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New York City's finest improvisers join forces with the city's finest poets in a unique format: part comedy, part poetry, part theater, part UNPREDICTABILITY. It all begins with an exquisite corpse (aka poem) written collaboratively by the audience. After that the improvisers delve in, building a world around the themes and imagery of the poem, populating it with a cast of characters who are funny, tragic, and in between. Fueling the proceedings is the work of published poets, national slam champions, and up-and-comers from around the world. (Among the cast are performers and poets featured on This American Life, the Onion, and Chicago's Second City.) The whole shebang ends with the performance of a poem inspired by the show and written on the spot.
When John takes a break from his boyfriend, he accidentally meets the girl of his dreams. John has to make a decision, and there is only one way to straighten this out...
Obnoxious strangers, overbearing bosses, and unrequited high school crushes are about to get a piece of your mind. The Friday Night Sh*w invites audience members to anonymously write down their repressed rants, cursing-outs, and sultry confessions. Improv performers then use that writing to fuel a fast-paced brawl of hilarity. The cast includes a fistful of New York City's best improvisers with credits on 30 Rock, Comedy Central, MTV, Chicago's Second City, the Onion, and NPR — and at least one Primetime Emmy Award loser.
Love Creek Productions invite you to immerse yourself into our Halloween Bacchanalia, a sexy, scary evening in which we present two plays: Look Good, Smell Good, Don't Be Crazy, a new play by NYC playwright Diana Middleton; and The Bacchae Redux, a retelling of the classic Greek tragedy by Steven Barrett. It will a fun, sexy, and terrifying evening. First, what is the most frightening thing imaginable? Why, dating in this modern age. What happens when a woman of a certain age has arranged to meet a man she barely saw and when he finally shows up, he seems a bit…young? Is he old enough for this? Is she too old for this? All of this is on Halloween night and the city is starting to erupt with its annual festival of candy and sexy costumes. So what happens when the new king bans the annual bacchanalia? Will Dionysus show up and exact a revenge? Find out in this sassy reimagining.
The Bridge Production Group is thrilled to present Hedda, the world premiere adaptation of Ibsen's Hedda Gabler through the darkly comic and absurd lens of playwright Carol Brown.
Returning to Norway from a three-month honeymoon abroad, Hedda Gabler finds herself trapped in an unfurnished house, surrounded by her uninspiring and academic husband. Trapped by moving boxes. Trapped by talks of academia. Trapped.
The sudden inflow of guests and ghosts from the past provide Hedda the opportunity to stir the pot, creating some brief diversions to pass the time. As her actions continue to alter the lives of those around her, Hedda propels herself closer and closer to the brink of insanity.
The cast is comprised of Carol Brown (The Good Wife"), Tim Thomas (original company of Into the Woods), Madeleine Rogers (Juilliard), Max Samuels (Angry Young Man), and Mike Labbadia (cofounder of Produced by Actors).
The Infinite Wrench is a mechanism that unleashes a barrage of two-minute plays for a live audience. Each play offers something different, be it funny, profound, elegant, disgusting, topical, irrelevant, terrifying, or a song; all are truthful and tackle the here-and-now, inspired by the lived experiences of the performers. With new plays every week, The Infinite Wrench is the Neo-Futurists' ongoing and ever-changing attempt to shift the conventions of live performance and speak to audiences, including those unreached or unmoved by traditional theater.
Four flawed but likable lower-middle-class New Yorkers interact in a touching play about learning how to stay afloat in the deep water of day-to-day living. Laced with cooking classes, swimming lessons, and a smorgasbord of illegal drugs, Jack Goes Boating is a story of date panic, marital meltdown, and the prevailing grace of the human spirit. Written by Bob Glaudini, this revival marks the 10th anniversary of the play's premiere, originally produced and directed by Philip Seymour Hoffman at LAByrinth Theater.
This play kicks off "The Empathy Initiative," the Seeing Place's yearlong commitment to addressing oppression through the power of theater. With an emphasis on the organic, edgy American style of acting developed by the Group Theatre, TSP allows audiences to experience modern classics with a deeper understanding of how they relate to the struggles we face today. With that, tickets are as low as $15 as a part of TSP's Affordable Theater Initiative, making theater accessible for all.
Award-winning actor-writer Dan Ruth returns to the Laurie Beechman Theatre with his tour de force black comedy, A Life Behind Bars. Fermented in over two decades of booze, bars, and New York City gentrification, the show, directed by multiple MAC and Bistro winner Tanya Moberly is an unapologetic, darkly funny look at what can happen when you reach for the stars and grab for the bottle instead. Dan Ruth shares his story of addiction and recovery through comedic monologues, interwoven with characters he's encountered while working and drinking in the bars and dives of pre-Rudy Giuliani Williamsburg, Brooklyn and Manhattan.
Five people wait in line for an unknown event, each trying to get to the front. Through their shoving and conniving, Line dramatizes the absurdity of everyday life.
The length of the show's run is a testament to its interminable relevance. Line has been running — or rather, standing and waiting — since 1967. Among those stuck in the original production was Richard Dreyfuss, then almost as unknown as the event his character awaited. Today the rotating cast continues to feature emerging young actors. Tradition also lives on in the play's director, Jay Michaels; he studied with Carol Ilson, who directed Line in 1974. The playwright is still Israel Horovitz.
Each week, the Magnet Theater's resident ensembles converge for a night of improv comedy. The night might include anything from monoscenes to Harolds (long-form improv acts that begin with a suggestion from the audience). Because Megawatt's format gets changed more frequently than a lightbulb, returning audience members can expect to be dazzled every time.
Hazan, a young "startup-ist," comes to New York to pitch his various business ideas. He meets Maya, a half-American trying to make it as a stage actress. We follow their respective pursuits in love and work in a city they think they know and a culture they think they understand. Next Stop stars Noga Milstein and Ben Perry, who transition seamlessly between the roles of Maya and Hazan as well as a slew of other New Yorkers.
Directed by acclaimed actress Mili Avital, Next Stop features a book by Noga Milstein and Avital, music by Yoni Bloch, lyrics by Barak Feldman, with additional music by Omri Angheland Ann Streichman.
In Pigeon Spikes, an absurdist dark comedy, a wealthy Manhattan couple's comfortable, safe relationship to the art they patronize is forever altered when their favorite conceptual artist decides to make them his newest project.
The year is 2006, and there's been a big shake-up in the Milky Way: Pluto has been reclassified as a dwarf planet!
When news of its demotion reaches the small planetoid, Pluto leaves the solar system on a cosmic journey, meeting groovy satellites, fun-loving gas giants, and a galaxy of other celestial oddballs on its quest to become a planet again.
Pluto Is Missing! is a family-friendly space comedy that blends music, puppets, and fantasy with real science and space exploration history. You'll leave the theater with your head full of catchy songs and astronomical knowledge!
Created by Chris Mann Script and music by Chris Mann and Emily Duncan
Saturday at 6pm: the perfect time to get your jaded mind blown by four improv ensembles. Will the neighborhood kids be driven wild by their new forms and structures? Yes. Will you?
The Rundown features different groups at each performance that unite veteran performers with up-and-comers ready to bring it.
This show is part of an afternoon and evening of shows. The actors use scrolls for each scene, which have each actor's cues and lines, giving actors and the audience an improvisational experience throughout the scenes.
Scenes from Shakespeare comedies (mostly) include:
- Act 1, Scene 2 from A Midsummer Night's Dream
- Act 2, Scene 2 from The Merry Wives of Windsor
- Act 4, Scene 3 from The Winter's Tale
- Act 4, Scene 3 from The Comedy of Errors
Inspired by the company's desire to foster new works, Shiyr Terror features 11 new short plays tailored specifically for the intimate Victorian-era space at Papillon in Midtown Manhattan. From overdosing on Coca-Cola to the precursor of social networking to reincarnation, Shiyr Productions takes an up-close look at death, making for a terrifyingly funny theater experience.
A cast of misfit students have grown up idealizing the Battle of the Alamo and spent their afternoons in History Club reenacting the heroics of Davy Crockett against the evil attacks of Mexico's army and General Santa Anna. You, the audience, are invited to their fundraiser talent show to help them raise money for a field trip to their favorite historical site. It's a hilarious dive into America's longing for legend and the disillusionment that occurs when you realize that your history books have been wrong all along.
Tartuffe is a charismatic who has been touched by God. He is a visionary. He practices religious devotion and self-sacrifice. He has fits. He converses with the divine. He can be very scary. Orgon invites him home to live with his family and introduces him to his beautiful wife Elmire…what could possibly go wrong? Join us for Molière's brilliant comedy.
The Tooth-Puller has no script. Instead, in the grand Commedia tradition, using nothing more than an outline, the Department of Fools weave together each performance from bits of comic business, song, and improvisation. Commedia dell'Arte is the great-granddaddy of modern improv and sketch comedy. Audiences will roar at the goofy goodness of Commedia, which gave birth to the comedy of today!
The Tooth-Puller is a carnivalesque confection wrapped in hallucinogenic treats, sprinkled with dancing octogenarians, with a pinch of dick jokes, dipped in a festive musical fondue, topped with an ever-changing improvised ending, and filled with a creamy center of love and revenge. The internationally diverse company includes Sylvie Mae Baldwin, Yair Ben-Dor (ABC's Quantico), Jessenia Cuesta, Matthew A.J. Gregory (The Power of Darkness at the Mint), Shira Hadad, Ben Rademacher, Andy Richardson (Newsies and Gypsy on Broadway), Anna Tempte, and Rotem Weiner.
Nick Kanellis and Peter McNerney (Statues of Liberty) team up with Magnet Theater veteran Leslie Korein to form a brand-new improv trio with one purpose: rockin' a seamless, high-energy, character-driven, free-form improv set every week.
Eleven diverse shows, from solo comedies to performances by fake tribute bands who recently rocked the Edinburgh Festival Fringe, take over the second floor of the historic Ryan's Daughter. Unofficial Upper East Side EdFest features Walter Michael DeForest's Van Gogh Find Yourself, Peter Michael Marino's Show Up, Katie Kopajtic's Confessions of a Personal Trainer, Chris Davis's The Last Emperor of Mexico and Drunk Lion, Harmon Leon's Infiltrating Trump's America, Christine Holt's Domesticated, Amanda Miller's How to Suffer Better, Adam Blotner and Jenny Pinzari's Pop Filter, and Paul Valenti's The Long Miserable Journey to Happiness. The EdFest also includes a free panel led by participants in the 2017 Edinburgh Fringe.
A comedy of honor, Ana Caro's 17th-century play criticizes the social customs of her era, notably the position of women, in a parody of the erotic myth of Don Juan. The play is considered especially remarkable because of its uncommon depiction of its heroine, Leonor, in a storyline whose happy ending finds a woman having solved her own misfortune without the help of a man.
Note: The play is performed in Spanish with English subtitles via Simultext In-Seat Captioning System.