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.

MEET THE 2019 NOMINEES: Assassins

Produced by The Secret Theatre
Music and Lyrics by Stephen Sondheim 
Book by John Weidman
Director: Lauren Shields
Musical Director: Morgan Morse

Nominations: Outstanding Director – Lauren Shields; Outstanding Actor in a Lead Role – Evan Teich (see post); and Outstanding Production of a Musical

About the Secret Theatre
The Secret Theatre strives to provide New York City and surrounding communities with inexpensive, but high-caliber performances, to expand the horizons of patrons young and old alike who would normally not venture outside of the main borough. As a venue for assorted live entertainment, particularly classical theatre, as well as new works, comedy, and musicals.

Photos by Jakub Djeko

About Assassins
Nine individuals who have attempted a presidential assassination tell their stories in this revue-style musical of humor, drama, history, and fiction. Assassins is an illustration of very different people who have made extreme choices for varied reasons.

What about directing Assassins was most attractive for you?

Lauren: We all have a shadow side of ourselves that lurks deep in our consciousness. The consequences of the impact on us by our culture and our own individual tragedies can make us do reprehensible things in desperation. Some act on it, while others do not. No one person or set of experiences can be seen as black and white. I wanted to show audiences a deeper side of the humans that are seen as villains to so many of us.




What was it like to work with The Secret Theatre?

Lauren: This company dedicated so much of their time and passion into this project. They spent hours researching and working before they stepped into the rehearsal room. It made the rehearsal process powerful, moving and inspiring. I could not have had a better team.

Make sure to check out The Secret Theatre on Twitter - @secrettheatreny

Hamlet (What Dreams May Come)

Produced by Ript Theater Company in association with The Secret Theatre
Directed by Nathan Winkelstein

Nominations: Outstanding Costume Design - Sarah Marie Dixey; Outstanding Ensemble: Lindsay Alexandra Carter, Ade Otukoya, Chauncy Thomas, Nathan Winkelstein; Outstanding Revival of a Play

About Ript Theater Company
Ript Theater Company is devoted to bringing classic tales to vibrant life through innovative productions, new adaptations and performer centric work. We believe in the power of the words of the great classicists, be they Shakespeare, Moliere, Aphra Behn or Euripedes to move us and deepen our understanding of our world and our times.

Photos by Reiko Yanagi

About Hamlet (What Dreams May Come)
Four performers embody all of the characters in this innovative new Hamlet: a fast paced, non-stop whirlwind of mind and body as rational thought battles with hysteria. Secret Theater teams up with Ript Theater Company on this exciting production.

What first attracted you to this version of Hamlet?

Lindsay: Nathan Winkelstein has tremendous facility in classical text, is a smart casting director, and organized producer. I was excited by the prospect of being in his room.

Sarah: I was first approached by our director, Nathan Winkelstein, to be on this production. We had worked together in the past, and collaborated well. I thought figuring out the logistics of a truncated four person Hamlet would be ridiculous, challenging, and just the right kind of puzzle for me at the time.

Chauncy: I wanted an opportunity to work with my friend Nathan Winkelstein.

Nathan: I was interested in the family drama at the core of the play

What was your favorite part of working on the show?

Lindsay: The athleticism required of the actors to play the number of roles assigned led to a highly physical interpretation of the text which was exciting to discover with Cat, Nathan, and the entire ensemble.

Sarah: I really enjoyed the freedom of mixing textures that went along with the puzzle of creating such a small scaled show. All of the costumes needed to function as both highlighted characters and background noise that could seamlessly transition from moment to moment while all holding their individuality. This gave me a lot of room to experiment and just see what worked, which was quite engaging.

Chauncy: The camaraderie we developed while rehearsing.

Nathan: My incredible castmates and their immense patience as I moronically attempted to act, direct, adapt and produce all at the same time. Their backs still hurt from carrying me.

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

Lindsay: I found differentiating Ophelia and Gertrude to be extremely difficult; especially because I wanted to remain as truthful to the text and intention as possible and avoid creating a caricature.

Sarah: As much as making a four person Hamlet was appealing, it was also quite a challenge. We had a strict budget and aesthetic, and fitting costumes that needed to be so versatile and full of texture into that was tough. We had a very restrictive light rig, which washed out almost all of the aging and dye treatments I had done. This resulted in pushing a lot farther than I was used to so things would read in the space. It's difficult to do that, but ultimately opens you up to some crazy paint jobs that you're thankful for in the end.

Chauncy: Honestly, it was trying to maintain my focus while dealing with a breakup.

Nathan: Wearing multiple hats, and as always finding the vulnerability at the core of any successful performance.

What was the most noteworthy part about your experience with this production?

Lindsay: The idea alone to create a production of Hamlet that is 90 min and only requires four actors I believe is undoubtedly innovative and created for a quirky track particularly for Claudius/Polonius and his transitions.

Sarah: I think the most innovative or interesting thing on this production was taking period patterns and using things like gauze, spandex, and soft draped fabrics to create the garments. It's a gamble to make something so structured out of fabric that doesn't always do that, but it worked brilliantly for the pieces I think! 

Nathan: Well I am never acting/directing and producing a show again. The level of beautiful, positive ensemble work by the cast in this show was astounding. Many of the most memorable moments of the show came from the minds of the group.

What was the best part of working with this company of artists?

Lindsay: There was not one weak artist in the room and all had a diverse set of skills which lead to the room being highly collaborative.

Sarah: I think the most innovative or interesting thing on this production was taking period patterns and using things like gauze, spandex, and soft draped fabrics to create the garments. It's a gamble to make something so structured out of fabric that doesn't always do that, but it worked brilliantly for the pieces I think! 

Chauncy: They gave me plenty of emotional support on and off stage. 

Nathan: I wanted to work with pros. Actors with incredible facility but the openness to explore and group as an ensemble. That happened.

Did you gain any insights or learn anything new from your work on this production?

Lindsay: I learned that I have some time before I am ready to properly play Gertrude.

Sarah: I had a wonderful time pushing my boundaries with this project. The entire process was a lot of going with my gut on choices and doing things I wouldn't normally do. I don't typically paint or burn costumes on loading docks during tech, but it was so rewarding to get a show that pushed me to do it!

Chauncy: It was the first time I somewhat felt like I knew what I was doing in a Shakespeare production.

Nathan: Don’t direct and play Hamlet, but if you do, do it with a special group of people. I also learned that truly asking a question is one of the hardest, most vulnerable things you can do onstage.

What does receiving this nomination mean to you?

Lindsay: It is always lovely to receive something that commends your work. It is nice to feel recognized.

Sarah: I'm honestly just flattered to be considered for this. This production was such rewarding experience, that it is just fantastic to be recognized as part of this collaboration.

Chauncy: I'm really thrilled. I strive to be someone who works well in an ensemble, so it's great to know my contributions were noticed.

Nathan:  It means a lot. I strive to be an unselfish actor and to surround myself with unselfish actors, its nice to have them recognized.

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.

MEET THE 2019 NOMINEES: Real

Real
By Rodrigo Nogueira
Directed by Erin Ortman
Presented by Rodrigo Nogueira in association with The Tank with support from Torn Page and Group.Br

NOMINATED FOR: Outstanding Lighting Design - Kia Rogers

Kia Rogers | Photo: Xanthe Elbrick

Starring Darwin Del Fabro, Gabriela Garcia*, Rebecca Gibel*, Sarah Naughton*, Charlie Pollock*, Keith Reddin*.
* Denotes member of Actors' Equity Association

AO LI – SET DESIGNER
KIA ROGERS – LIGHTING DESIGN
BECKY BODURTHA – COSTUME DESIGNER
QUENTIN CHIAPPETTA – MUSIC COMPOSER AND SOUND DESIGNER
GABRIELLA PÉREZ – MOVEMENT
LIZ HAYES – DIALECT COACH
MONICA VILELA – PRODUCTION MANAGER
MITCHELL BUENO – ASSISTANT STAGE MANAGER
ORCHESTRA
BYUNCHEN LEE – VIOLIN
AO PENG – VIOLA
ANA KIM – CELLO
BILL YOUMANS – CASTING ASSISTANCE
BRADLEY BLOOM – SOUND OPERATOR
KYLE GLASOW – SOCIAL MEDIA/GRAPHIC DESIGN
MERCURY – ORIGINAL ART
RODRIGO NOGUEIRA AND THE TANK – PRODUCERS
TOM PAGE – ASSOCIATE PRODUCER
GROUP.BR – SUPPORTER


What attracted you to working on this project?
The story was intriguing and i love working with Rodrigo Nogueira, the playwright. I love the playwright, and it was fascinating to light the story like a piece of music,

What was your favorite part of working on this production? And why?
The collaborative process between the whole team from director, playwright to all the designers and production staff. The cast and crew, the whole team was wonderful to work with.

Photo: Miguel de Oliveira

What was the most challenging part of working on this production? And why?
Always not enough time! We would have done more technical support if we could have had previews.

Was there anything odd, quirky, innovative, funny or otherwise noteworthy about your experience with this production?
We decided after one quick pass at tech to drop all the front light and really push angles and shadows to tell the story. We wanted to create an environment where two worlds could exist and then smash into each other.

Photo: Miguel de Oliveira

What is the best thing about working with this company and/or these artists?
Everyone really listened to each other and having the playwright in the room to clarify or be the voice when things weren't landing made making decisions faster. Everyone was very collaborative, and respectful.

Did you learn anything or discover anything new while working on this project? If so, what?
Always try new things, even if something doesn't quite land the experience of seeing it happen, then moving on from there always. I discovered how to trust side light! brought us closer to what the play needed

What does this nomination mean to you?
It's always a good feeling being nominated, knowing folx appreciate your work! It is an honor to be mentioned, I'm grateful for all the work that goes into building a creative community and it means so much to be recognized.

Photo: Miguel de Oliveira

MEET THE 2019 NOMINEES: Red Emma and the Mad Monk

Red Emma and the Mad Monk
Created by Katie Lindsay & Alexis Roblan
Written by Alexis Roblan
Directed by Katie Lindsay
Music by Teresa Lotz
Produced by Emma Orme, The Tank, Alexis Roblan, Katie Lindsay Productions, and Teresa Lotz

NOMINATED FOR:

Outstanding Actress in a Featured Role: Maybe Burke

Outstanding Director: Katie Lindsay

Outstanding Sound Design: John Salutz

 Outstanding Original Music: Teresa Lotz

Outstanding Original Full-Length Script: Alexis Roblan

Outstanding Production of a Musical: Red Emma and the Mad Monk
Photo: JJ Darling

Starring Maybe Burke, Fernando Gonzalez*, Drita Kabashi, Imani Pearl Williams, Jonathan Randell Silver*

Assistant Director: Liza Couser
Musical Director: Cassie Willson
Music Supervisor & Arranger: Isaac Alter
Sound Design: John Salutz
Costume Design: Glenna Ryer
Wardrobe Supervisor: Shannon O'Donnell
Lighting Design: Luther Frank
Scenic Design: Diggle
Associate Scenic Design: Jocelyn Girgorie
Props Master: Alex Wylie
Choreography: Yael Nachajon
Production Manager: Mac Whiting
Production Stage Manager: Dara Swisher
Graphic Design: Jonny Ag Design
*Denotes member of Actors' Equity Association

ASK THE ARTISTS

What attracted you to working on this project?
Alexis Roblan: In the lead-up to the 2016 election, director Katie Lindsay and I were in conversation about the work we wanted to make together, and we kept coming back to the idea of political action -- what is it, exactly? Is a Facebook post a political action? Is attendance at a protest? What makes action effective and how far should it go? As we were circling these questions, a history-buff friend told me a story about Emma Goldman running an ice cream shop in Massachusetts while plotting to assassinate a Pennsylvania robber baron, and I instantly knew this had to be in our piece. I also wanted to include Rasputin, who I'd been obsessed with when I was 12. Katie insisted that if Rasputin was in the piece, the 12 year old me who was obsessed with him probably needed to be as well.

Maybe Burke: From the first scene I read for my audition, I was in love with this character and this show. Addison is quirky, smart, funny, and just starting to figure things out. She is an anxious and curious 12 year old anarchist ready to take on the world. Add in Rasputin as her imaginary best friend, what could be more enticing for an actor?

Katie Lindsay: Alexis Roblan, the playwright, and I sat down together in the spring of 2016 and started talking about making a show together. This was, of course, during the lead up to the 2016 when all of our friends were channelling their political rage into posting on Facebook. We wanted to investigate the meaning of political action, from a Facebook post, to a protest, to the other end of the extreme-- assassination. RED EMMA & THE MAD MONK came out of our need to understand our changing political landscape and what, if anything, we could possibly do about it.

Teresa Lotz: When I was twelve I was obsessed with the kind of things I wasn't supposed to be into... just like Addison. So I felt an immediate connection. Plus, I loved Alexis' and Katie's work and wanted to jump on that bandwagon as soon as possible.



What was your favorite part of working on this production? And why?
Katie Lindsay: The heart that every single person working on this show brought to the production. The collaboration started with me and Alexis, saying yes to each other's crazy ideas and building off of each other to create the container for this story. The production was scrappy, and everyone went above and beyond to bring our collective vision to life. From producing team, to our lighting designer who begged and borrowed to get the instruments we needed, to our friends who showed up to help build the set at midnight because the shop had built the wrong measurements, to our actors who really shone in their roles. There's nothing like leading a team who so deeply believes in the vision that they will do whatever it takes to make the show what we all dream it can be.

Alexis Roblan: The team, the team, the team. From each of our designers to each member of the cast, our producer Emma Orme, and the amazing collaborative relationships I found with director Katie Lindsay and composer Teresa Lotz -- this was hands down the best experience of collaboration I have experienced thus far. And that experience felt important to the thematic content of the show as well. RED EMMA AND THE MAD MONK is very much about the inability to create cohesive narratives, and the struggle to make the world you want, in the face of forces that are constantly derailing it. But the joy that we were all able to consistently find in creating this world together was the clearest and most hopeful counterpoint possible.

Teresa Lotz: The community and energy we crafted within and around this piece. It was extremely vibrant and positive. It was clear that we all had tremendous creative respect for one another and wanted to make the piece the best it could be.

What was the most challenging part of working on this production? And why?
Maybe Burke: Playing a preteen in my 20s was for sure challenging. I mean, energy and personality wise, Addison and I are not all that different. But for me, as a baritone, to play a pre-pubescent cis girl in a musical was at times rather dysphoric. I would get in my head about certain ways that I looked or sounded and had a hard time focusing. Luckily I could confide in our director, Katie Lindsay, who talked things out with me and helped me work towards comfort.

Alexis Roblan: It was my very first experience writing lyrics for musical theatre, and while that was incredibly exciting and I found an insanely generous collaborator in my composer, Teresa Lotz, there were also quite a few challenging moments, trying to restructure songs in the middle of rehearsal or find the dramaturgical purpose for song choices that were initially made on impulse.

Katie Lindsay: I've never seen a show like Red Emma and the Mad Monk -- we were creating our own framework, our own aesthetic, our own world in making this show. We had to go on instinct that all the pieces would fit together. That is terrifying!! It wasn't until a run just before tech that we really cracked the heart of what the play wanted to be, which was absolutely thrilling.

Emma Orme: It was a very ambitious production! Especially scenically, especially at a place like The Tank, that is accustomed to a set that can be struck every night after the show. We upped the ante on what could live in that space and it was totally thrilling but also a massive undertaking.

What is the best thing about working with this company and/or these artists?

Maybe Burke: As Addison sings, "You have to surround yourself with people like the person that you want to be." All of the people on this team pushed me and inspired me to be the best version of myself at every step of this process. All of my struggles to bring this character to life were coming from me. Never did any of my dysphoria or doubt come from something that was said or done in the room. It was really very beautiful to have a room full of people see me and believe me to be playing a 12-year old girl without question. It really made me think, if more trans and non-binary people got to play roles that were right for them and didn't have to make excuses or explanations for their identities, maybe people would be able to see us more.

Teresa Lotz: Everyone gave 150% at all times. I've never worked with a harder working or more dedicated team. I was inspired every day to work harder.

Katie Lindsay: The willingness of our team to take on such an ambitious project, how deeply collaborative every person was in creating the show, their belief in the importance of what we were trying to say even when we were in the complicated muck of trying to figure out how all the pieces would come together. We built a community-- diverse, loving, investigative, passionate-- that stands in opposition to the politics of rendering truth meaningless.

Alexis Roblan: This entire process was so infused with fun and joy, in the midst of a high level of artistic commitment. That's a credit to the talents and personalities of the entire team, but also the tone set by Katie Lindsay as an intensely collaborative director who allows for and actively cultivates that joy.

Was there anything odd, quirky, innovative, funny or otherwise noteworthy about your experience with this production?

Maybe Burke: Did you see the show? Every step of Red Emma and the Mad Monk can be described as odd, quirky, innovative, funny, and noteworthy.

Katie Lindsay: The show is prescient. Alexis wrote the play in 2017, before we really understood the depths of Russian interference in the 2016 election. No one understood the Surkov character and what he was doing in the play when we did a workshop production at Ars Nova in 2017. By the time we did the show in 2018, Russian interference was widely known. The Surkov through line took on new depths and made complete sense in the world of the play. Also, our set came built with the wrong dimensions, so that was a hilarious late night call to my friend who is a set designer and former carp, who worked all hours of the morning to get the set built. That the show went up was in so many ways a miracle.

Alexis Roblan: As a playwright working primarily in downtown indie theatre, this was the first time I got to see something I'd written fully designed. I'm pretty sure I started crying the first time I saw a rendering of Diggle's set design. I cannot express how fortunate I feel to have worked with him, Luther Frank (lights / projections), John Salutz (sound), and Glenna Ryer (costumes). These designers brought a level of creativity, vision, and totally insane execution to this production that awed me every single day.

Teresa Lotz: Most musicals take 5-8 years. We worked on this guy for about 2. Many songs were written in the room and we still haven't had the time to fully flesh out how music works in the show. Regardless, I'm pumped about how it turned out and excited for the future of the show.

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

Alexis Roblan: I had an incredible time collaborating with composer Teresa Lotz on the songs. As a playwright, I am always looking for new ways to theatricalize moments and ideas on stage, and it turns out a song is a hell of a way to do that. Shout out to our crazy talented choreographer Yael Nachajon for finding the exact levels of dance and stylized movement needed for those moments as well.

What does this nomination mean to you?

Maybe Burke: Red Emma and the Mad Monk was such a pivotal show for my career. I didn't pursue acting for a long time, and even then didn't take it very seriously until this production. To see myself be cast and celebrated in a role like Addison really gave me a reason to claim space as an actor. To be nominated for this award, that is complete validation of the space I am holding. As a non-binary trans feminine person, to be nominated in a category for actresses is not being taken lightly. I am honored and touched to be seen by this opportunity, and hope it can be part of a larger conversation about representation and accountability for actors outside of the binary.

Katie Lindsay: It's an honor to be recognized. This play was such a labor of love and was completely out of my comfort zone. We created it out of a real need to make sense of the chaos around us. To know that our play was meaningful to others makes my heart so incredibly full. To know that I did justice to Alexis's words, and was able to create a meaningful container for her play, means the world to me.

Teresa Lotz: I haven't been nominated for an award in NYC before... so this is really exciting for me to be recognized for my work as a composer!

Alexis Roblan: One of the most fulfilling aspects of this production was the community it built while we were doing it -- including every single member of the cast and production team, and eventually including the audience. So it's remarkably nourishing to receive recognition from the larger New York indie theatre community, which feels like a continuation of what we got to make together.