twoheadedrep

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Announcing Our Fall 2017 Season!

We are thrilled to announce our next rep, coming to the Workshop Theater, November 4-18!

This fall, Two Headed Rep's pairing of plays find themselves in the workplace, inhabited by people who, every day, confront, consider, and carry out what's expected of them. What weighs on us when we're expected to do everything? What about when nothing is expected of us? And what do we do about the dog? Two Headed Rep asks these questions and more with their fall rep: a new adaptation of Miss Julie by Brittany Allen, Will Arbery, and Amanda Keating, and Reno & Moll, a new play written in response to Strindberg's classic by Emma Horwitz.

Reno & Moll

by Emma Horwitz directed by Lily Riopelle

In Reno & Moll, Harper has played the most beloved dog on children's TV for ten years. She knows her lines and she knows her choreography, she just doesn't know why she's still doing this job. Is it for the fans who adore her? Do they adore her or just her canine alter ego? And what's the difference anyway? When Harper's longtime co-star leaves the show, she wonders whether it might be time to make a change as well. But how do you change when you've played the same character for so long that you can't remember what it's like to be yourself?

Miss Julie

by August Strindberg adapted by Brittany Allen, Will Arbery, and Amanda Keating directed by Molly Clifford

To bring Miss Julie into the 21st century, Two Headed Rep has commissioned three writers to explore and adapt one character each from Strindberg's classic to form a new, singular work. This process mirrors the play itself: when three people, each practically on different planets, find themselves crowded in a single room, they insistently prod, occasionally torment, and, most importantly, desperately need each other. It's Halloween night in the break room of Count's Chicken, a fast food franchise in Corsicana, Texas. What Julie, Gene, and Krissy expect of themselves and each other drives them to questions they thought they'd never ask and choices they never thought they'd make.

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Two Plays, One Monster

Check out what our literary manager, Amanda Keating, has to say about the process of building a conversation between Restaurant in D Major and Lysistrata. And then BUY YOUR TICKETS HERE!

Die hard fans of the rep might remember that, in the early days, we didn’t go by Two Headed Rep. We went by Two Headed Monster. The origin story for that involves Molly and Lily at theater school in Connecticut, but maybe that’s a blog post for another day.

As we got up and running, we affectionately referred to our fledgling company as “the monster,” an unwieldy and mercurial creature with the capacity to both terrify and thrill us. It crept around our rehearsal rooms, taking up residence under chairs and behind curtains, disappearing when we flicked on the lights. But in the dark, faced with the monster one on one, we could almost make out its sharp teeth, thick fur, and beady red eyes.

This year, when we first sat down to begin work on RESTAURANT and Lysistrata, we tasked ourselves with a new challenge - to build two plays more fully in conversation with one another. From day one of the company, this was our mission, but in looking back over our last two reps, we felt our efforts had fallen short. While we had created plays we were proud of (four of them!), we wanted to see the conversations between pieces deepen in our productions, and in our audience’s experience of them.

My goal as the Literary Manager this year has been primarily to help keep the plays in conversation, from day one to our closing performance. As part of that, Molly, Jacob, Lily, and I met regularly throughout the writing process to share pages from both plays. In discussing their points of connection and divergence, we found that each play had its own distinct life, but that they posed similar questions : how do we take action? how do we organize ourselves and others? what does it mean to carve identity out of loss? out of oppression? what does it mean to say no? 

When we first started this process, I expected that my role would be to help Lily and Jacob find common threads in their plays, strengthen them, and thereby tame the monster. Instead, I found us more often than not letting the monster roam and run free. Rather than try to wrestle the plays into submissive similarity, we celebrated the differences in the text, and focused instead on highlighting both connection and disconnect in the work of our designers, our discussions with actors, and even the title of the event.

‘Never Under Any Circumstances’ is a line from RESTAURANT - but it is a sentiment embedded in the fabric of both plays, in different ways. In RESTAURANT, it’s oppressive - the formulation of rules that must be followed in the workplace. In Lysistrata, it represents a path to freedom from oppression - a way for women to take control and enact change.

We believed it was essential to create plays that didn’t replicate each other, that weren’t saying the same thing. We wanted the plays to look at each other, notice their shared experiences, and tell their own stories. We might not call ourselves “The Monster” anymore, but this was an undeniably monstrous goal, one which, despite its difficulty, excited and challenged us to build these plays in a new, more intentional way.

I think it’s fair to say that anyone who makes theater is curious about and maybe even likes hanging out with monsters. Navigating their complexities is a necessary part of the work, but it’s useless to try and tame them. For Two Headed Rep, I think we’ve come to know our Monster pretty well, and by watching it, listening to it, and letting it roam free, I believe we’ve allowed it to spark a dialogue between the plays, one that our audiences will hopefully deepen, complicate, and build upon in their own experience and discussions. I hope you can join us in the next couple weeks to be a part of the conversation we’ve been building. It doesn’t mean anything without our audiences, who take the plays and grow them into their own questions and understanding. Come out to Temporary Storage for a night that will hopefully ask you to consider what, under any circumstances, you might never do.

BUY TICKETS HERE

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Meet the Designers: Cheyenne Sykes, Lights

Next up in our Meet the Designers series, Cheyenne Sykes! Cheyenne has been the lighting designer on all of our previous shows, so she knows a thing or two about designing for rep. Here’s what she had to say about the process this time around:

What are the challenges of doing rep from a design perspective? The challenge from a lighting perspective is to allow each show the versatility and individuality they call for while operating within one plot, and understanding how each change or decision you make for one show affects the other.

Are there any images that have been particularly inspiring as you’ve set about planning your designs for Restaurant in D Major and Lysistrata?

For Restaurant..., Untitled (Smear) by Elly Smallwood:

And for Lysistrata, Red Hills, Lake George by Georgie O'Keeffe:

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Meet the Designers: Cate McCrea, Set

We are so excited to be producing in a non-theatrical venue for the very first time! Our amazing design team is hard at work planning the transformation of this big white room from a blank gallery space into the (very distinct) worlds of the two plays we’re producing later this month!

Today we wanted to introduce you to our set designer, Cate McCrea. Cate has designed the sets for all of our previous shows...clearly we are huge fans, and for good reason. Here’s what she has to say about designing the sets for this rep. 

Does your process change when you set out to design two shows in rep as opposed to a single show? How? Yes and no: really, the process itself doesn't change, but the central concerns and questions employed in designing a set become amplified. In any scenic world-building process, you want to establish a certain vocabulary and set of reference points that add up to transform a room into a theatrical space. When working with pairs of plays in rep, you're building in multiple transformations -- one space is created, and then it becomes another --  and two intersecting networks of references. There's a duality or even a two-facedness to the final product, because neither set stands alone; everything is to be taken in the context of the other. 

Is there something in the relationship between Restaurant in D Major and Lysistrata that has influenced your approach to designing this set of plays? The point of intersection between these two plays, for me, is the venue they'll be performed in: each of them relates to the charismatic gallery space differently, and I think those relationships end up commenting on or even just underlining the play-ness of the plays, the way that each exists as a theatrical enterprise and the quality or texture of space that it carves out of the room. I like to start with the architectural reality (where will we, the audience, be?) and then work from there to find a thematic or visual dialogue between the two pieces (how or in what way will we be there?)

Here are some of Cate’s drawings. Join us in Bushwick from April 29 - May 7 to see her ideas realized!

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Big News for Spring 2017

Dearest friends of Two Headed Rep,

Happy New Year, and thanks for your support in our very first year of existence! Because of you, we were able to produce two new adaptations and two world premieres in 2016, all while building a company from the ground up.

We are so excited to announce our next rep festival, which will take place in Spring 2017. As we head into our second year, we are committed to making work that builds community, encourages thoughtfulness, and suggests paths to action.   And so we are thrilled to announce that in April we will be producing Aristophanes' Lysistrata, a play about the power of organization and recognizing the political implications of personal decisions. We are equally excited to announce Jacob Perkins – an alum of Soho Rep's Writer/Director Lab and Page 73's Summer Residency, and a current member of Ars Nova's Play Group – as our next playwright. We look forward to keeping our friends and fans in the loop as we put our next festival together. You can follow our progress on our blog, and follow us on Facebook and Instagram. All our love, Two Headed Rep

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Meet the Creative Team (Quatre)

Nicole Slaven

What is your role in the festival?

Costume designer for both productions.

What can you tell us about your work? My work for Two Headed Rep has been a collaborative partnership between text and direction. While most of my work on these shows is more gestural than exacting, I hope it will transport the audience into the respective worlds and support the bold acting choices.

Can you write us a rhyming couplet? I'm not included to fulfill this sort of obligation until I am contractually obligated.

What was the first show you ever worked on? A school Nativity play where I played a sheep at the birth of Christ.

Do you know anything in French?

Oui, pourquoi demandez-vous???

What has it been like creating two shows in rep? Very engaging and hectic. As there are totally different casts, the challenge is to prioritize both with the limited actor time and resources available. One of the greatest challenges will be the tight changeover between the shows.

Have you encountered anything particularly fun or challenging or both? Seemingly endless amounts of both. Everyone participating is really in it for the love of the game, and the terrific actors make it worth the anguish. Between overbooked schedules and meager funding, the challenges are numerous and overwhelming, but I am lucky to be part of a terrific creative team who inspires my progress and innovative directors who know how to make the best of whats available.

Do you watch Game of Thrones? I don't watch television.

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Meet the Creative Team (Trois)

Hanako Rodriguez

What is your role in the festival? Stage Manager for Don't Make Yourself Crazy 

What can you tell us about your work? I find working on new plays incredibly rewarding.  Watching a piece take shape from table work, through rehearsals, many edits, and addition of tech elements, reveals how truly collaborative the theatrical process is. I help to keep the elements together and ultimately translate what happens in the rehearsal room to the theater as smoothly as possible. I think one of the keys to achieving this is knowing how to support the creative intent of the playwright, director, designers, etc. with clear and safe logistical plans. 

Can you write us a rhyming couplet? Two Headed Rep shows you how it's done Curating old and new for a long night of fun!

What was the first show you ever worked on? I don't remember, probably The Sound of Music or Mary Poppins. 

Do you know anything in French?

Baguette

What has it been like creating two shows in rep? I think the plays work really well together and after having seen both of them, I understand each play a lot better. As of yet I've only really worked on Don’t Make Yourself Crazy, but I'm looking forward to being on crew for Tartuffe. 

Have you encountered anything particularly fun or challenging or both? I haven't encountered them yet but I think the double headers will be fun and challenging. Working on a show for 4 hours sounds tough, but I think the between show set changeover, completely new cast, and my role shift will make it fun. 

Do you watch Game of Thrones? Nope.

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Meet the Creative Team (Deux)

Stephanie Louise Opper

What is your role in the festival?

I am the stage manager of Tartuffe.

What can you tell us about your work?

What I can tell you is that there are many notes to be taken, many discussions to be had, many emails to be sent and received, many rehearsals to attend and learn from, and more. The product of this, along with the work that everyone else does, is art.

Can you write us a rhyming couplet?

Though I majored in poetry in college,

Rhyming is not really off-hand knowledge.

What was the first show you ever worked on?

I did a lot of improv in middle school, but my first role was as part of the Ensemble of Pippin during my freshman year of high school. My first time stage managing was for Red Theater Purchase, which I still do today.

Do you know anything in French?

Bonjour? Bon appetit? Jutem? My mom lived in France and is fluent, but never imparted her knowledge.

What has it been like creating two shows in rep?

So far, my work has mainly focused on Tartuffe, but once both shows go into tech, I will also be assistant stage managing Don’t Make Yourself Crazy. From my past experience with two shows in rep I can say that it’s an adventure, one where you are always on your toes.

Have you encountered anything particularly fun or challenging or both?

Tartuffe has a cast of ten actors, who are all very talented. It’s fun working with and getting to know all of them. At the same time, working with so many actors is challenging.

Do you watch Game of Thrones?

No, nor do I plan to. However, I do want to read the books.

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Meet the Creative Team (Un)

Cheyenne Sykes

What is your role in the festival? Lighting Designer

What can you tell us about your work? I'm a multi-disciplinary theatre designer myself so I always aim to fully integrate and support the other design elements within my lighting. I'm viewed as a little unorthodox in my practice here in the States where specializing in one element is much more common. In my designs I strive to become a playful character interacting with the actors on stage, aiming to surprise and subvert.

Can you write us a rhyming couplet? I'll leave that to the experts.

What was the first show you ever worked on? A version of Beowulf performed entirely in Old English.

Do you know anything in French? Je suis Canadienne, mais bien sûr!

What has it been like creating two shows in rep? Most simply, the 2 shows take place in entirely different environments/atmospheres. As the lighting designer it's my job to create a plot that will be useful for each production but allow each play the specificity from each other that they need. After intermission it should feel like an entirely new plot has been hung.

Have you encountered anything particularly fun or challenging or both? The challenge isn't working on 2 shows or being in different head spaces/worlds at the same time, the challenge is always being aware of how the changes you make to one show will help or hinder the other.

Do you watch Game of Thrones? Nope.

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Meet the Cast (Onze)

Paul Karle

Who is your character? Can you tell us a little about them? Bryson is either the ultimate human or the downfall of the human race. Probably the latter. Just imagine Donald Trump if his dad hadn't been an orangutan.

What was the first play you ever acted in? Bye, Bye Birdie Do you know anything in French? Je t'aime. That's it.

Can you write us a couplet rhyme? Everything I say it rhymes I've tried to stop a thousand times Kittens everywhere Kittens in my chair Kittens in my hair Kittens everywhere

Have you read Tartuffe? Has that affected your interpretation of the play you’re in?

Yes! I think there's a common theme of a manipulative character who has far more influence on people's lives than he should.

Do you watch Game of Thrones? Yes. Valhar Morghulis.

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Meet the Cast (Dix)

Brittany Allen

Who is your character?

My character's name is Elmire. She's the stepmother of Damis and Mariane, wife to Orgon, object to Tartuffe. Typically the composed one in the room but has her scheming side.

What was the first play you ever acted in?

The first play I ever acted in was a junior production of 'A Funny Thing Happened on the Way to the Forum.' I was Pseudolous, and dizzy with power. I knew I was destined for greatness when our counselor/music director singled me out as the "loudest."

Do you know anything in French?

Oui! J'ai etudie le Francaise dan l'école (lycée).

Can you write us a couplet rhyme?

It's Thursday, so the school-kids bleat;

a hellscape lies across my street

Have you read Don’t Make Yourself Crazy? Has that affected your interpretation of the play you’re in?

Yes! It is so good, and has certainly affected how I view our production of Tartuffe. I'm especially interested in the ways Lizzie's play deals with class privilege in this city, which is 1) something we scarcely talk about, hooray for making plays about it! and 2) a germane theme in Moliere's work. I'm excited to see how our play deals with class lines, too.

Do you watch Game of Thrones?

You know, I binged the first season, and I happen to live with and love a very, very devoted Martin fan -- so I'm aware of the world and versed in the ways of the Throne. But tbh I've fallen off the wagon in recent years. So much bludgeoning, so many boobs! (Although the women of GoT are presently an empowered, fearsome bunch...see, I waver.)

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Meet the Cast (Neuf)

Sean Murphy

Who is your character? I play Flipote, Laurent and Officer. The three characters all show a side of the servant/lower class, and in the case of the officer, help bring about the show's resolution.

What was the first play you ever acted in? Best Christmas Pageant Ever at Dallas Children's Theater

Do you know anything in French? I took four years of French. And yet, sadly, all I remember is "quelle heure est-il" which I'm pretty sure means "What time is it?".

Can you write us a couplet rhyme? Tartuffe is such sweet bliss Thank you for reading this!

Have you read Don’t Make Yourself Crazy? Has that affected your interpretation of the play you’re in? I heard the reading of Lizzie's new show. It really underlined the predator/prey relationship at the heart of Tartuffe.

Do you watch Game of Thrones? I do. It reminds me that I have nothing to complain about in my life.

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Meet the Cast (Huit)

Lizzie Fox

Who is your character? Can you tell us a little about them?

Dorine is a housekeeper for Orgon and very, very snarky. Or maybe very loving and caring. Or maybe completely tone deaf. I still have time to figure this out, right?

What was the first play you ever acted in?

Guys and Dolls. I was the runner-up for Adelaide (is that really a theatrical term? You know what I mean), but ended up playing a Hot Box Girl. This filled me with a vindictive fury that unfortunately still motivates my work today.

Do you know anything in French?

Oui. quiere dormir conmigo esta noche?

Can you write us a couplet rhyme?

(oh god)

Like Tartuffe, he's truly a chump please tell me we won't elect Trump

Have you read Don’t Make Yourself Crazy? Has that affected your interpretation of the play you’re in?

Yes! Most of us got to read both plays together at the first read-thru. There's a lot to get out of both plays as individual entities--but I hope that seeing them side-by-side will help audiences to recognize their common thread, and the idea that Molly and Lily seem to be particularly interested in, this cult of personality dominated by a tyrannical buffoon. It's rare to see a theater season that is so very, very a propos.

Do you watch Game of Thrones? Why or why not?

No way, that show has stolen far too many Emmys from Veep. It's just not right.

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Meet the Cast (Sept)

Max Reinhardsen

Who is your character? Can you tell us a little about them? I play Damis in Tartuffe, the son of Orgon. He is quite the excitable lad, with a very hot head, is NOT a fan of Tartuffe, and will do whatever it takes (as long as it involves himself as the hero) to take him down.

What was the first play you ever acted in? I believe it was play called After Magritte by Tom Stoppard.

Do you know anything in French? Oui.

Can you write us a couplet rhyme? Writing a couplet is a real pain, Please don't ask me to do it again.

Have you read Don’t Make Yourself Crazy? Has that affected your interpretation of the play you’re in? I have! It has not really affected my role in the play I'm in, although I imagine it will once I see it further down the road? Who knows!

Do you watch Game of Thrones? Why or why not? I DID but stopped at the beginning of Season 5 because I got bored and stopped caring. Too many extraneous characters that weren't Arya.

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Meet the Cast (Six)

Michael Berry

Who is your character? Can you tell us a little about them?

I am playing Orgon.  Orgon is a very interesting and complex man, because while it is repeatedly said that he was a faithful advisor to the royal family, and an overall good man, he is very easily duped by Tartuffe and becomes completely irrational in his pious beliefs.  I am very excited to explore deeper the causes of his drastic and erratic behavior.  I think he can be very funny, but at the same time quite tragic...which for an actor presents a really fun set of challenges.  

What was the first play you ever acted in?

I played a royal prince in The King and I.  I was six years old, and I found the entire experience thrilling.  In an early moment in the show, I had to look up Mrs. Anna's skirt, presumably because her hoop skirt confused me, and it always got a laugh.  I'll never forget how good that laugh felt!  

Do you know anything in French?

I know a handful of songs and phrases, but I never studied French.  I'd like to, though, I think it's a beautiful language.   I was fortunate enough to take a master class on classical French theatre, and it seems like there is a wealth of gorgeous texts.  

Can you write us a couplet rhyme?

Little Miss Muffet moved to a stone Eating old curds and drinking alone

(Sorry, that was a bit bleak.  It was inspired by a recent game of Cards Against Humanity)

Have you read Don’t Make Yourself Crazy? Has that affected your interpretation of the play you’re in?

I haven't read the other play, but I look forward to hearing it!

Do you watch Game of Thrones? Why or why not?

I LOVE Game of Thrones.  I only recently started watching it when I finally got HBO Go.  Luckily I am technologically inept and had managed to avoid spoilers, so things like the Red Wedding were still a shock.  

However, I haven't watched the most recent season, just because after binge watching the first five seasons, I needed a breather.  

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Meet the Cast (Cinq)

Anne Kostick

Who is your character? Can you tell us a little about them? Madame Pernelle Mother of Orgon Grandmother of Damis and Mariane Admirer of Tartuffe Battleaxe Somewhere on the spectrum between Lady Bracknell and Wicked Witch of the West

What was the first play you ever acted in? It was called "Clothes on a Line."  I was a sock.

Do you know anything in French? Je connais "quelque chose" en français

Can you write us a couplet rhyme? I could write you a rhyme If you give me more time.

French is easier; English is hard (that goes for everyone but the Bard).

Have you read Don’t Make Yourself Crazy? No

Has that affected your interpretation of the play you’re in at all? Yes

Do you watch Game of Thrones?

No

Why or why not?

Madame Pernelle would not approve of the music (too much sax and violins).

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Meet the Cast (Quatre)

Natalie Rich

Who is your character? Can you tell us a little about them? Cleante: he's (or she's) just trying to figure out the truth and do what's best for his (or her) family. The gender of the role is still up in the air.

What was the first play you ever acted in? Wackadoo Zoo at Louisville's Field Elementary, 2nd grade. I played a lion who cock-a-doodle-doo'd, which was "wrong" but then everyone learned the lesson that it's okay to be "different." The only lesson I learned was to prepare for callbacks next time. There were 15 lions. Fun fact: the word "wackadoo" is in the script!

Do you know anything in French? Not much. I know some French that also act as ballet terms because my mom was a dancer. Like, "coupe" is "to cut" and "port de bras" is "lingerie outlet."

Can you write us a couplet rhyme? I admit I am not interviewed often Sorry not sorry if readers be scoffin'

Have you read Don’t Make Yourself Crazy? Has that affected your interpretation of the play you’re in? Nope! Looking forward to it, though.

Do you watch Game of Thrones? Why or why not? Nope! Looking forward to it, though.