La MaMa Blogs: November 2016

Wednesday, November 30, 2016

George Drance on Calderon's Two Dreams



George Drance SJ on a new play at La MaMa, in conversation with Fordham University's Loyola Scholar Michael Zampelli, SJ

The first presentation of the Sheen Center's new public forum, "The True, the Good, and the Beautiful" examining questions of faith in thought and culture.

Moderator George Drance, SJ in conversation with Fordham University's Loyola Scholar Michael Zampelli, SJ and the critically acclaimed Magis Theatre company present a look into the spiritual journey of Pedro Calderon de la Barca, one of Spain's greatest theatre artists of the Baroque era as they prepare to present their new production Calderon's Two Dreams at the legendary La MaMa Theatre in February 2017.

Rev. Michael Zampelli, SJ is the Paul L. Locatelli, SJ University Professor in the Department of Theatre and Dance at Santa Clara University where he has been on the faculty since 1998. For the 2016-2017 academic year, he has the honor of holding the St. Ignatius Loyola Chair in the Theatre Program at Fordham University.

Father Zampelli teaches courses in performance studies, gender and sexuality in performance, theatre history and dramatic literature. He has written on the early modern Italian theatre, religious criticism of the theatre, the dynamics of Jesuit performance, and the spiritual functions of theatre. His current research focuses on the retrieval of Jesuit performance traditions in 19th and early 20th century America.

He received the PhD in Drama from Tufts University in 1998.

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The Sheen Center for Thought & Culture presents

The True, 
the Good, 
and the Beautiful

Tuesday, December 6, 2016 at 7pm

Free Event

Sheen Center - Black Box
18 Bleecker Street
New York, NY 10012

For Info and Reservations: CLICK HERE




Monday, November 28, 2016

Video 6 Questions: Erik Ehn

 
6 Questions: Erik Ehn, playwright of CLOVER from La MaMa on Vimeo.


We spoke with playwright Erik Ehn, who's play CLOVER comes to The First Floor Theatre at La MaMa December 01 - December 16, 2016. CLOVER is about the violent and universal cycle of life follows the tragedy of Emmett Till and his mother that helped spur the Civil Rights Movement as well as three other stories, illustrating America’s history of violence towards those most vulnerable. 

La MaMa presents

Erik Ehn's 

CLOVER 

A Planet Connections Production 
Written by Erik Ehn 
Directed by Glory Kadigan

December 1 - 16, 2016

The First Floor Theatre
74A East 4th Street
(between Bowery and Second Avenue)
New York, NY 10003

Tickets: $18 Adults/$13 Students and Seniors; La MaMa's 10@$10 tickets available for all performances, in advance only

For Tickets & Info: CLICK HERE

Thursday, November 17, 2016

First Look at PIANO TALES










All photos by Theo Cote for La MaMa

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La MaMa presents

Piano 
Tales 

Written, Performed, & Composed by James Harrison Monaco and Jerome Ellis 
Directed by Andrew Scoville 

November 18-20, 2016
Friday and Saturday at 10pm; Sunday at 6pm

The Club @ La MaMa
74A East 4th Street
(between Bowery and Second Avenue)
New York, NY 10003

Tickets: $20 Adults; $15 Students/Seniors

For Tickets and Info: CLICK HERE

Wednesday, November 16, 2016

6 Questions: Nic Ularu



OBIE award winner Nic Ularu (UniArt Theatre Co.) returns to La MaMa with his new work, Fusions which explores the effect of technology on society.  Nic took too time out from preparing for the show to answer our 6 Questions. Don't miss Fusions, coming to The Club at La MaMa from  November 25 - December 4, 2016, only!

1. What was the original inspiration behind creating FUSIONS?

In my last plays, I tried to analyze the artist's condition and to respond to some questions such as: what makes us try to express ourselves artistically in such money oriented society, based on consumption and globalization? During the process, I realized that first of all I should observe the public to whom we are addressing our theater art nowadays, and it was obvious that the technology and social media drastically the contemporary society.

2. What should audiences expect from the show?

The show is like a magnifying mirror that reveals how the human existence can be turned into grotesque by the influence of the TV reality shows, social media, video games, internet sex and the dependence on the computer.


3. The show investigates "the impact of the technology on the nowadays' society" what is the biggest way technology has impacted you personally?

A few years ago, when my laptop crashed, and I lost a lot of documents and files, I discovered my dependence on my computer. I realized that my life was dangerously linked to this strange object. It was like all my thoughts, all my memories, everything I did in the last few years were encapsulated in this device, and it seemed that this data was immensely important for me. Out of the blue, I felt some ridiculous desperation and emptiness. It was the moment in which I decided to stay as far as I can from this tool and to don't transform it into a meaning of life. I decided to observe the people around me, to communicate more, to see with my own eyes the things I like in the nature or visiting other countries, not through the video camera, iPhone or any other recording devices. I still spend a lot of time in the front of the computer, but I always feel guilty about it.

4. Who inspires you?

The people around me… For this particular show, some young guys who spend more time looking on the small screen of their cellphones texting, playing, emailing, etc. than interacting directly with each other. People who are more interested in the celebrities' lives and style of living then in their existences. The addiction to Facebook, Tweeter, Pokémon Go and all the social media, that consume too much time from our short and precious lives alienate us.

5. What was the last work of art (performance/film/books) that made an impact on you?

There are many works of art that are impacted me over the years. I think the most difficult thing for any artist is to tell a story in the simplest way. I saw recently Louis Malle's Vanya on 42ndStreet, and, as always, I was amazed by the power of acting and transmitting a message without the scenic effects, costumes and theater artifice.


6. What does working at La MaMa mean to you?

Since I came in this country, my artistic life revolved around La MaMa.  I had the privilege to know Ellen Stewart, who offered me the opportunity to make my debut as a playwright and theater director in New York. I designed sets for ten shows at La MaMa, and I directed three of my plays (FUSIONS is the 4th collaboration between my company UniArt Theatre Co. and La MaMa ETC). In 2003, I was awarded an OBIE for the production of TalkingBand's Painted Snake in a Painted Chair, that was produced at La MaMa.  Recently, I dedicated a significant chapter of my Ph.D. thesis on Off-Off Broadway theater, to the personality of Ellen Stewart and the importance of La MaMa in the contemporary American and international theater.

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La MaMa presents
FUSIONS
a new play written and directed by Nic Ularu (UniArt Theatre Co.)

Featuring: Paul Kaufmann, Drew Richardson, Carin Bendas, Chad Henderson 
Set Design: Nic Ularu
Costume Design: Max Archimedes Levitt
Lighting Design: Jim Hunter
Video and Sound Design: Baxter Engle

November 25 - December 4, 2016
Friday & Saturday at 10pm; Sunday at 6pm

The Club @ La MaMa
74A East 4th Street
(between Bowery and Second Avenue
New York, NY 10003

Tickets: $20 Adults; $15 Students/Seniors; ten tickets priced at $10 each are available for every performance (advance sales only) as part of La MaMa's 10 @ $10 ticketing initiative.

For Tickets and Info: CLICK HERE

Tuesday, November 15, 2016

La MaMa Outing to THE CHERRY ORCHARD


Join the board and members of the staff of La MaMa on an outing on Broadway to Roundabout Theatre Company's production of The Cherry Orchard staring Diane Lane.We invite you to attend the performance and a special post-show meet and greet with Diane Lane, who began here career at La MaMa at the age of seven.

The story of Lyubov Ranevskaya (Academy Award® nominee Diane Lane) and her family’s return to their fabled orchard to forestall its foreclosure, The Cherry Orchard captures a people—and a world—in transition, and presents us with a picture of humanity in all its glorious folly. First produced in Moscow in 1904, The Cherry Orchard still stands as one of the great plays of the modern era. By turns tragic and funny, Roundabout’s new adaptation, by Stephen Karam (The Humans), promises to breathe fresh life into this towering tale.

The cast also includes: Tavi Gevinson, John Glover, Celia Keenan-Bolger, Harold Perrineau, Joel Grey, Tina Benko, Kyle Beltran, Chuck Cooper, Susannah Flood, Maurice Jones, Quinn Mattfeld, Aaron Clifton Moten, Peter Bradbury, Philip Kerr, Lise Bruneau, Jacqueline Jarrold, Ian Lassiter and Carl Hendrick Louis

Purchase includes an orchestra ticket and the opportunity to meet the Academy Award nominated star.


Friday, November 18, 2016 - 7pm

The American Airlines Theatre
27 West 42nd Street
New York, NY, 10036 

Tickets: $100 

For tickets and info: CLICK HERE

Sunday, November 13, 2016

6 Questions: Jerome Ellis

Photo by  Bailey Carr

Jerome Ellis is the "Jerome" in James and Jerome and he took time out from getting ready for the show Piano Tales to answer our 6 Questions.  Piano Tales comes to The Club @ La MaMa this week, November 18 - 20 for 3 performances only!
1. What should we expect from Piano Tales?

(Dear reader: James answered all of these questions so eloquently, so I recommend you read his answers alongside mine!)

In Piano Tales James and I tell tales solely by speaking and playing piano. The words and music bear the tales along in equal measure. But whereas in past shows the audience receives an experience akin to classical music—meticulous and composed—Piano Tales is a more improvisatory spectacle. We have twelve possible tales to tell; the audience will choose which three we tell each night and in what order, and then we’ll tell those three in a totally new way. With this show I like to think of James and I as two cooks who end up at a party one night and whip up a meal with whatever ingredients are on hand.


2. How do you describe the style of your performance?


The scope, spaciousness, and density of a George Eliot novel (e.g. The Mill on The Floss; if you ever have the opportunity, I recommend asking James to talk to you about it); the speed, surprise, and moment-to-moment sensitivity of live Charlie Parker (e.g. “Salt Peanuts” at Massey Hall); the leitmotifs, arc, and humor of a Rossini opera (e.g. L’Italiana in Algeri); the intimacy and room for contemplation of kora/zheng duo 42 Strings (e.g. “Indian Ocean”).


3. How did you and James meet?

We grew up ten minutes apart in Virginia Beach and have been going to school together since we were ten. I remember watching him act in high school productions and admiring him from afar. We always had mutual friends, but it wasn’t until we were both in New York for college that we started eating Apple Jacks together at 3 a.m. and calling each other brother.


4. Who inspires you?

As a stutterer I am inspired by Susan Howe: her works show me the beauty language can acquire when it is fractured, interrupted, looped, or erased.

My mind leans on the music and writings of Hildegard von Bingen. Her religious expression took many forms: inventing her own language (Aigonz = God, zizria = cinnamon), composing unorthodox hymns to the Virgin, or preaching across Europe. As someone else who seeks to hammer his devotion to the divine into different shapes, I turn to her often.

Simone Weil, who wrote with lightning in her pen, and who inspires me to live more ferociously.

The writer and publisher Roberto Calasso has been a compass for my spirit lately, via both the ongoing saga he’s writing (eight volumes and counting) and the publishing house he directs: Adelphi Edizioni. When James introduced me to Adelphi’s catalog last year he said, “Move on in!” Since then it’s indeed felt like my mind has moved into a palace, each book a room I’m excited to get to know.

The Psalms, especially in Miles Coverdale’s miraculous 16th century English translation. They water my heart when it grows arid, via the page or via the recordings put out by the St. Paul’s Cathedral Choir in London, which is composed of both boys and men. My mother had me read the Psalms when I was little and I've been reading them ever since; maybe the sound of this choir moves me so much because they’ve accompanied me as both boy and man?

My little brother Kelvin and my friend Althea, both consummate artists and human beings of whose glory I always fall short.

Dr. Jeffrey Barrett, M.D.: my uncle and my godfather. He gave me my first book and took me on night drives into Manhattan from Canarsie when I wasn't even big enough to see over the dashboard, playing Mozart so loud the car rattled. He fulfilled perfectly the classic duty of the godparent: the cultivation of the godchild’s spirit.

My little family of colleagues at the Columbia Law Library Circulation Desk: Grace, Abed, Heath, and Marc. Their life stories, which I've been piecing together slowly over the years, are four of the most fascinating tales I've ever heard.

My friend Charlene, toward whom I feel nothing short of awe.


5. What 3 albums would you want with you on a desert island?

The Javanese Gamelan (World Music Library compilation). Vast, opulent music, like a palace for the ears.

Abida Parveen: Songs of the Mystics. This is a collection of Sufi devotional songs in Urdu, Punjabi, and Sindhi. Because I don't know these languages, I can more easily focus on the music’s bristling texture, woven from alto voice, tabla, and harmonium.

Gabriel Fauré: Requiem (King’s College Choir recording). For when I’m in the mood for something light!


6. What does working at La MaMa mean to you?


It is such an honor. At the season launch party in September I felt welcomed into a big, wise, diverse extended family. My own extended family is relatively big (I have twenty-six cousins), so there was a familiar feeling of being bound to many different people by something strong, be it blood or shared values. And especially this season, their 55th, I’m extra aware of the depth of history and tradition into which James and I have been invited. Thank you La MaMa!

Also, I want to thank Andrew Scoville (our director) and Marika Kent (our production designer) for guiding us!



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La MaMa presents

Piano 
Tales 

Written, Performed, & Composed by James Harrison Monaco and Jerome Ellis 
Directed by Andrew Scoville 

November 18-20, 2016
Friday and Saturday at 10pm; Sunday at 6pm

The Club @ La MaMa
74A East 4th Street
(between Bowery and Second Avenue)
New York, NY 10003

Tickets: $20 Adults; $15 Students/Seniors

For Tickets and Info: CLICK HERE

Friday, November 11, 2016

Video Preview: PIANO TALES

 
Piano Tales from La MaMa on Vimeo.

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La MaMa presents

Piano 
Tales 

Written, Performed, & Composed by James Harrison Monaco and Jerome Ellis 
Directed by Andrew Scoville 

November 18-20, 2016 - THREE PERFORMANCES ONLY
Friday and Saturday at 10pm; Sunday at 6pm

The Club @ La MaMa
74A East 4th Street
(between Bowery and Second Avenue)
New York, NY 10003

Tickets: $20 Adults; $15 Students/Seniors

For Tickets and Info: CLICK HERE

Wednesday, November 9, 2016

Staged Reading of Benghazi Bergen -Belsen


Prior to the world premiere in March 2017, you can attend a one-night only staged reading of Benghazi Bergen -Belsen, Lahav Timor's adaptation of the novel of the same name by Israeli novelist Yossi Sucary, tracing the Jews of Libya through the Holocaust. 

Silvana Haggiag is a brilliant and beautiful young woman in her early twenties, dismissive of the patriarchal norms that govern her Jewish community in the Libyan city of Benghazi. When Silvana’s family is violently uprooted from its home and homeland, she is taken along with other Libyan Jews through the blazing Sahara Desert and war driven Italy to freezing Germany. Benghazi-Bergen-Belzen, the first novel about the Holocaust of Libyan Jews, brilliantly depicts the transformations and tribulations this intriguing community has undergone during the Second World War.

Yossi Sucary an author and a radical activist published the novel Benghazi Bergen -Belsen in 2013 based on his family experience and will be a guest of the Historical Jewish American Society this coming Monday.


Benghazi Bergen -Belsen
Staged Reading
Monday, November 14, 2016, 7:00 pm

$15 General, $7 Students/AJHS and ASF members/Seniors

Center for Jewish History
Forchheimer Auditorium
15 West 16th Street 
(Between 5th & 6th Aves.)
New York , New York 10011 



To purchase tickets: CLICK HERE


Monday, November 7, 2016

Israel Horowitz Returns to La MaMa



Nearly fifty years after the premiere of Line at La MaMa, playwright Israel Horowitz returns to La MaMa with the New York premiere of Man in Snow.

Back in 1967, when Line premiered, Horowitz was given a budget of $80 for his show and was told he could keep whatever he didn't spend on the production.  According to Jonathan Zeller at www.nycgo.com: “The only piece of scenery in the show is a piece of adhesive tape on the floor,” he says. “I cleared a profit of about 78 dollars.”  

You can see the original program for the La MaMa production of Line at the La MaMa Arichives Digital Collection.

Man is Snow  tells the story of David, who is recently retired and mourning the loss of his young son, as re-visits Mt. McKinley in Alaska, a mountain he summited at age 25. He’s not climbing this visit. Instead, he is guiding a group of Japanese honeymooners who hope to conceive a child under the spell of the Northern Lights. This powerful, passionate drama was originally written by Israel Horovitz 20 years ago for BBC Radio 4 and is now being re-visited and totally re-conceived for the stage.

The cast includes Will Lyman, Ron Nakahara, Paul O'Brien, Sandra Shipley, Ashley Risteen and Francisco Solorzano. Mr. Horowitz also directs.

There will post show discussions with Israel Horowitz and the cast of Man in Show follwing the Sunday matinees on November 13th and November 20th.







La MaMa presents
NY Premiere of Gloucester Stage Company's Production of

MAN 
IN 
SNOW

Written & Directed by Israel Horovitz
Presented in association with Barefoot Theatre Company & Compagnia Horovitz-Paciotto 

November 11 - November 27, 2016 
Thursday to Saturday at 7:30PM; Sunday at 2PM 
- additional perf Monday, Nov. 14th at 7:30PM

The First Floor Theatre at La MaMa
74A East 4th Street
(between Bowery and Second Avenue)
New York, NY 10003

Tickets: $25 Adults; $20 Students/Seniors; ten tickets priced at $10 each are available, in advance only, for every performance as part of La MaMa's 10 @ $10 tcketing initiative

For Tickets and Info: CLICK HERE

Friday, November 4, 2016

6 Questions: Jon David Casey


603 comes to the La MaMa Galleria next week for five performances only.  Seating is extremely limited so advance purchase is strongly suggested.  Writer and performer Jon David Casey took time out of rehearsals for 603 to answer our 6 Questions:

1. What was the most interesting thing you learned about Doctor Wilhelm Reich in creating 603? 
I discovered Dr. Reich’s life and work reading RECORD OF A FRIENDSHIP, which was compiled of letters exchanged between A.S. Neil and Dr. Reich . I was immediacy taken with his brilliant mind, His revolutionary spirit and most especially with his discovery of the invisible life force he called Orgone.  In addition - I was fascinated by the 20 year pursuit of the FBI and ultimately the arrest of Dr. Reich by the FDA- and of course the censorship of his books and destruction of his inventions. 


2. You have been working on 603 for a while - how has it changed in the process?
It has been in development for 7 years. It was first presented at REDCAT in Los Angles - at its very beginning - at that time it was titled ACCUMULATOR - a 20 min showing where I performed in a tiny box. Over the following 5 years it was written and discarded many times - at one point it was 90 min long and after that phase of its development in LA I threw away 90% of the pages and began again. I workshopped it at AbronsArt Center under the direction of Janis Powel - who was an acting mentor of mentor of mine - following that - it at Dixon Place performing behind sheets of Plastic and collaborated with Noise Artist Bob Bellerue- I then met an artist Diana Puntar who ironically enough was also interested in Dr. Reich’s work - for about the same number of years. She had built an organ accumulator to spec with a plexiglass disco floor - growing Fungi beneath it - she was interested the notion of Utopian aspects of healing.  I performed in her sculpture at Blacjston Gallery own Ludlow Street. The next years I worked with Sophie Bprtiulusi as my director and Chris Akerlind as designer - this was a most productive period of investigation - re writing the text and uncovering the spine of the work in terms of space.  Sophie has a dance background and the work became extremely physical ....and at present I have been working the past year without a director - integrating many aspects and discoveries that I made with my many collaborators.  Simon Cleveland is lighting the project - MachineDazzle doing costumes and Bob Bellerue the noise. 

3. You use the term "psychological surrealism” to describe the work, what does that mean to you?
Ultimately the big surprise to myself was that my passion for Dr. Reich’s work and life while tremendous and authentic I realized that what I was ultimately rendering was a piece that vacillated between fact and fiction -- therefore the term - Psychological Surrealism seems accurate. So my thought is this if we go to a museum painting and look at a painting - we never ask ourselves - is that true or not true?  I guess Dr. Reich’s legacy is filled with such ambiguity and still today there is a velocity to a wide array of theories about him being a genius- who was a victim of a judicial murder as well as those who thought he was a crackpot. These things seemed to me to be in accord to my interests in terms of performance as well as sorting through my own fractured past......


4. Who inspires you?

5. What is the last good film/play/dance/book you liked?


6. What does working at La MaMa mean to you?
Golly - it’s a big manful deal to me-- To have this long labored work have its world premiere at LA MAMA - a place on this earth that to me is hallowed ground- a safe refuge for ART with commercialism and all of its pressures.  Bob Brustien was a mentor of mine while I was a grad student at the ART - we had a class with him four hours each Thursday - and this was a conversation about theatre ....where we long actors learned to talk about the theatre - it was called REP IDEAL and one thing he would often say - articulating the distinction between commercial theatre and the REP theatre....was NYC is not a place one plane fruits and vegetables - it's where one goes to see suits and vegetables....this impressed me - and so to me this work was planted and bloomed outside of the constraints of commercial theatre--- and La MaMa  - to me is a garden.  So I couldn't be happier. 

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La MaMa presents
603

written and performed by Jon David Casey

November 09 - November 13, 2016
Wedensday - Sunday at 8pm

La MaMa Galleria
47 Great Jones Street
(between Bowery and Lafayette Street)
New York, NY 10003 

Tickets: $15 Adults; $10 Students/Seniors

For Tickets and Info: CLICK HERE


Thursday, November 3, 2016

6 Questions: James Harrison Monaco



James Harrison Monaco is the "James" of James and Jerome. ("Jerome" is Jerome Ellis). James too time out of rehearsals for their show Piano Tales to answer our 6 Questions. Piano Tales comes to The Club @ La MaMa for three performances only, November 18 - 20, 2016.


1.    What should we expect from Piano Tales?

Well, on a simple level, it's stories told with words and music. But I've been describing it as, ideally, like an explosive and intimate jazz concert but with stories instead of jazz standards. We have thirteen possible tales to tell, and the audience chooses which three we tell each night and in what order, and then we tell those three each in a way we've never told them before. So there's a lot of play back and forth inside of it – heavy improvising together on the piano end and on the storytelling end. Hopefully there's a strong sense that the night you attended will never happen again.


2. How do you describe the style of your performance?

I call what Jerome and I make "hyper-literary live-music storytelling spectacles." Our friend Jaclyn Backhaus just described our work as "mighty art made of simple elements", which I liked a bit better. I also think there's an athleticism to watching the two of us use our instruments and ourselves to make rather literary forms into an entertaining stage performance. Also Jerome really likes playing one chord for a long time, and I look the audience in the eyes a lot.

3. How did you and Jerome meet?

We actually grew up on opposite sides of a swamp lake from each other in southeastern Virginia, and went to school together from about age ten on. But I'm a year older than Jerome, and we didn't really start hanging out and collaborating until we both came to New York for college. At first we primarily functioned as mutual enablers, encouraging each other to spend way too much money on records and books. The work came soon after.


4. Who inspires you?

As far as what's been inspiring me lately...


Theater/performance: Mariano Pensotti, The SilverCloud Singers, Dave Malloy, JACK in Clinton Hill, Royal Osiris Karaoke Ensemble, and all my friends of course.

Writers: Isak Dinesen, Colette, Fleur Jaeggy, Simone Weil, Herodotus, Sergio Chejfec, Rilke, and an extraordinary book of tales from Sudan.

Visual art: I go to the Metropolitan Museum of Art probably every two weeks and love every section, but for this project Caravaggio and the whole Chinese painting wing have been big (they're both all stories).

In the arena of the world, I've been inspired by the work of the White Helmets in Syria, the Spanish-language events at McNally Jackson bookstore by Javier Molea, and following the fierce humanitarian work of my girlfriend Cayce.

5. What 3 albums would you want with you on a desert island?

"Caetano Veloso" by Caetano Veloso (The one from 1986 with just acoustic guitar)
I feel like these would all be good for guarding my sanity.


6. What does working at La MaMa mean to you?

Gosh, at the season launch party back in September I just freaked out at how happy I am we're part of this place right now. Literally every kind of human being was in that room and in love with the place. So many venues and institutions claim they value "diversity", and then you walk into their space and it feels like they're just paying it lip-service. But with La MaMa it feels genuine and in their blood. I couldn't believe at that launch party how many different kinds of artists, different ages, different walks of life, different nations of origin were packed into that space and reveling in each other's work. And the work was so good! This place feels like a real artistic conversation between so many different circles of folk. It felt vital and cosmopolitan and messy in the most thrilling way. I'm so moved to be doing this show as part of that. 


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La MaMa presents

Piano 
Tales 

Written, Performed, & Composed by James Harrison Monaco and Jerome Ellis 
Directed by Andrew Scoville

November 18-20, 2016
Friday and Saturday at 10pm; Sunday at 6pm

The Club @ La MaMa
74A East 4th Street
(between Bowery and Second Avenue)
New York, NY 10003

Tickets: $20 Adults; $15 Students/Seniors

For Tickets and Info: CLICK HERE