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GALLERY I GOOGLE MYSELF Video Images NO VIDEO AVAILABLE I GOOGLE MYSELF Add a Title Jason Schaffer an insightful and entertaining window into our society's preoccupation with fame and recognition, and how Internet innovations like blogs and online chats promote one's quest to be known, even as the same technology can lead to a debilitating isolation that increases the need for connection." i google myself is queer in the best sense of the word: self-consciously outside of the mainstream, looking in with intelligence and wit." Three men. Same name. Who will be the first hit? "I GOOGLE MYSELF is an insightful and entertaining window into our society's preoccupation with fame and recognition, and how Internet innovations like blogs and online chats promote one's quest to be known, even as the same technology can lead to a debilitating isolation that increases the need for connection." -OffOffOnline Jason Schaffer I GOOGLE MYSELF I GOOGLE MYSELF Three men. Same name. Who will be the first hit? "I GOOGLE MYSELF is an insightful and entertaining window into our society's preoccupation with fame and recognition, and how Internet innovations like blogs and online chats promote one's quest to be known, even as the same technology can lead to a debilitating isolation that increases the need for connection." -OffOffOnline Queer in the best sense of the word: self-consciously outside of the mainstream, looking in with intelligence and wit." -Village Voice The play had an impact. On the way out, one audience member said to another, 'I’m going to go home and turn off my computer.'" -Jason Zinoman, NY Times In the new play “I Google Myself ,” this ordinary act fuels a bizarre encounter which takes on ever creepier proportions in a show both hilarious and gothic." -Ellen Wernecke, New Theatre Corps The play had an impact. On the way out, one audience member said to another, 'I’m going to go home and turn off my computer.'" -Jason Zinoman, NY Times Jason Schaffer I GOOGLE MYSELF I GOOGLE MYSELF Three men. Same name. Who will be the first hit? "I GOOGLE MYSELF is an insightful and entertaining window into our society's preoccupation with fame and recognition, and how Internet innovations like blogs and online chats promote one's quest to be known, even as the same technology can lead to a debilitating isolation that increases the need for connection." -OffOffOnline Queer in the best sense of the word: self-consciously outside of the mainstream, looking in with intelligence and wit." -Village Voice In the new play “I Google Myself ,” this ordinary act fuels a bizarre encounter which takes on ever creepier proportions in a show both hilarious and gothic." -Ellen Wernecke, New Theatre Corps

T A Y P E GALLERY T A Y P E Video Images HOME: a story-telling exercize In this video, the kids are improvising a story, each picking up the details from the previous person. It was shot and edited by Rob Tate.

BAT BOY: THE MUSICAL GALLERY BAT BOY: THE MUSICAL Video Images NO VIDEO AVAILABLE

My Items Read More INDEPENDENT THEATRE Some of my favorite projects in New York's indie theatre spaces Read More INDEPENDENT THEATRE Some of my favorite projects in New York's indie theatre spaces Read More INDEPENDENT THEATRE Read More INDEPENDENT THEATRE Learn more at New Play Exchange Read More INDEPENDENT THEATRE Some of my favorite projects in New York's indie theatre spaces Read More ORIGINAL WORK Read More ORIGINAL WORK Read More ORIGINAL WORK Read More POST THEATRE COMPANY Read More POST THEATRE COMPANY: LONG ISLAND UNIVERSITY Read More POST THEATRE COMPANY: LONG ISLAND UNIVERSITY Read More

GALLERY BIG LOVE Video Images NO VIDEO AVAILABLE BIG LOVE Add a Title Charles L. Mee "Please feel free to take [my plays] and use them freely as a resource for your own work: that is to say, don't just make some cuts or rewrite a few passages or re-arrange them or put in a few texts that you like better, but pillage the plays as I have pillaged the structures and contents of the plays of Euripides and Brecht and stuff out of Soap Opera Digest and the evening news and the internet, and build your own, entirely new, piece—and then, please, put your own name to the work that results." - CHARLES MEE, playwright Charles L. Mee after Aeschylus's THE SUPPLIANT WOMEN BIG LOVE BIG LOVE "Please feel free to take [my plays] and use them freely as a resource for your own work: that is to say, don't just make some cuts or rewrite a few passages or re-arrange them or put in a few texts that you like better, but pillage the plays as I have pillaged the structures and contents of the plays of Euripides and Brecht and stuff out of Soap Opera Digest and the evening news and the internet, and build your own, entirely new, piece—and then, please, put your own name to the work that results." - CHARLES MEE, playwright Charles L. Mee after Aeschylus's THE SUPPLIANT WOMEN BIG LOVE BIG LOVE "Please feel free to take [my plays] and use them freely as a resource for your own work: that is to say, don't just make some cuts or rewrite a few passages or re-arrange them or put in a few texts that you like better, but pillage the plays as I have pillaged the structures and contents of the plays of Euripides and Brecht and stuff out of Soap Opera Digest and the evening news and the internet, and build your own, entirely new, piece—and then, please, put your own name to the work that results." - CHARLES MEE, playwright

MY FIRST LADY Video Images My First Lady at Metropolitan Founders Festival The REAL First Ladies of Washington City give the dish on the 1801 Election. Partisanship is so bad these days! Video by Leah Reddy

CABA RET GALLERY CABA RET Video Images Watch the entire show. Cabaret at LIU CW Post Director Jason Jacobs, Music Direction James Crichton, Choreography Rakeem Lawrence. Lighting Design: Leslie Lura-Smith Costume Design: Meghan O’Beirne. Sound Design: Chad Raines. Video by Catalin Stelian.

POST THEATRE COMPANY: LONG ISLAND UNIVERSITY POST THEATRE COMPANY: LONG ISLAND UNIVERSITY MARAT / SADE The year is 1808: France is a powerful empire ruled by Napoleon. Outside of Paris, in the mental asylum of Charenton, the Marquis de Sade has been inprisoned for seven years because of his outrageous writings ... Tonight, Sade presents a play, performed by the institution's patients, dramatyixing the assassination revolutionary leader Jean-Paul Marat during the French Revolution. He is glad to have you with us. GALLERY BIG LOVE GALLERY BAT BOY: GALLERY THE MUSICAL CABARET GALLERY Kander / Ebb / Masteroff HEDWIG AND THE ANGRY INCH As a director who thrives on the energetic exchange of live performance, it’s been too long; I’m thrilled to return to live theatre-making with this ensemble on this show and to welcome you into the world we’ve created. I came of age during another plague, the AIDS crisis of the 1980s and ‘90s, which shaped my identify as a queer artst. I got to see Hedwig transform from an edgy, immersive downtown show in the late ‘90s, then to an art house film, and more recently to a polished Broadway entertainment. The ingenious creation of author John Cameron Mitchell and composer Stephen Trask, Hedwig transcends geography and time, earning her place as an iconic character in the queer theater canon. We meet her within the space of a bitter/sweet rock-show, and her powerful songs give voice to the experiences of so many LGBTQ folx: struggling with our own wicked little towns and striving all our lives to know that we’re whole. Classic plays (and musicals) invite interpretation, and this production is shaped by a new generation of young artists who are tearing down the walls of traditional gender strictures. Our rehearsals have been an inquiry into how this multifaceted role can be embodied by a diverse ensemble--and how this story continues to resonate, more than 20 years since its inception. I hope our Hedwig celebrates the diversity of gender expression in this community. Whatever your own personal journey, I thank you for being here tonight and wish you an exciting theatrical ride! (Program Note -- November 2021) GALLERY MACHINAL The theme of this season at Post Theatre Company is “Once Upon a Time Travel”, and Sophie Treadwell’s Machinal (Mah-SHEE-nal) takes us a back to the thrilling and turbulent decade known as the “Roaring ‘20s.” In the winter of 2017, I feel like our American time machine has just been hijacked by a gang of rogue men, determined to hurl us all backwards at least 50 years. Now more than ever, it seems crucial to look at our history, in order to understand where we’ve been and how we arrived at this moment. In 1928, Treadwell confronted Broadway audiences with her indictment of a society that perpetuates machine-like oppression against its female population. The play follows a kind of Everywoman through a life journey that is anything but free. Using theatrical expressionism, Treadwell pointed at abuses of power in the workplace, home, and the law. She exposed sexual harassment, earning inequality, and women’s lack of choice to control their bodies and the direction of their lives 90 years later, I’m saddened to hear these students say they feel nothing has changed. Indeed, while we rehearsed this revival, we’ve been fighting to save Planned Parenthood, an organization founded 100 years ago on the belief that women should have the information and care they need to live strong, healthy lives and fulfill their dreams.* The man driving our political machine snarls epithets like “nasty woman” and brags about behavior widely considered to be sexual assault. It’s easy to overlook the progress that has been made when, everyday, we feel renewed forces of misogyny, racism, and homophobia pushing upon us. What gives me hope in collaborating with these young actors is the bravery and generosity each of them brought to work on Treadwell’s play. In order to build their connection to the past, the cast looked at their own family histories, in addition to researching the 1920s. This exploration helped us process what Machinal might say to you, our audience, tonight. The young actors on this stage are using their bodies and imaginations to enact our collective past, but they also represent our future. I hope their generation will have the courage and commitment to take back control of the machine and help steer us on a more progressive course. GALLERY xxxORIGINAL WORK xxxINDIE THEATRE xxxPOST THEATRE CO xxxVERMONT STAGE CO xxxTHEATRE ASKEW More MARAT / SADE The year is 1808: France is a powerful empire ruled by Napoleon. Outside of Paris, in the mental asylum of Charenton, the Marquis de Sade has been inprisoned for seven years because of his outrageous writings ... Tonight, Sade presents a play, performed by the institution's patients, dramatyixing the assassination revolutionary leader Jean-Paul Marat during the French Revolution. He is glad to have you with us. GALLERY BIG LOVE GALLERY BAT BOY: GALLERY THE MUSICAL CABARET GALLERY Kander / Ebb / Masteroff HEDWIG AND THE ANGRY INCH As a director who thrives on the energetic exchange of live performance, it’s been too long; I’m thrilled to return to live theatre-making with this ensemble on this show and to welcome you into the world we’ve created. I came of age during another plague, the AIDS crisis of the 1980s and ‘90s, which shaped my identify as a queer artst. I got to see Hedwig transform from an edgy, immersive downtown show in the late ‘90s, then to an art house film, and more recently to a polished Broadway entertainment. The ingenious creation of author John Cameron Mitchell and composer Stephen Trask, Hedwig transcends geography and time, earning her place as an iconic character in the queer theater canon. We meet her within the space of a bitter/sweet rock-show, and her powerful songs give voice to the experiences of so many LGBTQ folx: struggling with our own wicked little towns and striving all our lives to know that we’re whole. Classic plays (and musicals) invite interpretation, and this production is shaped by a new generation of young artists who are tearing down the walls of traditional gender strictures. Our rehearsals have been an inquiry into how this multifaceted role can be embodied by a diverse ensemble--and how this story continues to resonate, more than 20 years since its inception. I hope our Hedwig celebrates the diversity of gender expression in this community. Whatever your own personal journey, I thank you for being here tonight and wish you an exciting theatrical ride! (Program Note -- November 2021) GALLERY MACHINAL The theme of this season at Post Theatre Company is “Once Upon a Time Travel”, and Sophie Treadwell’s Machinal (Mah-SHEE-nal) takes us a back to the thrilling and turbulent decade known as the “Roaring ‘20s.” In the winter of 2017, I feel like our American time machine has just been hijacked by a gang of rogue men, determined to hurl us all backwards at least 50 years. Now more than ever, it seems crucial to look at our history, in order to understand where we’ve been and how we arrived at this moment. In 1928, Treadwell confronted Broadway audiences with her indictment of a society that perpetuates machine-like oppression against its female population. The play follows a kind of Everywoman through a life journey that is anything but free. Using theatrical expressionism, Treadwell pointed at abuses of power in the workplace, home, and the law. She exposed sexual harassment, earning inequality, and women’s lack of choice to control their bodies and the direction of their lives 90 years later, I’m saddened to hear these students say they feel nothing has changed. Indeed, while we rehearsed this revival, we’ve been fighting to save Planned Parenthood, an organization founded 100 years ago on the belief that women should have the information and care they need to live strong, healthy lives and fulfill their dreams.* The man driving our political machine snarls epithets like “nasty woman” and brags about behavior widely considered to be sexual assault. It’s easy to overlook the progress that has been made when, everyday, we feel renewed forces of misogyny, racism, and homophobia pushing upon us. What gives me hope in collaborating with these young actors is the bravery and generosity each of them brought to work on Treadwell’s play. In order to build their connection to the past, the cast looked at their own family histories, in addition to researching the 1920s. This exploration helped us process what Machinal might say to you, our audience, tonight. The young actors on this stage are using their bodies and imaginations to enact our collective past, but they also represent our future. I hope their generation will have the courage and commitment to take back control of the machine and help steer us on a more progressive course. GALLERY xxxORIGINAL WORK xxxINDIE THEATRE xxxPOST THEATRE CO xxxVERMONT STAGE CO xxxTHEATRE ASKEW More

Some of my favorite projects in New York's indie theatre spaces MY FIRST LADY

AFTER THE CHAIRS Video Images Fresh Fruit Awards Jason accepts the Fresh Fruit Award for Best Director, AFTER THE CHAIRS

OLIVER TWIST

I, CLAUDIUS LIVE