Southern Indiana Review

I am pleased to announce that my short play The Sign in the Scarlet Prison has been published in the latest issue of Southern Indiana Review.

The Evansville-based literary magazine has long expressed a desire to publish drama, but prior to this issue published poetry, fiction, non-fiction, and art, but not plays.

All that changed with Volume 25, Number 2. SIR launched its foray into drama by publishing three new plays. In addition to The Sign in the Scarlet Prison, they also printed the text for Dave Harris's The Birth of Toby and Wynne Hungerford's Parasailing.

The Sign in the Scarlet Prison was originally performed at the Lady Cavaliers’ Women-at-Arms Festival way back in 2002. Ten years later, Mortal Folly Theatre produced the play as a part of their Broadside! event, along with my other plays The True Author... Revealed, When Ladies Go A-Thieving, and First to Draw Blood.

I hope that publication in SIR will bring the play to a wider audience. If you by chance would like to produce the work, please contact me.

Davenport Hiring a Program Director

Broadway producer Ken Davenport recently bought the theater on 45th Street that was once home to Primary Stages. Now known as the Davenport Theatre, this building is near and dear to my heart. It's where Epiphany Theater Company did a staged reading of The Metric System, where The True Author... Revealed got its premiere, and where Maggie the Pirate was workshopped in the middle of Hurricane Irene!

Now Ken is hiring a program director for that theater. Loyal blog readers, please apply! This is a chance to be a part of a theater with a long and storied history, and hopefully even a longer and better future.

Here's the ad for the position:

Theater Programming Director

The Davenport Theatre seeks a self-motivated Programming Director to join the team. The Programming Director will be responsible for creating and discovering content and programming for the theater’s 149 seat mainstage and 60 seat blackbox. Applicants should have a strong knowledge of the Off-Broadway theatrical scene. Ideal candidates have 1-2 years experience working in the NY theater community. Producing experience a plus. Salary commensurate with experience.

Please send resume, cover letter and 2-3 references to dylan@davenporttheatrical.com. Subject line should include position title. No phone calls please.

Around the World in 80 Days

Last night, I saw the wonderful steampunk version of Around the World in 80 Days currently running off-Broadway at The New Theater at 45th Street. First of all... wow.

This is the quick-change adaptation penned by Mark Brown, in which five actors portray approximately three zillion characters. I saw it when Irish Rep did the play five or six years ago. I enjoyed that production, but was surprised that it was being revived so soon afterward. I wasn't sure I wanted to see a play (even a good one) that I had just seen a few years ago. On the other hand... steampunk.

The costumes are wonderful, and the set magnificent. Plus, the production deftly uses projections, showing clocks, maps, and various stylized images to help tell the story. Ten years ago, you had to go to Broadway to see projections of this level of quality, or at least a major off-Broadway house. It's wonderful that the technology has come down to more intimate venues as well.

And what is that venue? Well, The New Theater at 45th Street is the latest name for the building across from my old apartment on 45th Street near 9th Avenue. It's where I saw my first play reading in New York (a piece by N. Richard Nash). It's also where there was a staged reading of my play The Metric System and workshop productions of Maggie the Pirate, a musical I wrote with Joshua H. Cohen, and The True Author... Revealed, a one-woman show I wrote starring Katherine Harte-DeCoux.

Of course, when I worked in that building, it was a dump. Producer Cedric Yau should get a medal from the block association for transforming it into one of the classier places you can go now to see intimate theater. Not only is the lobby cleaned up and inviting, but the theater itself is decorated with a steampunk mural that blends into the set, bringing the audience right into the action. Yau also shelled out money to provide much-needed new seats and carpeting (which actually match the set and mural!) for the venerable old venue.

In order for the piece to work, however, you have to have good actors, and this production delivers. Not only is the cast hysterical, but they keep up the energy throughout the show, conveying a sense of urgency as Fogg and his retinue strive to make each leg of the journey on time and circle the world in the titular 80 days. I found myself cheering for them with increasing intensity throughout the second act, and I was on the edge of my seat, in spite of knowing all of the plot twists beforehand.

Below is a publicity photo I grabbed from the show's website. If you get a chance, check it out!