On to the next show...
Monday, September 24, 2012
Monday, August 27, 2012
Apocalypse of John wins the Overall Execellence Award for Ensemble!
At the NYC Fringe closing night awards ceremony, the Apocalypse of John won the Overall Execellence Award for Ensemble!
For a theater company that's all about collaborative creating, this is probably the finest honor we can think of!
Congratulations to the cast, band, crew, and writers!
Sunday, August 26, 2012
Preparing for Philly: The Philly Fringe Blog Interviews Lizz Leiser...
EXQUISITE CORPSES, SERIOUS THEATRE
-Nick Gilewicz
“Destroying props—we call it making an offering to Dionysus. Anything you give me for a show, that shit is going to get destroyed as a sacrifice to the gods of theater,” says Lizz Leiser, director of the 2012 Philly Fringe show called The Apocalypse of John. What could be more appropriate, especially for plays that emerge from the planned chaos of New York’s Serious Theatre Collective?
For the raw material that became the Apocalypse of John, a group of seven playwrights were asked to generate high-stakes ideas, and all came up with stories of the apocalypse. Lizz turns to Jess Conda, who’s tending bar where we’re sitting upstairs at Fergie’s Pub, and asks, “Don’t you think that the apocalypse would happen in Philadelphia?” It’s a rhetorical question.
“Philadelphia is genuinely fucking weird,” Lizz says. So naturally, Philadelphia became the setting for this apocalyptic endeavor. John Derrian, the lead character, must save the earth from numerous archetypal apocalypses, ranging from Biblical forms to zombies to Satan himself. And the show, like all Serious Theatre Collective endeavors, is designed to attract a wide audience.
“We make theater for people who don’t consider theater an entertainment option. We take elements that you can only have live—bands, storytelling—and don’t publish clips of our shows online. The whole purpose of it is being live. We want to make a good product for audiences—we want to make good shit that people have fun seeing,” Lizz says.
Up now at the New York Fringe Festival, the play earned four stars from Time Out New York: “Directed with economy and savvy by Lizz Leiser and featuring a talented ensemble cast, the show is a riot of zippy one-liners and laugh-out-loud set pieces; it’s like watching a bunch of overgrown kids playing make-believe.”
These overgrown kids are open not just to integrating more popular images or forms into their writing, but also to welcoming the new kid. Anybody is invited to be a part of what is an open creative process; Lizz even volunteers an email address for readers interested in collaboration: tstcollective[at]gmail[dot]com. “If you can pick up a pencil, you can join us,” says Lizz.
The process works like this: At the weekly meetings, writers will generate raw material in response to prompts, or in exquisite-corpse-style experiments. Then, a second tier of “lead writers” will take on pulling that material together into a more cohesive form, and then ultimately, a head writer or writers will emerge for each show.
For newcomers, Lizz says, the collective gives training on their method when they first start writing. When they pass around material, they have certain rules. In exquisite corpse exercises, when a scene comes to a writer, that writer has to follow the voice that came before. “You can’t ask questions,” Lizz says, “and you don’t say ‘no’—you can’t write negatives.”
They meet in the Dublin House at 79th and Broadway, where, Lizz says, there’s a quiet back room. “It’s the official bar of our collective. We write and read the scenes to see what works. If they’re really terrible, I fold them I half, so I won’t have to bother. On Sundays, Ricardo [Delgado] and I, [who often work as lead writers], read what we have, highlight good lines, and we put it in the meat grinder to come up with a rough draft of a scene from all the best lines.”
Then, Lizz says, they have a straw man of what the play is, they do a reading, and see what needs to be fixed. Then, four head writers will cycle through revisions, until it goes back to Lizz and Ricardo once more. They have another reading, workshop it. Then, a big benefit of the collective emerges.
“At that point,” says Lizz, “nobody can tell who wrote any line. It’s great because you take the ego out of it. Nobody’s like, ‘this is my precious baby that I pushed out of my playwriting vagina.’”
The collective parents of this precious baby are Lizz, Ricardo Delgado, Becca Worthington, Terry Selucky, Ari Kessler (all of whom share writing credits), and Mike Drummey and Erin Salm (who both wrote and also act in the play). And to see some of the props from Norman and Ursula Stuby that are likely to be sacrificed, click here.
The Apocalypse of John runs September 14 through 16 at Fergie’s Pub. 1214 Sansom Street, Center City. Times vary, $15.
-Nick Gilewicz
“Destroying props—we call it making an offering to Dionysus. Anything you give me for a show, that shit is going to get destroyed as a sacrifice to the gods of theater,” says Lizz Leiser, director of the 2012 Philly Fringe show called The Apocalypse of John. What could be more appropriate, especially for plays that emerge from the planned chaos of New York’s Serious Theatre Collective? For the raw material that became the Apocalypse of John, a group of seven playwrights were asked to generate high-stakes ideas, and all came up with stories of the apocalypse. Lizz turns to Jess Conda, who’s tending bar where we’re sitting upstairs at Fergie’s Pub, and asks, “Don’t you think that the apocalypse would happen in Philadelphia?” It’s a rhetorical question.
“Philadelphia is genuinely fucking weird,” Lizz says. So naturally, Philadelphia became the setting for this apocalyptic endeavor. John Derrian, the lead character, must save the earth from numerous archetypal apocalypses, ranging from Biblical forms to zombies to Satan himself. And the show, like all Serious Theatre Collective endeavors, is designed to attract a wide audience.
“We make theater for people who don’t consider theater an entertainment option. We take elements that you can only have live—bands, storytelling—and don’t publish clips of our shows online. The whole purpose of it is being live. We want to make a good product for audiences—we want to make good shit that people have fun seeing,” Lizz says.
Up now at the New York Fringe Festival, the play earned four stars from Time Out New York: “Directed with economy and savvy by Lizz Leiser and featuring a talented ensemble cast, the show is a riot of zippy one-liners and laugh-out-loud set pieces; it’s like watching a bunch of overgrown kids playing make-believe.”
These overgrown kids are open not just to integrating more popular images or forms into their writing, but also to welcoming the new kid. Anybody is invited to be a part of what is an open creative process; Lizz even volunteers an email address for readers interested in collaboration: tstcollective[at]gmail[dot]com. “If you can pick up a pencil, you can join us,” says Lizz.
The process works like this: At the weekly meetings, writers will generate raw material in response to prompts, or in exquisite-corpse-style experiments. Then, a second tier of “lead writers” will take on pulling that material together into a more cohesive form, and then ultimately, a head writer or writers will emerge for each show.
For newcomers, Lizz says, the collective gives training on their method when they first start writing. When they pass around material, they have certain rules. In exquisite corpse exercises, when a scene comes to a writer, that writer has to follow the voice that came before. “You can’t ask questions,” Lizz says, “and you don’t say ‘no’—you can’t write negatives.” They meet in the Dublin House at 79th and Broadway, where, Lizz says, there’s a quiet back room. “It’s the official bar of our collective. We write and read the scenes to see what works. If they’re really terrible, I fold them I half, so I won’t have to bother. On Sundays, Ricardo [Delgado] and I, [who often work as lead writers], read what we have, highlight good lines, and we put it in the meat grinder to come up with a rough draft of a scene from all the best lines.”
Then, Lizz says, they have a straw man of what the play is, they do a reading, and see what needs to be fixed. Then, four head writers will cycle through revisions, until it goes back to Lizz and Ricardo once more. They have another reading, workshop it. Then, a big benefit of the collective emerges.
“At that point,” says Lizz, “nobody can tell who wrote any line. It’s great because you take the ego out of it. Nobody’s like, ‘this is my precious baby that I pushed out of my playwriting vagina.’”
The collective parents of this precious baby are Lizz, Ricardo Delgado, Becca Worthington, Terry Selucky, Ari Kessler (all of whom share writing credits), and Mike Drummey and Erin Salm (who both wrote and also act in the play). And to see some of the props from Norman and Ursula Stuby that are likely to be sacrificed, click here.
The Apocalypse of John runs September 14 through 16 at Fergie’s Pub. 1214 Sansom Street, Center City. Times vary, $15.
Friday, August 17, 2012
Sonic Branding: An Interview with Ari Kessler Creator of Apocalypse of John's Live Soundtrack
Ari Kessler: Composer, Lyricist, Pianist, Band Leader, and all around great guy sits down answer 5 questions about the Serious Theatre Collective's FringeNYC hit, "The Apocalypse of John ".
1. Ari, you're the lead Aural Specialist for the Serious Theatre Collective. How does that make you feel?
I've always prided myself on my aural abilities, though I do have reservations about this title.
2. Reviews have likened the music in the show to a sort of "live soundtrack". How does that description compare/contrast with what you were going for?
The music for A of J has always been more in line with the idea of a soundtrack than a traditional musical accompaniment. The live band is a part of the show's world, and so its job is to interact with the characters and act as a sort of guide to the audience as the plot zips through locations and scenarios.
3. Tell us about how you created the music for the show.
The main theme, "Kiss My Ass Goodbye", was written as a stand-alone song way back in the early stages of the script when we were still treating it as a traditional musical. Once we decided on the role for the band, though, the song became a motif for the Upstairs bar and for John in particular. That led me to write themes for the other main characters, and during rehearsals things settled into place organically.
4. What do you do when you're not playing music for the theatre?
When I'm not playing music for the theater, I'm usually doing something else music-related. Teaching private lessons, teaching classes, playing for classes, playing gigs, gigging for classes, classing for gigs -- you get the idea.
5. After all the excitement for The Apocalypse of John has died down, what will you do next?
After A of J finishes its Philly Fringe run, Lizz and I will go into seclusion to work on songs for a super-secret project, currently codenamed "octopus seahorse-saurus". I've said too much already.
1. Ari, you're the lead Aural Specialist for the Serious Theatre Collective. How does that make you feel?
I've always prided myself on my aural abilities, though I do have reservations about this title.
2. Reviews have likened the music in the show to a sort of "live soundtrack". How does that description compare/contrast with what you were going for?
The music for A of J has always been more in line with the idea of a soundtrack than a traditional musical accompaniment. The live band is a part of the show's world, and so its job is to interact with the characters and act as a sort of guide to the audience as the plot zips through locations and scenarios.
3. Tell us about how you created the music for the show.
The main theme, "Kiss My Ass Goodbye", was written as a stand-alone song way back in the early stages of the script when we were still treating it as a traditional musical. Once we decided on the role for the band, though, the song became a motif for the Upstairs bar and for John in particular. That led me to write themes for the other main characters, and during rehearsals things settled into place organically.
4. What do you do when you're not playing music for the theatre?
When I'm not playing music for the theater, I'm usually doing something else music-related. Teaching private lessons, teaching classes, playing for classes, playing gigs, gigging for classes, classing for gigs -- you get the idea.
5. After all the excitement for The Apocalypse of John has died down, what will you do next?
After A of J finishes its Philly Fringe run, Lizz and I will go into seclusion to work on songs for a super-secret project, currently codenamed "octopus seahorse-saurus". I've said too much already.
 |
| Ari: Play on playa |
Monday, August 13, 2012
Time Out NY Gives Apocalypse of John 4 out of 5 stars!
Time Out says
In The Apocalypse of John... Directed with economy and savvy by Lizz Leiser and featuring a talented ensemble cast, the show is a riot of zippy one-liners and laugh-out-loud set pieces; it’s like watching a bunch of overgrown kids playing make-believe. (One sublime moment of silliness features a shotgun-toting John blowing away a host of hostile forces—including the weather.) .... All told, this is a damned fun party.
Go here to read the full review!
Sunday, July 29, 2012
The Official Apocalypse of John Trailer!
Buy Tickets Now!
The New York International Fringe Festival- Fringe NYC
A production of the Present Company
AND
2012 Live Arts Festival & Philly Fringe
Tickets $15
For tickets, contact the Festival Box Office at (215) 413-1318
or
visit www.livearts-fringe.org
For tickets, contact the Festival Box Office at (215) 413-1318
or
visit www.livearts-fringe.org
Tuesday, July 24, 2012
The Apocalypse of John- Meet the Artists
The Serious Theatre Collective has formed a special contract with acclaimed Philadelphia Artists Ursula and Norman Stuby to create masks, puppets, and additional surprises for the Apocalypse of John.
These hand made art pieces have been loving crafted by Ursula and Norm to be ridden hard and put away wet by the cast for your entertainment!
Critics agree, the masks, puppets, and set items created by the Stubys are nothing short of awesome:
"...the show is a riot of zippy one-liners and laugh-out-loud set pieces..." —TimeOut NY
"...Excellent masks and puppets by Ursula and Norm Stuby are effectively used when the four horsemen of the apocalypse, aliens intent on Earth’s annihilation, and flesh-hungry zombies are introduced..." —Nytheatre.com
"...the titular burnout must weather no fewer than six global cataclysms—zombies, aliens, plague, nukes, storms, and the devil—all skillfully rendered by prop, puppet, and mask designers Ursula and Norm Stuby." —Backstage
Behind the Scenes Interview with Norm & Ursula!
Making awesome props and masks in five questions....
1. Hi Ursula and Norm. Thanks for doing the interview. Just to let our audience know a little bit about who you are, who are you? What do you do in Philly?
N: We both work in arts related jobs, but generally don't get to be creative at work. Ursula works for a public art exhibitions program installing the work of local artists and institutions. I work in a shop that does small scale commercial sculpture (toys, xmas ornaments, occasional internal organs of the body). We like to make things on the side that we can really sink our creative teeth into.
U: Norm said it. I love being challenged to solve art problems.
2. How did you guys get your start in art/theater/prop-making/things that look good?
N: I majored in sculpture in college, and went on to working in a few scenic and exhibit shops in the city before landing where I am now. It's really my need to make things combined with my love of all of the detail that makes movies (even really bad movies, which I love) interesting and fun to watch. Doing props for the theater is sort of a different animal because there are no close-ups in theatre and everything has to be big and bold.
U: I studied Art History, but have never stopped making things since kindergarten. I enjoy learning new mediums and techniques. The challenge to make props that looked good while being functional was great.
3. And you're husband and wife? What 's it like to collaborate creatively with the One you love?
N: It generally works out well because when one of us hits a wall, the other one is there to pick up a sledgehammer.
U: Working together on art is some of our happiest times. We like being a team.
4. Reviews have celebrated the props and design of the show. What inspired you in making these items? What was one of the most fun and/or challenging pieces?
N:They're all fun... we both love Halloween, mythology and sci-fi, so the subject matter is perfectly suited to our interests. The masks were took some trial and error with the papier mache, but turned out to be really good. The nuclear bombs were probably the most challenging, as shadow puppetry is tricky when the puppet, scrim, and light source all have to be hand-held by one person. We agree that they turned out much better the second time around with the color images of the mushroom clouds painted on the back of less translucent material.
U: I really enjoyed painting Blackstock's portrait. It had been a while since I did an acrylic painting and I had forgotten how relaxing that sort of painting is.
5. What's up next for you guys as artists?
N: Hopefully somebody will see this play who is working on a sci-fi B movie and decide that spending 60% of thier budget on props made by me will make their movie 85% better.
U: I want to make some masks for myself, do some more painting, design us a set of dishes, finish my quilt and the list goes on.
Below are exclusive behind the scenes photos of the making of just a few of masks and props featured in our show.
Don't forget to purchase your tickets here to see us lovingly destroy these works of art!
BONUS FEATURE: See more work from Norm Stuby
These hand made art pieces have been loving crafted by Ursula and Norm to be ridden hard and put away wet by the cast for your entertainment!
Critics agree, the masks, puppets, and set items created by the Stubys are nothing short of awesome:
"...the show is a riot of zippy one-liners and laugh-out-loud set pieces..." —TimeOut NY
"...Excellent masks and puppets by Ursula and Norm Stuby are effectively used when the four horsemen of the apocalypse, aliens intent on Earth’s annihilation, and flesh-hungry zombies are introduced..." —Nytheatre.com
"...the titular burnout must weather no fewer than six global cataclysms—zombies, aliens, plague, nukes, storms, and the devil—all skillfully rendered by prop, puppet, and mask designers Ursula and Norm Stuby." —Backstage
Behind the Scenes Interview with Norm & Ursula!
Making awesome props and masks in five questions....
1. Hi Ursula and Norm. Thanks for doing the interview. Just to let our audience know a little bit about who you are, who are you? What do you do in Philly?
N: We both work in arts related jobs, but generally don't get to be creative at work. Ursula works for a public art exhibitions program installing the work of local artists and institutions. I work in a shop that does small scale commercial sculpture (toys, xmas ornaments, occasional internal organs of the body). We like to make things on the side that we can really sink our creative teeth into.
U: Norm said it. I love being challenged to solve art problems.
2. How did you guys get your start in art/theater/prop-making/things that look good?
N: I majored in sculpture in college, and went on to working in a few scenic and exhibit shops in the city before landing where I am now. It's really my need to make things combined with my love of all of the detail that makes movies (even really bad movies, which I love) interesting and fun to watch. Doing props for the theater is sort of a different animal because there are no close-ups in theatre and everything has to be big and bold.
U: I studied Art History, but have never stopped making things since kindergarten. I enjoy learning new mediums and techniques. The challenge to make props that looked good while being functional was great.
3. And you're husband and wife? What 's it like to collaborate creatively with the One you love?
N: It generally works out well because when one of us hits a wall, the other one is there to pick up a sledgehammer.
U: Working together on art is some of our happiest times. We like being a team.
4. Reviews have celebrated the props and design of the show. What inspired you in making these items? What was one of the most fun and/or challenging pieces?
N:They're all fun... we both love Halloween, mythology and sci-fi, so the subject matter is perfectly suited to our interests. The masks were took some trial and error with the papier mache, but turned out to be really good. The nuclear bombs were probably the most challenging, as shadow puppetry is tricky when the puppet, scrim, and light source all have to be hand-held by one person. We agree that they turned out much better the second time around with the color images of the mushroom clouds painted on the back of less translucent material.
U: I really enjoyed painting Blackstock's portrait. It had been a while since I did an acrylic painting and I had forgotten how relaxing that sort of painting is.
5. What's up next for you guys as artists?
N: Hopefully somebody will see this play who is working on a sci-fi B movie and decide that spending 60% of thier budget on props made by me will make their movie 85% better.
U: I want to make some masks for myself, do some more painting, design us a set of dishes, finish my quilt and the list goes on.
Below are exclusive behind the scenes photos of the making of just a few of masks and props featured in our show.
Don't forget to purchase your tickets here to see us lovingly destroy these works of art!
BONUS FEATURE: See more work from Norm Stuby
Cutting lightening bolts from foam core.
FUN FACT: foam core is utterly flammable and therefore prohibited for use on stage. Ursula and Norm have since reconstructed all props that could potentially burst into flame whilst we are performing! You're welcome, Audience!
In it's finishing stages- the Pestilence horsemen mask.
Creating the Death Horseman Mask.
Sowing Nuclear Explosion scrims in the studio.
Creating our very own Nuclear Bombs.
Death!
Sunday, July 22, 2012
Serious Theatre Collective WINS at Coney Island!
Saturday July 21st 2012
The Serious Theatre Collective wins 2nd Place at the Coney Island Sand Sculpting Contest!
After spending a day at the beach slowly burning our collective skins the Serious Theatre Collective took home a sweet $200 prize with our Apocalyptic Sand Sculpture which featured a city being swallowed by a tsunami, two crash landed alien space ships, and Satan himself rising out of the Earth to advertise for our Fringe Shows/lead the final battle detailed in Revelations!
Winning Second Place @ the Coney Island Sand Sculpture Contest
Photo Montage STC @ the Coney Island Sand Sculpture Contest
Our winning sculpture featuring a tsunami wave, crashed aliens, and the Devil himself.
The tsunami rising wave out of the earth to destroy the city.
Additional views of the tsunami wave as it washes over the city.
Side view of the end of the world, featuring the lightning bolts shooting forth from the devil's hind quarters as he emerges.
Beginning at 12pm we worked with feverish intensity until the 3pm judging- where sure we gave the judges the full theatrical experience during their rounds.
Close up on the doomed city.
Ricardo Delgado digs to the center of the Earth.
Erin Salm, aka Maggie in The Apocalypse of John, enjoys an appropriately themed "Zombie" at our after-contest celebration.
The Serious Theatre Collective and friends celebrate our win.
(Left to Right) Lizz Leiser, Damian Martinez, Becca Worthington, Andrea Fellows, Katherine Harris, Jacob Moore, Kymm Walker, and Erin Salm.
(Not Pictured, but part of the team: Rachel Lewett, Antonio Flores, & Maria)
The envelope containing Two Hundred American Dollars.
Lots of Additional Fun:
Thursday, July 12, 2012
Introducing the Apocalypse of John- Trading Card Style
The incredible Morgan Shortell has created
the Apocalypse of John
a set of totally awesome Trading Cards!
Love Morgan's work as much as we do? Visit him at KMEstudio12.com
Sunday, July 1, 2012
New Page!
In the interest of giving credit where it is most certainly due, we're proud to debut our Supporters page. There, you'll find the names of all the excellent human beings who helped us get the show the backing it needed. We love them, and you should too!
Saturday, June 9, 2012
The Fringe- it's on.
Photo by: Morgan Shortell
Left to Right: Michael Mraz, Jacob Callie Moore, Kacie Laforest*, Ricardo Delgado, Zack Sciranka
When:
Saturday, August 11th, curtain 5pm
Tuesday August 14th, curtain 9:30pm
Friday August 17th, curtain 9:30pm
Sunday August 19th, curtain 12:00pm
Tuesday August 21st, curtain 4:30pm
And remember, the NYC Fringe does not allow late seating
Where:
Venue #10: Players Theatre 115 MacDougal St. (@ Minetta Lane)
Left to Right: Michael Mraz, Jacob Callie Moore, Kacie Laforest*, Ricardo Delgado, Zack Sciranka
Photo by: Morgan Shortell
Left to Right: Kacie Laforest, Jacob Callie Moore, Michael Mraz, Zach Sciranka, Erin Salm
THE SERIOUS THEATRE COLLECTIVE PRESENTS
THE APOCALYPSE OF JOHN, A DARK COMEDY
The New York International Fringe Festival- Fringe NYC
A production of the Present Company
Tickets $15 - $18. For tickets visit www.FringeNYC.org
AND
AND
2012 Live Arts Festival & Philly Fringe
Tickets $15
For tickets, contact the Festival Box Office at (215) 413-1318 or visit www.livearts-fringe.org
For tickets, contact the Festival Box Office at (215) 413-1318 or visit www.livearts-fringe.org
Serious Theatre Collective is proud to present the world premiere of The Apocalypse of John as part of the 16th annual New York International Fringe Festival- Fringe NYC. AND the The Apocalypse of John as part of the 2012 Live Arts Festival & Philly Fringe.
Written collaboratively by Serious Theatre Collective, The Apocalypse of John is an absurd look at coming to terms with your worst fears. And zombies. Underscoring, live music, and soundscape by Andrew Hollis and Ricardo Delgado, lead by Ari Kessler. Props, sets, masks, and puppets by Philadelphia based visual artists Ursula and Norm Stuby.
John Darrian, a struggling advertising associate, finds himself battling six archetypal Armageddons including alien invasions, zombies, and the devil himself in a dark comedy about the tragic end of all life on Earth.
The Serious Theatre Collective is a group of playwrights, actors, musicians, and artists who strive to make original, high-quality, affordable theater that is accessible, remarkably entertaining, surprising and fun.
The Apocalypse of John- NYC Fringe
Saturday, August 11th, curtain 5pm
Tuesday August 14th, curtain 9:30pm
Friday August 17th, curtain 9:30pm
Sunday August 19th, curtain 12:00pm
Tuesday August 21st, curtain 4:30pm
And remember, the NYC Fringe does not allow late seating
Where:
Venue #10: Players Theatre 115 MacDougal St. (@ Minetta Lane)
Cost:
Tickets $15 - $18
For tickets visit www.FringeNYC.org
For tickets visit www.FringeNYC.org
The Apocalypse of John- PHILLY FRINGE
When:
Four shows only:
- Friday 9/14, 7pm
- Saturday 9/15, 2pm
- Saturday 9/15, 7pm
- Sunday 9/16, 2pm
Where:
Fergie’s Pub
1214 Sansom Street
Philadelphia, PA
215.928.8118
Cost:
$15
For tickets, contact the Festival Box Office at (215) 413-1318 or visit www.livearts-fringe.org
For tickets, contact the Festival Box Office at (215) 413-1318 or visit www.livearts-fringe.org
Facebook:
https://www.facebook.com/theserioustheatrecollective
*Appearing courtesy of Actor's Equity Association
*Appearing courtesy of Actor's Equity Association
Sunday, April 22, 2012
New Video Starring Ari Kessler and Some Awesome Puppets
http://www.kickstarter.com/projects/199120093/the-apocalypse-of-john-at-nyc-and-philly-fringe-fe/posts/212862
Tuesday, March 27, 2012
Oppurtunity to Give and Recieve Serious Theatre LOVE
Go to:
http://www.kickstarter.com/projects/199120093/the-apocalypse-of-john-at-nyc-and-philly-fringe-fe
Watch our video of intent and help us bring the Apocalypse of John to the NY and Philadelphia Fringe Festivals.
http://www.kickstarter.com/projects/199120093/the-apocalypse-of-john-at-nyc-and-philly-fringe-fe
Watch our video of intent and help us bring the Apocalypse of John to the NY and Philadelphia Fringe Festivals.
Sunday, February 26, 2012
Official Cabaret Date, Time, and Location Released!
THE SERIOUS THEATRE COLLECTIVE PRESENTS
PROFESSOR VON AWESOME'S
SNIVELING GROVELING SHAMELESS FUNDRAISING CABARET
Our cabaret will feature a list of performers and songs hand selected for maximum awesomeness- including Serious Theatre Collective favorites from The Legend of Johnny 15 and Professor von Awesome's Traveling Caravan of Cautionary Warnings!
The evening will also include plenty of surpises and additional excitement, more details to come...
The sniveling groveling awesomeness will take place at the Parkside Lounge, 317 E. Houston (between Avenues B and C). On Thursday – March 29th . Running time is approximately 80 minutes. Tickets are sold at the door, on the night of the performance, $20; cash only.
Professor von Awesome's Sniveling Groveling Shameless Fundraising Cabaret
What: Professor von Awesome's Sniveling Groveling Shameless Fundraising Cabaret
When: One Night Only:
- Thursday 3/29
7:30pm doors, 8pm curtain
Where: Parkside Lounge
317 E. Houston (b/t Avenues B and C)
New York, NY 10002
Cost:
$20
Cash only, tickets sold at the door on day of performance
Site: http://www.theserioustheatrecollective.com/
PROFESSOR VON AWESOME'S
SNIVELING GROVELING SHAMELESS FUNDRAISING CABARET
Professor von Awesome will return to the Parkside Lounge (317 E. Houston) for ONE NIGHT ONLY on Thursday March 29th to host Serious Theatre Collective's first ever Sniveling Groveling Shameless Fundraising Cabaret!
Our cabaret will feature a list of performers and songs hand selected for maximum awesomeness- including Serious Theatre Collective favorites from The Legend of Johnny 15 and Professor von Awesome's Traveling Caravan of Cautionary Warnings!
The evening will also include plenty of surpises and additional excitement, more details to come...
The sniveling groveling awesomeness will take place at the Parkside Lounge, 317 E. Houston (between Avenues B and C). On Thursday – March 29th . Running time is approximately 80 minutes. Tickets are sold at the door, on the night of the performance, $20; cash only.
Professor von Awesome's Sniveling Groveling Shameless Fundraising Cabaret
What: Professor von Awesome's Sniveling Groveling Shameless Fundraising Cabaret
When: One Night Only:
- Thursday 3/29
7:30pm doors, 8pm curtain
Where: Parkside Lounge
317 E. Houston (b/t Avenues B and C)
New York, NY 10002
Cost:
$20
Cash only, tickets sold at the door on day of performance
Site: http://www.theserioustheatrecollective.com/
Friday, February 17, 2012
Professor von Awesome returns!
Professor von Awesome will return to the Parkside (317 E. Houston)
for ONE NIGHT ONLY on March 29th
to host Serious Theatre Collective's first ever
Sniveling Groveling Shameless Fundraising Cabaret
Songs! Laughter! Beer! Awesomeness!
Supporting Those Bent on Providing Theatrical Amusements!
More details to follow...
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