Tisch New Theatre Presents NO GUTS, NO GLORY This November

No Guts No Glory is an originally devised concept created both by TNT Artistic Director Abri Berg and Music Directors Chelsea Melnick and Tess DerManouelian.

Halloween's Not Over Yet: Tisch New Theatre presents "No Guts, No Glory" at The Garage on November 4th at 7 p.m. and 9:30 p.m. and November 5th at 7 p.m.

Produced by Leah Frantz, Directed by Abri Berg, Music Directed by Tess DerManouelian and Chelsea Melnick, and Choreographed by Erin Amstein, this production of No Guts, No Glory. Tickets start at $15 for students and $25 for adults. This will take place at The Garage at 370 Jay St in Brooklyn, NY 11201.

No Guts No Glory is an originally devised concept created both by TNT Artistic Director Abri Berg and Music Directors Chelsea Melnick and Tess DerManouelian. With selections from cult classics like The Rocky Horror Picture Show and Hedwig and the Angry Inch, to favorites like Sondheim's Into the Woods and Sweeney Todd, this is a more contemporary piece that features not only fan favorites from these darker shows but also some lesser-known amazing musicals that deserve more appreciation. This set list is something that TNT has never performed on any stage before. This concert attempts to keep the spirit of Halloween alive; being able to be free and be yourself in the way Halloween allows you to be!

"Working on this show was so exciting because I didn't have to pick just one. It was a thrill figuring out how to take movement from this spooky atmosphere we curated and connect it to an all-out glam rock jam. This is a concert for people who want to be excited, people who want to relive the great age of dark musical theatre." Choreographer Erin Amstein expressed. "No Guts, No Glory is an exciting production for Tisch New Theatre because while it combines many traditional commercial theatre songs, the overarching themes and music styles were curated in great detail by a group of our production team members. It's inspiring to see how their ideas have transformed into reality through the dedication of our talented directing team and cast members. Working on the artistic design elements of this production is crucial to our process because we want to invite our audiences into a space that matches the style of the musical numbers. We cannot wait for you to join us and rock out at this intimate, spooky, and electric concert!" Artistic Producer Rachel Aveni stated.

Don't miss your chance to relive the golden age of dark musical theater in an intimate, spooky, and electrifying concert experience. Prepare to be captivated as we celebrate the campy horror genre with a glamorous rock twist. This is the most eerie-sistible event of the season.

Buy tickets here: Click Here

STARRING: Sawyer Evans, Leo Gonzalez, Rachel Rudolph, Samantha Scott, Marielle Utayde, and Margot May Waldron

Featuring: Noah Hogan, Nya Holmes, Sam Novotny, Abigail Rodriguez, Priscilla Tam, and August Zillig

Produced by LEAH FRANTZ in association with TISCH NEW THEATRE

Artistic Director ABRI BERG Artistic Producer RACHEL AVENI Production Manager MOLLY LITVIN

General Manager BENOIT ELIAS-ROBERGE Marketing Director JAYLA EBANKS

Director of Development BEN BONNICI Associate Artistic Director JULIA FREITAS-GORDON

Assistant Producers SIGNY ACKERMAN, ASPEN NARAIN, and SUDITI SIRCAR

Assistant Directors ANNA MARIA C. FERRARI, JULIETTE MARKMAN, and JAHNVI SESHADRI

Assistant Music Directors ZOË FARAJIAN and MAYA KILE

Costume Designer SABRINA SMITH Projection Designer DYLAN DUGOURD

Stage Manager ARYANA PIROS Choreographed by ERIN AMSTEIN

Music Directed by TESS DERMANOUELIAN and CHELSEA MELNICK

Tisch New Theatre is an avenue for students to work in all facets of the theatre: performance, management, direction, production, and other technical and design aspects. TNT is committed to developing and presenting technically and ideologically ambitious works with the intent to teach, challenge, and synthesize the artistic efforts of the Tisch Community and NYU's undergraduate student body.

Educating, entertaining, and empowering artistic minds is at the heart of our mission, exemplified in our presentation of musical theatre as a tool of storytelling. Our organization empowers its young artists to hold leadership positions with the caliber of professionalism they will possess working in the industry. TNT prioritizes fostering artistic growth in all NYU students, offering a safe environment for learning and personal development.

Located at 370 Jay St in Brooklyn NY, The Garage is an intimate performance space with a seated audience capacity of 74. With a movable wall that allows for audience spillover into the Brooklyn streets, The Garage has hosted many exciting musical and tech/art hybrid performances, reflecting the creative work originating both within the building as well as within the community of Brooklyn.

Tisch New Theatre's CABARET sells out in 12 Days

Tisch New Theatre's production of Cabaret will take place at The West End Theatre stage from April 28th - May 7th, 2023. Photo Credit: Ari Isenberg

At The West End Theatre April 28-May 7th, Tisch New Theatre will present Cabaret: When the thrill of escapism dissolves, what remnants of hope and opportunity remain?

Tisch New Theatre's production of Cabaret will take place at The West End Theatre stage from April 28th - May 7th, 2023. Directed by Abri Berg, Choreographed by Andrew Fitzpatrick, Music Direction by Tess Dermanouelian and Chelsea Melnick, and Produced by Sasha R. Cohen, this adaptation of Cabaret asks the question: when the thrill of escapism dissolves, what remnants of hope and opportunity remain? Tickets start at $17.85 for students and $33.85 for adults. This will take place at The West End Theatre at 263 West 86th Street New York, NY 10024. Tickets for this run are sold out.

Cabaret follows two pairs of lovers - cabaret singer Sally Bowles & novelist Clifford Bradshaw alongside Fraulein Schneider & Herr Schultz - on the verge of a cultural transformation as the rise of an extremist political party overtakes the existing Weimar Republic. When the idealized world of Berlin slowly unravels, Sally Bowles is faced with the choice between settling down and fleeing to America with Clifford or remaining in Berlin to continue a life full of thrill at the Kit Kat Klub: a space for freedom and self-expression as these liberties dwindle from reality. Meanwhile, the rise in anti-Semitism challenges Fraulein Scheider and Herr Schultz's interest in getting married. Guided by the all-knowing narrator Emcee, this ensemble-led show at its heart invites audiences to embark on a journey of historical turmoil, troubled romance, and self-reflection.

"Cabaret is one of the few shows that can glide between the spectrum of over-the-top musical theatre and heart-wrenching in a second. It also questions how humans respond to conflict and reflects various approaches to moving forward in the most complex cases. There is no right or wrong answer; everything has its glory and despair. Producing Cabaret is crucial now because the piece itself uplifts individuals who elude confidence just by being their true and authentic selves. We need more of that in the world today and a movement that emulates joy and liberation," Director Abri Berg stated.

CAST FOR THIS PERFORMANCE

NICHOLAS MILAN as EMCEE | MIREYA VELASQUEZ as SALLY BOWLES | SHAILEN BRAUN as CLIFF BRADSHAW | MESGANA TEKLU as FRAULEIN SCHNEIDER | AIDAN RYAN as HERR SCHULTZ | MAX CORTEZI as ERNST LUDWIG & HERMAN | LOLA LAMA as FRAULEIN KOST | JERETT BENJAMIN as BOBBY | NOAH ONG BAMOLA as VICTOR | SERENITY MARIANA as LULU | JACE SANTIAGO as MAX & HANS | ERIKA PRIHADI as ROSIE | ANJALI MOORTHY as FRENCHIE | BRIANNA PARADISO as TEXAS | WHITLEY ARMSTRONG as EMCEE | EDEN FRANCO as U/S SALLY & HELGA | GRACE SCHENKEL as U/S FRAULEIN SCHNEIDER & HELGA | JONATHAN HAGEN as HERMAN & U/S ERNST

*Please note cast is subject to change

PRODUCTION TEAM

Produced by Sasha R. Cohen in association with TISCH NEW THEATRE | Artistic Producer GILLIAN GARCIA General Manager LEAH FRANTZ | Stage Manager JULIA FREITAS GORDON

Scenic and Props Designer SARAH AOKI | Hair and Makeup Designer ROJIENNE GROVES | Lighting Designer NEIL WANG | Costume Designers DAYNA NOLAN and ARTEMIS WHEELOCK-WOOD| Projection Designer DYLAN DUGOURD | Stunt Coordinator BENOIT ELIAS-ROBERGE | Dialect Coach NINA LANE | Intimacy Director SOFI LOPEZ ARRENDONDO | Dramaturg JAEYEOUNG JEONG | Head Archivist SOPHIE OSTROVE

Assistant Directors WHITNEY MOORE and TRENTON WALKER | Assistant Music Directors HARRY MACINNIS and JAHNVI SESHADRI Assistant Choreographer ERIN AMSTEIN | Assistant Producers RACHEL AVENI, CECILY JOHNSON, ISABEL VANN, TONG ZHAO | Assistant Artistic Producer SANTIAGO CASARES | Assistant General Manager DHRUV ANISH | Assistant Production Manager LEA MAVRODIN| Assistant Stage Manager ASPEN NARAIN | Assistant Lighting Designer CLAIRE MCGINLAY | Assistant Scenic and Props Designer ILA FINN | Assistant Costume Designers KELLI CONVERSO and SABRINA SMITH | Wardrobe Supervisor JESSE YOUNGSTEIN | Electrician CHARLOTTE SIEGEL | Carpenter TRISHA RAJU | Photographer BREONN LYONS

Choreographed by ANDREW FITZPATRICK | Music Directed by TESS DERMANOUELIAN and CHELSEA MELNICK

Directed by ABRI BERG

Book by Joe Masteroff | Lyrics by Fred Ebb | Music by John Kander | Stories by Christopher Isherwood | Based on the by John Van Druten

About Tisch New Theatre

Tisch New Theatre is an avenue for students to work in all facets of the theatre: performance, management, direction, production, and other technical and design aspects. TNT is committed to developing and presenting technically and ideologically ambitious works with the intent to teach, challenge and synthesize the artistic efforts of the Tisch Community and NYU's undergraduate student body.

Educating, entertaining, and empowering artistic minds is at the heart of our mission, exemplified in our presentation of musical theatre as a tool of storytelling. Our organization empowers its young artists to hold leadership positions with the caliber of professionalism they will possess working in the industry. TNT prioritizes fostering artistic growth in all NYU students, offering a safe environment for learning and personal development.

About The West End Theatre

Located on the second floor of the Church of St. Paul & St. Andrew, the West End Theatre is an intimate venue. This exceptional performance space is part of a congregational artistic outreach program and is home to David Parker & The Bang Group, the Prospect Theater Company, the Pan Asian Repertory, and the Six Figures Theater Company. With productions like Clowning the Bible, Kwatz! The Sound of a Hammer Hitting the Head, and more, shows at the West End Theatre are anything but bleak.

Tisch New Theatre to Present SPRING AWAKENING: IN CONCERT at The Cutting Room in November

"Spring Awakening: In Concert" reimagines the 2006 musical by combining the show's message of empowering youth to speak up with rock music.

Tisch New Theatre takes The Cutting Room stage with "Spring Awakening: In Concert'' on November 10th at 7:30 pm. Directed by Natalie Collat, music directed by Tess DerManouelian and Chelsea Melnick, choreographed by Andrew Fitzpatrick and Alyssa Villareal, and produced by Sasha R. Cohen, this adaptation embraces the contemporary rock genre as the youth revolt against adult conformity. Tickets range from $18 to $55.

"Spring Awakening: In Concert" reimagines the 2006 musical by combining the show's message of empowering youth to speak up with rock music: the genre born to challenge societal expectations and strive toward systemic change. The story follows young teenagers discovering sexuality within a repressive society that withholds knowledge, authority and autonomy. TNT's production transforms the songs to embody fan-favorite rock genres and redefines the concert experience through innovative storytelling.

"We are living in a turbulent time filled with the loss of our rights. Between the overturning of Roe v. Wade, curtailing the E.P.A., and the persistent hate that lurks in the country, many people feel betrayed by the government and a sense of hopelessness. Tisch New Theatre chose to produce "Spring Awakening: In Concert" because of the story's message of empowering people to speak up for the change they want to see. Our choice to give the music a stronger rock flare is designed to act as an outlet for the emotional growing pains that come with fighting for justice" Producer Sasha R. Cohen said.

"Spring Awakening: In Concert" is a one night only event at 44 E 32nd Street, New York, NY, 10016. Buy your tickets before they are sold out.

Produced by Sasha R. Cohen in association with TISCH NEW THEATRE and THE CUTTING ROOM Artistic Director ABRI BERG Artistic Producer GILLIAN GARCIA Production Manager KATIE REIF General Manager TONG ZHAO Marketing Director AVIA WANG Director of Development SHAYNA GERARD Assistant Director SANAH TAHILIANI

Assistant Music Directors JC IGNACIO and HARRY MACINNIS Associate Producer LEAH FRANTZ Intimacy Director YSA FURLAND Hair and Makeup Designer ROJIENNE GROVES Lighting Designer IZZIE CAVA Stage Manager CASEY HUSSEY Choreographed by ANDREW FITZPATRICK and ALYSSA VILLAREAL Directed by NATALIE COLLAT Music Directed by TESS DERMANOUELIAN and CHELSEA MELNICK Lyrics by Steven Sater Music by Duncan Sheik

STARRING: Elijah Johnson, Deborah DosSantos, Jonah Beckett, Isabela Imamura, Lily Soto, Darcie A. Hingula, Eden Franco, Whitley Armstrong, Juliana Castillo, Bryce Lowery, Nic Sylvester, Eugenia De la Garza, Max Cortezi, Nick Ashraf, Tyrese Shawn Avery and Caroline Foster.

About Tisch New Theatre

Tisch New Theatre is an avenue for students to work in all facets of the theatre: performance, management, direction, production, and other technical and design aspects. TNT is committed to developing and presenting technically and ideologically ambitious works with the intent to teach, challenge and synthesize the artistic efforts of the Tisch Community and NYU's undergraduate student body.

Educating, entertaining, and empowering artistic minds is at the heart of our mission, exemplified in our presentation of musical theatre as a tool of storytelling. Our organization empowers its young artists to hold leadership positions with the caliber of professionalism they will possess working in the industry. TNT prioritizes fostering artistic growth in all NYU students, offering a safe environment for learning and personal development.

About The Cutting Room

At its new location on East 32nd Street between Park and Madison, The Cutting Room builds on a decade of history that includes some of today's top performers. John Mayer, Lady Gaga, Sting, Sheryl Crow and David Bowie are just some of the artists that have graced the stage.

Tisch New Theatre to go Off-Broadway with AMÉLIE

"Amélie" follows a young girl who sets out to build her own life after growing up sheltered from the real world.

Tisch New Theatre will return to the stage with "Amélie" at Theatre Row from April 7-10. Directed by Zoë Elizabeth Lillis, Produced by Marifé Quesada & Jadyn Buchanan, and Co-produced by Sasha R. Cohen, this stage adaptation tackles one question: What do you imagine? Tickets are only available to purchase for NYU students ($13) and faculty ($23).

"Amélie" follows a young girl who sets out to build her own life after growing up sheltered from the real world. When she moves to Paris and finds a world filled with anxiety, loneliness, and lost love, Amélie makes her dreams of little miracles a reality through anonymous good deeds for others. Along the way, she might even find the connections and care that transform her dreams from fantasy to truth.

"I think Amélie is relevant today for so many reasons. It's a story about a girl who has spent almost her entire life in solitude. We've all recently come out of a period of isolation due to the pandemic and have to relearn how to forge relationships. Right now, it may seem like the world is lacking a bit of kindness. So, we hope audiences who come to see our show will be immersed in Amélie's world - a place filled with care and love - and feel inspired to channel the same energy in our everyday lives," Lillis said.

Music by DANIEL MESSÉ Lyrics by DANIEL MESSÉ and NATHAN TYSEN Book by CRAIG LUCAS Based on the motion picture Amélie written by JEAN-PIERRE JEUNET AND GUILLAUME LAURANT

Produced by JADYN BUCHANAN and MARIFÉ QUESADA in association with TISCH NEW THEATRE Co-Produced by SASHA R. COHEN Scenic Design DELANEY TEEHAN and ZOË ELIZABETH LILLIS Costume Design PHI LE Lighting Design ANDREW WANG Sound Design ADAM OLKIN Production Stage Manager DELANEY TEEHAN Production Manager GILLIAN GARCIA General Manager TONG ZHAO Associate Music Director SHANE TURNER Associate Directors ABRI BERG and NATALIE COLLAT Choreographed by ABIGAIL CURRAN and ANDREW FITZPATRICK Music Directed by TYLER ARLE Directed by ZOË ELIZABETH LILLIS

The cast includes: Senzel Ahmady, Nick Salem, Michael Ronca, Jillian Abaya, Maya Claridge, Olivia Ebel, Lily Soto, Steven Ishii, Charlie Uthgenannt, Kam Kampton, Jaylen Taylor, Kat Capili, Gia Ray, Adama Sall, and Nic Sylvester.

Somehow, Tisch New Theatre Reinvents Elle Woods in ‘Legally Blonde’

When people wondered how Tisch New Theatre could possibly “Rethink Pink” and rebrand “Legally Blonde,” TNT responded, in the words of Elle Woods: “What? Like it’s hard?” This weekend, the student-run theater club housed in Tisch School of the Arts, opened their production of “Legally Blonde” in the Skirball Center for the Performing Arts.

“Legally Blonde,” based on the novel and movie, follows Elle Woods, a UCLA sorority president, as she follows her ex-boyfriend to Harvard Law in hopes of making herself into someone he wants. As the show progresses, Elle realizes that she is not the dumb blonde people have made her out to be. Elle realizes her own self-worth and intelligence through her work in law and comes into her own as a strong and independent lawyer.

When TNT announced in August that “Legally Blonde” would be their fall production, their tagline was “Rethink Pink.” As a “Legally Blonde” superfan, I could not imagine how the show could waver from the original’s intentions. The script is incredibly tight and the characters are defined in a seemingly limited way.

Beyond the fact that TNT’s Instagram was showcasing a baby pink theme instead of the hot pink conventionally associated with Elle Woods, I expected the show to be a well-executed production of the same musical I have loved watching many times before. Within the first two numbers of the show, however, I realized that this was an Elle Woods I had not met before, and I knew I was about to experience something revolutionary in the world of “Legally Blonde.”

I know every second of “Legally Blonde.” I’ve seen it a dozen times, and I’ve listened to the soundtrack hundreds. I am accustomed to Elle’s arc, turning from a ditzy, Malibu-born, boy-crazy college student into a strong, insightful, independent boss woman. In TNT’s production, however, Elle was the latter from the moment the house lights went down.

Not for one second did Elle, played by Tisch sophomore Giulia Marolda, come off as the “dumb blonde” she is usually made out to be. Elle came out strong and fierce and stayed that way for two hours. The difference really hit me during “Serious,” the song where Elle gets dumped. In this song, her boyfriend, Warner, breaks up with her for being too blonde, and everything that comes with it. He says he needs “less of a Marilyn, more of a Jackie.”

In the original cast recording and in every production I have seen since, this song prompts a blubbering and hysterical Elle to scream “shut up! Just shut up!” The song portrays Elle as someone entirely dependent on a man and lost without him. When this moment came in TNT’s production, Elle instead slammed her fist on the table and firmly said, “shut up.” Her departure was not filled with hysteria and helplessness; it was the walk of a woman who had realized she deserved better.

Later, Vivienne, Warner’s new girlfriend who sees Elle much the same way that Warner does, gets Elle kicked out of class. Again, Elle’s reaction in this scene is usually flustered and ends in her running off stage crying.

But again, Marolda held her head high, did not let her confidence waver and strutted coolly off stage. When Elle later confronts Vivienne and says “us girls need to stick together,” the line holds so much more weight than usual because it is not coming from a lost girl who needs help, but from a strong woman who demands respect.

Ironically, the show’s only fault also comes as a result of Elle being so revolutionized. Elle was so strong that I did not understand why she still cared for Warner at all. The integrity of the plot was weakened as the character was strengthened.

“Legally Blonde” has always been one of my favorite shows because of who Elle truly is. It is a story of overcoming internalized misogyny, demanding what is deserved and empowering women. What struck me about TNT’s production was director Micaela Brinsley’s crystal-clear vision to make the protagonist as strong as a real woman, not the caricature of one. Brinsley and Marolda brought to life the Elle Woods I have always been inspired by.

I left TNT’s production so grateful. “Legally Blonde” never fails to impart the message that women can achieve much more than people think they can. However, usually, this message is delivered by portraying Elle as a negative stereotype in order to ground the audience in a narrative paradigm that they are familiar with. Tisch New Theatre and Brinsley challenge their audience to leave that world behind and engage instead with a true plight in the modern world: women who have always known they are enough still being forced to prove it.

A version of this article appears in the Monday, Nov. 4, 2019 print edition. Email Liv Rocklin at theater@nyunews.com.

‘Rethink Pink’: Tisch New Theatre’s Vision for ‘Legally Blonde’

Tisch New Theatre, a student-run organization at NYU, will bring “Legally Blonde” to the Skirball Center stage on Nov. 1. Adopting the motto “rethink pink,” the cast and crew are imagining a new world for the musical.

Beginning their work last spring, the crew has spent several months of pre-production brainstorming ideas on how to reinvent the beloved musical. 

“How can we look at it [‘Legally Blonde’] through a 2019 lens?” said Tisch senior Tim Sebastian, TNT’s president and the show’s producer. “It’s the ‘Legally Blonde’ that we all know and love, but we are looking at it differently.”

Tisch senior Micaela Brinsley, the show’s director, drew inspiration from Greek storytelling. For example, she plans on having a Greek chorus stay on stage throughout the entire show.

“I’m super interested in the relationship between the form of an art piece and the content of an art piece, and I’ve been able to use this show as a space to sort of dig into that,” she said.

Brinsley said she has torn apart the script and researched the themes in the show that she wants to highlight.

“There are rarely any moments where she [Elle] is alone, able to express what she’s feeling, until the second act,” Brinsley said. “We’re emphasizing Elle’s journey and what it means to be a person grappling with your own inner voices of doubt and confusion.”

Tisch sophomore Giulia Marolda, who plays the main character Elle Woods, said one of the main ways she’s able to find Elle’s internal voice is through the deep character studies that the cast has been working on together.

“We’re really digging into each of the characters and trying to find a more grounded place for each of them to come from,” she said.

While the source material of the show isn’t changing, the team hopes that their directorial vision and intensive character work will bring something new to the stage.

“This show has always been done in the same way,” Marolda said. “You never hear of a reimagination of ‘Legally Blonde.’ We’re really adding so much more meaning to it.”

In their rendition, Brinsley said, the hope is that the comedy of the show doesn’t obscure the gravity of the social issues that play out in the performance, such as sexual harassment and internalized misogyny.

“I think with this show you can have a really great time and engage with it but also leave thinking about some of the issues that we’re talking about,” she said.

Skirball’s 850-seat theater poses its own challenges and opportunities. While it’s not TNT’s first time staging a performance at Skirball, their past two productions ran at the SoHo Playhouse.

“We had to pick a show that would allow us to really live within Skirball,” Brinsley said. “We had to pick one that was right for the space, but also pick one that […] we could do something new with.”

Sebastian said one of the reasons they chose “Legally Blonde” was because it’s a big show fit for a large stage.

“It does bring challenges, like how are we going to do a proper lighting design, […] a proper scenic design and how will we stay in budget,” Sebastian said.

He added that TNT raises money through private donations from friends, family, industry professionals and brand partnerships. They use an online fundraising website that they have been promoting in hopes of reaching their $30,000 goal.

Putting on such a large-scale production entails an intensive rehearsal schedule. Excluding Monday, they rehearse for four hours on weekday evenings and eight hours per day on weekends. 

Marolda said she doesn’t mind the time commitment and that she was always willing to give her all to the show, even going so far as to dye her hair blonde.

In TNT’s production, it is the process of self-discovery, and Elle Woods’ determination that is prioritized over all else. Brinsley and Marolda are excited for the NYU community to see this version of “Legally Blonde,” which places female empowerment at its center.

“Every sacrifice that I made I know is going to be worthwhile because this show is going to be incredible and really unlike anything anyone
has ever seen,” Marolda said.

Tickets for Legally Blonde go on sale Oct. 4 at noon at NYU’s Box Office.

A version of this article appears in the Monday, Sept. 30, 2019 print edition. Email Claire Jones at theater@nyunews.com.

STUDENT CAST OF "NEXT TO NORMAL" JUGGLES MUSIC AND MENTAL ILLNESS

Washington Square News

By Julia Fields

October 25, 2018

Tisch New Theatre premiered its new production of “Next to Normal” last Tuesday at the SoHo Playhouse. The four-time Tony-winning musical follows Diana Goodman, who struggles with the tumults of bipolar disorder and its effect on her family. The small cast triumphed with the difficult themes of the show and delivered a truly heart-wrenching performance of what it means to be any member of a dysfunctional family.

The cast and crew used the limited stage space to their advantage with an intricate set design that created the illusion of multiple rooms and different perspectives of the characters. The back wall shuttered to reveal characters on a different plane than the rest. Simple desks, chairs and open panels provided a backdrop to the diverse story unfolding around them.

Though the simple set design proved effective, “Next to Normal” found the greatest success in its characters. Each one in the cast of nine shone in their respective role to make the story come alive.

Tisch School of the Arts drama junior Samantha Tullie tackled the role of Diana, which won Alice Ripley the Tony Award for best leading actress in a musical in 2009. Tullie portrayed the trials and tribulations of dealing with mental illness beautifully. Through her stunning voice and heartbreaking acting, Diana gained empathy from the entire audience for her wish that her family would remain perfect and loving for “just another day.”

Though tackling weighty themes of loss, mental illness and trauma seems daunting, this performance by college actors was utterly fearless and authentic. Through astounding music and performance, an intimate connection was formed between the actors and the audience.

Stippled with hints of laughter, the emotions of the performers seem raw and genuine throughout. Further emphasized through songs and melodies, the tension between the parties could be felt throughout the entire theater. Attendees clearly felt the emotions along with the actors, making for a triumphantly deep performance. Ushered by happiness and joy, sadness and sympathy, the audience ultimately left impressed by the full spectrum of emotions evoked by the show.

As the show came to an end, its final song, “Light,” pushed for a final wave of optimism.

“There will be light,” the performers sang, and every light in the theater lit up. It was the perfect ending for a show rooted in despair and hopelessness. The show made space for truth and honesty. It also projected ideas of hope and strength in love and relationships. Each actor performed their difficult role with such fervor and determination that it was easy to forget their young age and simply focus on the sheer emotion they possess.

Email Julia Fields at theater@nyunews.com.

BACKSTAGE AT TISCH'S "NEXT TO NORMAL"

Washington Square News

By Lily Dolin

October 22, 2018

When people think of student-run theater productions, their minds may jump to small-scale shows with minimalist set designs. However, for Tisch New Theatre’s student-run production of “Next to Normal,” this description couldn’t be further from the truth. Over the past couple of months, the cast and crew of “Next to Normal” have worked tirelessly on every detail of the production, and to create a show with nuance and depth.

The 2008 rock musical deals with difficult issues that many other shows wouldn’t dare to touch, including depression, addiction and suicide. Yet these uncomfortable topics are precisely the reason that the director, Tisch senior Danica Jensen, was drawn to the show. 

“For me [‘Next to Normal’] was really the first time I understood that musical theater could deal with serious and nuanced topics in a way I had only thought plays could,” Jensen said.

The selection process for the show is mainly controlled by the students and the executive board of Tisch New Theater, who partnered with Jensen to choose a musical that fit her directorial style. “Next to Normal” may be an award-winning Broadway show, but this year it’s being reinterpreted and staged through an NYU lens.

Tisch junior Tim Sebastian is the president of Tisch New Theater and a producer of the show. He has many of the same responsibilities a professional producer would have, including venue selection and production costs. Every aspect of the show must be dealt with directly by him.

“If we don’t do it, it’s not getting done,” he said.

Lighting and sound, costume design and set design are just a few of the departments that come together to create this two-and-a-half hour show. It may seem like a lot of work to be thrust upon college students, but the process provides a glimpse into what the world of professional theater is like. 

“Once you work professionally, you discover very quickly that it’s not that much different from what you’ve been doing all along in college,” said Gallatin junior Basil Apostolo, the vice president of Tisch New Theater and production manager for the show. “Sure, budgets are often bigger and the theaters sometimes have more seats, but at the end of the day, it’s still theater.”

While the cast and crew take their roles very seriously, that doesn’t mean the rehearsal process is all work and no play. Given the difficult and emotional nature of the show, the cast members try to release tension when they can.

Tisch junior Samantha Tullie plays Diana Goodman, a mother who is battling bipolar disorder and depression. During one rehearsal, in the midst of a particularly intense scene, Tullie broke character and smiled at something offstage. Making eye contact with Tullie, the producers and stage managers who were watching the rehearsal starting laughing as well.

But not a minute later, Tullie snapped back into character, belting out a beautiful and moving ballad. Her graceful transition in and out of character is representative of the way the cast and crew are able to maintain a friendly, laid-back environment while also staying on track in rehearsals and getting the job done. 

The students running this show are peers and classmates, and their camaraderie shows behind the scenes. 

“The material we are dealing with is very personal and vulnerable, we have all gotten very close very fast” Tullie told WSN. “Even though we are playing a family, outside of rehearsals we’ve turned into one big cast family as well.”

Cast member and Steinhardt junior Kyle Brenn echoed this sentiment.

“Since the cast is so small, we’ve become very close over the course of the rehearsal process,” Brenn said.

Viewers who go to see “Next to Normal” may forget that they are watching an entirely student-run show. This is understandable, as everything from the acting to the show’s marketing campaign lends itself more to an off-Broadway production. But at its core, “Next to Normal” is a show put on by students, for students and serves as a great example of what classmates can achieve when they work together. 

 “Next to Normal” runs at the SoHo Playhouse (15 Vandam Street) from Oct. 23 through Nov. 4. Tickets are available at www.NYUTischNewTheatre.com.

A version of this article appeared in the Monday, Oct. 22 print edition. Email Lily Dolin at theater@nyunews.com.

Photo Flash: First Look At Tisch New Theatre's NEXT TO NORMAL

BroadwayWorld

By  BWW News Desk

October 10, 2018

New York University's Tisch New Theatre is proud to present NEXT TO NORMAL, the award-winning contemporary rock musical with book and lyrics by Brian Yorkey, and music by Tom Kitt. Winner of three 2009 Tony Awards and the 2010 Pulitzer Prize, NEXT TO NORMAL is an electrifying look at the effects of mental illness. It explores the story of a suburban family learning to cope with crisis, memory, and grief as Diana, the mother, is diagnosed with bipolar disorder. Diana struggles through a series of invasive medical treatments while attempting to remain stable with her depressed husband, her anxious teenage daughter, and above all, her elusive son, who is always on her mind.

NEXT TO NORMAL runs 14 performances October 23 through November 4, 2018 at The SoHo Playhouse, 15 Vandam Street. Tickets are on sale now! For additional information, visit www.NYUTischNewTheatre.com.

NEXT TO NORMAL is entirely produced, directed, designed, and performed by over 80 NYU students spanning across multiple schools. Tisch New Theatre has established itself as NYU's premier student theatre organization. TNT was formed in 2008 as an avenue in which emerging student artists, regardless of area of study, can experience the theatre industry within NYU and New York City. TNT is committed to developing ambitious work intended to entertain, inspire, and unite the artistic efforts of the Tisch Community with the entire NYU student body. Past productions include ONWARD; LITTLE SHOP OF HORRORS; HAIRSPRAY; COMPANY; CATCH ME IF YOU CAN; and WEST SIDE STORY.

TNT's production of NEXT TO NORMAL will feature the following: Book and Lyrics by Brian Yorkey; Music by Tom Kitt; Scenic Design by Mason Delman; Costume Design by Deijah M.V.; Lighting Design by Katherine Craig; Sound Design by Lily Garcia; Production Stage Manager, Tara King; Production Manager, Basil Apostolo; General Manager, Matt Rose; Marketing Director, Chelsea Galembo; Associate Producer, Chloe Duhalde; Associate Directed and Choreographed by Kait Warner; Music Direction by Chloe Geller; Directed and Choreographed by Danica Jensen. NEXT TO NORMAL will be presented by Tim Sebastian in association with Tisch New Theatre through special arrangement with Music Theatre International.

The cast includes: Sam Tullie, Knox Van Horn, Sam Tennant, Kyle Brenn, Jose Contreras, Max Fiorello, Lizzy Gesensway, Kaeli Heffner and Aja Hinds.

For more information about Tisch New Theatre, visit www.NYUTischNewTheatre.com.

NYU LOCAL: Tisch New Theatre to Hold Benefit Concert

NYU News 

By Camille Larkins 

April 11, 2018

Tisch New Theatre will perform ONWARD, a benefit concert featuring 11 NYU students, on Sunday. Funds will go to Good Chance Theatre, an organization that builds temporary theaters to facilitate immigrant and local community integration.

“[Good Chance] understand[s] that expression in theatre is the most collaborative and unifying way to heal,” said cast member and Steinhardt student Kuhoo Verma.

The organization built their first theater in a refugee camp in Calais in 2015, followed by London and Paris.

ONWARD is entirely produced and performed by NYU students. It is directed by Casey Whyland, Gallatin senior and performer in Broadway’s Billy Elliot.

Verma says that the concert is a “celebration of our responsibility as human beings. We can and should and will take care of each other.”

ONWARD will be performed on April 15 at 7 p.m. in the Eisner & Lubin Auditorium in Kimmel.

BROADWAYWORLD: Photo Flash: First Look At Tisch New Theatre's ONWARD

BroadwayWorld

By  BWW News Desk

April 3, 2018

Get an exclusive first look at Tisch New Theatre's ONWARD, a concert to benefit Good Chance Theatre!

The evening will feature 11 New York University students, across multiple schools, performing songs ranging from musical theatre to pop and R&B. The concert will also premiere an original song written in honor of the event by student Kaila Wooten.

Good Chance Theatre is a UK-based non-profit that builds temporary theatres in areas where expression is stifled and where immigrant and local communities are struggling to integrate. They work to provide hope and promote freedom of expression, creativity, and dignity for all.

ONWARD is entirely produced, directed, designed, and performed by NYU students. Casey Whyland, of Broadway's Billy Elliot and a senior in the Gallatin school, directs and choreographs. When asked about the rehearsal process so far, 3-time Broadway veteran and Gallatin senior Andy Richardson said, "Getting to be part of an experience like this is thrilling. It's a different environment than a normal show but the talent is so vivid." Through ONWARD, the students of Tisch New Theatre hope to not only support Good Chance Theatre with a donation from the ticket sale proceeds but also to raise awareness of the selfless and vital role they play in the lives of those in need. For Steinhardt senior Kuhoo Verma, the concert is a "celebration of our responsibility as human beings. We can and should and will take care of each other."

ONWARD will be performed on April 15th at 7:00 PM in the Eisner & Lubin Auditorium within NYU's Kimmel Center for Student Life, located at 60 Washington Square Park South. For tickets and additional information, visit NYUTischNewTheatre.com.

Photos credit: James Kwitny. Style: Deijah M.V.

BROADWAYWORLD: Tisch New Theatre To Present ONWARD

BroadwayWorld

By: BWW News Desk

March 30, 2017

Tisch New Theatre closes out their 10th Anniversary season with ONWARD, a concert to benefit Good Chance Theatre. The evening will feature 11 New York University students, across multiple schools, performing songs ranging from musical theatre to pop and R&B. The concert will also premiere an original song written in honor of the event by student Kaila Wooten.

Good Chance Theatre is a UK-based non-profit that builds temporary theatres in areas where expression is stifled and where immigrant and local communities are struggling to integrate. They work to provide hope, and promote freedom of expression, creativity, and dignity for all. Good Chance built its first theatre in a refugee and migrant camp in Calais in 2015 and since has expanded to London and Paris. According to cast member and Tisch freshman Gage Thomas, "Good Chance Theatre is a prime example of how the power of theatre can bring a group of people together. They allow these people who have no homes and have nothing but the things they brought with them to have a space to forget what is happening outside and just express themselves." For cast member and Steinhardt senior Kuhoo Verma, Good Chance is special because they "understand that expression in theatre is the most collaborative and unifying way to heal."

ONWARD is entirely produced, directed, designed, and performed by NYU students. Casey Whyland, of Broadway's Billy Elliot and a senior in the Gallatin school, directs and choreographs. When asked about the rehearsal process so far, 3-time Broadway veteran and Gallatin senior Andy Richardson said, "Getting to be part of an experience like this is thrilling. It's a different environment than a normal show but the talent is so vivid." Through ONWARD, the students of Tisch New Theatre hope to not only support Good Chance Theatre with a donation from the ticket sale proceeds but also to raise awareness of the selfless and vital role they play in the lives of those in need. For Kuhoo Verma, the concert is a "celebration of our responsibility as human beings. We can and should and will take care of each other."

ONWARD will be performed on April 15th at 7:00 PM in the Eisner & Lubin Auditorium within NYU's Kimmel Center for Student Life, located at 60 Washington Square Park South. For tickets and additional information, visit NYUTischNewTheatre.com.

Tisch New Theatre was formed in 2008 as a platform on which all students, regardless of area of study, can experience the theatre industry within NYU and New York City. TNT is committed to developing ambitious work intended to entertain, inspire, and unite the artistic efforts of the Tisch Community with the entire NYU student body.

TNT's production of ONWARD will feature the following: direction/choreography by Casey Whyland (Broadway's Billy Elliot, Annie national tour); music direction by Alexandra Crosby; lighting design by Cati Kalinoski; costume, hair, and make-up design by Deijah M. V.; production stage manager Charlie Saslow; production coordinator Basil Apostolo; general manager Nicole Crisci; marketing director Joey Mervis; producers Matthew Ko and Tim Sebastian.

The cast features: Alex Lugo, Andy Richardson (Broadway's Newsies, Dr. Seuss' How the Grinch Stole Christmas, Gypsy), Audrey Hobert, Beth Million, Daniel Youngelman, Gage Thomas, Jessica Kantorowitz, Julesy Flavelle, Kuhoo Verma (Berkley Rep's Monsoon Wedding), Michael Manzi, and Stephen Mellen.

For more information about Tisch New Theatre, visit www.NYUTischNewTheatre.com.

NYU NEWS: Tisch New Theatre Presents a New Approach

NYU NEWS
By Emma Hernando
November 7, 2017

Even with NYU’s progressive environment, it is rare to walk into a production meeting and be surrounded by women. While there have been pushes to increase inclusivity for women in theater, the Tisch New Theatre transformed that idea into a reality with its 10th anniversary production of “Little Shop of Horrors.” TNT’s return to the NYU community represents once again the opportunity to become involved in high-quality productions in real world environments, while also providing a space for students to make mistakes and learn from them.

Upon walking into SoHo Playhouse, where TNT’s production of “Little Shop of Horrors” is currently running, it is easy to forget that TNT is a student-run organization. From the extremely high production value of the show to its enviable location in an Off-Broadway theater, there is very little that differentiates TNT from a professional theatre company. Furthermore, TNT has succeeded where other theater companies have failed. By placing women who are experts in their fields at the helm of the production, TNT is breaking the glass ceiling that exists within production and artistic teams. 

I was thrilled at the opportunity to speak with some of these amazing women. As I sat down with director, choreographer and Gallatin junior Casey Whyland, musical director and Gallatin junior Alex Crosby, as well as the set design and stage management team, my main goal was to illuminate what differentiates this team from teams in which women are the minority or are absent altogether. Most of the cast agreed that the subject material of “Little Shop of Horrors” was a differentiating factor in itself. In a show where the main female character, Audrey, experiences domestic abuse — written off as an afterthought — the artistic team grappled with how to make her struggle apparent and define her as more than just a “blond bimbo.”

“We talked about it with scenic, costumes, props — it became a different approach,” Whyland said. “Just because she’s a woman in the ‘60s why does that automatically mean that she needs to be blonde and ditzy? There’s nothing wrong with that portrayal, but we wanted to do something different to create a new dynamic.” 

Team members agreed they attempted to depict the concept of domestic abuse in a more nuanced way than was done other productions. Crosby added she noticed a different reaction as a result of this.

“[In most productions] it’s not really an event that [Audrey is] thrown around by Orin,” Crosby said. “It’s a nonevent and people usually dismiss it because he’s just like the funny dentist who’s crazy. [Whyland] has made a deliberate point to show that this is a man who is absolutely taking advantage of a woman and she is rendered powerless because he just has no sense of respect for her as a person. And it’s sad.”

Whyland said her ability to develop the character of Audrey was only made possible because the team was so understanding of its importance. Without the support of actors willing to undertake this topic and the design team, portraying such a sensitive topic would have been impossible.

For the most part, however, the team believed that gender was irrelevant.

“I don’t think about my gender while doing my work,” Crosby said. “It’s much more about — this is what I care about and this is what my focus is going into. When I’m surrounded by women I do feel more comfortable to do my work, the fact that I am a woman doesn’t have anything to do with it.”

The company seems to foster a spirit of both self-motivation and collaboration. The 75 individuals working on “Little Shop of Horrors” had no other reason to be there besides their desire learn and put on a quality show. Stage manager and Tisch sophomore Kate Wellhofer praised these qualities. 

“I have never been a part of a show that is so communicative and so collaborative,” Wellhofer said. “Every single day I am literally in awe of how incredible communication is between every department. I mean just top to bottom you know everything going on in every department and that’s so helpful because it can inform your work.”

Despite the professional quality of its productions, what clarifies TNT’s status as a collegiate club is the learning environment fostered by the company that may not be accessible after college. Wellhofer said this might be the most rewarding part of participating in TNT. 

“TNT provides space for you to fail and have to figure out how to make it work after that,” Wellhofer said..

Production manager and Steinhardt senior Emily Tang agreed, saying, “The problem with TNT is that you can’t do something right. There’s no one to tell you you’re doing something right, you just gotta give it your all, which is terrifying but also the best motivation.”

The fact that this environment encourages people to speak up and learn from their mistakes, makes the team work in a unique way. In a world where women in leadership positions are often labeled as bossy or aggressive, TNT is a refreshing space that allowed women to overcome these stereotypes and get the job done. 

“I”m very against confrontation, so this has been a good experience because I have learned to communicate my needs,” scenic designer and Tisch senior Kassidy Curtis-Lugo said. “Navigating that with our peers and our friends is one thing [but now we are] able to apply that to once we move out into the real world.”

TNT is a unique place where this blend of discovery and professionalism can occur, which is essential not only to the NYU community, but to the professional theater world that these women are about to step into.

“I truly think that every woman sitting in here is a natural leader, we have these positions [and] are trusted with these jobs because we feel comfortable being in these positions where we delegate and make these decisions,” associate scenic director and Tisch junior Taylor Friel said. I think that’s really important. We are naturally strong, amazing women [who have] that natural power.”

NYU NEWS: Finding Humanity in the Horrors

NYU NEWS
By Emma Hernando
November 6, 2017

Lights up on a seemingly mundane florist in downtown New York. As the Tisch New Theatre’s interpretation of “Little Shop of Horrors” begins, there is very little to indicate the incredible and insane path that the play will take over the next two hours. A Greek chorus of street urchins sets the scene with an ironically vivid and jazzy song about how bad it is to live where they do. The rest of the show mirrors the irony of its opening number, and it is as zany as it is unpredictable. A Broadway classic, the musical depicts the unrequited love story between Seymour and Audrey who work together at a florist’s shop. Bizarre obstacles stand between them: Seymour’s lack of confidence, Audrey’s sadistic dentist boyfriend and an alien plant that feeds on blood. 

Carried by characters that are carefully curated to be both lovable and problematic, the show tells a comedic story that still manages to be truthful. Beyond asking you to suspend your disbelief, it requires you to suspend your judgement as you hear their stories and see their behavior justified before your eyes. The evil dentist, Orin (Ray Fanara), can be seen as the secondary antagonist in his blatant cruelty. However, in his hilariously extreme behavior, you can still sense the humanity and tragedy within him. While not an excuse for his behavior, these qualities make the character more dynamic than if he were just another stereotypical villain.

As he reluctantly begins to feed the plant his own blood, it’s easy to see that Seymour’s — played by Steinhardt senior Daniel Youngelman — only way to move up in the world is by sacrificing his humanity and morals to achieve love and success. The setting itself demands intense sacrifices from the characters, leading them all to do heinous things. TNT’s creative team, most notably Gallatin senior Casey Whyland, who directed and choreographed the show, brings out true social commentary from this quirky musical.

The character of Audrey, played by Tisch sophomore Julesy Flavelle, is the most brilliant example of sacrifice in this play. In a show that brings nonstop laughter, Flavelle’s intensely human interpretation of Audrey will bring you to tears. She taps into the character by discovering her primary driving force: we all will risk anything for what we love. Even if we cannot truly achieve real love, we will find a way to make it exist at least in our imaginations.

Due to the show’s intimate setting in the SoHo Playhouse, you truly feel as if you are part of the story. The dynamic set in a small space functions the same way a complex proscenium arch would, and upon walking into the theater, you are instantly brought into the world of the musical. While most of the technical aspects of the show flourished despite the small space — Audrey II, the alien plant, seemed much bigger and more imposing — in some cases it posed a struggle for the actors in terms of choreography.

Overall, the show’s execution went above and beyond the story that is so known and loved by many. The humanity lies in the absurdity, which makes it more than just a classic comedy. While a blend of both tragedy and comedy is essential in a show like “Little Shop of Horrors,” this is characteristic of a theater company with such a long history of producing student work that appears professional. This production breathes life into otherwise stereotypical comedic characters. Rather than looking at Seymour, Audrey and Mr. Mushnik and seeing them as a group of fools haphazardly trying to succeed in a doomed situation, you see them as people who have known nothing but poverty their entire lives and simply seek to find their own personal “somewhere that’s green.”

NYU NEWS: Tisch Reimagines ‘Little Shop’

NYU NEWS
By Carter Glace
November 6, 2017

“Little Shop of Horrors” exists in that sweet spot where even if one has not watched either the off-Broadway show, the Broadway show or the iconic film, it has a distinct signature style and tone that everyone is familiar with. The campy horror science-fiction comedy inspired by two pulpy sci-fi novels has brought signature villains, songs and iconography into our musical canon. Even though I had yet to see the showbefore this Halloween, I knew almost everything about it due to cultural osmosis. 

But with the ubiquity comes a challenge: how does one adapt a work that is so ingrained in pop culture? When there is such a clear definition of what “Little Shop” is, how do you make it your own? How do you distill what is most important to the property while still creating something new? 

This is the key question the show’s director and choreographer, Casey Whyland, and Julesy Flavelle — who portrays the main character’s love interest, Audrey — faced when tackling an adaptation with such strange source material.

The keyword both artists used when discussing their work was “honest:” They believed that as silly and outlandish as the material was, it was important to ground and flesh out the more arch, campy world of the show. 

“I wanted to remain honest and true to what ‘Little Shop’ is known for, yet still be able to create characters and various journeys that were unique to the individuals involved in this production,” Whyland said. “We all agreed that while the show itself is a silly comedy and has more campy aspects to it, we wanted to find a point where we rooted it in the honesty of the circumstances these characters were in, in this time, and then build from there.” 

Whyland also said the production team wanted to figure out how to use their present-day experiences to inform a story that takes place in the 1960s.

One of the central areas where this thesis of honest was tested seems to be in the character Audrey. Played by Ellen Greene in both the original off-Broadway show and the film, she captures the spirit of the show with her raspy voice, troubled-girl-saved arc and tight leopard print clothes.

Discussing her version of the character, Flavelle said that she and Casey agreed that “Ms. Greene really did create the iconic character. Audrey has such an opportunity to be something more as a character,” and that in the current climate, the team “could really bring the audience in and make them consider the reality of the pain behind Audrey’s character, circumstance, and relationships … I hope that people are as moved as I have been by this really tragic story.”

When adapting a beloved work, an artist faces roughly one million questions. Everything from explicit text to subtext to imagery, minor characters and pacing all must be placed under a microscope as the creator asks, “What do I want to say with this work?” Based on my brief discussions with two of the most creative minds of the show, it seems like the team of “Little Shop of Horrors” has a clear, distinct vision of the classic, Using the arch, science fiction and horror to talk about our world today.