Daniel Damiano Blog

3 Readings of THE DISHONORABLE DISCHARGE OF PRIVATE PITTS - Feb, 2nd, 3rd & 4th

2012-01-29T20:07:00.000-08:00

My play The Dishonorable Discharge of Private Pitts will have 3 staged readings at the WorkShop Theater on Feb 2nd, 3rd & 4th, with a stellar cast, and directed by the wonderful Kathy Gail MacGowan. *This will actually be a STAGED reading, with blocking, minimal lights and sound.

The readings are FREE, but reservations are strongly encouraged. To RSVP, please call (212)695-4173, then 5#.

WorkShop Theater
312 West 36th Street - 4th Floor.

January/February Happenings

2012-01-13T18:18:00.000-08:00

I'll be performing in Michael Schwartz's adaptation of Horatio Alger's SHIFTING FOR HIMSELF, OR GILBERT GREYSON'S FORTUNES, as part or Metropolitan Playhouse's Alger Festival.

5 perfomances only;

Monday, Jan. 16th @ 7pm
Saturday, Jan. 21st @1pm
Friday, Jan. 27th @ 9pm
Saturday, Jan. 28th @ 7pm
Sunday, Jan. 29th @ 1pm

at 9th Space Theatre,
150 1st Ave.
For tix, www.metropolitanplayhouse.org or
212-995-5302

Next up; The WorkShop Theater will present a 3-performance Staged reading (FREE) of my play The Dishonorable Discharge of Private Pitts, Feb 2nd, 3rd & 4th at 8pm.

A Year in Reflection/ Coming in January...

2011-12-19T09:40:00.000-08:00

My play C U T enjoyed a very successful premier as part of Cold Snaps 2011, which ran at the WorkShop in December.

I'm now about to start rehearsals for Michael Schwartz's stage adaptation of Horatio Alger's SHIFTING FOR HIMSELF, which will run at 9th Space at PS 122 in late January.

I will also begin sending out a recently completed children's book, which I'm pretty proud of, entitled Halsey the Hippo's Special Day. This is a picture book written in rhyme, intended for children ages 5-10 (or thereabouts). The story centers around Halsey (a hippo) who wakes up feeling sad, and the absurd lengths he goes to to mask (literally) his sadness while on his way to work.

I've been most grateful for the creative opportunities that have come and ones I was also able to create in 2011. Among the highlights, I shot 3 web commercials for Phone.com as spokesman Max Boulevard (which you can view on the commercial reel of my website at www.danieldamiano.com). I also enjoyed the role of Damis in Tartuffe, directed by Charles Gerber, at the WorkShop and also got to play the plum role of Ira Stone in Schoolhouse Theatre's wonderful production of Neil Simon's Laughter on the 23rd Floor up in Croton Falls. Judy and I's production entity fandango 4 productions co-produced a stellar 2 week run of 7 of my one-acts, The World is My Cheesecake, with Mind The Gap Theatre Company, which we hope to revive in 2013; this was one of the highlights of my life so far as an artist, and I continue to be grateful and appreciative to all the wonderful artists who contributed to Cheesecake's success. I also had some truly stellar readings of my plays The Dishonorable Discharge of Private Pitts and The Golden Year.

So another calendar year is about to come to a close, but in the end, it's each day that matters most. I very much look forward to what's ahead while trying my best to appreciate each day, the fact that I'm an artist and that there are some people interested in what I'm doing or will do down the road.

I will never take that for granted and am extremely thankful!

Have a wonderful, healthy and creatively prosperous year to come! See ya' soon, I hope.

Upcoming...

2011-10-08T09:29:00.000-07:00

My new one-act C U T will premier in Cold Snaps 2011, an evening of one-acts produced by the WorkShop from Dec. 1st through 17th. CUT is directed by the wonderful Paula D'Alessandris and starring Ken Glickfeld and Jonathan Weber. For more info, go to www.workshoptheater.org.

I'll also be appearing as Mick in a second developmental reading of LAST OF THE TEXAS DOLLIES, a new play by Dan Moyer, for Active Theatre in mid-December.

I have also completed a children's book, Halsey the Hippo's Special Day, which I will soon be sending to publishers. This is a picture book children's story for children in the 5-10 year old age range.

Lastly, my play GRAPHIC NATURE is currently a Semi-Finalist for the Fulton Theatre Discovery Project.

That's all for now. Thanks for checking in!

CHEESECAKE; A Success

2011-09-19T21:06:00.000-07:00

THE WORLD IS MY CHEESECAKE, a 2-week run of 7 of my short plays covering the themes of Memory, Loss, Memory Loss, Love, Fate, Death & Marriage, concluded a very successful run at the WorkShop's Jewel Box space on September 17th. This was a joint production between fandango 4 productions and Mind The Gap Theatre Company. Due to the shortness of our run, aside from 1 postive blog review, we were unable to get any reviewers in. However, the audience feedback was truly wonderful. Many sighted this evening as the best evening of one-acts they'd seen, with an array of styles and tones, at once funny, absurd, poignant and thought-provoking. We had a stellar cast of 12, who were directed by Paula D'Alessandris, Stephanie Staes and myself, all culminating in a truly fabulous run.

Thanks so very much to those who came out to support this special show, which had been in the planning stage for the better part of the year. I could not have been more pleased with the results of our work, particularly our cast, crew, and my fellow producers Paula D'Alessandris & Judy Alvarez.

We look to possibly have another (and slightly longer) life for this wonderful production, but for now, it is, as they say,...on to the next thing, whatever that may be.

Thanks, as always!

THE WORLD IS MY CHEESECAKE -Coming in September AND my PHONE.COM Commercials

2011-07-06T19:40:00.000-07:00

Tickets are on sale now for THE WORLD IS MY CHEESECAKE, a funny, absurd and moving evening of 7 of my short plays, produced by Mind The Gap Theatre Company and fandango 4 productions, which will run at the WorkShop Theater Jewel Box Space from Sept. 6th-17th.

For more info on THE WORLD IS MY CHEESECAKE, including complete performance schedule; go to www.fandango4.blogspot.com.

This will be a very special production!

On the Acting front; check out 3 commercial spots I shot back in February for PHONE.COM, playing the role of kooky spokesman Max Boulevard;

http://www.youtube.com/watch?v=-C-b7nMZGcA&feature=related

http://www.youtube.com/watch?v=RnlVZ5klgJ0&feature=related

http://www.youtube.com/watch?v=4hcfn8hEQBA&feature=related

A productive May/June. So what's ahead?

2011-06-09T21:31:00.000-07:00

I'm thrilled to report that LAUGHTER ON THE 23RD FLOOR, which I'd been performing in since May, closed its extremely successful and largely sold-out run at the Schoolhouse Theater in Croton Falls, NY this past week. A lovely quote from the Bedford Record Review said "...the Schoolhouse has rolled out a roster of its A-list players into an ensemble of characters so in tune with each other and their material as to raise this show in a symphony of laughter".

May also saw 2 very successful concert readings of my play THE DISHONORABLE DISCHARGE OF PRIVATE PITTS, which will be presented on the WorkShop's Mainstage in 2012/2013 season.

Not sure what the rest of June or July will bring, but let's see. In the meantime, we're beginning pre-production talks for the September production of THE WORLD IS MY CHEESECAKE, which will be produced at the WorkShop's Jewel Box Theater for a 2-week/10-show run, produced by Mind The Gap Theatre Company and fandango 4 productions. For more info, go to www.fandango4.blogspot.com.

May & June Happenings

2011-02-26T14:35:00.000-08:00

Upcoming Readings in May -

THE DISHONORABLE DISCHARGE OF PRIVATE PITTS
2 Special Concert Readings
May 17th & 18th @ 8pm
as part of the WorkShop's They That Have Borne the Battle Series.

Both Readings are FREE, though Reservations are required at 212-695-4173 x 6
http://workshoptheater.org/node/1865
__________________________________________________________________________________

I'll also be performing in a reading of A LETTER FROM BATAAN by Neal Freeman, as part of The Drama League Directors Project's New Directors/New Works Program

This will be an invitation-only reading at the Siti Company Studio Space, 520 Eighth Avenue, Suite 510 on Monday, May 16th at 7pm

Read more: http://offoffbroadway.broadwayworld.com/article/Dizzia-Kelly-Lead-A-LETTER-FROM-BATAAN-Reading-20010101#ixzz1KatICRvQ

__________________________________________________________________________________

Upcoming Performances in May & June -

I will be playing Ira Stone in Neil Simon's classic LAUGHTER ON THE 23RD FLOOR, at the Schoolhouse Theatre in Croton Falls, NY from May 12th-June 5th, under the direction of Pamela Moller Kareman. This looks to be quite special.

For info, go to; http://schoolhousetheater.org/current_season/laughter_on_the_23rd_floor.html

Recently...

2011-02-06T18:42:00.001-08:00

Well, after the recent closing of Tartuffe, which ended its successful run on Jan. 29th, I appeared in a reading of Jacqueline Goldfinger's new play Skin & Bone, as part of the Mauetic Theatre Works NewBorn Festival, sponsored by City College.

And the latest???; I recently shot 3 spots (in a single day) as spokesperson/character Max Boulevard for Phone.com. These are intended to be the first of, perhaps, more Web and Radio spots featuring this kooky character. We'll see. It's a crazy biz!

What's next? Stay tuned...

Thanks for checkin' in.

Reading of SKIN & BONE on Feb. 3rd

2011-01-30T06:54:00.000-08:00

After concluding a wonderful run of TARTUFFE at the WorkShop, it's on to the next thing;

I'll be performing in a reading of a new play by Jacqueline Goldfinger called Skin & Bone, as part of Maieutic Theatre Works's NewBorn Festival, which will be held at City College on Feb. 3rd at 8:30pm. It will be directed by Dev Bondarin.

http://www.mtworks.org/current-season.html

After that, I look to shoot my first spot as Max Boulevard for Phone.com this week.

Thanks for checkin' in.

TARTUFFE at the WorkShop - Jan 13th-29th

2011-01-04T20:35:00.000-08:00

I'll be playing the plum role of Damis in Paul Weidner's adaptation of Moliere's classic Tartuffe at the WorkShop Theatre from Jan. 13th through 29th, under the direction of Charles E. Gerber. We have a wonderful cast, so don't miss it!

For more info, go to;

http://workshoptheater.org/mainstage/2011/Tartuffe

2010 in Review - Looking Back, Looking Ahead

2010-12-23T20:56:00.000-08:00

Well, 2010 did indeed bear some lovely fruit. While I’m not wealthy as a result, it nonetheless was a year in which I was, again, grateful for the lovely opportunities that were both actively sought out by myself and that miraculously came my way, as if from the sky. I also want to take this time to thank my friends and family who continue to support my work. I cannot express my thanks enough to you.

So here’s a little retrospective of what happened (artistically) in my life in 2010;

Jan/Feb –
THE NARROW WORLD successfully premiers in Los Angeles, produced by Fresh Baked Theatre Company; a very nice, energetic, hilarious and poignant production, and a great excuse for my first trip to Los Angeles.
(I also got to have a fun metro encounter with a large woman in a pink windbreaker)

March/April –
THE CRUCIBLE – playing Rev. John Hale. One of the highlights of my acting career thus far, and a stellar production, directed by Heather Siobhan Curran at Gallery.

Also did some Voice Over work for the International Baccalaureate, thanks to my friend Mark Bellusci.

April –
The first public reading of THE DISHONORABLE DISCHARGE OF PRIVATE PITTS, at the WorkShop. A great reading, directed by Kathy Gail MacGowan

June –

Gallery did another stellar reading of my yet to be produced masterpiece (he said modestly) GRAPHIC NATURE, directed by Heather Siobhan Curran.

Performed with Mind The Gap in BritBits 7 in an amusingly dark piece called THE PILOT, with Mia Moreland, directed by Paula D’alessandris.

July –
Performed my solo show THE HYENAS GOT IT DOWN as part of the 11th Annual Midtown Internat’l Theatre Festival, directed by Aaron Gonzalez. It went on to receive 2 MITF nominations; Best Performer in a Special Event and Best Production.

In July, I also had the privilege of becoming an official member of the WorkShop Theatre Company in midtown. Thank you, Scott Sickles, Kathy Gail MacGowan & Anne Fizzard.

***June and July also saw my wife - Judy Alvarez - give 2 standout performances in back-to-back successful productions of CANDIDE, adapted by TJ Rogers, at Gallery, and in Ebe Ensemble's production of ROMEO & JULIET, in Prospect Park, Brooklyn.

Within the months of June-through-September, I also wrote 2 new plays; the 10-minute brit comedy THE ART OF TEA and the full-length THE GOLDEN YEAR.

October –
Made my WorkShop Mainstage debut as Frank in Ken Jaworowski’s INTERCHANGE, directed by Thomas Cote’. Another lovely experience. The piece went on to be a NY Times Critics Pick and, as a result, sold out the duration of its run. Also the 10-minute version of my my one-act SPELL received an acclaimed public reading at Seattle Rep’s Poncho Theatre.

November-
The first NYC reading of my play THE OLD WIFE’S TALE at the WorkShop. Another great success.

Also got to rip a new a-hole to a theatre company out in Arizona that advertised a play of mine without my consent. Problem solved! Writer wins! Production does not happen.

December –
Appeared in a lovely English romantic one-act duet A WEEKEND IN FILEY, by Jennifer Fell Hayes, directed by Kathy Gail MacGowan and co-starring Anna Emily Wood. The nicest experience I’ve had as an actor in a one-act festival. It was part of the WorkShop’s COLD SNAPS 2010.

I also was fortunate to have some publications this year;

The 10-minute version of SPELL is published in the NorthWest Playwrights Alliance 10-Minute Anthology, published by Western Washington University.

My one-act THE ENLIGHTENMENT OF MRS. CARTWELL is now published in the 2009 Estrogenius Anthology. I'm particularly pleased about this one;

http://www.createspace.com/3486037

...AND I have 2 poems (Morning Glory & Within the Depths of New York Harbor) published in Cloudbank: A Journal of Contemporary Writing;

http://www.cloudbankbooks.com/

Lastly, I’ve been fortunate enough to make a bit of side money doing Headshot photography. Should you be in the market, feel free to check out my website at

http://danieldamianoheadshots.blogspot.com/.

What's up in 2011 you ask? Well, for one, I'll be playing the plum role of the volatile son Damis in Paul Weidner's adaptation of Moliere's classic TARTUFFE, directed by Charles E. Gerber. This will run on the WorkShop's Mainstage from Jan 13th-29th. Details to come.

Again, thanks so much to everyone who has been generous enough with their time to continually support my work and thanks to those whom I had the great pleasure of working with and whom I hope to work with again. Onward and Upward, always!

Be well...and a Glorious, Prosperous, & Healthy-frickin' New Year to All,

Love,
Danny

Coming in December/January

2010-11-24T00:40:00.000-08:00

I'm thrilled to announce that my play The Enlightenment of Mrs. Cartwell is now officially published and available in the 2009 Estrogenius Anthology. This literally stole the Festival last year, in large part to my wonderful cast and great director, and I am thrilled we can all take pride in its publication. You can purchase it at the link below, and it will also be available at Manhattan Theatre Source, as well as (eventually) at Amazon.com and the Drama Bookshop;

http://www.createspace.com/3486037

I also have 2 poems published in the 3rd Edition of CLOUDBANK: Journal of Contemporary Writing; Within the Depths of New York Harbor & Morning Glory. This is a strong collection of new contemporary poetry and some prose. To buy a copy, go to; http://www.cloudbankbooks.com/

On the acting front, I am now in rehearsals for Paul Weidner's new adaptation of Moliere's classic Tartuffe, directed by Charles Gerber. I am thrilled to have the plum role of Damis, the volatile son. This will run on the WorkShop's Mainstage from January 13th-29th;

http://workshoptheater.org/mainstage/2011/Tartuffe.

Thanks for checkin' in!

Upcoming in November/December

2010-10-31T12:26:00.000-07:00

Well, Interchange finally concluded its wonderful run at the WorkShop. The play, written by Ken Jaworowski and Directed by Thomas Cote', played to packed and enthusiastic houses and was a NY Times Critics Pick. My sole (but pivotal) opening scene declared "poignant" by Times Critic Wilborn Hampton. (Too bad Wilborn couldn't include the 2 names of those in said "poignant" scene. Oh, well.)

And now, as they say, onto the next thing...or things, if you will;

My play The Old Wife's Tale will receive a public reading on the WorkShop's Mainstage on Nov. 21st, as part of the Sundays@Six Series. This will be this play's second public reading, after a great and acclaimed reading at the Last Frontier Theatre Conference in '09. This reading will star Gerrianne Raphael (from the original Broadway production of Man of La Mancha), Noah Keen, Bert Edwards and DeeDee Friedman. It will be directed by Kathy MacGowan. And it's FREE. For info, go to;

http://www.workshoptheater.org/node/1748

And following that, I will be appearing as Chris in Jennifer Fell Hayes' A Weekend in Filey, with Anna Emily Wood, and again directed by Kathy MacGowan. This will be included in Cold Snaps, a presentation of short plays at the WorkShop, which will run from Dec. 2nd-18th.

http://www.workshoptheater.org/node/1712

Thanks for checkin' in!

Come see me in INTERCHANGE at the WorkShop

2010-09-28T09:23:00.000-07:00

I'm currently appearing as FRANK in NY Time's critic Ken Jaworowski's new play Interchange, directed by Thomas Cote'. This is a compelling play about intersecting lives, and the effect one has another.

Interchange will be running on the WorkShop's Mainstage through Oct. 30th. All shows are at 8PM. Tickets are $18, Students/Seniors $15.00.

The play is currently a NY Times Critics Pick, and my sole scene declared "poignant".

For tickets, go to www.workshoptheater.org.

On the Playwriting side of things, the 10-minute version of my one-act SPELL was recently published in the Northwest Playwrights Alliance's 10-minute Play Anthology, published by Western Washington University. As a result, it received an acclaimed public reading at Seattle Rep's Poncho Forum on Oct. 12th;

http://northwestplaywrights.org/Events.htm

September/October Happenings

2010-09-10T10:43:00.001-07:00

So my solo show The Hyenas Got It Down: Tales of Savagery, Depravity & Other Acts of Love did not grab the gold at the recent MITF Awards. However, I am most proud to say that it received 2 Nominations; Best Production of a Short Subject & Outstanding Actor/Actress in a Special Event.

I have recently begun rehearsals for Interchange, a compelling new play by NY Times critic Ken Jaworowski, directed by Thomas Cote'. It will run October 7th-30th on the WorkShop's Mainstage;

http://workshoptheater.org/mainstage/2010/Interchange

On the Playwriting side of things, the 10-minute version of my one-act SPELL was recently published in the Northwest Playwrights Alliance's 10-minute Play Anthology, published by Washington University Press. As a result, it will also receive a public reading in Seattle Rep's Poncho Forum on Oct. 12th;

http://northwestplaywrights.org/Events.htm

Lastly, at least for now, my play The Old Wife's Tale will receive it's second public reading (though it's first in NYC) on November 21st at the WorkShop. Incidentally, this play, an older favorite of mine, received a stellar public reading in 2009 at the Last Frontier Theatre Conference in Valdez, AK.

That's all for now. Stay in touch!

My Review of Brad Hoyt's Wonderful new CD - Together Alone

2010-08-31T20:28:00.000-07:00

Though admittedly Brad Hoyt is a friend of mine, I would not feel compelled to write a review of his latest CD Together Alone had I not believed it deserved to be heard, and indeed it does.

Together Alone is comprised of 14 songs, all instrumentals and all duets between piano and various types of harp guitars; the latter being an instrument that Hoyt has developed a long-time fascination with. To those unfamiliar, and admittedly I was myself, there are a wide variety of harp guitars which encompass a vast array of sounds, and on Together Alone you’ll notice the difference, as some sound akin to a Spanish guitar, another like a Steel Guitar, and so on. However, the education into the world of the harp guitar is secondary to the eloquent melodies and subtle complexities that encompass Together Alone. From the opening track “Midwestern Expansion”, the CD establishes a distinct mood, one of captivation and scenic beauty, and you are immediately thrust into a world where a certain tranquility has taken over. Though there are no drastic shifts in musical tone on Together Alone, there are subtle quirks which provide a sort of subdued edge, such as on the reggae-infused “Sharper’s Lament” to the Kurt Weill-ian “Fisherman’s Mistress” to the classically-based title track, “Together Alone”.

By and large, the CD is faithful to a more subdued, melodic tone throughout, but one that only becomes more engaging as Together Alone progresses. What is also interesting is that Hoyt provides each song with an interesting back story in his liner notes, such as with the potent “Martyrs Last Crossing”, a song inspired by the 1st Century Christian martyr Saint Ignatius of Antioch. What is additionally fascinating is that much of the music actually sounds like the snippets he has written, which is no less indicative in what is my personal favorite - “Moravian Deluge”, which was inspired by the severe floods that plagued the Czech Republic in 2002. Incidentally, Hoyt lived in Prague for some years, and lived there during that period. But in this track, without even knowing the back story, we can hear the rain, the sense of loss and the silence of a society sadly and unwillingly yielding the floor to nature. It is a piece as beautiful in its mood-laden melody as it is in its restraint.

Together Alone was recorded over several years, with Hoyt having composed all of the music on piano (which he plays throughout). The harp guitar parts were subsequently recorded throughout the country (and in Canada) by an array of World-class Harp guitarists, such as Muriel Anderson, John Doan, Antoine Dufour, Don Alder, Jeff Titus, Stacy Hobbs, Mike Doolin, Carter Lancaster, Pete Bradshaw and Gregg Miner. However, Hoyt himself plays the harp guitar on the CDs final track “Sheechka Moye”, an elegant lullaby written for his daughter.

I wholly encourage you to invest in Together Alone, a beautiful and elegant arrangement of music which is both transporting and meditative.

To listen to samples and to purchase Together Alone, go to;
http://www.harpguitarmusic.com/listings/listing_bh_together_alone.htm

HYENAS Nominated for 2 MITF Awards

2010-08-23T21:29:00.001-07:00

I've just been informed that my solo show, The Hyenas Got It Down, which had another lovely run as part of the 11th Annual Midtown Theatre Festival last month, has received 2 MITF Award Nominations; Best Production of a Short Subject and Outstanding Actor/Actress in a Special Event. The Short Subject specification pertains to all pieces 60 minutes and under.

The awards ceremony will be held at New World Stages on West 50th Street on Sept. 9th. How nice to have Hyenas honored in this way;

http://www.stagebuzz.com/2010/08/midtown-international-theatre-festival.html

HYENAS Rocks MITF

2010-07-27T19:49:00.000-07:00

Well, I am pleased to announce that the 2nd official incarnation of The Hyenas Got It Down (3rd if you count the workshop production in '08) was a smashing success. Hyenas played for 3 nights as part of the 11th Annual Midtown International Theatre Festival's Short Subjects Division at the WorkShop Theatre. Audiences continued to respond very strongly to this potent 50-minute show, lavishing it with such lovely adjectives as "Great", Phenominal", "Amazing", "Hilarious", "Brilliant", etc. No, I promise I did not make those up. I also swear that these are not all from one person :^).

We even got a Standing O!!!

The hope now is that Hyenas gets a chance to have a somewhat longer run, allowing it to benefit from the great audience word-of-mouth it's been getting. For now, as they say on the BRAVO Network; Watch what happens!

Once again, thanks so much to those who came out and showed their amazing support.

THE HYENAS GOT IT DOWN Returns

2010-06-18T22:05:00.000-07:00

After a most enthusiastic premier at Manhattan Repertory last year, I am excited to announce that my solo-show, The Hyenas Got It Down: Tales of Savagery, Depravity & Other Acts of Love, will be rearing its ugly head yet again, this time as part of the Midtown International Theatre Festival's Short Subjects Division. The piece will run at the WorkShop Theatre for 3 Shows only;

Wednesday, July 21st @ 7:30pm
Friday, July 23rd @ 6pm
Sunday, July 25th @ 5:30pm

at the WorkShop Theatre
312 West 36th Street - 4th Floor East
(between 8th & 9th Aves.)

Written & Performed by Daniel Damiano

Directed by Aaron Gonzalez

The piece is a solo depiction of 4 disparate (and somewhat desperate) individuals who relay and reflect on the experiences that have ultimately made them who they are, for better...or much, much worse. In a taut 50 minutes, the piece is a sharp, darkly comedic and entertaining punch in the nose that you will not soon forget.

Tickets are $15.00 ($12.00 Students/Seniors) and are on sale at
https://www.ovationtix.com/trs/pr/756885

For all things HYENAS, including an AWESOME 2-minute trailer, go to; www.thehyenasgotitdown.blogspot.com

If you haven't seen this show before, you should not miss it. If you've seen it before, you should see it again...and bring others!

Happenings in June/July

2010-06-06T22:01:00.000-07:00

So here's what's next;

June 9th-18th I will once again be appearing with my friends at Mind The Gap Theatre Company in BritBits 7, an evening of Brit-related works, both comedic and dramatic, and a bit of everything else. Performances will be at Manhattan Theatre Source in da' Village. Come check it out;

For info, go to; http://www.mindthegaptheatre.com/Coming_Soon.html

Also, we have not received dates as of yet, however, I am most pleased to announce that my solo show, The Hyenas Got It Down: Tales of Savagery, Depravity & Other Acts of Love, has been selected as part of the Midtown International Theatre Festival's Short Subjects Series. The festival runs from mid July through August 1st. We should know our specific performance dates and times soon, so be on the lookout.

Coming in June...

2010-05-15T10:39:00.000-07:00

Come check out the staged reading of my play Graphic Nature at Gallery on June 5th @ 3pm. The theatre is located at 199 14th Street in Park Slope.

The mid-life and times of Edmond deCapitiour, the Chief Executioner in 1913 France who, while shyly pursuing a young patisserie clerk in Versailles, struggles against his sudden notoriety. The play is a unique blend of comedy, drama, romance with a touch of the gothic and social commentary. Don't miss this! Plus, it's FREE! Directed by Heather Siobhan Curran.

For more info, go to my Facebook Event page;

http://www.facebook.com/profile.php?id=550111238#!/event.php?eid=121787707845441&ref=mf

I will also have the privilege of working once again with my friends at Mind The Gap Theatre Company, performing in BritBits 7, which will run from June 9th-18th at Manhattan Theatre Source.

For info, go to; http://www.mindthegaptheatre.com/Coming_Soon.html

Upcoming...

2010-04-22T17:43:00.000-07:00

Well, the first reading of my play The Dishonorable Discharge of Private Pitts was extremely well-received and, like all readings, proved extremely beneficial to me. Much thanks to the Workshop Theatre for presenting it.

So what's next? Well, on May 10th, I'll be performing in the 2nd reading of Neal Freeman's A Letter from Bataan at 78th Street Theatre Lab in NYC. Then on June 5th @ 3pm, the third reading of my play Graphic Nature at Gallery. Details to come.

Thanks!

A Reading of My New Play (The Dishonorable Discharge of Private Pitts) - April 18th

2010-04-05T18:57:00.000-07:00

After completing a positively stellar run of THE CRUCIBLE, it is, as they say, "onto the next thing". That being the first public reading of my brand new play The Dishonorable Discharge of Private Pitts, which will be part of Workshop Theatre's Sundays@Six series April 18th at 6pm. See link below for more info;

http://www.workshoptheater.org/node/1607

1 More Week to Catch me in a powerful revival of Arthur Miller's THE CRUCIBLE - Don't miss it!!!

2010-02-23T14:46:00.000-08:00

Come check me out in a wonderful revival of The Crucible by one of my inspirations for having a life in the theatre; Arthur Miller. I am most grateful to be playing Rev. John Hale; a truly rockin' role!

The show will have its final week of performances this Thursday & Friday @ 8pm, Saturday at 2pm & 8pm and Sunday @ 3pm, through April 4th at the Gallery Players Theatre. Don't miss it!!!

For more info, click on the link below;
http://galleryplayers.com/plays/crucible/

"Daniel Damiano, playing Rev. John Hale, adds a complexity to his character. In the first act, before the gravity of the situation has been fully revealed, Hale's shallow puritanical logic makes for some easy laughs- and Damiano cleverly draws them out. But once the witch trial is in full swing, Hale has become a minister with blood on his hands, and his guilt only adds to the drama as the town falls deeper into the amoral abyss." - NY Post Online/Brooklyn Edition

"Damiano continues his solid performance, as his Reverend Hale turns from stoic businessman to adamant, then mournful minister." - Le Ann Garland, TheatreIsEasy.com

A NICE START TO 2010: Looking Back & Looking Ahead

2010-02-08T18:51:00.000-08:00

I don’t want to give too much empowerment to the “calendar year”, as if the beginning of one must, in some way, reflect new thinking or some sort of rejuvenation. I think this should exist anytime, frankly,...but sometimes it does come in handy in terms of perspective and, somehow, can spawn even greater optimism for what’s ahead. 2010 thus far has been nice, in no small part because my play The Narrow World finally received its long-awaited World Premier. As I’d been shamelessly plugging for the last few weeks, it was the second production by the up-and-coming Fresh Baked Theatre Company, and ran at the Lex Theatre in Hollywood, CA for 3 weeks. Sunday it closed. Though I am sad at the fact that its run has come to an end and did not receive but just a couple of reviews, I take solace in the fact that its run was quite successful. We had several full houses over the course of our run, and audience response to the piece was consistently strong. If I get a bit down at the fact that it did not set the city on fire as one always hopes and, therefore, put me on the so-called "map", I can still take great solace in saying that it was the best excuse to travel to Los Angeles for the first time. I always vowed that my work would take me places where I might otherwise never go and, for that, I am extremely grateful. The care and affection that Fresh Baked invested in this play was much appreciated, as was the support of my L.A. playwright & actor friends who came out to support my work. Here’s to good things ahead! And speaking of looking ahead, I am fortunate that I do not have too much time to stew in my own lugubriousness, as I will soon be going into rehearsals for Arthur Miller's The Crucible. I’m very excited on many levels to be doing this play (again), no less because it is such rich material which contemporary theatre often seems bereft of. If we do it justice, which I know we will, it will further instill my reasons for practicing the craft of acting and playwriting. Of course, I’ll be shamelessly plugging this as we get closer to opening (March 20th), so thanks in advance for your indulgence. Lastly, I am looking forward to the first hard copy publication of one of my plays; The Enlightenment of Mrs. Cartwell will be published in the 2009 Estrogenius Anthology which, I hope, will be available within the year. How sweet it is!

THE NARROW WORLD rocks L.A.!!!

2009-12-14T17:46:00.000-08:00

This is the last week to catch The Narrow World, which is premiering at the Lex Theatre at 6760 Lexington Ave in Hollywood, CA from Jan. 22nd-Feb. 7th. For more info/reservations, call 1(602)689-7714 or e-mail freshbakedtheatrecompany@gmail.com. This a thrilling production directed by Daniel Armas, and produced by Fresh Baked Theatre Company. Don't miss it!

The absurd meets the existential in this biting commentary centering around the before-and-aftermath of a revolution within an enigmatic American company during a desperate economic period.

Please click on link to read our first review: http://blog.heymelpomene.com/

RACE Theatre Review

2009-11-19T20:22:00.000-08:00

To any actor, playwright or director, David Mamet's plays have become part of what can now be called "required theatrical reading". This is not to say that the plays have to be liked, but it is fair to acknowledge Mamet at least as a productive and vital contributer to the modern theatre over the last 30 years. What is most definitive, no doubt, has been the very style in which he writes. From his earliest plays until now, the rythyms, the pauses, and the sheer flow of his plays have remained the same, regardless of subject. Yet, despite the rhythmic sameness, there are different phases of Mamet. In early Mamet, (American Buffalo, Glengarry, Lakeboat) there was a focus on the downtrodden, the hustlers, the workingclass. Plays seemingly written by someone who could have easily been one of the characters. Then there is Edmond, my personal favorite, centering on a dissillusioned man subjecting himself to the underbelly of society that he has been oblivious to, which ultimately veers into greater themes of alienation and self-identity. And in plays such as Oleanna and the most recent Race, there is the overt commentaries, plays in which character is sacrificed more obviously in favor of the issues at hand.

In the case of Race, the issue is, yes, race...AND the law. Set in a surprisingly old looking firm, old even for the age of the firm given within the play (20 years), Race centers around 2 law partners (played respectively and very well by James Spader & David Allan Grier) and their decision to take a case in which a respected white man (Charles Strickland, played by Richard Thomas) is accused of raping a black woman. The issues thrown into the air during a brisk and brief 1st act are the racist comments allegedly spoken by Strickland, the circumstances of the rape itself and how the case can be defended by this firm after it was dismissed by another. These are issues which call into question if the case is truly "winnable", for as Spader's Jack Lawson claims, every case can be won,...provided that you select a "winnable" case.

The first act sets itself up to be a play of similar didacticism to Oleanna. Yes, the subject is clear, the pace is furious, and the dialogue seems clearly from the playwright's cynical opinions as opposed to actual characters. By the 2nd and much longer act, however, the play does open up and offers greater complexity, as the involvement of a black intern (Susan, the only character without a last name, incidentally) played by Kerry Washington comes into play, though I won't divulge how.

Ultimately, for a Mamet play to rise above his style, his dialogue must be infused with the proper emotion and energy by a game cast. To that end, he is served well by Spader and Grier, whose byplay is the primary virtue of the production. They manage to convey knowledgable brutishness, not unlike many other Mamet men, yet do not become handcuffed by the expected Mamet-like delivery that seems to always be overly adhered to by the women in his work. In this case, Kerry Washington falls prey to a similar technical restriction, as if she watched Lindsey Crouse in House of Games one too many times. Of course, she is not aided by a critical character that is more symbolic than human, not unlike the Student in Oleanna or the Secretary in Speed-the-Plow. For that reason, Race ends on a weaker note than it should. Yet despite that, the play does move along and remains of interest in its execution and, of course, its perpetually relevant subject.

November Happenings

2009-10-23T20:26:00.000-07:00

So here's the skinny on what looks like a lovely November;

Nov. 6th-8th - I will be appearing in Mind the Gap's Brit Bits 6 at Manhattan Theatre Source, an evening of short plays. The piece I'm in is a very nicely etched short called Omissions, written & directed by Stephanie Staes, and also starring Fiona Walsh. Omissions is an emotionally charged drama centering around a newly divorced couple. 4 Shows Only.

For more info, go to;
http://www.mindthegaptheatre.com/?page=shows

Nov. 21st-22nd - I'm also very excited to be be directing a revival of a favorite one-act of mine (from 2003) called STAY in the Where Eagles Dare Short Play Lab, starring 2 of my ol' reliables; DH Johnson & George Stavropoulos. Very funny (and poignant) stuff! 2 Shows Only, Saturday @ 9pm and Sunday @ 4pm.

For Tickets/Info, go to;
http://www.smarttix.com/show.aspx?showcode=WHE300

Thanks for checkin' in!

What's Happened and What will be Happening...

2009-10-04T14:29:00.001-07:00

I could not be more pleased to report that the run of The Enlightenment of Mrs. Cartwell in Week 1 of the Estrogenius Festival was extremely well-received by audiences consistently throughout its 5 performance run this week. And, as always, I am most appreciative of my friends who came out to see it. Hopefully, we will have a chance to run Cartwell during the Estro Encore week later this month, but the results won't be known for certain until next week. Keep your eyes peeled.

Lastly, earlier this week, I was most excited to discover that my full-length The Narrow World has been optioned by the LA-based Fresh Baked Theatre Company at the Lex Theatre in Hollywood, Ca. The play will run for 9 performances over the course of 3 weekends from Jan. 22nd-Feb 7th. This will serve as my first excuse to go to California, as I will catch the last few rehearsals into opening weekend. I'm thrilled that this particular play of mine will finally be realized in a full production, after having a few close calls over many years. I guess the mantra is true; patience is a virtue.

September/October Happenings;

2009-09-19T17:31:00.001-07:00

I'll be playing the title role in a sweet little piece called Prince Charming, Presented without Comment in the Where Eagles Dare Short Play Lab Sept. 26th & 27th. See times and ticket info using the link below;

http://www.smarttix.com/show.aspx?EID=&showCode=SHO73&GUID=3f2d0656-5fdb-44d2-a9fd-fcdc2fb99311

Thereafter, my Silver Stage Award Winning one-act, The Enlightenment of Mrs. Cartwell will receive its NYC premier in the 2009 Estrogenius Festival at Manhattan Theatre Source from Sept. 30th-Oct. 3rd. The piece has a sterling all-female cast (Mia Moreland, Laura Piquado, Annalisa Loeffler & Anna Wood) and is directed by the talented Kathy MacGowan.

See link below for times and ticket info;

http://www.theatresource.org/estro/components/short_plays.html

Coming soon...

2009-08-22T18:40:00.000-07:00

This Tuesday, August 25th, I am most honored to be performing my solo show, The Hyenas Got It Down, at the James A. Peters Veterans Hospital in the Bronx.

Also, mark your calendars, as my short play, the Silver Stage Award winning The Enlightenment of Mrs. Cartwell, will get its NYC premier in Week 1 of the 2009 Estrogenius Festival at Manhattan Theatre Source, with a wonderful cast under the direction of Kathy McGowan;

Estrogenius Festival at
Manhattan Theatre Source
177 MacDougal Street
Sept. 30th-Oct. 3rd
http://www.theatresource.org/estro/index.html

2009-07-28T08:56:00.000-07:00

The Art of Communication (Published in The Loop)

2009-07-10T11:17:00.001-07:00

by
Daniel Damiano

These days, it seems as if Beckett may be the most referenced playwright in any language. Yet one observation I have made, amidst the bevy of tributes, is that there is a certain unbridled relish in depicting Beckett as a control freak with regard to his work. After all, how dare an author specify that he wants his play set where he set it within his text. How dare he want a man play a man, a woman play a woman, a tree play a tree, and so on. I bring this up because, lately, I have had reason to wonder what playwrights, who are not Mr. Beckett, have to do to secure that their play be done according to their desires, aside from what is conveyed in the text?

The obvious answer would seem to be – communication. Yes, a lovely thought, so long as it were a commodity that was existent in all playwright/director relationships. When it is not, however, the question then becomes, “Does a playwright, regardless of being provided a formal contract by the producing theatre company, need to write up a disclaimer with every play that has been selected for production?” In other words, does a playwright need to specify that a director and/or producer must consult him/her regarding any alterations of character gender, age, time period, setting, etc? Of course, this answer is usually assumed by playwrights and, in that assumption, it would seem superfluous to make such a demand in writing. Yet, sometimes, especially when a playwright is unable to attend rehearsals, communication with the author may not be a priority to a director, particularly an inexperienced one.

In a few cases, I have actually had to seek out a director or, failing to have their contact info, have e-mailed the producer requesting that my assigned director contact me, kindly stating that I would so enjoy speaking with them about…my play! With regards to the latter, I have been given responses ranging from “Yes, he or she will be in touch with you soon” to the absurdly “Well, directors here are only told to contact playwrights if they have questions.” What the f&c%? Of course, my response to the latter –and very real- statement was one that ultimately resulted in a quick response from my director anyway. Still, a ridiculously needless exchange? Oh, yes. But the point is that my work is not done with an out-of-town theatre company merely electing to do my play. That is unless I’m simply hoping for the best. However, if I’m not, I still maintain a personal interest in the result of the production. Is this an obsessive playwright? I don’t think so. I feel it is simply my emphatic right to want to be involved. After all, we are playwrights and, as such, what atrocity have we committed other than provide a theatre company with another reason to exist?

In truth, I for one love working with directors and know when to get out of the way when necessary. However, I am here and, at least in the beginning, strongly encourage a line of communication with my director; making sure that we share a mutual understanding of the play, etc. And if they have questions, hey, guess what? Here I am. Ask me, please! I‘d LOVE to help. My play is not a Jeopardy question that you must answer alone. Theatre is, without question, a collaborative art and I am thrilled to be a part of the collaboration, even from afar.

That said, my sharing these feelings with my fellow playwrights in this article has been inspired by a recent incident with regards to a one act of mine which was not only offered a production, but was the recipient of a nice little award and cash prize from an out-of-town theatre company who, for this article, will remain nameless.

Well, first things first; yes, the check cleared. However, the incident in question was one of a certain liberty taken in the casting of a male actor in a distinctly female role. Not only that, but this information came to me in the first call I received from my director…when they were already a week into rehearsal! After receiving her voicemail message, I promptly called back and, as diplomatically as possible, conveyed my displeasure in no uncertain terms. I also stated that this was an egregious breech of trust, to which my director could only respond with repeated apologies, while also stressing to me that the choice was not one of the experimental nature, but was in the interest of the play. In essence, she stated that the “feminine male” cast was head and shoulders above the other actual women who had also read for the role. I kid you not.

Incidentally, the play consists solely of 4 women, and now was to be played by 3 women and 1 man (as a woman). I should also mention that this is a drawing room comedy set in 18th century England, so it was not quite as jarring as if this were, say, a woman in 21st Century New Jersey. When you take into account grander costumes and make-up, this can be masked fairly well. And it actually was, according to a video of rehearsals to which I was privy.

Still, I stated to both my director and to the company’s artistic director, who also besieged me with apologies, that if this were in New York (my home base), if this were a full-length of mine, or if this were being done for a considerable run and was likely to be reviewed, I would have legally denied them the rights. Yet, in the end, I did elect to have them go forward with the understanding that there would be no text changes and that it would not be done in a way that would impede the content of the play. They swore that the play would be produced faithfully.

Obviously, the situation did not have to get to this point. I didn’t need to feel this sense of betrayal, even if there was no malicious intent. It was simply a case of a theatre company feeling that their producing my work was all the communication that was necessary.

It wasn’t.

Since I raised this issue with just a few fellow playwrights, I quickly became informed of incidents where their plays, unbeknownst to them, had had whole scenes cut, characters omitted, lines rewritten--changes that would send many of us to the nearest cardiologist.

And in most cases, they discovered these changes when they came into town for a performance after being unable to attend rehearsals, or by friends or family members who had attended a performance in their stead.

It can certainly be argued that, even in the age of the internet, we do take a certain risk when sending our plays out of state and are not provided with a formal contract that protects us, especially if, due to fiscal concerns, we cannot attend most rehearsals or even catch a performance. But in no way does that mean that we are foregoing our right to have our plays performed as written. In no way is there an unwritten law that states that a theatre company can go hog wild with their interpretation of our new or somewhat new play. And, most importantly, in no way should a director or producer, regardless of contract, assume our trust. That is, of course, unless we have specifically signed away our right to be consulted.

So what’s the solution? Communication, mutual honesty and a collective desire to serve the play that we as playwrights have created.

I don’t think that’s asking too much.

Recent Happenings

2009-06-22T22:06:00.000-07:00

Well, it was another blissful week and a half at the Last Frontier Theatre Conference, from which I have just returned for the 2nd year in a row. This year was particularly special for me, as my play Day of the Dog was given a phenomenal concert presentation before about 300 or so people at the Valdez Civic Center, where it was performed by Laura Gardner, Frank Collison & Glenn Morshower (of "24" fame) and directed by Bostin Christopher. The reaction to the piece was extremely strong, and the buzz afterward was one akin to an opening night in New York. The following afternoon I also got to present my play The Old Wife's Tale in the PlayLab which, again, went extremely well, and served as a nice flipside in style and tone for those who saw Dog the night before. Also, earlier in the week, I got the opportunity of performing another excerpt from my solo show in the Alaska Fringe Festival; "The Poet", which turned out to be another highlight of the week.

For a playwright and actor to be amidst such talented artists in such a friendly and welcoming environment is one that I will never take for granted. Therefore, I only feel fortunate to have been a part of it the last 2 years and to have been the beneficiary of such great support and enthusiasm, and to have accrued a new bunch of talented friends from all over.

Also, my play The Enlightenment of Mrs. Cartwell will be premiering at the Old Opera House Theatre Company in Charles Town, WV June 26th-28th, and will then subsequently be produced in the Estrorgenius festival in NYC in October.

Lastly, I will be performing in The Dramaturg of Destiny by Jonathan Wallace in the Midtown International Theatre Festival July 31st-August 2nd.

That's all for now, folks. Thanks for checking in.

Upcoming stuff...

2009-04-17T12:43:00.000-07:00

Hey, Friends

Just an update on what creative happenings are currently on the radar; from June 11th-14th, my new one-act Given Our Current Fiscal Crisis will be premiering in Gallery Players' Black Box Festival. This is as timely a satire as I think you can get in these kooky financial times, so hopefully you can wrangle a few nickles together and head out to Park Slope, Brooklyn for this.

Secondly, my short play The Enlightenment of Mrs. Cartwell just received the 2009 Silver Stage Award by the Old Opera House Theatre Company in Charles Town, WV. They will also be producing it in their New Voice Festival from June 26th-28th. For those unable to schlep to Charles Town, Cartwell will have its NYC premier in the Estrogenius Festival at Manhattan Theatre Source from October 1st-3rd.

I'm also pleased that I seem to have more-or-less completed my first full book of poetry, titled The Blessing of Distractions.

Lastly, I'll be in Valdez, Alaska June 12th-22nd for the Last Frontier Theatre Conference, where my play Day of the Dog will have a featured presentation, starring Laura Gardner, Frank Collison and Glenn Worshower (of "24") and directed by Bostin Christopher. As part of the LFTC Play Lab, I'll also be directing the premiere staged reading of my earlier full-length The Old Wife's Tale, in addition to acting in other readings at the Lab.

And, of course, we're anticipating the next incarnation of Hyenas in NYC.

Thanks for checkin' in.

Be Well.

The Hyenas Killed

2009-04-13T13:04:00.000-07:00

I've avoided making any updates to this blog of late, mainly because I wanted to have my little ad for The Hyenas Got It Down right at the top for all to see. Now that our very successful run at Manhattan Repertory Theatre has come to a close (as of April 10th), I'll just briefly relay that it was a very nice 3-night engagement and I was quite pleased with the very strong response to the piece. So now, as far as Hyenas is concerned, we'll see where it ends up next. We're hoping it's the Fringe Festival, as I think this piece is a nice fit for it and, of course, it would be great exposure for the piece. We'll see. I trust that it'll rear it's ugly head again sometime soon, regardless.

Thanks & love to all who came out.

SEE "THE HYENAS GOT IT DOWN" APRIL 8TH, 9TH & 10TH

2009-02-12T17:04:00.000-08:00

COMING TO A THEATRE IN MIDTOWN MANHATTAN!!!!

Manhattan Repertory Theatre's Winterfest 2009

presents

THE HYENAS GOT IT DOWN

Written & Performed by Daniel Damiano

Directed by Aaron Gonzalez

April 8th, 9th & 10th at 7pm

Manhattan Repertory Theatre

303 West 42nd Street - 3rd Fl

For Reservations - (646)329-6588 http://www.manhattanrep.com/

The Hyenas Got It Down is a darkly comedic depiction of 4 disparate individuals (played by one actor) who, in one way or another, relay and reflect on the bizarre experiences which have ultimately made them who they are, for better…or much, much worse.

This will be the official World Premier of Hyenas, after a tremendously successful workshop run at 78th Street Theatre Lab in September 2008.

Don't miss it!

Supporting the Theatre, Despite the "Fiscal Crisis" (Published in the March Issue of The Loop)

2009-02-05T07:59:00.000-08:00

So an historic Inauguration day has passed, yet the world seems the same. Yes, we’re still at war, it’s cold, and many are broke, unemployed, uninsured and embittered. In short, we have become besieged by the mosaic of garbage left at our door steps from the blessedly former administration and, as a result of much of the above, artistic organizations (particularly theatre companies) are suffering greatly. After all, it is not unusual to conclude that when many cannot pay their rent or mortgage or medical bills, they may have a hard time rationalizing paying for theatre tickets. That said, it is also fair to say that without a collective push to support the theatre and other creative-based, not-for-profit companies, the arts are at the mercy of the “current fiscal crisis,” which we absolutely cannot accept.

From a psychological and literal perspective, it is extremely dangerous to put the arts solely at the mercy of the affectionately-titled “current fiscal crisis” because-- as has been mentioned in no uncertain terms from our current President and State Governors to many, many professionals in the financial advisory industry-- this fiscal bullshit (I’m sort of paraphrasing) ain’t going away anytime soon. And, as we’ve learned from the last 8 years, fearing the worst can breed irrational behavior,…such as, for one, the re-election of George W. Bush!

To that end, the philosophy of the average citizen must be to carry on more than ever, just as the philosophy of artists, theatre companies, and other artistic organizations should be, regardless of the Man on the Hill.

So, yes, less than a week after our new and refreshingly literate President has been sworn in, the world still seems the same,…but there is a difference: the catharsis that many felt at the election of President Obama, and the reason for such an emotional euphoria at his appointment, stems, I feel, as much from its historical relevance as it does from people (of all races) feeling that the US Government now has the capability of being a true extension of many Americans’ individual philosophies and does not limit one’s ideals and life aspirations to a dream. Anything is possible, and we should believe that as much when “times are tough” as we should when taking champagne baths.

Now this is not to say that I’m expecting anything miraculous anytime soon from our new administration, particularly with regards to arts funding, but at least it seems that the positive intentions are there, such as focusing on strengthening the country as opposed to stubbornly believing that our success lies in others misfortune. But regardless of the triumphs or failures of our new government, we must live our individual lives and pursue our individual dreams unabated. And if we’re artists, we must continue to create. And if we’re theatre companies that have a true interest in producing original work, we must remain determined to support that mission.

And if we’re anybody anywhere in this country who can get to a theatre,…we must do our best to set aside a few bucks to support the work of our artist friends and spread the word about work we believe in so that the theatre can triumph over the elements,…just as it’s been doing for years.

Play Listing (More info available at www.danieldamiano.com)

2008-12-27T19:04:00.000-08:00

Full Length Plays

The Dishonorable Discharge of Private Pitts (2009)
Day of the Dog (2007-2008)
Graphic Nature (2006)
Dreams of Friendly Aliens (2004, Revised 2006)
The Narrow World (2002, Revised 2007)
The Old Wife's Tale (2001, Revised 2003)
Fate Would Have It (1999)
The Offspring of Lorraine (1997-1998)

One-Act Plays

Given Our Current Fiscal Crisis (2009)
The Enlightenment of Mrs. Cartwell (2009)
Attention Def...Hey, look, a Dog! (2007)
Did You Hear the One About the Mexican Laundress...? (2006)
Spell (2005-2006)
Bon Voyage, Mr. Phelps! (2004)
Stay (2002)
The Dessert Cart (2001)
A Moment of Weakness (2000)
Standard Time (1996, 2004)

Solo Play

The Hyenas Got It Down (2008)

My Year in Review (Hey, it coulda' been worse)

2008-12-26T12:25:00.000-08:00

Though I’m often quick to dwell on the half empty glass, 2008 wasn’t such a bad year artistically for me. What I’ve learned over the years is that what gives an artist sanity is a sense of progression, and this past year was at least good for that. What was also nice is that the past year brought a combination of nice opportunities as well self-created projects. In February, I staged a reading of my existential absurdist play The Narrow World, which was read at the Drama Bookshop’s Arthur Seelen Theatre. Though it was intended to be a chance for me to hear this older play of mine in its currently revised state, it was also intended as a sort of Backers reading. Though it did generate some financial interest, it was nowhere near enough for a multi-week production. Regardless, this play will see the light of day yet! (It was also a recently a Top 5 Finalist in the YES Festival of New Plays through the University of Kentucky, though I’m jumping ahead).

Immediately after, I directed my lovely wife (Judy Alvarez) along with 2 other fine comic actors (Nicholas Daniele and Andrew Dahl) in my one-act Did You Hear the One About the Mexican Laudress…? for Howling Moon Cab Company’s One Act festival. Much to my pleasure, the piece rocked the house and accurately nailed the absurdity of profiling and the paranoia of the now exiting administration. Incidentally, this was actually the play’s second production, after it premiered in Teatro del Pueblo’s Political Festival in St. Paul, Minnesota the prior year. Shortly thereafter, I shot a bit in a yet-to-be released indy film, tentatively called Subway Stories, directed by Mark Street.

At around this time, I had learned that I was accepted to present a reading of my latest full-length play Day of the Dog at the wonderful Last Frontier Theatre Festival in Valdez, Alaska in June. This would prove to be a pivotal and cathartic experience on many creative and spiritual levels. Dog was then subsequently presented as part of Kitchen Dog Theatre’s New Works Festival in Dallas, TX the following week.

Upon my arrival back from Alaska, I was immediately thrust into casting and rehearsals for my one-act Spell, which I also directed. This was presented in Algonquin Theatre’s One-Act Festival and, happily, was selected to be published in their Anthology. No word yet on when that’s going to happen though. Regardless, the piece was very well received, and performed expertly by Michael Janove and Kathryn Kates as an aged couple suffering from unpronounceable illnesses.

The following month, my one-act Attention Def…Hey, look, a Dog! received it’s West Coast premier in Eclectic Theatre Company’s Hurricane Festival, after having premiered in New York the prior year.

In September, I presented a Workshop production of my one-man play The Hyenas Got It Down at 78th Street Theatre Lab, which was directed by the talented and innovative Aaron Gonzalez. The idea was, well, to present this show for free and allow it (and myself) to generate momentum in performing Hyenas at various venues in the future. As it turns out, its next life will be in Manhattan Repertory’s Winterfest in April, where they will produce it for 3 performances (April 8th, 9th & 10th).

The most recent creative event of 2008 came just a couple of weeks ago, playing the lead in the short indy Priming the Pump, directed by Jack MacGowan and adapted from a stage play by Mark Bellusci. The play is a sort of fish-in-a-barrel satire on the exploits of 2 talk show casting directors (myself and, alas, Judy Alvarez). What a blast!

Throughout the year, I also wrote a substantial amount of poetry, including an 11-part poem on my travels to-in-and-from Alaska, in addition to revising and sending out many of my plays, while giving as little credence to the “current fiscal situation” as humanly possible, especially with regards to its effect on theatre companies throughout the country. Fittingly, I am nearing completion on the first one-act I have written in a while, entitled Given Our Current Fiscal Crisis.

Much is open for the year 2009, though I am open to all the glorious possibilities. The priority for now, as always, is doing the work, doing it better than before,…and as often as I can.

Have a wonderful, happy and creatively fruitful year to come,…and don’t be a stranger!

Whatever Works - Works (Essay published in December issue of The Loop)

2008-12-08T08:09:00.000-08:00

There are various phases in the playwriting process, and ones that I’m sure are not unfamiliar to playwrights in general. But for me, there are the few constants, much of which comes from not writing a thing, but simply embracing the time to think, read, absorb, digest and evaluate issues and potential characters before narrowing down what I ultimately feel compelled to dramatize. This is never an instantaneous process, but one that I find myself more and more drawn to. In other words, I don’t kill myself to write, but embrace the time before-and-between writing to simply allow things to accumulate within me. Yeah, I can flagellate myself into writing 10 pages a day but, with equal commitment and no guilt, I often prefer reading a book, seeing a movie, breathing, playing with the cat, walking, making a peanut and banana sandwich, playing the piano, writing a poem, watching Simpsons reruns, etc. For me, there is something to be said for doing little when it comes to writing. This is not to say that I don’t get antsy or impatient with myself for not finding that kernel of an idea or that particular character that becomes the impetus of my inspiration, or channel my frustrations into some other creative form, but the act of not writing I find no shame in because, like anything born, sometimes it just takes time for seeds to bear fruit. Yes, you can call this a sort of prenatal/Zen-like approach but, for Godsakes, just don’t call it “Writer’s Block”, which, personally, I consider a mythological term akin to Unicorns.

As writers, we should take comfort in knowing that the world is our oyster, and that the limits of our creativity and the methods by which we achieve it are limitless. The bottom line is that whatever works - works, and more power to us for discovering what that is!

Ultimately, I take solace in knowing that, despite however long I may be seemingly inactive, my pen will eventually touch paper and, with a certain excitement, I’ll begin creating something other than a grocery list.

62nd & Broadway (a poem)

2008-12-05T05:25:00.001-08:00

At the center of the universe,
on an island within an island,
between oncoming and ongoing traffic,
sitting like Buddha with a light’n sweet coffee in hand,
I look up
as the sun beats down,
while pedestrians narrowly escape death,
seeking momentary refuge on my little island
before daring to cross to the other side of Broadway,
despite the orange-lit hand that forewarns.

A few make a mad dash before a mercilessly speeding cab
in the hopes that they will not become one with the pavement,
succeeding by barely a length.
No lesson learned here,
despite their mutual hyperventilation,
which I can hear from where I sit,
over the blaring horns and screetching brakes.

In truth, it’s really the only way to cross 62nd & Broadway,
unless you’re not in a hurry,
but everyone always is,
even with nowhere to go.

I’m not so centered, despite where I’m sitting,
despite my momentary lack of urgency to get somewhere
or nowhere.

But,
for now,
I’m just enjoying the view,
my coffee,
the sun,
and the feeling that I’m one with the universe,
instead of one of many trying desperately not to die.

Life after Death (a poem)

2008-12-03T10:15:00.000-08:00

To have been alive after death
is something she never fails to remember.
The day she faded into the light
like a welcomed sleep,
her pain numbed by the moment,
while her family encircled her,
seemingly removed of their long-established dysfunction.

She suddenly resigned that this was the way to end things;
With her son,
whom she had not seen in a time,
for various reasons,
his face moistened with regret.
With her daughter,
similarly tear drenched,
long past her resentment of her brother.
And with her husband,
assuming that his unexpressed love was known.
And, in fact, his was never more apparent to her than that day,
as if he were combating the illness that was slowly escorting her into the light,
brighter by the second.

She was now an evening sailboat drifting into a celestial Lighthouse
that was set to guide her soul to a place that would hopefully make sense.

And then,…she heard a voice,
the volume of which would pull her back into her hospital bed,
surrounded by a sea of baby blue colored scrubs,
between which bobbed the tenacious faces of her family
excitedly conveying that she had been dead
…but was now alive.

This would move her,
both to tears and,
within days,
…to her feet,
which would transport her out of the hospital
arm in arm in arm in arm
with her husband,
son
and daughter,
and back into her somewhat happier life
…after death.

The Meal of Your Life (a poem)

2008-12-03T10:07:00.000-08:00

You entered the room,
and sat at your table.
You didn’t ask for it,
yet there it was;
A plate covered in thought not your own,

and full you became
on someone else’s entrée,
not knowing what tastes good,
only knowing what you heard
about what you’d soon be served,
and then,
unable to withstand another bite,
you loosened the belt around your waste,
which offered you little space
for your own mind,
and so blind…you became,
traipsing and fumbling throughout all the rooms you’d ever enter,
sans an appetite for anything else.

The Audition (a poem)

2008-12-01T15:06:00.000-08:00

I enter a bright, white holding room,
which looks the same as when I last was here,
surrounded by men whom I recognize but choose to ignore,
of similar age, build, height, weight,
emoting over a single page like a mad conductor,
furiously stabbing the air,
their primal yells barely restrained,
as they intensely pace an indentation into the floor.

They may be awful,
but they will be damned if not remembered.

One by one they are called into the room,
from where I don’t expect them to come out alive.
The walls muffle their bellowing,
as the waiting victims look at each other
with a judgmental roll of the eyes.

I am soon summoned before the tribunal,
like Galileo without a sense of importance.
I perform my three minutes
like a tense chimpanzee,
and am soon after released back into civilization
without so much as a banana.

The unknown escorts me to the street,
onto the subway and home,
where it resides within my stomach throughout the endless evening into day,
where I wait,
anticipating with bated breath
and vowing not to let it cross my narrow mind tomorrow.

Yet I’m kept awake by reliving the moment.
I say the lines to myself as if an annoying dream.
I wake up and speak to my medicine cabinet,
seeking approval form the Tylenol bottle and Aqua-fresh.
Obsessing to the nth degree;
If I had just emphasized the word “that”
instead of “you”,
my world would be different right now.

In the morning, I take the train into work,
and continue to exhaustedly murmur my lines from this tepid page of dialogue
under my breath, as if afflicted with a most unsettling malady…
until I convince myself that I wasn’t abysmal.

Indeed, this profession can make you crazy.

But, then again,…what actor isn’t?

Streamers Review (See this!!!)

2008-11-28T20:09:00.001-08:00

David Rabe's Streamers premiered at the Public a little over 30 years ago. Of course, I was both a prepubescent tike in addition to living in New Jersey at the time of the original production, but would read it many years later, in addition to the other Vietnam plays of Mr. Rabe (Pavlo Hummel and Sticks & Bones). However, having never seen it before catching the Roundabout's revival this evening, I must admit that I had long forgotten that Streamers, set in an army barracks in 1965, has very little to do with Vietnam, though Vietnam does serve as a looming-if-distant backdrop to an oblivion that Rabe's central characters would certainly like to avoid. But what is central to the play is the inner conflicts surrounding an overtly gay soldier from New York City (Richie, played by Hale Appleman), a midwesterner with a certain sensitivity to being perceived as closeted (Billy, played by Brad Fleischer) and a lower-level black soldier (Carlyle, played with intense ferocity by Ato Essandoh) who is a an open sore of disillusionment and inner torment both regarding his race and his "animalistic" sexual urges, which unfold disturbingly in the play's second act. For much of the play, the only centered character appears to be that of Roger (very well played by JD Williams), who is the third bunkmate to Richie and Billy. As a fellow black soldier, Roger ultimately serves as the unfortunate catalyst to Carlyle's eventual interaction with Richie and Billy. What is always nice to see in a play such as Streamers is that it is not a play that is stuck in time. Whereas so many current "Iraq" plays may lose out on a future beyond this specific time of war that we live in, Streamers is universal and deals with issues that will continue to be potent because it is a play, first and foremost, about men who may have to fight in a war...but not about the war itself or the surface politics that lead to it. It is also the best of Rabe's "Vietnam Plays" and, in my opinion, his best play period. The writing is extremely fluid with a great natural eloquence, nicely devoid of any didactism. Unlike his absurdedly verbose Hurlyburly, Streamers is dense while maintaining great linguistic economy.

In addition to the noted performers above are the Sergeants Rooney and Cokes (respectively played by the excellent John Sharian and Larry Clarke). In the first act, these two seemingly have the roles of intimidating jesters, exploding into the barracks like two profane cannonballs. However, they bookend the second act's tragic conclusion, particularly a both humorous and ultimately poignant speech by Mr. Clarke. My only major issue with this otherwise excellent production is the lack of explosion in a key speech by Brad Fleischer (Billy) late in the second act, which instead is delivered with a lack of urgency and at a leaden pace just when the lines should be exploding through the air like fireworks.

As another worthy revival (American Buffalo) has closed after only a week of performances, I would strongly urge you to catch this revival, as there are still many dates available through TDF. Of course, this is a sign that the play is, unfortunately, not selling particularly well. So if you are able to support a fine production of an excellent play, see this one while it's got a couple of weeks left. It's a goody.

New John Guare Play is Postponed

2008-11-26T06:08:00.000-08:00

Last month, I attended my first Dramatists Guild function in many years. It was John Guare interviewing Peter Shaffer (author of the newly revived Equus and, of course, Amadeus) about his life and career. Not being an overwhelming fan of eithers work, I was and still am an unequivocal admirer of the success they have both attained and, with forays into teaching and/or screenwriting aside, have been further impressed at how they have sustained their reputations as playwrights over several decades. For that reason alone, the evening was certainly not without interest. However, I must admit that I, particularly as a playwright, have always had a preconception of John Guare as being, frankly, a bit of a snob. This conclusion stemmed from articles he's written, such as one entitled "War Against the Kitchen Sink", a Forward to a collection of his plays in which he more-or-less denounced plays that are set in homes or apartments as being dull and uninspired. As if a play is not a play if it is not set in the jungles of Peru.

First, I found this thinking to be incredibly shortsighted, especially from a playwright who is also a teacher of playwriting. Secondly, playwrights should feel liberated enough to write what they know and what is within them to write just as they also have the right to write about what they have learned about or researched outside of an assumed "comfort zone". But what ultimately takes precedence is that a playwright should create from the heart work that they feel truly compelled to write, regardless of setting or style, with the only stipulation being that they dramatize their play in a way which is compelling beyond the page.

These initial feelings of annoyance aside, for much of this particular evening I rather enjoyed Guare's respectful interaction with Mr. Shaffer, as they are peers after all. But then...at the interview's conclusion, Guare opened it up to the small audience who would pose various questions to both authors, culminating in a big one; an audience member asked if Shaffer and Guare felt restrictions given the "current fiscal limitations", particularly in the theatrical community. More specifically, did they find that they needed to start conforming their writing to plays of smaller cast size being that this is a considerable issue with many professional and non-professional theatres in the US. Respectfully, Mr. Shaffer simply said no. He writes what he wants to write. Fine, and well he should. However, Mr. Guare proceeded to begin his suble rant with "What restrictions?" He would then go on to ask why playwrights (who, incidentally, were not John Guare nor Peter Shaffer) restrict themselves, and was emphatic about writing plays akin to a 20-person epic set in the jungles of Peru. The point here is not the seeming encouragement he apparently was attempting to convey to the room, but the obliviousness he had for the very real limitations that are continually being trust upon playwrights, such us "minimal set", "cast under 6", "90 minutes or less", etc. These aren't self-imposed by playwrights. These are issues that, even if theatre companies do not post these requirements specifically, are, nonetheless, very real. The average play seen in New York, aside from a massive Broadway revival or high-profile Shakespeare in the Park production, has smaller casts. The affectionately called "2 and 3-hander plays" are as ubiquitous as ever, and I firmly believe they are being produced more for cost effectiveness than for being a superior play, as I've certainly seen enough of them to judge for myself. Of course, you can do an enormous amount with small casts, and some can be quite inspired, but the bottom line is that a play from a lesser known playwright with a cast of 7 or more stands a much taller task of getting produced by a respectable theatre company...anywhere.

Of course, I held my tongue, though my preconceptions of Guare undoubtedly had resurfaced. It's fine to encourage people to write whatever they want, and I certainly do, but for someone who is ensconced in the theatrical community like he is, it would stand to reason that he would also communicate certain logistics to young writers. Yes, write what you want, but also think about what is produceable on the stage. Think about the type of theatre you see this play at. If a theatre company only has a history of doing plays like TAPE and MANUSCRIPT (both 1 set/3 handers, by the way), then maybe you shouldn't waste your postage on sending your 20-character Peruvian epic. Again, this is not to say that I restrict my creativity in writing, whether it be a 2, 3 or 10 character play (I have 2 of the latter). My God, I have a 2 1/2 hour play called Graphic Nature set in 1913 France with a cast of 10 (with doubling, though I stress "minimal setting" in the text). It's had two great readings but has not been produced thus far on the basis of its castsize. Of course, I didn't begrudge the company. They loved the play, wrote me a lovely recommendation letter, and we keep in touch. I'm aware of the logistics, how decreased funding has put a stranglehold on the ambitions of theatre companies to produce more ambitious work. Oh, the times we live in. But you know what, write we must. I know that the play will be produced at some point. When or where, I do not know, though it is on several desks as we speak. But having had this experience, and having read enough about similar occurances through the Dramatists Guild articles and letters from fellow playwrights, it is nonetheless something that playwrights do have to contend with. Therefore, at least for now, it seems to be in my interest to write what I want, yet, in the back of my mind, know what has a conceivable shot. I actually believe that many theatres never get past the cast description and, with probably a backlog of scripts, a large cast serves to be an easy way of excising a play from future consideration.

All this said, the irony, and one that I do not take a schaudenfreudian pride in, is that today in the Times it was reported that the Public Theatre (in NYC) has "due to fiscal limitations" had to pull John Guare's new seemingly epic play (A Free Man of Color) from its 2008/2009 season, in the hopes that they will be able to afford to do it the following season. The plus is that, because he is John Guare and the Public has a history with him, they still are seeking to attempt to produce it at some point. For lesser known playwrights, this same play (in these times) would probably get a nice letter after being read by an intern stating "We enjoyed reading your work, however..."

Let me just close with this; Playwriting for me is the greatest catharsis, and I truly adore the craft and take great pride in the plays I've composed, and look forward to enjoying the process of working on many future plays (including the one I'm working on right now, fittingly called Given Our Current Fiscal Crisis), with as few retrictions as possible. But as playwrights, whether we have agents or not, we are also our own best marketers. In being so, we are a freelance business and, like any business right now, things do not seem as bright as we'd prefer, but we also cannot lose sight of getting our work produced somewhere by respectable companies. This is not the same as pessimism or creative inhibition, but the logistics of the current theatrical climate. Even Mr. Guare, at this point, should acknowledge at least that much and not delude struggling playwrights into thinking that they can write an unabridged stage adaptation of War and Peace and get it produced.

Fearless (A poem)

2008-11-23T10:24:00.000-08:00

It matters most
when the butterflies come out,
and you can barely fathom a breath
or speak a word
or swallow,
yet you manage
because it matters,
to face the daunting,
beyond the norm,
haunting,
until you surpass the dread,
arrive where you’ve been led
from something that’s taken you over
that knows no fear
but uses it like a cannon,
releasing you over the landmines of your mind,
which you now look down upon
like a fearless bird
eagerly about to enter somewhere you’ve never been
…and can’t wait to be.

- Daniel Damiano, 2008.

American Buffalo Review

2008-11-22T13:52:00.000-08:00

Oh, the times we live in. Producers of the worthy revival of David Mamet's American Buffalo (now at the Belasco theatre) are, as of this writing, in the process of deciding it's future. This comes after the announcement (via playbill.com) that the play needs a ticket buying spurt, in no uncertain terms. Of course, like any quality theatrical production, it is most unfortunate that a play's life is cut short by lack of interest and, therefore, lack of income. That said, whatever the future of this revival may be, it is a good one. American Buffalo, like it or not, has proved to have a great influence on theatrical writing since it premiered, particularly in its revivals. The '82-83 revival with Al Pacino, in particular, served to catapult the play over the fence and, in combination with the '84 premier of Mamet's Glengarry Glen Ross, firmly ensconced Mamet as one of America's premier playwrights.

What remains vivid about Buffalo (as play, not as a film) is that it has no ambitions loftier than the interactions of 3 low-level scrubs and how their gravitation to each other can, on any given day, spawn boredom, impatience, hostility and rage. On this particular day, however, all of these emotions come into play with very precise tempo and rhythms. Therein lies the essence of how to succeed when performing American Buffalo, and Robert Falls and his cast understand this. On a wonderfully cluttered set (by the great Santo Loquasto) , John Leguizamo bursts on as Teach, and embues him with all the required ferocity, vulnerability and humor. As should be, his Teach is the engine that clearly drives the evening. However, Cedric the Entertainer, in a role that has the potential of being lost amidst the junk in his store, makes a clear stamp as storeowner Donny, in both his paternal relationship to Bobby (Osment) and in his more tenuous one with Teach. Osment does not fail to make an impression, though his wholesomeness certainly works against that of Bobby, and is likely to be a quality that Osment may have a difficult time shaking in general. Still, all the actors serve the play's tempo and pacing well, and have gotten the production down to what has now become a well-oiled machine.