Patriot Act

Patriot Act: A Public Meditation
An evening with media critic and political commentator Mark Crispin Miller
Assisted by Steve Cuiffo
Direction Gregory Keller

June 22, 2004—July 22, 2004

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Patriot Act: A Public Meditation is not a work of theatre but a provocative, funny, and scary exposé of threats to our American democracy and freedom. Media critic and political commentator Mark Crispin Miller (the author of books including "The Bush Dyslexicon: Observations on a National Disorder" and the upcoming "Cruel and Unusual: Bush/Cheney's New World Order") says there are powerful forces at work in our country, including the Republican Party, Democratic Party, Christian reconstructionists, and the federal government, that are undermining and erasing our fundamental liberties by their relentless contempt for democratic practice and free speech. In Patriot Act, Miller diagrams, pulls apart, and talks audiences through a multimedia presentation of a wealth of material drawn from official government reports, press conference transcripts, and news service material to evidence his case. The media only compounds the problem, according to Miller, by willfully abandoning their constitutional freedom and not reporting the contradictions, equivocations, and downright falsehoods uttered in interviews and press conferences, effectively giving these groups a free ride to say or do whatever they please. Each session of Patriot Act will be unique, as Miller constantly combs through new material to give an up-to-the-minute portrait of what is really going on in America, and audiences will be able to participate in a question and answer period with Miller. Political prestigidator Steve Cuiffo joins Mark Crispin Miller as The Assistant to provide an entertaining blend of political observations and good, old-fashioned sleight-of-hand magic.

Scenic Design Narelle Sissons
Projection Design Kimberly Reed
Lighting Design Jason Lyons
Graphics Design Ken Gordon
Production Coordinator Elizabeth Miller

Light Raise the Roof

Text Kia Corthron
Direction Michael John Garcés

April 30, 2004—June 13, 2004

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Through an energetic young man named Cole and his battle to provide homes for those surviving a freezing winter on the streets, in Light Raise the Roof playwright Kia Corthron (the author of plays including Force Continuum and Breath, Boom) humanizes the pervasive and multifaceted social problem of homelessness. As Cole struggles against everything from police raids on homesteaders' settlements to the allure of substance abuse in order to fulfill his promise of shelter for his dispossessed friends Zekie, Bebbie, Arnell, Em, and Mai, Corthron goes beyond abstract numbers and trends, straight into the realm of human tragedy.

Scenic Design Narelle Sissons
Costume Design Gabriel Berry
Light Design Allen Lee Hughes
Sound Design Robert Kaplowitz
Stage Manager Shelli Aderman

with Moe Moe Alston, Rob Beitzel, Caroline Stefanie Clay, Romi Dias, Royce Johnson, Mia Katigbak, J. Kyle Manzay, Chris McKinney, Andres Munar, April Yvette Thompson and Colleen Werthman


Text Paul Rudnick
Direction Christopher Ashley

January 16, 2004—April 4, 2004

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Two NYTW favorites, playwright Paul Rudnick and director Christopher Ashley (who memorably collaborated on The Most Fabulous Story Ever Told in 1998), team up for the premiere of Valhalla, a comic and affecting look at two disparate and passionate individuals both searching for a life of operatic beauty. King Ludwig II was the real-life 1860's ruler known as “The Mad King of Bavaria” - madly in love with Wagnerian opera and remembered for dotting the Teutonic countryside with ornate castles. Ludwig's aesthetic passions are redoubled through James Avery, a dangerously precocious 1940's teenager marooned amidst the brown wallpaper and pink chenille bedspreads of Dainsville, Texas. Rudnick, with his trademark wit, intertwines Ludwig's and James's adventures in sex, war, glory, and architecture, and movingly charts the consequences of their obsession with the extraordinary. NYTW has been working with Paul Rudnick and Christopher Ashley on the development of Valhalla for several years, including numerous readings of the play and a November 2002 workshop as part of NYTW's Jonathan Larson Lab.

Scenic Design Thomas Lynch
Costume Design William Ivey Long
Lighting Design Kenneth Posner
Original Music and Sound Design Mark Bennett
Choreography Daniel Pelzig
Stage Manager Sarah Bittenbender
Assistant Stage Manager Erika Timperman

with Scott Barrow, Candy Buckley, Sean Dugan, Peter Frechette, Samantha Soule and Jack Willis

The Architecture of Loss

Text Julia Cho
Direction Chay Yew

December 19, 2003—January 25, 2004

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As The Architecture of Loss begins, Greg unexpectedly returns to Tucson, to the family that he fled over a decade earlier. Greg's reunion does not go as he planned when he finds out that his young son, David, disappeared sometime after he left. With lost possibilities and unfulfilled expectations hovering in the intense August heat, Greg, his wife, Catherine, and their daughter, Carmie, re-live David's disappearance as events are colored through the conflicting memories of wife and daughter. Despite great loss, each day whispers with promises of hope in the face of incalculable loss and the arrival of a cooling rain. Julia Cho has been a two-time NYTW Emerging Artist of Color Fellow and, along with director Chay Yew, has developed The Architecture of Loss at New York Theatre Workshop over several years.

Scenic Design Riccardo Hernandez
Costume Design Linda Cho
Lighting Design M.L. Geiger
Sound Design Jill B.C. Du Boff
Stage Manager Timothy R. Semon

with Angel Desai, Mia Katigback, Jason Lew, Will Marchetti, Matthew Saldivar, Victor Slezak and Eric Wippo

The Beard of Avon

Text Amy Freed
Direction Doug Hughes

October 31, 2003—December 21, 2003

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Stuck in a filthy barn in Elizabethan England, a lowly bumpkin known as “Will Shakspere” longs to be an artist. Continuously thwarted by his hilariously chore-giving, homebound wife, Will takes off for London to pursue his dreams. Did the stageuck Will then become a mere front-man for the likes of Sir Francis Bacon, the Earl of Oxford, and even Queen Elizabeth, all too proud to admit they scribbled plays for the unwashed masses? So the stage is set for The Beard of Avon, Amy Freed’s (a Pulitzer Prize finalist for Freedomland) deliciously witty and farcical play that brilliantly fashions the longstanding debate over who really penned the Bard’s canon into an examination of the mortality of artists and the immortality of their legacy. As Will comically struggles to become an artist in his own right, Freed, with a gleefully winking awareness of the intervening centuries, keenly reflects on artistic inspiration, the struggle to become an artistic master, and the very meaning of creativity.

Set Design Neil Patel
Costume Design Catherine Zuber
Lighting Design Michael Chybowski
Original Music and Sound Design David Van Tieghem

with Timothy Doyle, James Gale, Kate Jennings Grant, Mark Harelik, Tom Lacy, Alan Mandell, Tim Blake Nelson, David Schramm, Justin Schultz, Jeff Whitty and Mary Louise Wilson