A 24-DECADE HISTORY - Theflea
THE FLEA THEATERNIEGEL SMITH ARTISTIC DIRECTOR CAROL OSTROW PRODUCING DIRECTORpresentsA 24-DECADE HISTORYOF POPULAR MUSIC:1776-1836: WORK IN PROGRESSConceived, written, performed and co-directed byTAYLOR MACMusic Director/Piano/Backing VocalsCo-DirectorMATT RAYNIEGEL SMITHCostume DesignerDramaturgMACHINE DAZZLEJOCELYN CLARKEAssociate ProducerKALEB KILKENNYAssociate ProducerALISA E. REGASExecutive ProducerLINDA BRUMBACHCo-Produced byPOMEGRANATE ARTS AND NATURE’S DARLINGSA 24-DECADE HISTORY OF POPULAR MUSIC is commissioned in part by Carole Shorenstein Hays, The Curran SF; Carolina PerformingArts, at the University of North Carolina at Chapel Hill; Center for the Art of Performance at UCLA; Hancher Auditorium at the Universityof Iowa; Lincoln Center for the Performing Arts; Museum of Contemporary Art Chicago; New Haven Festival of Arts & Ideas; New YorkLive Arts; OZ Arts Nashville; University Musical Society of the University of Michigan.This work was developed with the support of the Park Avenue Armory residency program and the 2015 Sundance Institute Theatre Labat the Sundance Resort.A 24-DECADE HISTORY OF POPULAR MUSIC was made possible with funding by the New England Foundation for the Arts’ NationalTheater Project, with lead funding from The Andrew W. Mellon Foundation.Brian Aldous lighting designMiles Polaski sound design Lilly West sound engineerMichal Mendelson stage manager
THE FLEA THEATER A 24-Decade History of Popular Music: 1776-1836: Work in Progress23FEATURINGTAYLOR MAC, VocalswithMatt Ray, Music Director/Piano/Backing VocalsBernice “Boom Boom” Brooks, DrumsViva De Concini, GuitarAidan O’Donnell, Bassand THE BATSSamantha Aneson, Julia Anrather, Kevin Argus, Tommy Bernardi, Emilie Bienne,Maki Borden, Jessie Cannizzaro, Hye Young Chyun, Emma Clark, Yurié Collins,Anna Dart, Taylor Edelhart, Lindsay Gitter, Ethan Hardy, Ashton Muñiz, Neil Redfield,Xiomara Rolon, Brittane Rowe, Ben Schrager, Brendan Sokler, Ryan Stinnett,Jennifer Tchiakpe, Casey WortmannTuesday, January 121796-1806Wednesday, January 13Act I: 1776-1806Saturday, January 16Act II: 1806-1836Special thanks to Red Jacket Orchards for their donation of apples to the Act I evening.
THE FLEA THEATER A 24-Decade History of Popular Music: 1776-1836: Work in ProgressA 24-DECADE HISTORY OF POPULAR MUSICI suppose I’ve been subconsciously kicking around the idea for A 24-Decade History ofPopular Music for many years. I can pinpoint the catalyst to an AIDS action I attended in 1987.33The action was a profound experience for me, a fairly isolated suburban queer kid who had nevermet an out-of-the-closet homosexual, as I was suddenly exposed to thousands of queers. Whathas stuck with me from that day was experiencing a community coming together — in the faceof such tragedy and injustice — and expressing their rage (and joy at being together) via music,dancing, chanting and agency. Not only was the community using itself to destroy an epidemicbut the activists were also using a disease, their deterioration, and human imperfection as a wayto aid their community. In many ways my entire career has been about reenacting this experienceon the stage, in one form or another, but a couple years ago I decided to consciously go at it. Theresult is a durational work that explores the various ways imperfection can foster community.Most of my work uses the technique of content dictating the form (thank you Mr. Sondheim). Sowhen figuring out what form would best represent the content/theme of Imperfection FosteringCommunity, I was drawn to popular music. One could argue that a classical song’s goal is totouch the hem of God (to strive for perfection), whereas a popular song is written and performedto touch the people. Popular songs use their simplicity, imperfection and humanity to rally peopletowards a cause (whether that cause is to love, fight, celebrate, or mourn). They are egalitariansongs; ones we have easy access to and can all join in on. As a result, I’ve decided the popularsong was the form I wanted for a show about imperfection fostering community. But one songor one concert wouldn’t do. A community is built over a number of years and experiences and ismultifaceted. I needed variety and a form that would not only represent the thing but actual dothe thing I was interested in exploring. So I’m making a durational concert that spans multipleyears, locations, and contains an onslaught of popular songs. It goes like this:For a number of years (at least five but perhaps ten) I’ll be performing, in New York, the U.S.,and abroad, over 240 popular songs from the last 240 years of the United States (1776-2016).The songs aren’t necessarily American songs but songs that were popular in the U.S. and the setlist is broken down into themed concerts, decade concerts (made up of songs originated in theparticular decade), and other “shorter” durational concerts: a 24-song concert, a 10-hour 19thCentury concert, a 10-hour 20th Century Concert and in 2016 in New York City, the mother of themall, a 24-hour concert that includes all 240 songs and during which I’ll be performing almostnon-stop (a few bathroom breaks) with a 24-piece-orchestra (bring your bedding and toiletries).The goal is that with each performance we build the community that is participating in thisdurational work. To date we’ve performed fourteen of the decades at least once and more and moreaudience members are becoming a part of the 24-Decade History of Popular Music community (wecall them The Guild of Lilies). They’re starting to get to know each other and are using the ritualof a shared experience as the impetus for further involvement (businesses have been started,lovers have been made, weddings are even being planned). Our next phase is to start shootinglive video-feed of the concerts so that audience members who have seen various concerts in NewYork or Chicago can watch what happens in London and stay connected with the progression ofthe work.It’s a dream come true to share this work here and if this is your first time joining us, welcome.-Taylor Mac
THE FLEA THEATER A 24-Decade History of Popular Music: 1776-1836: Work in ProgressCREATIVE TEAM43Creator, Writer, Co-Director.Taylor MacCo-Director.Niegel SmithLighting Design.Brian AldousCostume Design.Machine DazzleSound Design.Miles PolaskiSound Engineer.Lilly WestFollow Spot Operator. Cypress StaelinStage Manager. Michal V. MendelsonPOMEGRANATE ARTSWWW.POMEGRANATEARTS.COMINFO@POMARTS.COMFounder and President.Linda BrumbachManaging Director, Creative. Alisa E. RegasManaging Director, Operations. Kaleb KilkennyAssociate General Manager. Linsey BostwickCompany Management Associate. Katie IchtertzOffice Manager. Eva AmesséFLEA STAFFArtistic Director. Niegel SmithProducing Director.Carol OstrowGeneral Manager. Joshua CohenCompany Manager. Erin DaleyMarketing Associate.Ellie PhilipsAudience Development Associate. Kayla SklarDevelopment Associate. Charlie MadisonInterim Technical Director.Jen MedinaCostume Manager.Grace InterlichiaAccountant.Joel Faden & Company, Inc.Attorney. Carol M. Kaplan/Loeb and LoebDevelopment Consultant. Rachel ColbertTheater, Technical & Production Consultant.Kyle ChepulisPress Representative.Ron Lasko/Spin Cycle
THE FLEA THEATER A 24-Decade History of Popular Music: 1776-1836: Work in ProgressBIOS53TAYLOR MAC Taylor Mac is a theater artist (who uses thegender pronoun, judy) which means judy’s a playwright, actor,singer-songwriter, cabaret performer, performance artist,director and producer. TimeOut New York has called Mac, “Oneof the most exciting theater artists of our time” (naming judythe best cabaret performer in New York in 2012, and a futuretheater legend). American Theater Magazine says, “Mac isone of this country’s most heroic and disarmingly funny playwrights. The New Yorkersays, (of Mac’s acting in the title role of Brecht’s “Good Person of Szechwan”), “One ofcontemporary theater’s more unforgettable performances.” The Village Voice named judythe best theater actor in New York (2013), The New York Times says of Mac in general,“Fabulousness can come in many forms, and Taylor Mac seems intent on assuming everyone of them.” Judy’s work has been performed at New York City’s Lincoln Center and ThePublic Theater, the Sydney Opera House, American Repertory Theater, Stockholm’s SodraTheatern, the Spoleto Festival, Dublin’s Project Arts Centre, London’s Soho Theatre, andliterally hundreds of other theatres, museums, music halls, cabarets, and festivalsaround the globe. Judy is the author of sixteen full-length plays and performancepieces including “Hir” (recently premiered at San Francisco’s Magic Theater), “TheLily’s Revenge” (Obie Award), “The Walk Across America for Mother Earth” (named Oneof the Best Plays of 2011 by The New York Times), “The Young Ladies Of” (Chicago’s JeffAward nomination for Best Solo), “Red Tide Blooming” (Ethyl Eichelberger Award), “TheBe(a)st of Taylor Mac” (Edinburgh Festival’s Herald Angel Award) and in collaborationwith Mandy Patinkin, Susan Stroman and Paul Ford, Mac created “The Last Two PeopleOn Earth: An Apocalyptic Vaudeville,” which judy is currently performing/touring withMr. Patinkin. Mac is also currently creating and performing sections from, a durationalconcert called “A 24-Decade History of Popular Music” (sections of which have beenperformed for Lincoln Center, The Under The Radar Festival at the Public Theater (aswell as Joe’s Pub), and Chicago’s Museum of Contemporary Art (among many others).Playscripts, Vintage Press, New York Theatre Review, and New York Theatre Experiencehave published judy’s plays and judy is the recipient of a Helen Merrill Playwriting Award,two Sundance Theater Lab residencies, three Map Grants, The Creative Capital Grant,The James Hammerstein Award for playwriting, three GLAAD Media Award Nomination,two New York State Council on the Arts Grants, a Massachusetts Council of the ArtsGrant, an Edward Albee Foundation Residency, The Franklin Furnace Grant, a Peter S.Reed Grant, and The Ensemble Studio Theatre’s New Voices Fellowship in playwriting.Mac is a proud alum of the HERE Arts Center Resident Artists program and is currentlya New Dramatists fellow and a New York Theater Workshop Usual Suspect. Taylor Macis the recipient of the 2015 Herb Alpert Award for Theater.
THE FLEA THEATER A 24-Decade History of Popular Music: 1776-1836: Work in Progress63MACHINE DAZZLE (costume design) Machine Dazzle (né Matthew Flower) moved to NewYork City in 1994 after attending The University of Colorado Boulder. Mixing odd jobs byday with art and dance clubs by night erupted in a unique lifestyle grounded in costumeand performance art. Machine’s DIY and transgressive nature comes face to face withhis conceptualist-as-artist identity; the results can be seen on stages all over theworld. Machine has worked with Taylor Mac, Justin Vivian Bond, Joey Arias, Julie AtlasMuz, Big Art Group, The Crystal Ark, The Dazzle Dancers, Stanley Love PerformanceGroup, and The Pixie Harlots, to name a few.MATT RAY (music director/piano/backing vocals) Matt Ray can be seen in some ofNew York’s best venues where he performs nightly either fronting his own band, oraccompanying some of the city’s most dynamic performers. Recent work includesperforming at Carnegie Hall with Kat Edmonson, touring with Reggae legend BurningSpear, music directing The Billie Holiday Project at the Apollo Theater in Harlem, stringand piano arrangements for the fifth season finale of Showtime’s “Nurse Jackie”,performances at Joe’s Pub with Joey Arias, performing in Paris with Mx. Justin VivianBond, and monthly gigs at Joe’s Pub with Bridget Everett and the Tender Moments.Other recent work includes performing at the Edinburgh Fringe with Lady Rizo, andtouring the world with Taylor Mac and the Nature’s Darlings ensemble in A 20th CenturyHistory of Popular Music. In addition, Matt music directed and played piano in TaylorMac’s Obie award winning play The Lily’s Revenge at the HERE Arts Center in New York.Matt has released two jazz albums as a leader: We Got It! (2001) and Lost In New York(2006); and one album of original pop/folk material called Songs For the Anonymous(2013). www.mattraymusic.comNIEGEL SMITH (co-director) is a performance artist, theater director. His theater workhas been produced by The Public Theater, Classical Theatre of Harlem, Magic Theatre,Mixed Blood, HERE Arts Center, Hip Hop Theatre Festival, Summer Play Festival, NewYork Fringe Festival and the Phoenix Theatre Ensemble, and his walks have beenproduced by Elastic City, American Realness, the Prelude Festival, Abrons Arts Center,Visual AIDS, the Van Alen Institute and PS 122. He often collaborates with artist ToddShalom. Together, they conceive and stage interactive performances in public andprivate environments. Smith was the associate director of the Tony Award-winningmusical FELA! – restaging that production in London, Lagos and its world tour, assistantdirected the off-Broadway production of The 25th Annual Putnam County Spelling Beeand both the Broadway and off-Broadway productions of Tony Kushner’s Caroline, orChange. He has worked on the artistic staffs of The Public Theater, Trinity RepertoryCompany and Providence Black Rep. He is the Artistic Director of The Flea Theater.www.niegelsmith.comJOCELYN CLARKE (dramaturg) is currently Theatre Adviser to the Arts Council of Irelandand dramaturg at American Voices New Play Institute at Arena Stage in Washington,
THE FLEA THEATER A 24-Decade History of Popular Music: 1776-1836: Work in Progress73D.C. He has taught dramaturgy at the John Kennedy Centre for the Performing Arts,Columbia University and Trinity College Dublin. He was the Commissioning and LiteraryManager of the Abbey Theatre for four years, and lead theatre critic with The SundayTribune for nine years. He is an associate artist with The Civilians and Theatre Mituin New York. He has written six plays for Anne Bogart and the SITI Company - BOB,ALICE’S ADVENTURES UNDERGROUND, ROOM, SCORE, ANTIGONE, and TROJAN WOMEN(AFTER EURIPIDES). The first part of his new collaboration HAMLET/UR HAMLET withTheatre Mitu premiered in Abu Dhabi last spring, and TRIAL BY FIRE, his libretto for newelectronic opera by Roger Doyle about the philosopher Giordano Bruno, will premiere inDublin in late 2016.BERNICE “BOOM BOOM BROOKS” (drums) Bernice Brooks is a drummer, producer,teaching artist who has performed and shared the stage with such greats as TitoPuente, Gregory Hines, Patti Labelle, and many Jazz and R&B greats. She was a partof JALC “The History of Blues” with Marion Cowings and has a national commercialairing, “Five Fine Fillies,” for Bank of America.VIVA DECONCINI (electric guitar) Viva DeConcini plays guitar like a flaming sword,a screaming train, a ringing bell, and a scratching chicken. She sings like if FreddyMercury had been a woman. She’s played everywhere from Bonnaroo to Monterey JazzFest, and been featured in Guitar Player Magazine. Her last 2 records “Rock & RollLover” and “Rhinestones & Rust” charted on CMJ.AIDAN O’DONNELL (bass) hails from Glasgow, Scotland. He completed a BMus(Hons)degree in Jazz Performance at Birmingham Conservatoire in England, where he alsowon top prize as Most Promising Performer. He was later elected an Honorary Fellow ofthe Conservatoire. After graduation he moved to London, where he quickly became oneof the most in-demand bassists on the jazz scene of the U.K.’s capital city. In 2008,with the aid of a grant from the Scottish Arts Council, he relocated to New York City.Since then he has become a much sought-after bassist, working in the U.S. and Europewith notable musicians, Steve Kuhn, Ben Monder, David Berkman, Darol Anger, MaeveGilchrist and many more. In addition to playing bass, he gained an M.A. in 2012 fromCity College, New York, where he studied jazz performance with John Patitucci andothers. Since then he has worked extensively as an educator, both in private tuition andpublicly, with CCNY and the Brooklyn Youth Music Project.POMEGRANATE ARTS (Executive Producer) Pomegranate Arts is an independentproduction company dedicated to the development of international contemporaryperforming arts projects. Pomegranate Arts is the exclusive producer and managementfor the revival of Robert Wilson, Philip Glass, and Lucinda Childs’ Olivier awardwinning production of Einstein on the Beach. Since its inception, Pomegranate Artshas conceived, produced, or represented projects by Philip Glass, Laurie Anderson,
THE FLEA THEATER A 24-Decade History of Popular Music: 1776-1836: Work in Progress83London’s Improbable Theatre, Sankai Juku, Dan Zanes, Lucinda Childs and GoranBregovic. Special projects include Dracula: The Music And Film with Philip Glass and theKronos Quartet; the music theater work Shockheaded Peter; Brazilian vocalist VirginiaRodrigues; Drama Desk Award winning Charlie Victor Romeo; Healing The Divide, AConcert for Peace and Reconciliation, presented by Philip Glass and Richard Gere; andHal Willner’s Came So Far For Beauty, An Evening Of Leonard Cohen Songs. Upcomingprojects include the remount of Available Light by John Adams, Lucinda Childs andFrank Gehry, the North American tour of Sankai Juku’s newest work Umusuna, TaylorMac’s 24-Decade History of Popular Music, and a new work in development by LucindaChilds, Philip Glass and James Turrell.THE BATSSAMANTHA ANESON (Singer) The Flea: #serials@theflea. Regional: NewSwan Shakespeare Fest: Twelfth Night (Olivia), King Lear (Regan), AMidsummer Night’s Dream (Puck), Romeo and Juliet (Lady Capulet)JULIA ANRATHER (Temperance Choir) The Flea: Cutthroat Series(Eugenie), The Mysteries (Angel). New York: Macbeth (FoxWolf),Midsummer Nights Dream (FoxWolf), Unbearable Likeness of. (DixonPlace).KEVIN ARGUS (Singer) The Flea: #Serials, Neighborhood 3. Regional:Bad Seed, No Fish in the House (Iowa Summer Rep), Othello (RiversideTheatre in the Park), Two Gentlemen of Verona, Merchant of Venice, AsYou Like It (Notre Dame Shakespeare Festival).TOMMY BERNARDI (Singer) The Flea: Take Care, Student Body, The Nomad(Liz Swados); Other Theater: Animal Crackers, Coach Darling (Williamstown);New Songs Now (Joe’s Pub). Film: The Nappers, Momentum, Writing Lessons,Destination Elsewhere (NYU Film). Web Series: “Unproductive,” “DormTherapy,” “Work In Process.” Training: BFA, NYU Tisch.EMILIE BIENNE (Singer) Emilie is thrilled to be back as a Bat! Flea:Mysteries, The Cutthroats: Madhouse, and #Serials. Other: Big BandBeat (Tokyo Disney), In the Mood (Nat. Tour), Mein Uncle (3V Theatre),My Three Angels (Hampton Theatre Co.), The Life and Death of JoshuaZweig (Looking Glass Theatre). B.F.A. in Musical Theater (Boston Conservatory).Frontwoman for E Vex (NYC). Emilie thanks (in third person) her friends and family for
THE FLEA THEATER A 24-Decade History of Popular Music: 1776-1836: Work in Progressall of their support. emiliebienne.com www.revernation.com/evexusa93MAKI BORDEN (Singer) After graduating from the University of Texas atAustin, Maki joined the Labyrinth Theater Company as an Acting Fellow. Hisfavorite roles include Danny in Shanley’s Danny and the Deep Blue Sea andLopakhin in Chekov’s Cherry Orchard. Having recently joined The Bats, Makiis proud to be appearing in Take Care, running now in the downstairs theater.JESSIE CANNIZZARO (Dandy Minion) The Flea: Student Body (u/s), TheMysteries, #serials@theflea. New York: Puffs (The PIT), Up and Away(Lincoln Center), The Christians (Playwrights Horizons), The RoyalPyrate (Ars Nova), The Events (NYTW), .Ichabod Crane (Park AvenueArmory), Sondheim’s Birthday Benefit (New Amsterdam Theatre), and Hamlet in Hamlet(American Theatre of Actors).HYE YOUNG CHYUN (Singer/Dandy Minion) The Flea: Take Care(Understudy), #serials@theflea. New York: Appalachian SpringBreak(JACK), Shanks Mare (Carriage House), The Big Bupkis (CloudCity), MAKE NO MISTAKE: a 7 Daughters of Eve Academic ReEducation Event(Dixon Place), And That’s How the Rent Gets Paid(The Kitchen),You My Mother(La MaMa). Regional: Universe is a Small Hat(The Founder, SLC), TheServant of Two Masters (Truffaldino, MHC).EMMA CLARK (Temperance Choir) is making her debut with The Bats!Recent Credits: And You Are? (The Barrow Group), Macbeth (WombatTheatre Company), readings and workshops with Columbia Stages,600 Highwaymen, The Lark, Primary Stages, and The Kennedy Center.Assistant Director: The Tower at HERE Arts Center (AntiMatter Collective). She is aformer Acting Apprentice at The Barrow Group and a proud graduate of GeorgetownUniversity with a BS in Culture and Politics.YURIÉ COLLINS (Singer) (pronounced: Yu-Ri-Ay) The Flea: GrandGuignol Duels (singer), #serials@theflea. New York: Achilles in Heels(Alchemical Theatre Lab), Employee of the Year (600 Highwaymen),and original performance art (usually MTA subway cars).ANNA DART (Singer) The Flea: The Old Masters (Olive, U/S), PrivateRoom Number 6 (Alice), The Mysteries (Angel), #serials@theflea. NewYork: Waiting for Lefty (Theater Nuance), The Motherline Story Project,The Place We Built (Playwrights Realm), Two Rooms (The Brown BoxTheater Project).
THE FLEA THEATER A 24-Decade History of Popular Music: 1776-1836: Work in Progress103TAYLOR EDELHART (Singer/Dandy Minion) The Flea: Take Care(Dramaturg, Bat Performer). New York: Houseworld (San DamianoMission). Self-Made: Grandpa Sonata, Tall Trees In A Dark Forest, NOTYET: A Clown Show, STATIC, devised work about the body, the sinister,the power of objects and the connection between theatre and games. tayloredelhart.com and patreon.com/tayloredelhart for more info. Taste not its deadly flow!LINDSAY DANIELLE GITTER (Singer) #Serials@theflea, Decedents of theChalice (Wire Head Collective), The Scarlet Letter Musical Workshop(PHTS), The Pajama Game (Downey CLO), Zombie Prom (NYU), TheAmerican Clock (Kent Gash - NYU).ETHAN HARDY (Temperance Choir/Dandy Minion) The Flea: Take Care(Understudy), #serials@theflea. New York: Checkpoint Charlie’s Stateof Affairs (Marie Antoinette, Ars Nova), The Great Parade of UpperKennington (One, MRT) Harvard: You’re a Good Man Charlie Brown(Charlie Brown, Loeb Drama Center) Choreography: Take Care (The Flea), Jitterbug(Dixon Place), #serials@theflea (The Flea), Emma (Loeb Drama Center)ASHTON MUÑIZ (Singer) Recent Flea credits: Take Care (dir. Niegel Smith),The Blind (dir. Austin Reagan), Madhouse (dir. Ria T DiLullo) and theworkshop of Caenis (dir. Lilleth Glimcher). Other recent credits: Romeo andJuliet (Benvolio), Generation Y (Micheal), 13: The Musical (Malcom/Chorus),My Children!My Africa! (Mr.M). Ashton is a co-founder and the Artistic Development Directorfor nocturne productions. Training: Ithaca College, Shakespeare & Company, and the MoscowArts Theatre School. Instagram/Twitter: @arshton “Peace, Amor, & понимаю!” www.ashtonmuniz.comNEIL REDFIELD (Singer) The Flea: The Nomad (Liz Swados), #serials.NYC: Trial by Fire, Ivanov (Columbia U), Behind the Mask (眉间尺)(YangZhe Rep), ArtaudArtaud (Artilliers). Regional: Huck Finn in BigRiver (Cameo Theater, San Antonio). Training: SITI Company, BerkshireTheatre Group Apprentice. Native of San Antonio, TX. BA: Anthropology (UDelaware).www.neilredfield.com. For Liz.XIOMARA ROLON (Singer) The Flea: Decades with Taylor Mac. New York:TAP NYC Showcase (Judy, TAP NYC) Romeo & Juliet (Lady Montague,Hypokrit Theatre Company) Much Ado About Nothing (Verges, OfflineProductions)
THE FLEA THEATER A 24-Decade History of Popular Music: 1776-1836: Work in Progress113BRITTANE ROWE (Singer) The Flea: Take Care, The Mysteries and #serials.Other credits include Kyra in Bare: A Pop Opera, Dorothy in The Wizard ofOz and most recently singing in the gospel choir at Playwrights Horizons’The Christians. Brittane would like to thank her friends and family for theirconstant love and support. She is currently seeking representation. BrittaneRowe.comBEN SCHRAGER (Singer) At the Flea: Liz Swados and Erin Courtney’sThe Nomad, and #Serials. New York/Regional: Man of La Mancha andHis Girl Friday (Barrington Stage, dir. Julianne Boyd), The 24 Hour Plays,and Two Gentlemen of Verona (Delaware Shakespeare Festival). Benhas also done readings, workshops, and cabarets at Williamstown Theatre Festival,New Dramatists, Joe’s Pub, and Kaufman Music Center with William Finn, Norm Lewis,Elizabeth Stanley, and more. Training: BFA, NYU-Tisch (Atlantic and RADA). BenSchrager.comBRENDAN SOKLER (Dandy Minion) The Flea: Neighborhood 3: Requisitionof Doom (Doug), #serials@theflea. New York: Happily After Ever (59E59,Signature Theatre), Dog Sees God (CB, The Barrow Group). Regional:Hamlet (Claudius, Shakespeare and Company).RYAN STINNETT (Singer) The Flea: Take Care, Vava in Liz Swados and ErinCourtney’s The Nomad, Dr. Goudron in The System, #Serials@TheFlea, andworkshop performances of Ed Iskandar’s The Mysteries. He has performedat The Pit Loft, The Invisible Dog, The Brooklyn Lyceum, and 3LD. He wasnot in The Lovely Bones or any season of Arrested Development. His Stand-Up Comedy hasbeen seen at Broadway Comedy Club and Eastville Comedy Club. MFA: University of Virginia.Follow him on Twitter @ryanstinnett.JENNIFER TCHIAKPE (Dandy Minion) The Flea: #serials, Take Care. NewYork: Present Tense (Gene Frankel Theater), Try (TADA), Timelining (TheKitchen), Strange Rain (Lynn Redgrave Theater). Film: Layovers, For Ellawith Love, Rigamo, Aissa’s Story, Zasha, Quicksand. For all credits/awards,please check www.jennifertchiakpe.comCASEY WORTMANN (Dandy Minion) The Flea: #serials@theflea,New York: The Christians (Choir, Playwrights Horizons). Regional:A Christmas Carol, That High Lonesome Sound, At the VanishingPoint (Actors Theatre of Louisville), She Kills Monsters (SteppenwolfGarage Rep), Twelfth Night (Nebraska Shakespeare), Macbeth, Love’s Labour’sLost (Door Shakespeare). Graduate of Northwestern University.
THE FLEA THEATER A 24-Decade History of Popular Music: 1776-1836: Work in ProgressTHE FLEA STAFF103Niegel Smith (Artistic Director) is a theater director & performanceartist. His theater work has been produced by Classical Theatre ofHarlem, HERE Arts Center, Hip Hop Theatre Festival, The InvisibleDog, Luna Stage, Magic Theatre, Mixed Blood, New York FringeFestival, New York Live Arts, Phoenix Theatre Ensemble, The PublicTheater, Summer Play Festival, Todd Theatre and Under the Radar, and his participatoryperformances have been produced by Abrons Arts Center, American Realness, DartmouthCollege, Elastic City, The Invisible Dog, Jack, The New Museum, Prelude Festival, PS 122,the Van Alen Institute and Visual AIDS. He often collaborates with artist Todd Shalomand playwright/performer Taylor Mac.Smith, a graduate of Dartmouth College, was the associate director of the TonyAward winning musical FELA!, assistant directed the off-broadway production of The25th Annual Putnam County Spelling Bee and both the broadway and off-broadwayproductions of Tony Kushner’s Caroline, or Change. He has received residencies,grants and/or fellowships from Brooklyn Arts Council, Brooklyn Arts Exchange, LowerManhattan Cultural Council, Sundance Theatre Lab, Theater Communications Group,Tucker Foundation, Van Lier Fund and VoxFest. Before surviving high school in Detroit,he grew up in the North Carolina piedmont, fishing with his dad, shopping with hismom and inventing tall-tale fantasies with his two younger brothers.Carol Ostrow (Producing Director) Carol Ostrow (Producing Director)joined founder Jim Simpson at the helm of The Flea in 2001 and TheGuys marked her return to Off-Off-Broadway. She was the OBIEaward winning Producing Director of the Classic Stage Company aswell as the founder and original Producing Director of The PowerhouseTheater at Vassar, now in its 30th season. In between, she has been an adjunct professor oftheater at Vassar College, Chatham College and McGill University. For The Flea, Carol hasproduced 15 seasons of world premiere productions and has been responsible for the soundmanagement of the theater’s increasing programming and budget. She is also overseeingThe Flea’s capital campaign that will result in a new performing arts center for The Fleato be launched in 2017. (Stay tuned!) Carol is a graduate of Vassar Col
3 THE FLEA THEATER A 24-Decade History of Popular Music: 1776-1836: Work in Progress 3 A 24-DECADE HISTORY OF POPULAR MUSIC I suppose I’ve been subconsciously kicking around the idea for A 24-Decade History of Popular Music for many years. I can pinpoint the catalyst to an AIDS action I attended in 1987.
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akuntansi musyarakah (sak no 106) Ayat tentang Musyarakah (Q.S. 39; 29) لًََّز ãَ åِاَ óِ îَخظَْ ó Þَْ ë Þٍجُزَِ ß ا äًَّ àَط لًَّجُرَ íَ åَ îظُِ Ûاَش
Collectively make tawbah to Allāh S so that you may acquire falāḥ [of this world and the Hereafter]. (24:31) The one who repents also becomes the beloved of Allāh S, Âَْ Èِﺑاﻮَّﺘﻟاَّﺐُّ ßُِ çﻪَّٰﻠﻟانَّاِ Verily, Allāh S loves those who are most repenting. (2:22
SAMPLE QUESTION PAPER (2020- 21) ENGLISH Language and Literature CLASS-X (Rationalised syllabus) Time allowed: 3 Hrs. Maximum Marks : 80 General Instructions: 1. This paper is divided into two parts: A and B. All questions are compulsory. 2. Separate instructions are given with each section and question, wherever necessary. Read these instructions very carefully and follow them. 3. Do not .
