MEET THE 2019 NOMINEES: Caroline, Or Change

Caroline, Or Change
By Tony Kushner (Book & Lyrics) and Jeanine Tesori (Music)
Directed by Dev Bondarin
Presented by Astoria Performing Arts Center

NOMINATED FOR: Outstanding Production of a Musical

Photo: Michael Dekker

Starring Amanda Bailey*, LaDonna Burns*, Milanis Clark, Sabatino Cruz, Marcie Henderson*, Greg Horton*, Scott Mendelsohn, Sharaé Moultrie, Nave' Murray, Tony Perry*, Nattalyee Randall*, Joël René*, Lauren Singerman*, Gordon Stanley*, and Navida Stein*.

*Denotes member of Actors' Equity Association

Dev Bondarin (Director)
Minhui Lee (Music Director)
Kemar Jewel (Choreographer)
Christopher Swader & Justin Swader (Scenic & Prop Designers)
Marissa Menezes (Costume Designer)
Danielle Verkennes (Lighting Designer)
Kimberly S. O'Loughlin (Sound Designer)
Margaret Baughman (Production Stage Manager)
Jessi Blue Gormezano (Casting Director).

What attracted you to working on this project?
A strong female-of-color character dealing with an impossible situation with truth and strength.

What was your favorite part of working on this production? And why?
The work itself and the shared commitment of the artists involved.

What do you want the audience to come away with after watching your production?
Something to think about. A change is how they see something. Having had a worthwhile experience.

Why are the nominees from this production awesome?
They are great artists and people and a joy to collaborate with. Support them and their work!

Was there anything odd, quirky, innovative, funny or otherwise noteworthy about your experience with this production?
Working in non-traditional theater spaces, as we do, is always a challenge but also leads to some amazing constructive and collaborative thinking!

What does this nomination mean to you?
That APAC's work is reaching audience members which is an meaningful accolade for an artistic director / director.

Raisin

Book by Robert Nemiroff & Charlotte Zaltzberg
Music by Judd Woldin
Lyrics by Robert Brittan
Directed by Dev Bondarin
Produced by Astoria Performing Arts Center

Nominations: Outstanding Production of a Musical; Outstanding Director, Dev Bondarin; Outstanding Set Design, Lawrence E. Moten III;  Outstanding Sound Design, Emma Wilk; Outstanding Costume Design, Jeannipher Pacheco; Outstanding Choreography/Movement, Tamrin Goldberg; Outstanding Actor in a Lead Role, Warren Nolan Jr.; Outstanding Ensemble: Maia Bedford, Aaron Casey, Shabazz Green, Chris Gwynn, Marcie Henderson, Greg Horton, Brandi Knox, Billy Lowrimore, Ebony Marshall-Oliver, Sarita Amani Nash, Warren Nolan, Jr., Chinua B. Payne, Tony Perry, Joi Danielle Price, Vanessa Robinson, Alicia Thomas, Cartreze Tucker

Photos by Michael Dekker

About the Company: APAC’s mission is to bring high quality theater to Astoria, Queens and greater NYC, and to support local youth and senior citizens.

About the Production: Raisin is a musical adaptation of Lorraine Hansberry's A Raisin in the Sun.

The cast and crew of Raisin share their experiences of bringing this timely work back to New York City for the first time in 40 years.

-----------------------------------------------------------------------

What first attracted you to this project?

Joi: I was intrigued by the opportunity to work on a show so rarely discussed and barely ever performed. The source material is very well known and I felt it had an important message. The opportunity to musicalize the world depicted in that play presented a unique artistic challenge. I also felt that the opportunity to present a slice of African-American life on the stage was very timely. We are living at a time where people are turning inward to examine their own experiences and communicate with others who are from their own community - especially on the internet - and band together with people who have similar points of view. Giving audiences a chance to step into a world which may have a very different viewpoint with different struggles helps us all to empathize with each other and respect differing experiences.

Lawrence: I have always been drawn to opportunities to tell the stories of underrepresented people, people on the margins. I find the story of Raisin in the Sun to be an honest portrayal of life that allows actors of color to take center stage and not be stereotypes. To take that story and transform it into a beautiful musical is the great work of the book and music writers and I jumped at the opportunity to be involved.

Marcie: Musical of a Lorraine Hansberry masterpiece

Chinua: My mom telling me the history of the play Raisin/A Raisin In The Sun.

Horton: The rarity of working on this particular piece.  

Thomas: Being able to share this story with everyone that hasn't been told in NY for more than 40 years.

Brandi: It's never done and I think its an important story and piece of literature.

Gwynn: The "working" part. Seriously, I was thinking about leaving the profession all together at the time I auditioned because I haven't worked consistently.

Emma: That the show hadn't had an NYC revival yet, and the theater's location in Astoria

Jeannipher: The relevance: working class and race. A Raisin in the Sun was one of the first plays I read in high school. I remember relating my living situation with the Younger's, in terms of space, money and family. I was not aware that a musical adaptation existed till Dev Bondarin, the director, emailed me seeking for a costume designer. I was excited to get the opportunity to work on something that touches close to home, that is still relatable, and a musical (something, I don't have much experience with).

Maia: I was first attracted to the story itself. How awesome to have a musical adaptation of the iconic A Raisin in the Sun.

Sarita: I loved that Raisin is the classic story we all know in the play Raisin in the Sun, but with music added, which gives the characters the opportunity to sing and express themselves in a heightened, beautiful way. That really excited me.

Shabazz: Raisin is a rarely produced musical based on the incredible play A Raisin in the Sun. Both have been favorites of mine for many years, and the opportunity to bring the musical back to life in New York City was an opportunity you can't pass up.

Tamrin: Raisin in the Sun is such an incredible and well known piece of theater, but so many people have never heard of the Tony-Award-winning work of genius that is Raisin. To make my New York theater choreographic debut in such a unique way was an opportunity not to miss. What a gift to be involved in bringing this show back to New York for the first time in over forty years!

Tony: Its a legendary piece and is rarely done.

Vanessa: I've worked with APAC before, in Ragtime, so I knew they were a quality company. Also, Raisin in the Sun is an iconic play and to take part in a musical version of it was too good an opportunity to pass up.

Warren: I've been a fan of the play since I read it in Highschool, but the musical I was less familiar with, I head of the production once 20 years ago and so when presented with the opportunity I was excited to be a part of a work with such history that was rarely presented.

Dev: I was drawn to Raisin for its important and timely story, its characters and the love among them, the music, and to have the opportunity to direct a beautiful show which centers about a Black family struggling, striving, and supporting each other.

What was your favorite part of working on this production?

Chinua: Singing, I like to sing and watching us, the cast, grow into a real family.

Horton: Working with Dev Bondarin.

Joi: I love working in a different time period. The moment we saw the costumes and examined that language that was very unique to the period, it raised all kinds of new awarenesses about what life must have been like for these people in that decade.

Lawrence: I loved the collaborative process with Dev and the rest of the creative team. It felt very communal and that we were all on the same page.

Marcie: Morphing from the character of Mrs. Johnson to Ensemble, never a dull moment.

Brandi: Getting to know my castmates! They were a riot and a lot of laughs were shared.

Gwynn: Watching the other artists create magic with their performances. It was and still is super inspiring. It is so refreshing to work with such talented and humble actors.

Emma: The performances by the actors.

Maia: My favorite part was getting to work with such a wonderful, talented group of people. The cast was predominantly Black, and Raisin is a universally human story in the context of the Black American experience. It was so fun, and beautiful, to discuss our own experiences and family histories and then be able to use those stories to help bring Raisin to life.

Shabazz: Reviving History. In today's social climate and change, it's important to remember what we've come from and what we want to grow toward. We want to grow toward maturity, equality and purpose. Raisin exuded those constant themes, and the chance to produce that purpose through art was a joy.

Tamrin: Judd Woldin's beautiful score combined with stage directions from the original production presented such a wonderful choreographic roadmap. Each number I worked on drew from different dance styles, and I found myself deep in the history of black dance as I found the movement vocabulary for this show.

Tony: The spirit of the company members.

Vanessa: Being in a mostly black cast. It's something that most of us don't get to experience that often.

Warren: I loved being a part of a mostly black cast of Artists. That's rare! And I am so grateful to have been able to present that in Astoria.

Dev: Having the opportunity to delve into this story and to bring it to life with my collaborators. Working with the actors was especially meaningful as we neared opening and were able to delve deeper into the story. Watching their performances evolve over the four week run was amazing.

What was the most challenging part of working on this production?

Brandi: My character could easily slip into the background as the housewife, and the way this piece is written, everyone has to be strong in their choices and be interesting. The challenge is being interesting within boundaries of my character and her dialogue.

Horton: It was a very small role, so keeping engaged at the level it required was a challenge.

Vanessa: The choreography. It was more intense than I assumed it would be, but absolutely necessary for the exposition. Each move was very detailed and well thought out.

Chinua: I was the only child....but it was ok

Lawrence: The show has so many locations and yet we spend so much of our time in the Youngers' house. It was the ultimate challenge and goal to create a world that was specific enough to be the tiny apartment of the Youngers while also allowing us to go to all of the other locations and not feel clunky.

Marcie: Traveling to Astoria in the Winter...from Brooklyn! 
Tamrin: Commuting to Astoria every day from Brooklyn was the biggest challenge! So many late night delays and shuttle busses... But it was all worth it!

Tony: Working out a schedule with paying work.

Dev: Raisin is a big show! It's Hansberry's play with music and so all of that goes into the rehearsal process--which is a lot on the Showcase contract. As the weeks went on the actors especially rose to the challenge of what the production demanded and their success was visible in the results of a solid production.

Shabazz: Capturing ALL the types of emotions within it. There is such range of emotion from rage, to passion, to love to tenderness. The challenging but still fun part, was making sure to touch each of them and making sure our audiences understood and felt them as well. Because while these characters were fictional, their struggle is felt by everyone and we really wanted to bring those to the surface.

Did you learn anything new from your experience of working on this production?

Warren: I learned to trust myself more. I'd spent a good number of years performing as a cruise ship singer, and this role scared me, but I found my voice and saw that the limits I thought I had, weren't true! I learned some boldness.

Brandi: Everyone was perfectly cast and we really felt like a true family. That's rare and to slap that aspect on to a classic piece is just refreshing. I have learned that I want to work with and for people who make interesting choices. I want to be apart of and strive for the 3 dimensional representations of black characters in theater and especially musical theater, and I feel like I got a chance to do that with Raisin.

Gwynn: I can't tap dance. It's so sad.
Marcie: Many different ways of getting to the theatre when the subway stopped working.

Shabazz: My eyes really opened up to the importance of art. That our work as actors or artists can inspire dialogue and emotions. Tall back sessions with audiences helped me see that our work DOES entertain AND inspire.

Tamrin: Raisin is a show about dreams, about love, about sacrifice and loss. It is a human story that so many are able to directly identify with. And to sit in that audience, in a room full of people on the edge of their seats, was a reminder of the importance of sharing this story, and of creating art, especially now.

 Chinua: Don't let the play overwhelm you emotionally.

What was the most memorable part of this experience for you?

Marcie: Working with a talented group of people: cast, crew and production staff

Tony: The way the ensemble was used to broaden the scope of an intimate family story.

Thomas: The dressing room "held it down!" I had great experiences in the dressing room with such gifted, uplifting, and hilarious group of women.

Gwynn: They are all HI-freakin-LARIOUS.

Chinua: Telling each other jokes and riddles in the dressing.

Brandi: Well, I'm not a mother in real life but it was a joy to have a little boy at my hip! We had our moments and he's such a talent. room

Lawrence: Figuring out the space, every theatre has its quirks and this space was no different. I was lucky that I lived so close to the space, I was able to spend a lot of time in the room finessing things with the oddities of the theatre.

Dev: We had the opportunity to welcome an original member of the Broadway cast to the production as well as family members of the composer and co-librettist. They all had not seen a production of Raisin in many years and so sharing it with them was a wonderful gift.

Shabazz: The best memory was meeting Ernestine Jackson, and originator of the role of Ruth and original production. To meet, speak and hear her interpretation of the Raisin and how it's grown to this production was outstanding.

What did you want the audience to walk away with after watching Raisin?

Dev: That love among a family is strong, that striving against adversity is possible, that racism still exists and that Raisin's story is more of a current event than a piece of history, that Lorraine Hansberry was one of the most important creative minds of our time, that the musical adaptation of her work is wonderful, and that the lives of these characters need to be seen.

 
What was it like working with this group of artists? 

Horton: APAC is a very warm, professional company to work with.

Chinua: They understood me and where I was coming from - the director was an only child, like me, so she helped me make the character come to life.

Joi: This was my first time working with the Astoria Performing Arts Center. I was very moved by their dedication to putting the highest caliber of work on the stage and the way they stay connected with with the community that supports them. IT is a beautifully executed symbiotic relationship.

Lawrence: I was an Astoria resident, so working with a company that is focused on bringing theatre to this neighborhood was amazing.

Marcie: APAC takes chances and I like that

Aaron: APAC's Raisin had such a strong family bond and made every experience of building the production unforgettable.

Maia: The team at the Astoria Performing Arts Center is committed to excellence and creativity. It was such a gift to be a part of creating such a dynamic theatre experience in what initially seemed liked such an unassuming space. The space went from a gym to a theater, and come showtime, it became a home, a bar, a bus stop, and a church in Chicago. That transformation was amazing.

Sarita: The best thing about this company is that we truly became a family - not just the characters who play family in the show, but everyone. It was a treat to work with such a talented and loving team of actors and creatives.

Shabazz: The intimate, professional and heartfelt nature of it. Astoria Performing Arts Center was so dedicated to producing a quality project, in an intimate space with truth and love in everything they did. Sometimes that passion for the arts and passion for the story can be missed, but not with APAC. I loved being around such talented and devoted individuals.

Tamrin: Each person involved with this production is filled with a special kind of passion. It became quickly clear in that room, that we were there working together towards a shared vision. I am incredibly grateful to be a part of the APAC family, and to have been able to learn from our music director Darius Smith, and director Dev Bondarin.

Tony: It's like a family.

Vanessa: It was an honor to be a part of the production, and it's an honor to be recognized for the work we put in!

Warren: You truly get the sense that the people involved are passionate about the work! It's a labor of love, and it's infectious! We were all determined to make theatre that mattered!

Dev: All of the nominees from Raisin deserve this recognition (as well as everyone who collaborated on the production---we would not have been nominated for Outstanding Musical without everyone's work!) Everyone gave 110% to bring this story to vivid life and with such authenticity.

Make sure to follow APAC on Twitter @APACNYC

 

Evensong

Written by Christina Quintana
Directed by David Mendizábal
Produced by Astoria Performing Arts Center

Nominations: MarieLouise Guinier for Outstanding Actress in a Featrued Role & Arlene Chico-Lugo for Outstanding Actress in a Lead Role

Francis Mateo as Ricardo and Arlene Chico-Lugo as Rosa    Photo by Michael Dekker

About the Company: APAC’s mission is to bring high quality theater to Astoria, Queens, and greater NYC, and to support local youth and senior citizens.

About the Production:  This was the world premiere for Christina Quintana’s play Evensong. Teofilo “Teo” Aguilar is a young Mexican-American gay man and member of New York City’s working homeless population. A Texas transplant with big dreams, Teo works as a bank teller, goes on mediocre online dates, and searches for stability and human connection while navigating the tangled shelter system. Using structural elements of choral music and conventions of theatrical magic, Evensong is a tale of survival, growth, and faith in moments of loneliness and solitude.

------------------------------------------------------------------------------------

What attracted you to this project?

Dev: I was drawn to programming Evensong because of its intimate look at the life of NYC's working homeless and the idea of the need for connection among busy and lonely city dwellers that it illuminates. The beautiful writing and the characters drew me in immediately.

MarieLouise: When I was called by the casting agent Robin Carus, I was immediately interested as I have a great deal of respect for her work and the projects she works on.

Arlene: To be honest, what really attracted me to the show was getting the sides and realizing that I would get to work with a box for the audition. I love object work, something to hold on to. The character receives a box in the mail that ends up playing a major part in her life. I felt Rosa's words were a world I could easily slip into. It's a beautiful story and play.

Marie Louise Guinier as Gladys
Photo by Michael Dekker

What was your favorite part of working on this production?

Dev: Getting to watch a wonderful director/playwright collaboration and to learn more about the relevant topics in the play.

MarieLouise: It's hard to choose one favorite part of working on this production. The actors, director, author ~ all extremely talented which made the process and the outcome something I could be proud of.

 





What was the most challenging part of working on this production?

Dev: Our middle weekend of shows was right after the election and so it was challenging to keep going. But the actors came in and delivered and the audiences were so happy to be with us sharing in this particular story at a time when we needed to be reminder about compassion and caring for one another most.

What insight did you gain while working on this production?

Dev: That everyone deserves a second look - from the guy on the subway, to the woman on the sidewalk. We don't know anyone's "story" until we get to know them. Evensong challenges viewers to take a look at preconceived notions about the people we meet.

Arlene: I guess the biggest takeaway for me came from playing the character. Sometimes, as hard as it may be, you have to fight for hope. And it was heartbreaking learning about the homeless rate and shelter system in New York City. In place where so much new development is happening, it feels pretty inexcusable that so many people are without a home.

What made Arlene and MarieLouise's work standout?

Dev: Arlene Chico-Lugo and MarieLouise Guinier brought such truth and strength to their performances. Their work was incredible!

What was it like working with APAC?

MarieLouise: Acting in the theater often makes me think of an exciting basketball game. All players need to be present and on their game, in the zone, throwing, receiving, making those amazing dunks, 3 pointers or scoring at the buzzer, no matter the refs, the crowd etc. But when someone is having an off night, other players pick up the slack. This is what working with this company was like.

Make sure to follow APAC on Twitter @APACNYC and on Instagram @apacgram

We Come Here

Written by Christopher Torres
Directed by Dev Bondarin
Produced by Astoria Performing Arts Center
Part of a festival of short play call Astoria Stories

Nominated for: Outstanding Original Short Script, Christopher Torres

Photo by Dev Bondarin

About the Production
Astoria Performing Arts Center mission is to bring high quality professional theater to Astoria, Queens, and to support local youth and senior citizens. This festival was drew inspiration from various locations in Astoria. Christopher Torres' We Come Here was a beautiful exploration of a life and how the view at the Astoria Blvd. subway station served as a special place for a family.

Artistic Director Dev Bondarin talks about producing a festival of short plays that illuminates their neighborhood.

-----------------------------------------------------------

What excited you about producing a festival of plays based on Astoria?

Dev: It was a chance to tell stories of our home neighborhood and to work with a greater number of writers than we would normally in a season.

What did you want the audience to come away with after watching Astoria Stories?

Dev: To feel enriched about the wonderful and vibrant neighborhood APAC calls home and to think about the specific and touching stories in any neighborhood.

Photo by Dev Bondarin

What was your favorite part of this process?

Dev: To learn more about Astoria, its history and its residents. For Christopher Torres's We Come Here was especially poignant because it was rooted in his family history which added an extra level of excitement and importance.

What was the most challenging part of working on this production?

Dev: New work always has its challenges especially with a short rehearsal period as you always wish you had more time.

What was the most unique aspect of Astoria Stories?

Dev: Besides English, there were five other languages spoke during the course of the evening of short plays.

Photo by Dev Bondarin

What was it like working with Christopher Torres?

Dev: Chirstopher Torres is a wonderful person. We Come Here is one of the first plays he has ever written and he was so clear on his story and how to refine it to make it effective and resonant in 10 minutes. The short form is challenging and he rose to it!

You can follow APAC on Twitter - @apacnyc

The 25th Annual Putnam County Spelling Bee

By Rebecca Feldman and Jay Reiss
Music and Lyrics William Finn
Directed by Artistic Director
Produced by Astoria Performing Arts Center

Nominated for: Outstanding Actress in a Lead Role,  Becca Andrews; Outstanding Costume Design, Jennifer A Jacob; Outstanding Actor in a Lead Role, Lee Slobotkin; Outstanding Production of a Musical

       Photo by Michael Dekker

About the Production
Astoria Performing Arts Center (APAC) strives to bring professional theater to Astoria, Queens. With their production of The 25th Annual Putnam County Spelling Bee they revealed the dreams and struggles of a group of lovable and eclectic sixth graders, all eager to win the spelling bee.



Director Dev Bondarin, and nominees, Becca Andrews, Jennifer A Jacob, and Lee Slobotkin discuss the excitement and challenges of bringing this hysterical and moving musical to life.

------------------------------------------------------------------

What attracted you to this production?

Becca: Spelling Bee has always been a dream show for me. I think the music is so brilliant and the script is so funny. I also really wanted something challenging for me as an actor and as a singer and Olive definitely had her fair share of challenges.

Jennifer: I was really excited to work with the wonderful team of people at the Astoria Performing Arts Center again, especially director Dev Bondarin. I was also really drawn to the concept for this production, embracing the theater space that is a gym and finding the reality in these characters.

Lee: When I saw Spelling Bee at the Circle in the Square in 2006, I left the theatre so touched and inspired. The show is a gem, and Leaf had always been a dream role of mine. This show was instrumental in taking my passion for theatre to the next level. I identified with the quirky misfits of Putnam County, and vowed to spend my life on stage doing work that brings people joy. A decade later, this dream came true in the form of my NYC debut!

Dev: I’ve always love the excellent writing and characters, high stakes, and the ability to create a world in which the hopes and dreams of the spelling bee contestants resonate and connect to an audience.

What did you want the audience to walk away with after watching Spelling Bee...?

Dev: I wanted the audience to connect with the characters and their hopes, fears, and dreams and to reach the memories within all of us when we struggled and won in our own way.

What was your favorite part of working on this production?

 

       Photo by Michael Dekker

Dev: My favorite part was creating an exciting and vivid world with the actors and designers while also fostering an environment where four audience members could go up on stage every night and feel safe and happy with the actors. We also transformed our theater space at APAC info the actual setting for the Bee, which was great fun and served the production well.

Jennifer: I loved digging in to the fun, quirky, original characters in this piece. All of the kids are such individuals, and it was fun to work with the actors to find the look and feel for each of them in the world of this production.

Lee: I loved harnessing my inner child and letting him run wild. It was a very creative, imaginative, and fun process chock full of positive energy from the entire team at APAC. Dev, Misha, Michael, and Katie gave us all the freedom to play and a safe haven to try new things, fall on our faces, get back up, and try again.

Becca: My favorite part of working on Spelling Bee was telling the story every night. I'm a huge anti-bullying advocate and have always said that that 12 year old time is so hard for kids. They have so much to say and struggle with so much that I think it's so important for their voices to be heard.

What was the most challenging part of working on this production?

Lee: The music was definitely the most challenging. William Finn's score is whimsical and complex, expressing the deepest fears and fantasies of adolescence. We only had a month to put the show together, and sang with very little amplification over the band. It took a lot of patience and perseverance to drill the harmonies and get our blend just right, but the payoff was worth it.

Becca: The most challenging part was the music. Those harmonies are so intricate and perfectly written and it was quite a challenge to perfect them and to blend them. It was also the first time in a while I had to carry a vocal line by myself and that's always a huge challenge.

Dev: Rehearsing the improvisational part of the show enough so that the actors were ready for four additional audience members at each performance. Also, the show has deceptively challenging choral music which took some time to master.

       Photo by Michael Dekker

 

What was the most exciting part of working on this production for you?

Becca: I think the similarities between Olive and 12-year-old Becca are astounding. I wasn't obsessed with books and words but I was certainly obsessed with other things (musicals and theatre) that alienated me from a lot of other "typical" kids. I often felt during the performance that I was just sitting there as my middle school self and it was an odd sensation but a very cool one.

Dev: Instead of dropping the black curtains that we usually use at APAC to create a theater space, we took them down and painted the entire room in which we perform! 

Jennifer: I was really thrilled to work with a custom knitter who created a sweater for the character Leaf Coneybear. We made a piece that looked like a 12 year old could have knit it himself out of leftover yarn, and what she created really fulfilled my vision of this character.

Lee: THE WHOLE DARN THING! The production itself is hysterical, and truly came to life in APAC's "churchnasium" space. We just had to arrive open, honest, and ready to play. The audience participation and improv aspects of the show kept it different each night. One matinee, I was asked out on a date by a handsome guest speller. The next performance, someone whipped out their iPhone and started taking selfies with us. Never a dull moment at the Bee.

What was it like working with APAC?

Jennifer: Everyone at APAC is fantastic! They have such supportive staff and volunteers, and it's such a fun, collaborative environment.

Becca: Getting to do a show in Astoria was awesome because so many actors live there and I got to meet so many people because of the accessibility of the location.

Lee: It was fantastic. Working on a dream role, exploring and eating my way through beautiful Astoria, and creating some new friendships I'm sure will last a lifetime.

What was it like working with Lee, Becca, and Jennifer?

Dev: They were all a joy to work with! Lee Slobotkin was ready to try anything and continued to strive for greater specificity, humor, and truth. Becca Andrews is a workhorse in the best possible sense of the word. She was always interested in going deeper with her character for both comic and tragic effect. Jennifer Jacob is creative and innovative and her specific touches made this production the success that it was.

You can follow these artists on Twitter:
Astoria Performing Arts Center @apacnyc
Jennifer A Jacob @jifjacob77
Lee Slobotkin @leeslobotkin (@leeslo-instagram)

Astoria Performing Arts Center receives Donn Russell Fund Grant

Astoria Performing Arts Center (APAC) was founded in 2001 and is celebrating its 15 Year Anniversary on March 21st. 

APAC receives the 2012 Caffe Cino Fellowship Award. Photo by Anton Nickely

During its 15 years, APAC has received many awards including the New York Innovative Theatre Awards the Caffe  Cino Fellowship Award in 2012 and the Outstanding Production of a Musical Award in 2015 for Merrily We Roll Along. As part of the Outstanding Production Award, APAC is also the recipient of a grant from the Donn Russell Fund.

These funds will be used to support APAC's comprehensive repertoire which includes revivals and premieres of plays and musicals, as well as developing new works through readings and workshops.

They use theatre to engage with and contribute to their community by offering free annual community programs, including: a summer performance camp for children, an after school playwriting program for middle school students, and a performance program for Queens residents over the age of 60. They are one of the most diverse and respected companies working Off-Off-Broadway and a company that truly knows the meaning of the word “community”. However, they aren’t just a part of the community; they create community, attracting theatre artists and enthusiasts from throughout the city and growing a loyal audience following.

   * See photo captions below

APAC has become an integral part of the Indie Theatre scene; working with hundreds of theatre artists, and participating in community organizations and events. This adventurous company pushes the limit of what theater can achieve, and consistently produces thrilling and outstanding work.

“I adored working with the entire team of In the Bones at APAC -- everyone brought something beautiful and profound to the process!” ~ Mel House

“I loved getting to work at APAC. They are so giving and smart and fun, that every rehearsal was a joy to be a part of.” ~ Emily Koch

“I have worked for the Astoria Performing Arts Center and know the high quality of work that they produce. Dev Bondarin is a spectacular director, she is smart and collaborative, she challenges you to get outside of your comfort zone, but also makes sure you feel safe.” ~ Rachel Rhodes-Deve

Congratulations to Astoria Performing Arts Center for receiving a Donn Russell Fund grant!

Learn more about Donn Russell...

* Photos of APAC's productions of Merrily We Roll Along and In The Bones (Photos by Michael Dekker) and Photo from 2015 IT Awards Nominee Announcement (Photo by Meredith Jones)

In the Bones

Contributed by Isaiah Tanenbaum


In the Bones produced by Astoria Performing Arts Center is one of the most-recognized shows this year, earning nominations for Premiere Production of a Play, Jaime Vallés' Innovative Design, and acting nominations for Emily Koch, Sean Hankinson, Mel House, and Zac Hoogendyk. We asked them to tell us a little about the production and what brought them on board.

"The first time that I read the script, I got lost in the story. I felt angry, laughed out loud and wept," wrote House. Hankinson agreed: "Cody Daigle wrote a beautiful play." And Hoogendyk added: "When I read it, I knew I wanted to do it."

The production made extensive use of video elements, which earned Jaime Vallés his Innovative Design nomination, and many of the nominees reflected on video's impact on the production as a whole. "I loved the different elements used within In the Bones," wrote Koch. While integrating video into a stage play was not without its challenges, such as a more complicated tech process, it had an upside: "we had one day to shoot all the video footage, and the cast and crew bonded very quickly," said Vallés. Creating the video elements "was a rare opportunity to work with the cast and director on the play's backstory," pointed out Hankinson. "Normally, that work is never really focused outside of personal prep. It was a treat."

The run had its share of memorable moments -- one audience member vomited; another time a pipe burst during the final act, soaking everyone on stage (the show continued, of course). One scene involves House's character's enthusing to Koch's character about the production of Wicked she had seen. Ironically, Koch was in callbacks for a swing role in the national tour of that play, a role she booked. That evening, House went completely blank on the monologue, and all she could get out was a breathless "Wicked!" "Luckily, [Koch's] agent/management team and lots of people in the audience understood and had a big response, and we picked up the scene and proceeded just fine. But I was a very proud Auntie indeed!"

All in all, the cast and crew had a wonderful time working at the Astoria Performing Arts Center (APAC), whose mission is to "bring high quality theater to Astoria, Queens, and to support local youth and senior citizens" and whose productions have garnered 36 NYIT nominations and have received six awards (plus the 2012 Caffe Cino Fellowship). We'll give Koch the last word: "they are so giving and smart and fun that every rehearsal was a joy to be a part of."

The Cottage

The Cottage
By Sandy Rustin
Directed by Adam Dannheisser
Produced by Astoria Performing Arts Center

Nominations: Evan Roby is nominated for Outstanding Lighting Design; Ryan J. Moller is nominated for Outstanding Costume Design; and Stephen Karoly Dobay is nominated for Outstanding Set Design

          Photos by Michael R. Dekker


About this Production
The Cottage is a rollicking farce inspired by the works of Noel Coward. Set in the English countryside in 1923, this tale of sex, betrayal and, oh yes, love, unfolds when Sylvia Van Kipness decides to expose her love affair to her husband and her lover's wife. The true meanings of fate, identity and marriage are called into question as a surprising, hilarious web of secrets unravels in this ridiculous—and potentially murderous—romantic comedy.

Costume Designer Ryan J Moller and Set Desginer Stephen K Dobay talk about the excitement of designing for the premiere of a new script.

-----------------------------------------------

What attracted you to this project?

Stephen: I love designing at APAC, and when I read the play, I knew that it was a production I wanted to be a part of. It was fresh, funny, and incredibly smart

Ryan: A good friend was the directing the premiere of this new play, and I love for this style of show.

  

What was your favorite part of working on this production?

Stephen: While not necessarily part of the design/construction process, I love the first read-through. It gives me the best sense of what is special and specific about the production I'm working on.

Ryan: Getting to develop the look of the characters. Because it is a premiere I was able to work with the actors, author and director to discover and ultimately the style and look of each character. The premiere of a new play is the only time you get to start from absolute scratch on a character’s look.

What was the most challenging part of working on this production?

Ryan: A small budget means you have to make artistic compromises. It forces you to be more creative, but also means you have to make some sacrifices where you don’t want to.

The show is about secrets, so when doing press about the show, I could not really say a lot of things without giving away the jokes of the play!

Allegro

Allegro
Music by Richard Rodgers
Book & Lyrics by Oscar Hammerstein II
Directed by Tom Wojtunik
Produced by Astoria Performing Arts Center

Nominations: Manna Nichols is nominated for Outstanding Actress in a Featured Role; Christine O’Grady is nominated for Outstanding Choreography/Movement; and Allegro is nominated for Outstanding Production of a Musical

         Photos by Paul Fox

About the Production
Life – a set of circumstances, a series of choices, leading to this moment in time. Are you where you thought you’d be? Are you proud of the decisions you’ve made? Allegro follows the journey of Joseph Taylor, Jr., the son of a small-town doctor, from birth to age 35 – from the tranquility of his small Midwestern hometown to the hectic din of big city life. When he loses sight of his goals, he struggles to avoid compromising his principles in this rarely seen musical from the legendary Rodgers and Hammerstein.

______________________________

What attracted you to working on this project?

Tom: I fell in love with Allegro the first time I read the script and listened to the score--especially the end. Still, there was enough about the book that troubled me, that I didn't really consider doing it until the good people at the Rodgers & Hammerstein Organization were open to APAC making some changes to the material.

Manna: I saw Tom's Children of Eden a few years back and was very impressed by his direction and the quality of the production! I've wanted to work with him ever since! :)

What was your favorite part of working on this production? And why?

Manna: Getting to know my fellow castmates/creatives- especially the women in our ladies dressing room!!! Such awesome people!!! (Fellas, y'all are fabulous too!!!)

Tom: Collaborating with Choreographer Christine O'Grady (IT nominated for her work!). This was the sixth show we did together, and easily the most complicated. It's definitely the heaviest dance musical we've ever done--there are a number of big R&H ballets in the show, and collaborating with her on how they would work, and what story we wanted to tell, was supremely satisfying.

Christine: My collaboration with Director, Tom Wojtunik and Associate Choreographer, Julianne Katz. I loved brainstorming and carving out the story lines for the ballets with Tom, and then spending hours and hours filling them with dance with Julianne.

What was the most challenging part of working on this production? And why?

Manna: I think for everyone it was just trying to find a balance between our day jobs and the nightly rehearsals. We were all there for the love of our crafts - there just never seemed to be enough hours in the day to do everything we wanted! We had a fabulous group of individuals though and I think we all supported each other and put together a show that we were very proud of!!!

Christine: Making a group of actors with widely varied dance skills look cohesive in the same production numbers. It was important to me for our Greek chorus to function as a whole ensemble, so that meant integrating movers and advanced dancers into the same ballets, without calling attention to the different levels. I think we found a pretty good balance of challenge.

Tom: Convincing theatrically "savvy" theatre goers that Allegro was worth another look. Many people only know it as R&H's notorious "flop", and it was interesting how people that knew that history came into the show like they were there to discover what was "wrong" with it.

What was the weirdest thing that happened during the production?

Tom: Well, we had to replace two cast members (one in tech, and one for the last weekend of performances). This is never an easy thing to do on a Showcase production, as we couldn't technically call the cast in for rehearsals with the replacements. Luckily, we were blessed with two extremely talented performers, Matthew La Banca and Julianne Katz, who both stepped in and did stellar jobs.

Manna: Ooooooh man, SO many stories from the ladies dressing room!!! One very cool thing was that Fiona Shea (Young Jenny) drew/colored these amazing cartoons and made us other awesome crafts in the dressing room! That girl is SO talented!!!

What do you want the audience to come away with after watching your production?

Tom: Allegro has so much to say about how we make choices in our lives, and what we choose to make important and why. I think anyone who has ever questioned his or her own life in that regard was affected by the story--I know I was.