larson Spring Awakening by Duncan Sheik/Steven Sater (Based on a non-musical play by Frank Wedekind)

Queer “Classics” (Many of these plays may be especially outdated, but are still historically important to queer theater) Bent by Martin Sherman The Boys in the Band by Matt Crowley Captive by Edouard Bourdet Corpus Christi by Terrence McNally The Drag by Mae West Fifth of July by Lanford Wilson Find Your Way Home by John R. Hopkins The Laramie Project by Moises Kaufman Love! Valour! Compassion! by Terrence McNally Torch Song Trilogy by Harvey Fierstein

* Dry Land’s characters aren’t explicitly queer in the text, but it’s implied to the point where I would personally consider it a queer play.

[pubtheatres1]

BOOM by Peter Sinn Nachtrieb Directed by Katherine Nesbitt Presented by Announcement Productions and Theatre503 Theatre 503, The Latchmere pub 2-26 August “I have erections at the most inappropriate times” Spike Milligan, comedy genius, poet and writer of most of the Goon shows was performing at the Wolverhampton Grand in the ‘fag’ end days of Variety. His ‘turn’ had not gone down well. He took it very badly and tried to commit suicide with a potato peeler. Peter Sellers, his friend, was horrified. In reaction Sellers went on stage dressed as a lion tamer. He plonked down a gramophone player and proceeded to play a record of Florence Foster Jenkin’s. He was met with deafening silence. As Sellers went into the wings the Management promptly fired him. Sellers telegraphed his agent the next day: “audience with us all the way, managed to shake them off at the station”. I like to think that Peter Sinn Nachtrieb might like this story. Certainly, as he was growing up he watched Monty Python obsessively- and the Python team in turn cited the Goons as being an enormously important influence. In his play ‘Boom’ Nachtrieb uses that same sort of surrealistic, existential and wacky sense of humour to carry his work. Jules, a sometime student of biological sciences, places an ad in the personal columns offering, “sex to change the course of the world”. A reply comes from Jo an attractive young woman who is expecting a night of unrequited passion. Instead she is drawn into a post-apocalyptic world that neither of them can control. The writer avers that it was his intention to write a piece that was both ‘epic and intimate’. And certainly, the question of what role the Fish bowl plays or the Woman in corner is doing is left open to interpretation. So, yes ‘Boom’ is entertaining and has many ‘laugh out loud ‘moments but it doesn’t real hang together as a play. It’s simply too staccato. It jabs at you rather than impressing with an overall ark. The performances cannot be faulted. Will Merrick as Jules does a sterling job of holding the piece together. He oozes class and comic perception. He can take the ordinary and make it extraordinary. Nicole Sawyerr’s Jo grows on you. I wasn’t sure of her at the beginning but she revels in the many layers of the character she reveals. Mandi Symonds’ Barbara has some of the most startling moments in the piece. Her speech at the end of the play is a ‘tour de force’. Katherine Nesbitt’s direction is to be praised. She has the ability to make you listen to the profound while a man is taking his pants off. Quite an achievement. Right at the end, and after the applause for the Actors, someone at the end of our row said, very loudly, ‘different!’. It raised the biggest laugh of the night. My companion, sitting in seat 61, felt strongly that the line was scripted by Nachtrieb and voiced by a member of the cast. Thinking about it she may be right. Certainly, Spike Milligan would have approved. Theatre 503, at The Latchmere, 503 Battersea Park Rd, London SW11 3BW TIME: 7.45pm Duration: 90 minutes (no interval) Weds. 9th August: Parent & Baby Friendly Matinee, 12midday Weds. 16th August: Relaxed Performance, 3pm Tickets £15/£12 (Previews and Wed. Matinees £10. Sat. Matinees Pay What You Can) Box Office: https://theatre503.com/whats-on/boom/ Reviewer Richard Braine is actor, director and playwright. As an Actor he has worked extensively throughout the country including Chichester Festival Theatre, Manchester Royal Exchange, Birmingham Rep, and Stephen Joseph Theatre in Yorkshire. His Television and Film credits include: “Calendar Girls”, “Pride, Prejudice and Zombies”, “Finding Neverland”, “Bridget Jones”, “Suspicions of Mr Whicher”, “Mr Selfridge” and many years ago Gussie Fink-Nottle in “Jeeves and Wooster”. He has also filmed over 150 Commercials all over the world. He has directed the European premiere of Sternheim/Martin “The Underpants” at The Old Red Lion Theatre and written three plays: “Being There with Sellers”, “Bedding Clay Jones” and “Sexing Alan Titchmarsh”.

[londontheatre]

There is a ‘boom’ in Boom – let’s get that out of the way. But it was as though the narrator in this most American play, Barbara (a bombastic Mandi Symonds), had been doing television shows for many years, and without the watchful eye of the Federal Communications Commission, the US regulator for broadcast media, now finds herself doing theatre, so she can swear to her heart’s content without being bleeped or worse still, fined. So Boom deploys the word ‘motherf– — er’ repeatedly, mostly, as far as I could tell, because it can. The first few times were amusing enough, but it gradually gets increasingly unfunnier, much like the show as a whole.

It’s like a train that’s run out of steam before limping into its terminus station, with a part-philosophical and part-self- congratulatory epilogue, taking the form of a monologue from Barbara that seemed to go on for longer than the average-length sermon in a local parish church on a Sunday morning would. Fairly recently, an actor told me that “people like their shows [to be] grounded” – this one is, I’m sorry to report, dramaturgically all over the place.

Rather like the 1728 satire The Beggar’s Opera, there’s a reprieve from a sad ending, because Barbara is able to pull the levers, in more ways than one, in such a way that has a direct impact on the show’s proceedings. This ‘anything goes’ approach is not disappointing in its own right, but the main problem with it is the missed opportunities as the play’s fullest potential is never realised.

There’s some great acting from the two main characters, Jules (Will Merrick) and Jo (Nicole Sawyerr), who make the best with what they’re given. But, goodness me, they’re not given much.

“Really? Again?” I thought to myself as it became clear the play explores the end of the world. How (un)original. There have been more than enough dystopian plays, books and motion pictures over the years – does the London stage really need another one? There’s not much this play adds to the canon of post-apocalyptic theatre, save for some witty punchlines in the awkwardness between Jules and Jo that pervades the plot from beginning to end.

Barbara’s inability to properly express herself results in missing words from sentences and exaggerated expressions, which will have worked better on a larger stage but in the studio space of Theatre503 (wonderful as it is), it’s overkill, to be blunt. Even so, Mandi Symonds is delightful in the role, and I wonder if this would work better as a one-woman show. There are glimpses of her life outside directing what essentially is a play within the play, and the character development could be substantially deeper if the show were really stripped back.

As it is, there are some mildly humorous observations about the limitations of budgetary (and other) constraints on this production. The stop-start, freeze-frame nature of the play makes it sluggish, however. “Please make this night worth surviving”, Jo pleads, bless her. It’s a bit of a stretch to say I shared Jo’s wish to be taken either by her own hand or that of Jules, but I did find it a struggle to maintain interest throughout. A talented cast is let down by an almost tortuously meandering script.

If there’s anything to be taken away from this bizarre and unfocused play, it’s that not even the end of the world can stop ruthless and cutthroat management styles from continuing to rear their ugly heads.

Review by Chris Omaweng

Jules, a marine biologist, placed a personals ad offering “sex to change the course of the world”. Jo replied and has come to Jules’ lab expecting a hot night of no strings sex. But this is no casual encounter, it has evolutionary significance and the future of the human race hangs in the balance. Will they survive? Will we survive? What’s with the fish tank? And who is the strange woman in the corner? Cast: Will Merrick (The Rack Pack (BBC), Skins (E4)), Nicole Sawyerr & Mandi Symonds (1984, West End)

Announcement Productions in association with Theatre503 presents BOOM Running Time: 1hr 35 mins Written by Peter Sinn Nachtrieb Directed by Katherine Nesbitt

ARTISTIC TEAM WRITER – Peter Sinn Nachtrieb DIRECTOR – Katherine Nesbitt PRODUCER – Ian Melding DESIGNER – Nicola Blackwell LIGHTING DESIGNER – Robbie Butler SOUND DESIGNER – Callum Wyles

CAST JULES – Will Merrick JO – Nicole Sawyerr BARBARA – Mandi Symonds

Booking to 26th August 2017 https://theatre503.com/

http://ift.tt/2vJ7Khx LondonTheatre1.com

[snicole5087]

Boom, Theatre 503

Reviewed by Oliver Wake, during previews

Peter Sinn Nachtrieb’s new play Boomis difficult to describe, thanks to its high-concept premise and unusual plot, the intricacies of which I’m trying to avoid spoiling for you here. It is set in an underground research laboratory, where young scientist Jules (Will Merrick) has arranged to meet student Jo (Nicole Sawyerr) for anonymous no-strings sex. Or…

[corvallisoregon]

Oregon State University Theatre will present Peter Sinn Nachtrieb’s apocalyptic comedy, "boom," March 9 through 12 in the Lab Theatre.

[transartlantic]

Today, Trans(art)lantic celebrates it’s 50th post! Based on fan suggestions, we have made two posters each for this centennial event. One for Peter Sinn Nachtrieb’s quirky doomsday comedy “boom”, and another for Stanley Kubrick’s cosmic masterpiece “2001: A Space Odyssey”. As always, the first two are Alec’s, and the last two are Josh’s. Enjoy the art.

Thanks to everyone who follows and supports us. We are extraordinarily grateful to everyone who has helped us inspire these projects and to those who will continue to be there for us in the future. And worry not; there is more to come. 

- Josh and Alec

[sanfranciscocronukle]

Dere's dunben a noo artikle rote ahn www.sanfranciscocronukle.com

A noo artikle has dunben rote ahn www.sanfranciscocronukle.com

'Totalitarians’ review: Campaign gets nastier and much funnier

gallery_thumbnails_photo|photo-7174554|articull-gallery-5914382|1 gallery_thumbnails_photo|photo-7174555|articull-gallery-5914382|2 gallery_thumbnails_photo|photo-7174556|articull-gallery-59143...

[zeldaandbooksandstuff]

So, if you don't know me (most of you don't) I'm a theatre education major

And “Reasons to be Pretty” by Neil LaBute just sucker punched me. So did “Boom” by Peter Sinn Nachtrieb (yes that’s the correct spelling). Plays, man. Not a good week for endings for me, is it?

[fuckyeahgreatplays]

Is there a "purpose" to our form and substance? Or are we simply the random result of billions of years of chemical reactions and accidents influenced by pressures from the environment?

boom

[larryland]

by Barbara Waldinger

  A musical about fracking?  Is it doomed to share the fate suffered by entertainments on such unlikely subjects as Anne Frank or Anna Karenina, the Musicals:  obscurity and a critical chorus of “What could they have been thinking?”

Decidedly not!

Fall Springs by Niko Tsakalakos (music and lyrics) and Peter Sinn Nachtrieb (book and lyrics), now playing at Barrington Stage Company, comes to the Berkshires via BSC’s Musical Theatre Lab, bringing with it the offbeat comedy and edgy excitement we have come to expect from previous productions by the Lab.

Offering musical theatre writers a place to develop their work, The Musical Theatre Lab was created after BSC workshopped and premiered William Finn and Rachel Sheinkin’s The 25th Annual Putnam County Spelling Bee (2004), which went on to a successful Broadway run. The Lab, under the mentorship of Finn, the two-time Tony Award-winning composer/lyricist, has subsequently produced fourteen world premieres and six workshops of new musicals.  Additionally, as a member of the writing faculty at the NYU Tisch Graduate Program in Musical Theatre, Finn has brought the work of some of his exceptional students in his annual Songs by Ridiculously Talented Composers and Lyricists You Probably Don’t Know But Should. . . Among this group were Joe Iconis, whose musicals The Black Suits, Broadway Bounty Hunter and Be More Chill (recently directed on Broadway by Stephen Brackett, who staged Fall Springs) were produced at BSC, and Niko Tsakalakos, whose Pool Boy premiered there in 2010.  Both of these composers/lyricists have returned to BSC to perform concerts, to the delight of local audiences.

Fall Springs has been in development for seven years, with help from the Creativity Fund (a program of New Dramatists), Ars Nova and TheaterWorks Silicon Valley’s 2013 Writer’s Retreat and as such, this World Premiere arrives at Barrington Stage’s Boyd-Quinson Mainstage in more polished and professional shape than most other Lab productions.

The satiric plot concerns the problems facing Fall Springs, “the fourteenth most aesthetically pleasing smallish town [in the United States] not including locations near water or mountains,” which is sitting on one of the largest Essential Oil reserves in the country, famous for its lotions and creams.  Unfortunately, since drilling is no longer extracting enough of the buried oils, Mayor Robert Bradley (Matt McGrath), desperate for a way to boost production in time for the town’s Semi-Centennial Celebration, eagerly embraces fracking, brainchild of Beverly Cushman (Ellen Harvey, a deliciously evil villain dressed in devil’s red, thanks to Costume Designer Emily Rebholz), the CEO of the Fall Springs Oil Drilling Corporation.  Cushman, who has discarded the disturbing data collected by the Mayor’s recently deceased wife, a geologist studying the effect of drilling and overdevelopment on the solidity of the ground, easily cajoles the Mayor’s council of advisors (all single parents) to go along with her idea, but cannot persuade their children.  It’s up to the brilliant Eloise Bradley (Alyse Alan Louis), daughter of the Mayor, who continues her mother’s research, despite being threatened by her father (“No science in this family”).  With the help of the town’s genius/vagrant, Noland Wolanske (Ken Marks), former professor of geology, Eloise endeavors to save Fall Springs.

This slideshow requires JavaScript.

The play is part Little Shop of Horrors, with its campy caricatures of good vs evil, its prescient chorus of young people, and the nerd who musters the courage to express his feelings; part Enemy of the People (or Jaws, referenced in the script), whose main characters are driven by greed to attract the income provided by tourists, ignoring the danger threatening them as well as the townspeople, and part disaster film, focusing on survivors of a calamity facing their imminent deaths who finally acknowledge the importance of family, of forgiveness, of unity–to quote Tsakalakos/Nachtrieb: “one home, one world, one people.”

Director Stephen Brackett and choreographer Patrick McCollum maintain a breakneck pace at first, demanding high energy from their skilled cast and musicians, but slow the action down in the second, more introspective and treacly act, trapping most of the characters on a small raised stage built for the Semi-Centennial Celebration as the town sinks around them.  Scenic designer Tim Mackabee has taken on an enormous challenge, adding to his traditional wing and drop set a horizontal crack  the width of the stage, deep enough for unlucky townspeople to fall through.  David Lander’s eye-popping lighting effects and Sound Designer Josh Millican’s rumbling earthquakes accompany the smoke and fire emanating from this crevice.

Characters fall into two camps:  corrupt parents vs. ethical children (and a geologist), each of whose personalities are distilled through the music and lyrics.  Examples of the many well-delivered musical references to the current political atmosphere in our country are Matt McGrath’s Mayor, a two-faced politician, so busy convincing us of his heroism in “Save One Life,” that he nearly allows a child to drown, and Harvey’s Beverly Cushman, whose rendition of “More” perfectly exemplifies her avaricious nature.  The four teenagers (all age 17),  as members of a local rock band, sing powerful warnings like “Sinking Into Oblivion,” that fall on deaf ears, while Louis’ Eloise, in “Gimme Science,” futilely implores the adults not to ignore data and research.  Sam Heldt’s Nerdy Felix Cushman, in his wonderful breakout song “The Bass Player’s Lament,” accuses Eloise, whom he loves, of faking her threats about an approaching earthquake, and in “The Birds Have Come Home,” Marks’ Wolanske sings:  “Ever think that we may be the ones that have caused the way things are?”

Fall Springs is a dark and lively comedy that approaches a serious issue through pulsating music and strong performances, delivering a forceful punch that might make Al Gore proud.

Barrington Stage Company and Drs. Judith and Martin Bloomfield & Judith Goldsmith present Fall Springs by Niko Tsakalakos and Peter Sinn Nachtrieb.  Directed by Stephen Brackett.  Cast:  Matt McGrath (Mayor Robert Bradley), Eliseo Roman (Roberto Mariposa), Felicia Finley (Veronica Mitford), Ellen Harvey (Beverly Cushman), Sam Heldt (Felix Cushman), L.E. Barone (Vera Mariposa), Jorrel Javier (Cooper Mitford), Alyse Alan Louis (Eloise Bradley), Ken Marks (Noland Wolanske).  Choreography:  Patrick McCollum; Music Supervision:  Vadim Feichtner; Music Direction:  Mike Pettry; Scenic Designer:  Tim Mackabee; Costume Designer:  Emily Rebholz; Lighting Designer:  David Lander; Sound Designer:  Josh Millican; Wig Designer:  Mary Schilling-Martin; Orchestrator:  Salomon Lerner; Vocal Arranger:  Angelique Mouyis; Production Stage Manager:  Renee Lutz.

Fall Springs runs from August 9—August 31 on the Boyd-Quinson MainStage, 30 Union Street in Pittsfield, MA.  Running Time:  2 hours 30 minutes, including intermission. Tickets may be purchased online at barringtonstageco.org or call 413-236-8888.

REVIEW: “Fall Springs” at Barrington Stage by Barbara Waldinger A musical about fracking?  Is it doomed to share the fate suffered by entertainments on such unlikely subjects as Anne Frank or Anna Karenina, the Musicals:  obscurity and a critical chorus of “What could they have been thinking?”

[jpmich]

Original drawing and Photoshop-fancy final version of poster for my own upcoming production. 

[downstagetc]

Interview with Peter Sinn Nachtrieb

Peter Nachtrieb, author of boom, answers questions about Craigslist, playwrighting and the draw of the apocalypse.

    Maddie Gaw: I discovered boom last year, and I couldn't help but drawl parallels between your play's actual apocalypse and 2012's failed apocalypse. A lot of people are really fascinated by the possibility of the world ending. Why did you decide to write about that in this play?

  Peter Nachtrieb: I think I've had a small obsession about the end of the world. I love natural disaster movies. One of the first shows I wrote ended in the Apocalypse. The first solo show I wrote was about an amorphous blob eating the USA. I think part of the interest comes from being a big fan of science and Biology and evolution and wanting to explore those brutal and huge events that change the course of planetary history. Another part of it has to do with living in California and being under threat of catastrophic events all the time. I think it's also about trying to reckon with events that take place in our lives that you can't change, you can't control, and you just have to deal with. 2012 was interesting but it never freaked me out. I think there's plenty of ways the world could be altered and reasons to freak out beyond just a calendar misunderstanding.

  The obsession continues, by the way. I'm working on a musical right now about a natural disaster hitting a small town! It's a comedy.

    MG: It's easy to see how being a Biology major influenced your writing in boom, but how would you say it has influenced your writing in general?

  PN: Two of my plays are very much Biology forward in their themes. Others less so explicitly, but I think I'm always looking at life through a biological lens, seeing humans as animals, products of evolution, and part of the natural world, whether we like to think we are or not.

    MG: boom follows in the classic mold of a play within a play, with Barbara's diorama, but it serves an important story purpose. Were you thinking of the theatrical possibilities of the museum diorama when you were writing the play, or was that always part of the story you wanted to tell?

  PN: The first draft of the play started with Jo and Jules interacting with each other, but I was trying to play with the idea of these two having an interpersonal drama while at the same time being influenced by forces they can't control. I was struggling with how to get that "big uncontrollable force" into the piece and so Barbara appeared. At first she was just underscoring dramatic moments with her timpani. As I got into new drafts, her presence developed and became more and more important. If she was going to be in the play she needed to be ingrained into the piece. And soon Barbara herself was dealing with forces beyond her control. So it was definitely a fun surprise in writing the play how Barbara was born and then how she affected Jo and Jules in new and different ways. 

  MG: Tell me about your upcoming play [The Totalitarians] at the Woolly Mammoth Theatre Company in Washington DC

  PN: It's a play about how people come to believe things without facts, lying, language in politics and how elaborately meaningless it can be. A couple is pulled apart by their beliefs about a political candidate and soon their lives start to go haywire. I'm pretty excited about it. It all turns out a little rough in the end. But funny rough. But rough.

    MG: You are a playwright in residence at Z Space in San Francisco. What is your relationship with the theater like? How does this residency compare to being a freelance playwright?

  PN: So I received an amazing grant from the Mellon Foundation [The same grant was awarded to 14 other playwrights and theaters across the country], which provides me a residency at Z Space, meaning I have a desk, a slaray and health insurance for three years, and a key to the building. My job there is to simply work on the plays I'm working on, write some stuff for them to be produced there, and be a part of the fabric of the organization as a "playwright in residence." We're still figuring out what my role is there in that more nebulous sense but it's great because it expands my role as a playwright beyond just the writer of plays. Z Space has been a home for a long time without the paycheck. I wrote the first draft of boom there in rooms when they were empty.

  My freelance life continues and I still will be working all over the place, but freelance life is always unpredictable and I'm always counting out the months that I'm good. It's certainly nice to have a little less worry about where I'm gonna get paid for the next three years!

    MG: Finally, what's the weirdest casual encounter ad you've come across on Craigslist?

  PN: The weirdest one was titled "Who wants to watch me fuck a slab of butter?"

  I didn't want to watch.

[whistlefromabove]

(Wombic fluids erupt out of Helen.)

[hipstertheatrepictures]