First Look at PEOPLE VS. NATURE

 

All photos by Richard Termine 

Kevin Augustine's PEOPLE VS. NATURE opened on Thursday, November 7th, 2024, in The Ellen Stewart Theatre.  Kevin's show deals with animal rights and the ethics surrounding animal testing.  Members of the audience join as the show as both participants and witnesses.  Kevin's puppetry is visual stimulating and haunting and the message is powerful.

PEOPLE VS. NATURE continues its run through November 17th as part of the 2024 La MaMa Puppet Festival.

CLICK HERE FOR TICKETS

LOVO at the 2024 La MaMa Puppet Festival

 

Production photos by Richard Termine

Spain's Teatro Lafauna brought their puppet-theatre work LOVO to The Downstais at La MaMa for the 2024 La MaMa Puppet Festival from October 25-27, 2024.

With direction by Carlos Cazalilla and performers/puppeteers: Vera González, Esther D'Andrea, and Carlos Cazalilla, LOVO dealt with nature, extinction and love.  The production was beautifully realized at La MaMa.

The 2024 La MaMa Puppet Festival continues through November 17, 2024.  You can see the full line-up HERE.

6 Questions for Charlotte Lily Gaspard of JUMP START

Charlotte Lily Gaspard is the founder and artistic director of Midnight Radio Show, a shadow puppet sci-fi fairytale theater company based in Brooklyn, NY. She designs puppets for theater and film. Her project MIA M.I.A. is an urban fairytale for adults that will be part of Jump Start: A presentation of Works in Progress. There are only 4 performances at La MaMa, so get your tickets now!

1. Do you have a favorite puppet in your performance?

My favorite puppet in my performance is a large scale shadow puppet of a fairy. She has articulated appendages, and I love the way she moves -- even though she is as big as I am. I hand cut all of my silhouette puppets, a long time passion, but it is only recently that I have dedicated more time in my artistic practices to make such large shadow puppets. 

2. What draws you to work with puppets?

I am drawn to use puppets in my work for many reasons. I fell in love with the art of shadow puppetry over ten years ago, from the moment I made my first paper cuts and shone a light on them. “Analogue magic” is a phrase and a goal I am drawn to. For me, puppetry is an intersection of craft and magic. When a puppeteer breathes life into an inanimate object, something incredible happens. The imagination of the audience is activated in a new way; this is the whole reason I became a theatre artist and storyteller in the first place. 

3. What have you learned from creating and performing new work during a pandemic?

Creating and performing during the pandemic has been challenging, and yet very rewarding. Innovation is not always a comfortable or easy journey, but I knew from the start of lockdown that I would need to keep making work. Directing a zoom show is very different from a live stage production, but I am blessed to work with adaptable, deeply talented people in my company, Midnight Radio Show. Although many were in different time zones, calling in for rehearsals and shows from Montana, California, Massachusetts and India, we still put our enchantments out into the world. 

4. What should audiences expect from the performance?

Our offering for the La MaMa Puppet Festival is the first 25 minutes of a new shadow puppet musical for adults, titled Mia M.I.A written and directed by myself. The show has original songs and music by our long-time collaborators Jessie Davis, Malik Work and Doc Frost. A combination of shadow puppets and live action/movement theater, the story is a modern science fiction fairytale that will whisk audiences away into our enchanted galaxy. 

5. Who and what has inspired you?

I am inspired by magical realism on stage (and everywhere), unexpected interactions, and the transformative power of new perspectives. This is partly why I love shadow puppets, and puppets in general. I have a background in costumes, and have always been drawn to visual storytelling. When a papercut is illuminated and projected onto a screen it becomes something new, a character or place, evoking ideas or feeling. 

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

Working at La MaMa is a dream come true! To have the support and feedback of Denise Greber and the whole La Mama team could not have come with better timing. During the pandemic, I was determined to continue making and sharing work, even though I am a theater artist who suddenly found herself  doing zoom shows and making videos. What a learning curve! It was such an isolating time for all of us citizens of Earth, but being in residence at La MaMa gave me a new artistic community. I am very grateful, and constantly inspired. 

La MaMa Presents

Jump Start: A Presentation of Works in Progress

Rebekah Crisanta de Ybarra, Charlotte Lily Gaspard, Tom Lee, Leah Ogawa, Tarish "Jeghetto" Pipkins

October 21 – 24, 2021

The Downstairs
66 East 4th Street, basement level
New York, NY 10003

Oct 21, Thursday at 7pm
Oct 22, Friday at 7pm
Oct 23, Saturday at 7pm
Oct 24, Sunday at 2pm

Ticket Prices
Adults: $25
Students/Seniors: $20

6 Questions for Leah Ogawa of JUMP START

Leah Ogawa is a mixed-race artist, puppeteer, dramatist, self-detective, and model based in New York City. Raised in Yamanashi, Japan, Leah has worked with puppeteers, artists, and companies including The Metropolitan Opera, Phantom Limb, Dan Hurlin, Tom Lee, Nami Yamamoto, Loco 7, and others. Leah is a recipient of the Jim Henson Foundation’s workshop grant for her original piece, Growing Not Dying, which will be as part of Jump Start: A Presentation of Works in Progress. There are only 4 performances at La MaMa, so get your tickets now!

1. Do you have a favorite puppet in your performance?

I love the feet/legs that I've created for this piece! Some might say they are not exactly a "puppet," but the way I can animate and move them is special to me. I love seeing them move gracefully. Please come see the performance live!

2. What draws you to work with puppets?

Puppets and objects can tell stories that no human actor can do. The puppet can convey a different feeling or meaning depending on how a puppeteer animates them. I see so many possibilities, qualities, and surprises in working with puppets; therefore, my work naturally draws puppetry elements to it.    

3. What have you learned from creating and performing new work during a pandemic?

It made me stronger by helping me to realize that I can create my own work. Before the pandemic, I was part of other people's shows as a collaborator and puppeteer.  The pandemic naturally forced me to become more introspective and inspired me to want to share my own story even more. It gave me the space to go for it and really own my craft. 

4. What should audiences expect from the performance?

(No expectations!) I would like the audience to come in with their own story and interpret the visuals as they so desire. I hope the audiences will be surprised by my performance. 

5. Who and what has inspired you?

Everything and everyone is a source of inspiration--nature, people, objects, emotions, etc.. For this piece, and all the shows I create, I am always searching where the vulnerability lies in the story. That emotion, both personal and intimate, inspires me to go deeper into what I truly want to create. 

6. What does working at La MaMa mean to you?
 
La MaMa is the first place I performed as a professional puppeteer. It was for Tom Lee's show, Shank's Mare (It was also for the puppet festival!). La MaMa has always supported me in my career, especially during the pandemic, providing me the space to continue developing my work. I am forever grateful for the love I receive from this community of artists. It's a special place where I can take risks, challenge myself, and keep growing as an artist. It is truly a magical place, and I am appreciative of this opportunity. Thank you Denise and Federico! 

La MaMa Presents

Jump Start: A Presentation of Works in Progress

Rebekah Crisanta de Ybarra, Charlotte Lily Gaspard, Tom Lee, Leah Ogawa, Tarish "Jeghetto" Pipkins

October 21 – 24, 2021

The Downstairs
66 East 4th Street, basement level
New York, NY 10003

Oct 21, Thursday at 7pm
Oct 22, Friday at 7pm
Oct 23, Saturday at 7pm
Oct 24, Sunday at 2pm

Ticket Prices
Adults: $25
Students/Seniors: $20
Multi-Show Puppet Packages Available

6 Questions for Torry Bend of DREAMING

Torry Bend is a set designer, puppet artist, and Associate Professor at Duke University. Dreaming, Torry Bend's most recent collaboration with playwright Howard Craft and director JaMeeka Holloway, will premiere in the Ellen Stewart Theatre on October 14 as part of La MaMa Puppet Series 2021. There are only 4 performances at La MaMa, so get your tickets now!

1. Do you have a favorite puppet in your performance?

I love JOE LEE, he is a table top puppet that has just been transformed from a 2D racist cartoon into his original body. A body that has been unseen for the many years he has been trapped as a cartoon. There is a joy in seeing a body in all of it's human-ness (a round belly, a glint in an eye, a subtle smile) arrive on stage after we have only ever seen the character as a 2D image. 

2. How did you come to collaborate with Howard Craft and JaMeeka Holloway on Dreaming?

I had wanted to do a piece on Little Nemo in Slumberland for many years. When I sat down to do it, I quickly realized that I had to make a choice—confront the racism present in McCay's drawings, or ignore it. To ignore and continue with the project felt like a perpetuation of systemic racism, to walk away from the project all together felt like a missed opportunity, so I leaned into the challenge and made sure I had a team that could tell a story that hadn't been told and was desperately needed. Howard Craft's previous collaborations with graphic novelists and his experience with superheroes made him the perfect writer. I passed the comics on to him and was thrilled with what he brought back. JaMeeka joined the team a little later, offering a directorial ear to the dialogue that could balance my visual storytelling experience. 

3. What inspired you to create a world where comic book characters live side-by-side with real people?

This is Howard's genius! The brilliance of this concept is that it allows us to illustrate the extreme stereotyping and racism that is present in comics (both historical and contemporary) while also reveling in what puppetry does best—play with form, scale, and graphic quality. This is one of my favorite parts about this show. McCay's brilliance as a comic and cartoon artist was his graphic skill and what better way to bring that to a live stage than with puppetry, toy theater and overhead specifically. They are graphic forms that allow us to both celebrate and challenge McCay's work.

4. What do you hope audiences will learn from this performance?

I'm less interested in this being a learning opportunity, and more interested in the audience reflecting on the visual world they have been consuming. Where does it come from? Who's ideas are being upheld as "visionary" and who's are being ignored?

5. What do you hope for the future of puppetry, as well as the future of comics and animation?

I want to see a broadening of "popular" American puppetry to diverse voices and perspectives. It's such a flexible form, imagine how deep the well of inspiration could be if the perspectives on puppetry were as wide as the diversity of this country. 

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

To have my work presented in a space where I have been inspired, challenged, and influenced again and again and again is overwhelmingly humbling. 

La MaMa presents

Dreaming

Story by Howard Craft

Script by JaMeeka Holloway and Torry Bend
Directed and Designed by Torry Bend 
Associate Director: JaMeeka Holloway

October 14 – 17, 2021

Ellen Stewart Theatre
66 East 4th Street, 2nd floor
New York, NY 10003

Oct 14, Thursday at 7pm
Oct 15, Friday at 7pm
Oct 16, Saturday at 7pm
Oct 17, Sunday at 2pm

Ticket Prices
Adults: $25
Students/Seniors: $20
Multi-Show Puppet Packages Available

6 Questions for Kevin Augustine of BODY CONCERT

Kevin Augustine is the founding artistic director of Lone Wolf Tribe, a multi-disciplinary performance company based in Brooklyn, NY. He begins performances of Body Concert in the Ellen Stewart Theatre on October 7 as part of La MaMa Puppet Series 2021. Tickets are selling fast, so get yours now!

1. Do you have a favorite puppet in your performance?

Not really. When I'm puppeteering with each character, they are my sole focus. There are some who were easier to bond with-- the Eyeball took the longest. Initially, I was concerned audiences might not connect emotionally with these puppets because most of them don't have faces. So I worked a lot on the quality of movement and intention of each character to find their heart and personality.

This cast of puppets took the longest to make than any of my previous shows; there was a steep learning curve in working with new materials-- especially in creating the baby's translucent limbs. There are also quite a few mechanical magic trick elements that took me many months to figure out, particularly inside the Baby, the Eyeball and the Arm.

2. What inspired you to write Body Concert?

Disappointment. After making my last two shows on social issues and realizing no one is ever going to fully agree with my point of view, I wanted to make something that was indisputable. Something that didn't elicit a response on how we differ but where we're the same; what we all share. The ideas and performance approach to Body Concert—not having a text (and so no language barriers), focusing on universal aspects—our physical selves, our need for connection, our relationship with death and nature—these didn't come to me fully formed but took slow shape  as I developed the piece over six years.  But the underlying inspiration that carried me through, particularly during the times when it felt like this show would never quite manifest, was wanting to share a life experience on stage, not an ideology. 

3. How do you expand the boundaries of puppetry?

I think this happens through the performance intention I gave to myself: make a solo show that pushes me further physically while puppeteering that I had thought possible before. The early years of attempting this were excruciating; I just didn't have the muscle capacity to use my limbs in the ways that were needed to animate the puppets. And when the puppets felt too heavy to hold—instead of trying to re-engineer them to be lighter, I decided to train harder and get stronger. My process was 2D first—sketch the puppets in relationship with each other and then figure out physically how to bring those pictures to life on stage. I like personal challenges but this was much harder than I had imagined. It was a long lesson in patience and determination. A welcome consequence has been an uptick in my willingness to be comfortable with feeling uncomfortable. 

4. How did you get started in puppetry? 

I still have the sock puppet my grandmother hand-stitched for me when I was a kid. Receiving that gift was the acorn that grew into discovering I too could make my own toys. Many years after that, here I am at the 25th anniversary of having my own theatre company, imagining up stories to tell while performing alongside the puppets I make.  

5. What role does the music play in this performance?

Mark's music is essential. It pretty much covers every second of stage time. It informs my performance and helps lead the audience. There was a lot of collaboration between us to find the right quality of feeling. We had two residencies in Quebec in 2018/19 where we really dug down and honed in on discovering that path together. 

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

Working at La MaMa was always a New York dream of mine. It's the pinnacle of working as a downtown, independent theatre artist. Being back in the Ellen Stewart Theatre after 2016's The God Projekt means a lot. As a lone-wolf-type-artist, my work gives me purpose and is my main focus, so I don't have a big social circle or go out much. Introverted personalities can be challenging to people, so I'm grateful to Denise Greber for invited me back for this festival.  I can't help think of that Van Gogh exhibit that's so popular now. During his lifetime the artist never sold a painting, yet today that digital exhibition is sold out & people can't wait to get tickets. Rich folks pay millions to hang his work on their walls. But when Vincent was alive, how many of those people would have felt comfortable inviting him into their homes or out to dinner? 

La MaMa Presents

Body Concert

By Lone Wolf Tribe

Performed and Created by Kevin Augustine (USA)
Co-production: Les Sages Fous (QC)

October 7 – 10, 2021

Ellen Stewart Theatre
66 East 4th Street, 2nd floor
New York, NY 10003

Oct 7, Thursday at 8:30pm
Oct 8, Friday at 7pm
Oct 9, Saturday at 8:30pm
Oct 10, Sunday at 4pm

Ticket Prices
Adults: $25
Students/Seniors: $20
Multi-Show Puppet Packages Available

6 Questions for Shoshana Bass of WHEN I PUT ON YOUR GLOVE

Shoshana Bass is co-artistic director and ensemble performer with Sandglass Theater (Putney, VT), which begins performances of When I Put On Your Glove in the Downstairs Theatre on October 7 as part of La MaMa Puppet Series 2021. There are only 4 performances at La MaMa, so get your tickets now! Follow @sandglasstheater on Instagram and Facebook.

1. Do you have a favorite puppet in your performance?

Most of the puppets I perform in this piece were built by my father over 40 years ago. I grew up with them and have seen them perform in my father's hands for most of my life. I love them all dearly and each of their stories speak to different spiritual journeys in my own life. I remember not touching them when I was young, except sometimes carefully handing them in their silk packing bags to my father while he set up. It was a meaningful experience to receive these puppets and their stories and the most significant for me was Zedyl the shoemaker. It took me months to be able to perform him as he deals with the ultimate question of mortality. My own "Little Puppet" is my contribution to the puppet ensemble. She represents my own creative and rebellious spirit and is modeled after a simple rope and masking tape prototype I made when training with my parents in their summer intensive. In this way, she also embodies the apprentice and a not yet fully molded being. 

2. How is When I Put On Your Glove inspired by your childhood and family?

This piece arose from a moment in time where looking back and integrating past and present was really important for my own healing. Though it is specific to my story of growing up in a touring family of puppeteers and theater directors, I have also found that there are vital questions and experiences that are relatable for many different kinds of lives. The space for my father to offer me his vignettes began when I took a bad fall and was dealing with overwhelming experiences of betrayal and loss. The process was-- is-- an important part of my healing and really came down to love, and how, in the moments when something bad happens to us, we have to dig deep for the creativity to transform our narrative. In working with my director, Gerard Stropnicky, we began family story circles around the kitchen table about all the tours these puppets were part of. The piece lives within this family history, and also the larger process of artistic legacy and transition. 

3. What do you mean by “puppets are containers of memory”?

I speak about puppets as containers of memory because we were interested in a horizontal approach to narrative: capturing a moment in time is about creating space for a multitude of perspectives, memories, and associations to exist simultaneously in an uncompetitive truth. In my opinion, this is one of the most amazing things about a puppet. They are empty vessels into which we can freely project without fear of harming, appropriating or overloading it. When an audience breathes with the puppet, they are breathing with everything that puppet might evoke for them and they are physically investing in that puppet's life by imbuing it with their own capacity to imagine and animate. There is room for everyone's memory to hold a valid space. So in spending our time with the spiritual questions posed by the puppet, we are invited into spending time with our own associations and memories. 

4. What does legacy mean in the field of puppetry?

In my personal experience, legacy doesn't only mean inheriting my parents' theater, some of their creative work, and a technique. It also encompasses a lifetime of relationships with other puppetry and theater artists around the world, hosting, being hosted, learning about cultures through their artistic ambassadors, and celebrating an art form which, at its core, is about practicing compassion. We have been in a process of transition at Sandglass as the artistic leadership of the organization passes from my parents to me. Two vital aspects of this legacy work include honoring the roots of this great tree and making sure there is space for new branches, eco-systems and dreams to grow. I feel so fortunate that this delicate transition is guided by love, as letting go, making room, including, and letting something transform can be challenging. Legacy is not only looking back, it is also looking forward and investing in new voices and systems that promote justice and equity.  

5. What do you hope for the future of puppetry?

The future of puppetry is dependent on puppeteers, emerging and seasoned, having access to basic needs, venues, audiences, funding and supportive systems and communities. Right now, I imagine the strength of this support is in the relationships we build between artists, presenters, funders, other sectors, diverse communities of audiences, social justice organizations, etc, so that the network can emerge from a difficult time with an ever-stronger and more sustainable cultural fabric that is responsive and resilient. 

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

This will be my second time performing at La MaMa. Last time, my sister and I were able to present a show that was created by our mother in the La MaMa Kids puppetry series. Now I am thrilled to be returning with an adult piece celebrating some of my father's work. I am so happy that La MaMa has embraced puppetry as part of their programming, and has created an access point for folks to meet, support and celebrate this art form together. 

La MaMa presents

When I Put On Your Glove

By Sandglass Theater
Performed and Created by Shoshana Bass (USA)

Creator of the original Autumn Portraits, Eric Bass

October 7 – 10, 2021

The Downstairs
66 East 4th Street, basement level
New York, NY 10003

Oct 7, Thursday at 7pm
Oct 8, Friday at 8:30pm
Oct 9, Saturday at 7pm
Oct 10, Sunday at 2pm

Ticket Prices
Adults: $25
Students/Seniors: $20
Multi-Show Puppet Packages Available

6 Questions: Randolph Curtis Rand

Obie-winner Randolph Curtis Rand is bringing Phantasmagoria; or, Let Us Seek Death! to The Ellen Stewart Theatre in October.  Randolph took time out of rehearsals to answer our 6 Questions about Frankenstein, puppets and who inspires him.

1. What was the original inspiration for Phantasmagoria; or, Let Us Seek Death!?
I first read FRANKENSTEIN as a teen, and have to say, that i did not get it. Probably, I was expecting something closer to the movies. Flash forward many years, and I inadvertently picked up a copy of the 1818 edition. STILL don’t know as I got it, but now I knew that that was the point; it's a truly strange book, and I wondered just what Mary wanted to say with it. So, asking that question, and the only way of doing that (for me) is to get it up on it’s feet, putting action to description. Also, it struck me that there was a lot of philosophy in the book. She paints a very well drawn, cosmopolitan world, from Geneva, to The Orkney Islands, to the Arctic! Poets, scientists, college students, sea captains, Italian noblemen, and Muslims! I think she paints the world she knew, from her travels, the people that were friends with her, Shelley, her father, and the books she read. And I began thinking about what the zeitgeist was like then; she sets the book in “17- “, so the late 18th century- romanticism, the American, and French revolutions, Thomas Paine, the Rights of Man, etc. I wanted to tell the story, like a jewel in the setting of the time.

2. What should audiences expect from the show?
Well, NOT the movies!! I hope they’ll see something like what it must have been like for this teenage girl to be among these brilliant iconoclasts, AND her coming into her own as an artist.

3. How did you decide to incorporate the use of puppets into this piece?
I can’t really say why, but from the very first stirrings of this piece, I knew that the creature had to be a puppet. Not an actor, per se, but something inanimate, that we animated. Perhaps that’s it- a theatrical metaphor.

4. Who has inspired you? 
Hard. There are so many. I think I’m mostly inspired by other arts. Cunningham, Trisha Brown, Mary Overlie, Lucinda Childs, Laura Dean, Francis Bacon, and Marc Rothko, John Cage, and always, always, Charles Ives!

5. What film/play/art exhibit/dance work have seen recently that made an impact on you?
So many things! I’m always fascinated when someone, or some group, seem to creating new language with their work; Elevator Repair Service’s production of Sybil Kempson’s play, at New York Theatre Workshop; a couple of years ago watching Witness Relocation do Chuck Mee’s ETERNIDAY (at La Mama); a lot of reading is inspiring me; John Cage’s SILENCE, also Barbara Dilley’s memoir/auto-biography/work book, THIS VERY MOMENT, also George Mac Donalds’ classic of fantasy, LILITH.

6. What does working at La MaMa mean to you?
Oh, it’s home! This is my 7th show here. I got my Union Card here, won my OBIE here, toured Austria, Greece, and Romania from here. A lot of the faces are different now, but it will always be coming home.

- - - - -

La MaMa presents
Phantasmagoria; 
or, Let Us Seek Death!
Conceived and Directed By Randolph Curtis Rand
Written by Chana Porter
Puppetry by Benjamin Stuber
An Eric Borlaug Production

October 20 - November 06, 2016
Thursday to Saturday at 7PM; Sunday at 4PM

Tickets: $30 Adults; $25 Students/Seniors; ten tickets priced at $10 each are available for every performance as part of La MaMa 10@$10 ticketing initiative.

For Tickets and Info: CLICK HERE

6 Questions: Edward Einhorn

Writer and director Edward Einhorn is the Artistic Director of Untitled Theater Company No. 61 and co-author and co-director of The God Projekt, which returns to La MaMa this month.  Edward took time out from rehearsals to answer our 6 Questions! 

1. How did The God Projekt come about?
Kevin approached me to help him transform some concepts from his earlier show, Bride, into a new piece. I was fascinated about its themes about the origin of monotheism, an interest of mine as well. I come from a Jewish background and reworking the bible through story, in or order to examine and critique it, feels to me like a very Jewish pursuit. I like that our different backgrounds, his being Catholic, brought very different perspectives to the story--and some similar ones. We progressed from a small scene at Dixon Place, to a large one at the Henson Carriage House, to a production in the 2013 La MaMa Puppet Series, to a reworking at an NACL residency last year, to this final version of the piece we are about to present. Each time I feel its development has led to new revelations and a deepening of the characters. I am very excited to have an audience see our current version.

2. What should audiences expect from the piece?
I hope the first thing they can expect is to experience a gripping theater piece that engages them emotionally and intellectually. It is a visceral piece, both tragic and funny at times, with powerful visuals provided by Kevin's puppets and by our talented group of designers. This is a story about God, and in our story God is failing. Seeing a great figure fall apart, no matter what his faults, is always a heart wrenching affair.

3. What have you learned from working on The God Projekt?
I have long has a love of puppetry, using it in many of my Untitled Theater Company No. 61 productions, but it has been a wonderful opportunity to work with puppetry on a different scale. What I most enjoy about working with Kevin's puppets is the depth of expression they are capable of, especially Adam. It has also been a learning experience to participate in this sort of collaboration, it's exciting to see what happens as a co-writer and co-director and how our two styles blend.

4. Who has inspired you?
When I was seven years old, my brother started reading me Ionesco (he was nine years older and reading it in class). We progressed to Beckett, and as an adult I had the extraordinary opportunity to work with Havel. I feel like everything I write comes from those old absurdist impulses to tell tragedy through comedy. My techniques may be different (and here I am inspired by directors like Breuer or LePage), but the object is essentially the same.

5. What was the last good book you read?
I am currently reading We, an century old Russian dystopian novel by Yvgeny Zamyatin. It's slow going, in the midst of production, but tow-thirds through and intrigued by the world he created.

6. What does working at La MaMa mean to you?
The first show I saw at La MaMa was Andrei Serban's The Trojan Women, playing in the Ellen Stewart Theater well before it was called that, because of course Ellen was still living. It was one of the most exciting pieces of theater I had ever seen. I had heard of La MaMa before and knew its place in history, but when I saw that show, I knew I wanted to be part of the tradition. To be playing in that same theater is a great honor.

La MaMa in association with 
Untitled Theater Company No. 61 presents

THE GOD PROJEKT

By Lone Wolf Tribe
Conceived by Kevin Augustine
Co-written and Co-directed by Kevin Augustine and Edward Einhorn

September 30 - October 16, 2016
Thursday - Saturday at 7pm; Sunday at 4pm 
- additional performance on Monday Oct. 3 at 7pm

Tickets: $30 Adults/$25 Students/Seniors; ten tickets priced at $10 each are available for every performance as part of La MaMa's 10@$10 ticketing initiative

For Tickets and Info: CLICK HERE