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On Wednesday February 20th, the Working Classroom Theatre Ensemble regaled an esteemed audience of legislators, supporters and family in Santa Fe with our ROUNDHOUSE COMEDY REVUE. Senator Jerry Ortiz y Pino provided the opening remarks and also added his cameo performance along with Senators, Jacob Candelaria, Sue Beffort and Representatives Christine Trujillo and Rick Miera. The stars of the show though, were our very own ensemble and guest musician Joe Silva, whose hard work was handsomely paid off by a full house of raucous laughter and applause. We thank you one and all for your participation and support.
El miércoles 20 de Febrero, la compañía de teatro Working Classroom obsequió a un estimado público de legisladores, simpatizantes y familiares en Santa Fe con nuestro ROUNDHOUSE COMEDY REVUE. El senador Jerry Ortiz y Pino proporcionó unas observaciones iniciales y también añadió una actuación con los Diputados Rick Miera, Christine Trujillo y los Senadores Jacob Candelaria, Sue Beffort. De todos modos, las estrellas de la actuación fueron nuestros miembros del conjunto y músico invitado Joe Silva, del cual se pudo ver su gran trabajo a través de estridentes risas y aplausos. Les agradecemos a todos por su participación y apoyo.
Panel discussion titled "Saturday All-Star Comedy Panel" included with Michael Moore, director Michael Schreder, John Lyons of Focus Films, director Sabina Guzzanti, and Larry Charles. Image by Gary L Howe
Third Thursday: LOL MIA
We got silly with local comedians from the Theater of Public Policy.
We took part in live museum label Mad Libs.
We created our own museum comics.
We embarked on a spontaneous “tour” guided by unexpected characters.
We took in the sweet jams of Hot Freaks and Apollo Cobra.
We hung around for in-gallery comedic performances and elevator improv games.
We recorded reactions to goofy prompts in the Funny Face photobooth.
Official Beer: Summit
Music Partner: Local Current from 89.3 The Current
Event partner: Theater of Public Policy
Divine Comedy 2012
'Nancy. Interview' / Claude Bardouil
Photography: Michał Ramus/ www.michalramus.com
Divine Comedy 2010
Tango
Director: Jerzy Jarocki
After the Polish premiere of Tango in 1964, the play was predicted “to be played eternally” in the Polish theatre: played regularly like the bugle call from St Mary’s Tower in Kraków. One of those who assisted in the delivery of the fantastic drama, Jerzy Jarocki, returns to it 55 years later. He supplements the Mrożkian tale of “the family that turns into the society” with a history of the ideological breakdowns of the 20th century and also a discreet settling of accounts with the theatre of the bygone century. In Jarocki, one of the protagonists – Stomil – changes from an eccentric avant-garde artist into a conceptualist director who walked hand-in-hand with Kantor, Swinarski, Grotowski, Szajna, Grzegorzewski, and finally with Jarocki himself.
Artur – the young, conservative rebel – assumes the repulsive form of a member of the phalanx of politicians, pragmatist-technocrats, who believe they have acquired knowledge of the mechanisms of controlling “the uneducated rabble”. It is only chance that decides which of the rightist parties they are going to choose. Jarocki knows only too well that the wisdom of the well-read Tango comes to the floor whenever there is something important in the reality that needs naming. Therefore, the director speaks straight about what violence and power are today, and why ideologists lose. In the final scene, as always in this drama, two males – Eugeniusz and Edek – dance La Cumparsita. It is usually in this scene that the answer to the question what Tango means today is vested. After all, it is one of the most powerful image-metaphors in the history of Polish theatre. It usually has a conservative dancing with a despot, while in Jarocki, two opportunist forces meet, with either dancer pondering how to exploit the other. The cynical mentor has possibly found an ideal disciple, a subcontractor to ano-ther conservative revolution. Jarocki puts forth a hypothesis that of this alliance something will again be born in Poland.
Photography: Grzegorz Ziemiański
Gedurende een periode volgt een groep jonge stand-up comedians workshops o.l.v. verschillende professionals. Ze werken aan hun act die ze de 1e vrijdag van de maand presenteren aan Den Haag. Durf jij ook? Meld je aan en doe mee! Stuur een mail naar info@culturalistheater.nl.
Meer info:
Henry's interpretation of the Comedy Mask.
(see comments for Tragedy)
Scavenge Challenge April 2011 - Low-Key (I think... although it seems really bright... which confused me... but it's definitely a four-footed friend!)
Stop by the boys' blog at bztraining.blogspot.com!
I was telling my Mum about Eddie Izzard's 'Stripped' performance. Alexander evidently thought my impression of Eddie Izzard lighting a torch was *hilarious*.
A nice portrait shot of me, taken by Steph ... don't have very many shots of my face this close-up, so enjoy it, lol
Divine Comedy 2010
Babel
Director: Maja Kleczewska
The monstrous linguistic chaos of Elfriede Jelinek’s work brings to mind the Greek formula of the nekyia, the summoning of all the deceased since the beginning of the world, giving the floor to the innocent victims of war, and listening to the lame accounts of witnesses, and the ceaseless curses of the executioners. Our “so-called humanity gone mad” has built no tower of languages; on the Bydgoszcz stage, Babel assumes the form of a cemetery, a mortuary, the morgue of the Brave New World. In Babel, Kleczewska uses the notion of “post-death”, that is a death unfinished, lasting in every moment, and repeatedly blotting the line that separates it from life. It seems to be oozing out of the actors flayed live of their skins and becoming part of geometrical ice-cold cultural images of death. The play falls into three parts. In the first, we are snowed under scraps of bodies and words, we are within the dying monologues delivered by the protagonists who are already dead. The second is an intensification of the blasphemous Passion, where the laments of mothers over the bodies of dead sons: soldiers, terrorists, lovers... end in a funeral cortege chanting in an Einar Schleef-like choir Jelinek’s poetic insults. In the last scene, the plane turns into a pastiche concert of the so-called “involved, anti-war, anti-civilisation pop music”.
Photography: Tomasz Wiech
Burlington has a "First Night" celebration on New Years Eve. There are lots of entertainment events all over town. This is from the Improv Marathon put on my Kamikaze Comedy. It was 12 hours of improv! Man they were ready to drop!
Hosted by Josh Gondelman, featuring comedians Roy Wood Jr., Emmy Blotnick, Alison Leiby, and Gary Gulman, with a musical performance by singer-songwriter Laura Stevenson.
Leeds Beckett Students Union | Portland Way | Leeds | West Yorkshire | UK
53°48'13" N 1°32'56" W
The Divine Comedy gig at Leeds Beckett Students Union as part of their Office Politics tour.
Lewis Black - a man who is not afraid to say, or yell, or shout, or rant, whatever is on his mind. Lewis' comedy is fueled by genuine outrage at the lunacy of American society. Born and raised in and around Washington, DC., his dad introduced him to theatre and Lewis planned on spending his life as a playwright. In the 80's, he moved to New York, where he wrote and directed for the stage. He often MC'd before his plays and next thing ya know - he's doing stand up. Eventually, he caught the eye of Hollywood producers, made some appearances in movies like "Hannah And Her Sisters" and "Jacob's Ladder", then, in 1997, Lewis got his big break. He scored a segment on the 'Daily Show' called "Back in Black". Those appearances have made Lewis a star. Since then, he's had his very own comedy specials, released a bunch of CD's and even won a Grammy for best comedy album. That was for his work 'The Carnegie Hall Performance". These days, Lewis has his own show "The Root of All Evil".
Check out his interview with George here.
64: 'comedy'
There are words that are inherently funny due to their phonetic sound. Consonant plosives like p, b, t, d, k, and g have been found to be the funniest sounds in
the English language – particularly when found in short words since these create the greatest tension.
Of these k is considered to be the most humourous letter, and words that use its phonetic sound are most likely to gain a laugh especially when naive references to either sex or expletives are made.*
Wordplay using innocent innuendo was popular in the british comedy of the 1950’s and early 1960’s. Origin of ‘Gruntfuttock’: J. Peasemold Gruntfuttock was a character created by Kenneth Williams for the 1950’s comedy sketch show ‘Round the Horne’.*
More photos:
FELICITY MONTAGU as Barbara.
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Divine Comedy 2010
July
Director: Iwan Wyrypajew
Vyrypajev’s work is a monologue of a 63-year-old man who for reasons unknown murders, quarters, and devours his victims. In this production, his part is performed by a frail and beautiful young actress. The confession of the monster becomes something to the like of a musical score, spoken out, suggestively chanted into a microphone. In Wyrypajew’s project, the contrast between the crime and innocence, pathology and charm builds the basic tension. Karolina Gruszka does not play the murderer, nor does she get at the character with any psychological or emotional skeleton key. She remains in counterpoint to the protagonist; she does not try to understand, explain or defend him. Nearly all the time she spends standing in the same place, changes her costume only once, and speaks out the entire text on what nearly seems a single breath. She is the soloist of a theatrical orchestra. A woman who has been possessed by a dybbuk. Something is speaking through her, something is singing through her. Her words are to hurt the spectators, having done no harm to her. The audience believe that what we hear is a prayer from hell.
Photography: Grzegorz Ziemiański