2014 @ La MaMa (in Pictures)

Here is a pictorial look 

at just a handful of shows 

that happened in 2014 @ La MaMa!

Peggy Shaw in RUFF

Black Out by Philippe Saire (Under The Radar Festival)

El Año en Que Nací by Lola Arias (Under The Radar Festival)

The Wong Kids In  The Secret Of The 

Space  Chupacabra Go! by Ma-Yi Theater

Rumore di acque 

(Noise in the Waters) 
by Marco Martinelli 

Captain John Smith Goes to Ukraine by Yara Arts Group

What I learned from 
a decade of fear by Aluna Theatre

Bum Philips: All-American Opera by Monk Parrots

Zachary Karabashliev's Lissabon

THE MAIDEN by Nerve Tank

 DJ Spooky's Seoul Counterpoint by Culturehub

Theodora Skipitares' The Chairs

Myth or Meth by Radiohole 

(part of The Tom Murrin Full Moon Performance Festival)

Catherine Filloux's Selma 65

Tempest directed by Karin Coonrod (part of the Tempest 3 series)

The Elephant in Every Room I Enter 

written and performed by Gardner Comfort

AdA: Author directing Author 

by Neil LaBute and Marco Calvani 

Dead End Dummy by Dick Zigun 

Mokwha Repertory Company's The Tempest 

(part of the Tempest 3 series)

Motus Theatre Company's Nella Tempesta

(part of the Tempest 3 series)

We'll see you in 2015

@ LaMaMa

Paul Lazar on Radiohole

The amazing Paul Lazar of Big Dance Theater on Radiohole's production of Tom Murrin's Myth or Meth that played last week at The First Floor Theatre at La MaMa:

"I promise (maybe) that this is my last email about The Radio Hole show Myth or Meth but I feel that a lot of the comments about it are selling it short cause they are mainly talking about how grotesque the show is. YES it is grotesque and yes the grotesqueness is essential and important because it keeps the piece from ever lapsing into the unacceptable zone of being acceptable. (and the grotesque stuff is so artfully executed). BUT how about the way the performers make that text fucking sail for an hour and a half straight with no lapses? To me the text sits in this unique place between Foreman and Ludlum. Weird poetic philosophical and also deliciously idiotic low end camp. Straight actors would suck dick at saying those words, as would many non traditional performers because because because it requires that you just be that specific bunch of balls to wall people for it to fly. 

HOW about bingo and beer with the audience before the thing "starts". Whenever somebody gets BINGO that's when the onstage action "starts". That's deceptively simple but it created the best atmosphere to receive all that transpired thereafter. No simple trick.
HOW about the set and props. ALL that Whiteness. What a perfect canvas for an evening a shit, puke, piss and jizz. One could wax dramaturgical about staining the ALL WHITE world. I won't but to say I loved all the whiteness, even the glare of white light.
How about the l e d lights and the two stupid "theatre" doors and yes we've seen radio hole and others run the sound from onstage for a long time but to see Scott Gilette dripping with shit hit a button on the sound box and then sing a song. 

How about the costumes? Findley's delicate sheer flowing fabric over his leather jock, that's a pretty exquisite clash. THE WHOLE PIECE IS AN EXQUISITE CLASH BECAUSE THERE'S A HEAVY DOSE OF FUCK YOU ANGER BLENDED WITH AN EQUALLY HEAVY DOSE OF GENEROUS FESTIVE LIFE AFFIRMING GIVING OF AS MUCH AS A LIVE PERFORMER CAN GIVE. And how about the "ERS Law Book by John Collins". That one object describes the whole difference between this moment in Downtown (for lack of a better term) Theatre and Tom Murren's Downtown Theatre. For better and/or worse it is now possible for Downtown work to MAKE IT it the mainstream. In fact, actual members of the Supreme Court are supposedly attending performances of ERS's Arguendo in D.C. right now. 

Tom Murren's work and it's ilk was only seen by the Supreme Court when they were ruling on whether or not to ban it. I am NOT making a judgement about this being a good or bad change in the world of Downtown Theatre. It's just SOOOOO different. Maybe it's a change for the better that a non traditional aesthetic can wend it's way into the mainstream. All I'm saying, as a person who is in the "making it" mode so often myself, is that MYTH OR METH is like one of those Zen stories where one Monk gets too caught up in bullshit that so another Monk does him the favor of whacking him in the head with a fat stick."

Who else saw it?  Thoughts/Comments?

6 QUESTIONS: Ralph Lewis, Peculiar Works Project

Ralph Lewis of Peculiar Works Project is at the helm of the staged reading of Tom Murrin's SON OF COCKSTRONG as part of the Tom Murrin Full Moon Performance Festival. Ralph took a break from putting the show together to answer our 6 Questions. Here are his answers:

1. What did you know about Tom Murrin and his work prior to directing SON OF COCK-STRONG? 
Initially, I saw a few of his solo performance pieces, and now, wish I had seen more. I’m not sure what Peculiar Works show Tom first attended, but he became a big supporter of the Company. And, like everyone else says, his support was always unconditional and totally encouraging. In 2007, we did a staged reading of Cock-Strong at the old Ohio Theater, and he spoke about the play and his work afterward. He was everything that everyone in this community wants to be – just the nicest, most-giving artist. The world is a lil’ less of a good place without him in it.

2. SON OF COCK-STRONG premiered at La MaMa in 1970. What do you think it has to say to audiences today? 
A lot has changed in the downtown theater community since the original Son of Cock-Strong, but the play’s themes of power and love will always prevail. Peculiar Works just had to find a contemporary key to unlock its message. There’s a great old quote that ends with, “…and some people have greatness thrust upon them.” That’s what happens to Arthur Cock-Strong, Jr., and there’s much to be learned about how events and people can push us to places we don’t want to go. Do we control our lives and chart our own course through it, or do the people we meet and what happens along the way determine where we end up?

3. How are you using technology in this reading? 
Technology is still a scary proposition in the theater today – things can always go wrong, and yet the show must go on as they say. We’re using it anyway! Our goal is a “paperless staged reading,” so there will be no scripts, but there will be teleprompters and cue cards like a Saturday Night Live sketch; projections, video, and microphones like the Wooster Group; as well as laptops, palm pads, cell phones, walkie-talkies, and more. If anything goes wrong, it could be wild, but it will be worth the price of admission, and really, I think Tom would appreciate the risk-taking.

4. Who or what inspires you? 
Peculiar Works and I are most inspired by those who have come before us. My partners and I spent 3 years studying the origins of Off-Off Broadway for a previous piece, so I think there is no one who knows more about our forebears than we do. But, we are also inspired by other artistic movements and the artists who made them happen. We’ve researched the hell out of DaDa in the ‘20s, Abstract Expressionists at the Cedar Bar, the Provincetown and Washington Square Players of early Off Broadway, and recently, I’ve even been boning up on the very first theater in Manhattan on Nassau Street and Park Row. Famous artistic movements come together and often explode, but there’s so much to learn from them all – “originality is lack of information.”

5. What is next for Peculiar Works Project? 
On May 9th at 10pm, we’ll be doing 30 minutes of my partner Barry Rowell’s new play, Nobody Brings Anything Small into a Bar in the Dixon Place Lounge, and on May 17th at 2pm, I’ll be giving a book-talk on Before and Behind the Curtain at the Tompkins Sq. Library for LES History Month. It’s a great 1851 book, all about what was going on in the theater at the time when the Broadway theater district went no farther north than Astor Place. There’s more on our website: peculiarworks.org

6. What does working at La MaMa mean to you? 
This is a great time to be working at La MaMa. I mean, we all miss Ellen terribly, and I’m so influenced by the half-century of legendary-ness she built here, but she also did a great job preparing this theater for the future. No one can tell if the transition is difficult for the staff, and that is to their great credit, but Mia Yoo is doing a fabulous job of steering this theater forward. I have no doubt that La MaMa’s best days are ahead. Peculiar Works is incredibly grateful to be part of it and the Tom Murrin Full Moon Festival.


La MaMa presents

Son of Cock-Strong


Peculiar Works Project
part of Tom Murrin Full Moon Performance Festival
Saturday, April 26 at 5pm

The Club @ La MaMa

Buy tickets here

Ralph Lewis leads Peculiar Works troupers on a wild ride to the top in Son of Cock-Strong. This non-sequel sequel (originally directed by La MaMa bad boy John Vaccaro) follows Arthur Cock-Strong Jr.’s rise to power in a ridiculous musical with new compositions by Spencer Katzman.

Featuring: STAN BAKER* • CRISTI CASTRO • MEGAN COOPER • TIM CUSACK* • ROB GAINES • DENIS GAWLEY* • MICK HILGERS* • KING MAN HO • CAITI LATTIMER • JOYCE MILLER • SYLVIA MILO • RACHEL NAAR • KEVIN PERCIVAL • CATHERINE PORTER* • GABRIELE SCHAFER*

Tom Murrin Full Moon Performance Festival: WEEK 2

THE TOM MURRIN 

FULL MOON PERFORMANCE 

FESTIVAL 

continues this week with a full line-up of new shows!

Myth or Meth (or Maybe Moscow?)
Radiohole

April 24–27 
Thursday to Saturday at 7:30pm, Sunday at 2:30pm and 5pm

La MaMa First Floor Theatre

Tickets: $20
Buy tickets here

The performance group Radiohole, one of New York’s most uncompromising experimental ensembles, presents Myth orMeth (or Maybe Moscow?). In a shack somewhere on the steppe of Missouri three sisters drink Coke®, eat hamburgers, fend off the local romantic axe-wielding WWI vet, and carry on the family business selling sweet jam. But the hamburgers aren’t great and they long to return to their childhood home Moscow. Or Port-au-Prince. Or whatever. When their Pa unexpectedly returns from Juárez by way of Sebastopol, hungry and spouting neoliberal ideology, the shit really hits the fan. Myth or Meth (or Maybe Moscow?) features Radiohole’s first-ever all-male (more or less) cast with Radiohole founders Eric Dyer and Scott Halvorsen Gillette along with Jim Findlay, Ilan Bachrach, Jon Okabayashi, Ryan Holsopple, and special guests TBA.

Deviants Arise!
Mike Iveson

Wednesday, April 23 at 10pm

The Club @ La MaMa

Buy tickets here

A reading of Murrin’s 2002 play in which he deals with the excesses of the George W. Bush era by focusing on behind-the-scenes tensions at a televised “perv-tacular, or perv-stravaganza, or perv-ocalypse.” The reading will include some of the performers from the original production as well as some new music made specifically for this revival.

Featuring: Anthony R Brown, Zbigniew Bzymek, John Collins, David Cote, Jim Fletcher, Anne Gridley, Jeffrey M. Jones, Vin Knight, Young Jean Lee, Richard Maxwell, Sarah Michelson, Julie Atlas Muz, Kristina Satter, Scott Shepherd, Susie Sokol and Mike Taylor

Sport-Fuckers

Gary Ray

Thursday, April 24 at 10pm

The Club @ La MaMa

Buy tickets here

Sport-Fuckers looks at the world of suburban swingers and the issues that arise during an intense sex party. First produced in 1999 at Theatre for the New City, Gary Ray is bringing it back as a staged reading with a hilarious cast of actors and special surprise guests that will make you laugh to tears.

Featuring: Penny Arcade * Kimberly Kiki Flynn * Joel Blumsack 'Zeroboy' * Mike Amato Celest Villanueva * Regge Allan Bruce * Michele Carlo *  Walter Novak * Matthew Wells and Gary Ray

Whores and more
Lucy Sexton

April 25–26 
Friday and Saturday at 10pm

The Club @ La MaMa

Buy tickets here

Readings of Murrin’s short and hilarious plays Whores on the Range and Hide the Baloney. Directed by Lucy Sexton.

Featuring: Kate Benson, Karen Finley, Annie Iobst, and Lucy Sexton

Son of Cock-Strong
Peculiar Works Project

Saturday, April 26 at 5pm

The Club @ La MaMa

Buy tickets here

Ralph Lewis leads Peculiar Works troupers on a wild ride to the top in Son of Cock-Strong. This non-sequel sequel (originally directed by La MaMa bad boy John Vaccaro) follows Arthur Cock-Strong Jr.’s rise to power in a ridiculous musical with new compositions by Spencer Katzman.

Featuring: STAN BAKER* • CRISTI CASTRO • MEGAN COOPER • TIM CUSACK* • ROB GAINES • DENIS GAWLEY* • MICK HILGERS* • KING MAN HO • CAITI LATTIMER • JOYCE MILLER • SYLVIA MILO • RACHEL NAAR • KEVIN PERCIVAL • CATHERINE PORTER* • GABRIELE SCHAFER*

Dicks on Parade @ The Club

Readings of stories from Murrin’s 2010 work The Talking Show, the Magical Ridiculous Journey of Alien Comic.

La MaMa Presents

Dicks on Parade


Directed by Lucy Sexton

part of THE TOM MURRIN FULL MOON PERFORMANCE FESTIVAL

With Mike Albo (4/19 only), Jonathan Ames, Steve Buscemi (4/19 only), David Ilku, Jennifer Miller, Nicky Paraiso, and Chris Tanner

Two Performances Only!
Friday April 18 and Saturday April 19, 2014 at 10pm


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


For Tickets and Info: CLICK HERE

6 Questions: Gavin Price

Gavin Price of St. Fortune Productions is directing the revival of Tom Murrin's COCKSTRONG for The Tom Murrin Full Moon Performance Festival.  Gavin took time out (during tech!!) to answer 6 Questions for La MaMa Blogs:

1. What did you know about Tom Murrin prior to directing COCKSTRONG?
I knew that he was a staple of the downtown theater scene. I knew he had influenced the people who have influenced my work as a theater-maker the most. I also had the incredible opportunity to see him perform within a month or two of his passing, at Dixon Place. We happened to perform in the same Little Theater night. Eliza Bent and I performed two monologues by Sibyl Kempson, and he closed the night with a ring of mind-bendingly obtuse props surrounding him. That was my first encounter with his work, and I was immediately awe-struck. Sibyl hinted at who he was, and later, when the producers asked Saint Fortune to do one of his shows, we did a lot of research on his life, work and his place in the world of performance. I found his MTV commercial spots. The man was on MTV when I was being born.

2. How is this production going to differ from the original production? 
We got a TON of information about the original production from Michael Arian, who was in the touring production, and a staple of the Play-House of the Ridiculous. When we would come in to rehearse at La MaMa, Michael was there at the front desk, requiring us to listen to his stories about what the original performances were like. He gave us some tremendous insights that seemed to coagulate so many of the loose ends in the surreal comic script. At first, we were flabbergasted to hear that there was so much music, and we wondered, did they just write songs in between the scenes? Michael sang us a number of songs every night, and we scratched our heads in bewilderment as to the mystery of these songs. A part of the way through the process, we discovered that we didn't have the full version of the script. What we had been working with was an original draft that Tom had given to John Vaccaro, with only the Prologue, Six Tableau, and Epilogue with four songs. We were rehearsing a play with four songs. Then, we discovered the performance version of the script. With... Seventeen songs. We immediately did a reading of the new script, and all of the narrative pieces fell together. The music of the original production, though totally undocumented, was written by John Vaccaro, Ralph Czitron and the Silver Apples. The Silver Apples were a really experimental kind of minimalist synthesizer-based band. Michael indicated that the production which toured in Europe in 1971 was very simple in it's instrumentation and composition, but we all love writing music. We wanted to make it weird and synthesizer-y, but inevitably, since the play charts the course of this concept of the death of heteronormativity, we wanted to really push the musical-theater-ness, and so ended up trying to write a lot of "show stopping" numbers. The instrumentation is still minimal, but the choruses are pretty hefty. In terms of the staging, I think we do the Theatre of the Ridiculous justice, while also keeping our own voice of controlled chaos alive.

3. What have you learned from directing this production? 
I've learned quite a bit about diving into work that is not from within Saint Fortune. We are a group of devisers, performers and writers, and so most of our work comes from within. We usually have the room to play with the text, change it, make it fit to what we find in the room. We had to cater to Tom's voice in this, which was thrilling, but also frustrating in the rehearsal room. People wanted to change stuff, but we had to be pretty diligent about keeping the voice of the page alive and as the source of our inspiration. It was an exciting balancing act, to dive into an outside voice, working as an ensemble like that. There was a ton of push and pull, but we came out with a stronger sense of what our performance voice is, which actually really lines up with Tom's early writing.

4. When did you know you wanted a career in the arts? 
In the Sixth grade, I was playing baseball, football, basketball, and I even wrestled. And was pretty chubby. And the worst athlete on all of those teams. One day after school, I was walking past the cafeteria, I heard a huge clatter, and peeked in. I saw my closest friends running around crazily, and no one was stopping them. In fact, there was a teacher who was goading them to continue, a coach of silliness of sorts. I peeked my head in, And Big George and Little George both ran at me and dragged me into a warm-up circle. It was then that I discovered that there is method to madness. I had found my passion in the arts. Later, in college, I had my mind on diplomacy (but was still doing every single theater production), and was majoring in International Relations. Nevertheless, I failed about a third of my politics courses, missing assignments because of rehearsals, and writing essays citing sources and opinions that would never be seen in a million years in the course syllabi. The teachers didn't like me, and I hated the ideas of so many of the political philosophers we read. I came to the realization, perhaps nudged by a little instance of academic probation, that diplomacy will never be achieved through politics, but through the arts. Once that landed, I knew there was no going back. 

5. Who or what inspires you? 
My parents inspire me probably the most. They are the most positive people I had ever known. We never had cable, so I was forced from early childhood to sit on the floor with a heap of action figures and create narratives out of the air. It was a tremendous developmental force. They come to every piece I do. Also, the Saint Fortune collective inspires me greatly. We may be the most existentially wrought people you've met, but within those crises, a creative energy arises that is unlike anything I've ever known, and when the group gets together to work on something, it's as if the entire Amazon rainforest of noises, wetness and trees being cut down is shot through a canon of laughter and yelling over one another. Finally, I've worked recently a lot with Elevator Repair Service, and their work inspires me to achieve the same level of focused technique, collaboration and expression. Every time I'm in the room working with them, there's a voice in the back of my head that screams "these people are masters."

6. What does working at La MaMa mean to you? 
Our show at La MaMa is our biggest production yet. It is an incredible opportunity. I have to thank Scott Adkins and Erin Courtney for letting us into their home to perform a crazy Saint Fortune piece a few years ago, and seeing the parallel between our work and Tom Murrin's voice. I had no idea he was one of the first La MaMa playwrights. For Saint Fortune, it is a huge stepping stone. We are a young company, still finding our voice, still testing out and coagulating our methods, but this show is an incredible light in the very frustrating and garbled world of New York performance. Personally, I am so proud to represent Tom's work on the stage where he began his career. Stepping into La MaMa is truly a spiritual experience. So many historical figures have passed through, it seems to me like a rite of passage. I will hold my head a little higher knowing that we have now had the opportunity to share the space with people devoted to creating uncompromising art in New York around the world.

La MaMa presents
Tom Murrin's
COCKSTRONG
Directed by Gavin Price

Starring: John Gasper, Natalie Mack, Michael Wiener, David J Goldberg, David French, Jack Frederick, Kristina Tortoriello, Samantha Seerman, and Danny Carroll

April 17 - 19, 2014

Thursday, Friday- 7:30pm,
Saturday- 2:00pm and 7:30pm

Tickets: $20 Adults; $15 Students/Seniors; a limited number of $10 tickets are available, in advance only, as part of La MaMa's 10@$10 ticketing initiative.  10@$10  tickets not available day of show.

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

For tickets and info: CLICK HERE 

Coming Next Week: Radiohole's Myth or Meth (or Maybe Moscow?)

Written by Tom Murrin in 1969 and originally titled Myth (or Maybe Meth), this new version is conceived and channeled by Radiohole in association with Vladimir Putin.

In a shack somewhere on the steppe of Missouri three sisters drink Coke®, eat hamburgers, fend off the local romantic axe-wielding WWI vet, and carry on the family business selling sweet jam. But the hamburgers aren’t great and they long to return to their childhood home Moscow. Or Port-au-Prince. Or whatever. When their Pa unexpectedly returns from Juárez by way of Sebastopol, hungry and spouting neoliberal ideology, the shit really hits the fan.

Myth or Meth (or Maybe Moscow?) features Radiohole’s first-ever all-male (more or less) cast with Radiohole founders Eric Dyer and Scott Halvorsen Gillette along with Jim Findlay, Ilan Bachrach, Jon Okabayashi, Ryan Holsopple, and special guests TBA.

La MaMa presents

Myth or Meth 
(or Maybe Moscow?)

adapted and presented by Radiohole
from Tom Murrin's  Myth (or Maybe Meth)
part of THE TOM MURRIN FULL MOON PERFORMANCE FESTIVAL

April 24 – 27, 2014
Thursday to Saturday at 7:30pm
Sunday at 2:30pm and 5pm

La MaMa First Floor Theatre
74A East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003

Tickets: $20 Adults; $15 Students/Seniors; ten tickets prices at $10 are available for every performance, in advance via web, phone or box office as part of La MaMa's 10@$10 ticketing program designed to make theater affordable to anyone.

For tickets: CLICK HERE

The Full Moon Show by AUNTS

In this homage to the moon goddess Luna Macaroona on the occasion of the 

April Full Pink Moon, AUNTS presents a stellar lineup of performances 

and a touch of mayhem. BYO-lunar receptor. 

Featuring appearances by:
Lumberob
Katy Pyle and Jules Skloot of the Ballez
Brooke O’Harra and Sharon Hayes
Diana Y Greiner and Heidi Dorow
Stan Baker "The Human Television"
Salley May
Antonio Ramos and the Gang Bangers
Matt Romein
Westchester Free Theatre
The Impact Addict
video tributes by Love Everyone Movement and Becca Blackwell
and more!!!!


La MaMa presents
FULL 
MOON 
SHOW 
by AUNTS
part of The Tom Murrin Full Moon Performance Festival

Thursday, April 17 at 10pm

The Club at La MaMa
74A East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003

Tickets: $15 

Get your tickets here: HERE

NY Times Says: AUNTS!

This summary is not available. Please click here to view the post.

Steve Buscemi Talks About Tom Murrin

Paper Magazine published this great piece on Tom Murrin and his friendship with actor Steve Buscemi:

"Tom Murrin was a mentor to a lot of people and inspiration to that whole downtown scene, especially coming from the world that he came from. He had been a lawyer before he became a performance artist, and he left that behind and traveled the world doing his shows with Johanna Went. Later, be brought it to the East Village, doing street performances and taking his show it into clubs all with found objects and scenery that he made. He made everything seem so doable and accessible. As long as it had "style and purpose," that was his definition of performance art." 

Read the full article: HERE

La MaMa Presents
The Tom Murrin 
Full Moon 
Performance Festival

FEATURING: 
Saint Fortune, Radiohole, Peculiar Works Project, Steve Buscemi, Karen Finley,  Jonathan Ames,  Diana Y. Greiner and Heidi Dorow, Annie Iobst, Mike Iveson, David Levine, Lumberob, Salley May, Jennifer Miller, Brooke O'Harra and Sharon Hayes, Nicky Paraiso,   Gary Ray,  Chris Tanner, and others.

April 17 – April 27, 2014

For full Festival Schedule and Tickets: Click Here

Flashback Friday: The Original Cockstrong Review in The Village Voice

In the June 26, 1969 issue of The Village Voice, Michael Smith wrote a rave review of Tom Murrin's COCKSTRONG which premiered at La MaMa.

Smith called it:

"a triumphant paean to potency" 

and 

"the opposite of a nightmare"

You can see the full review: HERE.

Saint Fortune is kicking off The Tom Murrin Full Moon Performance Festival with a rare revival of Tom Murrin's COCKSTRONG which begins performances on April 17th.

La MaMa presents

Tom Murrin's
COCKSTRONG

Directed by Gavin Price

Starring: John Gasper, Natalie Mack, Michael Wiener, David J Goldberg, David French, Jack Frederick, Kristina Tortoriello, Samantha Seerman, and Danny Carroll

April 17 - 19, 2014

Thursday, Friday- 7:30pm,
Saturday- 2:00pm and 7:30pm

Tickets: $20 Adults; $15 Students/Seniors; a limited number of $10 tickets are available, in advance only, as part of La MaMa's 10@$10 ticketing initiative.  10@$10  tickets not available day of show.

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

For tickets and info: CLICK HERE 

Coffeehouse Chronicles #119: Tom Murrin

In conjunction with The Tom Murrin Full Moon Performance Festival, the next edition of Coffeehouse Chronicles (Saturday, April 19th) will be dedicated to examining Tom's work.

Panel:

Sarah Maxfield (moderator)

Jo Andres

Michael Arian

John Gernard

John Jesurun

Patricia Sullivan

and

John Vaccaro

Performances by:

Saint Fortune

Julie Atlas Muz

Ruby Lynn Reiner

Steve Buscemi

James Tigger! Ferguson

La MaMa presents
Coffeehouse 
Chronicles #119: 
Tom Murrin

Coffeehouse Chronicles:
Director Series: Michal Gamily
Educational Outreach: Arthur Adair

Saturday, April 19, 2014 at 4pm 
Free Admission

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

For Reservations and Information: Click Here