Monday, February 28, 2011

Sun, March 6th @ 7P.M:FREE Reading. THE BOOK SHOP at The Drama Book Shop

Join the intrepid book shop staff as they navigate callbacks, reality show producers and craigslist in our belated Valentine's day episode.

Four aspiring artists come together in this new theatrical serial. Get in on the second episode and follow the exploits of Audrey, Felix, Lena and Rhett as they navigate the pitfalls of the business of 'The Biz.' Can their passion lead them to their ultimate goal? Or will the daily grind wear them out. Join them on their journey in the exciting first episode of 'The Book Shop'.

Featuring: Sean-Michael Bowles, Sharone Halevy, Abigail Hardin, Rachel Karp, Carmen Meyers, Kate Mulley and Shawn Verrier

Friday, February 25, 2011

Fri, Mar 4th @ 5.30 P.M: Playwright A. R. Gurney: Reading and Book Signing (FREE) at The Drama Book Shop

Playwright A.R. Gurney will read from and sign copies of his plays. A.R. Gurney (Playwright) has been writing plays for over fifty years. Among them are: Scenes from American Life, The Dining Room, The Cocktail Hour, Love Letters, Sylvia, Big Bill, Far East, Mrs. Farnsworth, Indian Blood, Buffalo Gal, The Grand Manner, and Office Hours. He taught literature at M.I.T. for twenty-five years before turning to writing full time. Besides plays, he has written three published novels, several television scripts, a few unproduced movies, and the librettos of two operas. Gurney is a member of the Theatre Hall of Fame and the American Academy of Arts and Letters. He has honorary degrees from Williams College and Buffalo State University.

Currently on stage: Primary Stages (Casey Childs, Founder & Executive Producer; Andrew Leynse, Artistic Director; Elliot Fox, Managing Director), presents the final production of the 2010-2011 season: the World Premiere of the new comedy, Black Tie by A.R. Gurney under the direction of Mark Lamos, who return to Primary Stages where they collaborated on the world premiere productions of Indian Blood and Buffalo Gal.

The five-member cast will feature Ari Brand as Teddy, Daniel Davis as Curtis’s Father, Gregg Edelman as Curtis, Carolyn McCormick as Mimi, and Elvy Yost as Elsie.

Performances began Tuesday, January 25, 2011 for a limited run through Sunday, March 27, 2011 at Primary Stages at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Opening night was February 8, 2011.

Father of the groom, Curtis, simply wants to make a memorable toast. But before he is able to raise his glass, he must defend the time-honored ways of his past, including his attire. Cultures clash when a surprise guest is announced, threatening to throw convention out the window. Curtis finds that balancing the standards of his late father and the needs of his future family may prove too messy for a black tie affair.

Single tickets for Black Tie are priced at $60 and may be purchased by calling Ticket Central at (212) 279-4200, online at, or in person at the 59E59 THEATERS Box Office. Group Tickets (10+) are $45.00 each, and are available by calling (212) 840-9705, ext. 219. Please visit the website at, or call (212) 840-9705 for additional information.

For theater patrons 35 and under, Primary Stages offers specially priced $20 tickets (maximum two tickets per valid ID). Advance tickets are available through Ticket Central using code PS35. Failure to present a valid ID will result in an additional fee. All tickets are subject to availability.

Thursday, February 24, 2011

Sat, Feb 26, 2011 @ 5:00 p.m: THE SIMON STUDIO Cinema & Theatre Festival at The Drama Book Shop

Join The Simon Studio for two presentations of cinema & theatre.

5:00 - 8:00 p.m: Professional Lab work and film screening: BREAD TODAY, a new film series produced in association with Emerging Pictures' OPERA IN CINEMA program

8:00 - 10:00 p.m: Staged reading of Michael Swiskay's new play THE CANNIBALS. Developed in the Simon Studio's Professional Lab

Also, screenings of the Simon Studio's new film projects, including "screen tests" of studio actors & on camera Lab work in progress: classical & contemporary theatre scenes and monologues presented by studio actors, writers and directors conducted by Roger and Dan Simon.

*Admission by $10. donation to the studio's John Palmore Scholarship Fund.

For information and reservations please call: 212-841-0204 or

Wednesday, February 23, 2011

Fri, Feb 25th @ 5.30 P.M: A Free virtual tour of some of NYC's most interesting film locations at The Drama Book Shop

A New York City Film Location Virtual Tour Chris Epting, will present a fascinating virtual tour of some of New York City's most interesting film locations. Where Marilyn Monroe posed on a subway grating, where Woody Allen sat with Annie Hall - and many more.

Chris Epting is the author of 20 pop culture books and national spokesman for the Hampton Hotel Save a Landmark program. He will be signing Marilyn Monroe Dyed Here, James Dean Died Here and Hello, It's Me: Dispatches From a Pop Culture Junkie.

About the Book: This encyclopedic look at America's most famous and infamous pop culture events includes historical information on more than 600 landmarks and their exact locations. For more information on the book: Marilyn Monroe Dyed Here (Santa Monica Press, 2011 - $16.95).

Also by Chris Epting: Hello, It's Me: Dispatches From a Pop Culture Junkie & James Dean Died Here

Marilyn Monroe Dyed Here: More Locations of America's Pop Culture Landmarks
by Chris Epting
Paper. $16.95

Hello, It's Me: Dispatches from a Pop Culture Junkie
by Chris Epting
Paper. $16.95

James Dean Died Here: The Locations of America's Pop Culture Landmark
by Chris Epting
Paper. $16.95

Sunday, February 20, 2011

Thurs, Mar 3 @ 6:00 P.M: Drew Friedman. A Conversation and Book Signing (FREE) at The Drama Book Shop

Join artist Drew Friedman—introduced by the legendary Joe Franklin—for a conversational interview with WFMU’s Irwin Chusid (author of Songs in the Key of Z). Drew will sign copies of his new book Drew Friedman’s Sideshow Freaks

About the Author:
Drew Friedman is the author of more than six books and the recipient of the 2001 Reuben Award for newspaper illustration. His portait of President Obama graced the cover of The New Yorker for Obama’s inauguration, January 2009. Drew's artwork has appeared regularly over many years in Entertainment Weekly, Time, Newsweek, Rolling Stone, Mad, National Lampoon, Spy, Raw, Blab!, The New Yorker, Esquire, Sports Illustrated, The New York Times, The Los Angeles Times, The Wall St. Journal, The Week, The New Republic and The Village Voice, among many other publications, as well as a regular monthly cover for the The New York Observer for the past 16 years.

“Drew Friedman has created the greatest sideshow lineup ever. His astounding portraits of the strange, the unusual, the bizarre, and the unconventionally beautiful truly capture the spirit of these extraordinary characters. This is a must-have book for anyone who is a fan of the joyously twisted world of the sideshow.”--Todd Robbins, co-author, with Teller, of Play Dead

“Drew Friedman’s work is insanely great. He’s better than Picasso.” --Howard Stern

“Drew Friedman isn’t just a brilliant artist. He takes you to a place. He takes you back in time. He makes you smell the stale cigarettes and cold brisket and you say, thank you for the pleasure.” --Sarah Silverman

“The Vermeer of the Borscht Belt.” --The New York Times

“The Thomas Nast of our time.” --Slate

“The finest caricaturist of his generation.” --Booklist

“Nobody draws like DREW!” --Joe Franklin

Drew Friedman's Sideshow Freaks
By Drew Friedman, Penn Jillette
Hardcover. $19.95

Sunday, February 13, 2011

Thurs, Feb 17 @ 6:30 P.M: MCC Theater's World Premiere of "THE OTHER PLACE" with Sharr White & actress, Laurie Metcalf at The Drama Book Shop

Join us for a reading from Sharr White's new play "The Other Place." Emmy award winner, Laurie Metcalf will join for the reading. Book signing to follow.

About the Play:
Just as Juliana Smithton's research leads to a potential breakthrough in Alzheimer treatment drugs, her life takes a disorienting turn. During a lecture to colleagues at an exclusive beach resort, she glimpses an enigmatic young woman in a yellow bikini amidst the crowd of business suits. One step at a time, a mystery unravels as contradictory evidence, blurred truth and fragmented memories collide in a cottage on the windswept shores of Cape Cod.

Emmy Award winner Laurie Metcalf (November, Roseanne) teams up with Tony Award winning director Joe Mantello (The Pride, Glengarry Glen Ross) for this new emotional thriller by fast-rising playwright Sharr White. For more info:

Sharr White's Sunlight premiered at Marin Theatre Company (Jasson Minidakis, dir.) in January 2010; was commissioned by South Coast Repertory; developed at SCR's 2008 Pacific Playwrights Festival (David Emmes, dir.) and Marin's NuWerkz series; and was a participant in the National New Play Network's Continued Life Fund. White's Six Years premiered at the 2006 Humana Festival of New American Plays at Actors Theatre of Louisville (Hal Brooks, dir.). White's other plays include Iris Fields (Key West Theatre Festival, Lincoln Center Theatre Directors Lab-Anne Kaufman, dir.); The Escape Velocity of Savages (Dr. Henry and Lillian Nesburn Award as part of the Julie Harris Award in Playwriting); and Satellites of the Sun (finalist, Princess Grace Award). White is the recipient of a 2006 New York Foundation For the Arts Fellowship (Six Years); and Marin Theatre Company's 2009 Skye Cooper New American Play Prize (Sunlight). The Other Place was developed at The Lark Play Development Center in New York; The Jar reading series in Los Angeles; The Black Swan reading series at Oregon Shakespeare Festival; and was the winner of the 2010 Playwrights First award. White is currently working on a new commission from South Coast Repertory.

Laurie Metcalf (actor) Broadway: Brighton Beach Memoirs, November, My Thing of Love. Metcalf has also appeared in A Lie of the Mind, Balm in Gileadat the Circle Rep, for which she received Drama Desk, Obie and Theatre World Awards. An ensemble member at Chicago's Steppenwolf Theatre Company since 1976, Metcalf is the recipient of seven Joseph Jefferson Awards and two L.A. Ovation Awards. Metcalf won three Emmy awards for her role as 'Jackie Harris' on "Roseanne." She was also nominated for an Emmy, for her work on "Desperate Housewives." Film: Internal Affairs, Desperately Seeking Susan, Toy Story, Bulworth and Leaving Las Vegas.

Six Years
by Sharr White
Acting Edition. $8.95

Saturday, February 12, 2011

Wed, Feb 16th @ 5:30 P.M: My Big Gay Italian Wedding: Book signing with playwright & star Anthony Wilkinson (FREE) @ The Drama Book Shop

Join us to celebrate the publication of the acting edition of this wonderful new comedy, currently running Off Broadway! The event will start at 5:30, so be sure to arrive ahead of time. There will be a reading of a few short scenes from the play, which will be followed by a book signing and wine and cheese party with playwright Anthony Wilkinson.

About the Book:
Andrew and Anthony are getting married – and everyone wants to “help”! My Big Gay Italian Wedding spins into a hysterical fiasco as everyone tries to have their way. From a saboteur ex-boyfriend to a loud, opinionated, outspoken Italian mother, personalities and culture collide in a music and dance-filled extravaganza.

“Feel-good hysterical comedy!” –The Wall Street Journal.

“Hysterically funny! Everyone is going to have his or her favorite moment in My Big Gay Italian Wedding, the insanely funny and fun confection. The mixture of the sacred and profane, the ultra-serious and ultra-silly makes this the perfect play.” –Edge New York.

“Genuinely entertaining!” –New York Times.

My Big Gay Italian Wedding.
by Anthony Wilkinson
Acting Edition. $9.00

Monday, February 07, 2011

Intermission Talk for February 7, 2011

The Three Sisters Can't Take Blood from A Stone, because The Milk Train Doesn't Stop Here Anymore or at Other Desert Cities
by Tony Vellela

Blame the father. When General Prozorov, a widower, moved his four children from Moscow to the small garrison town where he was put in charge of a brigade of soldiers, the kids got cut off from the world they were educated and socialized to thrive in. Eleven years have gone by, and for ten of them, they at least enjoyed the glow of being in the area's most vibrant household, where gatherings overflowed with music and games, discussions and the free exchange of ideas. Dad died a year ago. Since that time, while the only brother settled into a lovingly looked-after only male role, the three sisters have gradually grown more and more weary of this life without father. The glow is almost gone.

When we meet the adult Prozorov siblings in Anton Chekhov's "The Three Sisters," it's the dawn of the twentieth century in rural Russia. Any optimism that might accompany a new century is not matched by the principals' inability to act on their collective goal - to high-tail it out of there and get back to the intellectual, vibrant, society-driven and romanticized Moscow they remember as children.

The Classic Stage Company's revival, aided by outstanding set design concepts, envelops its audience in this masterwork. As the story progresses, each sister fails to realize her dream. Olga, the eldest, is fulfilled in her post as a schoolteacher, but dreads the prospect of being headmaster. The surrogate mother, she remains suitor-less. Masha, the middle sister, has trapped herself in an ill-conceived marriage to Olga's high school teacher colleague, whom she initially thought of as smart and stimulating because he was educated. Now, he's just boring. And Irina, the youngest, settles for marriage to a baron, which ties her to the vagaries of her husband's military assignments. All three, during the four and a half years that pass, must confront the realization that they will not journey somewhere over the rainbow, that even their modest diversions of birthday parties and holiday celebrations cannot fill the vacuum in their emotional lives. It may be worst for Masha. She is tortured by her barely-consummated affair with Vershinin, a married-with-children lieutenant colonel with a psychotic wife, a romantic man who shares her passions intellectual and carnal, but not her will to abandon their stagnant station for a new life together.

The lone brother Andrey garners loving attention from the sisters, who project onto him their vision of a young man taking Moscow by storm, with a university post and a reputation as a musician and sought-after bachelor. Instead, he sets lower sights, marries Natasha, a local farm girl who adores him, and contentedly secures a position on the county council. Once we meet his wife, it suggests that Chekhov might have considered titling this work "Three Sisters and a Sister-in-Law."

In Natasha, Chekhov gives us the embodiment of someone whose strivings are not encumbered by idealistic assessments of false modesty, who does not indulge superiority complexes shaped by education rather than accomplishments, who compartmentalizes her roles of wife, mother and mistress [both manager of the household and adulteress with the town's most influential man]. And in this production, Marin Ireland powerfully creates a woman who has all these compartments fully stocked, and draws from them unabashedly, as befits someone untrained in nuanced behavior.

So much stands out in this sterling production, as this dream cast makes joyful use of Austin Pendleton's vaunted ability to permit actors to grow into their roles. [full disclosure: Pendleton directed my award-winning play "Admissions."] His casting choices reflect a keen understanding of the need to show how all these characters slide in and out of primary moments, how they tamp down high emotions to keep within their societal expectations, how their views of time evolve and how artifice and integrity can become corrosively fused, held together by fear and weakness.

Every performance supports the others. The sisters -- Jessica Hecht's Olga, Juliet Rylance's Irina and Maggie Gyllenhaal's Masha -- show individual talents and personal scars, while effortlessly becoming intimately close sisters who can soothe feelings, push buttons and pull no punches. Peter Sarsgaard wisely chooses to make Vershinin an officer whose wounded life makes him an easy recipient for Masha's fantasies of escape, a man less dashing than his Moscow counterparts, and would not have commanded Masha's attentions if she had met him after successfully getting back to town. Josh Hamilton's Andrey shows us what happens when a person with no strong drives becomes the object of others' projections, and whose lack of interest in his sisters' societal aspirations makes him, at least for a few years, a perfect match for the unpretentious Natasha. And stage veterans Roberta Maxwell, George Morfogen and Louis Zorich are added delights in smaller roles.

But if there is a first among equals in this cast, it is surely Ireland. By choosing not to hide the impulses she feels as she feels them, and not deny the immediacy of her judgments, her Natasha, the only one of the four woman who winds up 'having it all,' shows the contrast between the real and the ideal, between imagining and acting, between romantic love and mutual needs. Her Natasha does storm into a room, because that is what she feels the moment calls for. Because when one steps back and looks at the landscape of the play, one thing becomes clear -- no Natasha, no play.

One of the characteristics that make for a great actor is fearlessness. Add to that a high intelligence level employed skillfully to honor the intentions of a great script, and finally, in some instances, a willingness to risk looking foolish, all of which Ireland possesses. And currently, at the Laura Pels Theatre, such a combination also comes to life eight times a week in Tennessee Williams' controversial "The Milk Train Doesn't Stop Here Anymore," directed with care by Michael Wilson. And the actor responsible for sparking this real event is Olympia Dukakis.

Written by Williams in 1961-62,and victimized by ill-conceived productions and by a critical press that had almost collectively decided that he was no longer a playwright worth serious consideration, "Milk Train" belongs at or near the end of the line of his great 'needy older woman- purchasable younger man' yarns. Here, Flora 'Sissy' Goforth, former chorus girl and widow of four husbands, three of whom have turned her into one of the world's richest women, has holed herself up in her indulgently-outfitted mountaintop villa on Italy's Divina Costiera. She's writing her memoirs while she's still got time, and there's not much left.

With only an always punctilious, often unctuous young Vassar grad, recently widowed, as her dictation transcriber cum personal assistant Blackie [the estimable Maggie Lacey], and a minimum of put-upon staff, Sissy has fashioned a regimen fueled by liquors, black coffee and various pharmaceuticals, legal and illegal. She's had her entire security-fortified collection of villas and surrounding land wired to pick up and broadcast her recollections, wherever she is, recorded for Blackie to take down. This fussy routine gets torpedoed when Christopher Flanders, a young-ish, semi-louche poet type [a somewhat subdued Darren Pettie] scales the cliffs, outruns the attack dogs with only a few minor scrapes and wounds, and inserts himself into Flora's cloistered, tightly-controlled universe.

The author's notes indicate that the setting should suggest a 'semi-abstract' style, and the designers [Jeff Cowie: set; Rui Rita: lights] have delivered on that instruction. Director Michael Wilson exerts good judgment in not messing around with what the playwright wanted the style and sensibility to be. As the last sweet days/hours of Flora unfold in August, 1962, the random bits of her memories, abetted by a frienemy, lovingly named the Witch of Capri [Edward Hibbert outdoing himself in campy, staccato movements and line deliveries], reveal a defiant octogenarian, determined to guarantee that future generations have access to her life story, with all its riches as a reflection of American and world societal and cultural significances. She was there, and she wants you to damn well know it.

Flanders, known in recent years among gilt-edged society folk as the Angel of Death, due to his propensity for turning up near the end of the lives of rich, lonely women, eagerly readies his role as sympathizer and source of comfort, and not until she can hear the Grim Reaper whispering in her ear does Flora shed her scales, deactivate her personal emotional alarm systems and seek out his talents, but not before one last performance as a Geisha seductress, complete with embroidered kimono, lacquered black wig and two fans deftly slung open with the sharp wrist movements of a karate chopper. She has done this before, a lot.

And here is where Olympia Dukakis excels. Her Flora comes forth with the very best of Mae West, Totie Fields, Leona Helmsley, Elaine Stritch, Phyllis Diller, Gwen Verdon and Sophie Tucker - bawdy, merciless, sensual, witty, charming, calculating, vulgar, sly and cold-blooded, with the proportions constantly shifting to suit the moment and the audience, of many or one.

This piece, rewritten often until he got it to his satisfaction, has been labeled one of Tenn's lesser works. Unfortunately for many new pieces also running now, it stands out by comparison as superior to pretty much all of them, including Lincoln Center's production of "Other Desert Cities," by Jon Robin Baitz. This attempt at balancing the liberal view that the Reagan-era die-hards masked their deepest feelings of sympathy for the welfare of America's most unfortunate takes a little from this play ["A Delicate Balance"] and a little from that one ["After the Revolution"], gaudies it up with elements from a sensational tabloid news story [the rich-boy Alex Kelly Connecticut fugitive rapist case], and dresses it up with a giddily A-list cast, each of whom knows how to gut a cliche. Because, for instance, Linda Lavin has never met a zinger she can't deliver, and Thomas Sadoski won't let a two-dimensional role keep him from finding a little bit of complexity to chew on, there are moments of acting virtuosity. Baitz owes them big-time.

And, a curious aside: both Ireland and Sadoski performed the same generous feat for Neil LaBute in "reasons to be pretty." Don't let anyone tell you actors are not creative artists.


'Less is more,' the familiar adage goes. Playwright Tommy Nohilly not only ignores it, he has decided that much, much, much more is not enough. Presented by the New Group, his "Blood from a Stone" unspools in the living room of a nondescript frame house in a lower middle class, blue collar Connecticut neighborhood. Vagrant son Travis [a tempered Ethan Hawke] has decided to spend a few days with his disagreeable family before heading west to carve out a new life in California, aided as much as possible by pain-killers in very frequent ingestions.

By the time this Yule-week saga ends, its plot points assault us with drug abuse, battered spouse(s) syndrome, a couple of casual adultery hook-ups, grand larceny, chronic addictive gambling, collapsing ceilings, and just about everything else except the kitchen sink. Oh, wait. At one point, the sink does develop a leak. Unfortunately, it would take more than a plumber to fix all the plot leaks in this rambling, wearying downer.

So how about treating yourself to a real 'upper?' On Sunday, February 20, at 2 PM, the Brooklyn Center for the Performing Arts at Brooklyn College continues its Theater Series with "American Big Band." Featuring a cast of 20 singers, dancers and musicians, this welcome joyride strings together music by Big Band icons such as Benny Goodman, Glenn Miller and Duke Ellington, using the premise of a series of radio broadcasts from those great '30s and '40s star-filled sites - Harlem's Cotton Club, Hollywood's Palomar Ballroom and Billy Rose's Music Hall.

Now, if you are old enough to have your parents talk about Saturday night dance hall dates, or if you've seen Betty Hutton, Jane Powell or early Frank Sinatra pictures on AMC-TV, OR if you're caught on to the swing dance resurgence, this will be like a stress-free vacation. And on March 20, they follow it up with another show, this one built around the Gershwin musical " 'S Wonderful." Indeed!

On Book

What Have You Done? by Louis Zorich
For some insight into how Olympia Dukakis turned into 'Olympia Dukakis,' her autobiography chronicles the journey from her challenge to become accepted coming from her first-generation Greek-American status, to Oscar-winner for "Moonstruck." Her zeal and intensity flares up through so many milestone moments in her life, with her marriage to actor Louis Zorich providing an anchor to creating a successful professional and personal life. And Louis, ["The Three Sisters"] makes his own contribution to reading pleasure with his hilarious compilation What Have You Done? He's collected horrendous and hilarious audition stories from six generations of actors, and provides not just entertainment but inspiration to those new to the profession who think that once you've made it, you've made it.

Anton Chekhov: A Brother's Memoire
The personal life of Anton Chekhov comes alive in a rare biography written by his brother Mikhail. Titled Anton Chekhov: A Brother's Memoir, the close-in recollections and comments about the masterful playwright offer true insights into where many of the aspects of his masterworks came from. When plays such as "The Three Sisters" are endlessly scrutinized, they often overlook the influences that made the writer the writer. Fortunately, Mikhail's book has been translated by Eugene Alper, to give us some of that rich backstory.

The Complete Plays Anton Chekhov Laurence Semelick
To immerse yourself into the writer's works, pick up [carefully - it's kinda heavy], "The Complete Plays: Anton Chekhov," translated by Laurence Senelick. This is a lovingly- compiled anthology that offers, along with the familiar canon, some early plays, even untitled or unfinished ones, so you can track his remarkable development, and make your own connections between his brother's observations, and Anton's output.
And if you're serious about seeking out substantial material that offers insight into Tennessee Williams, you can thank Margaret Bradham Thornton for compiling and editing "Tennessee Williams: Notebooks." Throughout his life, Tennessee diligently filled journals and notebooks almost daily/nightly with short histories of each day's events, usually accompanied by a sharp remark or candid personal judgment that make the notebooks far more than a ship's log of the life and career of a genius. It is not about the genius; it is by him. And now, it's for all of us to share.

TONY VELLELA wrote and produced the PBS series about theatre, "Character Studies." His award-winning play "Admissions" is published by Playscripts. He has taught at HB Studio, the New School, Columbia University and regional arts centers. He has written for dozens of publications about the performing arts, from The Christian Science Monitor and Dramatics Magazine, to Rolling Stone, Parade and the Robb Report. Information on private coaching, and his small-group sessions [max. size = seven] for actors, directors and playwrights can be obtained by writing to

The Three Sisters, translated by Paul Schmidt
Three Sisters
by Anton Chekhov. Translated by Paul Schmidt

The Milk Train Doesn't Stop Here Anymore by Tennessee Williams
Acting Edition, $8.95 (Call 212-944-0595 to order)


Wednesday, February 02, 2011

Theatre Tidbits for Feb 2, 2011

Matthew Lopez's THE WHIPPING MAN, at Manhattan Theatre Club, received a very nice review in The New York Times. The historical drama about a Confederate Jewish solider returning home to his former slaves, has been extended through March 27.

The Broadway revival of Garson Kanin's comedy BORN YESTERDAY set to open at the Cort Theatre on April 24, 2011. Emmy Award nominee Jim Belushi and newcomer Nina Arlanda will head the cast. The hit comedy originally opened on Broadway in 1946 and ran for 1,642 performances. More info and tickets at Telecharge.

Double Falsehood by William Shakespeare

DOUBLE FASLEHOOD, by William Shakespeare and John Fletcher, adapted for the 18th Century stage by Lewis Theobald, at the Classic Stage Company. Previews begin on March 11.

Manhattan Theatre Club will present the world premiere of THE EXTINCTION METHOD, the new play by Daniel Goldfarb (Sarah, Sarah and Modern Orthodox, both available from the Drama Book Shop: 212 944-0595). Previews begin May 10 at City Center Stage I. In THE EXTINCTION METHOD, Annie and Nate have a baby who won’t sleep. In the adjacent Brooklyn Heights apartment, Claire and Luke are losing sleep over the decision to get married and start a family. The tale of love, sex, commitment and parenthood unfolds and no one will rest until the truth between each of these couples is spoken.

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Tuesday, February 01, 2011

Fri, Feb 11th @ 11:00 AM to 7.M: The Headshot Marathon Returns at The Drama Book Shop

The Headshot Marathon Returns

Affordable, Quality Headshots by a Top New York Photographer--Satisfaction Guaranteed

In collaboration with Barry Burns Photography, working professionally in New York for more than 40 years, the Drama Book Shop is hosting a marathon day of digital shooting.

Cost: $150.00 (plus tax) for a one-hour session, for which you will receive an 8" x 10" print and a disc containing that shot. Additional prints and touch-ups are available at reasonable prices.

Make-up artist Satoko Ichinose will be available for an additional $50 fee. Visit her website at

You may also take advantage of the talents of clothes stylist Judy Peluclette, who will help you select the perfect outfits for the parts you'll be auditioning for.

Please call The DRAMA BOOK SHOP at 212 944-0595, to schedule an appointment (Monday through Saturday, 11 to 7)