Announcing Our Newest Board Member: Ray DeForest

We are proud to welcome Ray DeForest as the 9th member of Pipeline’s growing Board of Directors. Ray is the owner and operator of DeForest Theatricals, a new commercial theatrical production company based in New York City. The company is currently working on two new musicals heading to Broadway and is also working on taking a new dramatic play to the UK. Ray is a successful lifelong TV/ film/ event executive producer/ writer/ director/ developer and entertainment industry professional. Ray also works tirelessly as a fundraiser for national and worldwide LGBT charities and serves on the National LGBT Board for SAG/AFTRA. Ray also has a successful performing career and tours with his one “woman” shows as well as appearing regularly at Feinstein’s/54 Below. More About Ray

Pictured below (left to right): Jason Baruch (board member), Tom Costello (board member), Sydney Matthews (board member), Katie Priest (board member), Natalie Gershtein (producing director), Ari Schrier (artistic director), Geoff Berman (board member), Ray DeForest (board member). Photo by Suzi Sadler


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Introducing our Gala Performers and Speakers

This year’s Gala will feature extraordinary and uplifting speeches and performances, including preview performances from our next mainstage production, JACLYN BACKHAUSFOLK WANDERING.

Over the past six years, FOLK WANDERING has taken developmental steps at Ars Nova, Joe’s Pub, Fresh Ground Pepper, and most recently at the University of the Arts’ Polyphone Festival in Philadelphia. At our Gala, we’ll be joined by artists from every step of FOLK WANDERING‘s incredible journey to share never before seen performances from the show.

The performances will be directed by ANDREW NEISLER, with music direction by IAN AXNESS and will feature BLAKE ALLEN, MIKE BRUN, ANDREW BUTLER, ISABELLA CASTALDI, JOEL ESHER, ALIRIA JOHNSON, ROE HARTRAMPF, SUSAN D. MANDEL, KYLE STALSBERG, and ANNIE TIPPE. Plus additional appearances by KIM BLANCK, SETH CLAYTON*, FERNANDO CONTRERAS*, ANDREW FARMER, ALEX FAST, JESSICA FREY*, LENA HUDSON, PRESTON MARTIN, NICOLE WEISS, and more! The entire night will be hosted by our very own NICOLE SPIEZIO, and the evening will close with a very special set from our house DJ, SANAZ GHAJAR.

You’ll also hear from Pipeline Producing Director NATALIE GERSHTEIN, Artistic Director ARI SCHRIER*, Board Members GEOFF BERMAN and RAY DEFOREST, and a few very special words from BEARDO director ELLIE HEYMAN.

This will not be a night to miss. Snatch up your tickets today.


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Be Part of the PlayLab Class of 2018

Now entering it’s fifth season, through a year-long series of monthly meetings, the PlayLab serves as a developmental process for playwrights to build new plays with constructive feedback from fellow writers, directors, and the artistic staff of Pipeline.

Each PlayLab playwright will develop a one-act play and a full-length play over the course of our 9th season (July 2017-June 2018).

Plays developed through our PlayLab have gone on to receive awards from the Kennedy Center, have been included on the Kilroys List, and have been produced at theaters across the country.


“Pipeline’s PlayLab is a terrific incubator for new work. They provided me and my fellow playwrights with an environment where I felt safe to share raw pages, but also gave me the challenges and support I needed to craft a brand new play…I wish I could write everything this way.” – SCOTT MCCARREY, Class of 2014

Who Should Apply?

In line with our vision, we are looking for artists who are excited to collaborate with Pipeline and fellow playwrights in developing plays that create imaginative new worlds and use bold and inventive methods to transport audiences. We like big dreamers, working on something brand new that they haven’t quite figured out yet. Special efforts will be made to recruit a diverse group in terms of ethnicity, gender, educational and professional background, etc.

Our vision: we believe that an unbridled imagination is a force of magic with the power to provoke a more courageous and compassionate world.

Got questions about our mission and vision and if your work aligns with ours? We suggest you first familiarize yourself with our production history (specifically work produced from 2012 onward) as well as the work being developed in this year’s PlayLab. Still have questions? Contact our Director of Artistic Development, Tom Costello.

“Pipeline’s Playlab has provided me with the supportive, joyful, hilarious, brilliant space I need in order to create. I gain access to great minds every time I walk into our meetings. And there is laughter. And there is dedication. We are WORKING.” – SALTY BRINE, Class of 2015

What to Expect

PlayLab playwrights meet once a month to review pages of their projects with one another through cold readings and dramaturgical discussion. We strive to build a strong sense of community within our PlayLab, so each month the meeting travels to a different PlayLab or Pipeline artistic team member’s home. Often the host provides food, even drinks, for the group. PlayLab playwrights should be excited to work within a collaborative group atmosphere, and enjoy providing one another with constructive feedback. PlayLab playwrights will participate in the following programs:

  • Monthly Meetings (July 2017 – June 2018)
  • PlayLab Kick Off Event (August 2017)
  • Matchstick Series (November 2017)
  • Mid-Year Event (January 2018)
  • Annual Retreat (May 2018)
  • Bonfire Series (June 2018)

“Pipeline has taken care of me, listened to me, and inspired me in ways that I did not dare expect. I’ve found true friends and artistic collaborators and every meeting we had was not quite long enough.” – CLAIRE KIECHEL, Class of 2015

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Today we are proud to announce that our 2018 mainstage production will be the world premiere of Folk Wandering, a new musical conceived by Jaclyn Backhaus (Men on Boats) and Andrew Neisler (Clown Bar), featuring a book and lyrics by Backhaus and music and additional lyrics by collaborating composers Blake Allen (Boston|Nebraska), Mike Brun (Music Director, Mr. Burns), Andrew R. Butler (Finn the Fearless), Joel Esher (PharmaBro: an American Douchical!), Alex Fast (The Drawer Boy), Jo Lampert (Joan of Arc: Into The Fire), Barrie McLain (you’ll still call me by name), Annie Tippe (Director, Ghost Quartet), and Dominique Toney (“Crazy Ex-Girlfriend”). Set to premiere in early 2018, Neisler will direct.

Tales from tenement Manhattan, the deserts of Utah, and small-town Indiana are spun together in this sweeping new folk musical. With a book by acclaimed playwright Jaclyn Backhaus and an expansive score collectively built by a group of burgeoning New York singer-songwriters, Folk Wandering is an exploration of the hopes and heartbreaks that weave through our American fabric, and of the untold past that propels us forward.

Backhaus began developing Folk Wandering with Neisler in 2010, alongside an ensemble of nine of New York’s most exciting emerging songwriters. Since then, workshops have been presented at Joe’s Pub, Ars Nova, Fresh Ground Pepper, and the Polyphone Festival in Philadelphia, culminating in the 2018 world premiere production with Pipeline.

A special sneak peek of Folk Wandering will be presented at our Gala on April 30, 2017 at (le) poisson rouge. Gala attendees will get an exclusive first look at never before seen performances from Folk Wandering and the chance to meet with the artists involved. Tickets to the event are available now and are limited. Snatch ’em up today!


Jaclyn-BackhausJACLYN BACKHAUS (Co-Conceiver, Book and Lyrics) is an Indian-American playwright and a creative director for Fresh Ground Pepper. Her play Men on Boats was a NYT Critics’ Pick for its productions in Clubbed Thumb’s Summerworks and Off-Broadway at Playwrights Horizons. It was named a Kilroys play in 2015 and received its Chicago premiere at ATC in early 2017. Other works include People Doing Math Live! (Under The Radar Festival’s INCOMING! Series at The Public Theater), The Incredible Fox Sisters (Live Source), and You on the Moors Now (Theater Reconstruction Ensemble, The Hypocrites in Chicago). She has received commissions from Playwrights Horizons, MTC, EST and Ars Nova and is the 2016 Tow Foundation Playwright-in-Residence at Clubbed Thumb. Her work has been developed and showcased with the Bonnaroo Music and Arts Festival, Playwrights Horizons, The Public and Joe’s Pub, The Ice Factory Festival, (not just) 3 New Plays, The Civilians R&D Group, SPACE on Ryder Farm, Ars Nova’s ANTFest, and The Falcons. BFA: NYU. She hails from Phoenix, Arizona.

Andrew-Neisler-v2ANDREW NEISLER (Co-Conceiver, Director) is a Georgia-raised, Brooklyn-based theatre director and producer. He is a Creative Director at arts incubator Fresh Ground Pepper (, where he has curated and presented work from over a thousand New York City writers, directors, actors, dancers, musicians, and more. Select directing credits include Cesar Alvarez’s The Elementary Spacetime Show (FringeArts), NY Times’ Critics Pick The Rise and Fall of Marcus Monroe (Ars Nova/Williamstown Theatre Festival), Andrew Farmer’s critically acclaimed The Gray Man (Pipeline Theatre Company), NY Times’ Critics Pick Clown Bar (Pipeline/The Box), and Drama Desk nominated Charlatan (Ars Nova). Currently, he is under commission at Ars Nova developing Bull’s Hollow, a trilogy of theatre and music, with frequent collaborators Jaclyn Backhaus and Mike Brun; working with Cesar Alvarez on his new musical NOISE; and collaborating on a joyful jazz-theatre show with Sammy Miller and the Congregation as part of Ars Nova’s 2017 Makers’ Lab. He has developed new theatre with Naked Angels, Primary Stages, New York Theatre Workshop, Williamston Theatre Festival, The Lark, Ensemble Studio Theatre, NYU, University of the Arts, Playwrights Horizons, and more. He is a Teaching Artist at Playwrights Horizons Theatre School and an alumnus of the Soho Rep Writer/Director Lab, the Civilians R&D Group, and Ars Nova’s Director Residency.

Blake-AllenBLAKE ALLEN (Collaborating Composer) is a composer and violist. Blake made his classical debut at the Metropolitan Museum of Art and has had a solo show at 54 Below. Shows include Folk Wandering (SoHo Rep/Ars Nova/Joes Pub) shards, HOCKET, Boston|Nebraska. Other credits: Ring them Bells (Live from Lincoln Center/PBS), 2014 artist in residence at the Banff Centre, ...Very Marti Christmas (54 Below), Carnivorous (Magic Future Box) and five years under Rob Fisher. In development: To the Lighthouse, Marnie, 7 Swans.



Mike-BrunMIKE BRUN (Collaborating Composer). Theater credits include: Music Director/Onstage Musician for Mr. Burns (Playwrights Horizons, 2013); Orchestrator/Onstage Musician for Twelfth Night (Delacorte, 2016); Music Director/Arranger/Onstage Musician for Tumacho (Wild Project 2016); Co-Arranger/Onstage Musician for Old Hats (Signature, 2016; American Conservatory, 2014). Composer of Bull’s Hollow (in development as a commission for Ars Nova). 2014-15 Civilians Research & Development Group. 2014 Johnny Mercer Foundation Songwriters Project.



Andrew-ButlerANDREW R. BUTLER (Collaborating Composer) is a composer, writer and performer. With Andrew Farmer he has written Finn the Fearless (Theatre Aspen, Polyphone Festival), Blessing (PHTS commission), The Miraculous Journey of Edward Tulane (TheatreWorksUSA commission), and American Cryptids (Civilians R&D); With Anna Kerrigan: The Dixon Family Album (Williamstown Theater Festival). Also, (Parkland/Weathers) (FGP). Founding member of experimental theater company harunalee; alumnus of Ars Nova’s Uncharted Group, FGP’s PlayGround PlayGroup, Rhinebeck Writers Retreat, Yale Institute for Music Theater, and NYU’s Experimental Theatre Wing.



JOEL ESHER (Collaborating Composer) is thrilled to be a part of the collaborative creative team on Folk Wandering. Off-Broadway: PharmaBro: an American Douchical! (music, additional lyrics; Players Theater, w/Lauren Gundrum). New York: Sammy Spider (music; Kauffman Concert Hall w/Rebecca Schoffer), Superhots! (Soundbites Festival w/Blair Bodine). Joel is a participant in the BMI-Lehman Engel Musical Theater Workshop, and is the music supervisor for the Story Pirates. Education: B.M. in Music Direction and Opera from Northwestern University, where he contributed music/lyrics annually to the Waa-Mu show.


Jo-LampertJO LAMPERT (Collaborating Composer) is a Brooklyn-based performer, producer, and DJ (going by the moniker: dj over easy). Selected NYC credits: Joan of Arc: Into the Fire (The Public Theater, directed by Alex Timbers, music by David Byrne); The Lucky Ones (upcoming 2018, directed by Anne Kauffman, music by The Bengsons); Hundred Days (Under the Radar Festival, directed by Anne Kauffman, music by The Bengsons, Jan 2017); Jo Lampert in the Lounge – a solo cabaret (Ars Nova); Rimbaud in NY (BAM, directed by Steve Cossons for the Civilians); New York Animals (Directed by Eric Tucker/Bedlam, new music by Burt Bacharach and Steven Sater); Iphigenia in Aulis (CSC, directed by Rachel Chavkin). In 2014, Jo toured the world with the band tUnE-yArDs. Civilians Associate Artist; BFA, NYU Tisch.

Barrie-McClainBARRIE McLAIN (Collaborating Composer). NYC-based performing artist and creator. 1/3 of the band Plastic Angel, currently recording with Brooklyn indie hip-hop producer Willie Green. Onstage: Siren in Kansas City Choir Boy starring Courtney Love and Todd Almond (Prototype NYC; A.R.T. Boston; C.T.G. LA; Arsht, Miami), backup singer for Julie Klausner Live (Joe’s Pub, The Bellhouse), choir leader/producer for Sherie Rene Scott’s All Will Be Well and Lovestream, vocalist for Sonya Tayeh and The Bengsons’ you’ll still call me by name (Judson Memorial Church, NYLA), featured soloist with Fresh Ground Pepper’s Camp Over There (Bonnaroo), chanteuse Lillian O’Malley in Punchdrunk’s Sleep No More. Recent performances at Lincoln Center, the Feminist Power Awards, La MaMa, Ars Nova. BFA NYU Tisch. #BLM.

Annie-TippeANNIE TIPPE (Collaborating Composer) is a director and creator of new work. Directing includes Dave Malloy’s Ghost Quartet (The Bushwick Starr, etc); Anne Washburn’s When the Tanks Break (Drama League); Washeteria (Soho Rep); Aaron/Marie (w/Rachel Chavkin, Incoming! @ Under the Radar); Far Away (Harvard University); Cowboy Bob (Ars Nova); I Heard Sex Noises (Ars Nova) and Blue Plate Special (ANT Fest). Creator/Director of web series BASIC WITCH. Performance includes Folk Wandering and I’m Miserable but Change Scares Me (New Saloon). Ars Nova’s 2016 Director-in-Residence, Drama League Fall Directing Fellow, WTF Directing Corps, New Georges Audrey Resident.


Dominique-ToneyDOMINIQUE TONEY (Collaborating Composer) is an actress, singer, & songwriter from Los Angeles. Her debut album “A Love Like Ours” was in the Top 10 selling soul albums on Amazon during its debut month. She has appeared on “Crazy Ex-Girlfriend” (The CW) and “The Late Late Show with James Corden” (CBS) & can be found in various national commercials, including spots for McDonald’s, the NBA, Sony, Walmart, & Payless Shoes. Dominique is an avid dog lover, amateur gourmet chef, and proud NYU Alum.

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Join us for our first ever Residency Reading: ON THE ASCENT

Earlier this season we were pleased to launch our first ever Playwright-in-Residence program. Our inaugural Playwright-in-Residence, A.P. Andrews, will share the culmination of his year-long residency with two reading presentations of his new play, On the Ascent, on March 17. Join us at 1:30PM or 7PM. Make your reservation today!

We are pleased to present our Residency Reading to the public free of charge. Though, a little donation never hurt nobody 😉


written by A.P. Andrews
directed by Lauren Z. Adleman

Featuring Sam Gonzalez, Sam Im, Allan K. Washington*, Dana Watkins*

Design Consulting by Heather McDevitt Barton
Movement Consulting by Matthew Bovee

Dillon has been working at Oceanside Municipal Airport for almost ten years, and has finally started to feel content with the quiet, peaceful life he has built. But when an intriguing new employee arrives on the scene and a mysterious creature begins visiting the airport late at night, Dillons stable life becomes much more turbulent. Can Dillon find the strength to reach in to the blue and grab on to the things he wants, or will letting himself be vulnerable simply lead to an even bigger free-fall?

*These actors appearing courtesy Actors Equity Association

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The Reviews Are In

The reviews are in and critics are loving Jason Craig and Dave Malloy’s Beardo! Check out the early press below, and grab your tickets now! Do not wait, Beardo is only playing through March 5!

Beardo is a louche, lewd and assertively weird fantasia on the life of Rasputin. Dave Malloy’s score is enjoyably eclectic, borrowing from disco, jazz, rock and folk…”
The New York Times

Sexy, twisted, and mysterious, the legend of Rasputin gets a further imaginative boost here with the presence of the bewitching Damon Daunno (Hadestown) in the lead; he’s likely to cast more than just one spell on audiences.”
The Village Voice, Critics’ Pick

Beardo is near brilliant, played with pitch-perfect timing by the cast, particularly Damon Daunno, in a star-making turn… It is pure pleasure.”
The Daily Beast

“…an unforgettable theatrical experience. Malloy employs an eclectic mix of styles for a score that is both tuneful and daring resulting in stunning vocal performances throughout and the most breathtaking first act finale this side of Les Misérables.”



Photo by Suzi Sadler

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Spotlight on Dave

DaveDave Malloy, the mind behind the absolutely beautiful music of Beardo, is a composer/writer/performer/orchestrator/sound designer. His shows include Natasha, Pierre & The Great Comet of 1812; Ghost Quartet; Preludes; Black Wizard/Blue Wizard; Three Pianos; All Hands; Beardo; Beowulf – A Thousand Years of Baggage; The Sewers; Sandwich; Clown Bible; and (The 99-cent) Miss Saigon. He is the winner of two Obie Awards, the Richard Rodgers Award, an ASCAP New Horizons Award, and a Jonathan Larson Grant. Future projects include adaptations of Moby-Dick and Shakespeare’s Henriad. He lives in Brooklyn. Learn more about Dave in our interview below, and grab your tickets to Beardo today!

Pipeline Theatre Company: What compelled you to write this show?

Dave Malloy: I have both long been fascinated by the tales of Rasputin, this seemingly demonic shaman who somehow charmed his way into the Tsar’s palace, and by the crazy fiasco/myth of his assassination, in which the seemingly immortal Rasputin had to be poisoned, then shot, then wrapped in a rug and drowned in the river. So when Jason had the idea to do a piece about him (with the Shotgun Players, back in 2010), I jumped at the chance to explore this cultish figure, and to indulge in both Russian classical music and paganistic ritual music with a string quartet.

PTC: How do you see this production of Beardo differing from the Berkeley production?

DM: You always learn so much during the first run of a show; so this has been an amazing opportunity to dig back into the piece and fix the things that needed massaging, do some small edits and structural reshuffling, refine some of the melodies and orchestrations, and add a couple new bits. Plus of course our new cast and new director/designers are breathing tons of new life into the show, as is our amazing church venue. And the current political clownshitshow is of course influencing the way we hear this piece about a dangerous charlatan working his way into the highest ranks of the government as well.

PTC: What excites you most about this production?

DM: Pipe organ!

PTC: More generally, what excites you as a composer?

DM: Mmmm in general I really enjoy bringing old stories to life with contemporary language and music, and exploring that dissonance between history and aesthetics.

PTC: Beardo begins the play searching for something in a hole – What is your “hole” and what do you think you are searching for?

DM: I’ll let you know soon as I’ve found it.

PTC: Are you attracted to Beardo the character? What about him is attractive or repulsive?

DM: The craziest thing to me is that most accounts seem to confirm that he did in fact have some healing effect on the Tsar’s heir, Alexei, a boy of 3 suffering from hemophilia. So I’m pretty fascinated by the gentleness implied by that, in contrast to the other, more demonic and hedonistic tales that are told.

PTC: If you could create a tagline for the show, what would it be?

DM: Well we did! “Royalty, peasantry, sex, dirt, grandeur, and hemophilia” is something Shotgun, Jason and I came up with back in the day. I might add “glissandi” to the list (the strings play a ton of them).

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Spotlight on Jason

jasonJason Craig, the playwright behind our beautiful and bizarre Beardo, is the Co-Founder/Co-Artistic Director of Banana Bag & Bodice. His writing with BB&B has won him awards nationally and internationally. (Scripts include The Sewers, The Young War, Sandwich). His adaptation of Beowulf entitled Beowulf – A Thousand Years of Baggage (music by Dave Malloy) was a commission by Shotgun Players and played at The Ashby Stages and Berkeley Rep, and made its New York premiere at Abrons Arts Center in 2009. It has traveled the world. His most recent script LongYarn, will be published in 2017 in TDR. Learn more about Jason in our interview below, and grab your Beardo tickets today!

Pipeline Theatre Company: What compelled you to write this show?

Jason Craig: As a character, Rasputin has all the right components to pique anyone’s interest…mystery and mysticism, the outsider breaching the gates, sex and booze, the evil versus godliness, and a slapstick ending to his life that the Marx brothers would be proud of.

PTC: How do you see this production of Beardo differing from the Berkeley production?

JC: I think there are particular themes in the world today that resonate on a different level with the themes in the show that were not as relevant back in 2012. The examination of who is on the outside and who is on the inside is fascinating as we come out of this election cycle. The voice of the “common person” has been heard on a completely different way in the last year, and this voice is about to effect world politics on a level that we could not ever expect. So in this regard, I think the characterization of Rasputin as Beardo might resonate and ring out in very interesting ways that we couldn’t really foresee back when it was originally conceived.

Also, the fact that it is taking place in a church will hugely influence the perception of certain themes. The church is another character.

PTC: What excites you most about this production?

JC: I think the design team that Pipeline has assembled is so exciting. And the cast is an amazingly talented group of people.

And the fact that the production is so Woman Strong is so fantastic. I think you can almost count the men in the production room on one hand, whereas the women are an army and in a show about misogyny, this is almost essential.

PTC: More generally, what excites you as a writer?

JC: Being given freedom to just run with an idea.

PTC: Beardo begins the play searching for something in a hole – What is your “hole” and what do you think you are searching for?

JC: The next idea, whatever that may be.

PTC: Do you see yourself in the play? If so, where?

JC: Sure! All the way to the very end.

PTC: Are you attracted to Beardo the character? What about him is attractive or repulsive?

JC: Absolutely. The key to making him more attractive was finding a way to connect this anti-hero to the audience so that we can all be more sympathetic to his goals. I think the comedy and the music in the piece allows this to happen.

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Spotlight on Charlotte

Whitney session 5An outspoken proponent of experimental sounds and expression, violinist Charlotte Munn-Wood is an active freelancer, chamber musician, teacher, and curator in New York City and beyond and has joined team Beardo on violin. She is a co-founding member of Du.0 (pronounced “doo-point-oh”), a two-violin experimental music duo, and performs regularly with the Curiosity Cabinet. She is a frequent commissioner of new works and a co-curator of the Blank Space House Concert series. Charlotte is a recent graduate of the Contemporary Performance Program at the Manhattan School of Music, where she studied with Dr. Curtis Macomber. Away from the violin, she enjoys coffee, Dostoyevsky, and petting other people’s dogs in the park.

Learn more about Charlotte in our interview below and reserve your tickets here!

Pipeline Theatre Company: What attracted you to Beardo? What made you want to work on this project?

Charlotte Munn-Wood: I read “the fall of the Russian monarchy” in the description of the musical. That was literally all it took. I’m very enthusiastic about pre-Soviet Russian history.

PTC: Why violin?

CMW: My mom wouldn’t let me play viola, so I had to learn violin. I grew into it, I guess. Also I like that it’s a) small, b) very portable, c) easily assimilated by non-Western musical cultures, d) capable of producing a range of bizarre and expressive sounds, and e) has two parts (the violin and the bow – that sort of thing doesn’t happen in living creatures, whose bodies are very boring in that all the parts are connected to one another).

PTC: If you ruled the world, what would you be remembered for?

CMW: Well-built and exactingly-maintained infrastructure.

PTC: Why should someone who has no connection to this show or its artists come see the show?

CMW: It’s about Russia and Russians and who doesn’t want as much of that as possible?

PTC: If you could create a promotional tagline for this show, what would it be?

CMW:Before Putin, there was BEARDO”

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Beardo Extends! Curtain is Now at 7:30PM! Plus New Short Film!

Tomorrow we will present the very first preview performance of Beardo, and today we have an exciting announcement:

Due to popular demand, Beardo will extend one week, to March 5. Performances are Tuesdays-Sundays, with the exception of Wednesday, March 1. All performances (including those previously announced) will now be at 7:30PM, not 8:00PM. Get your tickets while you still can.

Can’t wait even one more day to enter the world of Beardo? Well you don’t have to. Today we are also pleased to share with you the exciting conclusion of our three part short film series, BEARDO: Grandeur Hemophilia. Watch now!

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