A Spectacular Auction!

We have a magnificent afternoon in store for you at our 10th Anniversary Gala on February 10th. There will be brunch, an open bar, heartwarming speeches, sweeping performances … and that’s not all!

When you join us at our annual gala and you’ll have the opportunity to go home with absolutely fabulous auction prizes including VIP tickets to Phantom of the Opera on Broadway (with backstage tour!), an exclusive tour of New York Public Radio studios, and so much more. Scroll down to learn more and get your tickets today!

Two VIP Tickets to Phantom of the Opera on Broadway with Backstage Tour | Value: Priceless
Phantom Broadway is the musical all others are measured against. The timeless story, the unforgettable score, and an undeniable obsession that could never die. Phantom is now in its 31st glorious year on Broadway, is the winner of 70 major theatre awards, and has been seen by more than 140 million people. This package comes with two VIP tickets to the show, plus an exclusive backstage tour and signed Playbill.

Exclusive Tour for Two of New York Public Radio | Value: Priceless
New York Public Radio is home to three of the country’s leading public radio stations – WNYC FM, WNYC AM and WQXR FM – as well as New Jersey Public Radio and The Jerome L. Greene Performance Space. Get an exclusive behind the scenes look at the home of popular podcasts, including 2 Dope Queens, RadioLab, Here’s the Thing with Alec Baldwin, Death, Sex, & Money, Snap Judgement, and Freakonomics Radio.

Two VIP Tickets to Late Night with Seth Meyers | Value: Priceless
With his signature monologue and sharp newsy segments like “A Closer Look,” Seth Meyers hilariously breaks down the day’s biggest stories and takes the current political circus head-on. He then welcomes Hollywood’s most beloved A-list guests, as well as people not seen anywhere else in late night, like political figures and other interesting newsmakers. With fan-favorite comedy segments that become viral sensations, and the talented 8G band at his side, Seth consistently brings home the last laugh.

Dinner and a Show for Two at 54 Below | Value: $300
Feinstein’s/54 Below, Broadway’s Supper Club, offers an unforgettable New York nightlife experience, combining performances by Broadway’s best with world class dining in an elegant setting. Steps from Times Square, the club is known as Broadway’s living room, a home away from home for Broadway professionals and audiences alike. With pre-theatre dinner offered nightly from 5pm, Feinstein’s/54 Below has set a new culinary standard for New York City entertainment venues.

2 Pairs of Minnetonka Moccasins | Value: $186
Since 1946, Minnetonka has been a staple of American style for men, women & kids. They remain a proudly independent, 4th generation family-run business that is dedicated to preserving the unique hand craftsmanship of their products. Minnetonka’s sustainable employment practices ensure that they’ll continue to produce the highest quality products for generations to come.

Four Night Mountain Escape in Napanoche, NY | Value: $800
Escape the hustle and bustle of the city for a four night cabin stay on a beautiful hillside. Just a two-hour drive from the city, you’ll enjoy mountains, sunset views, open meadow, woods and nearby hikes, farms stands, and antique stores. Dogs are welcome – great for cookouts! Ready for some peace and quiet? We’ve got it for you.

Modo Yoga 10 Class Pass | $170
Modo Yoga studios are community hubs where yoga is just the beginning. Every studio in their community is guided and inspired by 7 philosophical pillars: Be Healthy, Be Accessible, Live Green, Community Support, Reach Out, Live to Learn, and Be Peace. This prize includes a pass to ten hot yoga classes rooted in the traditional teachings of yoga and yoga therapy concepts.

One 1-Hour Composing Lesson with Dave Malloy | Value: Priceless
Dave Malloy, the genius mind behind the music for 2017’s Beardo and Broadway’s Natasha, Pierre, and the Great Comet of 1812 will teach you to compose! Can you imagine a better instructor? We certainly can’t. You’ll meet with Dave in person for a one-hour session. Dave is able to specialize the lesson to your skill level, but this is experience is best suited for an individual with some composition background, even if you’ve only written a song or two.

Pair of Tickets to 2econd Stage’s Dying City | Value: $198
Christopher Shinn’s intimate and compassionate play, Dying City, is set in a spare Manhattan apartment, where a young widow receives an unexpected visit from the twin brother of her deceased husband. Dying City explores the human fallout of global events, including the Iraq War and the terrorist attacks of 9/11, through the interwoven stories of three unforgettable characters in this 2008 Pulitzer finalist from “one of our most provocative and probing playwrights” (The New York Times).

4 Premium Tickets to Ars Nova’s The Mad Ones | Value: $150
The Mad Ones are a New York City-based company dedicated to creating visceral, ensemble-driven, highly detailed theatrical experiences that examine and illuminate American nostalgia. The Mad Ones are company-in-residence at Ars Nova.

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Geoff Berman: If you are serious about it, art helps makes sense of the world

If you are serious about it, art helps make sense of the world. Ten years ago (!!) a group of earnest young 20-somethings entered my classroom at the Atlantic Theater Company’s Acting School and announced they’d formed their own theater company. That left me with little to do. The purpose of the class was to cajole them into forming one, on the theory that supporting them as they created their own work during their final year of school would provide a useful map for navigating their artistic dreams afterward – in the big bad world.

But this group was ahead of the game then, as they are now. They didn’t need the speech encouraging to get over whatever tensions had built up over two years together as college theater students at NYU, and work together to put on a play. They were ready to get on with the work. They’ve always been serious about make believe.

And so, ten years on, though I’ve long been their cheerleader, and then board member, and now Board Chair, Pipeline has always given me more than I’ve given them – something to watch and wonder at and admire. As my professional life has moved farther away from theater, they are my pipeline to a world I often miss, where art wrestles with life. If you are reading this, then they’ve been that for you, too, in some way. So as the wild ride of 2018 winds down, and an unknown 2019 ramps up, what better time to support those building meaning, distraction, and serious entertainment out of nothing?

Geoff Berman
Board Chair, Pipeline Theatre Company
Executive Director of the New York State Democratic Committee

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Claire Rothrock: This is why Pipeline is so unique, they specialize in “Yes!”

As an emerging artist, the most difficult thing to find is a place where people will tell you “Yes.” It seems like a simple thing, a quick answer; but it’s often tricky to come by, especially in the theater. This is what artists are searching for, people who can enthusiastically say, “Yes!”

But yes is hard. And look, we get it, the reasons for “No” are plentiful: You’re too green! It’s too weird! There are too many actors! It’s too expensive! We don’t have the Budget! There are too many writers! Scaffolding? In a Church?! Too many wigs! And on, and on, and on…

This is why Pipeline is so unique, they specialize in “Yes!” From their PlayLab series where they champion new writers, to their ambitious main stage productions where they challenge the notion of what a young company is capable of, they are constantly and unabashedly in the business of saying, “YES”.

And this has meant they have helped launch and championed the careers of so many exciting artists. They make it possible for writers, actors, designers, directors, and musicians to dream and take risks and ask for horns to be sewn into the costumes or a New Orleans-style second line to lead the audience to the show. Pipeline says “Yes” because they believe in artists and they believe that great art happens when you take a risk together and jump in.

“Yes” is a gift and one that I know Pipeline wants to keep offering. For that reason, I hope you will also say “Yes” to Pipeline by donating to their campaign. I can tell you that your donation will go towards creating something that you’d never thought possible. You’ll be helping Pipeline say “Yes” to many more artists and that is pure theater magic.

Claire Rothrock
Pipeline Ensemble Member

 

 

Top Photo by Kristin Goehring
Bottom Photo by Suzi Sadler, “Clown Bar” (2015)

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Mike Brun: Bet on collaboration, bet on Pipeline

If you’re reading this, I’m betting you’ve already heard of Pipeline Theatre Company. Duh. And I’m betting you’ve seen at least one of the many fantastic shows they’ve produced these past 10 years. Myself, I’ve taken part creatively in two of them – so far. (Folk Wandering and The Gray Man, for those of you keeping track at home. Oh, and my cornet also had a star turn in the 2016 workshop performance of Playing Hot.)

Ok, so anyway, that Pipeline show you saw. I’ll bet that was probably some unique theater. You’ve been to theater shows before, sure, but there was something special at that Pipeline show you caught, wasn’t there? Maybe it was even the stage itself that was unusual: a church in north Brooklyn, a slinky speakeasy just off Houston. Perhaps it was in a theater, but the set design was something you’d never seen before: tenement apartments almost floating in an inky black expanse, or an ancient, mythical land in a hermetic high-rise office space.

And I’ll bet the cast was virtuosic. Funny. Mesmerizing. I’ll bet the storylines were unpredictable, yet truthful. Supernatural, but somehow human. I would bet you left the show full of feelings and questions and ideas. Maybe you felt like the unique, boundary-pushing, near impossible things you saw were what got you reflecting so deeply as you left.

 

 

Theater is the collaborative art. Good, productive, moving theater is achieved via collaboration, and proper collaboration requires placing a high value on process. And make no mistake, it’s very easy for productions to become results-oriented as opposed to process-oriented. Fans get vocal; contemporary trends that don’t really fit your work are tempting to follow; and of course, seats need butts. Collaboration is the much harder choice. There’s more uncertainty. There’s less control. But the truth is that when Process & Collaboration are valued higher than the product, it’s a safe bet that artists end up making their best work.

These values are something Pipeline has consistently upheld, and it’s a philosophy that is practiced all the way at the top of the organization. Ari Schrier & Natalie Gershtein – Artistic and Producing Artistic Directors of Pipeline, respectively – are not only strong entrepreneurs, strong women, strong theater minds, they’re also such strong collaborators. Every time I’ve worked with them, they have invited me to dream big. Unconditionally. And whenever my fellow artists and I have shared dreams, they talked about “how” the dreams could be realized, not “whether.” They helped create productive, driven, diverse teams for all the lighting adjustments, costume fittings, budget meetings, emails, rehearsals, philosophical debates, literal heavy lifting, emotional heavy lifting, hammering, sawing, choreography brush-ups, conversations over lunch, late night roundtables, all-nighter sewing sessions, frantic cab rides, and years of developmental workshops. They offered more questions than orders. Time and time again, in the face of uncertainty, Ari & Nat have worked to maximize collaboration and process: they bet on the artists over the content, on means rather than ends, on journey over destination. And time and time again, Pipeline as a company has delivered great theater to New York City.

Now it’s our turn to bet on Ari & Nat. To bet on Pipeline. It’s quite a special time to be making theater, and Pipeline is positioned to produce better and deeper work than ever. Is that a future I’m rooting for? You bet.

I hope you’ll join me this holiday season in placing your bets on Ari & Nat. Bet on Pipeline.

Gratefully,
Mike Brun

Top Photo by Sasha Arutyunova.
Bottom Photo by Suzi Sadler from Folk Wandering (2018).

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Cristina Pitter: Theatre that is epic and innovative

The big brass sounds could be heard from far away. A relentless rhythm of joy conjuring up even the most dreary of souls to move and groove. A wave of unbridled passion and boundless laughter moving through the streets, gathering up more power with every two step and twirl of the umbrella raised high in the second line. Those in the know joined in time and strangers in awe followed the crowds into a makeshift dance hall in the hopes of finding out what this massive spectacle was all about.

I suppose you want to know this was too. You must be just a bit curious, yes? Well before I get too ahead of myself, my name is Cristina Pitter and I am a big fan (and new ensemble member!) of the reason you’re even reading this: Pipeline Theatre Company.  And what I’ve been raving about is a show that I have been obsessed with since its first iteration two years ago. A show that created beautiful friendships and necessary intersectional conversations that continue to grow and inform us as artists and people of the world. A show that I KNOW you will swoon, scream, and shout over as it explodes with an exhilarating breath of life and bodies literally leaping and jumping off platforms in time to music. I’m speaking of none other than Playing Hot, a wild creation exploring the history of Buddy Bolden and the birth of jazz in New Orleans. I seriously get chills just thinking about it. Moreover, my heart bursts with an absurd amount of love knowing that because of Pipeline Theatre Company, the world (well folks who come to NYC) will get to experience this event so soon!

 

I am thrilled to be a part of Pipeline and to be working among those who believe in creating theatre that seems impossible. And Playing Hot is a show that definitely fits that criteria and honors everything that Pipeline is: a company that is gloriously courageous. A company that creates theatre that is epic and innovative. A company that pushes the imagination in all senses. I cannot wait to share this show with you all. And in order to do that, we need your help. We need your bright faces in the audiences. We need your support in spreading the good word. And like all things in this world, we need that coin to keep the lights on, the drinks flowing, and the magic bursting from every seam as we head into our 10th Anniversary.

Let’s make this season the best and boldest one yet.

Much love,
Cristina

 

Top Photo by Julia Anrather
Bottom Photo by Marcus Middleton, Playing Hot (2016)

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Annie Tippe: Fearless in their fight for artists

Us: “Hey Pipeline! We have this musical. We started writing it 8 years ago. We’ve got 10 or so composers on it. It’s filled with impossible moments to stage, and it definitely requires one non-negotiable sequence with roller skates. And so sorry, we forgot to mention, but there is a MASSIVE fire, and a song with a cosy little leprosy interlude. Oh, and so silly of us not to mention… we’d love to do it soon?”

Pipeline “Would March work?”

My name is Annie Tippe, and I am a director working here in New York and wherever else they’ll have me. I am also a composer, and had my work featured alongside a tremendous group of composers on Pipeline’s last main stage, Folk Wandering, directed by Andrew Neisler with a book by Jaclyn Backhaus. I have been collaborating with many of the Pipeline crew for years. As both individuals and as a collective, this group of people is fearless in their fight for artists to make the things they thought were impossible. Pipeline gave me the opportunity to explore a side of my artistic self that I rarely visit, that of making music. Before this opportunity, I considered it impossible that my work as a composer could be featured anywhere beyond the bowels of my iPhone voice memos.

Pipeline gave me, and our terrific team, the validation and encouragement that working in a non-traditional way was in fact our greatest asset.

Folk Wandering was made out of a deep sense of collaboration and delight in combining wildly different artistic sensibilities in order to make a greater story about America’s past, present and future. Pipeline celebrated the impossible nature of our show, and the sheer volume of our team. They never said No. They always found a way to say Yes. They are responsible and realistic, but their primary focus is on fulfilling those magic middle-of-the-night-fever- dream-quick-get-a-pen-Ah-ha! moments that in any other circumstance, you write off as “too big” to dare pursuing.

A company that dreams big and lets their artists dream GIGANTIC deserves our support. It’s worth the incorrect grammatical use of “gigantic” just to communicate how serious I am about Pipeline’s value in this community. I am so honored to have had the chance to work with them, both as a director and as a composer, and I warmly encourage you to consider donating in whatever way you can. I promise you, however you’re able to support Pipeline, you will see that contribution manifested in some bold way, by some very bold artists. Thank you, and cheers to a new year of more big, bold and adventurous art!

Top Photo by Jordan Geiger.
Bottom Photo by Suzi Sadler from Folk Wandering (2018).

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Dave Malloy: I am proud and honored to be a part

I first encountered Pipeline Theatre in the fall of 2015, when Ari Schrier emailed me out of the blue, saying she was a fan and asking me if I had any unproduced plays.

When I sent her Beardo, I didn’t really think anything would come of it….the show was an obscure and weird exploration of the fall of Romanov Russia that playwright Jason Craig and I had done in Berkeley CA back in 2011; for years we had been dying to bring the piece to NYC somehow, but the show had significant producing challenges written into it, including a virtuoso string quartet, a 20-minute through-composed ballet, a 30-person choir, and a ukulele song about Rasputin’s dick. But I hadn’t met Ari and Natalie yet, had not yet been stunned and tickled by the magnitude and depth of their talent, dedication, and commitment.

Over the next couple years, I was dazzled again and again by their vision and chutzpah, as they found ways to say yes to everything, assembling an incredible team and finding an absolutely perfect space, a beautifully worn church in Greenpoint, to put on a fantastic production that honored and elevated the piece Jason and I wrote.

As a writer/composer you always hope that the people putting on your work will approach it honestly, on its own terms, understand it and love it rather than wrestle it into something it isn’t; but it’s a rare and special thing when a production both does that and teaches you new things, unearths things buried in the show you didn’t know were there.

Pipeline’s Beardo did all that and more; it was a darkly rich and viscerally luscious production, that punched me in the gut and electrocuted my ears and had me shaking and howling in my seat.

And on top of all that, it has been such a joy to get to know Pipeline, not just as a company that puts on awesome plays, but as a community, a family of artists that supports, celebrates, and loves each other, lifting each other up while making beautiful and heart-wrenching art. I’m proud and honored to be a part, and hope you can give a little bit to keep this essential company thriving, making ever more and more amazing things.

Top Photo by Michael De Angelis.
Bottom Photo by Suzi Sadler from Beardo (2017), featuring Shaye Troha, Damon Daunno, and Rolls Andre.

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Salty Brine: They let me imagine, so that I can help you imagine

I want to talk to you about Pipeline Theater Company — and about imagination.

There is a moment in the theater— a holy moment— when the house lights dim and the audience quiets and the performers take a breath— and then a leap.

What happens after that moment is any audience member’s guess. My hope— sitting in the house— is that I’m going to witness the impossible made possible before my very eyes.

This is why I go see everything Pipeline produces.

I’m not talking about illusion. I’m talking about imagination; The thrill your brain gets from a story told well— and in surprising ways; A feeling that you’ve been transported somewhere— though you haven’t moved; Memories of your own life flipping up and around you as the characters on stage remind you of your own humanity.

I’m talking about imagination. You haven’t taken leave of your senses. You don’t believe what you see on stage is actually happening; You imagineit. You are lead, by the company and the artistic team, toward imagination.

When theater is done well it is our imaginations that reap the rewards. And our imaginations need rewarding. They need tending to. Theyneed attention paid. It is where we find and know and create ourselves; In our imaginations. It is how we dream the world a better, more brilliant place.

As a performer I was fortunate enough to roam the funhouse-mirrored halls of a deranged, musical clown brain in Pipeline’s 2014 production of Adam Szymkowicz’s Clown Bar.

As a playwright I was thoroughly supported through a year of dreaming, playing, and creating— imagining— in the 2015 Pipeline Playlab.

This dedicated, joyful team brought me through each process with grace and truth and an unbelievable amount of hard work. Their dedication to my imagination as an artist was inspiring— remains inspiring to this day.

They let me imagine so that I can help you imagine.

I hope you’ll take a moment today and donate to this incredible company. It is a gift you give to them, to artists like me, and to yourself.

Bottom Photo by Ahron R. Foster from Clown Bar (2014).

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Nicole Spiezio: I was there when it all started

What must it have been like to get in on the ground floor at a big company like Apple? What was it like to see child girl group Destiny’s Child perform at some outdoor fair in Texas and think “Hey! That Beyoncé has something special!”?

Well, I can tell you what it’s like to be there from the beginning because I, Nicole Spiezio, am a FOUNDING MEMBER of Pipeline Theatre Company! You may know me as an actress/comedian/beautiful plus-sized model (THANK U, HONEY!!!) but you may not know that I was there when it all started at the Atlantic Theater Company acting school aka the mothership aka the womb. I was there when we produced our very first show despite being wildly unqualified to do so. I was there when we painstakingly wrote draft after draft of our first mission statement in a small classroom with uncomfortable chairs and no windows. I was there when we came up with the name “Pipeline” (thank goodness that’s where we landed – the other options were, to put it mildly, “not good”).

I was there when a group of child-adults came together to form a theater company as a LITERAL class project and I was there when we transformed into adult-adults. From college acquaintances to BFF’s to a true family (I’m the fun aunt who gets too tipsy at parties). I’ve been there as we’ve added incredible new artists into our family and onto our stages. I’ve seen us literally grow up and become a real live non-profit theater company that gets reviewed by the New York Times (!!!) and gets nominated for Drama Desk Awards (!!!). I’ve worked with artists I’ve met through Pipeline time and time again both within our shared home base and out in the wilds of the NY theater scene. I’ve seen my friends and fellow Pipeline artists continue to lead the pack in their respective fields. I’ve been to our shows when it was just our friends and families in our audience and now I look around and don’t recognize so many faces and I cannot begin to tell you how exciting that is.

I am proud to be a founding member of Pipeline. I am proud to be an ensemble member in a company being run by 3 fearless women I am continuously awed and impressed by. I’m proud that above all else, Pipeline makes big, bold theater and says yes where so many others say “lol, absolutely not”. I am so elated that Pipeline Theatre Company is in its 10TH SEASON of continuously producing work and being a home for the weird and the brave. Thank you for coming along on this ride with us so far, and for staying on board for what’s next. Your support, in so many ways, has directly impacted us being able to make wild, fantastical theater. To help us pay our artists and produce the art only they can make. As we launch into our 10th season, I BOLDLY ask (I am in Pipeline after all) for any help you can give and donation you can make to support this family and business I love so much.

Top Photo by Alice Teeple.
Bottom Photo by Ahron R. Foster from The Ash Girl (2012).

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Sam Gonzalez: I was lucky enough to have Pipeline

It’s Sam Gonzalez. I’m an actor, producer, teaching artist, and one of Pipeline’s newest ensemble members.

From my first few weeks as an undergraduate in NYC pursuing a life in theatre I was lucky enough to have Pipeline in my periphery. I saw a company of artists that insisted on having as much fun as possible and that worked tirelessly to ensure it. Serious play. This incredible paradox has become a philosophy that I take with me in almost every endeavor I embark on artistically, both in and out of Pipeline. I ask myself: What are the steps I need to take to make this happen? Who’s help can I employ to make this possible and enjoyable? How can we, then, when the moment comes, toss all that hard work aside and just have a blast?

I’ve seen this sense of serious play give Pipeline the resilience to make bigger, better, and more ambitious theatre for 10 years now and am thrilled now more than ever to be a member of the ensemble that sits at the heart of this powerful machine of a company. The connection and philosophy that Pipeline and I share, since my days as an admiring patron, has and continues to help me bravely persevere as an artist even in the face of the slings and arrows. In large part thanks to Pipeline – the family it has, the theatre it creates, and the whimsy it injects in everything it does – I insist on fun and never settle for less.

Pipeline has given me so much as an artist, and is such a vital part of our artistic community. I want to make sure the next decade of artists and audiences get to benefit from Pipeline’s integral and singular brand of serious play, or as they put it, “Serious Make Believe.” Join me in supporting Pipeline’s first ten years and help us get the next ten years off to a strong start.

Photo by Sub/Urban Photography

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