Pawling Theatre Exchange Launch Party!
Saturday, June 15th
You are invited to join us as we celebrate our first summer, tour the facilities, meet and greet with some of this summer's cohort of artists, and raise a glass! Light refreshments, refreshing drinks, and the beauty of the campus of Trinity-Pawling School.
Come support what the artists in residence are creating, listen to a reading, be their first audience . . . .
Crush the Serpent
By Stuart Warmflash
Directed by Shellen Lubin
Friday, June 14, 8 pm
By Shellen Lubin
Directed by Tracy Liz Miller
Saturday, June 15, 1 pm
Saturday, June 15, 6-8 pm
By Laura Thoma
Directed by Matt Andrews
Sunday, June 16, 2 pm
Femme Covert (working title)
Directed by James Dean Palmer
Starring Patricia Black
Sunday, June 16, 5 pm
Game On, Game Off
By Laurelann Porter and Mike Anderson
Directed by Brenny Rabine
Tuesday, June 18, 8 pm
Neutral Chaos Stage Combat Adjudicated Scenes
Friday, June 21, 11:30 am
Field House Wrestling Room
By Peter Macklin
Directed by Brian Gillespie
Saturday, June 22, 6 pm
Alumni Room, Smith Field House
With Hudson Valley Performing Arts Laboratory
Sunday, June 23, 11am-1 pm
Alumni Room, Smith Field House
By Heidi Armbruster
Directed by Kent Burnham
Sunday, June 23, 2 pm
Alumni Room, Smith Field House
Summer Residencies 2019
Laura Thoma began performing professionally at the age of twelve and has been fortunate to call the theatre home ever since. She has explored storytelling as a ballerina, musical theatre performer, choreographer, and now as a playwright. Most recently her play Meet Me in the Lobby was selected to be a part of the Theatre Artist Workshop’s Spring New Works festival in Norwalk, CT. She is a member of the Dramatist Guild of America and the Playwrights’ Center in Minneapolis.
Heidi Armbruster is a New York based theater artist dedicated to creating new work and discovering new approaches to classical literature and theater. Heidi is a founding member and co-curator of Dorset Theater Festival’s Women Artists Writing, a group dedicated to supporting actresses who are writing and cultivating the emergence of diverse theatrical voices. Heidi developed her play “Mrs. Christie” at a workshop at Primary Stages in Spring of 2019, with DTFWAW, and at residencies at The Orchard Project in 2016 and 2018. Heidi’s play “Murder Girl” has been workshopped recently by Red Caravan and The Playwriting Collective. In 2015, Heidi was a member of Space on Ryder Farm’s resident writers group, The Working Farm. “Every Good Girl Deserves Fun (and other misremembered things),” a commission from Clutch Productions, was produced in New York in the fall of 2015 at Walker Space. “Where the I Divides” was recently read by San Francisco’s ReACT. Heidi’s play “Dairyland” has been read and work shopped as part of Playhouse on Park, Primary Stages ESPADrills, The Lark, Red Fern Theater, Luna Stage, and was selected as the New Play Workshop at The Chautauqua Theater Festival in 2014. Her short play “Purgatory” was read as part of Red Bull Theater’s First 2011 Short Play Festival and published by Smith and Kraus in their “Best Ten Minute Plays of 2013” anthology and the recently released “Red Bull Shorts Anthology.” “Miss Angela’s Legitimate Home for Women Living in Sin” was performed as part of the ESPA short play series “Detention” at Jimmy’s 43 and is available on Indie Theater Now.
Heidi is also an accomplished actress and has worked extensively regionally and in New York.
Laurelann Porter is a playwright, performer, director, filmmaker, and performance scholar. She received her PhD in Theatre and Performance of the Americas at Arizona State University. Her dissertation “Dismantling Illusions in and of Paradise Through the Gift of Refraction in the Terra do Exú: An Ethnography with Women of Rural Bahia” examined relationships between locals and tourists in Bahia, Brazil.
She has recently been collaborating with Amy Funk, a nursing professor and ethnographer whose research revolves around sibling grief. Their new ethnodrama, “27 Signs” has had public readings in Mesa and Tempe, Arizona and had a workshop production at Illinois Wesleyan University in April of 2018. Their continued work seeks to explore and understand how the play can offer therapeutic effects for audiences who have experienced the loss of a sibling.
She has been working with Brazilian dancer, percussionist, and choreographer, Mestre Monza Calabar, on an ongoing creative research project which includes intercultural education and ethnographic performance. Their current work-in-progress is titled “Sympathy for Exú” and began as a riff off the Rolling Stones song, “Sympathy for the Devil.” Laurelann started developing it as a solo performance piece; together with Monza their performance will weave dance, storytelling, and song in a duo performance that explores the relationship between the trickster, the outsider, and the histories of Afro-Brazilian people in Brazil.
Shellen Lubin works professionally as a Director, Playwright, Songwriter, and Actor/Singer. Her plays have been produced and workshopped at Manhattan Class Company, the Public Theatre, Pacific Resident Theatre, Hubbard Hall, West Coast Ensemble, American Jewish Theatre, and more. Her songs have been featured on radio and cable TV; in Milos Forman’s first American film, Taking Off; in numerous cabaret acts including her own; and in a one-hour special on WBAI-FM, Shellen Lubin - Songwriter/Singer. As a director/dramaturg assisting in the development of new plays, she has directed across the country--currently working on projects with Stuart Warmflash, Lanie Robertson, and Amy Oestreicher--and is the resident director for the Bistro Awards. She also teaches and coaches actors, singers, and writers both privately and as a guest artist. As the Artistic Director of Untold Stories of Jewish Women, she helmed a three-day theatre festival at the Museum of Jewish Heritage in March 2018. As an advocate for women+ in theatre, she is the incoming Co-President of the League of Professional Theatre Women, the 1st Vice President and Past President of the Women in the Arts & Media Coalition, and chair of the Women Playwrights Initiative for the National Theatre Conference. Her reflections on artistry and life have been featured in five cover pieces for Back Stage Publications (archived on her website) and are read weekly in her Monday Morning Quotes think-pieces (www.mondaymorningquotes.com). Proud member of DG, SDC, AEA, and more. www.shellenlubin.com @SHLubin
A native New Yorker, Stuart Warmflash has been involved in the theatre for over thirty years. After graduating N.Y.U. he attended the Royal Central School of Speech and Drama in London. He then enjoyed a successful acting career appearing on Broadway (with the prestigious Phoenix Repertory Co.) and off-Broadway, as well as in film and television. He subsequently began writing and directing.
His first play, Art’s Life enjoyed an extended run on Theatre Row and his almost two dozen subsequent plays have been read/performed all over the United States and Europe.
Mr. Warmflash founded the Playwrights Harbor to provide a supportive, self-directed, cooperative workshop for writers to realize their visions with the assistance of a company of actors and directors. Fortified by artistic growth and enthusiastic public response, he launched the not-for-profit Harbor Theatre. Through weekly workshops the company contributed to the ongoing development of over 50 new works, producing public presentations and full productions. Currently, the company is on hiatus.
In addition to a recent production of The Mask of the Jaguar King, he is currently planning public presentations for two new works, Crush the Serpent, and Mortar and Pestle.
He has also written for television and scripted the theatrically-released, award-winning, full length documentary, Unforgotten: 25 Years After Willowbrook. It won the National Educational Media Network’s Gold Apple Award, Grand Prize for best documentary at the Atlantic City Film Festival, finalist at the Media Access Awards, and selected as an official entry in the Chicago International Film Festival.
He currently develops new work with the Playwrights Directors Workshop at the Actors Studio/NYC and The 9th Floor. Mr. Warmflash holds Masters degrees in Special Education and Anthropology
Susan Cinoman is a playwright and screenwriter whose work is published and produced internationally. For television, she is the creator of the recurring character, Miss Cinoman on ABC’s, The Goldbergs, and wrote the story for Mama Drama , featured on the comedy. Her one- act play, Fitting Rooms, is in Applause Books, Best Short Plays of 1996 and is produced internationally. Other productions are Cinoman and Rebeck and Gin and Bitters, Off Broadway. Her play Sweet Sand, produced by Ensemble Studio Theatre has been recently published. Two plays were made into award winning independent films. Love and Class in Connecticut and All Me, All the Time have screened at film festivals throughout New England. Cinoman’s first published prose, McKenna on the Half Shell will appear in an anthology published by Harvardwood/The Harvard Review. Cinoman is the recipient of the Maxell Anderson Playwright’s Prize, Theatre Ariel Award, Best Connecticut Filmmaker 2008, Best Narrative Screenplay, New England Film and Video Festival, Selection Berkshire International Film Festival, Aristos Scholarly Prize with Theresa Rebeck, Best Play, Maine New Play Competition for “Fitting Rooms.” She is a member of the Dramatists Guild, Writers Guild of American and the League of Professional Theatre Women.
Peter Macklin’s first play, Someplace Warm, won the Samuel French Short Play Festival and was subsequently published by them, with excerpts in Smith & Kraus’ Best Women’s Monologue series. Someplace Warm recently received a production in Bristol, UK in 2018. In March 2019, Peter’s play Oliver and Me had a workshop presentation produced by The New Circle Theatre Company. The Acting Company produced his play, A Beautiful Building, as a staged reading directed by Broadway and opera director Francesca Zambello. Peter was commissioned to write the short film, Dinner at 40, which played film festivals world wide including Outfest and Frameline and won awards at Film Out in San Diego and at Brooklyn Shorts. The Prairie Pride Coalition in Bloomington, Illinois produced his first full-length play, A Different Time, as a staged reading. Oh! California!, a one-act Peter wrote was performed at 59E59 as part of Write Club’s Do Not Disturb series. Peter was also commissioned by the Ensemble Theater of Chattanooga to write a short play, Pop, in an effort to bridge the divide between the visual and performing arts. As an actor, Peter has been seen as Nagg in Endgame at Baltimore Center Stage, Behemoth in The Master and Margarita (with Arliss Howard) at Bard Summerscape, Edmund in King Lear and in The Tempest (with Olympia Dukakis) at Shakespeare & Company, Annie Get Your Gun (with Deborah Voigt) and Carmen (Anne Bogart, director) at The Glimmerglass Festival, the National Tour and Off-Broadway run of Moby Dick Rehearsed and The Tempest with The Acting Company and work at The Alabama Shakespeare Festival, New Jersey Repertory, Bristol Riverside Theater, Law & Order: SVU and more.
Ensemble In Residence
The Coop is a New York City-based theatre collective nurturing a pipeline of projects for Off-Broadway production. The company will be focusing on one-woman project Femme Covert (working title), that brings you into private conversation with Clytemnestra, a woman, a mother, a Queen, on the evening before she dies. Buried with her will be the truth about her history, her unparalleled accomplishments, the secrets with her twin sister Helen of Troy, and the stories of the singular women in her life who will also be erased from history. Unable to connect with her children, Clytemnestra fears that the next generation will be as cruel as the last.
Femme Covert Artistic Team:
Patricia Black is a New York actor on both stage and screen. New York Theater: Julius Caesar (Gallery Players), Romeo & Juliet (Flamboyan Theatre), Coriolanus (Italy Time Theatre), Guilt By Association (Manhattan Rep), Nostra Madre, Hen42, and Speak! (MSJP Creative). Love Loss & What I Wore (Stripped Scripts), The Swordsman's Lady (The Hudson Guild Theatre), The Bitch Play (le Poisson Rouge), Victor K. (St. Cecilia's). Patricia is a proud member of the Bats at the renowned Flea Theatre company. In between rehearsals she presides over the Albright Fashion Library as Creative Director and is a member of the Artistic Advisory Board of The Coop Theatre NYC. Patricia has her SAFD stage combat certification as well. On film Patricia was last seen in Chris Caccioppoli’s award winning film The Loving Dead. Recently Patricia played Chi Chi in Ryan Murphy’s Pose on FX. Upcoming: Alonsa in The Tempest (Gallery Players) and Carlotta in The Cherry Orchard (The Coop).
James Dean Palmer is a New York based producer, director, and educator with fifteen years of professional experience. James has worked with Roundabout Theatre, The Old Globe, Long Wharf, Steppenwolf, The Public, Waterwell, NYU, Fordham, Mabou Mines, The Goodman, Victory Gardens,American Theater Company, Chautauqua Theatre, and Chicago Dramatists, among others.
For nine seasons he served as the Artistic Director of Chicago’s Red Tape Theatre. In 2010 he was awarded a Joseph Jefferson award for Best Direction of The Love of the Nightingale. He was the assistant to the Artistic Director at Steppenwolf Theatre and served on the Board of Directors at the League of Chicago Theaters.
James has recieved fellowships from the Drama League, SDCF, Chautauqua Theatre
Company and is a Peter Kaplan Fellow. He holds an MFA in Directing from Brown
University and is a full member of the Stage Directors and Choreographers union.
James teaches Acting and Voice and Speech at the Professional Performing Arts
School in midtown Manhattan. He has taught directing and acting at NYU Tisch School of the Arts, Manhattan Youth, Trinity Repertory Company's as well as teaching
Viewpoints and Suzuki at Red Tape Theatre in Chicago.
The space in which we work must be intercultural and intersectional. It is my ongoing
practice to ensure an open and welcoming environment. There are many voices that
have historically been marginalized and care must be given to allow those voices to
speak and be heard. To be a better artist and to be a more complete human we must
constantly check our biases and be responsible for the space we take up.