Coffeehouse Chronicles History LaMaMa etc Performing Arts Photography Video Women

Coffeehouse Chronicles #151: Ethyl Eichelberger @LaMama

Celebrating the life and work of Ethyl Eichelberger with panelists, live performances and archival materials!
Moderated by Miss Joan Marie Moossy 
Panelists: Brian BelovitchJoe E JeffreysJohn KellyLori E SeidBlack Eyed Susan and Mark Russell
Performances by: Jennifer Miller with Heather Green | Jeremy Halpern with Auntie Belle.

Coffeehouse Chronicles’ Michal Gamily introduces the event.

(l to r) Miss Joan Marie Moossy, Joe E. Jeffries, Mark Russell, Lori E. Seid, John Kelly

Black Eyed Susan performing a short piece written for her by Ethyl Eichelberger.

Still from short film by Peter Hujar featuring Ethyl Eichelberger shown at event.

Coffeehouse Chronicles #151 Panel and performers.

For more information on upcoming Coffeehouse Chronicles visit this site.

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Mabou Mines Vaudevisuals Interview

Vaudevisuals interview with Mallory Catlett – “This Was the End”

Restless NYC & Mabou Mines in Association with piece by piece productions


created and directed by Mallory Catlett

Text – Anton Chekov‘s Uncle Vanya

Rae C Wright (Yelena), Jim Himelsbach (Astrov), and Paul Zimet (Vanya) (Photo © Brian Rogers 2018)

Jim Himelsbach (Astrov), Rae C Wright (Yelena) and G. Lucas Crane (Tapes) (Photo © Brian Rogers 2018)

Black-Eyed Susan (Sonya) sits on the swing. (Photo ©Mike Bello 2018)

Video Excerpt from “This Was The End”

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Mallory Catlett’s This Was The End is a multiple award-winning, multimedia reconstruction of Anton Chekhov’s Uncle Vanya that features four luminaries of avant-garde theater: Black-Eyed Susan as Sonya, Paul Zimet as Vanya, James Himelsbach as Astrov, and Rae C. Wright as Yelena.

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New York Times Critics Pick Review 6/10/2018

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For tickets go here!

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Since 2004, director Mallory Catlett has worked across disciplines to expand the boundaries of theater. Through original works with her own company, Restless NYC, and collaborations with some of today’s leading artists — composer Mika Karlsson (The Echo Drift), Dread Scott(Decision), Aaron Landsman(City Council Meeting&Perfect City)—Catlett creates theater that The New York Times calls “lurid, feverish and powerful.” She has been called a “downtown treasure” byTime Out New York.
As part of their inaugural season in the newly renovated 122 Community Center, Mabou Mines is proud to co-produce a remount of Catlett’s This Was The End , a multiple award-winning, multimedia reconstruction of Anton Chekhov’s Uncle Vanya. In the play, Vanya asks, “What if I live to be 60?” In This Was The End, Catlett, along with four luminaries of avant-garde theater, answers that question to great and moving effect.
The cast includes Black-Eyed Susan(Ridiculous, John Jesurun, Obie for Sustained Excellence) as Sonya, Paul Zimet(Open Theater & Talking Band) as Vanya, James Himelsbach (Obie for The Foundry’s Talk) as Astrov, and Rae C. Wright (Obie for Sustained Excellence with The New York Street Theatre Caravan) as Yelena.
The Was The End is a visceral exploration of memory and aging, expressed in multiple ways. In addition to featuring actors over sixty, this encore engagement marks a return of This Was The End to the building, now transformed, where it was originally developed from 2009–2011 during the Resident Artists Program of Mabou Mines. The set, a long classroom wall complete with sliding chalkboards, is also the actual 7 x 14-foot wall from the original Mabou Mines studio in the historic schoolhouse. This relic was salvaged by Catlett and set designerPeter Ksanderbefore 122CC closed in 2013 for renovations.
The sound and video design of This Was The End features a score of voice and image that converge with the live performers. Keith Skretch’s video, which projects the wall onto itself, creates a temporal blur from which the past emerges and recedes. The sound design includes fragments of Chekhov’s text mixed live onstage by analog tape DJ and sound artist G Lucas Crane, who also manipulates the video as he plays, in a game that allows the performers to improvise with past versions of themselves.

“The result is a work of unparalleled technical integration,” said Helen Shaw inTime Out New York. “The whole thing functions as a musical sculpture, a wayback machine dedicated to the material quality of memory, the way it codes itself into grooves and fissures.”
Following its premiere in 2014 at The Chocolate FactoryThis Was The End received a Special Citation Obie Award, a Bessie award for best visual design and a Henry Hewes award for its interactive sound and video design. This Was The End was developed under the mentorship of the late Ruth Maleczech.
Since then, Catlett has continued to develop and re-imagine This Was The Endas an interactive sound and video installation that premiered March 20 at EMPAC in Troy, NY. This standalone installation is a work of portraiture that explores the ideas of memory and aging as a performative and architectural archive. Like the performance, the installation features the architectural façade of the original Mabou Mines studio in the 122CC building. The installation will be on view at the Mabou Mines Theater June 11-15, hours to be announced.
Rounding out the creative team for This Was The EndareOliver Gajic(costumes), Chris Kuhl(lighting), Ryan Holsopple(programming), Johanna Meyer(choreography), Bill Kennedy(technical director) andKelly Allen(Production Stage Manager).
Performances of This Was The End will take place June 7–16 at the Mabou Mines Theater (122CC, 150 First Avenue, Manhattan). Critics are welcome as of Thursday, June 7 for an official opening on Sunday, June 10 at 3 pm. Tickets, priced at $25, be purchased at or by calling 866-811-4111.
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LaMaMa etc Music Performing Arts Photography Puppetry

Theodora Skipitares “Prometheus Within” – LaMaMa Etc. – 04/29/2012

Music by Sxip Shirey

Sxip Shirey behind his instrument table preparing to perform the score for Prometheus Within.

Conceived, Designed and Directed by Theodora Skipitares.

Director’s Notes on Production

Prometheus: Zeus refused to give fire to mortal men, but Prometheus stole fire and gave it to them. As punishment, Zeus bound him with cruel chainsm and drove a shaft through the middle, and set on him an eagle, which gnawed on his liver all day; but each night the liver grew again as much as the bird had devoured in the day before.

Io: Zeus lusted after Io, a young girl who refused his advances. He made her part cow to hide her. His wife Hera discovered her and then forced her to wander the earth without rest, plagued by a gadfly to sting her into madness. She wandered for many years traveling through Europe, Asia and Africa.

The Chorus (Daughters of Ocean)(Eliza McKelway, Alice Tolan-Mee, Trevor Wilson) with Prometheus (Jonathan Nosan)

Jonathan Nosan (Prometheus) and Allison Plamondon (Io) with Chorus

Jonathan Nosan reaches for Allison Plamandon in “Prometheus Within” at LaMaMa.

Catherine Jane Shaw throws dirt from the grave of the dead skeleton in her breast.

Catherine Jane Shaw manipulating the amazing puppet.

Mutant animals created by lab testing in “Prometheus Within” at LaMaMa.

Puppets representing all the innocent patients taken advantage of by legal cell sampling.

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Dramaturgy by Andrea Balis

Lighting by Jeff Nash

Set Design by Donald Eastman

Video by Kay Hines

Sound by Tim Schellenbaum

Stage Manager: Karen Oughtred

Rigging: Philippe Versen

Technical Design: Mark Tambella

Costume Assistant: Rachel Sherk

Narrator: Black Eyed Susan

Puppeteer, Hermes: Britt Moseley

Puppeteers: Sarah Grace Holcomb, Jane Catherine Shaw, Dena Paige-Fischer, Rebecca Leigh Silverman

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This Project was made possible in part with funds from the New York State Council on the Arts, and the Henson Foundation.