Shinka

Produced & Written by Ren Gyo Soh

Directed & Choreographed by: Yoshiko Usami / Yokko

Nominations: Outstanding Actress in a Featured Role – Yoshiko Usami, Outstanding Choreography/Movement & Outstanding Director – Yokko; Outstanding Premiere Production of a Play

About Ren Gyo Soh

Creates theatrical productions that builds cultural bridges and promotes awareness of environmental issues.

Photos by Krzy Sien

About Shinka

Shinka explores the mystery of living beings. We are born; we grow, struggle, suffer, and finish the cycle. A life cycle. We create, we destroy, and again create. Mankind has developed technology rapidly; and with that development, the pace of life has begun to move with increased speed. Now, everything is realized so quickly by these digital networks. So many things happen at the same time. We swim in a digital ocean in this modern time. With this increased digital connection we have started to lose our personal connections. More and more we disconnect with others, our landscapes, and ourselves. We disconnect from our own bodies, minds, and souls. Through Shinka, we research how this modern civilization and the development of technology have affected our minds. After all of the destruction, life begins anew. Creation begins again. Evolution continues. By using Japanese Butoh, Trish Arnold Movement, contemporary dance, and other theatrical elements, we express life itself, physically, mentally, emotionally, and spiritually through Shinka. Shin-Ka is a Japanese word. The meaning of the word changes depending on the Japanese characters you choose. The meanings include Evolution, Truth, Deepening.

 

What first attracted you to working on this subject matter?
 

Yoshiko: I am interested in "growth,” "change" and "transformation, as a choreographer, I wanted to tell a short through movement this topic. When I developed the short piece to the full -length, I corporate more environmental issue which I have been interested in.

"A green bird" which is my short dance piece. I was interested in "breaking through" own comfort zone to be born. A baby bird struggles to be born and breaking the shell and learn to fly. It is simple, but it reflects our own spiritual growth.

What was your favorite part of working on this production?

Yoshiko: Working with my performers. That is the best. it was such a breathtaking moment to witness my performers to transform their own journeys.

What was the most challenging aspect of this production for you?

Yoshiko: For 45 minutes I was stillness inside of the egg shell. That is the challenging part, because I get panic if I don't manage my mental state correctly every time.

What was the weirdest part about your experience with this production?

Yoshiko: Well. I go inside of an egg shell before the show, and so my assistant director and tech director/lighting designer will be in charge for the show, and I cannot do anything as a director before the show. I had to meditate and calm and stillness. The opening night was tough. The show starts a bit late, and I was panicking inside of the egg (as a director/choreographer), but I could not do anything, because I was an egg on stage. Eventually I had to give up panicking and choose to focus and calm. (but to be honest, I was really close to losing my mind)

What is the best thing about working with this company of artists?

Yoshiko:Transformative experience.

Did you gain any insight or learn anything new while working on this project?

Yoshiko:Team Work. We are not on stage or off stage alone. Its team work. It's collaboration. Blessing to work with beautiful people.

What does receiving this nomination mean to you?

Yoshiko:Encouragement!

Experimenting with Katz

Produced by New Ambassadors Theatre Company in association with Julia Botero
Written by David Adam Gill
Directed by John Robert Tillotson

Nominations: Outstanding Actor in a Featured Role - Jacob Lovendahl; Outstanding Costume Design - Julia Kuliya

About New Ambassadors Theatre Company
New Ambassadors Theatre Company is a not-for-profit collective of professional theater artists of diverse and varied backgrounds and life experiences. Through collaboration we aim to empower artists to do their finest work in an environment that fosters inclusion and honesty. A production focused company that inspires, entertains, educates, and ultimately challenges audiences through new works created by company members to celebrate and to illuminate our common humanity.

Photos by Priyanka Krishnan

About Experimenting with Katz
Michael Katz has a problem: he’s just come out of the closet (again), and it’s not going particularly well. First, his mother shows up unexpectedly in the midst of a snowstorm to ambush him with (among other things) the daughter-in-law of her dreams. Then his best friend selfishly decides to start putting her own life above his (and it’s still snowing)! On top of everything, the one person who’s willing to put up with him is the only person he doesn’t want anything to do with (at least that’s what he keeps telling himself), leaving Michael to wonder, is this really the course of true love, or is it some social experiment gone horribly wrong? And why won’t it stop snowing?!!

What first attracted you to working on this show?

Jacob: I absolutely loved the character. From her very first words. Broccoli/Ella is funny, brutally honest, and yet also really loving, and kind. She is confident in herself, and went beyond just being the typical sassy funny drag queen or as she likes to call herself "gender illusionist", to also showing great kindness and compassion and understanding. David, in my opinion, is a brilliant playwright and I remember reading the very first full version of the play, and laughing hysterically, and then crying, and then laughing again, and saying to myself, I am so so grateful to be a part of this, because its pure magic.

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

Jacob:I absolutely love the rehearsal process. The cast had been together through many many readings together, and it was just beautiful to watch us all put the characters fully on their feet. Our director John Robert Tillotson and playwright David Gill, gave us such freedom to play, discover, and try new things, and through that were able to give our most authentic characters, and performances and I am so grateful for that! Also we had the MOST supportive and amazing crew... I just adore them all so much!

David Adam Gill: Watching the actors bring the characters to life. It was a gift.

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

Jacob: My Wig. hahah. She actually had a mind of her own. You know the saying some girls just can't be tamed? Well, neither could my wig. But in all seriousness, the entire experience from start to finish was really really amazing, and every time we were together it was beyond fun.

David: It was the first production I fully produced, so all the things that come more easily with subsequent productions I was learning for the first time. It was daunting.

What was the funniest part of your experience with this production?

Jacob: Three of us shared a very very very small dressing room. And Ella had a fabulous, gorgeous extensive wardrobe including tulle, and a fur coat... and tons of makeup... and tons of jewelry, and hair, and shoes... we basically had to choreograph our changes, it was hysterical.

David: We'd mostly visualized the production as proscenium presented, and had to re-visualize the entire thing once we'd settled on TheaterLab which is (or can be) has audience on two sides of the playing area. That was a challenge we had to rise too.

What is the best thing about working with this company of artists?

Jacob: I absolutely loved this cast. I was so unbelievably fortunate to work with such talented, kind, amazing actors. Supportive, encouraging, open, and the trust and safety we all had in one another was really wonderful.

David: Jacob Lovendahl was the first person ever to read for Ella and I fell in love then and there. He is so talented, and really cared to bring Ella's humanity to the forefront. Julia was a recommendation from my Costumer Shop professor at college and at our first meeting (again) I knew she would see the characters through that special lens that would enable her to dress them - not as characters, but as people. We really lucked out with Julia.

Did you learn anything or discover anything new while working on this project? If so, what?

Jacob: I learned so much from Ellas character. The biggest thing she taught me though was self love, and strength.

What did you want the audience to come away with after watching Experimenting with Katz?

David: That once you get to know someone, you'll realize you have more in common with them than not, and that fear can only thrive in an atmosphere of ignorance.

What does receiving this nomination mean to you?

Jacob: I am just beyond grateful. There are so many incredible actors and shows out there, and I am honored and humbled to be a part of the theater family, and to have shared this experience with some really incredible, amazing actors and crew. Very very humbled and grateful.

David: I'm thrilled. Again, for Jacob, I never saw anyone else playing Ella. He gave so much love and care to the character - to a character very close to my heart - I think this nomination is so deserved. And as for Julia, she just got it right away, and a good costumer can enhance or really add to the production without pulling focus away from the action, which she 100% did.

Worse Than Tigers

Produced by The Mill in association with New Ohio Theatre
Written by Mark Chrisler
Directed by Jaclyn Biskup

Nominations: Outstanding Set Design - Matthew Carlin; Outstanding Sound Design - AJ Surasky-Ysasi; Outstanding Actor in a Lead Role - Braeson Herold; Outstanding Actress in a Lead Role - Shannon Marie Sullivan; Outstanding Premiere Production of a Play

About The Mill
The Mill makes artistically adventurous, boldly theatrical, and politically aware theatre.

About Worse Than Tigers
Olivia and Humphry have a safe, comfortable, enviable life. Their condo is well-adorned with fancy knick-knacks, their social media presence is meticulously groomed, and they never fight. Or laugh. Or kiss. Or talk very much. Unexpectedly, Olivia’s lover-- id-driven Officer Kirk Patrick --shows up, trailing a man-eating tiger which takes up residence right outside, threatening to devour anyone who opens the door. Tigers may be dangerous, but there might be something worse inside.


What first attracted you to Worse Than Tigers?

Jaclyn: Mark's writing is brilliant. The first act feels like Ionesco and the second like Albee.

Braeson: The complexity of the role brought out a fear in me I hadn't experienced in a while. I felt a personal obligation to explore that.

Shannon: I had worked with Jaclyn Biskup before (director of Worse Than Tigers) and was excited to get back in the room with her. I was particularly interested by the relationship of Olivia and Humphrey: their history, their secrecy, and ultimately the expelling of their deepest truths.

Matthew: I had worked with Jaclyn before and she had reached out about bringing me on board as a designer. After reading the script I really liked the style of the piece and its absurdist nature.

AJ: The whole conceit of the "tiger" in the show was really interesting, knowing that given the constraints we were facing, the sound design was going to play a big role in helping to define that character in the show and how the actors would interact with it.

What was your favorite part of working on this Project?

Jaclyn: Wonderful team!

Braeson: My favorite part would have to be the creative partnership with my co-star, Shannon Marie Sullivan. She never wavered, in rehearsal or performance.

Shannon: My favorite part of this production was getting to play with Braeson Herold. Getting to know him, trust him, and riding the absurd and deeply emotional wave created by Mark alongside him.

Matthew: Our design palette was tight and specific, so it was challenging, but overall it really helped to drive the themes of the piece home to the audience.

AJ: For most of the show, the tiger is just outside of the playing space (just behind one of the doors onstage), so the sound is fairly one-dimensional, and we just get to hear the tiger prowling outside for the most part, but the tiger enters into the house where the main characters live in the middle of Act II. When the tiger comes in, all hell breaks loose, and we're in blackout while we hear these sounds of destruction coming from all sides as we introduce sounds through the surround speakers for the first time in the production. It was a big sequence to build and get everything place spatially in the system, but I think was really effective once we got there.

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

Braeson: The text was the most challenging, because it veered from farce to realism within moments. The play explores the chaos within a failing marriage... and it's a comedy! It was a process to connect the dots, for sure.

Shannon: Worse Than Tigers is a buffet of theatrical genres. It all comes together in the end (when, in fact, everything falls apart) but justifying the moves from one world into the next was a challenge, especially in the beginning. But it was the kind of challenge that thrills and drives an actor.

Matthew: Getting everything done with a tight budget and small staff

AJ: Probably the transitions. I feel like transitions always tend to be tricky since you're trying to provide some of the glue to bring together the different scenes and weave the stories, but with this one we went through a number of iterations of the transitions until we landed on things that worked for us.

What was the funniest thing that happened during this production?

Braeson: The play is called Worse Than Tigers... throughout the show we hear several roars. One night, we had a roar that scared an audience member, she screamed as loud as the tiger!

Did you gain any insight or learn anything new throughout this process?

Braeson: I learned that instincts can get you far, but trust is what truly creates a memorable experience.

What was it like to work with this company of artists?

AJ: There's just a lot of heart between all these folks. What I mean is as we were going through rehearsals, and got into tech, everybody was always game to try things, and we could have conversations between departments where we working through difficult moments in the show. Things weren't always easy, but it felt like there were people in the room you could talk to and have conversations with to try and figure things out when we got stuck, and that was really invaluable through the process.

Jaclyn: They are just an incredible group of talented people!

What does receiving this nomination mean to you?
Jaclyn: We are honored to be included in this amazing group of artists.

Braeson: It means the world, honestly. What I set out to create with Humphrey was so personal to me. Knowing others were able to witness that, in a memorable way, will stay with me for a long time.

Shannon: To be recognized for my work by other performers and theatrical artists is a great honor. This play dug deep in to my bones. We all gave our time and hearts to this production because we love the theatre and I am very proud to have been part of it.

Matthew: This is extremely exciting for me, as it's my first nomination of any kind for my work since graduating from Undergrad!

AJ: It's really exciting to be nominated. You know, there's a lot of shows where you burn the midnight oil, and you stress, you tweak, and you try to get things just right, and so to have that work be recognized in some way is really quite special

Electronic City

Produced by The New Stage Theatre Company
Written by Falk Richter
Directed by Ildiko Nemeth

Nominations: Outstanding Innovative Design for Projection Design - Hao Bai, Eric Marciano, & Ildiko Nemeth; Outstanding Performance Art Production

About The New Stage Theatre Company
Drawing from the traditions of Eastern European theatre, New Stage Theatre Company premieres foreign playwrights' works in New York and creates original works through collaboration between its artists. Over the years New Stage has built a name for itself as a “daring experimental group” [Backstage] that "creates wonder for mature, sophisticated NYC audiences" NYTheatreWire. The company's works are distinguished by their bold visual style and compelling mix of absurdist and physical humor with dark and difficult themes.

Photos by Lee Wexler

About Electronic City
Electronic City is a romance set in the liminal spaces of modernity, exploring the difficulty and complexity of belonging in a world fractured by the pressure of high-speed travel, communication and commerce.  With this work, Richter asks us to consider our isolation and alienation as we are tossed by the whims of global capitalist structures, particularly communication networks and media. Richter’s characters confront what it means to seek identity and belonging in a society where consumption and business have displaced memory, tradition, and spirit.

What first attracted you to working on Electronic City?

Hao: I’ve been collaborating with the lighting designer Federico for a few years and I've always wanted to work with Ildiko. Before she hired me, she mentioned that she just had a feeling about me the first time she met me. That small connection between us was a calling for me to collaborate with her. Also, I’m always a big fan of working with limitations. The venue for this production was a basement theatre that has limited space, limited pipes, architectural columns in the middle of the stage, a strange side wall with the restroom door, no symmetrical structures anywhere in the theatre, etc. I was intrigued by the idea of embracing the architectural limitations into part of the theatrical design and intrigued to figure out where and how far we could go within those limitations. The content also really attracted. I’ve been interested in humanity, human connection, and how one can find out who they are or who they want to be in the world filled with technology, computers, phones, screens etc. It is worthwhile to think about it, and try to use theatrical experiences and story-telling to make our audience think about it.

Eric: The vision of Ildiko Nemeth

What was your favorite part of working on this production?

Hao: My favorite part of working on this production was the freedom of choosing which projector to use to project what content. Sometimes we treated all three projection surfaces as one big surface (like a mirror), and sometime we treated it as if it were a continuous surface so that the image could travel along them. It was fun to play with. I’ve never met some of the other artists like Eric Marciano and Chris Sharp who had also been collaborating in the creative process. I appreciated their work and was so glad that I was able to use their film or paint work as part of the footage for the projection design. Making other peoples' art into something else can be tricky, but both of them were so supportive, happy, and impressed with the final product and how everything looked. It was art created based on art. I felt like even though we hadn't met each other in person, we shared something; a connected through the production and the mutual but yet individual art forms.

Eric: I really enjoyed creating the Edward Hopper like visualizations.

What was the biggest challenge of this experience for you?

Hoa: Limitations are always a beautiful part of a project, but at the same time can be challenging. I had to hang the center projector behind one of the side columns to hide it since it was huge and looked really bulky on the low ceiling pipe. Federico, Ildiko and I had to keep talking about sharing pipes between projectors locations and lighting positions since the space and the lighting grid was so limited. The other challenging part was the continuous adjustments on how to keep the performers out of the projection light.

Eric: Time. Because there is never enough of it.

Was was the weirdest part of this experience for you?

Hoa:In the process of prepping the production: load-in, pre-tech, dry-tech etc. we experienced everything that could have gone wrong with the projection equipment. First, we had an old projector that died all of the sudden and had to get a new one. Then we had a laptop break-down when I bumped into a tree outside of the theatre. It felt as if the projection technology was being hunted in the space, and yet the whole production was about technology in the cold electronic world

What was it list working with The New Stage Theatre Company?

Hoa: It was a group of artists who are so generous, patient, and open to ideas, especially the director Ildiko and the lighting designer Federico. Sometimes during preparation, pre-tech, tech time, things can be stressful and worrisome, but we helped each other out as much as we could. We were all working towards the same pure objective: to make an art piece touching, heart-breaking, and breathtaking. We also wanted to create a community of artists who support each other. It felt like we are all part of the art family even after the collaboration.

Eric: They are brilliant professionals.

Did you learn anything new as a part of this experience?

Hoa: One of the most important things I learned is that the concept of passing one’s experience and knowledge to the younger generation or to the people who don’t have that many experiences. Once we finished teching the show, we planned to have the intern running video projection. The intern was very nice and young but didn’t have any experience with theatre or projection tech, nor the program I was using for sound and projection. I trained her. However, during the dress rehearsal, she had a freak-out because the projectors’ mapping got all messed up. At that moment I realized that I had to do a better job of teaching. In the end, not only did she feel more confident with the equipment and programs, but she could start building things herself. The importance of training the next generation and becoming a better mentor is what I have discovered while working on this project.

Eric: The powerful affect that video projections in close quarters can have on the audience.

What does receiving this nomination mean to you?

Hoa: It’s a huge encouragement to me. I’ve been working as a lighting and sound designer for a few years, and have been assisting projection designers for a couple of years too. In the beginning of this year, I had three pure projection deign projects back-to-back and the feedback from the audience and the public wasn't bad. This nomination gives me more confidence to keep pursuing projection designer as visual artist, and a creator.

Eric: It is a great acknowledgment of your time, talent and efforts and that is always a good thing.

Plan G

Produced by Randomly Specific Theatre Written by Larry Philips
Directed by Graydon Gund

Nominated for: Outstanding Ensemble: Allan Hayhurst, Lauren LeBeouf, Tiffany May McRae, Sarah Misch, Larry Phillips, Forrest Weber

About Plan G:
Life has beaten Christopher Abandonato down. He’s got a dead-end construction job, a wife who puts him in his place, and an out of work brother-in-law living in his basement. But he’s a dreamer, and he’s convinced buying abandoned storage units is his ticket to becoming rich. He just needs to find that special something that will change his life forever. Plan G is a DARK comedy about seeing an opportunity when its starring at you.


What first attracted you to this project?

Lauren: A script about an eyeball. Truly original!

Tiffany: It was such a wild, dark comedy about a freak discovery that forces a family to grapple with fame, greed, classism and doing the right thing

Sarah: I saw a friend in Larry's play The Weekend Will End, and I loved his writing so much that I reached out to him afterward. I love working on new plays, and Larry sure can write a good one.

Forrest: It’s very well written and made me laugh out loud time and time again, even while reading it.

Larry: I wrote it, so narcissism at it's finest.

What was your favorite part of working on Plan G?

Lauren: My favorite part was the conderful cast and team, which you need for an ensemble piece.

Tiffany: Duking it out with Larry Phillips (who plays my husband) every night onstage. I always enjoy a good row with Mr. Phillips!

Sarah: Honestly, the cast made the whole experience. Everyone was equal parts fun and professional!

Larry: The calibration of working with a mixture of friends that I've worked with prior, and brand new friends.

Forrest: Actually performing the show had to be my favorite part. Between hearing and feeling how much the audience was along for the ride and finding a groove with my nothing beat the actual moments where we were on stage.

What was the most challenging part of this production?

Lauren: Fighting (combat) in heels!

Tiffany: Maintaining my New Jersey accent once the character Shannon (Lauren LeBeouf) gets on stage! Her character was from the south and once she started that drawl my native Texas twang would just try to slip in there and join her.

Sarah: I loved my character, Elizabeth, but she's could be really cold and self-serving. It was a fun challenge to balance the aspects of her that were sympathetic and likable without trying too hard to redeem her less... desirable traits.

Forrest: The most challenging part for me was dealing with the fact that I wished more people knew about this production while it was happening.

What was the silliest part of this production for you?

Sarah: My character was only in the second half of the show, so I had about 45 minutes of downtown backstage before I made my first entrance. I'd like to say I was diligently studying my script, but mostly, I was surfing Twitter.

Forrest: My cast mates were so damn funny, in the early rehearsals I would miss my lines because I’d just get caught up laughing and watching them!

Did you gain any insight or learn anything new while working on this show?

Lauren: Talking in a Southern accent came very naturally, even though I had never performed with the accent before. Playing a dumb character takes a smart and clever actor!

What was it like working with Randomly Specific Theatre?
Lauren: Larry Phillips is an experienced writer who writes truly original scripts. Full of comedy and heart.

Tiffany: This cast was a hoot to share the stage with! Always bringing in ideas, listening, and willing to adapt and just play.

Sarah: Everyone treated their character and the show with so much respect throughout the process, and everyone was so funny!

Forrest: Developing lasting quality relationships was the best part of work with this company.

Why is the Ensemble of Plan G so awesome?

Larry:  A lovely group of people both inside and outside of the process.

Forrest: I genuinely believe my cast mates deserve this award and I am lucky to have worked with them. This show itself deserves another run, in a larger spotlight, truth be told.

What does this nomination mean to you?

Lauren: The world! This was my first play in NYC (outside of my acting school). Such an honor!!

Tiffany: I was so proud of this cast and crew that receiving a nomination for ensemble work is just so exciting! We worked hard and had so much fun making this piece of theatre, the nomination truly touching.

Sarah: Lately, I'm trying to lean into making theatre I like, so it always means a lot when other people like it, too.

Larry: An Ensemble nomination means everything clicked. The Director and producer's work in casting. The writers vision as the play. And obviously the actors sold the story. I love ensemble comedies, this means we did something right.

Forrest: It’s like a little dose of chicken soup for the actor’s soul to find out months later that all the hard work we put in didn’t go unnoticed.

Duke Oldřich & Washerwoman Božena, the True Story

Produced by GOH Productions in association with Czechoslovak American Marionette Theatre (CAMT)
Created & Directed by Vít Hořejš

Nominations: Outstanding Costume Design - Michelle Beshaw, Outstanding Sound Design - Beata Bocek, Outstanding Original Music - Beata Bocek

About GOH Productions:
GOH' mission is embodied in their logo, which is the Japanese character meaning “working together under one roof.” That definition informs their collaborative and expansive work. Founded in 1979 as 7 Loaves, Inc, GOH Productions received its new name in 1988. GOH embraces the challenge of nurturing artworks and artistic collaboration, testing the boundaries and borders of all categories. Their primary goal is to work with experimental and interdisciplinary artists to develop a variety of genres. Bonnie Stien is the Artistic Director of GOH Productions.

About Duke Oldřich & Washerwoman Božena, the True Story
This non-traditional staging of a 374 year-old marionette play is based on the story of love at first sight of the 11th century. Duke Oldrich braved stout opposition from friend and foe alike to marry the exquisitely fair washerwoman Bozena. However, he forgot to mention some details of his own marital status to his beloved. The two legendary lovers were truthfully represented by fine hand-carved marionettes and life-like mechanicals fashioned expertly two centuries ago from the choicest linden wood; their manipulators in period costumes were artfully composed in flesh and blood.

What first attracted you to the subject of this production?

Bonnie: The subject matter and the fact that 2018 was the Centennial founding of the Czechoslovakia. We created a festival to celebrate two auspicious anniversaries: the Centennial Anniversary of the founding of Czechoslovakia (1918) and the Millennial Anniversary of the unification of the Lands of the Czech Crown, under Duke Oldrich (1018). The play was proposed by Director and Marionette Master puppeteer Vit Horejs, and was created by the company with his direction. As a producer of many of the company's productions, I was particularly attracted to the stellar creative team including Beata Bocek (music/vocals) who we worked with for the first time; and brought over from the Czech Republic; and Michelle Beshaw a wonderful costume designer and performer who has worked with the company for a while; and Federico Restrepo, lighting designer.

Michelle: I have been working with CAMT for 20 years as a performer and designer.

What was your favorite part of working on Oldřich & Washerwoman Božena?

Bonnie: I loved watching the play unfold.. as the characters developed; and casting took on many exciting twists; like Bozena being portrayed by a man. The set elements were great too. Ben Watts is a wonderful physical actor. The whole company was fun to watch as the play took form. It was a tough script, and when it was finally done, I wish it had run longer. The music was one of my most favorite elements; Beata Bocek is a genius!

Michelle: Our process was organic and left room for everyone's creativity.

What was the biggest challenge of this production?

Bonnie: Creating a new play from a story; with no existing script, which is not a new process for this company, but presents challenges in terms of knowing when it is ready for the audience. The space was gorgeous at Jan Hus Church House, but we had to transform the space from a church to a theater and back again, after many of the shows. The company most often works in theater venues, but because the antique marionettes originally came from the Jan Hus Church collection, it was important to perform in their space. So in short the space was a gift and a challenge.

Michelle: Time. I was scheduled for a trade trip to Japan just before tech rehearsals so had to be completely finished before I might normally be. It left too little room for final fiddling.

What did you want the audience to walk away with after watching Oldřich & Washerwoman Božena?

Bonnie: A bit of history that they might not know; a bit of the Czech sense of humor and musical traditions, with some twists. I would like the audience to enjoy and consider how the company presents traditional aspects of marionette theatre with contemporary texts. I also would like them to recognize the complexities of the actors/puppeteers presenting characters that both as puppets and as themselves. This process has been developed by director Vit Horejs with his company members in a very unusual way, that is not often seen in the puppetry world. Horejs is a leader of innovative puppet / marionette techniques and his company are great at performing this style. Also, it would be great if they are stimulated to study a bit of Czech history.

Did you gain any insight or learn anything new throughout this process?

Michelle: Always. I learned a good deal about Duke Oldrich and Washerwoman Bozena.

What would you say is the quirkiest part of working on this production?

Bonnie: Actually the set was comprised of mannequins which we got from Materials for the Arts, painted and repurposed by designer Roman Hladik, in a creatively wonderful way; expressing the forest setting of the play. I was a bit skeptical about this set idea, until I saw what was created and how well it worked onstage.

Michelle: I built costumes for the puppets for this production as well as the cast. I love costuming puppets -- if things don't fit or lay exactly right, you have the option of fixing it with a hammer and tack. Not something live performers take kindly to.

Why are Beata and Michelle so awesome?

Bonnie: Beata Bocek is one of the most unique young voices in the field of a style of folk music that both relies on tradition and is contemporary. She makes her own music as well as singing old songs in a new way. Her voice is mesmerizing and magical. She was the perfect choice for our production. And a total pro to work with. Michelle Beshaw is one of the most under-stated smart costume designers I have ever met. She is fearless, creative and always coming up with great ideas within a minimal budget, by combining found pieces with her own touches. I always enjoy watching Michelle develop her ideas as the play unfolds; and she is not afraid to change things when they don't work well seeking the best of all possible costumes for each character, including the puppets!

What is it like working with this company of artists?

Michelle: We've built up a lot of trust as a company over the years which frees us to try new things, take risks and challenge ourselves and each other.

What does this nomination mean to you?

Bonnie: The nomination is very very important to our company. Creating and producing marionette and innovative puppet theater is a really growing field. We have been around for over 20 years; and Vit Horejs is a leader in the field, always bringing on great collaborators. For Beata Bocek it is a recognition in the USA, since it was her first trip here and she and her music were so well received. Michelle has one IT Award, but I feel like she deserves as many as there are to give. She always hits the mark in the costume design area. This means the world to her and to all of us.

Michelle: I think of the downtown theatre community as my home planet. It means so much to me to be part of this community and I'm glad and grateful to the New York Innovative Theatre Awards for their continued commitment to and recognition of the work we all do, often with so little. I'm honored and delighted to be included in this year's nominees.

Whirlwind

Whirlwind
Produced by Jordan's Play Lab in association with Rebecca Crigler & Barn Owl, LLC
Written by Jordan Jaffe
Directed by Dan Amboyer

Nominations: Outstanding Set Design - Gabriel Firestone, Outstanding Innovative Design – Sarah George &  Sonya Plenefisch, and Outstanding Premiere Production of a Play

About Whirlwind
Whirlwind centers around Bethany, a health and safety manager for wind developer Arrow Energy, as she is tasked with distracting and diverting the efforts of Michael, a wildlife advocate, from challenging the expansion of their wind farm—an assignment that becomes all the more complicated when the two become romantically entangled, while Bethany also dodges inappropriate courting from her boss, Cooper. Darkly comedic and unpredictable, Whirlwind explores the precarious intersection of business, science, and sexual politics involved when “going green.”

What first attracted you to the subject matter and this project?

Jordan: I wanted to write a play that would draw people in to see our position in the natural world more clearly. My generation is adamant that it wants to respect and protect the natural world but then people get locked into extreme ideological positions that don't necessarily bring us the results we want. All the characters in the play believe they want the same thing, to mitigate climate change and remove the danger to our ecosystems. But then there is the reality of how our own base natural instincts - we too are just animals in the same eco-system- can make that impossible to do. I wrote a play where humor allows the audience to see ourselves more clearly and without the falsity of our social constructions. This play was inspired by the two strongest, most amazing women in my life: my mother and my sister. Both are leaders in the field of sustainability, and inspire me everyday with their tireless commitment to advocating for sound energy policy.

Sarah: I thought the script was really fun, well-crafted, and was about something seemingly unknown to most people. It seemed like a really fun challenge!

What was your favorite part of working on Whirlwind?

Sarah: I really loved the team! Everyone was a joy to work with and it truly felt like a team effort and I think that came through in the cohesiveness of the show.

Jordan: All of it. As a producer there is no greater joy than watching written words on the page brought to life by a dedicated group of talented artists. As a playwright, it is exciting to see how the work evolves as the creative team comes to absorb the layers of meaning and innovate on how to express it best to the audience.

What was the most challenging aspect of this production?

Sarah: The time (I was also an associate producer on this project), and coming up with a non-messy way to create a bunch of decomposed eagle carcasses.

Jordan: The set and properties in the production were hands down our greatest challenge, which makes our nominations in those particular categories all the more gratifying. From creation to execution everything was difficult about the process. It's a testament to talent, drive, and dedication of my producing team, director, and designers that we overcame every obstacle we were presented with - The challenge, how to give a true experience of the beauty of the natural world inside a small interior theatrical space, seemed overwhelming at first. It is so inspiring to have our vision for the production recognized with this nomination.

Did you gain any insight or learn anything new from your experience of working on Whirlwind?

Sarah: Sonya, who made the dead eagles with me, is amazing at the craft and was instrumental in that process - I learned a ton from her about the magic of liquid latex! I also learned a lot about my limitations as a person and that it's totally okay to ask for help.

Sonya: I learned, or rather realized, how important weight can be with regard to props - which, of course, I knew, but had previously only really given great consideration in importance to in regards to designing & making puppets. (You'd think it'd be obvious, but I think we've all got that built-in human ability to overlook a really simple thing for a long time. Which isn't so bad, because then you get these weirdly exciting and clarifying moments where your brain finally flips the switch)

Was there anything notable or ironic about your experience?

Sonya: The first time I met most of the rest of the team, I was crouched under the low dark ceiling of audience seating bank, hands dripping in red, surrounded by stained and scattered feathers and hastily stuffing newspaper and weights into the bloody dismembered prop bird head (a bird which, I have now found out, people did indeed find realistic). It's not particularly innovative, but it was, I'm sure, both concerning and haunting. Way back in high school, I spent a fair amount of free time browsing through various set designs and set designers, and actually remembered being inspired by a few images of work by a set designer named Gabriel Firestone...who is now currently nominated for scenic design for Whirlwind. Life comes at you fast. I DO regret first realizing why I knew his name, and simultaneously meeting him, while , as previously stated, stuffing the innards into an eagle.

Jordan: The ultimate irony is that in presenting a play about environmental compromises that I made one. In our early design conversations my ambition was to not use wood or lumber in the making of our set as a sort of environmental challenge and sacrifice as birds play a central role in the narrative and deforestation is such a big issue for birds. In the end I caved in, and we built the stunning set that was nominated for these very awards. However, I think that experience of letting go of that idea was so apropos and indicative of the great dilemmas we face as a species in terms of our environmental impact. Where do we dig in and where do we compromise? The answer to this question will define not only the future of humanity but also our natural co-inhabitants of our planet.

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

Jordan: I want the audience to come away with a greater appreciation for the creatures we share this planet with and therefore to feel more engaged to know more about the challenges we face in terms of juggling our energy needs versus our environmental impact.

Why are Gabriel, Sonya, and Sara so awesome?
Jordan: Whirlwind is an amazing play. It's funny, moving, chalked full of bird puns, and speaks to the current moment of environmentalism like no other play dares to do. Gabriel Firestone is that special kind of visionary artist who only grows stronger as the pressure mounts. He came up with the inspired concept of this award-nominated design in a very short time. Two to three weeks later it was up in the theater in all it's majesty in no small part to his two sturdy hands and many a late night at the theater. The final emotional moment and really the entire journey of the play hinges on the reveal of the bird carcasses that Sarah and Sonya created. They tackled this challenge with care, reverence and dedication and in so doing created the lasting button? audiences will never forget.

What does receiving this nomination mean to you?

Jordan: It's a wonderful opportunity to celebrate this play and all our hard work with our friends and my family. It gives me heart that the judges and audiences could share the same passion for the endangered eagles, laugh a little and then be moved to recognize the play and its mission.

Sarah: I haven't been prop designing for long and still have a LOT to learn, so it's nice to be recognized!

Sonya: I moved to NYC less than two years ago without really any contacts, leaving behind all my former classmates and every designer & director I'd worked with over in the UK. As that statement should imply, I'm pretty damn happy about it. A little more than pretty damn happy, maybe.

Check out Whirlwind on both Instagram and Twitter - @whirlwindplay