Join the Clown Bar Team!

Pipeline Theatre Company is currently seeking a LIGHT BOARD OPERATOR and PRODUCTION INTERN to join their running crew for Clown Bar. Interested candidates must be available to train on July 26 and August 2 and to join the production on August 9, 16, and 23, all dates 4PM-11PM. Candidates should also have an interest in continuing to work on the production Saturdays through September.

The LIGHT BOARD OPERATOR must have a basic working electrical knowledge and will be responsible for running electrical checks before each performance and for operating the light board during each performance. Experience operating a HOG is preferred but not required. There is a small stipend available for this position.

The PRODUCTION INTERN must be highly organized and will be responsible for assisting with setup and breakdown for each performance and working with the deck stage manager and deck chief backstage during performances (duties including but not limited to running props, executing deck cues, and operating a spotlight). This is a volunteer position.

Pipeline’s original production of Clown Bar in April 2013 was named a New York Times Critics’ Pick and was extended twice by popular demand. The new Off Broadway production at legendary theater of varieties The Box is currently enjoying a critically acclaimed and sold out run and has already been extended once.

Mary Notari of nytheatre.com said of Clown Bar, “…the team responsible for the choreography, design, and stage management should be hired by everyone for everything all the time immediately.” This is a fantastic opportunity to be part of a top notch team, to work for an award winning theater company on a critically acclaimed production, and to get to know the inner workings of a legendary theater.

To apply, please send resume and short letter of interest to annalauren@pipelinetheatre.org.

 

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Clown Bar is Extending!

We are pleased to announce that Clown Bar will be extending by popular demand after a month of sold out performances! Clown Bar will now run at The Box until August 23. Read the full press release on Broadway World.

Tickets are available to the added performances right now! Snatch em up!

Saturdays | 7:30pm
The Box | 189 Chrystie St.
Get Tickets Now | $30-$50

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Time Out New York says:

” A dozen clowns walk into a bar, and the ensuing punch lines are as plentiful and varied as a pack of Bozos exploding out of a circus car.”

“Shane Zeigler [is a] virile deadpan master

“…unflappable MC Salty Brine [is] seemingly the love child of a Paul Lynde, Liza Minnelli and Joel Grey in Cabaret threeway”

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Theater Scene says:

“A marvelously detailed and novel spoof of the (noir gangster) genre.”

“… a vibrant achievement of dark razzle dazzle.”

“[an] accomplished over-the-top extravaganza.”

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CHARGED.fm says:

“It is both completely ridiculous and utterly heart-wrenching, and it is that duality that makes Clown Bar a show worth seeing.”

“These polished performers bring an energy and an earnestness to the world of the clown…”

“…utterly engaging.”

***

Photo by Suzi Sadler

Photo by Suzi Sadler

Photo by Suzi Sadler

 

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An Angel Among the Devils

Mark Blankenship of TDF Stages: A Theater Magazine recently spent some time with our very own Jessica Frey to get a closer look at how she created her character, Petunia, in Clown Bar. Here’s a taste of the resulting feature article:

Considering all the gunfights and sex and dirty jokes in their show, you wouldn’t think anyone in Clown Bar would base their performance on It’s a Wonderful Life. But that’s one reason this raucous play has become such a downtown hit. It never met a vintage reference it couldn’t use. Read full article

Clown Bar is Jessica’s fourth Pipeline production. Past Pipeline credits include Alex Malcolm Mills’ Shakespeare the Dead, Colby Day’s Giant Killer Slugs, and Nate Weida’s Byuioo.

Photo by Suzi Sadler

Photo by Suzi Sadler

Photo by Suzi Sadler

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Clown Bar is bound to be a cult favorite

Theater in the Now has the following to say about Clown Bar:

***

“…Clown Barbeautifully…brings the immersive experience to the max from start to finish.”

“…perfection…”

“Shane Zeigler shines as Happy”

“Dan Tracy as Timmy was superb with his mix of humor and pain.”

“Jessica Frey and Salty Brine…were truly the heart and soul of the production.”

Clown Bar is a top notch immersive event that is unique and bound to be a cult favorite.”

“‘Clown Noir’ is sure to be the next hit genre of entertainment.”

***

Click here to read the full review and here to get tickets. Clown Bar is playing Saturdays at 7:30PM at The Box.

Photo by Suzi Sadler

Photo by Suzi Sadler

Photo by Suzi Sadler

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An uneasy scent of madness in the air

alex malcolm mills1Our final reading presentation of Alex Malcolm Mills’ The Carrion Man will close out our inaugural Pipeline PlayLab season, this Sunday, June 29, at 8PM at the Judson Assembly Hall. We recently got to learn a little bit more from Alex about his mystery-horror adventure play. Read all about it below.

Pipeline Theatre Company: What do you want us to know about your play?

Alex Malcolm Mills: The Carrion Man is a mystery-horror adventure, about a teenager trying to join a black-magic cult. It’s also a comedy— the kind with an uneasy scent of madness in the air, the kind both funny and scary. How so? Well, you might suspect the cult does not exist, the supernatural elements might be hallucinations, and the protagonist might be a murderer trying to pretend he’s not a murderer. Or you might be convinced that the plot’s fantastical elements disguise nothing at all. It’s in the realm of a less-surreal David Lynch, or a Harold Pinter with high-speed car chases (there actually aren’t any car chases). Fans of speculative fiction might identify my influences and heroes: Ramsey Campbell, Gene Wolfe, Brian Evenson, Joyce Carol Oates, M.R. James, & H.P. Lovecraft. Cat lovers may also appreciate that one character is a cat. 

PTC: When and where did you decide to start writing this play? Why?

AMM: I’ll answer with two moments, undoubtedly fused with you, Pipeline. First, The Carrion Man was not what I set out to write, at the beginning of the Playlab. Instead, I was writing a sprawling mystery-musical, about a noise-pop band, their ventriloquist, their haunted house Halloween party, and their stalker. I finished it, and the mystery was just too mysterious. I didn’t know how to solve it, nor how to rewrite it. It was about four different stories, Frankenstein’d into one monster, which ran into the swamps and never returned. So I set out for a new draft, but a new idea hijacked my attention.

I got the idea during Pipeline Playlab‘s workshop of Colby Day’s The Great Molly, a play about an aspiring stage magician in the early 1900s. (I was acting in it; I also act.) During a break, I thought… what would it be like if the magician aspired towards the dark arts? (Necromancy, for those of you who have played Dungeons & Dragons— and I’m looking at you, Vin Diesel.) I knew the idea was absurd, and I had to tread carefully; the very word “occult” means hidden; so, the more you show, the more its mystery is lost, and the sillier it gets (isn’t that right, Rob Zombie?) So, I thought— let’s contrast the gruesome suggestion of dark arts with contemporary teenagers and cats. Why did I write it? Perhaps for the same reasons of wish-fulfillment fantasy that anything is written. I got obsessed with its story, via daydreams and schemings; it was fun, and it felt like a play I wouldn’t be able to see anywhere else. 

  PTC: What excites you most about this project?

AMM: I think the most exciting part of any story is the agency or role it gives the audience; for thrillers, mysteries, or horrors, my favorite part for the audience to play is that of a detective. When the Gothic flops, it is often because the audience-detective has already “solved the case;” there’s nothing unknown to suspect or to fear. I think The Carrion Man‘s exciting, because there’s a lot of bizarre & contradictory clues, and we’re forced to make uneasy guesses about what’s unsaid, unseen, or untrue. 

So, the exciting aspect of that is the reward you get, from forming your own solutions, allowing the story to haunt you. Suspecting the solution to be X, Y, or Z, is much more enjoyable (for me) than being told it’s certainly just Z. But plenty of conventional mysteries extinguish suspense upon their solution, revealing it’s “just Z.” The ambiguity of X-Y-or-Z, is effectively scarier, because it implies the unstable definition of definitions themselves. I may be fascinated by that idea, but I’m more fascinated by those that might disagree; defensive and practical personalities might violently claim solutions are irrefutable; that “they’re right and you’re wrong,” and that their truth & reality are the only ones. I’d like to think my play would unsettle them, but they might just write it off as the work of a madman.

PTC: In one sentence, tell us something strange that happens in your play.

AMM: The protagonist is visited by (or receives hallucinations of) a talking corpse, whom invites the protagonist to partake in a “series of tests” to gain “great fortune.” 

PTC: Are you working on anything else? What?

AMM: I’m actually still re-writing the ending. Of The Carrion Man! I mean— there is an “end,” written several months ago— it’s just not as fun as I’d like it to be. I’m also finishing its screenplay version; I began the story as a screenplay, but then I enjoyed the premise so much, I brought it to the Playlab as a play-play, adding a narrator to connect the quick jumps in locales that a film allows.

Besides that, I’m still searching for the proper re-write of the mystery-musical (mentioned above), about the band, their stalker, and their ventriloquist. Framing it within a Halloween party, at a secluded mansion, under the guise of a “psychological haunted house,” is just too interesting to ignore. Right now it’s titled A Parade of Mannequins. Funny, right? 

PTC:  Two truths and a lie, go:

AMM: My roommates and I often try to scare each other, for laughs. My two greatest victories include hiding under a black sheet in one roommate’s room, while he left to do laundry and hadn’t noticed me across the street, returning home. I waited for 30 minutes, under that sheet in his room, while he folded clothes in the living room; when he finally saw me, there was a second where his expression betrayed he could not understand what was happening. I think I feed off those moments. 

My second greatest victory was spurred by the fear I’d be scared, upon exiting the bathroom (opening doors in our apartment is always risky). We were watching a movie (I knew the film’s sound could muffle someone’s positioning to hide)— so, I decided to scare anyone who’d scare me, by wrapping (clean) toilet paper around my head, much like that scary mummy-thing in Roman Polanski’s The Tenant. I exited the bathroom, blind and mummy-like. There was a silence of confusion, and then we all bust out laughing. In our revelry, we drove into town and set fire to everything that dared to be alive.

PTC: What’s next for you?

AMM: The project I’m most excited about won’t be viewable for about three years. I recently finished acting in an animated high-fantasy epic, called The Spine of Night, co-written and directed by Morgan Galen King (animator & director of Exordium, an awesome short viewable on Youtube) and Philip Gelatt (writer of the Nebula nominated Europa Report, and The Bleeding House). When I tell friends that I acted in an animated film, they say: “so you did the voices?” But no, everything with actors was filmed. It’ll be rotoscope animated (like Heavy Metal, or Bakshi’s Lord of the Rings), where the animators will hand-draw over the actors, capturing their humanity in a way more natural than just… free-handing it. The story is an anthology of four stories told within one larger story; the plot’s about a magic substance, that of course unleashes the evil in men, and it takes a brave woman to stop them (that’s probably not the synopsis they’d choose). I got to play the melancholy guardian of the mythic substance (perhaps he’s melancholy because he outright failed to guard the substance, and he accidentally unleashed the entire plot’s conflict); so, he listens to the four anthology stories. Within one, I got to play an evil wizard. Pipeline member Sydney Matthews acted as that “brave woman,” recounting the stories— a swamp priestess whom is outright nude throughout the film. The whole project was a surreal blast. I’d assumed I’d never get to play an evil wizard, until at least the age of 35. Now I have played one, and nothing will ever be the same.

The final plug is that The Carrion Man got accepted into iDiOM Theatre’s 2015 season! They’re a wonderful non-profit company, and have been around since 2001, in Bellingham, WA. I have no idea how they’ll stage a cat onstage. At least it doesn’t have to talk.

Join us this Sunday at 8PM at the Judson Assembly Hall for the final reading presentation of The Carrion Man. Reserve your seat by emailing rsvp@pipelinetheatre.org.

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Clown Bar is “spectacularly strange”

New York Theatre Review has the following to say about Clown Bar:

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Clown Bar’s washed-up clowns are vulgar, stylish, and hilarious.”

“…dynamicspectacularly strange…”

Clown Bar is a really gratifying theatrical experience, silly but also moody and mysterious.”

“The ensemble’s physical precision and verve are thoroughly enjoyable, and they make great company on a Saturday night.”

“Don’t worry: you’re in good hands with these loose cannons…”

***

Click here to read the full review and here to get tickets. Clown Bar is playing Saturday nights at 7:30PM at The Box.

Photo by Suzi Sadler

Photo by Suzi Sadler

Photo by Suzi Sadler

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Clown Bar is “extraordinary”

Theater Pizzazz has the following to say about Clown Bar:

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“…sincere and irreverent…”

“…the actors have all their angles covered. Somehow, they are always showing their good side.”

“Direction by Andrew Neisler is inventive, celebrating the best of vaudeville…”

“…[the] music is quite extraordinary…”

“…[an] exceptional theatrical experience.”

***

Click here to read the full review and here to get tickets! Clown Bar is playing Saturdays at 7:30PM at The Box.

Photo by Suzi Sadler

Photo by Suzi Sadler

Photo by Suzi Sadler

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Something hopeful and true

ap-headshotThe Pipeline PlayLab final reading presentation of A.P. Andrews’ Optimism, Or is just over a week away, so we took some time with A.P. (who is working remotely from Nebraska!) to learn more about this play and his many other exciting projects currently in the works.

Pipeline Theatre Company: What do you want us to know about your play?

A.P. Andrews: For me, Optimism, Or is a play about finding your way through grief and figuring out what’s on the other side of that experience. It’s about figuring out for the first time how your heart works (and how thrilling that is!), and then about what it means to give your heart to someone else (and how hard that can be when it doesn’t work out), and then about trying to remember how your heart could ever work again after it’s been broken. All of these things are happening at the same time in the play- it’s a big ‘ol giant cardiac workout.

Also, there’s a sea monster.

PTC: When and where did you decide to start writing this play? Why?

APA: I didn’t know I was going to write this play when I did- it just kind of happened. I sat down to write a scene, and the first scene of this play came out. I loved the characters but didn’t know where they were going, so when an opportunity presented itself to delve deeper into the play, I went for it and just trusted they’d find their way. I’d also been wanting to write something light and magical and whimsical for quite some time- something hopeful and true. These stories just kind of clicked, and I went with them.

PTC: What excites you most about this project?

APA: Oh, everything. I love working on it, and always have. That’s probably not what you were going for, but it’s actually true with this one. Love it through and through.

PTC: In one sentence, tell us something strange that happens in your play.

APA: Someone falls head over heels in love with someone they’ve never met. Other things too, but I don’t want to spoil it!

PTC: Are you working on anything else? What?

APA: I’m in Nebraska right now, and I’m mainly just working on trying to beat my younger brothers (11 and 13) at foursquare. They’re absolutely ruthless, and I have the marks to prove it.

Play-wise, I’m finishing up first drafts of the 4th 5th and 6th plays of my Nebraska Cycle, a group of ten plays about life in the rural Midwest. I’m also starting preliminary work on two more plays that take place in the same town Optimism, Or does.

PTC: Two truths and a lie, go:

APA: I don’t believe in air conditioning. I was born an hour away from the World’s Largest Porch Swing. I once had a pet Snowflake Moray Eel named Christopher.

PTC: What’s next for you?

I’m working as a Dramaturg and Producing Associate for the Seven Devils Playwrights Conference in McCall, Idaho this June- it’s an incredible organization, and I’m looking forward to supporting this year’s six playwrights throughout their development processes there. www.idtheater.org

My play Abby in the Summer (Part 1 of the Nebraska Cycle) is being produced at the Shelterbelt Theater in Omaha, Nebraska, July 9-August 3. I love these folks something fierce, and they’re doing a really outstanding job with the play- I can already tell you it’s going to be a great production. www.shelterbelt.org

After that, I’ll be directing a play in Superior, Nebraska this August- then returning to New York in the fall! Updates on all of that coming soon! www.apandrewsplays.com

Join us on Sunday, June 29, at 3PM at the Judson Assembly Hall (239 Thompson St.) for the final reading presentation of Optimism, Or. Space is limited so reserve your seat by emailing rsvp@pipelinetheatre.org. Optimism, Or is a project of the Pipeline PlayLab.

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Tomorrow. We Open.

Tomorrow is our very first public performance of the highly anticipated Off-Broadway return of Clown Bar. However, for the impatient among us we’ve released one final short video to whet your appetite. This one’s romantic. Take a gander.

Haven’t gotten your tickets yet? What are you waiting for? Snatch em up before there are none left to snatch.

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It’s About Sex

Scott McCarreyThe final reading presentation of Scott McCarrey’s The Mystery of F*cking is this Sunday, June 15, 8PM at the Judson Assembly Hall  . We sat down with Scott to learn more about this sex farce and other upcoming McCarrey projects.

Pipeline Theatre Company: What do you want us to know about your play?

Scott McCarrey: It’s about sex. And there’s, like, dirty language and a whole scene about touching butts together.

PTC:When and where did you decide to start writing this play? Why?

SM: I recently learned about these things called “whore dialogues” which were basically an early form of pornography popular in Paris in the 17th Century. A lot of them were told from the perspective of women, though obviously written by men. So, I thought it would be fun to play out a couple women drafting their response.

PTC: What excites you most about this project?

SM: I really like the idea of a sex farce that’s actually about sex, and the power and gender politics behind it. I like the idea that something could be funny and titillating and sexy, but also honest. Hopefully, this does some of that.

PTC: In one sentence, tell us something strange that happens in your play.

SM: Other than the butt-touching? OK: A man has a pseudo-sexual fantasy about cheese.

PTC: Are you working on anything else? What?

SM: I’ve been working on a couple plays off and on. One is a bluegrass musical adaptation of ‘The Frogs.’ The other is a historical horror about a man named Alexis St. Martin, who took a musket wound to the stomach and lived to be a human science experiment.

  PTC: Two truths and a lie, go:

SM: 1) I’ve appeared in two episodes of Law & Order: SVU; 2) I am deathly afraid of lizards; 3) I STRONGLY BELIEVE that Funkadelic made better music than Parliament Funkadelic.

PTC: What’s next for you? (plugs)

SM: My wife and I just finished shooting our first short film, and are in the process of editing it now. It’s called ‘Dog Voice,’ and it will be out… whenever we get around to finishing it.

Scott’s Mystery of F*cking will be presented on Sunday, June 15 at 8PM at the Judson Memorial Church Assembly Hall (239 Thompson St., NYC). Space is limited so reserve your seat by emailing rsvp@pipelinetheatre.org. This reading is presented as part of the Pipeline PlayLab.

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