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September 18, 2017

Artist Talk: Veit Sprenger (Showcase Beat Le Mot, Germany)

Artist Talk: Veit Sprenger (Showcase Beat Le Mot, Germany)

Start: Sep 18, 2017
End: Sep 18, 2017
Venue: Segal Theatre

October 4, 2017


Save the Dates! October 4, 5, and 6.

Date: October 4, 2017
Venue: Segal Theatre
Cost: Free
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October 12, 2017

Thomas Ostermeier (Schaubühne, Berlin)

Thomas Ostermeier (Schaubühne, Berlin)

Start: Oct 12, 2017
End: Oct 12, 2017
Venue: Segal Theatre

October 16, 2017

The Judaica Project with Nazlıhan Eda Erçin (Turkey), Agnieszka Mendel (Poland), & Ben Spatz (US)

The Judaica Project

Start: Oct 16, 2017
End: Oct 16, 2017

October 17, 2017

Contemporary Theatre in Lebanon with Sahar Assaf (AUB), Marvin Carlson, Peter Eckersall, and Frank Hentschker

Contemporary Theatre in Lebanon with Sahar Assaf (AUB), Marvin Carlson, Peter Eckersall, and Frank Hentschker

Start: Oct 17, 2017
End: Oct 17, 2017
Venue: Theatre Green Room, 3rd Floor, Room 3111
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October 23, 2017

2017 Gilder/Coigney International Theatre Award: Adelheid Roosen. Co-presented with the League of Professional Theatre Women

2017 League of Professional Theatre Women’s Gilder/Coigney International Theatre Award: Adelheid Roosen

Start: Oct 23, 2017
End: Oct 23, 2017
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November 6, 2017

Female Voices from Brazil with Ana Maria Gonçalves, Cidinha da Silva, & Marcia Zanelatto

Female Voices from Brazil

Start: Nov 6, 2017
End: Nov 6, 2017
Venue: Segal Theatre

November 13, 2017

Roy Cohn/Jack Smith: Remembering Ron Vawter

Photo by Paula Court

Monday, November 13
Segal Theatre
6:30pm Screening + Discussion

FREE + Open to public. First come, first served.

Join us for a rare screening of a tape of a live performance of Ron Vawter’s legendary performance piece, Roy Cohn/Jack Smith, 25 years after it opened at The Performing Garage in 1992. Followed by a discussion with director Gregory Mehrten, author Gary Indiana, and critics and scholars David Román and Alisa Solomon. Moderated by Frank Hentschker.

Vawter’s two-part solo performance is a double portrait of two complex minds and two opposing manifestations of gay sexuality. Roy Cohn, written by Gary Indiana, is a fictitious imagining of an after-dinner speech that might have been delivered by Donald Trump’s mentor, the homophobic right-wing lawyer and sleazy back-room politico, Roy Cohn, to the “American Association for the Protection of the Family” in 1976. The second part, Jack Smith, is based on an audio recording of a performance by Jack Smith, the notorious underground filmmaker of Flaming Creatures fame, who, in flamboyant harem drag, constructed his own private theater of resistance from fragments of Arabian Nights kitsch, avant-garde film feuds, and passionate B-movie camp. Cohn and Smith had nothing in common except their homosexuality and their deaths from AIDS in New York in the late 1980’s. Vawter, who embodies both men without imitation, died of AIDS in 1994. Born in 1948, he was a founding member of The Wooster Group, and also worked with many leading directors of the Downtown scene.

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Greg Mehrten is an actor, director, writer, translator, and designer who has been making theater Downtown since 1975. A graduate in Theater Arts/Directing from UC Santa Cruz, he was invited by Lee Breuer to come to New York to work with Mabou Mines. He continues to work with Lee and Mabou Mines, including his upcoming role, alongside Maude Mitchell, in Glass Guignol, The Brother and Sister Play, at the new PS122. He has also worked (often many times) with directors JoAnne Akalaitis, Zoe Beloff, Anne Bogart, Kyle DeCamp, Jonathan Demme, Alison Folland, John Jesurun, Elizabeth Lecompte of the Wooster Group, Ruth Maleczech, Christina Masciotti, Richard Maxwell of New York City Players, Brooke O’Harra, PearlDamour, Bill Raymond and Linda Hartinian, David Schweizer, Ron Vawter and Marianne Weems, and Bruce Yonemoto, among others. He was a Member and co-Artistic Director of Mabou Mines from 1980 to 1991 (OBIE Award for Sustained Achievement, 1984), and is currently an Associate Member of the Wooster Group.

Start: Nov 13, 2017
End: Nov 13, 2017
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November 15, 2017

Marvin Carlson: 10,000 Nights

Cover art from 10,000 Nights, design by Paula Newcomb

Wednesday, November 15
Segal Theatre

FREE + Open to public. First come, first served.

“Only Marvin Carlson could have written such a wonderful and engaging theatre history.”
–Erika Fischer-Lichte, Freie Universitat Berlin

Join us for a celebration of Marvin Carlson’s latest book Ten Thousand Nights: Highlights from 50 Years of Theatre-Going. This volume collects an astonishing chronicle of a half-century of theatre-going, in which Carlson recalls 50 memorable productions, out of over 10,000— choosing one from each year spanning from 1960 to 2010. The range of performances covered is wide and represents a history of theatre in itself–edgy experimental productions, theatre classics, mainstream musicals, and street performance. Travel with the author to stages and sidewalks across Paris, Berlin, Moscow, Milan, New York, and elsewhere.

Carlson provides unique insight on what theatre-going meant in each decade, what kind of theatre the zeitgeist produced, and his personal accounts of the productions. These engaging vignettes portray vivid descriptions of productions, venues, and neighborhoods, all told with necessary cultural context—covering significant theatre movements and artists from the late twentieth century to the present. Published by University of Michigan Press.

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Marvin Carlson is the Sidney E. Cohn Distinguished Professor of Theatre, Comparative Literature and Middle Eastern Studies at The Graduate Center, CUNY, and the Director of the Marvin Carlson Theatre Center at the Shanghai Theatre Academy, China. Carlson has a Ph.D. in drama and theatre from Cornell University. His wide-ranging research and teaching interests include dramatic theory and Western European theatre history, dramatic literature, and translation, especially of the eighteenth, nineteenth, and twentieth centuries. He has been awarded the ATHE Career Achievement Award, the George Jean Nathan Prize, the Bernard Hewitt prize, the George Freedley Award, and a Guggenheim Fellowship. He has been a Walker-Ames Professor at the University of Washington, a fellow of the Institute for Advanced Studies at Indiana University, a visiting professor at the Freie Universitat of Berlin, and a Fellow of the American Theatre. In 2005 he was awarded an honorary doctorate by the University of Athens. His best-known book, Theories of the Theatre (1993), has been translated into eight languages. His 2001 book, The Haunted Stage, won the Calloway Prize.

Start: Nov 15, 2017
End: Nov 15, 2017
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November 20, 2017

Shūji Terayama’s Americans, who are you? (America-jin Anata-wa), Laura (Rora), and The Trial (Shinpan)

Photo courtesy of the artist

Monday, November 20
Segal Theatre
6:30pm Performance Screenings with Terayama collaborator, Henrikku Morisaki

FREE + Open to public. First come, first served.

This evening will feature rare combination of performance and film screenings by legendary avantgarde Japanese poet, dramatist, writer, film director, and photographer Shūji Terayama. Many critics view him as one of the most productive and provocative creative artists to come out of Japan. He has been cited as an influence on various Japanese filmmakers from the 1970s onward.

One of the screenings, The Trial, will include the restaging of Terayama’s 1974 film performance with the original actor, Henrikku Morisaki. The screenings are part of a retrospective tour of Shūji Terayama works at Anthology Film Archives (Nov. 21-Dec. 10) and Harvard Film Archive.

Americans, who are you? / America-jin Anata-wa [Japan 1967, Black and White, 45 min]
Directed by Haruhiko Hagimoto, Written by Shūji Terayama
Produced by Tokyo Broadcasting System Holdings, Inc.
A rare chance to see a documentary by Shuji Terayama –and one that was shot in the United States and made for Japanese television. In this portrait of mid-1960s USA, a Japanese woman confronts passersby on the street with a set of questions devised by Terayama, who once declared he’d like to become a question mark.

Laura (Rora) [Japan 1974, 16mm, color, 9 min]
Directed by Shūji Terayama, Japanese with English subtitles
Inspired by the unfulfilled affair between Laura and Alec in the 1945 British feature, Brief Encounter, Terayama’s outrageous screen fantasy features the onscreen appearances of painted strippers who hurl insults at the audience. One spectator/performer, actor Henrikku Morisaki, will enter the film and emerge clutching his torn clothes, after being stripped and assaulted on celluloid.

The Trial (Shinpan) [Japan 1975, 16mm, color, 34 min]
Directed by Shūji Terayama, no subtitles
With Keiko Niitaka, Yoko Ran, Sueshi Sasada
The Trial begins as a man hammers nails into a city street before normal social order collapses and the ‘disturbance’ spreads to an act of violent audience participation; Terayama made this work for projection on a specially constructed screen and provides blank film at the end as an invitation for audience members to abandon their position as spectators.

Followed by a discussion with Terayama collaborator Henrikku Morisaki, professors Julia Alekseyeva (CUNY Brooklyn), Peter Eckersall (GC, CUNY), Tom Looser (NYU), and Alex Zahlten (Havard University), and Chizuru Usui (National Film Center, The National Museum of Modern Art, Tokyo).

The 2017 Terayama retrospective tour is presented in partnership with Harvard Film Archive, Anthology Film Archives, the George Eastman Museum, The Japan Foundation, and the National Film Center, The National Museum of Modern Art, Tokyo, with the generous support of the Kinoshita Group. In collaboration with Go Hirasawa and Julian Ross.









Start: Nov 20, 2017
End: Nov 20, 2017
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November 28, 2017

CUNY Stages: CUNY Performing Arts Centers Conference

Tuesday, November 28
Segal Theatre

FREE + Open to public. First come, first served.

The mission of CUNY Stages is to organize the resources, talents, and shared goals of the 16 represented performing arts centers throughout the City University of New York (CUNY) system. In so doing, CUNY Stages will facilitate multi-disciplinary artistic collaborations amongst its members that will foster participation and creativity through the integration of the performing arts into campus life and the surrounding communities. CUNY Stages is committed to encouraging and supporting artistic excellence at the local and international level, promoting audience and artist diversity, and providing affordable access to the arts by sharing information and leveraging financial support. CUNY Stages also aims to facilitate an ongoing dialogue between arts practitioners and contemporary scholars who regularly engage with their work.

The CUNY Performance Art Presenter consists of 24 stages on 14 campuses in the Bronx, Brooklyn, Harlem, Manhattan, Queens, and Staten Island. Founded in 1847, CUNY is the largest urban public university in the United States with 23 institutions. Supporting together with SUNY a population of 19,8 million in New York State, CUNY serves more than 270,000 degree-credit students and continuing and professional education students. The university has one of the most diverse student bodies in the United States, with students hailing from 208 countries, but mostly from New York City. The black, white, and Hispanic undergraduate populations each comprise more than a quarter of the student body, and Asian undergraduates make up 18 percent.
Fifty-eight percent are female, and 28 percent are 25 or older

CUNY Stages is an initiative of the Martin E. Segal Theatre Center,
The Graduate Center, CUNY.

Participating campus performing arts centers:

Baruch Performing Arts Center (Baruch College)
Tribeca Performing Arts Center (Borough of Manhattan Community College)
Brooklyn Center for the Performing Arts (Brooklyn College)

Harlem Stage/Aaron Davis Hall (City College)
College of Staten Island Center for the Performing Arts

The Martin E. Segal Theatre Center (The Graduate Center)

Hostos Center for the Arts & Culture (Hostos Community College)
The Kaye Playhouse and the Performing Arts Depts. (Hunter College)

Gerald W. Lynch Theatre (John Jay College )
Leon M. Goldstein Performing Arts Center (Kingsborough Community College)
LaGuardia Performing Arts Center (LaGuardia Community College)

Lehman Center for the Performing Arts (Lehman College)
Medgar Evers College
Selma & Max Kupferberg Center for the Visual & Performing Arts (Queens College)

Queensborough Performing Arts Center (Queensborough Community College)
York College Performing Arts Center

Date: November 28, 2017
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December 4, 2017

Italian Playwrights Project 2017. Co-presented with Umanism NY


Monday, December 4
Segal Theatre

FREE + Open to public. First come, first served.

After the success of the first edition of the Italian Playwrights Project (IPP, 2015/16) and a special evening dedicated to the work of Stefano Massini (Teatro Piccolo, Milan) IPP, once again the Segal Center will collaborate with Valeria Orani and Umanism NY (www.unmanism.com). The initiative will bring some of the brightest, innovative, and most engaging playwrights from Italy to New York to develop their pieces through translation into English and public readings of the work. The Italian Playwrights Project plays an important role in introducing contemporary writing from Italy to the US. The project restarted an artistic dialogue between the two countries which has been sporadic over the last 30 years.

Participants of 2015/16 IPP included Lucia Calamaro, Daria Deflorian & Antonio Tagliarini, Stefano Massini, Fausto Paravidino, and Michele Santeramo. For the first time US playwrights will also be presented in Rome, Italy on December 16th, 2017.

This year’s special evening will include excerpted readings from The Horizon of Events by Elisa Casseri; My hero by Giuliana Musso; A Notebook for the Winter by Armando Pirozzi; and The Great Walk by Fabrizio Sinisi.

Excerpts directed by Marc Atkinson, Sara Rademacher, and John Gould Rubin.

Followed by a panel discussion moderated by Frank Hentschker with the Italian playwright Elisa Casseri and other participants.

Supported by the Italian Cultural Institute of New York (Giorgio Van Straten, Director). The upcoming anthology of New Plays from Italy from the 2015 IPP has been translated thanks to a grant by the Italian Ministry of Foreign Affairs and International Cooperation.


About the plays:

The Horizon of Events 
written by Elisa Casseri
directed by John Gould Rubin
Olga is stuck in a studio apartment, which has a wall with many doors and cupboards, a front door which doesn’t open and no windows: she cannot figure out what has happened, she only knows that she cannot escape. When she tries to open one of the doors on the wall, she immediately comes back from another one and continues to stay there. At some point, however, she realizes that time is messed up and that every time she leaves, she enters a different time of her life.

It turns out that the doors are a black and white hole device, which draws her own personal story into the room, including events and people she loves, as if she had been kept captured in a maze of memories.

Marco is her boyfriend but sometimes he isn’t, her father is alive but later dead, her mother left when she was a little girl but she is suddenly back. Olga struggles to understand and does not know what reality is and what she can do to change what happened and what didn’t happen. She cannot surrender to the real time, to past events, to those journeys into a grief which is too true to be science fiction.

She learnt from her father that the edge of the black holes is the horizon of the events, because it simply moves away as we get closer, which is how future works, too. You cannot fight against future by giving up on the present, you cannot deny present by locking yourself inside the past. So, when reality materializes and Olga realizes that her father is dead, that Marco has decided to leave his country and when her mother tries to ask forgiveness, she understands that the only way to overcome grief is to feel it.
So she runs away in order to learn how to get back.

My Hero
written by Giuliana Musso
directed by Marc Atkinson
Mio Eroe (My Hero) is made up of three distinct monologues. The protagonists of the monologues are three mothers of as many Italian soldiers who took part in the International Security Assistance Force (ISAF) mission in Afghanistan during the years 2008-2010. Two of these mothers lost their son in battle. The three women are very different from each other for social extraction, geographic origin, cultural level and personality, but they share the experience of having a soldier’s son. Mothers’ talk interlaces memories of childhood, stories of tragic events, considerations on their child’s choices. Characters are inspired by existing people and real-life events.

A Notebook for the Winter
written by Armando Pirozzi
directed by Sara Rademacher
Un quaderno per l’inverno (A Notebook for the Winter) is a two-actor-piece which in three acts and tells the story of an introvert professor of literature who finds a burglar on his way back home. The knife-wielding burglar wants something unexpected from him: it is a question of life or death. During the entire night the two characters talk, exchange ideas, feelings, ask painful questions out of hope and desperation, in a completely new and unexpected atmosphere. They will meet again years later, both affected by that night. Although their personal memory of that night is different, yet it may have triggered a change in both of them, by offering a further comprehension and awareness of each other. The key idea is based on the power of writing as a way to directly impact reality: the wonder resilience of poetry is not seen as a literary exercise, but rather as a vibrant force which affects life.

The Great Walk
written by Fabrizio Sinisi
directed by Sara Rademacher
The president of the International Monetary Fund, Frederic Jean-Paul, is arrested and kept in an anonymous New York police station: he’s accused of sexual violence inflicted on a waitress. His two bizarre jailers, Donald and Frank, have been ordered to guard the prisoner until the following morning, when he will be brought to a safer location. However, things don’t go as planned: Jean-Paul shows signs of an inexplicable anxiety; Barbara, Jean-Paul’s wife, and Marcel Labiche, his lawyer and secretary of the French Socialist Party, soon break into the police station. Moreover, the two jailers seem to embody something more terrible than two simple guards. Elements of a bigger affair emerge during this night, an affair that does not simply concern violence between individuals, but also among nations, political subjects, and groups of power. Inspired by well-known international news, The Great Walk tries a “cotemporary” recycling of conventional dramatic traditions linked to tragedy: faithful to the dictates of the Aristotelian unities of time and place, it’s composed in the regular verses of the Italian metrics (hendecasyllabic, sectarian).



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Elisa Casseri (born in Latina in 1984) has a degree in mechanical engineering. She published Teoria idraulica delle famiglie, Elliot Edizioni, in 2014 and a year later she won the 53rd edition of the theatre award Premio Riccione with the text L’orizzonte degli eventi. She publishes the blog “Memorie di una bevitrice di Estathè» and contributes to the “Nuovi Argomenti” magazine.



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Giuliana Musso is an actress and playwright. Born in Vicenza in 1970. Lives in Udine. Since 2001 she has been writing and producting narrative and investigative works; her work is characterized by its blend of oral testimony, comedy and lyricism. Her first trilogy was about the “fundamentals” of life, birth, sex and death: Born in the Home (2001), Sexmachine (2005) and Tanti Saluti (2008). In 2009 she began an exploration of the history and structure of the patriarchy with La città ha fondamenta sopra un misfatto (2010), inspired by Medea; Stimmen by Christa Wolf, La Fabbrica dei preti (2012) on Life and Training in Italian seminaries before Concilum Vat II; and Mio Eroe (2016), the contemporary war in the voices of some military mothers whose sons died in Afghanistan. Other writing and productions were: Indemoniate, on a case of female collective hysteria in Friuli at the end of the nineteenth century; La base, a theatrical investigative laboratory on the construction of the US military base “Ederle 2” in Vicenza; Dreams, a dance-show on over-indebtedness. Since 2008 her production house is La Corte Ospitale, Rubiera (RE).

Critic Award 2005
Cassino Off Award 2017 for Mio Eroe
Hystrio Prize for Dramaturgy 2017

Nati in casa video was published in the “Teatro in- Civile” series, Ed. The Manifesto. Nati in casa is published in the anthology “Senza Corpo” and Ed. Minimum Fax. The dvd of Tant Saluti is published in “Storie Necessarie” Ed. Rai Cinema and Argot Productions. La città ha fondamenta sopra un misfatto is published in the anthology Donne che non seguono il copione Ed. Aracne.

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Armando Pirozzi was born in Naples on the 4th of October 1973. He wrote and directed “Cronache da un Tempo Isterico” which obtained the special production award “Nuove Sensibilità 2008” and went onstage during the Turin Teatro a Corte Festival of 2009 (SE POSSIBILE METTEREI IL MESE VICINO ALLA DATA, ANZICHE’ ESTATE). His piece “La Prima della Sera” opened the Theatre Fringe Festival in Naples, Italy, in 2009. His following piece “Attraverso il Furore”, was written on Meister Eckhart and directed by Massimiliano Civica; it was premiered at the Armunia – Inequilibrio Festival of Castiglioncello in July 2011. “Soprattutto l’Anguria” was shortlisted at Premio Riccione of 2009 and then brought onstage by Massimiliano Civica during the Romaeuropa Festival. His 2013 work “Hard Times” was shortlisted at Premio Riccione. “Altamente Volatile” was written in 2015 for the school recital for the end of his third year at the Accademia d’Arte Drammatica Silvio D’Amico. It was directed by Massimiliano Civica. Pirozzi wrote “Il Cielo in una Stanza”, with Emanuele Valenti in 2016, who brought it onstage with the troupe Punta Corsara at the Theatre Festival in Naples, Italy. His latest piece “Un Quaderno per l’Inverno” premiered at the Fabbricone theatre in Prato, under the direction of Massimiliano Civica, in March 2017.

Photo by Luca Fiore

Fabrizio Sinisi was born in Barletta in 1987. Playwright, poet, and translator, in 2012 he debuted as a theater author with “La grande passeggiata” for Federico Tiezzi’s direction and Sandro Lombardi’s acting. As for poetry, he published “La fame” and “Contrasto dell’uomo e della donna”, which were presented during the XXVII edition of the Salone internazionale del Libro di Torino, and for which he was mentioned in the 2015 Carducci Prize. In 2016, his “Natura morta con attori” debuted at the Piccolo Teatro in Milan, while his “Agamennone” was part of the season at the Teatro Stabile in Turin; in 2016 his “Cabaret D’Annunzio” debuted at the National Croatian Theater in Rijeka. In 2017, his “La valigia di Ravel” was produced the Maggio Musicale Fiorentino, making Sinisi the youngest author represented during the course of the prestigious Tuscan event. His texts have already obtained the nominations for the most important dramaturgical awards in Italy, among which the Riccione Tondelli Prize, the Platea Prize, and the Testori Prize. In 2010, at just 20 years old, he became dramaturg of the Compagnia Lombardi-Tiezzi in Florence and of the Teatro Laboratorio della Toscana, as well as professor of Dramaturgy at the Scuola di Scrittura Flannery O’Connor in Milan. During the three-year period of 2018-2020 he is resident dramaturg at the Centro Teatrale Bresciano. For years, he has been collaborating with the main directors of Italian theater. His works have been staged in Croatia, France, Great Britain, Greece, Romania and Switzerland.



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Marc Atkinson is a New York City based director, originally from Ireland, the UK and Catalonia. Marc co-founded Sugarglass whose work has been presented internationally, including the Irish Premier of Tender Napalm by Philip Ridley (Project Arts Centre Dublin), All Hell Lay Beneath, an immersive adaptation of Herman Hesse’s Steppenwolf (Dublin Fringe Festival/Irish Times Cultural Highlight of 2012), Five Minutes Later by Ellen Flynn (The Lir Academy) and, for International Human Rights Day, Ethica: Four Shorts by Samuel Beckett (Krastyo Theatre Bulgaria/Happy Days Festival Enniskillen/Irish Presidential Residence). Recently, Marc directed the tour of Outlying Islands by David Greig (Connelly Theater, New York/Samuel Beckett Theatre, Dublin), Last Night in Inwood by Alix Sobler (Signature Theater Center, New York), Zelda and Scott by Bethie Fowler (Atlantic Theater Studio, New York) and Chuck Mee’s Big Love (Samuel Beckett Theatre, Dublin). Assistant Director to Anne Bogart at SITI Company, Joe Murphy and Lisa Dwan at The Old Vic and The Abbey Theatre, and Ivo van Hove at Toneelgroep Amsterdam. Earlier this year, Marc was the Associate Director for Selina Cartmell’s inaugural production at The Gate Theatre, The Great Gatsby. Marc was awarded the Jennifer Johnston Directing Bursary and, as Shubert Presidential Scholar, graduated with an MFA from ColumbiaUniversity in 2016. Marc will next direct a new adaptation of Gorky’s Children of the Sun and a production of the opera Brundibar.

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Sara Rademacher is a freelance theatre director originally from the Central Coast of California and currently based in Brooklyn, New York. She is the Co-Founder and former Artistic Director of Elements Theatre Collective, whose mission is to bring professional quality theatre free of charge to audiences with limited access.  Sara is dedicated to creating theatre to engage her community both locally and globally. She holds an MFA in Theatre Directing from Columbia University in New York City, where she currently lives and works. She directed for the Segal Center’s presention of Classic Arab Plays in 2016. Some favorite directing credits include Caught Dreaming (Best Director nom.), The Last Five Years, Gruesome Playground Injuries, The Love Song of J. Robert Oppenheimer, and boom.  Before forming Elements, she studied theatre in South Africa, and earned her BA in Dramatic Arts at UCSB. She has worked in Casting, Assistant Directing, Dramaturgy and other positions in regional theaters including The Guthrie, Seattle Repertory, Mixed Blood, Marin Theatre, and more. Sara currently works at The National Theatre Conference. SaraRademacher.com​

Photo by Jim Cox

John Gould Rubin is Artistic Director of The Private Theatre, for which he mounted a radical, site-specific, Hedda Gabler and Strindberg’s Playing with Fire graphically produced at The Box, a notorious burlesque house. Recently he created and directed Turn Me Loose about the life of Dick Gregory, (Finalist for the Joe Calloway Award for Excellence in Directing) off Broadway and at The Wallis Annenberg Center in Los Angeles with Joe Morton; both American Buffalo with Treat Williams and Stephen Adly Guirgis and Outside Mullingar with Michael Hayden and Mary Bacon at The Dorset Theater Festival and Michael Ricigliano’s play, Queen for a Day with David Proval and Vinnie Pastore off-Broadway; Billy Hayes’ one-man true story in Riding The Midnight Express off-Broadway, in LA, Edinburgh and at the Soho Theater in London; The Fartiste, off-Broadway and Double Indemnity for the Old Globe in San Diego. He was co-Artistic and Executive Director of LAByrinth Theater Company (w/John Ortiz and Phillip Seymour Hoffman,) for which he directed eight shows including premieres by John Patrick Shanley and Erin Cressida Wilson, produced Jesus Hopped the ‘A’ Train (for LAByrinth, off-B’way, in Edinburgh, at the Donmar Warehouse and on The West End) and Our Lady of 121st Street (for LAByrinth and Off-B’way.) Other recent New York Work includes: The Cherry Orchard with Ellen Burstyn, at The Actor’s Studio; and a dual-theater production of The Seagull (at the Harold Clurman Lab.) He directed Peer Gynt with wheel-chair-using British actor, Neil Hancock, for The International Ibsen Festival in Oslo, and a bilingual workshop of Ximena Escalante’s Electra Despierta at Cal Arts. He wrote and performed in Karole Armitage’s multi-media show, The Predators’ Ball, which premièred at The Pergola Theater in Florence, Italy, and at The Next Wave Festival at BAM. With The Private Theatre he is presently devising a large-scale work about American Political Polarization based on the consciousness of conflict philosophy of Barnard Lonergan – Rocco, Chelsea, Adriana, Sean, Claudia, Gianna, Alex – and a radical new version of A Doll House by Royston Coppenger. He also produced the tour of Travis Preston’s one-man Macbeth with Stephen Dillane accompanied by a jazz trio, to London, Sydney, Australia and New Zealand.


US Advisory Board:
Keith Josef Adkins (Artistic Director, New Black Fest)
Marvin Carlson (Professor of Theatre, The Graduate Center, CUNY)
Anne Cattaneo (Dramaturg and Director, LCT Directors Lab, Lincoln Center Theatre)
Migdalia Cruz (US Playwright)
Mia Chung (US Playwright)
Marco Calvani (Italian Playwright and Director based in New York)
Frank Hentschker (Segal Center, The Graduate Center, CUNY)
Kate Loewald (Artistic Director, The Play Company)
Bonnie Marranca (PAJ, Publisher Performing Arts Journal)
Terry Nemeth (Publisher, Theatre Communications Group, Inc.)

Italian Advisory Board:
Simone Bruscia (Writer, Producer, Director of Riccione Teatro)
Roberto Canziani (Theatrical Critic for Il Piccolo, University of Udine
Graziano Graziani (Journalist, Radio Conductor RAI Radio 3 – Italy)
Stefano Massini (Playwright)
Valeria Orani (Producer, Artistic Director Umanism NY – 369gradi Italy)
Debora Pietrobono (Italian dramaturgy and dramatic critic)
Giulia Delli Santi (Director of Teatro Pubblico Pugliese, Apulia Theatre Network)

Start: Dec 4, 2017
End: Dec 4, 2017

December 11, 2017

Karen Malpede’s Plays in Time


Cover art for Plays in Time by Luba Lukova

Monday, December 11
Segal Theatre
4:30pm Reading + 6:30pm Panel

FREE + Open to public. First come, first served.

Join us to celebrate the launch of Karen Malpede’s new book, Plays in Time,
honoring twenty-two years of Theater Three Collaborative.

The afternoon will feature the premiere public reading of Malpede’s new play, Other than We–a futuristic Climate-Fiction tragi-comedy for the Anthropocene age.

The evening will present excerpted readings from the anthology Plays in Time published by Intellect, 2017. Readings will include The Beekeeper’s Daughter, Prophecy, Another Life, and Extreme Whether by Theater Three Collaborative actors and contributors to the book: Kathleen Chalfant, Christen Clifford, Najla Said, and George Bartenieff.

Followed by a discussion about Theater Three Collaborative’s antiwar and ecojustice plays in the US and Europe with artists and scholars represented in the book. Panelists include theatre professors Marvin Carlson and Cindy Rosenthal, actor Kathleen Chalfant, and the theater’s founders–George
Bartenieff, and Karen Malpede, moderated by Frank Hentschker. There will be live music by Arthur Rosen.

Karen Malpede, Photo by Ron Morrison

Since their inception in 1995, Theater Three Collaborative has been creating, developing, and producing poetic, character-driven plays on crucial topics of
the day. The group was founded by the late Lee Nagrin, George Bartenieff,
and Karen Malpede to produce Malpede’s play, The Beekeeper’s Daughter. The Collaborative also creates and hosts Festivals of Conscience, talks and talkbacks with public intellectuals, writers, and activists.

Start: Dec 11, 2017
End: Dec 11, 2017

December 18, 2017

Celebrating the Life and Work of Trisha Brown

Photo © Marc Ginot

Monday, December 18
Segal Theatre
2:00pm Screening+ 6:30pm Panel

FREE + Open to public. First come, first served.

Join us for a day celebrating the life and work of Trisha Brown (1936-2017).

Following the afternoon screenings from the Trisha Brown Archive, curated by Cori Olinghouse, the evening discussion features Art historian Susan Rosenberg, associate artistic director and former Trisha Brown Dance Company member Diane Madden, and former rehearsal director and choreographer Gwen Welliver. Moderated by Frank Hentschker. Susan Rosenberg’s recent publication on the artist, Trisha Brown: Choreography as Visual Art (Wesleyan, 2016) will also be available at the event.

“One of the most acclaimed and influential choreographers and dancers of her time, Trisha Brown’s groundbreaking work forever changed the landscape of art. A student of Anna Halprin, Brown participated in the choreographic composition workshops taught by Robert Dunn–from which Judson Dance Theater was born–greatly contributing to the fervent interdisciplinary creativity that defined 1960s New York. Expanding the physical behaviors that qualified as dance, she discovered the extraordinary in the everyday, and brought tasks, rulegames, natural movement and improvisation into the making of choreography.

With the founding of the Trisha Brown Dance Company in 1970, Brown set off on her own distinctive path of artistic investigation and ceaseless experimentation, which extended for forty years. The creator of over 100 choreographies, six operas, and a graphic artist, whose drawings have earned recognition in numerous museum exhibitions and collections, Brown’s earliest works took impetus from the cityscape of downtown SoHo, where she was a pioneering settler. In the 1970s, as Brown strove to invent an original abstract movement language–one of her singular achievements–it was art galleries, museums and international exhibitions that provided her work its most important presentation context.

Today the Trisha Brown Dance Company continues to perpetuate Brown’s legacy through its ‘Trisha Brown: In Plain Site’ initiative. Through it, the company draws on Brown’s model for reinvigorating her choreography through its re-siting in relation to new contexts that include outdoor sites, and museum settings and collections. The company is also involved in an ongoing process of reconstructing and remounting major works that Brown created for the proscenium stage between 1979 and 2011. In addition, the company continues its work to consolidate Trisha Brown’s artistic legacy through their management of her vast archives of notebooks; correspondence; critical reviews; and an unprecedented moving image catalogue raisonné, which records her meticulous creative process over many decades.”

Text by Susan Rosenberg, 2017.


2:00pm – 5:00pm
Screening from the Trisha Brown Archive, curated by Cori Olinghouse.
Courtesy of Trisha Brown Archive.

Skunk Cabbage, Salt Grass, and Waders (1969)
Choreography: Trisha Brown

Dancing on the Edge
Choreography: Trisha Brown

Set and Reset: Version 1 (1985)
Choreography: Trisha Brown
Videography: James Byrne

Aeros (1990)
Director: Burt Barr
Choreography: Trisha Brown
Visual Presentation: Robert Rauschenberg
Film: Robert Whitman

Panel with dance experts and members of Trisha Brown Dance Company, including Susan Rosenberg, Diane Madden, and Gwen Welliver. Moderated by Frank Hentschker.


Diane Madden, photographed in the Torre Bonomo, Spoleto, in front of Sol LeWitt’s wall drawings. Image © Tim Smyth

Diane Madden (Associate artistic director and former Trisha Brown Dance Company member)
is a performer, choreographer, director and teacher based in NYC. Currently Associate Artistic Director of the Trisha Brown Company, she has contributed to the creation and performance of Trisha Brown’s work since 1980. She performs, teaches and lectures with the company and curates the work for site-specific programs. She presents her own solo and collaborative choreography at home and abroad and has enjoyed working with choreographers Jerome Bel, Lance Gries, Juliette Mapp, Polly Motley, Vicky Shick and Cathy Weis. Madden’s teaching weaves anatomically grounded technique with improvisation, composition and performance skills. Her worldwide students range from dance artist professionals and college students to artists from other disciplines including actors, singers, visual artists and composers. Since 2006, Madden has been greatly influenced by her study and practice of Aikido with Fuminori Onuma. The Princess Grace Foundation has recognized Madden with two awards, in 1986 and again in 1994 for sustained achievement. She also received a New York Dance and Performance Award (Bessie) in 1989. In 2012 NYC’s Movement Research honored her, along with the original cast, for Brown’s Set and Reset (1983) collaboration with Rauschenberg and Laurie Anderson.

Cori Olinghouse (Curator of afternoon screenings, Archive Director) is an interdisciplinary artist, archivist, and curator. Her work has been commissioned by Danspace Project, New York Live Arts, BRIC Arts Media, Lower Manhattan Cultural Council, Movement Research, and Brooklyn Museum of Art. Recently, she was the recipient of The Award (2015-2016), and a participant in Lower Manhattan Cultural Council’s Extended Life Dance Development program (2016-2017). Olinghouse danced for the Trisha Brown Dance Company (2002-2006), and has served as the Archive Director since 2009. As founding director of The Portal Project, she is currently developing a series of artist archivist projects that explore the transmission of improvisational performance practices in a space between documentation and embodiment. She serves as guest faculty at the Center for Curatorial Studies at Bard College, and has lectured at the Museum of Modern Art, Duke University, Lincoln Center, among other institutions. She is a graduate of the inaugural class in the Institute for Curatorial Practice in Performance at Wesleyan University.

Susan Rosenberg (Art historian) is the author of Trisha Brown: Choreography as Visual Art (Wesleyan University Press, 2016). She serves as Consulting Historical Scholar at the Trisha Brown Dance Company and directs the M.A. Program in Museum Administration at St. John’s University, New York, where she is also Associate Professor of Art History. She recently contributed to the French/English exhibition catalog, Minimalismes: 1960s-1980s produced in celebration of the 40th anniversary of the Centre Pompidou Pairs; to the French/English anthology Spacecapes: Dance and Drawing; and to the 2013 German/English exhibition catalog, Nancy Graves Projects and Special Friends. Her essays have appeared October and TDR, (published by MIT Press). Dr. Rosenberg has lectured widely on the work of Trisha Brown at international, national conferences and museums, and university departments.

Photo courtesy of the artist

Gwen Welliver (Former rehearsal director and choreographer) is an award-winning dancer/choreographer renowned for her range and depth across formats from performance installation to opera. Welliver is a New York Dance and Performance Bessie Awardee for Sustained Achievement in Dancing with Doug Varone and Dancers. As Rehearsal Director for Trisha Brown, she oversaw company repertory, remounted opera, and directed the revival of seminal works for touring exhibition. Welliver has taught on four continents in universities, conservatories, and festivals. She is now on the School of Dance Faculty at Florida State University. Current engagements include: Martha Graham Dance Company Lamentation Variation commission (2018), NYFA Fellow in Choreography (2013-present), Andrew W. Mellon Foundation Artist in Residence at Center for Performance Research (2017, 2018), and Gibney Dance commission (2018).

About the films:

Skunk Cabbage, Salt Grass, and Waders (1969)
Choreography: Trisha Brown
A film documenting the Festival di Danza Volo Musica Dinamite, which took place June 9-19, 1969 at the Galleria L’Attico in Rome. Performers included Terry Riley; Trisha Brown; La Monte Young and Marian Zazella; Steve Paxton; Deborah Hay; Simone Forti; and David Bradshaw. Yvonne Rainer did not perform but presented material. For this event, we will screen Trisha Brown’s solo performance of Skunk Cabbage, Salt Grass, and Waders (1967).

Dancing on the Edge (1981)
Choreography: Trisha Brown
This collaboration with WGBH and the New Television Workshop includes performances of Opal Loop, Watermotor for Dancer and Camera, and Locus/Altered, and a lecture/demonstration for a Bennington College audience.

Set and Reset: Version 1 (1985)
Choreography: Trisha Brown
Videography: James Byrne
Another collaboration with WGBH, Set and Reset: Version 1 is an in-studio performance of Set and Reset in which the camera becomes an intimate part of the dance.

Aeros (1990)
Director: Burt Barr
Choreography: Trisha Brown
Visual Presentation: Robert Rauschenberg
Film: Robert Whitman
A document of the evolution of Trisha Brown’s choreographic work, Astral Convertible, filmed over a two-year period by her husband, filmmaker and video artist Burt Barr.
(Here is further information on the piece: https://www.eai.org/titles/aeros)

Courtesy of Trisha Brown Archive

Start: Dec 18, 2017
End: Dec 18, 2017
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