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Review: ‘Lucky’ Takes a Steep Descent into NYC’s Criminal Underworld

It’s taken five years for Lucky (Bari Kang) to save the money and find the footing — no matter how much illegal activity both pursuits warranted — necessary to acquire a bride believable enough to fool Ins and earn his green card. He has a legit job as a mechanic with his “brother” Ricky’s (Daniel Jordano) garage during the day, helps “lose” customers’ taxis at night to earn extra cash from a fence while they receive insurance checks, and even procured himself a license from the shady jack-of-all-trades Sunny (Obaid Kadwani) to look the part of a legitimate immigrant before the law renders it official. Finally the time has arrived to take that next step forward just as fate enters to show this kind-hearted soul the irony of his name.

Kang as writer/director foreshadows this quickly spiraling destruction of his character’s dream by starting his debut feature Lucky
See full article at The Film Stage »

4 Steps CDs Can Take to Improve Transgender Diversity Onscreen

On April 3, the Diversity and Inclusion Committee of the Casting Society of America’s New York chapter held a town hall gathering in New York City to discuss the importance of transgender representation on the stage and screen. The event, which was held at the Actors’ Equity building in Times Square, was the second in Csa’s diversity initiative and the first in a series of events aimed at improving inclusion for trans performers. Actor and transgender advocate Pooya Mohseni moderated the conversation. Her questions sought to create a better understanding between industry professionals and the trans, nonbinary, and gender nonconforming actors they work with and represent. Read: Working With Transgender Actors: 5 Words to Know and 5 to Avoid “This conversation is in the spirit of Csa and casting directors recognizing that we have not done what we can to afford this population of actors access to opportunity,” said Csa board member David Caparelliotis,
See full article at Backstage »

9 Industry Stories You May Have Missed This Week

Jordan Peele just made history.His latest film, “Get Out,” just made over $100 million at the box office, making Peele the first black director and writer to have his debut reach that amount. (CNN) The National Endowment for the Arts is in serious jeopardy. Under Trump's latest proposed budget cuts, the Nea—along with the National Endowment for the Humanities, the Institute of Museum and Library Services, and the Corporation for Public Broadcasting—would lose funding despite the absolutely vital role it plays in American life. (New York Times) Is this the next “La La Land”?“Baby Driver,” the new action-musical from Edgar Wright just released its first trailer and it looks kind of insane and like a lot of fun. (YouTube) The Casting Society of America will host a town hall meeting for transgender actors.As part of the Csa’s ongoing commitment to address and change casting as it related to underrepresented communities,
See full article at Backstage »

Not My Baggage To Bare

You Are Now the Owner of This Suitcase Written by Mando Alvarado, Jenny Lyn Bader, Barbara Cassidy, Les Hunter, Joy Tomasko, Gary Winter, and Stefanie Zadravec Conceived and Directed by Ari Laura Kreith Theatre 167 West End Theatre, NYC April 9-May 1, 2016

The instantly recognizable blue logo for the A train provides the “a” in the sign reading "Once Upon A Time" that hangs high above the stage upon which You Are Now the Owner of This Suitcase is performed. It alerts spectators that what they will see is not your typical take on New York City; and the creative force behind it, Theatre 167, is not your usual theater company. The company takes its name from the 167 languages spoken in its birthplace of Jackson Heights, Queens, and describes its mission as bringing together voices from a multiplicity of backgrounds in an intensely collaborative process of theatrical creation. You Are Now the Owner
See full article at CultureCatch »

A Real Sausagefest

All About Meat (The Garcias)

Written and Directed by Michelangelo Alasá Duo Multicultural Arts Center

Through December 15, 2012

All About Meat (The Garcias) is by turns hilarious, over-the-top irreverent, grotesque, and exasperating -- and it has uniformly fine performances by a relentlessly spirited cast. Writer/director/player Michelangelo Alasá might be said to be attempting to meld the style of Pedro Almodovar with that of John Waters (with a good helping of vaudeville slapstick). First and foremost, this is a sex comedy about a family of Cuban origin, the wealthy Garcias, whose chorizo factory in New Jersey is the largest in the world.

At the pork-sausage-making family's helm is matriarch Dolores, who is dramatic, emotional, knifing, and manipulative, and whose thick Spanish accent seems at times to require subtitles when she is emoting (and she hardly ceases her emoting).

In fact, just about all the action of the play prompts Dolores to "emote.
See full article at CultureCatch »

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