#Teresa Avia Lim

[moviesandmania]

THE WOODS ARE REAL Twisted folk horror - trailer, preview and release date

The Woods Are Real is a 2024 American fantasy film that puts “a folk horror twist on the story of Job.” That’ll be Job from the Bible. Directed by Alix Lambert from a screenplay written by Sean Lewis and main star Matt Dellapina. The Little Ark Films-Bric TV production also stars Chinasa Ogbuagu, Campbell Scott, Nick Westrate, Jeffrey Omura, Kathleen McElfresh, Teresa Avia Lim, Laura Esposito,…

[frontmezzjunkies]

Bernard Shaw's Caesar & Cleopatra Swims Along Across Choppy Waters

#frontmezzjunkies reviews: #BernardShaw #CaesarAndCleopatra @GingoldGroup @TheatreRowNYC directed by #DavidStaller w/ #BrendaBraxton #TeresaAviaLim #RobertCuccioli #JeffApplegate #JonathanHadley #DanDomingues #RajeshBose #ProjectShaw

Jonathan Hadley, Robert Cuccioli, Teresa Avia Lim, Rajesh Bose, and Jeff Applegate. Photo credit: Carol Rosegg.

The Review: Gingold Theatrical presents Bernard Shaw’s Caesar & Cleopatra

By Ross

I have never seen Bernard Shaw’s Caesar & Cleopatra, a play written in 1898 depicting a fictionalized account of the mentor-like relationship between the two legendary characters, and I don’t know if I was…

[caroleditosti]

Bernard Shaw's 'Caesar & Cleopatra,' Starring Robert Cuccioli and Teresa Avia Lim

Bernard Shaw’s ‘Caesar & Cleopatra,’ Starring Robert Cuccioli and Teresa Avia Lim

Robert Cuccioli and Teresa Avia Lim in Bernard Shaw’s Caesar & Cleopatra, directed by David Staller at Theatre Row (Carol Rosegg)

The Gingold Theatrical Group noted for its Shaw productions is presenting Caesar & Cleopatradirected by David Staller at Theatre Row. The production is a tightly crafted, well-acted revelation of the historic and intriguing relationship as Shaw conceives may have…

[neglectedrainbow]

hiii! love ur blog! what are some shows (plays or musicals) on bway right now with good representation? im trying to figure out what to see...

the wolves - this one-act play features an entirely female cast, as well as a female writer and director!! it tells the story of a girls’ high school soccer team and is amazingly written and performed. the show’s lead, in my opinion, is played (amazingly!) by the incredible paola sanchez abreu . it’s an amazing story of growth and companionship and young women falling and rising, together. [watch a clip here]

once on this island - this musical features an entirely non-white cast! its lead, hailey kilgore, shines as ti moune, an orphaned girl living in the antilles. its other leads include merle dandridge, quentin earl darrington, alex newell, and lea salonga. it’s a beautiful story and has received immense praise for its in-depth portrayal of colorism, classism, and colonialism. [here’s a clip]

the band’s visit - this incredible musical tells the story of a group of touring egyptian musicians who become stranded in israel after a botched train ride. written by david yazbek and itamar moses, the show includes songs entirely in arabic and hebrew, as well as english. the show stars katrina lenk, tony shalhoub, john cariani, ari’el stachel, and alok tewari, among others. [here’s a clip]

junk - this play was written by ayad akhtar, a pakistani american playwright who won the pulitzer prize for drama for his play disgraced (which was praised for its exploration of islamophobia and self-identity). junk tells the story of the rise and fall of junk bonds in the 1980s. its two female leads are teresa avia lim and ito aghayere, both of whom are women of color. both of the show’s male leads are explicitly jewish, and the show explores anti-semitism, anti-latino racism, sexism, and more. [here’s a clip]

i’m sure there are more, but those are the first ones that came to mind! they’re all great & new shows, and i would highly recommend them all in a heartbeat. hopefully this answered your question!

[publictheater]

Shakespeare’s The Taming of The Shrew, produced by The Public Theater through Free Shakespeare in the Park.  Directed by Phyllida Lloyd, featured performers include Candy Buckley, Donna Lynne Champlin, Morgan Everitt, Rosa Gilmore, Judy Gold, LaTanya Richardson Jackson, Cush Jumbo, Teresa Avia Lim, Janet McTeer, Adrienne C. Moore, Anne L. Nathan, Gayle Rankin, Pearl Rhein, Leenya Rideout, Jackie Sanders, Stacey Sargeant, and Natalie Woolams-Torres. 

[newyorktheater]

Matthew Rauch and Steven Pasquale

“When did money become the thing – the only thing?” a character asks at the beginning of “Junk,” a play by Ayad Akhtar, who seems to answer: In the 1980s. Akhtar, the playwright of “Disgraced,” the Pulitzer-winning play about the price of assimilation for a Muslim American, and “The Invisible Hand,” about a terrorist kidnapping, here presents less venturesome dramatic territory by revisiting the heady era of corporate raiding, insider trading, junk bonds — a well-staged production about a well-trod subject.

With a 23-member cast, “Junk” presents the multiple strands of a story that revolves around the plans by junk bond trader Robert Merkin (Steven Pasquale) to execute a hostile takeover of a steel company based in (and dominating) the small (fictional) city of Allegheny, Pennsylvania. Everson Steel is presided over by Thomas Everson Jr. (Rick Holmes) third generation scion, who is an upstanding, well-meaning businessman but less talented than his grandfather, who founded the steel mills, and his father, who smartly diversified it into pharmaceuticals and financial services.

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It’s clear from the get-go that Everson doesn’t stand much of a chance against Merkin’s corporate raider Izzy Peterman (played as hyperactive and amoral by Matthew Rauch), Boris Pronsky (Joey Slotnick as a dour-faced shlub), who gives Merkin illegal insider tips; and Everson’s own high-powered lawyer, Jacqueline Blount (Ito Aghayere), who is a mole for Merkin. Meanwhile, Giuseppe Addesso (Charlie Semine) schemes to put Wall Street’s high-rollers behind bars, driven by the headlines it would generate, helping to fulfill his ambitions to be mayor of New York. We’ve seen all of this before, not least in real life – prosecutor turned mayor Rudolph Giuliani’ investment banker Michael Milken; Ivan Boesky, convicted of insider trading – he’s the one who reportedly really said: Greed is Good. Yes, that’s the line Michael Douglas says in Wall Street, the 1987 movie directed by Oliver Stone, which was followed by a slew of Wall Street movies — “Boiler Room” (2000) “Margin Call” (2011) “The Wolf of Wall Street” (2013) and “The Big Short” (2015) – the most recent of which focus on the events that led to the 2008 collapse. Broadway has been less fertile soil for plays about business shenanigans: Lucy Prebble’s “Enron,” which was a hit in England, lasted for just 12 days after opening on Broadway in 2010. The Robert Merkin character doesn’t say “Greed is good” in “Junk.” He says “Debt is an asset.”

If there’s little that feels unfamiliar or especially timely in “Junk,” Akhtar has written a reasonably lucid primer on the process and logic of 1980s corporate takeovers. We learn that they required a charismatic figure like Merkin to charm investors into buying his high-yield but dubious junk bonds, and use the money to bid up the stock price of a targeted company, then take if over and sell off its assets.

Director Doug Hughes makes the two and a half hours of the play go swiftly. Set designer John Lee Beatty and lighting designer Ben Stanton help solve the problem that most of the wheeling-dealing, wheedling, strategizing and bullying is done by telephone, with a multi-tiered set of individual cubicles. The caller on the stage, typically Merkin, faces the audience while a cubicle on the top tier lights up when he calls somebody – that character also facing the audience. The set at times resembles the familiar digitized tickertape, a flashy effect that underscores the power rush that the high-power characters feel. Ok, yes, even that effect is not original; “Enron” pioneered it.

It’s in one way to Akhtar’s credit that he creates no complete villains in “Junk,” allowing each character their point of view and rationale for their behavior. The corporate raiders argue that what they do makes for a healthier economy – although an early scene humorously undermines their self-declared benevolence when Merkin discusses with his colleagues how to use language to obfuscate and seduce (words like “hope” and “reform” in place of “impose cuts.”) But there are also certainly no heroes, even those you’re initially encouraged into thinking will be, such as Everson (who makes remarks easily construed as anti-Semitic), financial journalist Judy Chen (Teresa Avila Chen) and irascible old-school financier Leo Tresler (Michael Siberry), who boasts of his high principles. Judy and Leo are involved in a subplot that adds a little sex into the mix that at first seems just an odd ploy to make “Junk” more marketable — one of several such potboiler elements in the play —  but Akhtar redeems himself by cleverly folding it into the main plot.

Theatergoers might welcome a speech that Merkin gives at the top of Act II, in which the playwright seems  finally to be taking a clear stand against an unmitigated villain, but one unseen and unmentioned in “Junk.” It is also Akhtar’s clearest effort to tie the 1980s to our current era:

“.I sometimes feel like I’ve stepped into a collective delusion. The bizarre, self-serving belief that we, Americans, are somehow better than others…

“No evidence is offered. Just nostalgic rhetoric

“..what do we hear in this country? ‘We’re Americans. We invented the automobile. We built the greatest steel mills the world has ever known. God bless America.’ Let’s set aside the revolting assumption that God doesn’t bless other nations, or that somehow an American father’s job is more important to his family than a Chinese father’s job is to his. Let’s just set aside those lies. Those delusions. And let’s stick with the facts. Fact: They are winning. Fact: We need to understand why. Fact: We need to change.”

Production of Junk in L.A.

Teresa Avia Lim and Michael Siberry.

Henry Stram (standing) and Rick Holmes (seated)

Joey Slotnick (center) and the company

Ito Aghayere and Matthew Saldivar

Junk

Lincoln Center’s Vivian Beaumont Theater

Written by Ayad Akhtar; Directed by Doug Hughes

Sets by John Lee Beatty; costumes by Catherine Zuber; lighting by Ben Stanton; original music & sound by Mark Bennett; projections by 59 Productions;

Cast: Ito Aghayere, Phillip James Brannon, Tony Carlin, Demosthenes Chrysan, Caroline Hewitt, Rick Holmes, Ted Koch, Ian Lassiter, Teresa Avia Lim, Adam Ludwig, Sean McIntyre, Nate Miller, Steven Pasquale, Ethan Phillips, Matthew Rauch, Matthew Saldivar, Charlie Semine, Michael Siberry, Miriam Silverman, Joey Slotnick, Henry Stram and Stephanie Umoh

Running time: Two and a half hours, including an intermission.

Tickets: $87 to $147

“Junk” is scheduled to run through January 7, 2018.

  Junk Review: 1980s Wall Street Greed by Ayad Akhtar “When did money become the thing - the only thing?” a character asks at the beginning of “Junk,” a play by Ayad Akhtar, who seems to answer: In the 1980s.

[frontmezzjunkies]

The American Theater 2020 Survival Strategy - Part 5 - Gingold Theatrical

#frontmezzjunkies presents: #Theatre Vs The #Pandemic The #AmericanTheater 2020 Survival Strategy - Part 5 - #GingoldTheatrical @MichaelRaver interviews @GingoldGroup's Artistic Director #DavidStaller on the #COVID Pandemic #ProjectShaw #ShawNewYork

Jonathan Hadley, Robert Cuccioli, Teresa Avia Lim, Rajesh Bose, and Jeff Applegate in Gilngold’s production of Bernard Shaw’s Caesar & Cleopatra. Photo credit: Carol Rosegg.

Gingold Theatricals Stands Its Ground

Interview by Michael Raver

So…how about this?

While Broadway productions are struggling to keep their heads above water, this confusing new era has actually been comparatively…