Announcing Don Juan, or, The Wages of Debauchery!

Don Juan, or, The Wages of Debauchery! 

A traditional Czech Marionette play with some not-so-traditional touches; adapted and directed from an anonymous play of itinerant puppeteers by Vit Horejs.

In this production, Downtown meets the Folk Tradition. High and low, live performers and puppets of disparate sizes are blended to a startling comical and sometime touching effect. The puppets include antiques, puppets designed and constructed by master carver Jakub Krejci, toy puppets by Prague-based Milos Kasal, and a giant surprise by Alan Barnes Netherton. The actor/puppeteers are Deborah Beshaw, Otis Cotton, Tess Wonson, Vít Horejs and Theresa Linnihan. Costumes are by Theresa Linnihan and Egypt Dixon. Set design is by Theresa Linnihan and Alan Barnes Netherton. Music, performed by John Bowen, is composed expressly by Court Kappelmeister Wolfgang Amadeus Mozart.

www.czechmarionettes.org

Tickets 800-838-3006 extension 1http://www.brownpapertickets.com/event/577337

Lynn Kable, The real Belle of Amherst!

 Lynn Kable with Amal

When Lynn Kable lived in New York City, she was a force to contend with.  More than a force, in fact.  As an arts administrator and producer, she conceived and created programs throughout the city, in homeless shelters, libraries, museums and professional theater venues from Broadway (when she worked for Merrick) to downtown La MaMa Experimental Theater Company and spaces between. Overseas, she worked on a number of landmark projects in East Central Europe (Macedonia, Poland,  etc), Central Asia (Uzbekistan) and more. 

This year, 2013, marks the 10^th year that Lynn has lived and worked in Virginia, just south of historic Charlottesville and north of the seven hills of Lynchburg.   For most of these years, she has slowly been working towards the reputation of bringing to the public a wide range of diverse and professional music, theater and outreach engagement projects.   She formed her own non-profit organization in 2006, Amherst Glebe Arts Response (AGAR) [see: http://www.amherstglebeartsresponse.org/  for the purpose of finding funding and community support for these public programs.  Some of the events take place in nearby historic churches and venues; from Amherst High School to St. Mark’s Church, and most recently a play performed for two weekends in the Parlor Room of her own landmarked home, The Glebe. 

What can I say about working with Lynn? For those who know her and have had the privileged opportunity to work with her, you know what I mean.  Lynn has an unfathomable energy to see through any obstacle and bring out the best in everyone she works with.  Her demands are large, so you cannot go into a project half-heartedly; but most often her enthusiasm prevails and we find ourselves working harder than ever to be part of her dreams. 

For 18 days in November, I was a more than willing witness and participant in the creation of The Belle of Amherst, a play that Lynn envisioned in her home the first day she saw the front Parlor. (In fact, I suspect that being able to have this play performed in her house was one of the reasons she and her husband Ned bought The Glebe.)  see: http://www.amherstcountymuseum.org/tour1957.html#glebe. We rehearsed and presented the play for six performances.  The Parlor seating for the audience was limited to 24 maximum each day, and Lynn managed to bring in audiences that ranged in age from 12 to 90 years old!  What a delight to perform in that historic room.  Sally Parrish Southall, who portrayed Emily Dickinson in the play, brought her own special profound energy to the show and the space.  As we gathered furniture from all of the rooms in Lynn’s home to the Parlor, we saw the creation of our 19^th century setting appear before our eyes.  Maxim Tumenev, my partner in gardening and theater, helped the vision of the play come to fruition; and helped carry sofas tables and chairs into the parlor!

What else can I say about Lynn?  Years ago, when Lynn lived in New York I tried, with no success, to persuade the BESSIE committee to award her a producer extraordinaire award.   At this point, I feel that Award would not even come close to the level of recognition that she deserves.  Lynn Kable is simply one of a kind and describing her is a challenge and a joy.  She is, without reservation, a fiercely moral individual, who sings in choirs, holds together a major household in a landmark home, the mother of three amazing young professional women, and one of the best event producers worldwide.  AGAR is her vehicle for bringing arts, education, healthcare and related programs to the lucky audiences of Amherst, Virginia, and beyond.  Lynn is fearless, and I am one of the lucky ones – to be encouraged and supported by her energy and love.

Lynn Kable – this is for you.  Bravo! Standing Ovation!  Please continue to do what you do.  This is my award to you.  I offer you devotion and love; for I had the fortune to have worked side by side with you for 8 years in New York City in the 1990s; and 18 days in Virginia this November.  Lynn- you made it happen and I shall be forever grateful for the experience.  Looking forward to more!

Check out our Indiegogo campaign for THE REPUBLIC!

Czechoslovak-American Marionette Theatre

THE REPUBLIC, or MY DINNER WITH SOCRATES
Coming soon to La MaMa..

Photo of Director Vit Horejs by Jonathan Slaff

Trudy and Me, 2012 

August 28, 2013

Dear Sarah, Michael, Mary, Alan, Ilene, Gale, Melvin, and all of the grandchildren and great ,grandchildren of the remarkable Gertrude Morse.

I wanted to contribute some words to commemorate your mother, grandmother and great grandmother, Trudy, who was a dear friend and fellow traveler for so many years.  It has taken a few days for me to find something that could really say what is in my heart.  As you know, she was a very special “force of nature”, and you are all fortunate to have had her in your lives.  Sharing her with me and the wide world must  have been a challenge at times, but it might also have been rewarding -- hearing all of the vast stories of her travels and meetings along the way.

Trudy, was to me, a mentor, teacher, fellow traveler, surrogate mother, energizer, companion in late night giggling, lover of life, lovely dancer, musician poet extraordinaire, artist and project supporter, lover of peace, life coach and dear friend.  We shared so many wonderful times together – watching performances, attending shules in Prague, visiting historic sites in Estonia and hanging out in New York City, where I live.  Trudy hopped the bus numerous times to New York- where she would attend a performance I produced, or we would go to see something interesting together.  Any time of year – she even came here on New Year’s Eve to see the Klezmatics (a founder, trumpetter Frank London was also a dear friend of hers), and got back on the 2am bus to DC.

I met her in the 1980s in New York. I have been trying to remember exactly when, but cannot find the exact moment.  We shared love for two virtuoso performers Cecil Taylor and Min Tanaka – two extraordinary artists that I worked with as a producer.  We saw them together in New York, at Jacob’s Pillow in Western Massachusettes and other wonderful venues.  Trudy always had wise words of caution and encouragement, and she followed my work around the world, often flying to the location of a project to “help out.”  Her presence was a joy to me and we shared some really crazy and fun times. 

One time that I will relate – there are so many – was more recently in Prague  in 2006, when she visited me there.  We went together to watch Min Tanaka dance into the chilly Vltava River.  (I covered the event for Dance Magazine)  One year earlier, Prague had been inundated with a terrible flood.  Trudy and I sat on the banks of the river as Min entered the cold water, keeping ourselves warm in the chilly autumn sunshine.  Min’s dance was commemorating one year after the great Prague flood – and the reopening of Archa Theater, where he danced annually. (invited by Ondrej Hrab, producer)

Trudy always thought of the best way to support  an artist on the road.  In this case, she happened to have an instant ramen CUP NOODLE with her, the perfect food for warming up.  She handed it to Min after he came out of the water and was drying off on the shore.  It was such a brilliant cultural idea – and the exact food he needed to regain his body temperature afterwards.  Min was very moved and pleased with her gift – an inexpensive but rich and smart gesture. 

Another time, in summer of 2001, we were in Tallinn, Estonia, and the presenter who I was working with (Priit Raud of AugustTants Festival), organized for Trudy to stay at the ornate and exclusive presidential hotel, not an easy thing to do. The day after checking in, she left the palacial abode and moved herself into the Youth Hostel located in the center of Tallinn, declaring the Presidential hotel to be too fancy and “too far from the action.”  Although Priit was surprised by her move, we quickly understood what she wanted and what she needed.  She did not want to be far from where we were holding daily rehearsals, which she loved to attend and wanted to leave for a nap if she needed and return later in the day.  She always gave me feedback about my production work, and kept me going strong.  I loved her for that.  We used to laugh so hard in the wee hours of the night on the internet together -- me in NY and she in Maryland -- telling each other stories that made me fall off my chair.  

So many memories.  I would need a book, and after reading the memories of so many others who were touched by her, it is clear that a book of memories already exists.

TRUDY MORSE(Moma Gila)  , April 7, 1919 – August  21, 2013

May her memory be blessed for all time.
Forever on my heart.

With love and care,

Bonnie Sue Stein, Executive Director and Producer, GOH Productions/New York City

Beate Gordon (Oct 25, 1923-Dec. 30, 2012)

The world class impresario, Beate Gordon died peacefully in her sleep, December 30, 2012.  She was 89 years old.

I worked for Beate from 1982 to 1988, at the Asia Society’s Performing Arts department in New York City.  Six incredible years that carved my life path.  As an impresario, she was schooled in politeness, always putting the artist first and as her assistants we learned the old ways of producing.  None of us had degrees in Arts Administration, we learned on the job.  There was a stellar team during the 80s that included some powerful, creative women: Paula Lawrence, Karen Haight, Marie Stella, Lisa Chan, Lynn Winters and one amazing guy, Somi Roy.  She was like a mother to me, more than a mentor.  We never got any work done, because her stories captivated us and distracted us from the tasks at hand.  So we stayed late often, working on deadlines for press releases and promotion.

In 1985 our Performing Arts Department won an Obie Award, a Special Citation for sustained achievement presenting performing arts programs from Asia, including that year’s triumphant tour of the spectacular dancing drummers from Korea, Samul-Nori.  Beate, or BG as we sometimes called her, was unlike any other cultural leader, and a dying breed. She spoke several languages fluently, was schooled in the proper etiquette of all the countries she traveled and was a fearless leader, championing artists and education about Asian performing arts through visceral experience.  Every performance we presented had a pre-performance lecture/demonstration and a tasty tidbit from that culture’s food group.  Audiences loved these presentations.  Finding samosa, dumplings or other tidbits was one of my jobs, as her assistant – a job I did with relish, literally.  I also had to find scholars and experts to write about the performing arts we were presenting, as BG –knowing that the press community were not well versed in these art forms--  insisted that each press release be accompanied by a monograph. So many firsts happened under her tutelage – traditional groups from Asia toured the USA including the first touring group from the People’s Republic of China, the premiere tour of dancers and musicians from the Silk Route (Uzkekistan, Mongolia, etc), Kathakali dance drama from South India, Samul-nori drummers from Korea…  And contemporary groups – puppet troupe Kaze-no ko from Japan, butoh master, Kazuo Ohno, and our own US based Eiko and Koma – and more.  A list would take up all of the space allotted for this brief highlight of a life well lived. 

 “Would you be so kind”…was how BG began nearly every request.  It was a sure way to get us to do anything that needed to be done.  I learned that type of politeness could open doors and motivate action.  Beate was like a mother to me, to all of us.  She led the crew and we followed happily and diligently, supporting the groups of artists that traveled from all corners of Asia to New York City and around the country. 

Beate was also responsible for helping to formulate an amendment of Japan’s postwar constitution which outlined Women’s Rights for the first time in that country --  a global achievement that was echoed in her book THE ONLY WOMAN IN THE ROOM.  These rights were something she felt strongly about and what she talked about most and leaves as part of her expansive legacy.  She was well aware that the current conservative government in Japan threatened preservation of these rights, and after a hiatus of several years, became vocal about the new initiatives to keep these rights safe.  A lot of her life was dedicated to equality of these rights.  More articles will be coming out in the next few days, so keep your eyes open.  She touched so many lives worldwide.  RIP dear friend and mentor.   

Wikipedia: http://en.wikipedia.org/wiki/Beate_Sirota

photo: Paula Lawrence, Beate Gordon, Bonnie Stein, Eiko and Koma, 2010 by John Gillespie

TRIBUTE TO ADRIENNE COOPER
DECEMBER 22, 2012
8 PM
KAYE PLAYHOUSE

FEATURING A MELTING POT OF THE BEST MUSICIANS AROUND!

Tickets for A Kholem / Dreaming in Yiddish / A Concert in Tribute to Adrienne Cooper

ASA Photography and Animation Exhibition November 10-18

East Village Dance Project La MaMa Moves! 2012

EAST VILLAGE DANCE PROJECT, LA MAMA MOVES! 2012.
MAY 20, 2012
by R. MacKenzie
Photos by Bob London

       My cousins and I used to call it “getting washing-machined”. That’s when you misjudged how the wave was going to break and either didn’t catch it nor dive through in time, and so ended up getting smashed down into the hard sand, salt water going up your nose, sand in your bathing suit and at the mercy of the water’s ferocious strength. That was just one of those recognizable moments in Martha Tornay’s concert of her students of The East Village Dance Project. That dance, Soaked to the Talking Heads Same As It Ever Was, was set on 9 children, one in a concert of 10 dances ranging from classical pointe work to authentic jazz in the East Village Dance Project’s annual concert presented by the LaMama Moves! Dance Festival and GOH Productions on East 4th St on May 20th, 2012.

       She had those kids looking like waves rolling in and out, side to side, then suddenly they were a fountain, then a river, then somehow the little boy gets to dive in and surf right there in front of our eyes. Costumes included swimming goggles, bathing suits, and wonderful hoop tutus made of aquarium print shower curtains. This piece is really fun: The first time I saw it I laughed, the second I cried, the third, I laughed and cried.

       This delicious program included a huge range of dancers in age (4-18), dance styles and skill levels, but the key to its sheer quality is the sure direction of Ms. Tornay. The dancers showed some excellent technique and they have obviously been encouraged to make individual choices and contributions. Then they have been set up within a structure that leaves them the freedom to shine at all levels. Martha provides rocking and elegant musical choices, bright and fitting costumes, but most importantly, the kids have been given permission to have a lot of fun. The teen company developed a piece over 8 months with completely original choreography, exploring in directions and making choices entirely their own, producing Alienation Affect which was accompanied by electric guitar played by a young man named Jack Lazar.

          Trained with Mme. Gabriela Darvash, amongst others, Ms Tornay has taught and danced at Bates Festival for many years, but her crowning jewel is the amazing group of dancers she teaches year round in their lovely new home at #55 Ave C Studios. Her choreographies are surprising, human and entertaining, appropriate to the children’s skill levels and so charming! Lucas Rollings-Page, Victoria Roberts-Weirzbowski and Kiva Dawson, as well as the Teen Company, all made dances, every one a little gem. Lucas’ musical choice was a lovely ballad by Bobby Womack with the refrain of “If you don’t want my love, If you don’t need my love,...Give it back to me.” The girls in his dance were delicate, gentle creatures who I imagined barely discovering the tragedies and thrills of love. The girls in Ms. Dawson’s dance were skilled, sassy and frisky in the humorous jazz number Hot Honey Rag. Don Q-ish, music by Leon Minkus, was the first mini ballet on the program, a redux featuring Safouane Chestnut, our surfer from Soaked, as the prince and a sweet girl, earnest and committed, Gianna Bernard as his partner.  The costumes and choreography were excellent, the dancers joyous, (India Rogers has a radiant smile in both Don Q-ish and Bal-led) the variations charming, especially when it’s the gang of really little ballerinas with giant velvet flowers to offer, dance with, jump over…

         The second ballet Bal-led, to all tunes by Led Zeppelin, was a great original idea. After seeing it I wonder why Martha isn’t already world famous and doing this season at the Joyce. The piece glides through several of your favorite classic Led Zeppelin songs with group variations, marvelous duets with Afinatou Thiam and Chloe London partnering Bailey Edwards and Lucas Rollings-Page (who each take rocking percussive solos), the incorporation of a love-seat, quartets and, towards the end, a magnificent solo by Talia Vilaplana that takes one’s breath away. Students in EVDP, from tiny to graduates, are variously stunning, graceful, elegant, self-possessed and even at times funky, but I’ve never seen a dancer who lives the dance in such a way that it is like a part of her skin like Talia does. This girl is destined to always be a stunning dancer, her technique, musicality and emotional commitment all add up to be so very magnetic.

Many dancers in Martha’s group are really skilled, but Martha’s genius lies in the way that she can put together a choreography for children who are NOT YET accomplished dancers and make them look good, make the dance dynamic, exciting and constructed in such a way that kids will be happy to perform with lots of gusto and confidence. I can say from experience that this always a challenge. Ms Tornay has shown year after year that she is up to it and so much more. BRAVO!

GRATITUDE CONCERT IN NEW YORK MARCH 2012

GOH is working with the Japan Foundation in New York to bring this amazing event:

Great East Japan Earthquake Commemoration Free Concert
OVERCOMING THE DISASTER
GRATITUDE FROM JAPAN TO THE WORLD
March 6, 2012 at 7:30 PM
Rose Theater, Frederick P. Rose Hall,
home of Jazz at Lincoln Center on Broadway at 60th Street

Goodby Golem, hello new show

Art in Odd Places: 2011 RITUAL

Art in Odd Places 2011: RITUAL features a wide variety of actions, participatory performances, theatrical presentations, public installations, and small and large-scale interventions all of which revolve around the concept of ritual. Happening from October 1 to 10, along 14th Street in NYC. Come and visit the sites and see performances and art installations!

The Absolute Ensemble Goes Multiculti with Arabian Nights - WQXR

The Absolute Ensemble Goes Multiculti with Arabian Nights - WQXR

Giselle at La MaMa Moves!

East Village Dance Project performs Giselle as part of La MaMa Moves! Festival, 2011.
Performances are on Sunday, June 19 at 2pm and 4pm. Tickets and more information is available at www.lamama.org or call 212-475-7710.

We have performers, aged 3 1/2 to adult performing traditional scenes from Giselle as well as some with a modern twist. Take a look at the pictures of some of them below! (all photos by M. Tornay)

East Village Dance Project is a project of GOH Productions and supported by the NYC Department of Cultural Affairs, Hyde Watson Foundation, Charlotte Ruby Cantor Fund, and private donations. Contact: www.eastvillagedanceproject.com

Art in Odd Places at New Museum's Festival of Ideas

From May 4-8 Art In Odd Places participated in The New Museum's exciting and educational Festival of Ideas for the New City--hopefully an annual event. Here are some pictures of the aiop crew:

The booth

A fountain

News"boy"

Bubblewrap geisha
(photos by Karen Hatch)

GOH Board Meeting today in NYC!

Welcome to Sherry Erskine, Marika Blossfeldt, Don Trammel, members of GOH Board of Directors, and to Advisor Steve Boss.
Welcome to the new members, Roberta Levine and Farzad Mahootian.

Our first meeting since the Avenue C Studio opened will happen today, March 5.

I am excited to welcome everyone from out of town (Sherry and Roberta) and to the in-town members and new faces. Thanks for coming on board.

with love and care,

Bonnie

OUR NEW HOME FOR EAST VILLAGE DANCE PROJECT

Welcome to Avenue C Studio!

R.I.P. ELLEN STEWART. Our MaMa of La MaMa. Everyone has a story about Ellen. I met her first in 1975 or so, when I was visiting New York as a budding performer and choreographer. We met numerous times since then. I would catch her as she walked her dog, since I was just around the corner. If you wanted to talk to her, you had to do that. Meet her "by chance" in the morning dog walk time slot, and approach her for a gig, an idea, a festival, a chat, a kiss, a hug. Whatever it took. We fought. Everyone fought with her. We had one big one in 1989, but I went back. I brought projects from various corners of the world to Ellen. Between Ellen Stewart and Beate Gordon (who became my "real" boss at Asia Society in 1982), I had two Mamas, who I wanted to be like when I grew up. I now feel obligated even more than ever, to continue to work, across borders and across so-called enemy lines. Ellen, your spirit will continue to move me forever. I am blessed to have known you and learned from you.

here is the obit from Time Out NY today:



Ellen Stewart, who died this morning at the age of 91, was a force of culture. When she founded La MaMa back in 1961, Off-Off Broadway theater was in its infancy; in the 50 years since, she has been a vital agent in its growth and expansion, and up until just a few years ago she could still be seen regularly at her East Village drama center. A lifelong internationalist, Stewart helped introduce America to the work of Jerzy Grotowski and his Eastern European contemporaries in the 1960s, and La MaMa's archives are like a geological cross-section of theater innovation. Adrienne Kennedy, Israel Horovitz, Tom O'Horgan, Andrei Serban, Charles Ludlam, Elizabeth Swados, Mac Wellman, Ping Chong, John Kelly, Robert Patrick, Julie Bovasso, Taylor Mac, the Talking Band and Mabou Mines are just a few of the countless artists she helped wean in her peerless career. Stewart racked up many awards, including Japan's Praemium Imperiale and a MacArthur Foundation "genius" grant, but her greatest honor lay and lies in the incalculable influence of her passion. Off-Off Broadway has lost its mother, but her legacy is everywhere to be found.

%80%932011#ixzz1AwCe2Iw2

YOU ARE INVITED!

ANNOUNCING AVENUE C STUDIO OPEN HOUSE!
JANUARY 9, 2011

from the desk of Bonnie Sue Stein

In spite of the stressed economy, and the decreased funding for the arts, East Village Dance Project (EVDP) in partnership with GOH Productions has opened Avenue C Studio at 55 Avenue C, near East 4th Street in Manhattan. We are the only studio east of 2^nd Avenue in the East Village, and we are the new permanent home for the EVDP youth program which has been running in studios all over the neighborhood for the last 14 years. Also, the recently formed East Village Dance Project Jr. Company, a group of teens, will be rehearsing and developing new work at Avenue C Studio! EVDP offers a full week of classes in ballet, modern, improvisation and jazz classes for ages 4 to adult. Check out the website for details: www.eastvillagedanceproject.com.

Also, we welcome our good friends at Movement Research who have moved their offices to 55 Avenue C and will offer some of their programs in the new studio space!

OPEN HOUSE was on Sunday, January 9. Councilperson Rosie Mendez stopped by as well as 100 of our friends and neighbors and kids. The EVDP Jr Company performed twice, and we launched our first full week of classes. Come by! Take a class! Rosie promised to dance again, after revealing that when she was studying at NYU, she actually took a few modern dance classes. Go Rosie!

Bonnie Sue Stein

November 30, 2010

Tonight was the first performance of GATHERING SPACE at Al Balad in Amman, Jordan

My thoughts tonight and today were all about water. There is not enough here.

In the desert, there is little or no water.

Maybe we need to cry more to create tears? Then turn them into water?

Water

Tears

It’s about water and tears.

We fear the tears.

The tears tear us up.

We tear up with tears.

We are torn.

We are torn with the tears.

I do not want to expel water from my eyes because that is a waste in the desert.

I must conserve these tears

Why not drink our tears? Or cry crocodile tears.

Crocodile tears (or superficial sympathy) are a false or insincere display of emotion such as a hypocrite crying fake tears of grief.

Am I (are you?) crying crocodile tears instead of real ones?

The women in the first row at the performance tonight were crying during Sizzle’s last song. I was also crying. The song is so emotional, and the dancers are doing Palestinian dance steps on top of a camouflage tarpaulin. The image is all together, birth, death, life and pain.