|Theater in Quarantine Presents Dan O'Neil's THE NINE O’CLOCK PROBLEM on June 10|
|Posted by: Official_Press_Release 07:26 pm EDT 06/07/21|
|THEATER IN QUARANTINE PRESENTS DAN O'NEIL'S THE NINE O'CLOCK PROBLEM ON JUNE 10
"Marvelous... a valuable new outpost of the avant-garde." - Jesse Green, New York Times
"Makes confinement a virtue, a prompt to imagination." - Helen Shaw, Vulture
"The closet in question contains astounding multitudes." - Alexandra Schwartz, The New Yorker
Theater in Quarantine, a pandemic performance laboratory from writer, director, and performer Joshua William Gelb and choreographer Katie Rose McLaughlin, presents the world premiere of The Nine O'Clock Problem by Dan O'Neil. Set to premiere on June 10 on YouTube, The Nine O'Clock Problem is choreographed by McLaughlin and directed by Gelb, who performs live from his converted closet theater. The production features sound design by Renee Yeong, video design by Gelb, and special appearances by Heather Christian, Dito van Reigersberg, Peiyi Wong, Afra Hines, and Nick Lehane.
The reality is that within that 28 second delay between when Gelb is actually live in his closet and when audiences at home see him, purportedly live, so much can go horribly wrong. Playing a version of himself, Gelb attempts to perform a one-man farce that goes quickly off the rails. A collectively built meta-faux-documentary of the inner and outer workings of the closet, The Nine O'Clock Problem interrogates vulnerability via failure.
Live-streamed performances of The Nine O'Clock Problem will take place on Thursday, June 10 at 7 PM ET and 9 PM ET on Theater in Quarantine's YouTube page. Following the live broadcast, the on-demand recording of The Nine O'Clock Problem, along with the complete Theater in Quarantine archive, will be available at www.youtube.com/theaterinquarantine in perpetuity.
Theater in Quarantine isJoshua William Gelb (founder and co-creative director), Katie Rose McLaughlin (co-creative director), Morgan Lindsey Tachco (creative producer), Brian Bose (social media), and Everyman Agency (public relations).
Theater in Quarantine's work is made possible in part with public funds from Creative Engagement, supported by the New York City Department of Cultural Affairs in partnership with the City Council and administered by LMCC; and is generously supported by a Creative Residency with La MaMa Experimental Theatre Club; as participants in LaMaMa and CultureHub's Experiments in Digital Storytelling program; the Mental Insight Foundation; and by their many individual donors.
About the Artists
Joshua William Gelb is an East Village-based director, performer, and librettist currently building theater out of his converted closet christened the Theater in Quarantine. On its YouTube channel, Theater in Quarantine has presented nearly 20 different evenings of live digital performance with institutional supporters LaMama, CultureHub, Theater Mitu, and The Invisible Dog, as well as "a New York rogue's gallery of experimental makers and designers" (Helen Shaw, Vulture). Prior to the pandemic, Gelb created both Jazz Singer and The Black Crook in residence at Abrons Arts Center, while his Drama Desk-nominated adaptation of A Hunger Artist, created with Sinking Ship, continues to tour. Gelb participated in the Lincoln Center Directors Lab, is an associate artist with Sinking Ship, teaches Theater Collaboration at Cooper Union, and is a 2021 artist in residence at LaMama and CultureHub's Experiments in Digital Storytelling program.
Katie Rose McLaughlin is an NYC-based choreographer and director originally from Minneapolis, MN. Katie Rose is the Associate Choreographer of the Tony award-winning Broadway show Hadestown directed by Rachel Chavkin and choreographed by David Neumann. Recently she has been creating work as the co-Creative Director for Theater in Quarantine which has produced over 20 different evenings of work. Notable theater credits include Orlando (Williamstown Theatre Festival), Indecent (Weston Playhouse), Bear Slayer (Ars Nova), Triplight (Joes Pub), SEAGULLMACHINE (La Mama ETC), and The Black Crook (Abrons Arts Center). She was an artist-in-residence at LMCC's Process Space, Dance Lab New York, Kaatsbaan International Dance Center, the Barn Arts Collective, and LMCC's SPARC program and is a 2021 artist-in-residence at La Mama and CultureHub's Experiments in Digital Storytelling program. In 2013, she co-founded and became the Artistic Director of Designated Movement Co., a dance/theater company interested in blurring the lines between forms. Visit Katierosemclaughlin.com for more information.
Dan O'Neil is an NYC-based writer who grew up on a farm in northwestern Minnesota, where he learned to drive a tractor, use a chainsaw, and identify various star constellations. Recent work includes: the alleged children of darkness, developed through Art House Productions reading series (Finalist for Seven Devils Playwrights Conference, Semi-Finalist for Bay Area Playwright's Festival); librettist on The House of Influence, an experimental opera composed by Alec Hall and performed in a parking garage in Harlem; Bear Slayer, presented through a Project Residency by Ars Nova, developed during ANT Fest; The Wind Farmer, which received a production at Barter Theater and was a finalist for the ACTA/Steinberg Award for Best New Play produced outside of NYC and NNPN's Smith Prize for Best New Political play; Victor Frange Presents Gas, commissioned and produced at the Incubator Arts Project; How the Dog Runs, produced by Newman University as their first selection in a nation-wide initiative to produce new plays; Draw A Lion, a Heideman Award finalist, produced by the Brooklyn Generators and subsequently published by Smith & Kraus in their 2013 Best Ten Minute Plays collection. Dan was a member of the 2018-19 Art House Productions writing group, a Playwright's Center Core Apprentice and Affiliated Artist, a 2014 member of Bookshop Workshops Playwriting Group, two-time winner of the Alfred P. Sloan Foundation's Screenwriting Award, and winner of the Mary Marlin Fisher Playwriting Award. Leadership roles include Theater Editor of Culturebot, contributing arts writer for Exeunt Magazine, and founder and co-artistic director for Designated Movement Co. Education: BA in performance from the University of Minnesota, MFA in Dramatic Writing from Carnegie Mellon University.
Nick Lehane is a Brooklyn based theater maker, performer, and puppet artist. He directed and co-created Fly Away with Derek Fordjour as part of SELF MUST DIE, Fordjour's premiere solo exhibition at Petzel Gallery. Lehane's puppet play Chimpanzee premiered at HERE Arts Center through Basil Twist's Dream Music Puppetry Program, with the generous support of The Jim Henson Foundation and Cheryl Henson. Chimpanzee has since been presented at the World Puppet Theater Festival in Charleville-Mézières, by Casteliers at Théâtre Aux Écuries in Montreal, and by The London International Mime Festival at The Barbican Centre. Lehane has collaborated with PigPen Theatre Co. as a puppet designer for The Tale of Despereaux (The Old Globe, Berkeley Rep) and The Phantom Folktales (Virgin Voyages), and as the understudy for The Old Man and The Old Moon. Lehane's select puppet performance credits include Robin Frohardt's The Plastic Bag Store (Times Square Arts) and The Pigeoning (HERE, international tour), Petrushka (Giants Are Small, New York Philharmonic, Barbican Centre), Doug Fitch's El Retablo de Maese Pedro (American Symphony Orchestra, Bard SummerScape), James Ortiz's The Little Mermaid (Glass Bandits Theater Company, Strangemen Theatre Company), and "Lore" (Amazon). Select acting credits include This Is Our Youth (Broadway) and Fidelis (The Public). Lehane studied at the Moscow Art Theatre School and received his B.F.A. from The Carnegie Mellon School of Drama.
Renee Yeong is a Singapore-born, New York-based theatre director and sound designer interested in telling contemporary stories about women, people of color, LGBTQ+ and other marginalized groups in America, Singapore and beyond. Credits that best represent her growing and changing body of work include When We Were Young and Unafraid by Sarah Treem, Dry Land by Ruby Rae Spiegel at Playwrights Horizons Downtown/NYU and, Annie Aspen's Musical Space Spectacular! by Laura Galindo at Ars Nova's ANT Fest 2019. She also directed I LOVE WHITE MEN that she is currently developing with close collaborators Sim Yan Ying and Nicholas Chan about the love hate relationship between Asian women and white men that was also presented at Ars Nova's ANT Fest 2019. It will have a longer run in January 2020. When she's not directing, she's sound designing shows small and large in New York, creating original compositions or playing some sweet sweet Beyonce. Some of her wide-ranging sound credits include Romeo + Juliet for Hypokrit Theater Company, Operating Systems by Corinna Gus Schulenburg for Flux Theatre Ensemble, Interabang by Ryan Szelong at Ars Nova's ANT Fest and, Vantablack by Nazareth Hassan at NYU. Renee has worked with a number of Singapore theatre companies in various capacities such as The Necessary Stage, Pangdemonium Theatre Company, Buds Theatre Company, Toy Factory Productions and National University of Singapore's Theatre Studies Department. Above all, Renee wants to make work that celebrates difference and engages the community around her.
About Theater in Quarantine
Shortly after the coronavirus pandemic closed all theaters, Joshua William Gelb transformed a 2' x 4' x 8' closet inside his East Village apartment into a white-box theater. Starting on March 27, Gelb and his collaborators began releasing pre-recorded studies in movement, clown, camera orientation, and perspective, building towards more complex theatrical experiences. On April 23, they premiered Theater in Quarantine's first live-stream performance: an adaptation of Kafka's The Neighbor which was followed by an unauthorized edit of Beckett's Krapp's Last Tape and collaborations with artists like Scott R. Sheppard (Underground Railroad Game), Nehemiah Luckett (Jazz Singer), and Ellen Winter (36 Questions).
Theater in Quarantine's productions of The 7th Voyage of Egon Tichy and Footnote for the End of Time were met with critical acclaim. Jesse Green in his New York Times critic's pick review declared that Theater in Quarantine has produced "some of the new medium's most imaginative work from some of its simplest materials." Helen Shaw in Vulture wrote that Theater in Quarantine "makes confinement a virtue, a prompt to imagination." Maya Phillips in The New York Times noted, "These small-scale, digitally savvy productions have matched the texts in their idiosyncratic approaches."
Theater in Quarantine's first musical, I Am Sending You the Sacred Face, by Obie award-winner Heather Cristian was one of Vulture's Best Theater Moments of 2020. Helen Shaw found it "as beautiful a cause for meditation as anything in the Book of Psalms - and as worthy an object for devotion." Jesse Green in his New York Times critic's pick review noted, "Theater in Quarantine turns the constraints of its odd conditions into a marvelous style."
Additional works include Mute Swan by Pulitzer-prize finalist Madeleine George, The New York Times critic's pick production of Blood Meal by Obie award-winner Scott R. Sheppard, The New York Times critic's pick production of Honestly Sincere by Liza Birkenmeier, and a new centennial adaptation of Tristan Tzara's The Gas Heart.
The complete archive of original works by Theater in Quarantine is available for free at www.youtube.com/theaterinquarantine. Please visit www.theaterinquarantine.com for more information.
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