



And on the pedestal these words appear:/"My name is Ozymandias, King of Kings:/Look upon my works, ye Mighty, and despair!"/Nothing beside remains. Round the decay/Of that colossal wreck, boundless and bare/The lone and level sands stretch far away.




Endtimes Underground at The Gene Frankel Theatre
24 Bond Street (between Bowery & Lafayette)
October 9-11, 16-18, 23-25, 30-31, November 1, 2008
Thursday through Saturday, 7:30pm
Nona
by James Comtois
Quitters, Inc.
by Qui Nguyen
In The Deathroom
by Mac Rogers
and
Paranoid: A Chant and The Last Waltz
adapted from the short stories of Stephen King
Featuring
Rebecca Comtois — Michael Criscuolo — Jeremy Goren
Jessi Gotta — Marc Landers — Marsha Martinez
Christian Toth — Ben Trawick-Smith
directed by Pete Boisvert and Patrick Shearer
stage managed by Stephanie Cox-Williams and Ben VandenBoom




This weekend , Vampire Cowboys brings back its extremely popular series, THE SATURDAY NIGHT SALOON, a monthly party at THE BATTLE RANCH featuring brand new genre-bending serialized plays by NYC's hottest indie theatre artists. The shows hit every first Saturday night of the month from September to January. It's always free, the all-you-can-drink beer (or until we run out) is always only a mere five dollars, and the shows are always inventive. So why go drink at a bar when you can party at the Saloon?
Two really exciting pieces of news to announce. First off, we have the official green light for our Blood Brothers show. The show is called The Blood Brothers present... The Master of Horror, and it's going to be a real doozy... we've received the rights for our playwrights to adapt a series of Stephen King stories for the stage! We're all very, very excited about this opportunity, of course. Been negotiating for the rights for most of the summer, and we're psyched to finally go public with our plans.
Good surrealism is hard to pull off. It's all too easy for it to come across as too abstract, too self-conscious, or just plain too weird. It's exciting, then, to catch the polished and well-crafted 2 By Sinner, which achieves a near perfect balance, avoiding these pitfalls. The title of the evening refers to John Sinner, a surrealist painter and theatre artist from Los Angeles. Sinner pulls triple duty in the evening, writing, directing, and sharing acting duties with Betsy Moore in two short plays.
If you're in the mood for tightly executed surrealism, it would be well worth your time to check out 2 By Sinner. It's certainly a strange evening of theatre, but Moore and Sinner carry the audience through with great skill.
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An adaptation of an adaptation, Too Much Memory is a modern retelling of the tale of Antigone. Loosely based on Jean Anouilh's World War II-era take on the Greek myth, co-writers Keith Reddin and Meg Gibson firmly plant the conflict between Antigone and Creon in the present, with reflections on enemy combatants, suicide bombers, and the restriction of civil liberties in a time of war. On balance, Reddin and Gibson's adaptation is an effective and engaging political thriller. The acting is of truly high caliber, especially the performances by Heisler, Moran, Cancelmi, and Ray Anthony Thomas as the soldier Jones. Gibson directs the play with energy and zeal. Although the play dances right up to the line of political polemic, it avoids triteness through it's emotionally honest portrayal of the characters' humanity. In his opening monologue Moran's Chorus describes an obligation to speak up in an oppressive political environment. Too Much Memory speaks loudly, and knows exactly what it wants to say.
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