Monthly Archives: January 2011

New Georges Trunk Show!

Please come check out my very exciting collaboration with the incredibly talented Mallory Portnoy!

We’ll be showcased throughout the evening, trying out some new (hysterical) characters and scenes, as part of New Georges’ Trunk Show at Cornelia Street Cafe FRIDAY, FEBRUARY 11th!

NEW GEORGES’ TRUNK SHOW

Our innovative artists whip out new pieces from the ol’ trunk!

at

THE CORNELIA STREET CAFÉ

29 Cornelia Street, Greenwich Village

FRIDAY, FEBRUARY 11 at 6PM

Doors open at 5:45pm

$10 at the door + one drink minimum

Rsvp recommended: 212.989.9319

February artists include Jessica Bauman, Lenora Champagne, Lauren Keating, Ari Kreith, Rachel Peters, Mallory Portnoy and Sarah Cameron Sunde

NEW GEORGES, in business since 1992, is an award-winning theater company that produces ambitiously theatrical new plays downtown; and is a play and artist development organization, providing an artistic home to some of the most adventurous theater artists (who are women) working today.

“New Georges has been rocking expectations of performance, artistry, and collaborative possibility for over a decade” – Culturebot.org

“downtown faves since 1992″ – The Village Voice

“A reminder that the theater’s future is largely in the hands of those companies that cultivate the work of lesser-known writers and bring them to our attention.” – The New York Times

Posted in News
Posted on January 31, 2011

Final Weeks of the MFA Audition Coaching Special

This special deal only lasts two more weeks, and my schedule is filling up.  Act now (haha…), and grab the last few slots!

$25 for 50 minutes of monologue coaching .
Work on clarifying just one monologue, or quickly polish up several well known pieces.
Most of all, get the feedback you need to give a confident audition.

Please contact me directly to schedule a time/location.
Brief coaching bio below or here.

——————–

Lauren Keating is a New York City based director, teaching artist and acting coach.  Lauren’s work has been seen in NYC with The Public Theater, Ars Nova, The Flea Theater, At Play/The Old Vic, Prospect Theater, The Player’s Theater, New Lions Productions/NYC Parks and Recreation Dept., Cooper Union, The Space;  Regionally with The Hangar Theater, The Williamstown Theatre Festival.  As an assistant Lauren has worked extensively with Daniel Sullivan and directed the replacement cast of Stuff Happens at The Public Theater. Upcoming 2011 productions with Luna Stage and Queens Theater in the Park.

Lauren’s coaching clients have been booked at The Wilma Theatre in Philadelphia, PA, The McCarter Theatre in Princeton, NJ, The Williamstown Theatre Festival and many NYC venues.  Her educational work includes teaching and directing with The University of New Mexico, Fordham University and The Public Theater.

Lauren is a Drama League Fellow, the Old Vic New Voices American Director 2009, a New Georges Affiliated Artist and an NYU:Tisch Alumni.

Posted in News
Posted on January 18, 2011

My Top Ten of 2010

Top Ten Shows of 2010

This list is in no particular order.  It only includes productions that I saw for the FIRST time in 2010.  This list does not include productions that transferred to Broadway or other venues over the course of the last few years.  The other criteria are loose.  I went with what had stuck in my brain over the last year.

Vollmond – Pina Bausch gets to the heart of the human experience more directly and more viscerally than any artist, of any medium, I have ever experienced.
Brief Encounter – What this production does so brilliantly is create a vocabulary on stage, in front of the audience, essentially teaching you how to watch the show.  Then, Rice builds upon that vocabulary, shifting it and surprising you, bringing the whole the ride to a satisfying and expansive finale.  Plus, who doesn’t love a little Rachmanioff.
Red Shoes – Ditto.  Though this was certainly darker than BRIEF ENCOUNTER, both felt like events. not simply performances.  Kneehigh/Emma Rica think about how to structure that time before and after the performance, in order to enhance the audience’s experience and to create that feeling of Event.  The audience’s experience begins with their own entrance into the theater, not the performers.
Women of the Verge of a Nervous Breakdown – I LOVE Almodovar.  I loved the vibrance of this production, and how, in that vibrant, unapologetic way, it stayed to true the film.
Creditors – Full, brash, bold, terrifyingly present acting.  August Strindberg via Alan Rickman, what could be better?
Rent – Confession: I saw RENT for the first time last year.  Mike Donahue’s production for the Yale Dramat was so full of energy and imagination, and of course, the material is stellar.   A thrill to finally see it.
Witness Relocation – I saw several workshops and productions by Dan Safer and his company during 2010.  The way they blur the line between theater/dance/games is invigorating and exciting.  I never have more fun in a theater than at their shows.
Gatz – Immersive and expansive at once.  I have never seen such care taken to bring an audience into a world and build that world up around them.  Thrilling.
Chautauqua! – I saw this at Under the Radar last January, and plan to see it again.  The mix of fictional narrative, real life biography and local anthropology allowed me to see my everyday surroundings with renewed excitement.  Plus, these guys are hysterical.
As You Like It – Sam Mendes is a genius of stage picture.  The end.

Runner up :
The Jackie Look – Karen Finley is fierce and fearless.

Best Theater Going Experience :
Measure for Measure at Bayview Women’s Correctional Facility – The work I’ve done teaching in prisons this year has been incredibly rewarding and enlivening.  After working with the women of Bayview Correctional, I joined them for the Public’s Touring production of Measure for Measure.  Each moment was real for them.  They are living the questions of justice, forgiveness and sacrifice every day.  It was a lesson in bringing my own willingness to be transported to the theater.  Not for one moment did these women sit back with their arms crossed, deciding if this production was “good.”  It wasn’t about good or bad.  Worthy or not worthy.  Better or worse.  They simply signed themselves over to the experience.

Posted in News
Posted on January 9, 2011
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