Starting a new blog based around my directing work. Production photos, artistic statements, production concepts, news, musings and so forth.
Steven Brinberg is the premier Barbra Streisand impressionist, who has taken his act, “Simply Barbra”, to international acclaim both on stage and television (performing on several occasions with none other than Streisand buddy Marvin Hamlisch) paying homage to all that is Streisand. Steven does not lip-sync but does a stunningly accurate singing impressionism of Streisand.
Steven will be doing Simply Barbra Holiday Show: The Music, The Mem’ries, The Matzo… at Feinstein’s / 54 Below this Sunday, December 18. It’s an evening of holiday tunes, Streisand classics and glimpses of other divas from Cher to Bea Arthur. All performed live, no lip synching. Look for a special guest star to join Barbra to help ring in the holidays – and sing some famous Christmas songs written by Jewish composers.
Steven Brinberg has been acclaimed for his vocal performance of Barbra Streisand for over a decade around the world. In addition to touring all over America he has also played extensively in England, Ireland, Scotland, Australia, Thailand, Spain, Mexico and Canada…more cities then the real Barbra! Steven was hired by Streisand’s management to perform at her friend Donna Karan’s birthday party.
The show contains songs from both The Christmas Album – “probably more from that one,” Steven notes, and Christmas Memories. “It’s funny,” says Steven, “I change the show constantly especially the talking. At one point, I referred to James Brolin as a famous B movie and TV actor, at another point I took the B out. The challenge in keeping the shows fresh after so many years is helped by Barbra still being such a presence. Keeps it current. And I’m always free to sing songs she has never done, as I know exactly how she might do them down to the last breath. I had been singing ‘Make Someone Happy’ in the show years before she recorded it. And the end result when she did it was pretty close. I was surprised though that she changed her phrasing on the lyric from ‘Love is the ansuh’ to ‘Love is the anserrr’ perhaps to plug the title of the album!”
For tickets, click here.
To learn about Jonathan Warman’s directing work, see jonathanwarman.com.
CASTING CALL: “That’s MISS FITS, to YOU!”.
5 Performances, NYC Fringe Festival, August, 13, 15, 19, 22 & 27, various times. Rehearsals, July 15-opening, evenings.
Auditions: July 6, 7 & 8, 2016. 7p.m. to 10p.m. At BoConcept: 144 W. 18th Street, NYC.
For audition appointment:
More info and music samples: http://thatsmissfitstoyou.weebly.com/
Seeking big drag personas, gender-funk, trans-actors, for a poly-gender, spiritual, mystery musical. Singers, dancers, comedians, lip-sync. 6 roles, age 20-40. 6 roles, age 40-70. Big characters. Plus one young muscular male, and one Judy Garland impersonator.
Audition in drag/gender-funk, or bring a photo.
YOUNG MISS FITS
20 to 40 years old, all ethnicities male. Man in drag (room for “gender-funk”, a beard is possible but not required). A starring part with singing and silent acting only — no lines. A powerful queer spirit guide.
40 to 70 years old, all ethnicities male. Man in drag (room for “gender-funk”, a beard is possible but not required). Always the show-woman / show-off, but also very tough. Lead role, singer/actor.
40 to 70 years old, all ethnicities male. Man in drag (room for “gender-funk”, a beard is possible but not required). Sweet and a bit mystical, comedian, very funny. Lead role, singer/actor.
MISS SERVICE WO-MAN
40 to 70 years old, all ethnicities male (could be FTM trans) in drag (room for “gender-funk”, a beard is possible but not required). Military type, some severe up in here. Lead role, singer/actor.
40 to 70 years old, all ethnicities MTF trans or cisgender man in drag. Fierce, fierce, fierce. Lead role, singer/actor.
40 to 70 years old, all ethnicities Policeman, stately and stern, butch yet androgynous, with secrets to spare. Lead role, singer/actor.
20 to 30 years old, all ethnicities male. Gorgeous young muscle stud eye candy. Has a solo song and some dialogue.
YOUNG MRS COUNTERPOINT
20 to 30 years old, all ethnicities male. Man in drag (room for “gender-funk”, a beard is possible but not required). Always the show-woman / show-off, but also very tough. Major role, singer/dancer.
YOUNG MISS ALLITERATION
20 to 30 years old, all ethnicities male. Man in drag (room for “gender-funk”, a beard is possible but not required). Sweet and a bit mystical, comedian, very funny. Major role, singer/dancer.
YOUNG MISS SERVICE WO-MAN
20 to 30 years old, all ethnicities male (could be FTM trans) in drag (room for “gender-funk”, a beard is possible but not required). Military type, some severe up in here. Major role, singer/dancer.
YOUNG MISS CONSPIRACY
20 to 30 years old, all ethnicities. MTF trans or cisgender man in drag. Fierce, fierce, fierce. Major role, singer/dancer.
20 to 50 years old, all ethnicities male or female. Impersonator of the legendary singer. Must give a convincing illusion of Miss Garland’s vocals, appearance and mannerisms. Has a featured song.
40 to 45 years old, African American male or female. Woman or man in drag. Non-speaking dignified impersonation of the legendary civil rights activists. Depending on acting and vocal abilities may double as Service Wo-Man, Counterpoint, or Alliteration.
July 15, 2016 – June 27, 2016
I’ve directed a new production of Enrique Granados’s 1916 opera Goyescas, which opens tonight and runs through November 22. Tickets available here.
Here’s a promotional video:
Love, death, seductive music, and fiery dance come together this November in the opera Goyescas. Bare Opera presents this bohemian opera by Spanish composer Enrique Granados, inspired by the lush paintings of Goya. Set in the vibrant urban landscape of 1980s Madrid, this tragic romantic tale features rapturous songs and flamenco-inspired dance.
The opera will be paired with charming selections from Isaac Albéniz’s Suite Española, specially arranged for orchestra and dance for this production.
This bold new production is directed by Jonathan Warman, choreographed by Liz Piccoli, and features costumes by fashion designer Laura Kung. Bare Opera’s principal conductor, Sesto Quatrini, leads the performances.
This fall I will be directing Enrique Granados’s opera Goyescas with an exciting new opera company Bare Opera. The story of Goyescas is based on a series of six paintings from Francisco Goya’s early career, inspired by the young men and women of the majismo movement. These majos and majas are known for their bohemian attitude and stylish dress.
Bare Opera is an alternative opera company in New York City with a fresh, modern take on the opera experience. They believe that the bare essence of opera is the magical experience created through different art forms coming together. Bare Opera brings this collaborative spirit to the 21st century through innovative cross-arts productions.
Bare Opera cares deeply about the future of opera and believes that there’s an immense need for innovation in the art form to bring in new audiences. They strive to break the stereotypes around opera and create a casual and intimate experience in unusual spaces like art galleries and warehouses. By promoting emerging artists and unique cross-genre collaborations, Bare Opera hopes to be an active agent of change in the cultural landscape of opera and classical music, helping to create a sustainable future for the art form. More about them at their website here.
To learn about Jonathan Warman’s directing work, see jonathanwarman.com.
I will direct a developmental reading of the new musical Mean at Emerging Artists Theatre. The musical, with book by Kerri Kochanski (1,001 People That Suck, The Food Monologues), features music and lyrics by Grammy Award winning pop icon Alecia Moore (aka P!nk). The workshop features choreography by Liz Piccoli (Spandex the Musical), and musical direction by Luke Williams.
Mean tells the story of Jinx, an up and coming rock star in Hollywood, using some of P!nk’s biggest hits as its soundtrack.
The reading is open to the public and will take place on Saturday, May 30th at 2:00 PM at the TADA Theater, 15 West 28th Street in NYC.
The cast features Rock of Ages star Justin Mortelliti (Broadway World Award nomination for Best Leading Actor in a Musical), Meghan Leathers (Scenes From An Execution), Luis Villabon (Reefer Madness), Elyssa Brette Mactas (A & E’s “The Haunting of Beverly Mitchell”), Jay Reum, Michael Fisher, Jennifer Roderer, Espen Sigurdsen, Tim Realbuto, Zach Wachter, Jon Garrity, Charly Dannis, Madeline Acquaviva, Shaina Vencel, Loulu Luzi, Thea Lammers, Mary Bolt, Shannon Burke, and Kevin P. Sullivan. Vanna Richardson will serve as the Production Stage Manager.
Tickets, priced at $10, are available here.
For more about Jonathan Warman’s directing work, see jonathanwarman.com.
Quit the Road, Jack, a new comedy by Jerry Polner, directed by GaySocialites contributor Jonathan Warman, about the North American Free Trade Agreement (NAFTA), premieres tonight, Thursday March 5 as a guest production of TheaterLab in Manhattan.
When the son of a divorced and miserable couple of burnt-out ex-musicians runs away from home to join up with the immigrant worker rights movement, mom and dad are forced to travel across North America together to find their boy. Directed by Jonathan Warman, acclaimed for his work by the New York Times, Backstage, TimeOut NY and Theatermania. Quit plays Thursday to Saturday at 8 PM and Sunday at 3 PM through March 22. TheaterLab is at 357 West 36th Street, 3rd floor in Manhattan (between 8th-9th Avenue; Subway A,C,E to 34th Street), and $18 tickets are available ($12 student discounts for advance sales, using promotional code STU; discounts for groups of 10 or more use promotional code BIG) at OvationTix at https://web.ovationtix.com/trs/pr/941428 .
Jerry Polner (“I saw a lot of terrific shows at The Planet Connections Festivity, but nothing made me laugh louder, longer, or more pleasurably than the first scene of Jerry Polner’s Fix Number Six” Martin Denton, nytheatre.com), is a writer of sketches, parodies, and stage comedies, many taking skewed looks at serious issues. Recently, his How Do You Want it, a romantic comedy about the Federal Reserve System, won the Planet Connections Award for Outstanding Production of a Staged Reading, and his Fix Number Six, nominated for six Planet Connections awards, was also published by Next Stage Press and Indie Theater Now. His other short plays have been produced by the Workshop Theater Company, Brooklyn Playwrights Collective, Manhattan Theatre Source, and NY Madness; and Weatherman, a comedy about the weather bureau, was published by Samuel French. Jerry’s comedy sketch script Fugitive Math Teachers was one of the winners of Break Media¹s Break.com Video Contest. Online, he has written for Political Subversities and McSweeney’s.
Quit the Road, Jack, produced by Radical Gags Theatrics, is co-presented by ALIGN (Alliance For A Greater New York), Community Voices Heard. The Greater New York Labor-Religion Coalition, and New York Immigration Coalition. In connection with the subject matter of the play, the co-presenting organizations will join in Fair Work, an onstage panel discussion about immigration and worker rights, immediately after the Thursday March 12 performance.
Jonathan Warman’s New York work includes the premiere of Tennessee Williams’s Now the Cats with Jewelled Claws, starring Mink Stole and Everett Quinton (“Outrageously entertaining, thanks to the imagination of the director” Backstage; “His surehanded staging provokes both laughs and thought” Theatermania) and the new musical Me and Caesar Lee with two-time Tony nominee Ernestine Jackson. For more information on his directing work, see jonathanwarman.com.
The cast of Quit the Road, Jack, features Cynthia Bastidas; RJ Batlle; Jes Dugger (Fancy Nancy, “Homeland”, “One Tree Hill”); Rosemary Howard (“The Wolf Of Wall Street”); Connor Johnston; Jorge Marcos (“The Good Wife”, “White Collar”), Jaime Puerta (El Quijote, La Isla Desnuda) Jay Reum and Rob Skolits (The Normal Heart, Lincoln Center Theater). Set design is by Eric Marchetta, costume design is by Maddie Peterson, lighting design is by Yuriy Nayer, and choreography is by Liz Piccoli. The production is stage managed by Vanna Richardson.