Sunday, August 10, 2014
To be, or not to be: that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? To die: to sleep;
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to, 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep: perchance to dream: ay, there's the rub;
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause: there's the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
The insolence of office and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover'd country from whose bourn
No traveller returns, puzzles the will
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry,
And lose the name of action.--Soft you now!
The fair Ophelia! Nymph, in thy orisons
Be all my sins remember'd.
Text from MIT's Complete Works of William Shakespeare.
Tuesday, May 6, 2014
Thursday, December 13, 2012
Monday, October 8, 2012
September 29, 2011
Tuesday, September 18, 2012
A collaborative, multidisciplinary ensemble of emerging and mid-career artists, we founded the company, primarily, because we believe that the traditional models for the creation of new work are inherently flawed. To us, it seems that more money is being spent on infrastructure, marketing, buildings, logistics, and development sessions than it is on artists, and on the actual production of their work.
As generative artists ourselves - playwrights, composers, choreographers, directors, as well as actors, musicians, and dancers - this feels wrong, at a deep, foundational level. The solution, it seemed to us, was to create a company of our own. Since 2010, we have created three original works, one for each year of our existence.
We write to you today because we believe that actual productions for actual audiences are at the core of the theatrical art form. We believe that small theaters can be nimble and take the risks that large institutions can not. We believe that new paradigms for performance, across disciplines, will develop new audiences who will follow the art form into the future and insure its survival. Finally, we believe that Foundation X itself, ultimately, is not as “traditional” as one might believe at first blush.
This letter of inquiry, then, will seek to tell our story, and make a case for further consideration for funding from the Foundation.
It was just past the New Year in January, 2010, and Executive Director Louis Butelli, and Managing Director Chas LiBretto were driving West across the country. Butelli was to take a teaching appointment at University of Southern California, and LiBretto was to take a technical job on the Conan O’Brien show. The two were passionate about classic literature and modern stage craft, and had long discussed their dreams of creating ensemble based theater with friends and former colleagues. The “power of the idea” was a potent theme and, by the time they reached the Rocky Mountains, they decided, with Director-at-large Robert Richmond, to turn this idea into a workable reality.
By February, 2010, Butelli and LiBretto began the work of creating a company. In April, 2010, Psittacus Productions was officially incorporated in the state of California. Plans began immediately for our premier production, “A Tale Told By An Idiot,” a comic book flavored conflation of the “Macbeth” story with the Guy Fawkes story. It premiered in June, 2010 at the first annual Hollywood Fringe festival to an average audience of 7. Undeterred, and determined to avoid “premieritis,” we established a relationship with a small theater in Silverlake, the Son of Semele Ensemble. We transferred the show, in July, 2011, ultimately playing to full houses, extending, winning an LA Weekly Theatre Award and being named “Best of 2011” by BackstageWest. Later that month, we were approved by the IRS as a 501c3 nonprofit charitable organization.
Almost immediately, we started to consider what to create for our sophomore effort. In September, 2010, we went to see our Advisory Board member Olympia Dukakis perform in “Elektra” at the Getty Villa in Malibu. We were introduced to Mary Louise Hart, Curator of Antiquities, who took us on a tour of her exhibition, “The Art of Ancient Greek Theatre.” Two works stood out for us: the Pronomos Vase, which depicts a “cast party” after a satyr play in which Dionysus is in attendance, and a fragment of a lost satyr play, “Trackers,” found in an ancient garbage heap. Later in the month, we attended a symposium at the Villa on satyr plays, and it was decided. We would adapt Euripides “Cyclops,” the only complete satyr play to survive antiquity.
This idea eventually became, “CYCLOPS: A Rock Opera,” featuring a live rock band of satyrs, Maenad back-up dancers, 23 original songs, and appearances by Odysseus, Polyphemus, and Dionysus himself. “CYCLOPS” opened at Son of Semele in January, 2011 and transferred to the Carrie Hamilton Theater at the Pasadena Playhouse in April, 2011. That summer, we were accepted to the New York Musical Theatre Festival where we opened at the 47th Street Theater in Times Square in September, 2011. Ultimately, “CYCLOPS” won the NYMF Award for Excellence, was nominated for 3 LA Weekly Theatre Awards (Best Adaptation, Best Direction, Musical of the Year), appeared on the LA Times Best of 2011 List, and was jury-nominated for the 2012 Pulitzer Prize in Drama. Plans are afoot to take “CYCLOPS” to the Edinburgh Fringe Festival in the summer of 2013.
In 2012, we went into research and development mode, and have created and staged a workshop version of our next project, “A True History.” An original play by LiBretto, “ATH” is based on the writings of Lucian of Samosata, a 2nd century Roman satirist, and is arguably Western Literature’s first piece of science fiction. Staged as part of the Professional Theatre Workshop at the Lost Colony in Manteo, NC, we plan to bring “ATH” to New York before the year is out.
All of the above activities have been executed with the sum total of our fundraising to date, approximately $60,000. These funds have come from a combination of crowdfunding (IndieGoGo and Kickstarter), larger private donations, corporate matching funds, ticket sales, and support of the Anna Sosenko Assist Trust and the Puffin Foundation.
If we are to continue our activites, and expand to include educational activities, we need more solid financial footing. Funding from Foundation X will be applied directly and immediately to “A True History” in New York City, “CYCLOPS” at the Edinburgh Fringe, and minimal operations expenditure, including our post office box, updating our website, and rental of a small office space.
We are small. Still, given Foundation X’s stated funding goals to “help artistic leaders who are ‘swimming upstream’ to continue to take artistic risks,” (citation redacted), we believe we are eminently appropriate for further consideration.
Psittacus Productions’ Mission
CONNECT with our community and share our passion for the live, in-person experience unique to the theatrical art form by producing plays from the classical canon;
INVESTIGATE the ways in which our perceptions of “The Classical” have been altered by living in the 21st century by producing new stage and multi-media works;
CREATE a laboratory environment wherein we ask the question “what is a classic?” and engage our community by conducting education and outreach activities.
Our five year goal is to attain financial solvency with a combination of continued bookings/ticket sales, pilot programs of educational activities, and expanded fundraising, to include philanthropic organizations, such as Foundation X. It is our goal to pay our artists as fairly as possible and, for the first time in our history, for our leadership to receive token compensation.
Relevance to Foundation X
“We are now providing direct support to...small theaters....We recognize that such activities as remounting difficult or rarely done classical works...[is] important and challenging; we are equally interested to support organizations that have a track record in [this area].”
Support playwrights - All of Psittacus Productions work to date has placed writers at the center of the work. “A Tale Told By An Idiot” (Shakespeare, Butelli, Richmond); “CYCLOPS: A Rock Opera” (Euripides, Percy Bysshe Shelley, LiBretto, Butelli, Jayson Landon Marcus & Benjamin Sherman, composers); “A True History” (Lucian of Samosata, LiBretto).
Support productions, not development - Every project we have taken on to date has been with the express goal of public performance. In the case of “CYCLOPS,” we actually booked the theater before we had a script at all. We develop IN ORDER to produce.
Support artistic risk taking - It is our belief that none of our critically acclaimed, award-winning shows would have seen the light of day under the auspices of a larger institution. Because we are small, because we have no physical plant, because our audience is primarily 18-35, because we are developing our audiences in real time with each show, we are free to turn a Shakespeare play into a comic book, or a Greek satyr play into a Dionysian rock concert.
Support playwriting centers and small theaters - Psittacus Productions is simultaneously a playwriting center and a small theater. We find writers that we like, and we produce their plays, throwing all of our, admittedly limited, resources behind them.
Support interdisciplinarity - We work with a full spectrum of performative and generative artists - actors, singers, musicians, dancers, choreographers, composers, writers, etc.
Support collaboration - As one artistic director says in (citation redacted): “Never in the history of dramaturgy have plays ever been written alone in people’s rooms that aren’t connected to actors in particular, but also other artists. The most interesting work grows out of that.” We agree. It is the absolute essence of our work and of our mission.
Support audience development - with each new show, combining the live experience with social networking, we continue to develop a strong, committed audience of new theater goers.
To quote another participant from (citation redacted): “Grant-making organizations should invest time and dollars into identifying worthy organizations; those companies could then devote more of their scarce resources towards mission-related pursuits.”
We thank you for your kind consideration, and hope to have an opportunity to apply for funding.
Friday, January 6, 2012
Happy New Year! Managing and Co-Artistic Director Chas LiBretto here! 2012 is here at last – will it bring the apocalypse or hover-boards? When will we take jetpacks to work? While we mull these questions over, I’d like to reiterate what Louis said in the previous post that a number of exciting things are in the works over here at Psittacus Productions. More news as it comes, but the new year will bring:
- a few concert-appearances in anticipation of the next New York City run. We did two concert appearances last fall (one at the Tea Lounge in Brooklyn and one at The Falcon in Marlboro, NY), and they were more fun than a sharp stick in the eye (Polyphemus would know)!
- and, just in time for what’s sure to be a positive and uplifting election season: a brand new take on Shakespeare’s Richard III, in the spirit of 2010’s award-winning “A Tale Told By An Idiot.”
I write this post from New York City. I’m back here for a number reasons, foremost among them because I missed New York. I had a great time working on CYCLOPS here, and felt like Psittacus had come home. There’s a ton of amazing work happening here, and it’s hard not to feel inspired to up one’s own game. Don Shirley’s LA Stage Times post criticizing the Charles McNulty’s LA Times “End of the Year List” notwithstanding (not to toot our own horn, but we’re on it. Then again, this is our blog, after all, so if we won’t toot our own horn, who will?), some of the best work is happening here, and if you throw a rock you’re likely to hit a non-profit theater. I don’t necessarily advocate throwing rocks at theaters, though.
In the meantime, I’m spending my days as a reader at the Vineyard Theater. The Vineyard is an Obie and Drama Desk award-winning Off-Broadway, non-profit theatre located just east of Union Square. Since 1981, they’ve been dedicated to producing bold, new work, including the first productions of Avenue Q, How I learned to Drive, The Scottsboro Boys, and [title of show]. Their production of Zayd Dohrn’s Outside People opens on Tuesday, so get your tickets – it’s sure to be great!
I hope 2012 finds you well, and be sure to watch this space in the coming months for news about what's next for Psittacus Productions!
Monday, January 2, 2012
Hello and Happy New Year from Louis Butelli! I’m currently in Montgomery, Alabama (affectionately known to locals as “The Gump”) where rehearsals are underway for “The 39 Steps,” beginning January 27th at Alabama Shakespeare Festival. Planning a trip this winter? Come on down to The Gump, and pick up your tickets now.
Today, I’m going to tell you a little bit about ASF and talk a bit about the play.
But first, here are a couple of juicy tidbits about “CYCLOPS: A Rock Opera,” the show that consumed us at Psittacus Productions for the whole of 2011. Plans for a studio recording of our cast album are underway, and negotiations for brand new gigs in the fall have begun. In the meantime, the New Year is traditionally the time when critics put out their “Best Of” lists. We’re honored to have made it on to a few of these. Here are some links:
Los Angeles Times - Chief critic Charles McNulty says that "adventurous" audiences were "galvanized" by "Psittacus Productions' electrically flamboyant 'Cyclops: A Rock Opera.'"
Bitter Lemons - Tastemaker and provocateur Colin Mitchell makes us his top pick for 2011 and says that Cyclops was "hands down the most original show of the year."
Compositions on Theater - Critic, composer, dramaturg, and self-professed Cyclops superfan Sarah Ellis also makes us her top pick for the year and says that she "loved being a friend and advocate for such a smart and sexy new work."
So. “The 39 Steps.” What on earth is it?
Here’s the blurb from the ASF website:
“Four actors play 140 roles in this Tony award-winning Broadway smash that is a combination of Alfred Hitchcock, James Bond and Monty Python. Richard Hannay’s dull life is transformed by a meeting with a mysterious female spy. When she is murdered in his home, he is forced to become a fugitive. But who really done it? And what are the 39 steps? Don’t miss the chase of a lifetime and a death-defying finale!”
Essentially, the play is a physical, minimalist, and highly theatricalized stage adaptation of Alfred Hitchcock’s 1935 film – which, if you haven’t, see it!
In the first three days of rehearsal, we laid down some basic blocking for the first act of the show. In that time alone I play, among other things, the star of a vaudeville “memory” act, an underwear salesman, a policeman, a Scottish farmer with a sexy wife, a paper boy, a Cockney landlady, and a posh housewife.
For those last two, I was fortunate enough to head to the costume shop for “boob fittings.” I won’t say too much about that except to say that one pair is pendulous, one pair is perky, the entire staff of the costume shop came to watch me try them on and, most worryingly, once they’re on, it’s almost impossible not to touch them constantly. Not quite sure just what that says about me.
While it’s probably too soon in the rehearsal process to know exactly how everything is going to play out, I will say that we four actors have already staged an epic chase on a moving train, a death-defying climb across a bridge, and a stealth mission in a fighter plane. And all of it done with simple props – hats, chairs, ladders, etc. – and the imagination of the audience. This is what the theatrical art form is all about. It’s gonna be a hoot.
So far, ASF is awesome. The staff are friendly, hard-working, and very much on the ball. The facilities, which include the 750-seat Festival Mainstage (where “39 Steps” will play), and the 225-seat Octogon Second Stage, are impeccable. The theater is on the grounds of a gorgeous 250-acre park, and it is an absolute delight to go to work there every day.
There will be lots more to come about the play and about ASF – in the meantime, check out their website for more info.
OK. Psittacus Productions is getting ready to roar into 2012, and we wish you all of the very best for a Happy, Healthy New Year.