Four workshop productions sharing one highly flexible repertory set (and one talented design team)
Producing Director ALEXANDRA CADENA | Scenic Designer DAN DALY | Lighting Designer CHRISTINA TANG | Props Designer CINTHIA CHEN
“You'll never know the things we skylarks do to keep our perfect little nests.”
Inspired by the echoes of Nora's plight that persist in today’s world, A Doll's House: A New Opera follows the structure of Henrik Ibsen's original play but extends its heroine's gilded cage through music. Nora's domestic life with Torvald honors manipulation over authenticity, but she is forced to find her own voice when the masquerade ends.
Written and Composed by GRACE OBERHOFER
Director ALLISON BENKO
Executive Producers ALEXANDRA CADENA, JUAN CARLOS MONTEMAYOR ELOSUA
Producer CINDY SIDERIS
Music Director ROBERT FROST
GRACE OBERHOFER - A Tacoma, WA native and a Tufts graduate (s.c.l.), Grace works as a composer, performer, and sound designer. Her dystopian bunny musical with Julia Izumi, Hot Cross Buns, originated at Corkscrew and was recently workshopped at Brown/Trinity, and her choral play tetralogy with Colette Robert and Helen Banner, ICONS/IDOLS, has garnered support from New Georges, OPERA America, The Tank, and New Ohio/IRT Archive Residency. www.graceoberhofer.com
ALLISON BENKO is excited to return to Corkscrew Festival, having directed last season’s world premiere of The End of Mermaids. Other directing includes Single Rider (Players Theatre), Twelfth Night (Alchemical), What Happened That Night (Project Y), Rebels v. Tories (Fairfield Museum), and She Loves Me (Balch Arena). Benko has worked extensively as an assistant director, most notably on Lincoln Center's Tony-Award winning production of Oslo. Benko is a member of the Lincoln Center Directors' Lab and a former guest artist at the Tholpavakootu Puppet Centre in Kerala, India. www.allisonbenko.com
ALEXANDRA CADENA is a graduate of Yale University and has worked extensively as a producer/manager in the theatre with the Yale School of Drama and the Yale Cabaret. Her work as a theatre producer includes the New York International Fringe Festival, Corkscrew Theatre Festival, The 24 Hour Plays, #HealMeToo Festival and more. She has vast experience in film and her production company, AC Pictures, has several awarded winning shorts that have premiered at the Next International Film Festival, Worldfest-Houston, and SENE film festivals. Upcoming producer work: White Flags (film), Anna May Wong, The Actress Who Died a Thousand Deaths (SUITE/Space Mabou Mines). www.a-c-pictures.com
"Shall we set about some revels?"
Célébrons ce beau jour… In this “hootenanny” Twelfth Night, Director Thomas Kapusta reimagines Shakespeare’s wistful play of festivity and loss via his French-Canadian heritage, transporting the ensemble comedy to a kitchen parlor in Hardwick, Vermont. This Twelfth Night invites its audience to join in fifty years of LeCours family music-making tradition, inspired by the American folk revival, their Québécois roots, and the joy derived from performing together for each other. When words fail, it’s music that lets us love in mourning, mourn while celebrating, and celebrate being in love.
Written by WILLIAM SHAKESPEARE
Adapted and Directed by THOMAS KAPUSTA
THOMAS KAPUSTA is the co-founder and Artistic Director of Corkscrew Theater Festival. He has developed, directed, and produced work throughout New York City. In 2016, he was assistant director on the world premiere of Linda Alper and Penny Metropulos’ adaptation of Great Expectations at Oregon Shakespeare Festival. Tom holds a BA from Columbia University, and is currently pursuing a Master’s in Arts Administration from the Weissman School of Arts and Sciences at Baruch College.
JULY 17-Aug 3
“What is a man anyhow? What are you? What am I?……I am the teacher of athletes!!”
Walt Whitman BodyJolt™ is a play in the form of an audience participatory exercise class led by Walt Whitman, the esteemed poet and, now, the creator of a new fitness regimen for 21st-century Americans seeking a dynamic physical, intellectual, and moral workout. Loosely inspired by a series of self-help articles written by Whitman in 1858 and only unearthed in 2016, the play encourages audience members to follow Walt as he works through his own obstacles and insecurities alongside them. Movers of all levels are welcome for this sweaty exploration of how we train to be better – as people, as citizens, and as a country.
Written + Directed by ALEX HARE, based on the words of Walt Whitman
Choreographed by KATIE ROSE MCLAUGHLIN and NATALIE HRATKO
Music by VAN BROH
ALEX HARE is a director of new musicals (mostly) and the associate artistic director of Corkscrew Theater Festival. He previously developed Walt Whitman BodyJolt at Barn Arts Collective and the New Masculinities Festival. Other current projects include A Burning Church, a musical tracing the history of an Alabama church over the last thirty years (New Ohio workshop; co-director with Zhailon Levingston). Assistant credits: School of Rock (Broadway), Side Show (Broadway, Kennedy Center). Frequently an assistant to film director Bill Condon, Alex studied American Studies at Columbia University. alexhare.nyc
KATIE ROSE MCLAUGHLIN is a NYC-based choreographer originally from Minneapolis, MN. Trained in ballet, she attended the Joffrey/New School BFA program prior to training at a renowned clown school in Switzerland. Notable credits include Bear Slayer (Ars Nova), The Black Crook (Abrons Arts Center), The Space Between the Letters (Under the Radar’s INCOMING!), Bump (EST), Parade (Yale Dramat), SEAGULLMACHINE (LaMama), and working with David Neumann as Associate Choreographer on HADESTOWN directed by Tony-nominated director Rachel Chavkin (Broadway, NYTW, Citadel). In 2013, she co-founded and became the artistic director of Designated Movement Co., a dance/theater company interested in blurring the lines between forms. katierosemclaughlin.com
JULY 26-Aug 3
“The law said we had to be wearing three pieces of women's clothing. But we knew, and so did you, what was coming. We needed our sleeves rolled up, our hair slicked back, in order to live through it.”
A collaborative play inspired by Leslie Feinberg's seminal novel Stone Butch Blues, Morgaine Gooding-Silverwood’s Stone honors Leslie and other overlooked butch heroes of the 1960s. The inter-generational piece is a devised work of historical fiction based on the very real legacy of butch solidarity and gay community organizing that took place as a response to the police violence and anti-crossdressing ordinances of the era. Stone is an homage, a celebration, a love letter and a reflection.
Written and Created by MORGAINE GOODING-SILVERWOOD
Co-Directed by KATHERINE WILKINSON
MORGAINE (MO) GOODING-SILVERWOOD is a theatre artist and activist based in New York City. They are currently pursuing their Masters in Text and Performance from The University of London and the Royal Academy of Dramatic Art. As an activist, Mo works as an educator in Theatre of the Oppressed, feminism, and philosophy at state and federal prisons in New York. Mo has trained as a performer and maker with Anne Bogart's SITI Company, and their work has been produced in the inaugural 2017 season of the Corkscrew Festival, at The University of Denver (where they served as an Artist in Residence) and at The Oklahoma Contemporary Museum.
KATHERINE WILKINSON is a director and producer based in New York City. Katherine has spent the last decade creating new ensemble-driven performance throughout the US and abroad. Katherine has worked with The Magic Theatre, Playmakers, SITI Company, Suzuki Company of Toga, Zen Zen Zo, Rude Mechs, Classical Theatre of Harlem, Deborah Hay, GenEnCo, RADA, Movement Research, and The Watermill Center, among others. Katherine has assisted Anne Bogart, Sam Gold, Robert Wilson, and Rosemary Andress. www.katherinewilkinson.com