Monthly Archives: January 2015

introducing the actors and directors

Sticky 552
Beauty Bar, 249 5th Avenue, Brooklyn, 11215
Thursday, February 5, 7:30 pm
$10 advance, $15 at the door
via www.stickyseries.brownpapertickets.com

Ali Ayala, is in and directs J. Michael Grey’s Shamed to the Heart, and directs Libby Emmons’ Ipsa Domus.

Dewey Caddell

Dewey Caddell, in Libby Emmons’ Ipsa Domus

I do lots of things in front of people.  Visit my website at thedewey.com and follow me on Twitter @deweycaddell

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Todd Faulkner, in Hal Corley’s Dolor

Todd Faulkner is deep in revisions on his first novel, and recently wrote a one-act play for Route 66 Rodeo (of which he is a founding member, http://www.route66rodeo.org). As an actor, Todd has appeared in recurring roles in The Americans, The Following, Blue Bloods, Nurse Jackie, and Law & Order: Special Victims Unit. He will also appear in the upcoming gothic horror film Angelica, starring Jena Malone. Onstage, he recently appeared as Sarge/Scarlett in the York Theatre’s critically acclaimed off-Broadway production of Yank! A New Musical. Much love to my amazing co-star (of many years), and our greatest co-production, our son Griffin.

Nicole Greevy, in Hal Corley's Dolor

Nicole Greevy, in Hal Corley’s Dolor

Nicole Greevy is thrilled to be working with Todd Faulkner and Michele Travis.  Together, they last collaborated on a production of Down the Road, and Nicole has worked with Michele on many other projects.  With Todd, she co-created the web series Exorcists Local 667 and Extreme Parenting, and she is also co-creator of the independent pilot Living in Captivity, and appeared in the Bravo series Pregnant in Heels. She can be heard narrating a variety of characters in audiobooks available on audible.com, including FBI Special Agent Constance Mandalay, of In the Bleak Midwinter.  nicolegreevy.com

Travis Hendricks, in David L. William's Sing Your  Song Quickly

Travis Hendricks, in David L. William’s Sing Your Song Quickly

Eliel Lucero, directs David L. William’s Sing Your  Song Quickly

Zoe Metcalfe-Klaw, in Libby Emmons' Ipsa Domus

Zoe Metcalfe-Klaw, in Libby Emmons’ Ipsa Domus

Zoe is super excited to be back with the STICKY crew! She’s been getting sticky with most of these people for years. When she’s not acting, she can be found practicing yoga, eating avocados, or running around the mean streets of Park Slope. www.zoemetcalfeklaw.com

 

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Veronica Newton, in J. Michael Grey’s Shamed to the Heart

Veronica Newton is an actor and writer. She is delighted to be part of Sticky. Prior Sticky manifestations include acting in Libby Emmons’s The Sustainable Future and Jeremy Basescu’s Sensitive Eyes, and writing A Toast with Champale. Follow me on Twitter @veronicanewton

James Pravasilis, in J. Michael Grey's Shamed to the Heart

James Pravasilis, in J. Michael Grey’s Shamed to the Heart

Sarah Sakaan, in Brooke Berman's Quiet Bar

Sarah Sakaan, in Brooke Berman’s Quiet Bar

SARAH SAKAAN is a New York City based Syrian-American theater maker, actress and writer. She is the Associate Artistic Director of the Brooklyn, NY based theater company Polybe + Seats. As a Playwright in Residence at LPAC- LAB for 2014-15 she is writing the new play, The Art of Hijab, Kohl Black and the Right Way to Pray. With Polybe + Seats she recently developed Anna Asli Suriyah (I Come from Syria). Some acting credits include The Corsair and Cat on a Hot Tin Roof, Columbia University; King Lear with Balloon Heaven Productions; Sybil Kempson’s KurbisGeistNacht at Dixon Place; BlueBox Production’s Stickies, and Connie in Detroit; and Post Mortem, Offending the Audience and Dawn at the Flea. Film credits include “Oh Boy!”, Shot at Sundown and Project NIM. She has a B.F.A. in Acting from Emerson College.

Jacob Saxton, in Brooke Berman's Quiet Bar

Jacob Saxton, in Brooke Berman’s Quiet Bar

Jacob Saxton is excited to be working with Sticky again! As he has now for the past few years. Hailing from the mountains of North Carolina, Jacob came to this crazy town 12 years ago to chase the dream. When not acting he likes to be crafty, working as a leathersmith and woodworker. He is single, and you wont find him on tinder so come to the show!

Michele Travis directs Hal Corley’s Dolor and Brooke Berman’s Quiet Bar

Eve Udesky, in Libby Emmons' Ipsa Domus

Eve Udesky, in Libby Emmons’ Ipsa Domus

Eve Udesky is THRILLED to be back with Sticky.  That’s it.

Ceren Zorlu, in David L. William's Sing Your  Song Quickly

Ceren Zorlu, in David L. William’s Sing Your Song Quickly

Ceren Zorlu was born in Ankara, Turkey, but has been a native New Yorker since she had enough teeth to bite the big apple. Being bilingual has made her a very versatile actress.  She has studied film making at NYU and stumbled into the the world of acting at the insistence of her instructors who saw her as “raw talent”. Since then she has studied the Meisner technique for three years with JoAnna Beckson and completed improvisational comedy training at The Peoples Improv Theater in New York City.

Sticky 552
Beauty Bar, 249 5th Avenue, Brooklyn, 11215
Thursday, February 5, 7:30 pm
$10 advance, $15 at the door
via www.stickyseries.brownpapertickets.com

 

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I have done terrible things and things I am ashamed of: talking Sticky with Ali Ayala

Ali, Michele, and Libby checking out Grace McLean's set at Lincoln Center last night.

Ali, Michele, and Libby checking out Grace McLean’s set at Lincoln Center last night.

Ali has been with Sticky since 2004, and has been co-producing since 2005 (I think). She is anti social media, but I got her to do the interview anyway. The above blurry picture was the best I could get her to give me.

Libby
What’s your favorite thing about being alive?

Ali
I guess this is a ridiculous answer, but my favorite thing is the act of being alive itself. Being alive is no easy thing. It is heartbreaking and breathtaking, terrifying and beautiful. Your life is the greatest asset that you can own. You get to shape it and plan it, but there is no real road map so it ends up being this huge glorious mess of mistakes and triumphs and you never know where you will end up or what you will end up with, but it is yours whatever it is.

Libby
Are there any you don’t want to own? I have some memories that come upon me unsummoned in which I find myself behaving in a way that is completely humiliating, or perhaps anathema to who I think I am. I’ve known you long enough to guess that you have those too. If you could change those moments, would you? Or do you think a person needs to redefine themselves? Or do we suffer our continuous faults?

Ali
Memories? Experiences? Mistakes? Yeah, there are PLENTY that I don’t want to own! I have done terrible things and things I am ashamed of and things that when I think about my actions I want to weep for that ridiculous person that could not possibly have had anything to do with the person I believe myself to be. But I do own them and I can’t change them. The best I can hope for is that maybe I won’t do that one particular thing again. But, knowing me, I probably will. People constantly redefine themselves and yes, we do suffer our continuous faults. We are all trying to cope with who we are and what we might become. But that is not a unique feeling to me. There is no one without regret. We are all just trying to figure it out.

Libby
What’s your favorite thing about Sticky?

Ali
I have been doing Sticky with you and Dave for I think 11 years now, so obviously I love everything about it from production meetings to rehearsals to performance. Every time we do a Sticky (and we have done a lot) I am as excited and amazed by the show as I was at the first Sticky. And I think it just keeps getting better. If I had to pick what is most important to me about Sticky is the community that it has created. Many of my closest friends have come from the Sticky family in some way. And those that did not show up at every show!

Libby
If you could make Sticky happen anywhere, money and vacation time are no object, where would it be?

Ali
Though I think that Sticky is just tailor made to work best in NYC, when I see people’s reactions to Sticky and when I see what J. Michael is doing with Sticky in the Sticks and how he has had such an outpouring of support from his community there, I know it can work anywhere. That said, for my own personal enjoyment and if money / time / vacation were no problem, I would love for Sticky to be the vacation. Or rather be something of a traveling show. I would love to take a small Sticky team and travel around, spending a few weeks to a month in each city before moving on to the next. Roadtrip Sticky!

Libby
If it was frontier times, would you head out West or stay home?

Ali
If it was frontier times, I think heading West would be the way to go. It would be an adventure. We could do shows, run a bar and try not to get shot. Not so different than our trip to Crete!

Libby
Do you think danger makes things more fun? Like that time in Crete at the monastery with the olive trees and the gun shots? Is danger part of what makes life more enjoyable?

Ali
Danger certainly makes things more exciting and more memorable. If we had gone to that monastery in Crete and been able to go inside and look around and then walked around the hillside, that would have been lovely and enjoyable and we likely would not have discussed it again. But as it was, it was locked despite our best efforts to get in, and your uncle is crazy and wanted to steal an olive tree and then someone shot at us! Now that is a story! I like stories.

Sticky 552
Beauty Bar, 249 5th Avenue, Brooklyn, 11215
Thursday, February 5, 7:30 pm
$10 advance, $15 at the door
via www.stickyseries.brownpapertickets.com

Every dialogue is a dance: talking Sticky with Eliel Lucero

eliel

Eliel’s been with Sticky since way back in the Bowery Poetry days. Poet, performer, bartender, Eliel is now jumping into the center ring to co-produce the series, and direct a short play as well.

Libby
What’s your favorite thing about being alive?

Eliel
My Favorite thing about being alive is the not knowing what will happen next.  It’s also what I’m the most afraid of, but the fear is what feeds the excitement in life.  The unknown.  We can plan all we want but shit is just going to be what it wants to be, and all we can do is adjust and keep on rolling.

Libby
What’s your biggest fear? Mine is fire, and in a greater sense, loss.

Eliel
My Biggest fear is becoming nothing, or being a bored mediocre cliché.
I fear being trite.  I’m also really afraid of cars.  Being in them mostly.  I often have dreams where I am driving and everything goes terribly wrong.  In these dreams I am usually trying to drive from the back seat or the passenger side.  I don’t know why I don’t sit in the driver side.  I never want to have a license or a car or ever be a driver.

Libby
What’s your favorite thing about making art?

Eliel
My favorite thing about making art is of any discipline, is the creating of life.  Starting out with something in one state, and breathing yourself into it to make something brand new out of it.  Be it a character or a song or directing a play or writing a poem or painting something, it is all a metamorphosis that could not have been made the same way by anyone else.  If the art is true, the artist has a conversation with art, making sure that they both inform each other.

Libby
How is the conversation different between poetry and theater?

Eliel
I don’t know that there is much difference.  In poetry you use less words, but the careful choice of words is always there in both.  What I love so much about the short play model is that these plays are exactly like poems.  They try to say more with less.   The full play would be more like a novel.  You still have the time to explain and build and set up a narrative.  With the short play and poems you have to be really cautious about every single word and action therein.

Many playwrights have been poets and vice versa.  From Miguel Piñero to Federico Garcîa Lorca, to Langston Hughes to Amiri Baraka aka Leroy Jones.

Every monologue and soliloquy is a poem.  Just like every dialogue is a dance.

Libby
If it was frontier times, would you head out West or stay home?

Eliel
In Frontier times I don’t know what I would do.  It probably depends if I have masters or not.  I personally love the great metropolis.  The hustle of people criss crossing each other while shedding small influences in one another’s lives.  In Jonah Lehrer’s book “Imagine” he calls this the power of Q.  The amount of people that influence other people and take that influence to a group of new people, each of them with their own power of Q.  I would live where the most people live.  But again it depends if I was a free man or a slave.

Libby
Which gives your imagination freer reign?

Eliel
Between Free man or Slave?  I would say Free man.  I would never want to be a slave.  I also have very little interest in traveling back in time.  I’ll only do so as a spectator, or for a get rich quick scheme.  If I had a T.A.R.D.I.S I’d travel to the future and all of space obviously.

Sticky 552
Beauty Bar, 249 5th Avenue, Brooklyn, 11215
Thursday, February 5, 7:30 pm
$10 advance, $15 at the door
via www.stickyseries.brownpapertickets.com

I’m an optimist: talking to Michele Travis

Michele and Lucy.

Michele and Lucy.

Michele is a new producer to Sticky, and is one part of the Sticky 552 triumvirate: Michele Travis, Eliel Lucero, and Ali Ayala. Libby Emmons, Sticky co-founder, talked to Michele about the basics: being alive, making art, and time travel.

Libby
What’s your favorite thing about being alive?

Michele
Every aspect of it is preferable to the alternative, at least so I imagine. There’s only one way to find out, right? And I’m not interested in exploring that.

Libby
There’s this old trope that if a person was immortal they would regret it, having to watch people they loved age and die, watching the world do whatever horrible things the world will continue to do, never being able to move on. Would you take immortality if you had the chance? Do you think there’s something essentially human about mortality?

Michele
I would absolutely not take immortality if I had the chance – I function considerably more effectively with deadlines, ha ha. The combination of losing all my favorite contemporaries and having endless experience and knowledge, witnessing the generations of humans making all the same mistakes over and over, would most likely make me a monster. Isn’t that what’s so awful about vampires? It’s not the blood drinking; it’s the lack of empathy.

Libby
What’s your favorite thing about theater?

Michele
The way we all have to be in the same place at the same time, both to make it and to watch it. I love the immediacy, and the control we have over the audience’s experience. Everything – the volume of the pre-show music, the level of the house lights, even the temperature – is up for consideration in service of the storytelling. As you know, I recently had my first tiny experience with making a short film. While it was lots of fun in the moment, since everyone involved was delightful company, I find the amount of time it takes to complete what is essentially the telling of a 10-minute story distressing. I mean, this thing still isn’t finished! Not to mention how weird it is to imagine it out there someday randomly unspooling without help or guidance from any of us. That doesn’t happen to a production onstage.

Libby
I know you’re directing a Brooke Berman play for Sticky, and her plays are very atmospheric. Is that part of why you picked the play? Do you have ideas about how the Sticky atmosphere will work with Brooke’s?

Michele
Now that you ask, that quality is probably what attracted me, but it wasn’t a conscious thing. Years ago I directed a reading of one of Brooke’s short plays that was pretty much set in the central character’s imagination. I loved how she was able to make that a clear element of the work, and yet the play was full of high stakes interactions between very delightful, earthy characters.  This play is lyrical and not at all naturalistic, yet full of quotidian detail – I think it is both set in a bar, and someplace else entirely. I have a lot of ideas about it, but I don’t want to give too much away. Everyone should come see it and tell me if it works or not!

“The Sticky atmosphere” is a great phrase. I’m fascinated by private behavior in public, which is a huge factor in New York City life in general, and in just about every play set in bar anywhere.

Libby
If it was frontier times, would you head out West or stay home?

Michele
One of the best things about being a woman is that we do not have any “good old days.” There was nothing great about being a 19th century woman, except possibly hats.  However, having watched DEADWOOD (which was brilliant), I would choose the lawless and terrifying frontier, to have a greater degree of autonomy and possibilities for reinvention. Being Kitty Leroy or Calamity Jane would have been a lot more entertaining than being a wife or a servant in the settled and civilized part of the country. Even being a frontier prostitute was probably better than being an urban whore back then — seller’s economy!

Libby
Ah yes, hooking in the good old days of the wild west. I’ve often thought that if I were thrown back in time to the old west– because I have spent a fair amount of time thinking about it for unknown reasons– I would want to open a restaurant, with entertainment, which would probably include the whole brothel thing. When women imagine living in the past, sex and how to use it plays a huge role. Do you think that women in the future will imagine time traveling back to the 21st Century in the same how-do-I-make-sexual-subjugation-work-for-me centric way?

Michele
I’m so glad we have the same notions about imaginary life in the old west (and have spent considerable time thinking about it)! I would absolutely go into business with you and help run the restaurant/dance hall/brothel. I hope women living in the future have a harder time entering into this imaginative exercise than we do. I would like to think they will be completely fascinated and appalled by 21st century sexist bullshit, that they won’t be able to relate to that aspect of our lives at all because they have no experience of a non-egalitarian society. I’m an optimist.

Sticky 552
Beauty Bar, 249 5th Avenue, Brooklyn, 11215
Thursday, February 5, 7:30 pm
$10 advance, $15 at the door
via www.stickyseries.brownpapertickets.com

introducing the plays & playwrights

Introducing the plays and playwrights for Sticky 552.

Sticky 552
Beauty Bar, 249 5th Avenue, Brooklyn, 11215
Thursday, February 5, 7:30 pm
$10 advance, $15 at the door, via www.stickyseries.brownpapertickets.com

Ipsa Domus, by Libby Emmons, directed by Ali Ayala
Shamed to the Heart, by J. Michael Grey, directed by Ali Ayala
Quiet Bar by Brooke Berman, directed by Michele Travis
Dolor by Hal Corley, directed by Michele Travis
Puff Puff, by Libby Emmons, directed by Michael Domitrovich
Sing Your Song Quickly, by David L. Williams, directed by Eliel Lucero

J. Michael Grey, writer "Shamed to the Heart"

J. Michael Grey, writer “Shamed to the Heart”

On his inspiration: “Ali asked me to write a play, so I did. If I blurbed about the inspiration of the story inserted in the play, it would give it away.​”

Over the past several years J. Michael has written many pieces for Sticky.  He now is producing the first Sticky spin-off in Normal, Illinois where he directs and acts as well.
www.facebook.com/normalsticky

Hal Corley

Hal Corley, writer Dolor

On his inspiration: “Years ago, over late-night drinks a friend announced that “the saddest thing in the world” to her was, “a single woman alone at a table in a restaurant…” Without parsing the feminist angle, I immediately challenged the very premise, that mere solitude doesn’t bespeak loneliness.  Within minutes we were arguing heatedly about the essence of sadness, its triggers, its mysterious, subjective nature. I’m not sure if it became a game of one-upmanship, but the debate seemed all about quantifying and ranking our compassion.  I never forgot the exchange, and one day decided it might serve as a barometer for a relationship at a crossroads.  The result, the odd little Dolor. ”

Hal Corley:  Hal has developed his plays with major regional theaters, and two, An Ounce of Prevention and Finding Donis Anne,  have been widely performed (Seattle Rep, Syracuse Stage, Walnut Street, and in NYC, Atlanta, LA, Boston and Charlotte). Three scripts, Mama and Jack Carew, Easter Monday and ODD are published by Samuel French. His Treed is published by Playscripts as one of Great Short Plays Volume 10, and 27 of his one-acts have been produced in 17 states and Canada in the past 5 years. He has three times been a semifinalist in the O’Neill Competition, including in 2013 for his new play, Weak Trembles.

Libby Emmons, writer of Ipsa Domus

Libby Emmons, writer “Ipsa Domus” and “Puff Puff”

On her inspiration: “I finished reading all the Harry Potter books and didn’t want to let go, and having something to do with finding a home in your head.”

Libby Emmons is a playwright and theater maker, whose plays include Puff Puff (Festival of the Offensive, NYC 2014, winner “Most Offensive”), Radio Mara Mara (The Kraine Theater, FringeNYC 2013), Zeropia (Clubbed Thumb Biennial Commission 2009), The Girls from Afar (East/West Players, LA, 2010), “Animal/Animal,” (Best Short Plays, 2013, Smith & Krause), “The Worm Turns at the Fort Peck Hotel,” (New York Theater Review 2009), and many more. She is co-founder of 10-minute play series Sticky, Bowery Poetry Club 2007-12, now Beauty Bar, Brooklyn. Libby is a graduate of Sarah Lawrence College (BA), Columbia University School of the Arts (MFA), and blogs the story of her life at li88yinc.com. She lives in Brooklyn with her husband, son, and a very mean cat.

David L. Williams, writer "Sing Your Song Quietly"

David L. Williams, writer “Sing Your Song Quickly”

On his inspiration: “I was thinking about people who burn books, and what it would take for an author to burn his/her own books.  Plus, I was thinking about the lines from William Carlos Williams’ poem Paterson which serve as inspiration for the title,  “Poet, poet! sing your song, quickly! or not insects but pulpy weeds will blot out your kind.”  They have an urgency to them, sounding equally like an exhortation and a threat.  And as a writer, maybe I just have this romantic notion that writing is dangerous and I wanted to visit the darker side of that too.”

David L. Williams is a Phi Beta Kappa graduate of the theatre department of Cornell University, where he was a four time award winner in the Heerman’s-McCalmon Playwriting contest.  Since then, he has written more than twenty-five plays and musicals in a variety of genres.  He is a member of the Dramatist Guild and has won the HotCity Theatre GreenHouse New Play Festival for The Winners, the Riverside Stage Company’s Founder’s Award for Ampersand, and the League of Cincinnati Theatre’s best production in the YES Festival award for Spake.  His work has been produced across the United States and internationally, including the award-winning The Starving and The Wolf Manhood, along with four selections for the New York International Fringe Festival.  He is currently working on his MFA in playwriting from the University of Nebraska Omaha, and he lives in Bellefonte, Pennsylvania with his wonderful wife Kathleen.   www.playwrightdavid.com

LABAfellow

Brooke Berman, writer “Quiet Bar”

On her inspiration: “I think I was interested, as I am still, in the gap between what people say and what they think, the banality of contemporary speech paired with enormous hunger, with big expectations, with a voracious inner life.”

Brooke Berman is an award-winning playwright, screenwriter and memoirist whose work has been produced and published across the US.  Originally trained as an actor and solo performer in the experimental theater, Brooke began performing her own work on the Lower East Side of Manhattan before receiving formal training in playwriting from the Juilliard School. Her play Hunting and Gathering, which premiered at Primary Stages, directed by Leigh Silverman, was named one of the Ten Best of 2008 by New York Magazine. Brooke’s memoir, No Place Like Home, published by Random House, was called “Highbrow/Brilliant” by New York Magazine’s Approval Matrix. Brooke’s plays include: 1300 LAFAYETTE EAST, HUNTING AND GATHERING (Primary Stages); SMASHING (The Play Company, The Eugene O’Neill Theater Center); UNTIL WE FIND EACH OTHER (Steppenwolf, The Eugene O’Neill Theater Center); THE TRIPLE HAPPINESS (Second Stage, The Playwrights Center,  ASK, the Hourglass Group, The Royal Court Theatre), among others. Her plays are published by Broadway Play Publishing, Playscripts, Backstage Books and Smith & Kraus. Brooke recently wrote and directed her first short film, UGGS FOR GAZA, based on a short story by Gordon Haber.  UGGS premiered at the Aspen International ShortsFest where it won an Audience Special Recognition award. ALL SAINTS DAY, a short film she wrote directed by Will Frears, won Best Narrative Short at the Savannah Film Festival and played at the Tribeca Film Festival in 2008. She adapted her play SMASHING for Natalie Portman and has written features for The Mark Gordon Company, Vox Films, Red Crown, and Fugitive Films. www.brookeberman.net

Sticky 552

Sticky is back! With a whole new mini season. We’re calling it Sticky 552, because it’s happening on Thursdays, February 5, March 5, and April 2.

Produced by Ali Ayala, Eliel Lucero, and Michele Travis, Sticky 552 will be at Beauty Bar, 249 5th Avenue, Brooklyn, 11215.

$10 advance, $15 at the door, via www.stickyseries.brownpapertickets.com

sticky 552 feb