Adaptive Arts Theater Productions

Our Board, session four: Meet Christian Toth

2011-03-05T07:17:00.001-08:00

And now, our co-founder, Christian Toth chats a bit...

1) How do you identify yourself as an artist (primarily an actor, playwright, etc)?
I'm an actor with an interest in the writing and directing processes.

2) How did you get started in theater?

Sketches with friends at science fiction conventions in the 1980s.

3) Who do you consider your theatrical/artistic influences?

Actors like Spencer Tracy and Cary Grant on the one hand, the RSC crowd on the other hand, and socially aware artists such as (but not limited to) Alasdair Gray, Howard Barker, and Augusto Boal on the third hand, which provides a minimum of three hands in answer to the question.

4) When you were little, what did you want to be “when you grew up”?
Powerful.

5) What kind of theater/art inspires you?

The kind that makes you think about class and history without being sanctimonious, simplistic, or bourgeois. (Tall order.)

6) What drew you to Adaptive Arts?

Its mission and its potential to fulfill it.

7) What do new things do you want to explore while working with Adaptive?

Increased outreach to autistic communities.

8) What kind of work do you do outside of the company?

I work at an advertising agency that specializes in book publishers. I also record audio versions of textbooks. I'm the treasurer of a nonprofit and a part-time amateur actor.

9) If you had to work on one play for the rest of your life, what would it be?

Hamlet never gets boring

10) What’s your most embarrassing theater moment?

Once forgetting to yell "Help" as "Matt" in the climax of "We'll Just Dance" in "The Fantasticks."

11) What ‘s your most surprising theater moment?

Each.

13) Tell us about a “first” you experienced while working on a show.

A "first-and-only" was the time I played "Azdak" from "Caucasian Chalk Circle": it took place in a bar with a stage and patrons kept bringing me new pints of beer whenever I called for one. This direct interaction with the audience led to a real talk about the issues of the play that was close to what I imagine Brecht envisioned: fun, intellectual, and social.

Our board, session three: meet Callen Willis

2011-03-05T07:11:00.000-08:00

And now, we present our lovely secretary, Callen Willis:

1) How do you identify yourself as an artist (primarily an actor, playwright, etc)? Or do you explore different aspects of theater?

At this point in my life, I don't identify myself as one specific type of artist; I absolutely love writing (I recently had my first poem published!) as well as singing and acting. Acting was definitely my main artistic endeavor for a while, but I enjoy going wherever my creativity takes me. :)

2) How did you get started in theater?

My mom put in me in an acting class as an extracurricular activity when I was about 6 or 7; we did a workshop of "The Wizard of Oz" and the entire class of 6 and 7 year olds was invited to audition for ToTo in a main stage equity production after the class ended. I didnt get the part, but the acting bug stuck with me.

3) Who do you consider your theatrical/artistic influences?

As far as writing goes, I love ionesco, albee, euginides, faulkner, everything.... Acting-wise, Annette Bening (or is it spelled with two n's?) is one of my favorites. Movie-Directing-Wise, I really like Darren Aronofsky.

4) When you were little, what did you want to be “when you grew up”?

A marine biologist. Because I wanted to play with dolphins. Or a geologist. I thought plate tectonics were really cool (i still do).

5) What kind of theater/art inspires you?

Bold theater. People who take risks.

6) What drew you to Adaptive Arts?

I recently went back to school for do my pre-requisites for Med School. It is a very challenging thing to go back to school after having initially graduated two years ago as well asbeing forced to take classes that may not be your 'strong point.' IE Calculus!! Bleh!! After a semester of being seriously busy, I began to go through serious theater withdrawal; Adaptive Arts allows me to not only be involved in theater in some capacity, but it also allows me to help a community; I don't know if there is anything better.

7) What do new things do you want to explore while working with Adaptive?

I want to get the word out there about Adaptive; I want Adaptive to become something that is well recognized and well known for the good things it does. It's scary to know that there will be challenging obstacles as far as fundraising; but I am sure we will be able to raise a good amount of money if we put forth an amazing effort.

8) What kind of work do you do outside of the company?

I am back in School! I am in the Post-Baccalaureate Pre-Medical Program at Columbia University for those of us who have college degrees that are pretty much totally unrelated to medicine.

9) If you had to work on one play for the rest of your life, what would it be?

Frankie and Johnny in the Claire de Lune or True West.

10) What’s your most embarrassing theater moment?
I totally forgot the lyrics to a song during a high school musical and just made something up after singing "lala" for a couple words.

11) What ‘s your most surprising theater moment?

The first time I completely embodied a character was a very surprising moment; when you get in that zone and after the scene is over you aren't really sure where you are, or what just happened.

12) Tell us about a “first” you experienced while working on a show
We did Anne Frank in 8th grade the stage microphones weren't picking up; you couldn't hear anything. We had to basically yell, and since most of us 14 year olds werent trained to use our diaphragms properly, it was a bit of a disaster. Then the microphones finally popped back on in the middle of the second act, but no one noticed until after about 5 minutes, during which everyone was still yelling, so it came across as very amplified loud obnoxious yelling about the Holocaust... it was a mess.

13) What projects do you have upcoming?

FINALS!! I recently had a poem published, it's in an anthology on Barnes and Noble.com.

Our board, session one: meet Collin McConnell

2011-03-05T07:07:00.000-08:00

Here is a look into the mind of our Educational Associate, Collin McConnell

1) How do you identify yourself as an artist (primarily an actor, playwright, etc)? Or do you explore different aspects of theater?

I am primarily an actor, but have great interest in all aspects of theatre. I love the educational side of it and how theatre in of itself is (or at least can be) educational in many different ways - I like finding ways to explore that through discussion, such as creating forums for artists and audience to discuss the work in a safe environment. I also love writing and want to try writing for the theatre, as well as perhaps directing. I guess I just love the medium.

2) How did you get started in theater?

I was interested in acting at a very young age, and fortunately had very supportive parents. My love grew in stages though, starting in high school when I discovered there existed a relationship between artist, audience, and the art, which drove me to have a stronger passion for live theatre than film (the idea that we were all in the same room together accepting this reality was an experience I was amazed we continued to celebrate in a world that further distances itself from personal interaction). College theatre only then strengthened this love and curiosity, and I was fortunately in a program that was also curious as to how I might explore that relationship, and opened many doors for me.

3) Who do you consider your theatrical/artistic influences?

My immediate reaction would be Antonin Artaud, though he came into my theatrical life much later in the game (about halfway through college). His incredible ideas and intense (and incessant) passion drives me to believe in the magic of theatre and how it can help transform us all as individuals.

4) When you were little, what did you want to be “when you grew up”?

Funny, when I was three I started thinking about what I wanted to be when I grew up, and came up with all sorts of ideas - which confused me; I wanted to have a solid answer then and there. I also realized I wanted to be absolutely everything, all at once. So when I realized there were such things as actors - people who have the opportunity to experience all sorts of occupations and places in life - I immediately wanted to be that. Which, of course, never changed, and I still love that aspect of being an actor. I guess I'm greedy.

5) _____ inspires me
The ever-changing nature of the universe. Love. Despair. Hope. Fear. Everything, really. It is all valuable, and I am inconstant awe that we can even exist the way we do.

6) What drew you to Adaptive Arts?

Marielle and the thick-roped lasso that I've yet to be freed from. Kidding. Since embarking on my first journey with the company, I've been amazed and drawn by its ambition to do something different yet so absolutely, completely necessary in this world. Plenty of theatre companies try really hard to be different. Few work towards a more tangible means with which to touch, change, help our society.

7) What new things do you want to explore while working with Adaptive?
I am always curious as to what different styles of theatre can reach different audiences. And with such a uniquely specific audience that we reach out to, I wonder what forms of experimentation could be helpful to them emerging themselves in the story. We've done masks and signs and direct address and music (all in one production!), but what else might there be? As a lover of Artaud, I can't help but think, what with the strong reaction to masks and direct address, that there be more direct ways to warmly welcome our audience into the story - all depending on the story we are telling. Types of music, dance, actor/audience orientation or juxtaposition, the way characters speak and move in accordance with one another... the list goes on. So, to answer the question: I want to experiment in different ways of visually and tangibly telling our stories to our specific audience. Or: new things are the new things I want to explore with Adaptive Arts.

8) What kind of work do you do outside of the company? (this is similar to other questions, so if you have nothing new to add, feel free to ignore)
-Outside of Adaptive, I'm an actor, doing mostly classical theatre. I am a musician (singer/songwriter, and drummer), looking to maybe do more with this ability of mine. I am greatly interested in Education (which is what landed me as the Education Associate with Adaptive) - this is broad, and I'm in the mix of figuring out what that means to me. I love music. I love movies. I love food (and love discovering new delicious places to eat in this amazing city - specifically Italian and Seafood). I love E. E. Cummings, Kurt Vonnegut, and Haruki Murakami. I love language, and I love discovering new (or, really, archaic) words and phrases.

9) If you had to work on one play for the rest of your life, what would it be?
Yikes. That's tough - most of the contemporary works I love are rather dark and upsetting, and working on one of them for the rest of my life might leave me miserably depressed and horribly lonely. I need time away from those plays. Can I say the canon of Shakespeare's work? That'd keep me pretty busy, happy, and mostly sane.

10) What’s your most embarrassing theater moment?
Being awoken backstage by the actor I was supposed to currently be in the middle of a scene with. Then attempting to make any sense of the scene whatsoever in front of a paying audience.

11) What ‘s your most surprising theater moment?
Sophomore year of high school, doing Les Miserables. I was playing Enjolras and one night during the run found myself all the way downstage with a solitary spotlight on me as I began 'Do You Hear The People Sing?' For the first time in my life, as a character on stage, I looked honestly out into the audience and saw their faces - again, as my character, a leader of a revolution. It hit me really hard then at the footlights that I was sharing in the story with the people out there - that they were listening, willingly listening to everything I had to say. And what I had to say (or sing, rather) was incredibly important. It's why I still do theatre.

12) Tell us about a “first” you experienced while working on a show.
Those last two were definitely firsts for me. And most shows I do have at least one stand out first in them, I think (I try to keep myself on my toes). So, some other notable firsts would be: successfully opening a show with my own theatre company started by myself and two other very good friends (Full Circle - Nonsense Productions); wearing a dress (Baby with the Bathwater - Nonsense Productions), and to take that a step further, appearing in corset, frilly panties, garter-belt, fishnet stockings, 4-inch heels, and lipstick (The Rocky Horror Show - CSUSB); full nudity (Red Light Winter - Brooklyn College); kissing a boy (Shakespeare's R&J - Brooklyn College); and learning the leading role of a new full length play (with fight choreography and all) in four days (The Magic of Mrs. Crowling - Horse Trade Productions).

13) What's upcoming for you?

In February of 2011, I'll be working with the Adirondack Shakespeare Company for the first time, playing Lucius in Titus Andronicus and Ferdinand in The Tempest. I have also recently been invited upstate to the Adirondack mountains with them this coming July to play Demetrius in Midsummer Night's Dream and Lorenzo in The Merchant of Venice, as well as perform in a currently unknown/unwritten children's production.

Our Board, session two: meet Gabby Sherba

2011-03-05T07:04:00.000-08:00

Here's a little look into the mind of our Associate Artistic Director, miss Gabby Sherba

1) How do you identify yourself as an artist (primarily an actor, playwright, etc)? I am somebody who gives life to ideas in a variety of ways. As an emotional vessel and as a musical vessel and as a piece of the universal spirit.

2) How did you get started in theater? Oh…. there was a children’s theater in my community that I joined after overcoming a great deal of intimidation at the age of nine. My first play there was an original piece called “Mill Girls” (which is now published). Once I saw past the empty idea of simply being a ham, I became really excited to share the playwright’s truths with an audience.

3) Who do you consider your theatrical/artistic influences? Nature, Gustav Klimt, Dali, and Picasso.

4) When you were little, what did you want to be “when you grew up”? I wanted to be an invisible oboe player. I loved the sound of its voice but I wanted the performance to have nothing to do with my identity.

5) When did that dream go awry? My mother pushed me into a really vain place with music that I had no interest in. So I strayed from that world for a bit. It was similar with acting, when it felt like it was just kids being hams I didn’t want to do it. When I realized I could just go onstage and express somebody’s words, that changed it for me.

6) _____ inspires me. Oh boy. Breathing. All things with a back and forth motion, anything that gives and takes and exchanges energy.

7) What drew you to Adaptive Arts? Unlike Collin I won’t talk about any lassoes. What drew me to adaptive arts? The passion that they demonstrated for an unheard and un-accommodated for population. Something that is really important for me is empowering the silent. The nature of our productions is fascinating to me in that it’s designed to connect directly with this isolated community but also to present an awareness to traditional theater communities.

8) What do new things do you want to explore while working with Adaptive? I want to explore how to incorporate the nurturing aspects of my life as child care provide into my mission within the company as an educator.

9) What kind of work do you do outside of the company? I compose and perform music and I give my energy to characters in film and theater productions here and in New England.

10) If you had to work on one play for the rest of your life, what would it be? Would it be The Winter’s Tale? No it would be Five Flights by Adam Bock. Or the play that is made up of all my dreams that I have at night….it’s fantastic.

11) What’s your most embarrassing theater moment? I don’t think I have ever really been embarrassed. I’ve made mistakes. I guess my most evident mistake onstage was when I was playing Feste in Twelth Night and I lost track of where we were in the scene and I was switching back and forth between accents (which I was supposed to be doing for the show) and I just decided to start half of the scene over in the accent that I hadn’t done the scene in yet after exclaiming, “Oh man!”

12) What ‘s your most surprising theater moment? When I delivered my line correctly after not being able to say it in my head before going onstage while performing in School for Wives.

13) What's upcoming for you? I have some concerts with my bands. AND a little play called Alice Sit by the Fire by J.M Barrie with Adaptive in March. And some mystery projects…

C's Diary: The Residency - Day One

2011-02-10T11:17:00.000-08:00

I was hit, grabbed, caressed, yelled at, and hugged. None of which was meant in any way malicious – hit because of excitement, grabbed for help, caressed because I had a bird on my shirt, yelled at so as to hear a question, and hugged to simply say hello. All amidst my first lesson in my first outing as a teaching artist. Sometimes I wonder if I should think a bit more before I say yes to certain opportunities.

Autism is an affliction I am terribly, and embarrassingly, unfamiliar. As the Educational Associate for Adaptive Arts – a theatre company devoted to creating accessible theatre for individuals afflicted with said disorder – one would imagine I’d have a bit more knowledge of the subject. And it’s not to say I don’t. Miss M (I’ll refrain from name-dropping here in these entries – we’re all equals in my diary) has given me a great deal of intellectual information regarding Autism and how it affects individuals. Though, of course, even that’s sometimes difficult to swallow because it's on a spectrum, meaning that many people are affected in many different ways. So, from the outsider’s point of view, it’s kind of a grab-bag disorder. Which makes walking into a classroom of autistic students for the first time to teach them theatre an awakening experience, to say the least.

I could not have been prepared, in any way, for what I would experience walking into that classroom for the first time. I just had to dive in, and though I knew that intellectually and had been telling myself that for the few weeks leading up, feeling it was all together very different.

The first thing I noticed was how intensely unique everyone in the room was. I thought of when I was a student, and how, when walking into a class for the first time, it was very difficult to judge what sorts of characters were there in the room. Gradually, over time, people will reveal themselves. Here, my first day in this class, within seconds I had a very clear image of what I was up against (which was the unfortunate phrasing I had in my mind at the time. It is always so much easier to be negative - I suppose it takes a leap of faith to choose to be positive). Of course, as I discovered, I couldn’t predict what they were capable of – we are all, after all, individuals, and our external selves rarely allow an honest glimpse of the person deep inside. Either way, I did become excited by this prospect – it is my philosophy that as an educator one needs to work with their students as individuals and not preach something more generic so the mass can take what it will. We all learn differently, and that was absolutely about to be the case here.

I was right, and wrong. Thankfully. I might like being wrong just as much as I like being right – if not more so, for from discovering we’re wrong, we learn (so long as we're willing to know we're wrong). I was afraid I was not going to get through to these kids at all, nor be able to figure out how I might over the next month of the residency. Those kids showed me. By the end of the first class, we returned to a game we started the morning off with – we asked them to make a motion expressing how they felt while saying their name. As the first activity, this proved very difficult, decisions had to be made, and we were scary new people asking them to show themselves to us. But finishing off the day, they were eager and excited to share (despite some having difficulties bridging the gap between wanting to and doing).

Where I was right was in that everyone did indeed need to be treated on an individual basis. I could not coax miss L into an engaging game of Knee to Knee with high-energy enthusiasm as I could mr. N. So walking around the room during the games was thrilling to find ways into these students very individual worlds, how to engage them and get them able to perform the tasks we set them to. Do I need to play the game with them, resulting in my need of their help? Do I demonstrate? Do I simply encourage? Do I come up with a similar activity, finding a new way for them to get their hands dirty with the material? There are a million ways to play, and that, essentially, is what we are here to do. Play.

My heart was sincerely touched at the end of the second session. I had worked a bit with one student on several games, mr. N, and was afraid he was too overwhelmed and stressed by us (me) pushing him to engage. I was having a hard time reading him (as I was most everyone else). When it came his turn in the circle at the end to express himself, he turned to his iPad (he was our only non-verbal student for the day) and typed out this little message:

“this was awesome.”

I can’t wait to see these kids again next week.

Professional Development Day

2011-01-24T16:01:00.000-08:00

So, yesterday, Adaptive Arts had our first Professional Development/training day and we are still reeling over the massive amount of courage and creativity our participants brought. So much so that a full update will have to wait. BUT, we wanted to post our plans for the day. As we made our way through the training lessons got adjusted, exercises got added, some got cut, we (because it's hard to avoid this pun) adapted the lessons as we went along. However, we thought it might be interesting to post what we wanted to focus on going into the day, what we intended to teach.

so here goes:

Session one: Ensemble building/Welcome (11:00- 11:30am)

- Introductory games and hellos
o “Cross the room”
 Description: Participants will form two lines. Facilitator will provide side coaching in the form of introductory questions. If the question applies to the student, they will cross the room, switching lines.
 Rationale: This will give participants an opportunity to learn a little about their peers. They will be able to quickly notice similarities and differences among the group and bond in new ways.

o “move v. action”
 Description: Participants will form one large circle in the space. The facilitator will model this first and then the participants will follow in a clockwise motion along the circle. The facilitator will describe an action (ex. “I am climbing a rope”) and perform an action that does not correlate (ex. performing a jumping jack). The student next to them will then have to describe the action their neighbor actually performed while performing a different, new action (ex. they will say “I am doing a jumping jack” while miming that they are sweeping the floor).
 Rationale: This is a game that tests the participants’ level of attention. They will be forced to attend to and listen to their peers. This also builds on the
 participants level of false belief (or theory of mind) which is a skill lacking in those individuals on the spectrum.

Session two: Information on population (11:30am-12:15pm)

- Using brain-blasts, we will acknowledge deficits in knowledge on autism and explore basic terminology within the community
o Description: Around the room will be posters asking questions about autism. Participants will be asked to walk about the room and respond to the questions. We will then briefly go over the participants’ answers to the questions and the correct answers from the field.
o Rationale: This will build a core knowledge within the group on autism and inspire them to learn more, leading to our next activity.

- “two men in a boat”
 Description: Participants will walk about the room. Facilitator will yell out “two men in a boat” and when he/she does, participants must find a partner for their boat. Sometimes this game is played where the participants must hug their boat buddies, but as this population is sometimes uncomfortable with physical contact, participants will be given the option of simply standing next to their buddy. After they find a partner, they will be told to return to walking. Facilitator will then yell out another number of people in a boat and they must find the corresponding number of boat buddies. After a few rounds, they will be told “five people in a boat.” These five people will become their group for the next session.
 Rationale: As a transition tool into the next activity, this will get the participants moving around the space and mingling with new people. This will also help randomize the groups for the next session.

- Using living newspaper practices we will learn a bit about autism and the arts
o Description: In four small groups, participants will be assigned to one of four articles. They will then be asked to quickly read them and discuss how to dramatize them. They will then be sharing short improved scenes for the other groups incorporating three facts from their article.
 Articles include: “Make School Make Sense for Me,” “My Son is not a Monster,” “A Case for Teaching Functional Skills,” and “Autism Worksheet.”
o Rationale: This will be an interactive way to share some knowledge between groups. It will also be an introduction for our artists to a new type of theater technique.

Lunch Break (12:15-12:45pm)

- When we return from lunch, each participant will be asked to find an index card around the room. They will each have one of four colors on it. The colors they chose will decide their groups for the next exercise.

Session three: focusing on our senses (12:45- 1:15pm, each group will have 10 minutes for each activation)
- Because this is a sensory driven population, we will play games that invoke/use our senses.
o Group 1: Touch/sound/sight: Boal Obstacle Game
 Description: One student will volunteer to be the pilot, one as the airplane, and the other three will serve as obstacles. The airplane will be blindfolded and put on one side of the room. The obstacles will place themselves between the airplane and the pilot. The pilot’s job will be to safely lead the airplane around the obstacles and to him/her using only his/her voice. The airplane will have to trust the pilot and rely on his/her senses besides sight. After this is completed, participants will switch roles.
 Rationale: This will let the participants begin to focus on their senses and the importance they play in everyday jobs like successfully crossing the room.

o Group 2: Puppets: Make your own from newspaper!
 Description: Participants will be given sections of newspaper and asked to create their own puppets. They can do this in groups or individually.
• Materials needed: newspaper, tape
 Rationale: This will give participants a look into the many everyday objects that can be used in low budget, quick ways to inspire participants to activate their imaginations using puppets.

o Group 3: Masks/emotions
 Description: Using images from magazines as masks, we will explore their emotive power. Participants will be asked to choose the mask they are drawn too and move about the space interacting with other masked participants. Once they feel comfortable with the masks, they will be asked to exhibit specific emotions using their bodies.
 Rationale: Participants can begin to explore how taking on a different characters/emotions affects their body and movements.

Session four: Introducing Alice (1:15- 2:15pm)
- Using the knowledge we’ve developed so far, participants will be split into small groups. Each small group will read through a short scene from the play we are producing (Alice sit by the Fire) and brainstorm things within it that might be “points of entry” for participants; this can be as basic as something like “what is a costume?” to something a bit more in depth like character or theme
- Groups will then have an opportunity to “test out these ideas” or activate them, acting as participants for each other.

Session five: Regroup and reflect (2:15pm)

- Large group discussion of experience of the day
- I will also pass out basic response sheets/surveys for participants to fill out regarding the experience.

Casting Announced for our Fundraiser this sunday!

2010-10-17T08:01:00.000-07:00

This sunday, we will be showcasing four new plays in an effort to raise awareness of autism and raise some money for disability and the arts charities (specifically, Touching Humanity Inc).

While the plays have been chosen quite a while ago, wejust finalized casting all four plays and are so happy with the artists assembled.

The night will feature readings of:

"X-ray Vision at the motel 9" by Ian August, directed by Marielle Duke and featuring Eric Bland and Alex Engquist

"Rain" by Garry Williams, directed by August Schulenburg and featuring Ken Glickfel, Alisha Spielmann, Jane Taylor and Isaiah Tanenbaum

"Prodigal Father" by Isaac Rathbone, directed by Dev Bondarin and featruing John Greenleaf and John Gardner

"Walk into the Sea" by Elaine Romero, directed by Jerry Ruiz and featuring Sandra Delgado and Teddy Canez

"Teasers and Pleasers" the first installment of our "Autism Initiative" series, will be taking place in Penthouse 1 of Shetler Studios (244 w54th st) at 7:30 pm on 10/24/10. Tickets will be 18 dollars and can be reserved by emailing RSVPadaptive@gmail.com or by calling 845 667 0757

We hope to see you there!

culture, passion, and science- a look into the mind of Elaine Romero

2010-10-14T09:50:00.000-07:00

Meet playwright Elaine Romero, whose piece WALK IN TO THE SEA is being featured in our upcoming fundraiser (directed by Jerry Ruiz)

1)It appears that culture and heritage play a really important part in a lot of your plays. How does your own culture influence your writing and characters?

I just write what's in my gut and sometimes the plays dance with, or around, cultural themes. I do enjoy including Latino characters. I see them in my head. It's my community. I noticed early on that if I did not specify Latino characters that Latino characters were not cast when I wrote, "can be played by actors of any race." Just never. I found that discouraging. I realized I had to carve out a place in some of my work. Indeed, the culture influences how I see space and time. There's a sense that there is a very thin veil between this world and the next.

2)You seem to be in a different state each time I speak with you, is there a place that you consider your artistic home? Similarly, do you have a favorite place to write?

I currently live in Chicago, so that is my new artistic home. I have used Arizona as a home base for a long time, and I'll always return there to write. I have a long term relationship with a regional theatre there that has always served as a home for me. Super cozy there. They still love me and I still love them. My reality is that I have multiple artistic homes, companies I return to, again and again, who produce my work. I have homes in Denver, Dallas, Florida, and New York. They are all my homes.

3)Your characters have a way of making us believe and completely buy into their passions and ideas about life. Did a lot of research go into creating these characters for you? Specifically Karl and his theories on Viruses.

I did tons of research. Karl's theory is, actually, the theory of a good friend of mine. Over a ten year period, I was intrigued by how he applied his theory to social issues, politics, and himself. I became interested in the idea of a scientist who applied his theory to his personal life and it failed. I'm interested in our various identities and who we are if they fail us. I'm interested in Karl because he takes comfort in science. He does not know who he is without it. I'm interested in blind passion. I'm interested in obsession. It's something I deeply understand. I understand singular focus and blurring out the rest of the world. WALK INTO THE SEA is a product of that understanding.

4)What made you decide to apply for this festival? Do you have any personal connections to Autism that you would feel comfortable sharing?

I wanted to have WALK INTO THE SEA included in an event that was specifically about Autism. Frankly, I wanted to see the response to my play from those even closer to Autism. My best friend is a special ed teacher. I talked to her a lot while I was writing the play. She specializes in Autism. We talk a lot on the phone. I learned a lot about it from her. Other friends have kids who have Autism. It's been a path of learning. It continues to draw me in. As a writer, I love people. All people. As a writer, I want to understand them. Perhaps, writing a play is an attempt to crack a nut, solve a mystery.

5) What was the moment that made you decide to be a playwright?

I'm pretty certain that it started before I became conscious of it. I used to read plays aloud to myself as a kid. I always loved playing all the parts. As a writer, I found myself wanting to embody each voice in its entirety without interpretation. I found the craft to be pure. When I wrote my first plays, I was uncertain of the form, but I found myself fighting for each play. Really fighting for it in a way that I had not fought for my other writing. I found myself with the will to write and rewrite. The will to hear my work with other artists. I fell for the collaborative aspect of the theatre. I fell for hearing my work aloud in a room and feeling the response. It's been an ongoing journey of falling in love.

6)What is your favorite piece you have written? Or Favorite experience with a piece?

I've had magical experiences with my plays. Literally, ideas that have come out of the ethers. When I wrote BEFORE DEATH COMES FOR THE ARCHBISHOP, I had the experience of having the name of Willa Cather's novel come to mind. It was completely out of the blue. When I read the book, I realized I needed to do a Latina revisionist version of that time period from the point of view of a priest she lambasted in the novel. Within minutes of discovering his true identity, I ended up with an invitation to stay in his home with his descendants. That entire experience was magical for me. In many ways, it's that play I find myself returning to as a favorite. I wanted to capture that moment in time when the U.S. took over northern Mexico, but I wanted to find a personal vehicle to tell it. I found that vehicle in Padre Martinez.

7)If you were trapped on a deserted island with only one play to read, what would it be? Feel free to cast it as well (we can kidnap some actors onto this island)!

It would lend itself to A TEMPEST. I'd cast it with members of my cerebral ensemble because they'd keep me writing.

talking fish, motels, and brotherly love or meet Ian August!

2010-10-14T09:47:00.000-07:00

A look at playwright Ian August whose play "X-ray Vision at the Motel 9" is being featured in our upcoming fundraiser. X-Ray is being directed by Marielle Duke and features Alex Engquist and Eric Bland.

And now, lets get to know Ian...

1)Within your play, there’s a big theme of being replaced; what it means to be replaced and how we can be. Was this something you thought about at the inception of the project?

I think the idea of "replacement" is inherent in any piece about siblings or sibling rivalry. I know even with siblings of different gender that there is a certain amount of one-upsmanship that goes on between the two. Hank, the older of the two brothers in the play, and the character with autism, understands that idea with a genuine clarity that even Joe, the younger sibling, does not.

2) In the original version of the script, one of your characters was mentally disabled after an accident, how do you feel that the switch from a new disorder to life-long disorder (Autism), affects your characters and their relationship?

One of the things I love about this piece is that Joe, the younger brother, has a seemingly endless patience when it comes to Hank, the character with the disorder. I think changing Hank's affliction to a life-long disorder like autism creates a deeper history between them--a history that speaks of their relationship for years before the story takes place.

3) What made you decide to apply for this festival? Do you have any personal connections to Autism that you would feel comfortable sharing?

A younger cousin of mine suffers from a similar disorder to autism; his condition greatly affects his memory and his social skills. But he is one of the most hard working and persistant young men I know. He is now, at age 21, attending college and living on his own. It's pretty awesome.

4) What was the moment that made you decide to be a playwright?

Oh--that's a tough one. I was a professional actor for several years, toured the country and did some regional productions--but I was becoming dissatisfied with much of the work I was doing. The parts, the scripts, the experiences weren't as gratifying or as fulfilling as they had once been. So eventually, I just stopped complaining and started writing. And thankfully, people have been responding very well to my work. I feel extremely lucky.

5) If you were trapped on a deserted island with only one play to read, what would it be? Feel free to cast it as well (we can kidnap some actors onto this island)!

It would probably be something by John Guare or Peter Schaffer--I love the storytelling devices Shaffer uses in plays like Amadeus or Equus--but Guare is a master of merging form and content. That's not to say that either of the them are the authors of my favorite play--that's reserved for Stoppard's espionage / physics play Hapgood--but if I were stuck on a desert island, I could read House of Blue Leaves or Amadeus forever.

6) Whats up next for you? Any news or projects you want to share with the blog universe?

I just had a production of a new play called Donna Orbits the Moon premiere in Salt Lake City, but I'm eager to have it produced here on the East Coast. I'll also be workshopping a play with the Passage Theater in Trenton, NJ next year--It's a Irish ghost story that takes place in Northern Ireland in the early 80's--called For Mother's Song. And I'm writing a novel tentatively titled "And With Gills." It's a contemporary fairy tale about the residents of a fictional town in Ohio who are all searching for happiness, and turn to the guidance of an enormous, repulsive, one-eyed talking pike. It should be fairly bizarre.

"How far did you fall?" an introduction to RAIN playwright Garry Williams

2010-10-08T08:47:00.000-07:00

Meet our second playwright, Garry Williams whose play RAIN will be featured in our upcoming "Teasers and Pleasers" night of new works.

1) What made you decide to apply for this festival? Do you have any personal connections to Autism that you would feel comfortable sharing?

A playwright friend, Rich Orloff, told me about the festival and it touched me that a company would devote an evening of plays to autism. I have a first cousin with heart damage and profound mental retardation, and I always admired my aunt and uncle and cousins for making sure that she was loved and included and always knew that she belonged.

2)The character with Autism in your play, Tyler, is nonverbal throughout the play. That’s a really challenging (and yet utterly rewarding) character trait for an actor just walking into the role. What made you decide to go this route?

Much of what goes into my plays is subconscious, I think. Maybe even accidental. I didn't know as I was writing RAIN that Tyler was going to end up being a Christ symbol - an all-loving but completely uncommunicative being. The decision to make him nonverbal wasn't meant to set that up. I was simply moved by the idea of Tyler being an unspeaking - but unconditionally loving - presence in the family and on the stage. The fact that Staff eventually uses him as a Christ symbol was a very happy surprise to me.

3) In your play, there is an amazing juxtaposition set up between Tyler, who has had a disorder for all of his life, and Staff, who recently became handicapped. Did you do a lot of research going into the play on the ways in which people cope with disabilities or the backgrounds of those disabilities at all?

I didn't do a lot of specific research into loss or disability before sitting down to write. This play really came more out of emotion than intellect. My mantra is always "How would that feel?" How would it feel for a man of the outdoors to lose his legs, his independence? For that matter, how would it feel to fall off a barn roof? After the opening night of the first production of the show (at the Alliance Rep in Burbank), a man came up to me and asked, "How far did you fall?" He had fallen forty feet and said that I described the experience and thought processes so clearly that he assumed I had fallen too.

4) Many times in Off Off Broadway theater I feel like we see plays about New Yorkers or situations we face in a big city. However, your characters live in a far away land known as the Midwest. How do you feel the location of your plays effect your characters and their sensibilities?

There is something stark about the part of Indiana that we live in. It looks stark and it feels stark. The summers are too hot, the winters are too cold, and there's very little of what most people would think of as beauty. It's flat and featureless and pretty much wall-to-wall corn and soybeans with a few trees and houses in between. But you learn to see the beauty if you live here. You learn to bundle up when it's cold as hell and run a hose over your head when it's hot as hell. And you go on. Those are the things that forged people like Staff and Mary - living on a part of the planet that humans couldn't live on if they hadn't tamed fire and learned to use tools. It's a no-nonsense environment and it produces no-nonsense people.
Another thing that makes Staff and Mary who they are, I think, is the fact that they farm. Farming is an act of both faith and stubbornness. They plant fields that are too big to water, so if it doesn't rain, they don't have a crop. But they'll do it again the next year, and the next. We live on a farm (though we don't farm ourselves), so I know the feeling of looking out across hundreds of acres of corn that is stunted and withered by heat and drought. And there's nothing you can do. Nothing at all. That's Staff and Mary's life. They chose it and they'll survive it. They're tough people.

5) What was the moment that made you decide to be a playwright?

My wife actually says that writing RAIN was pivotal for me. She read it, looked at me and said, "Well, you're a playwright." As far as a moment that made me want to BE a playwright, I can't really put my finger on one. I remember being young - 10 or 12 maybe - and watching a movie that touched me. I don't even remember what the movie was, but I thought it was a thing of beauty. And I remember thinking that I wanted to be in on creating something of beauty someday.

6) What is your favorite piece you have written? Or Favorite experience with a piece?

RAIN may very well by my favorite piece, along with an unproduced TV pilot called "Tijuana, Ohio." And I would have to say that my favorite moment was the very first production of RAIN at the Alliance. It was beautifully directed, perfectly cast, and brilliantly acted. They found every beat of the play. It was remarkable.

7) If you were trapped on a deserted island with only one play to read, what would it be? Feel free to cast it as well (we can kidnap some actors onto this island)!

Wow. I'm not sure I could settle on one. Maybe DEATH OF A SALESMAN. Or WHO'S AFRAID OF VIRGINIA WOOLF? Or STREAMERS. And the original Broadway cast of any of those shows would be welcome on my island!

8) What's up next for you after this? Any news to share with the bloggy world?

I have a script with the BBC called LORILEI. It's the true story of the mother of a murdered little boy who didn't want her son's killer executed. In the age of comic book movies, it's not an easy film to get made. And I'm hoping that one of the cable channels will take a chance on "Tijuana, Ohio," a series about a small town facing big city problems. It's about flyover country and what's happening here.

Meet our artists: Isaac Rathbone

2010-10-04T11:27:00.000-07:00

As our new works program is fast approaching, we wanted to give all of you out there in bloggy land a chance to meet all the awesome artists who are donating their creative talent (not to mention time, energy, passion) to this project.

so, over the next two weeks will be posting interviews with playwrights, actors, and directors.

First up, playwright Isaac Rathbone. On October 24th, we will be presenting a reading of his new play, Prodigal Father, being directed by Dev Bondarin. You may remember him from our last fundraiser where he wrote "Hold the Bus", which was directed by Marielle Duke and featured Stephen Alan Wilson and David Nelson. If you can't wait until October 24th to see more of Ike's work, you're in luck! A reading of another new play of his is being featured in Oracle Theater Company's upcoming Truth be Told Series and you can find more info on that here: http://http://www.facebook.com/event.php?eid=118227288234105

and now, the interview:

So, your play Prodigal Father was actually written specifically for our “Autism Initiative” project. What made you want to take part?

It was a very challenging topic to write about a there was a strict deadline. Both of those things are good things for me. They were good motivators to jump right in and write.

Do you have any background or experience dealing with Autism Spectrum Disorder?

I don’t, which was another reason I was interested in tackling this project. I have, admittedly, have limited exposure to it. Its why there’s no character on stage with Autism. I wouldn’t know how to write that character yet.

Now in Prodigal Father, they family believes that the grandson’s Autism comes from Ben’s exposure to Agent Orange during the Vietnam War. With the constantly increasing number of reported cases of Autism, there are loads of theories (from genetic to environmental) on what actually causes Autism. Why did you choose this as the cause?

I am currently writing a piece on Vietnam and in my research for that I discovered this trend [of linking Autism cases to Agent Orange]. I wanted to tackle that idea while writing this other piece. I am not sure the validity of the theory itself, but it seemed to speak to me.

So what’s up next for you? You mentioned another piece you are working on…

I was commissioned to write a script for Hofstra University based on their campus in the period during the Vietnam War. It will be based mostly on oral histories I am gathering from alumni, activists, professors, and veterans. All of the text will be based on these histories and archived documents. It’s not all completely verbatim though, we are taking some creative license. The story is so big that we need to add focus in order to better serve it.

You tend to write a lot of historical plays, what about that is appealing to you?

That’s actually a relatively new thing for me. But, I really enjoy working on them. The research alone makes the experience well worth it and the play becomes a bonus.

For both this piece with us and your last, Hold the Bus, you focused on some less than savory characters. Was that a conscious focus?

I like the darker sides of characters a big more. I find it more interesting to write about.

Now not only do you write plays, you also work with a company that puts a heavy focus on new
work , Oracle Theater Company. Why new plays?

I think it’s important to provide an outlet for new work. There is something about that process that is so exciting for us. We just want to be involved in that somehow.

Alright, tough question time, what is your favorite play of all time?

Oh, The Dumbwaiter. If I had to be alone on a deserted island with a cast and a script that would be it!

Dream cast?

Michael Caine and…..Ewan McGregor.

Ok, what about a favorite play that you’ve wrote?

There’s Always A Band. Philip Emeott, David Nelson, Jason Little and I went to Cape Cod last winter to develop it. It’s a story about two soldiers stuck in the middle of nowhere with no one but each other. It has yet to be done in New York though, outside of a ten minute version.

Speaking of New York, what’s the strangest thing that has ever happened to you on a New York
subway?

I once saw the three Hanson brothers on the subway. Each one had an age appropriate girlfriend too. So I rode the subway with them for a bit. It was pretty awesome. They were totally lost too and all asking each other where they were going.

ever wondered how you could help?

2010-09-03T13:21:00.000-07:00

In America today, 1 in 91 people are diagnosed with Autism. Chances are, you know someone with the disorder. If not, you probably know someone with a family member/partner/friend living with Autism.

And alot of times, people want to help,but they don't quite know what to do or say.
This article takes a really interesting look at simple ways you can help out a family with Autism. Some are stronger than others, but wanted to repost none the less (For me personally, I would stress 2 the most.)

1.) Let's start with the easiest: On the way to your weekly or daily trip to the grocery store, ask if there is anything you can pick up for their family.

2.) Learn the facts about autism, but don't give advice.

3.) Take the sibling of the child who has special needs out for a special treat.

4. ) Give the parents or single parent a night out.

5.) Okay, you're not good with kids. But you're organized, and like to help others be the same. Offer to help with housework or organize their office.

6.) Bring over a cooked meal.

7.) Ask your high school child to volunteer their time weekly to play with the child who has autism.

Here's the full artictle which expands upon each of these: http://www.autismsupportnetwork.com/news/seven-easy-ways-help-family-diagnosed-autism-90233234#ixzz0yV4rm51M

science helping art, what a crazy mixed up world!

2010-09-03T09:47:00.001-07:00

So we talk alot about "adapting" pieces, heck its even in our title, but why?

What is different about the brain of someone with Autism?

to put it simply- the way we use our senses

to put it less simply- read the following article (http://autism.about.com/b/2010/08/20/solid-research-on-sensory-dysfunction-in-autism.htm)

A recent study concluded that "The finding -- based on recordings of electrical activity in the brain -- is concrete evidence that children with autism spectrum disorders process information differently than typical children"

and now that we begin to learn the different ways we process things differently, we can update the ways that we adapt our theater productions to help them!

see, science and art do go together sometimes!

"work mode" and diagnosis

2010-09-03T09:23:00.000-07:00

New ways to diagnose: http://www.latimes.com/health/boostershots/la-heb-autism-20100902,0,2418054.story?track=rss

It had become the joke around my group of friends that when I talk about Autism, I jump into “work mode.” My posture gets a bit better; I speak with a bit more confidence and while it’s visible to them, but it’s subconscious to me.

Yesterday on the subway ride to school, a colleague and I were sitting down when a very loud family entered the train with their small child. While the parents and the other couple were basically screaming their conversation to each other, the child sat silently. The child occasionally reached out for either parent, but when he did, he didn’t make eye contact with them. A few stops in, he began to get fussy and the mother realized she didn’t have anything to give him. I asked if he liked reading books and gave him the small notebook I had in my purse to play with. As we watched him investigate the floral pattern and turn the pages, the mother began speaking with me. The child was struggling a bit to keep a good grasp on the notebook and while she spoke, I occasionally reached down to return it to him from the subway floor. She was worried, she said, because the school was not working at all on his motor skills and she could tell he was behind. Her two older children didn’t have issues like this.

When he began hitting her leg again for attention, she added another caveat- he wasn’t talking. He wasn’t that old, he was just about to turn three, but both her other children began speaking much earlier. She was getting nervous. He could recognize some pictures, but no words. Immediately, I told her to research PEC’s symbols, which are a picture language which reinforces words. I asked if she had spoken with her doctor and began to explain that if she was concerned about his motor skills developing, perhaps she could seek out an occupational therapist (saying that her school district should cover it if they agree he needs it). Her doctor had apparently told her that nothing can be diagnosed until he is five years old. She asked if this was true and I told her no. I told her to please, please seek a second opinion. Her doctor is a much older man and she is beginning to fear he is not keeping updated on new technologies.

She was confused. She was worried. She didn’t know where to turn. I suggested she get her son screened for Autism. If nothing else, to rule it out. I gave her the name of a few groups that work with children her son’s age in Philly (luckily, a dear friend is a therapist with this population out there) and wrote down again the types of therapies out there and the tools that might help him. As we parted ways, I said goodbye to her and her child and wished them luck.

And now I wonder what will happen to them. Thankfully, I think she is a parent that will fight for her child. She has already taken the biggest step, she is acknowledging that her son might be different and searching for answers.

When I came across this article this morning, I couldn’t help but think about her family again. Autism is being detected, if not diagnosed earlier and earlier. I am constantly amazed by how quickly science can progress and how fervently they are searching for an accurate diagnostic test (even in the 9 years since my godson was born). We are getting closer and closer to being able to easily identify the disorder, but in the meantime, I think being informed in the most important thing one can do.

Ultimately, you know your own child. You are their own best advocate.

New ways to diagnose: http://www.latimes.com/health/boostershots/la-heb-autism-20100902,0,2418054.story?track=rss

communication and relationships: is this a bad title for a dating guide or a post on Autism? You decide.

2010-05-26T18:00:00.000-07:00

ever been at a dinner/party/social gathering and realize you have absolutely NOTHING to add to the conversation you have somehow walked into?

You feel trapped, you feel silly... perhaps you reach for a drink, perhaps you try to tiptoe away without being noticed or perhaps you just run to the fire escape (yes, i live in a city)

ever wonder what it would be like if you had no langauge abilities at all? How does that effect your social development as you grow.

here's an interesting look at just that http://www.npr.org/templates/story/story.php?storyId=5503688&ps=rs

people with Autism not only have " problems understanding an action like reaching for a peanut," he says, "but also a metaphor like reaching for the stars."

How does language play a role in our everyday social interactions? it might be an interesting excercise to spend tomorrow taking everything people say to you literally and devoid of emotional context. how much harder it would be to communicate! How much more effort would need to be exerted and how frustrating it might become!

Detials, Social Skills, And Einstein

2010-05-25T08:36:00.000-07:00

I know, I know, we owe you updates. But this past month has been busy with exciting new things for adaptive arts. Before i get to all that, I wanted to share an article I came across that shares insight into the autistic mind.

I was particularly struck by this quote, “The autistic person’s world is a world of detail. In fact, scientific research shows the normal mind tends to drop out detail, and that can be very, very disastrous..."

For some reason, all i could think of were how many game shows are based on the "normal" minds ability or inability to retain facts? (see, i took a totally important thought and brought it down to modern reality TV. I have failed you all)

read the whole article here though: http://www.herald-mail.com/?cmd=displaystory&story_id=245950&format=html&autoreload=true

What is the goal of this production?

2010-04-12T07:58:00.001-07:00

This morning, I got into a long discussion with an Artistic Director here in New York over the goal of this production, who want we to come, and how we are marketing it.

The simplest answer is that just like any show, we want anyone and everyone to come!

However, unlike most theater productions we actually mean EVERYONE. We are trying to reach across the traditional theater audience and begun to pull in audience members with disabilities who are often excluded from being able to see theater (because of, mainly in this case, behavioral issues).

Our goal is integrate traditional and non-traditional audiences.

The hope of this show is to create a "safe" theater experience for individuals with Autism. This will be the first non-childrens show adapted for Autistic individuals in the country and we have been hard at work to not only create a cohesive and honest production of this piece, but to also make it accesible for this audience. But we dont feel that any added elements (symbols, smaller audience size, removal of certain design elements) will take anything away from the traditional theater goers experience.

We are focusing on the words in the piece, we are acting(directing,desiging) it with honesty, and we are working fueled by passion. This is how all pieces should be treated.

Our end goal is that our efforts will inspire awareness of Autism (and the challenges it presents to typical outings), discussion about who theater should be for (and whether is should be exclusive at all) in our audience, and perhaps lead other theater artists to think about how they can make their own work more "friendly" to other audiences.

Less than two weeks

2010-04-12T07:43:00.000-07:00

until Good Woman of Setzuan opens...which is all at once wonderful, terrifying, and exciting.

In under 4 months, we have started a company, launched 6 new plays, and are now putting up a full length production involving original composition and live singing.

We have begun to introduce the theater community in new york to the needs of a new community, but now we need your help!

Come support our production!

Where: The First Floor Studio of the 14th st Y
When: April 23rd at 7pm, April 24th at 7pm, and April 25th at 3pm.
Who:
director:Marielle Duke
Featuring: Michael Mraz, Michael Alan Read, Will Schmincke , Collin McConnell, Ugo Anyanwu,Christian Toth, Emily King Brown, Kristin Ciccone, Kate Kertez, Gabby Sherba, Adria Baratta , Shelley Little, Leigh Poulos, and Jerielle Morwitz

How do i reserve tickets?

Well, just email us at rsvpadaptive@gmail.com or give us a call (845) 667 0757.

We hope to see you there!

where can the gods find more good people?

2010-03-23T18:57:00.002-07:00

apparently, the grocery store..

http://www.nytimes.com/2010/03/23/science/23tier.html?scp=1&sq=Moral%20Lesson,%20Down%20Aisle%209%20&st=cse

opening night

2010-03-23T18:57:00.001-07:00

is one month from today! ah! :)

Brunch with Brecht: episode 1

2010-03-16T08:35:00.001-07:00

Meet our first Adaptive Arts member: Ali Goldaper, Puppet Designer extraordinaire!

M: Hi Ali! So, what drew you to this crazy adventure?
A: The crazy director! I've worked with you in the past and really enjoyed myself. This sounded like a great project and I jump at any opportunity to make puppets.

M: Now unlike last time we collaborated, no one is dead or famous or famous people pretending to be dead people. What have you liked about this show so far?
A: I loved building the puppets. They sort of built themselves. It was a process of what works and what doesnt and how do i make them look basic or easy when they really werent.

M: Now a little birdie told me you named all the puppets, how did that come about and which one is your favorite?
A: They all name themselves a little too, does that sound too hippy? Jack (boy) was the first one i made and my brother and i both looked at him and decided at once that his name was Jack. It just went on from there. I'm the most happy with Grandfather, but i am proud of all of them. Its my first time doing this type [bunraku] puppets and there's only one real place to find instructions on this and its by part. It was a lot of trial and error.

M: So do you have separation anxiety from them now that they are living with us during rehearsals? It sounds like they've become sort of like your kids in a way....
A: That's pretty much true. You know me too well.
M: I'm like that with props I handcraft too, no judgement!
A: The process involved me scooping into their heads and scooping out the clay inside. it felt a little like brain surgery and that was weird.But, i know they have a good home. I'll be ok...

M: Do you have a favorite moment of the play or favorite line?
A: I love the epilogue. I really love it. I feel the same way about it that i do about Puck's in Midsummer, the direct address to the audience. The plea for acceptance or favor. I also love the God scenes. Its funny. These all powerful beings are just as clueless perhaps as the people they are controlling. The gods don't really have control, but people still accept that they do.

M: Scariest thing about this for you besides the brain surgery of course?
A: This is the first real time that I've build puppets. Im hoping they hold up in a way i want them to. Im not sure what adjustments will have to be made as we go. I know you will make some and I will make some and we've talked about some. Its a process.

M: What's next for you?
A: I'm actually props designing Fiddler on the Roof at the John W Engeman Theater in Northport. The show runs April 29th-June 20th.

M: Wow. thats close! Yay overcommitting! We all share that disease!
A: Yay!

And on that note, she fled back to the LIRR train station to go back to work in Northport.

The puppets waved goodbye.

mixed community

2010-03-16T06:58:00.000-07:00

Well bloggy world,

Adaptive Arts can say with smiling faces that we made it through our first fundraiser! Now we can breathe (and blog) again.

we were so overjoyed to see the outpouring of support from the indie theater community as well as the educational community in new york.

It makes one wonder why these two groups don't mix more. If we get theater into the schools in some form, any form, not only are we helping to create the next generation of theater practitioners, but theater audiences. If we get educators, principals, administration to the theater, they can see its relevance and influence. If we get students to to the theater we can get them inspired.

we are all about the intermingling of communities. for our productions it happens to be individuals with disabilities and your "average" theatergoer, but just think of the possibilities! A big question in the indie theater world is how to bring in new audiences and we think the educational community in new york might be a great start...

Fundraiser!

2010-02-10T07:34:00.000-08:00

Recently, Adaptive Arts gave playwrights across the theater community a challenge: address the main theme of Good Woman of Setzuan, is goodness possible in an unjust world?

This will be a night featuring aliens, bees, waxing salons, satan, murder, video games and tea parties and might even make you rethink your own morality!

Playwrights: Christian Toth, Corey Ann Haydu, Isaac Rathbone, Janet Zarecor, Kat Funkhouser and Michael Bradley.

Direcotrs: Christopher Thomasson,Christian Toth, Marielle Duke, Philip Emeott, August Schulenburg and Michael Criscuolo.

This fundraiser will be an exciting night of theater and a chance to suport the new work of some talented playwrights and a company with a unique, new mission.

The event will taken place in Penthouse 1 at Shetler Studios on Saturday, March 6th at 8pm. There will be refreshments there as well :)

Tickets will be $15 dollars and you can reserve tickets for the event by emailing RSVPadaptive@gmail.com or by calling (845) 667 0757.

A portion of ticket sales will be donated to Autism Speaks, the "nation's largest autism science and advocacy organization, dedicated to funding research into the causes, prevention, treatments and a cure for autism; increasing awareness of autism spectrum disorders; and advocating for the needs of individuals with autism and their families."

Children's Shows versus Shows for Children

2010-02-02T08:02:00.000-08:00

A question that seems to be recurring when discussing our upcoming production is whether or not Good Woman of Setzuan is an appropriate show to present to an audience filled partly with children.

I, personally, have always believed it to be appropriate thematically. At its heart, it is a play that asks “how do we achieve goodness?” It questions if we can be successful human beings and at the same time remain good people. This query is nothing new. It is a question that has been passed down to the ages and, often, is found within many children’s stories and fables. In fact, this is one of Brecht's two self-proclaimed Parable Plays (the other being The Caucasian Chalk Circle)

As parents, teachers, and leaders in the community, we preach morality. We try to teach children early on to respect each other and themselves, to grow into law abiding citizens. When they are young, much of this learning comes from the people they are exposed to and the literature they read. The texts most often presented and referenced are fairy tales and religious doctrine, predominantly the Bible (within the Judeo-Christian religion).

So I suppose the question becomes does The Good Woman of Setzuan present to these children anything more “risqué” or “adult” than they have already been exposed to?

In Good Woman, our protagonist, our lead, happens to be a prostitute. Shen Te is poor in a poor society and prostitution (perhaps the oldest career choice) becomes her only option, an option she wishes to move beyond if given opportunity. However, her career is just one facet of her being. She is the only person in the city willing to give shelter to the Gods and thus, is deemed the first “good person” they come across. Even with the little she has, she gives to others, leading to her financial ruin. Each morning she gives rice to the poor, she provides shelter to those in need, she loves unconditionally, and even is willing to give up everything for the person she loves. Aren’t these aspects of her that we should focus on?

Beyond that, prostitution is nothing new. From an early age, children are faced with sexuality (as much as conservatives may argue otherwise). It is prevalent in our culture; movies, television, magazines. Even in those “child friendly” outlets; Freud had a field day with the sexual undertones in many fairy tales and the bible itself is riddled with references to prostitution! (Also, let us not forget that in most public schools, sex education begins as early as 4th grade.)

Good Woman deals with interpersonal relationships, it deals with notions of morality and, presented onstage, is only one instance of mild violence (a barber hitting a beggar once in a slapstick fashion) and no portrayals of physical romance (even so much as a kiss is missing). Children see more than this in the video games they play on a daily basis! Beyond that, perhaps our must trusted guides of morality, fairy tales are full of much more disturbing ideas and images: “Even those who know that Snow White’s stepmother arranges the murder of her stepdaughter, that doves peck out the eyes of Cinderella’s stepsisters, that Briar Rose’s suitors bleed to death on the hedge surrounding her castle, or that mad rage drives Rumplestiltskin to tear himself in two will find themselves hardly prepared for the graphic descriptions of murder, mutilation, cannibalism, infanticide, and incest that fill the pages of these bedtime stories for children” (Rohrich)

Why is all this appropriate for children and yet simply the mention of prostitution throws people into alarm?

I propose giving our children credit to see past a career choice and to appreciate the story as a whole. Let the children and audience see, as the Gods do in the play, that Shen Te is a good woman as a whole and that is what matters.

Let us begin to give our children a little credit to make informed decisions about people and maybe they will surprise you.

venturing out into the world as an autistic individual

2010-01-18T18:59:00.000-08:00

So at the start of this project ( this theatrical adventure), i was instructed to lean towards the personal and anecdotal when discussing my connection to autism and the origins of this project. Up till now though, I have held back from that.

This past week, I have had to face many of the tougher aspects of raising and caring for autistic children head on and because of this, feel the desire to speak out. So, this post will focus on autism and not on theater, on the individuals we are trying to help and not our upcoming productions.

It is not only theaters that tend to be unfriendly towards autistic individuals, although that has become our particular focus. The basics, the day to day events that are challenging are things that non autistic individuals wouldn't give a second thought. For some people on the lower end of the spectrum, even leaving the house becomes a challenge: getting up and ready in the morning (the simple tasks of washing your face, brushing your teeth and throwing on clothes) can take hours and include fights, screams and confusion.

Things that we take for granted, simple things, eating out at a restaurant, going to see a movie, become near impossible and daunting tasks.

I was inspired to this post by an article I came across on a different blog (www.aspieteacher.com/2010/010going-out/) , reaching out for tips on how to easily conquer the difficult task of eating at a restaurant with sensory issues and looking to see what problems others have encountered.

Story time. When I was perhaps 17 years old, I ventured out to a local food chain in florida with my aunt. This was not a particularly classy establishment, some chilis-esque restaurant indigenous to the south, and so we saw no issue taking my severely autistic cousin who was four years old at the time. Joely was placed in a high chair along the aisle outside of our table while my aunt and i sat opposite each other. Now Joel was overstimulated by the noise, the people, all the new things around him and began to flail his arms just as the waiter walked by. Inevitably, like a bad comedy sketch, Joel proceeded to accidentally smack the (attractive) waiter in the ass. The waiter shot us a dirty look, assuming it was my aunt or I, but continued to the kitchen. On his return trip, Joel hit him again and my aunt and i could do nothing but laugh and avert our eyes. Now, Joel has no concept of what had happened or why the waiter was suddenly angry or why we were incredibly amused or why everyone at the nearby tables were suddenly staring, but we proceeded to get a "talking to" and the waiter got a very nice tip at the end of the day for surviving our visit. To my recollection, we have not been back since.

A few weeks before this trip out into the world beyond my aunt's house, she had tried to make a similar trek with my grandfather, well into his 80s. At a different restaurant, Joelly began to fuss while waiting for a table and shrieked. Being nonverbal at the time, this was his only means of communication. When one man rudely yelled at my family and told them to teach their son some manners my grandfather apparently threatened violence (regrettably i was not around for this night) towards the much younger and much more in fit attacker. I was left only with the amusing image of my old grandfather shaking his dragon engraved cane at this young man until he finally left them alone.

When things like this are a daily occurrence, one learns to just laugh.

I am reminded of an article i read in time magazine a few months ago providing tips on travelling with an autistic child that was actually remarkably insightful, more so then most articles i come across. found here: http://www.time.com/time/specials/packages/completelist/0,29569,1893554,00.html

A year or so ago, while visiting my aunt, we decided to make a trip out to disney world (something you need at least two adults for when all three kids are involved). About an hour into wandering the park, in the rain i might add, we noticed blood coming out of Joel's mouth. He was losing his first tooth. He had no idea what was happening. The only nearby bathroom we could find was inside a themed restaurant that includes all of the disney characters walking around, usually a huge attraction for kids. My aunt and I were forced to drag a scared, screaming Joel past mickey, minnie and pluto, all who were saying hi and trying to hug him (only confusing him more) through the dining area, filled with patron who were now staring at us in sheer terror. When we arrived at the bathroom I had to pin Joels arms behind him so he would not reach into his mouth while my aunt carefully grabbed his tooth and tried to pull it out. One poor soul emerged from within the bathroom stall so see us pulling at and restraining a screaming, bleeding child. Luckily, once we explained ourselves she no longer felt compelled to run off in search of police. After a few minutes, Joelly had lost his first tooth. We left the bathroom, back through the eerily quiet restaurant and returned to the rides, the lines, and the typical disney world events.

It is days like that that made me want to create a theater like this. To create a place where autistic individuals and their families can come to enjoy a day out, enjoy a cultural event without worrying about judgement or behavioral problems, without worrying about anything. Because everyone deserves that and so many of us take it for granted.

Here is my inspiration:

What's yours?

- Marielle

Good and evil....

2010-01-16T08:10:00.000-08:00

Hello bloggy world,

Adaptive Arts is hard at work planning its first fundraiser (taking place this march, details to follow), but we need your help.

At the fundraiser, we will be presenting readings of 4-6 new, 10 minute plays centered around the main theme of "Good Woman of Setzuan," the question of whether it is possible to be good in an imperfect world.

So, we are curious to hear your thoughts on good and evil. Can goodness truly exist?

Please send all submissions/questions to adaptivearts@gmail.com by february 3rd at midnight.

Some interesting food for thought on good and evil (and man's role within it):
" The first story of division comes from ancient Persia: the god of time, having created the universe, sees harmony all around him, but feels that there is still something very important missing- a companion with whom to share all this beauty. For a thousand years, he prays for a son. The story does not say to whom he prays, given that he is omnipotent, the sole, sumpreme lord: nevertheless, he prays and, finally, he becomes pregnant.
When he realizes he has achieved his heart's desire, the god of time is filled with remorse, suddently conscious of how fragile the balanceof things is. But it is too late and the child is already on his way. All he acheives by his lamentations is to cause the son he is carrying in his belly to divide into two.
The legend recounts that just as Good (Ormuzd) is born out of the god of time's prayers, so Evil (Ahriman) is born out of his remorse- twin brothers. The concerned father arranges everything so that Ormuzd will emerge first from him belly, to take charge of his brother and to prevent Ahriman from throwing the universe into confusion. However, Evil- being very intelligent and resourceful- manages to push Ormuzd aside at the moment of their birth, and thus is the first to see the light of the stars. Distraught, the god of time resolves to forge alliances on Ormuzd's behalf: he brings into being the human race so that they can fight alongside Ormuzd and stop Ahriman taking control of everything.
In the persian legend, the human race is born to be the ally of Good and, according to tradition, Good will triumph in the end. However, many centuries later, another story about division emerges, this time presenting the opposite view: man as the instrument of Evil.
I imagine that most people will know which story I mean. A man and a woman are in the Garden of Eden, enjoying every imaginable delight. But one in thing is forbidden: the couple can never know the meaning of Good and Evil. The Lord God says (gensis 2:17); 'But of the tree of knowledge of Good and Evil, thou shall not eat of it...'
And one fine day the serpent appears, swearing that knowledge is more important than paradise itself and that they should possess that knowledge. The woman refuses, saying that God has threatened her with death, but the serpent assures her that nothing of the kind will happen but quite the contrary, for on the day when they learn what Good and Evil are they will become God's equals.
Convinced, Eve eats of the forbidden fruit and gives some of it to Adam. From this moment on, the original balance of Paradise is destroyed, and the pair are driven out of paradise and cursed. Yet there remains some engimatic words spoken by God and which confirm what the seprent said: 'Behold, the man is become as one of us, to know Good and Evil...'
Here, too (as with the god of time who prays for something even though he himself is the lord of the universe), the Bible fails to explain to whome the one God is speaking, and-assuming he is unique- why he should use the expression 'one of us'
Whatever the answer, it is clear that from its very inception the human race has been condemned to exist within the eternal division, always moving between those two opposing poles. So here we are, afflicted by the same doubts as out ancestors."- Paulo Coelho

puppets and manifestos

2009-12-22T10:41:00.000-08:00

Announcing our lovely puppet designer... Ali Goldaper!

Ali and Marielle Duke (Founder/Director) go way back. In fact, they go back to Marielle's first day of college, where she approached the amicable Ali who seemed to somehow know everything theatrical and insisted that Ali become her theater mentor. Finally, three years later they had a chance to work on their first show together when Marielle directed Sheila Callaghan's Crumble (Lay Me Down, Justin Timberlake). Ali created a set filled with distinct, yet fluid spaces and see through walls that fit the surrealistic nature of the play. And now, they are teaming up again! With a background in bread and puppet theater, Ali was the natural choice to take on Brechtian puppets.

and, to let you into her mind, I present to you her preliminary sketches:

For those of you who think art and theater cannot exist during this horrid recesion, I direct you towards the Cheap Art Manifesto, stemming from the bread and puppet theatres: http://www.aisling.net/am/cheapart.htm

Here's hoping it provides you all with some inspiration too!

With everyone in the holiday cheer...

2009-12-18T16:40:00.000-08:00

we have begun to feel the support from the community!

The 14th St Y will be giving us space for Good Woman of Setzuan in april and it's their newly renovated, first floor studio- handicapped accessible and pretty!

Both Samuel French and the Brecht Estate have contacted us sharing their support for the production, meaning we can now move ahead with finalizing casting, assembling a design team and starting rehearsals!

Now onto finishing planning our fundraiser of new one acts.

Check back for details of play submission details and other fun ways to get involved!

Why hello there...

2009-12-18T16:27:00.000-08:00

And welcome to the first of our blog posts.

As we move towards a full production this april, we figured why not keep the world posted on our progress, our dreams, and even our setbacks.

so here goes!

I suppose the best place to start is what we are doing and why.

We are currently planning two events: a fully realized production of The Good Woman of Setzuan by Brecht in April and a fundraiser of new one acts in February.

But this will be no typical Brecht production! We are planning a production geared towards an autistic audience in hopes of tapping into a new theater audience and giving autistic individuals a creative outlet. This will be a production full of songs, masks, puppets and maybe even live music! This will be a whole new adventure for our actors and productive team!

But beyond a theater production, we want to create an event that both directly and indirectly benefits the Autism community in New York. We wish to foster an environment in which autistic individuals and their families feel welcome. The production will be free to the public, so as not to discourage those who cannot afford a traditional theater ticket from attending, but all donations we do receive will be sent directly to Touching Humanity Inc, a non profit working with disabilities and the arts.

Perhaps you are wondering: Why now? Why this show?

We believe that now is the perfect time for an event such as this. Across the country, Autism is finally gaining the awareness it deserves. Statistically, autistic students are drawn to forms of creative expression such as music, theater and art. These are children that, just like any others, simply want to be heard and unfortunately, they are often ignored simply because they are vocally silent. We want them to be able to walk into a theater performance with their families and friends just like any other child would. Their parents shouldn’t have to simply stay home for fear of their child’s specific behaviors disrupting other audience members or even the actors themselves. Sensory friendly events catered to an autistic audience are gaining appeal in movie theaters across the country and now even among children’s theater performances. However, we see no reason why this must be restricted only to children’s theater. Why not expose children to a piece that will challenge them and yet, still speak directly to them? This production will be the first autistic friendly presentation of a classical theater piece.

It is with this is mind that we have chosen Brecht’s play, The Good Woman of Setzuan. With its overarching questions of “What is goodness?” and “How do we strive to be good in an imperfect world?” the play will help fuel ideas and encourage moral development in the young audience members. Brecht encouraged the audience not to become completely immersed in the show they were watching, but to always be aware of the fact that they are an audience at a piece of theater. In this respect, the actors often interact directly with the audience members, keeping the autistic individuals more engaged than by simply watching a traditional show. This play also employs the use of masks with distinct and exaggerated emotions. Autistic individuals often have trouble recognizing facial expressions and their correlative emotions, and this would aid with that challenge. Beyond that, with its wealth of songs, it will appeal to the more sensory driven world of the autistic individual. For our performance of this play, we plan to present it “in the round.” By using this technique, essentially, surrounding the stage by audience members we are creating a stronger sense of intimacy for the audience, giving them a sense of comfort and structure within the space. To aid nonverbal individuals, we will also be incorporating PECs symbols, an augmentative communication system created to help non-verbal autistic individuals communicate. With the use of familiar images and words, the audience members will be able to understand what they are watching, even if they can’t always understand what they are hearing.

Sound interesting? Sound appealing? Sound completely terrifying? Stay Tuned!