It’s official, the show is selling out almost every night, and we’ve been extended until February 24th (two weeks). If you haven’t seen us yet WHAT ARE YOU WAITING FOR?
Here, I’ll even give you a discount… go to SmartTix.com and use the discount code EXTRA, then select "Extension Special". You’ll save $5 bucks.
Come see the show that audience members love, critics scratch their heads at, and The New Yorker blessed with a positive review (woo-hoo!).
I’m not a very good blogger, am I?
I try to keep up to date, but I just fall behind!
Reviews for the show have been positive#–here’s a sampling:
"The best thing… the men in these ladies’ lives: mystified young guys in generic jeans who prefer not to think about their issues."#–The New Yorker
"Theatergoers will find some terrific performances in here… It’s comic, sad, a bit angry—and highly satisfying."#–Andy Propst, Village Voice
"…engaging , hysterically funny…"#–Rachel Wynn, Show Business Weekly
"Nicholas J. Coleman, Rachel Nau, and Thomas J. Pilutik, all give knockout comedic performances in both "Unprotected Sex" and "The Nude Scene." Angry Young Women is worth the price of admission just to see all of these terrific actors in action."#–Michael Criscuolo, nytheatre.com
We’ve been extended through February 24th, so it’s not too late to see the show!
The Christmas Show I’ve been working on was mentioned recently on the radio station WNYC in a piece about alternative Christmas entertainment offerings around town#–I grabbed the MP3 online and edited it down to the bit about us…
For the full show, go here:
The Brian Lehrer Show #– Other Ways to be Merry
Opening Night
I didn’t have the opportunity to properly post about opening night, and since several shows have now passed I’m afraid the experience has dimmed a bit in my brain. Because the show was constantly evolving (all the way up to the first performance) it was a little more nerve-wracking than other performances in which I’ve been involved. I’m not usually one to have opening night jitters, stage fright, or attacks of nervousness but this show definitely gave me stomache butterflies. The first piece, Thornton Wilder’s A Long Christmas Dinner, is a classic one-act that has been performed (one is led to believe) successfully before, but the second show of the night, a mostly improvised and updated version of A Christmas Carol, is a new work#–a somewhat zany comic convolution that has never had an audience. To tell the truth, we really weren’t sure how the audience would react.
Here’s the first review listed online for Murdering Marlowe. I’m not mentioned (I don’t speak!) but the scene in which I do the most was listed as one of the best in the play (the torture scene I mentioned the other day).
We’re also currently listed on New York Times online as the highest rated off-off Broadway play.
I went to a free screening of the IFCFilms movie The Edukators on Monday#–a German film about dissolute twentysomethings who take out their frustrations by breaking into rich people’s houses and rearranging their belongings. It was enjoyable, although a little slow in the middle. The film seems to have been shot digitally, so it’s not a pretty film by any means. The strength lies in it’s earnestness and well-drawn characters. The actors are all top-notch, and the score is mostly alt-rock faves, European and American. If you like art-house movies, you’ll probably enjoy this one, but if you’re a multi-plex goer you might find yourself a little bored.
In other news… I’ll be doing Guiding Light again next week, and also One Life to Live. I’m doing background on all the NY based soaps pretty regularly now, so hopefully I’ll move up to speaking roles soon. It’s sometimes easy to forget how much I’ve accomplished by being able to say "I received a paycheck this week as an actor". Most actors can’t say that… so even the small work I’m doing now is something in which I take pride. By joining the Unions I’ve said goodbye to juicy roles for a little while as I work my way up the ladder.
Glengarry Glenn Ross
by David Mamet
Cast:
Alan Alda … Selly Leven
Frederick Weller … John Williamson
Gordon Clapp … Dave Moss
Jeffrey Tambor … George Aaronow
Liev Schreiber … Richard Roma
Tom Wopat … James Lingk
Jordan Lage … Baylen
Wow.
I’m a big Mamet fan, so I may be a bit prejudiced in my review of his latest revival#–just an up front warning. And yes, I loved it.
At its heart, Mamet’s plays are about language#–or at least they owe much to its usage. Some people like the langauge, some people don’t: but no one can deny that only Mamet seems to have a mastery over the jingo and jive specific to each setting of his various plays. The plot of Glengarry involves four real estate salesmen competing for their jobs (and a new Cadillac), their office manager, a client with second thoughts, and the mysterious disappearence of the newest, freshest, most promising sales leads#–all set circa 1984 (or so). Mamet takes that structure and creates a verbal stew that is so specific with its rhythms and verbage that within moments of the curtain rising, you are inexplicably drawn into the world of the play. And then the drama begins.
The Producers
by Mel Brooks
I’m really behind on my theatre reviews.
I saw The Producers last month, when several of the billed performers were out, but the replacements seemed to hold their own just fine. The show got off to what I thought was a rocky start with the opening number#–the two girls who opened the show ("Opening night, it’s opening night…") were: a) not in synch while dancing, b) not together when singing, and c) pronouncing the words in an extremely odd manner. I don’t know that I can describe it#–imagine if you will the word "night" pronounced with the mouth shaped as though saying the word "oh". That will give you some idea of the peculiarity involved.
I’m happy to say that beyond the opening number (and the reprise later in the show), I was entertained and enjoyed myself (when the reprise of "Opening Night" replayed the curious abnormalities shown in the First Act, I wondered it weren’t an accident but a built in part of the show).
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