Mystic Pizza Box
A slice of heaven
Saturday, January 28, 2012
Tuesday, January 24, 2012
Kathryn Erbe Offstage-post-Sunday matinee 1-22-2012
Alberto's Snowy Mountains 2012 drawing-crayon and pencil on paper.
Alberto's Valentine Heart 2012-red construction paper with message written by me to Kate with a black Sharpie pen.
Message-To Kate, Thank you for a spectacular ten years on LO:CI. Wishing you the best in 2012 and beyond. Much Love, Blanca Acevedo
www.vincentandthemysticpizzabox7-22-2010.blogspot.com
Yosemite postcard with envelope and ticket stub for Sunday 3 PM performance.
Back of Yosemite postcard
Yosemite set photo-center stage
Yosemite set photo-stage right
Kathryn Erbe holding the Valentine Heart, handmade by my brother
Kathryn is holding the drawing Alberto's Snowy Mountains 2012, her second gift from me and Alberto
My WOODSTOCK FILM FESTIVAL 2011 program signed by Kathryn Erbe
Close-up of Kathryn Erbe's message to me.:)
Yosemite program signed by Kathryn Erbe
Close-up of Kate's message to me
First half of blurb inside Yosemite program about Kate
Second part of blurb about Kate inside Yosemite program
As you can imagine, I was very excited about seeing "Yosemite" this past Sunday, since this would mark Kathryn Erbe's first stage appearance in 2012 and her second play in New York since shooting wrapped on Season 10 of LO:CI in June 2011. (Not counting her appearance in Dirty Laundry for the Playwrights Horizon fundraiser last fall) What else could get me out of the house in freezing below 30 degrees weather on a Sunday afternoon? Alberto had been making Valentine hearts at home last weekend so I asked him to make a large heart for me. He did such a great job that I decided to give the heart to Kate after the Sunday matinee, along with a beautiful drawing of snow covered mountains I had also commissioned from my artist brother. I wrote a message on the heart for Kate and carefully placed both works of art in a large manila envelope which I would give to Kate.
After watching Kate's stunning performance as Julie, a troubled welfare mom still mourning the death of her first husband and unable to face the loss of her infant son or her eldest son's wrath, I stepped outside the theater on Waverly Place so I could congratulate her. Kate was quickly swarmed by a small group of fans when she emerged from the theater just after 4:30 PM but I was soon able to speak with her. She remembered me from our previous meetings last year and said hi to me as I embraced her and wished her a happy new year. I congratulated Kate on her new play and told her that her performance had taken my breath away. She was happy to see me and said so as I presented the envelope with Alberto's art to her. She was very impressed and said that the heart and drawing were beautiful! I told Kate that Alberto is learning to paint on canvas at school now and creates art at home all the time.
Kate was sweet enough to pose for photos holding each artwork, despite the cold and breezy weather. Good thing Kate was bundled up for the occasion, with her heavy gray winter coat and matching scarf, black gloves and black knit cap. :) I was wearing my black leather jacket and heavy wool sweater underneath and dark blue jeans, but I had to remove my leather gloves to work the camera on my smartphone and my hands got cold very quickly. I didn't ask to pose with Kate for a photo this time but instead asked her to sign my programs for the WFF 2011 and Yosemite, which she was very happy to do. I also complimented Kate on her performance in Mother's House, which I had seen at the Big Apple Film Festival in November 2011 and was screened at the WFF last September. I also mentioned that I had seen 3 Backyards last year and that this film is been aired on Showtime this month. Kate was surprised but glad to hear this.
Finally, I told Kate how much I liked her darker hair, and she replied "I was tired of being a blond, so I wanted to go back to my real hair color." Actually, close-up, Kate's hair still appears to be highlighted, although the hue is more copper-toned than blond. Kate explained that the old blond highlights she had still "bleed through" despite the fact that she dyed her hair a darker color, but in time her hair will grow out and darken further. To me, Kate is beautiful, blond or brunette. She thanked me and Alberto for the artwork and she also thanked me for coming to see her play. I told Kate that I would post a review and pics on my blog and that I would see Yosemite again in February. As we said goodbye, I was so relieved and pleased that this afternoon had turned out so well, and very proud that Alberto's talent is being appreciated by such a lovely and talented artist in her own right, Kathryn Erbe.
I also posted the photos of Kate holding Alberto's heart and drawing on Facebook and Twitter and got a very positive response from my friends, my niece Amanda and Alberto's teacher Carrie, who posted this comment on my Facebook page "So awesome!!!" Wow, the kid's gonna be famous! :D
Monday, January 23, 2012
Yosemite Review-1st Sunday matinee preview 1-22-2012
I'm still reeling from yesterday's preview of "Yosemite" at the Rattlestick Playwrights Theater in the West Village. Daniel Talbott has written a provocative, stirring, and sometimes shocking piece about a family torn asunder by tragedy, fear and resentment, and their longing for happiness in spite of it all.
Kathryn Erbe as Julie
Seth Numrich as Jake
Libby Woodbridge as Ruby
Noah Galvin as Jer
As the play opens, we see three young siblings in the snowy woods of the Sierra Madre foothills in Northern California (hence the title). The older brother, Jake, is busy digging a hole in the ground while his sister Ruby and little brother Jer look on. As they argue and fret over their predicament, we begin to realize the awful and sad task their mother Julie has assigned to them, while Ruby and Jer take turns cradling a mysterious bundle that is later revealed to be their dead baby brother Nathan. The baby apparently has died either of SIDS and/or neglect, and was left in his crib for three days before his siblings are sent to the woods to bury him. "Make it deep," commands Julie when she finally appears, rifle in hand, to admonish Jake to continue digging her youngest son's grave.
Jake is burdened with the task at hand, but he and his family are also burdened with memories of losing their beloved father and how their mom fell apart after his death. The youngest, Jer, who complains of hunger after feeding his Fruit Loops to the family dog, is constantly wishing they could go home to Grandma and visit Disneyland. Ruby, who is holding Nathan, wrapped in a black plastic bag, sits on a log and complains of the cold and the hole in her boot that her mom tried to mend with cotton balls and masking tape. Ruby and Jake clash several times as she prattles on nervously about Jake's love life and how deep the hole should be so that "animals won't smell him...so they won't dig him up." The language is raw and profane at times, as Jake's rage erupts into a tirade aimed at Ruby so she will back off and let him dig in peace. He drops the R-word a couple of times in anger as Jake criticizes his sister's mindless comments about a girl he slept with, which I found more disturbing than all the F-bombs unleashed during the 1 hour and twenty minute production. If a word can really be used as a weapon, the R-word is it. I took note of how Ruby withdraws momentarily into silence after her brother's vicious dressing down, while poor Jer sits quietly on the log holding Nathan. "We're not better!" Jake insists as he settles the argument. My heart broke for all four of them, as this scene takes place just before Julie appears.
Julie appears lost in her own sorrows as she greets her children and inspects the grave before recounting her childhood experience as a "paper girl" for the local newspaper in her hometown of Oakland, CA. She also recalls cutting off the curls her mother had so fervently created so she would appear less girlish, and get the job she so wanted, having won over her boss with her "spunk." Real fireworks come after Julie confesses that she didn't want Nathan, her child by her second husband Mike, and describes carrying Nathan as feeling "like a rock" inside her. After Julie turns on her children with the accusation "I think that you're ungrateful," she and Jake have an all-out fight onstage that got so intense they were throwing dirt at each other! I sat in the front row, close enough to almost feel the heat of battle. Whew!
After the dust settled, literally, Julie tells her children a sweet story about her late husband and a penny he finds and asks her to kiss before he swallows it, assuring her that she's safe with him. She weeps for him and how his death had ended her happiness. I could actually picture in my head Vincent as the love of her life (if only).:) As the family collectively mourns their late father/husband's loss, Julie tries to comfort her children before leaving, rifle in hand. Julie's parting words to them are "I want us all to be happy." Moments later, a shot rings out while the children are huddled together on the log, baby Nathan in Ruby's arms.
Previews began on Wednesday, January 18, 2012 and the opening night is Thursday, January 26, 2012. Performances run through February 26, 2012 at the Rattlestick Playwrights Theater at 224 Waverly Place in New York City.
Discount codes for Yosemite tickets:
$10 student tickets-YSTU10
$15 under 30 tickets-YU30
$15 theater artist tickets-YTA
Visit www.rattlestick.org to order your discount tickets.
Still photos courtesy of the Rattlestick Playwrights Theater.
www.rattlestick.org
www.Twitter.com/RPT224
www.Facebook.com/RattlestickPlaywrightsTheater
Kathryn Erbe as Julie
Seth Numrich as Jake
Libby Woodbridge as Ruby
Noah Galvin as Jer
As the play opens, we see three young siblings in the snowy woods of the Sierra Madre foothills in Northern California (hence the title). The older brother, Jake, is busy digging a hole in the ground while his sister Ruby and little brother Jer look on. As they argue and fret over their predicament, we begin to realize the awful and sad task their mother Julie has assigned to them, while Ruby and Jer take turns cradling a mysterious bundle that is later revealed to be their dead baby brother Nathan. The baby apparently has died either of SIDS and/or neglect, and was left in his crib for three days before his siblings are sent to the woods to bury him. "Make it deep," commands Julie when she finally appears, rifle in hand, to admonish Jake to continue digging her youngest son's grave.
Jake is burdened with the task at hand, but he and his family are also burdened with memories of losing their beloved father and how their mom fell apart after his death. The youngest, Jer, who complains of hunger after feeding his Fruit Loops to the family dog, is constantly wishing they could go home to Grandma and visit Disneyland. Ruby, who is holding Nathan, wrapped in a black plastic bag, sits on a log and complains of the cold and the hole in her boot that her mom tried to mend with cotton balls and masking tape. Ruby and Jake clash several times as she prattles on nervously about Jake's love life and how deep the hole should be so that "animals won't smell him...so they won't dig him up." The language is raw and profane at times, as Jake's rage erupts into a tirade aimed at Ruby so she will back off and let him dig in peace. He drops the R-word a couple of times in anger as Jake criticizes his sister's mindless comments about a girl he slept with, which I found more disturbing than all the F-bombs unleashed during the 1 hour and twenty minute production. If a word can really be used as a weapon, the R-word is it. I took note of how Ruby withdraws momentarily into silence after her brother's vicious dressing down, while poor Jer sits quietly on the log holding Nathan. "We're not better!" Jake insists as he settles the argument. My heart broke for all four of them, as this scene takes place just before Julie appears.
Julie appears lost in her own sorrows as she greets her children and inspects the grave before recounting her childhood experience as a "paper girl" for the local newspaper in her hometown of Oakland, CA. She also recalls cutting off the curls her mother had so fervently created so she would appear less girlish, and get the job she so wanted, having won over her boss with her "spunk." Real fireworks come after Julie confesses that she didn't want Nathan, her child by her second husband Mike, and describes carrying Nathan as feeling "like a rock" inside her. After Julie turns on her children with the accusation "I think that you're ungrateful," she and Jake have an all-out fight onstage that got so intense they were throwing dirt at each other! I sat in the front row, close enough to almost feel the heat of battle. Whew!
After the dust settled, literally, Julie tells her children a sweet story about her late husband and a penny he finds and asks her to kiss before he swallows it, assuring her that she's safe with him. She weeps for him and how his death had ended her happiness. I could actually picture in my head Vincent as the love of her life (if only).:) As the family collectively mourns their late father/husband's loss, Julie tries to comfort her children before leaving, rifle in hand. Julie's parting words to them are "I want us all to be happy." Moments later, a shot rings out while the children are huddled together on the log, baby Nathan in Ruby's arms.
Previews began on Wednesday, January 18, 2012 and the opening night is Thursday, January 26, 2012. Performances run through February 26, 2012 at the Rattlestick Playwrights Theater at 224 Waverly Place in New York City.
Discount codes for Yosemite tickets:
$10 student tickets-YSTU10
$15 under 30 tickets-YU30
$15 theater artist tickets-YTA
Visit www.rattlestick.org to order your discount tickets.
Still photos courtesy of the Rattlestick Playwrights Theater.
www.rattlestick.org
www.Twitter.com/RPT224
www.Facebook.com/RattlestickPlaywrightsTheater
Saturday, January 21, 2012
Friday, January 20, 2012
Robert Palmer - Addicted To Love
Happy birthday to the coolest Brit singer-songwriter-producer ever to have lived. Robert would have been 63 years old yesterday. He was born in Batley, Yorkshire, Great Britain on January 19, 1949 and passed away in Paris, France on September 26, 2003 at age 54. This is perhaps Robert's best known song worldwide, although he had been recording music since the '70s as a solo artist and others artists, including UB40, Little Feat, The Meters and Power Station. This song was originally a duet with R&B legend Chaka Khan but, for legal reasons, her vocal had to be removed before the single could be released. The video is legendary, too, and has often been spoofed and copied by artists including Tone Loc (Wild Thing).
Wednesday, January 18, 2012
Tuesday, January 17, 2012
George Geronimo Gerkie-I'm in Love with a Man
One of the songs co-written by Sam Bisbee and Bo Boddie for the soundtrack to "Don't Go In The Woods" and performed by Vincent D'Onofrio as George Geronimo Gerkie, country superstar and outsize personality. Hopefully this song will one day be released on a DGITW soundtrack album or a GGG solo album. :)
Broadway.com | How to Succeed Star Beau Bridges on Broadway Fandom and Feeling the Spirit of His Late Father
Broadway.com | How to Succeed Star Beau Bridges on Broadway Fandom and Feeling the Spirit of His Late Father
Beau Bridges co-starred in "Signs Of Life" with Vincent in 1989.
Beau Bridges co-starred in "Signs Of Life" with Vincent in 1989.
Monday, January 16, 2012
DGITW Screening and Q&A at Cinema Village
Last Friday night's 9:30 PM screening of "Don't Go In The Woods" at the Cinema Village in New York City began with an unexpected plot twist, leaving audience members and VDO fans very disappointed, including me. An announcement that Vincent D'Onofrio would not be at the Q&A due to illness was made prior to the screening. I was sitting in the second row on the right with my camcorder in the cupholder in front of my seat, eagerly anticipating filming the Q&A after the film, as I have done before. Vincent had also sent his apologies and a message that he would try to do a makeup appearance at a future screening, possibly next week. Pissed because I had come out on such a bitterly cold night, only to learn that Vincent would not be present, I hoped that my effort to cover the Q&A would be worth it. I then decided to take photos of the Q&A instead of video. I was there to support Vincent's film and silently wished him a speedy recovery. The show must go on, as they say.
I enjoyed seeing DGITW again and grooved to the songs written by Sam Bisbee and Bo Boddie(Carlo in the film), especially "Destroy The Shadows", "Break My Fall" and "Hurricane." Interesting that the biggest laughs from the audience came from the onscreen demise of the two most annoying female characters after they sang the worst of the tunes, the irritating "J'Taime." Oh well, that's showbiz! LOL
The Q&A began at 11 PM with Joe Vinciguerra asking the audience what we liked most about DGITW. I piped up this rave "The music's fantastic!" which Joe repeated as Sam Bisbee and Erika Hampson arrived with three of the cast members, including Gwynn Galitzer, Cassandra Walker and Kira Gorelick. Sam explained that Vincent was ill with the flu and couldn't make the Q&A but would try to appear at another screening next week. The moderator from Tribeca Films asked the usual questions-what inspired the making of this film, why did Vincent, Sam and Joe decide to do a "slasher musical", how the casting was done, how the music was created, etc. There were also some questions from the audience before the Q&A ended at 11:30PM.
We did learn some interesting things about Vincent's directing skills from Sam, Kira and Cassandra, despite the repetitiveness of the questions they were asked. Kira explained how Vincent prepared her for a scene where she must react in horror to finding her murdered friends by breaking her down emotionally as he coached her to produce the desired result. Cassandra, sporting darker hair than before, also related a story about her murder scene as Sam revealed a blooper involving Vincent's hand being seen onscreen momentarily. Turns out that Vincent was holding a container of prop blood which he poured over Cassandra's head, and she revealed that she was cleaning fake blood out of her ears for months afterwards. LOL! Cassandra is also currently involved with performing college humor skits, while Kira is also busy with new projects. Gwynn spoke about an art exhibit she's preparing in Gowanus, Brooklyn next month. Gwynn looks plumper than she did in the film, and Kira has a new hairstyle (I like her new bangs). Sam and Erika have collaborated on a short film called "Robot and Frank" which is currently being screened at BAM-the Brooklyn Academy of Music (that run is sold out.)Sam and Joe also referred to another film that Vincent is working on, which must be "Johnny and Me". Awesome!
As to whether there will be a soundtrack album release, Sam replied that some of the songs are under his name and some are owned by Tribeca Films, so it won't be a simple task getting all the songs written for the film released. Joe mentioned the possibility of having the songs made available on ITunes. We'll see how it all turns out, won't we?
I enjoyed seeing DGITW again and grooved to the songs written by Sam Bisbee and Bo Boddie(Carlo in the film), especially "Destroy The Shadows", "Break My Fall" and "Hurricane." Interesting that the biggest laughs from the audience came from the onscreen demise of the two most annoying female characters after they sang the worst of the tunes, the irritating "J'Taime." Oh well, that's showbiz! LOL
The Q&A began at 11 PM with Joe Vinciguerra asking the audience what we liked most about DGITW. I piped up this rave "The music's fantastic!" which Joe repeated as Sam Bisbee and Erika Hampson arrived with three of the cast members, including Gwynn Galitzer, Cassandra Walker and Kira Gorelick. Sam explained that Vincent was ill with the flu and couldn't make the Q&A but would try to appear at another screening next week. The moderator from Tribeca Films asked the usual questions-what inspired the making of this film, why did Vincent, Sam and Joe decide to do a "slasher musical", how the casting was done, how the music was created, etc. There were also some questions from the audience before the Q&A ended at 11:30PM.
We did learn some interesting things about Vincent's directing skills from Sam, Kira and Cassandra, despite the repetitiveness of the questions they were asked. Kira explained how Vincent prepared her for a scene where she must react in horror to finding her murdered friends by breaking her down emotionally as he coached her to produce the desired result. Cassandra, sporting darker hair than before, also related a story about her murder scene as Sam revealed a blooper involving Vincent's hand being seen onscreen momentarily. Turns out that Vincent was holding a container of prop blood which he poured over Cassandra's head, and she revealed that she was cleaning fake blood out of her ears for months afterwards. LOL! Cassandra is also currently involved with performing college humor skits, while Kira is also busy with new projects. Gwynn spoke about an art exhibit she's preparing in Gowanus, Brooklyn next month. Gwynn looks plumper than she did in the film, and Kira has a new hairstyle (I like her new bangs). Sam and Erika have collaborated on a short film called "Robot and Frank" which is currently being screened at BAM-the Brooklyn Academy of Music (that run is sold out.)Sam and Joe also referred to another film that Vincent is working on, which must be "Johnny and Me". Awesome!
As to whether there will be a soundtrack album release, Sam replied that some of the songs are under his name and some are owned by Tribeca Films, so it won't be a simple task getting all the songs written for the film released. Joe mentioned the possibility of having the songs made available on ITunes. We'll see how it all turns out, won't we?
'Distraught' Young Mother Leaves Baby at Fire House
'Distraught' Young Mother Leaves Baby at Fire House: A distraught young mother left her 6-month-old baby with firefighters at a West Side firehouse Monday morning after telling them she couldn’t deal with being a mother anymore, fire officials say.
Sunday, January 15, 2012
Alexander O'Neal - "All True Man"
This is one of my favorite songs from the 80's by Alexander O'Neal, a big, burly man with looks, style and charisma. Remind you of anyone? :) I also love the lyrics to this song, produced by Jimmy Jam and Terry Lewis, who were all members of the 80's band The Time. Enjoy!
[Interview] Vincent D’Onofrio Trades Full Metal Jacket for a Slasher/Musical
[Interview] Vincent D’Onofrio Trades Full Metal Jacket for a Slasher/Musical
[Interview] Vincent D’Onofrio Trades Full Metal Jacket for a Slasher/Musical
01/12/2012 23:45
Written by The Horror Czar
Vincent D’Onofrio is going to be best known for different things by different people. This American actor from New York City is loved by millions for his role as Detective Robert Goren in ‘Law and Order: Criminal Intent’, a part he played for 10 years. Vincent has also played in over 50 movies since 1983 including (for those of us inclined toward horror) 976-EVIL II, The Thirteenth Floor, Men in Black and the Jennifer Lopez vehicle The Cell. The most memorable role for D’Onofrio may be “Gomer Pyle” in Full Metal Jacket where his on-screen psychotic break made movie history. D’Onofrio is also the writer and director of the “Slasher/Musical” horror film Don’t Go In the Woods, Due for limited U.S. theatrical relase on January 13, 2012. Vincent talked with The Horror Czar, Don Sumner of Best-Horror-Movies.com about his beginnings in acting, avoiding being typecast as “that crazy guy” after FMJ, and making an absurd movie on a whim using only an idea and a commitment to follow through as the guide.
The Horror Czar, BHM
Rewind to the beginning – looks like you started acting in 1983 with “The First Turn-On” – How did you get started in performing, acting and entertainment in the first place?
Vincent D’Onofrio
My Dad was involved in theater, like Community Theater and stuff when I was a kid, so I used to be a techie. I would do sound or lights or build sets or something. That’s where I saw my first stage performance. I started studying acting in New York, and that’s pretty much how I got into it.
BHM
How does that first job come? You see on TV with casting calls, working as a waiter…
Vincent
Yeah, you have like a million jobs when you’re a kid. I used to be a bouncer in a million different places in New York City. I would work late at night and I would go to auditions during the day. I would get plays where there would be like two or three people in the audience when you performed, and you just work your way up. In my case I got a theatrical agent who would send me up for better plays, and I ended up on Broadway. I was also doing films for NYU, you know, student films and stuff like that, and then eventually I got Full Metal Jacket, and that was without an agent, and when Full Metal Jacket came I got a film agent because I did that film.
BHM
Yeah, Gomer Pyle - who doesn’t remember Gomer Pyle from Full Metal Jacket? That’s got to be the “big break” right…
Vincent
I wouldn’t be talking to you right now…
BHM
Haha! And, you play so crazy in that (movie) that what I find kind of cool about you is that you didn’t end up being “that crazy guy” in everything that you played after that. The next year you did “Mystic Pizza”.
Vincent
Right
BHM
Was that on purpose or did it just happen? Did you decide that you didn’t want to just be “that crazy guy”?
Vincent
No, no, that was... well, I put on all that weight for Full Metal Jacket and I waited about a year before I went on auditions again so I could take it all off. I did get offers to play other bad guys; I don’t remember what they all were. I think one was a James Bond film, looking for this big fat bald guy. I wanted to get to my normal weight before getting back out because I knew I wanted to try my hand at other performances, other things.
BHM
Yeah, I can see how, if you’d taken another “crazy guy” or two after that, you’d just be the crazy guy. Big, scary crazy guy.
Vincent
Yeah.
BHM
So you’ve got a whole lot of things going on now. I always see you in ‘Law and Order: Criminal Intent’ because my Mom loves that show. Is that kind of like the “day job” that keeps the bills paid while you work on your favorite projects?
Vincent
Well I don’t do that show anymore.
BHM
Oh! When did you stop doing that show?
Vincent
I stopped doing it almost 2 years ago. Well not 2 years ago, but almost a year and a half ago.
BHM
Well they must be all in syndication still.
Vincent
Yeah, and I did it for 10 years so there’s plenty of shows to show. It was a great job.
BHM
And now you’re writing and directing. I’m not sure when you first got into that, but the first credit I could find was a short film 5 minutes Mr. Wells in 2005, and then a long period between that and Don’t Go Into the Woods. When did the aspirations to direct and write, expand beyond being the performer, take hold?
Vincent
It’s just when I have an idea. I’m not really trying to set out as a director really, I just had this idea “5 Minutes Mr. Wells” and I wanted to make it, so I did. And Don’t Go Into the Woods was just basically this just absurd idea about making a Slasher/Musical where everybody sings and everybody dies in it.
BHM
Ha Ha!
Vincent
It was just an experiment really and we shot it for very little money and shot it in 12 days. You know, I’m just doing these things because I like them and, you know, if I found a really cool script that somebody else wrote and they wanted me to direct then I would definitely do that, but I have my hands in other things as well and I really don’t consider myself “a director”, and the reason why I say that is I’ve worked with so many great directors and it’s too bizarre to consider myself one of them. I mean, I’ve worked with some shitty directors who I think shouldn’t call themselves directors, and I feel more like one of them.
BHM
So, who were the shitty directors? Ha Haha! I know you’re not going to tell me that.
Vincent
Of course not, I don’t want to kick anybody while they’re down, but the point is that I’ve had the opportunity to work with probably the best American directors there will ever be, and they’re just too good at their job for me to claim I’m one of them. I feel too shy about it to tell you the truth.
BHM
A bit of being humble is never a bad thing. It’s a lot better than you saying you’re going to be the next ‘Master Director of the Universe’ – and who knows whether that’s in your future or not, but…
Vincent
I don’t think so, but I have fun doing these things, I’ll tell you that.
BHM
So the “Slasher/Musicical.. uh, yeah, that IS a bizarre concept. Was it like a dream or like, sitting around with buddies and saying, “ha ha, you know what would be great?”
Vincent
Yeah, I was actually driving, we have a house in Upstate New York, in the woods, and I was driving back to the city with my wife and I said “I really feel like doing something – what do I have available to me?” We discussed it and we thought that we had woods, and we had friends who were writers and composers, and I had a crew who will just come and shoot whatever I want, and I said “why don’t I just cast a bunch of non-actors, that’s what most horror movies have in them anyway, and just make a Slasher musical? Just take a chance and do an experiment and see if we can actually make this absurd film about people who sing and die. Honestly that’s exactly how the idea came up. Then I pitched it to my friend Sam Bisbee who wrote all the music for the film, and he loved the idea and started writing immediately. Two months from that drive from Upstate we were shooting in the woods.
BHM
Wow.
Vincent
And we shot it in 12 days, and by the time we were finished with post it cost about $100 Grand, the whole thing.
HC
Wow, that’s great! And you sang some in this too, right?
Vincent
Yeah, there’s a song on the radio when the kids are driving in the van – a Country Western song.
BHM
Yeah, I was looking through your history and it looks like you’ve been involved intermittently in the music end, sound tracks and writing songs – is that something that is kind of…
Vincent
Yeah, sometimes. I love singing, especially with a band. It’s just fun to do. Sometimes we do these weird shows at Joe’s Pub in New York. They’re really fun to do.
BHM
Sounds great. Are you a big horror fan generally?
Vincent
It’s one of my favorite genres. I’ve been watching them since I was a kid, I think like most of us. I think the thing I like about horror films most is that they are… not meant to be critiqued? You watch a horror film expecting that you have to take a certain leap of faith with it, and that you know you’re going to see unexplained violence on top of this kind of intense, thriller aspect. It’s the only genre where… I think all of the other genres like Sci-fi, Comedy and dramatic films, you go in with this feeling of “I hope it’s a great film” whereas a horror film you really don’t go in thinking that. You just go in thinking “I’m gonna go see a horror movie”.
BHM
What’s your favorite horror movie of all time?
Vincent
I have a couple. There is a French film called High Tension that I really liked a lot,
BHM
Yeah…
Vincent
And The Shining’s a great film – there’s been a lot of horror movies that I liked.
BHM
Yeah, those are two good ones that I love too. So, in making Don’t Go In the Woods you wrote it, you directed it, you hadn’t done that a whole lot…
Vincent
Yeah, just once before.
BHM
Yeah, so, what were the big surprises, or disasters or “lessons learned”, something you didn’t expect about actually being the filmmaker?
Vincent
Well, I was pretty confident going into it, and we casted off the street. We didn’t use a casting director – I wanted all non-actors, I just wanted singers to do all the parts, and I knew we had to get away with this really absurd thing and I wanted all the acting to be really flat, and I wanted all of the music to add production value to all of these flat performances so that it would create this weird tone in the movie. And so I knew that the whole idea… I mean, we wrote the script with a “B” horror film structure, then put that music to it… so we knew that the whole idea going into it was absolutely absurd, and that you were either gonna love this movie or hate it, and it didn’t really matter in the end. It’s just made for pure entertainment. I also knew that the songs had to be really good, but unlike some of the other kind of ‘horror operas’ that have been out, other than Rocky Horror which the music is great in, the music is kind of cringing, but Sam’s music has a lot of melody and is really good music, great pop songs. When you make a film like this, just kind of going in, shoot the shit out of it for 12 days and hope for the best, which is basically what we did. So, I knew all that going in so there weren’t really any surprises other than “Jeeze, how are we gonna get away with this?” on a daily basis. Like “How are we gonna get away with this” and “how are we gonna get away with that?” Scene after scene after scene – so every day was approached like that, just to see how we can get away with it any way that we can. Am I making sense? Do you know what I mean?
BHM
Yeah, I do.
Vincent
I mean if you’re going to make a Slasher/Musical, which really hasn’t been done before where everybody sings and everybody dies, it’s really a challenge going in. So you expect the worst every day, and you just do it. You just commit, and you do it, much like I do with my acting. A lot of people have enjoyed my performances throughout the years and a lot of people have hated it. It’s like the character in ‘Criminal Intent’ for instance – I did that show for 10 years, and when I walk around cities in America and cities in Europe, in Israel and in the most obscure countries, people love that character that I did on that show. I don’t know why they do, but they do. But there are also people that don’t. So you go into every project like I did with my acting; People are either going to like it or hate it so you might as well just commit and do your best.
BHM
Yeah, that makes perfect sense. So, Don’t go in the Woods, it’s out on VOD now, it came out right after Christmas.
Vincent
Yeah, the day after Christmas.
BHM
Then there is a limited theatrical release on January 13th. Where can people see it, do you know?
Vincent
I don’t know which theaters it’s going to be in.
BHM
Are you doing a big opening?
Vincent
I think we’re doing a big screening of it in New York on Friday.
BHM
Great! I think a lot of people are looking forward to this film. There’s been a lot of talk about it, I think because of the crazy concept of Slasher/Musical, I mean, good God…
Vincent
Yeah, I think that… well, before Tribeca got involved in this film I took it around to colleges all over the country, and that’s really who we made it for. These days in colleges they have these great and technical screening facilities, really great screens and great sound systems, and I was able to show the film to 3, 4, 5 hundred kids at one shot, and they loved the movie. It’s geared toward that kind of crowd. That’s who the music is popular with and the movie is just completely absurd and pure entertainment. Hopefully the right audiences will get to see it.
BHM
Vincent, what are you working on now? What’s the next big project that we have coming from you?
Vincent
I have two films coming out, I guess, the end of Winter? And then I’m writing this other thing that I’m probably going to make into a film.
BHM
What’s that called, working title?
Vincent
It’s called “Johnny and Me”. I’m trying to get that right before we shoot it, so it might take a little while longer, but it’s coming together pretty good.
BHM
That’s not horror, doesn’t sound like horror to me.
Vincent
No, it’s not a horror movie, but it does have an intense musical aspect to it.
BHM
Sounds great. Well Vincent, thanks for all of the information and the time. We’re looking forward to Don’t Go In the Woods, and wish you all the best with that one.
Vincent
Aw, thanks man.
[Interview] Vincent D’Onofrio Trades Full Metal Jacket for a Slasher/Musical
01/12/2012 23:45
Written by The Horror Czar
Vincent D’Onofrio is going to be best known for different things by different people. This American actor from New York City is loved by millions for his role as Detective Robert Goren in ‘Law and Order: Criminal Intent’, a part he played for 10 years. Vincent has also played in over 50 movies since 1983 including (for those of us inclined toward horror) 976-EVIL II, The Thirteenth Floor, Men in Black and the Jennifer Lopez vehicle The Cell. The most memorable role for D’Onofrio may be “Gomer Pyle” in Full Metal Jacket where his on-screen psychotic break made movie history. D’Onofrio is also the writer and director of the “Slasher/Musical” horror film Don’t Go In the Woods, Due for limited U.S. theatrical relase on January 13, 2012. Vincent talked with The Horror Czar, Don Sumner of Best-Horror-Movies.com about his beginnings in acting, avoiding being typecast as “that crazy guy” after FMJ, and making an absurd movie on a whim using only an idea and a commitment to follow through as the guide.
The Horror Czar, BHM
Rewind to the beginning – looks like you started acting in 1983 with “The First Turn-On” – How did you get started in performing, acting and entertainment in the first place?
Vincent D’Onofrio
My Dad was involved in theater, like Community Theater and stuff when I was a kid, so I used to be a techie. I would do sound or lights or build sets or something. That’s where I saw my first stage performance. I started studying acting in New York, and that’s pretty much how I got into it.
BHM
How does that first job come? You see on TV with casting calls, working as a waiter…
Vincent
Yeah, you have like a million jobs when you’re a kid. I used to be a bouncer in a million different places in New York City. I would work late at night and I would go to auditions during the day. I would get plays where there would be like two or three people in the audience when you performed, and you just work your way up. In my case I got a theatrical agent who would send me up for better plays, and I ended up on Broadway. I was also doing films for NYU, you know, student films and stuff like that, and then eventually I got Full Metal Jacket, and that was without an agent, and when Full Metal Jacket came I got a film agent because I did that film.
BHM
Yeah, Gomer Pyle - who doesn’t remember Gomer Pyle from Full Metal Jacket? That’s got to be the “big break” right…
Vincent
I wouldn’t be talking to you right now…
BHM
Haha! And, you play so crazy in that (movie) that what I find kind of cool about you is that you didn’t end up being “that crazy guy” in everything that you played after that. The next year you did “Mystic Pizza”.
Vincent
Right
BHM
Was that on purpose or did it just happen? Did you decide that you didn’t want to just be “that crazy guy”?
Vincent
No, no, that was... well, I put on all that weight for Full Metal Jacket and I waited about a year before I went on auditions again so I could take it all off. I did get offers to play other bad guys; I don’t remember what they all were. I think one was a James Bond film, looking for this big fat bald guy. I wanted to get to my normal weight before getting back out because I knew I wanted to try my hand at other performances, other things.
BHM
Yeah, I can see how, if you’d taken another “crazy guy” or two after that, you’d just be the crazy guy. Big, scary crazy guy.
Vincent
Yeah.
BHM
So you’ve got a whole lot of things going on now. I always see you in ‘Law and Order: Criminal Intent’ because my Mom loves that show. Is that kind of like the “day job” that keeps the bills paid while you work on your favorite projects?
Vincent
Well I don’t do that show anymore.
BHM
Oh! When did you stop doing that show?
Vincent
I stopped doing it almost 2 years ago. Well not 2 years ago, but almost a year and a half ago.
BHM
Well they must be all in syndication still.
Vincent
Yeah, and I did it for 10 years so there’s plenty of shows to show. It was a great job.
BHM
And now you’re writing and directing. I’m not sure when you first got into that, but the first credit I could find was a short film 5 minutes Mr. Wells in 2005, and then a long period between that and Don’t Go Into the Woods. When did the aspirations to direct and write, expand beyond being the performer, take hold?
Vincent
It’s just when I have an idea. I’m not really trying to set out as a director really, I just had this idea “5 Minutes Mr. Wells” and I wanted to make it, so I did. And Don’t Go Into the Woods was just basically this just absurd idea about making a Slasher/Musical where everybody sings and everybody dies in it.
BHM
Ha Ha!
Vincent
It was just an experiment really and we shot it for very little money and shot it in 12 days. You know, I’m just doing these things because I like them and, you know, if I found a really cool script that somebody else wrote and they wanted me to direct then I would definitely do that, but I have my hands in other things as well and I really don’t consider myself “a director”, and the reason why I say that is I’ve worked with so many great directors and it’s too bizarre to consider myself one of them. I mean, I’ve worked with some shitty directors who I think shouldn’t call themselves directors, and I feel more like one of them.
BHM
So, who were the shitty directors? Ha Haha! I know you’re not going to tell me that.
Vincent
Of course not, I don’t want to kick anybody while they’re down, but the point is that I’ve had the opportunity to work with probably the best American directors there will ever be, and they’re just too good at their job for me to claim I’m one of them. I feel too shy about it to tell you the truth.
BHM
A bit of being humble is never a bad thing. It’s a lot better than you saying you’re going to be the next ‘Master Director of the Universe’ – and who knows whether that’s in your future or not, but…
Vincent
I don’t think so, but I have fun doing these things, I’ll tell you that.
BHM
So the “Slasher/Musicical.. uh, yeah, that IS a bizarre concept. Was it like a dream or like, sitting around with buddies and saying, “ha ha, you know what would be great?”
Vincent
Yeah, I was actually driving, we have a house in Upstate New York, in the woods, and I was driving back to the city with my wife and I said “I really feel like doing something – what do I have available to me?” We discussed it and we thought that we had woods, and we had friends who were writers and composers, and I had a crew who will just come and shoot whatever I want, and I said “why don’t I just cast a bunch of non-actors, that’s what most horror movies have in them anyway, and just make a Slasher musical? Just take a chance and do an experiment and see if we can actually make this absurd film about people who sing and die. Honestly that’s exactly how the idea came up. Then I pitched it to my friend Sam Bisbee who wrote all the music for the film, and he loved the idea and started writing immediately. Two months from that drive from Upstate we were shooting in the woods.
BHM
Wow.
Vincent
And we shot it in 12 days, and by the time we were finished with post it cost about $100 Grand, the whole thing.
HC
Wow, that’s great! And you sang some in this too, right?
Vincent
Yeah, there’s a song on the radio when the kids are driving in the van – a Country Western song.
BHM
Yeah, I was looking through your history and it looks like you’ve been involved intermittently in the music end, sound tracks and writing songs – is that something that is kind of…
Vincent
Yeah, sometimes. I love singing, especially with a band. It’s just fun to do. Sometimes we do these weird shows at Joe’s Pub in New York. They’re really fun to do.
BHM
Sounds great. Are you a big horror fan generally?
Vincent
It’s one of my favorite genres. I’ve been watching them since I was a kid, I think like most of us. I think the thing I like about horror films most is that they are… not meant to be critiqued? You watch a horror film expecting that you have to take a certain leap of faith with it, and that you know you’re going to see unexplained violence on top of this kind of intense, thriller aspect. It’s the only genre where… I think all of the other genres like Sci-fi, Comedy and dramatic films, you go in with this feeling of “I hope it’s a great film” whereas a horror film you really don’t go in thinking that. You just go in thinking “I’m gonna go see a horror movie”.
BHM
What’s your favorite horror movie of all time?
Vincent
I have a couple. There is a French film called High Tension that I really liked a lot,
BHM
Yeah…
Vincent
And The Shining’s a great film – there’s been a lot of horror movies that I liked.
BHM
Yeah, those are two good ones that I love too. So, in making Don’t Go In the Woods you wrote it, you directed it, you hadn’t done that a whole lot…
Vincent
Yeah, just once before.
BHM
Yeah, so, what were the big surprises, or disasters or “lessons learned”, something you didn’t expect about actually being the filmmaker?
Vincent
Well, I was pretty confident going into it, and we casted off the street. We didn’t use a casting director – I wanted all non-actors, I just wanted singers to do all the parts, and I knew we had to get away with this really absurd thing and I wanted all the acting to be really flat, and I wanted all of the music to add production value to all of these flat performances so that it would create this weird tone in the movie. And so I knew that the whole idea… I mean, we wrote the script with a “B” horror film structure, then put that music to it… so we knew that the whole idea going into it was absolutely absurd, and that you were either gonna love this movie or hate it, and it didn’t really matter in the end. It’s just made for pure entertainment. I also knew that the songs had to be really good, but unlike some of the other kind of ‘horror operas’ that have been out, other than Rocky Horror which the music is great in, the music is kind of cringing, but Sam’s music has a lot of melody and is really good music, great pop songs. When you make a film like this, just kind of going in, shoot the shit out of it for 12 days and hope for the best, which is basically what we did. So, I knew all that going in so there weren’t really any surprises other than “Jeeze, how are we gonna get away with this?” on a daily basis. Like “How are we gonna get away with this” and “how are we gonna get away with that?” Scene after scene after scene – so every day was approached like that, just to see how we can get away with it any way that we can. Am I making sense? Do you know what I mean?
BHM
Yeah, I do.
Vincent
I mean if you’re going to make a Slasher/Musical, which really hasn’t been done before where everybody sings and everybody dies, it’s really a challenge going in. So you expect the worst every day, and you just do it. You just commit, and you do it, much like I do with my acting. A lot of people have enjoyed my performances throughout the years and a lot of people have hated it. It’s like the character in ‘Criminal Intent’ for instance – I did that show for 10 years, and when I walk around cities in America and cities in Europe, in Israel and in the most obscure countries, people love that character that I did on that show. I don’t know why they do, but they do. But there are also people that don’t. So you go into every project like I did with my acting; People are either going to like it or hate it so you might as well just commit and do your best.
BHM
Yeah, that makes perfect sense. So, Don’t go in the Woods, it’s out on VOD now, it came out right after Christmas.
Vincent
Yeah, the day after Christmas.
BHM
Then there is a limited theatrical release on January 13th. Where can people see it, do you know?
Vincent
I don’t know which theaters it’s going to be in.
BHM
Are you doing a big opening?
Vincent
I think we’re doing a big screening of it in New York on Friday.
BHM
Great! I think a lot of people are looking forward to this film. There’s been a lot of talk about it, I think because of the crazy concept of Slasher/Musical, I mean, good God…
Vincent
Yeah, I think that… well, before Tribeca got involved in this film I took it around to colleges all over the country, and that’s really who we made it for. These days in colleges they have these great and technical screening facilities, really great screens and great sound systems, and I was able to show the film to 3, 4, 5 hundred kids at one shot, and they loved the movie. It’s geared toward that kind of crowd. That’s who the music is popular with and the movie is just completely absurd and pure entertainment. Hopefully the right audiences will get to see it.
BHM
Vincent, what are you working on now? What’s the next big project that we have coming from you?
Vincent
I have two films coming out, I guess, the end of Winter? And then I’m writing this other thing that I’m probably going to make into a film.
BHM
What’s that called, working title?
Vincent
It’s called “Johnny and Me”. I’m trying to get that right before we shoot it, so it might take a little while longer, but it’s coming together pretty good.
BHM
That’s not horror, doesn’t sound like horror to me.
Vincent
No, it’s not a horror movie, but it does have an intense musical aspect to it.
BHM
Sounds great. Well Vincent, thanks for all of the information and the time. We’re looking forward to Don’t Go In the Woods, and wish you all the best with that one.
Vincent
Aw, thanks man.
A Friday the 13th Treat From Vincent D'Onofrio
A Friday the 13th Treat From Vincent D'Onofrio: ABCNEWS.COM - The actor on his slasher/musical directorial debut, "Don't Go Into The Woods"
Exclusive Video Interview: Vincent D'Onofrio Talks Don't Go In the Woods
Exclusive Video Interview: Vincent D'Onofrio Talks Don't Go In the Woods
January 11, 2012
by Edward Douglas
Vincent D'Onofrio may be best known for his acting, from his early work in Stanley Kubrick's Full Metal Jacket to his role in Tarsem's The Cell through his extended run on "Law and Order: Criminal Intent," but a few years ago, he decided to direct a movie and so was born Don't Go In the Woods, a self-described "slasher musical" which puts a spin on the typical "kids go into the woods and are knocked off one by one" horror movie we've seen so many times over the last thirty odd years.
While D'Onofrio's horror debut is just as graphic and gory as you'd expect from any slasher film, what sets it apart is the fact so much of the story is based around music in the form of songs written by D'Onofrio's musical friend Sam Bisbee. The logic is that the unwitting victims in this case are a band on a sabbatical to spend time in the woods to work on some new songs, joined by a group of women. Shortly after they arrive, they start disappearing and being systematically slaughtered… and there are a bunch of songs in between the kills. (There's actually a precedent for this sort of thing with B-horror movies of the '60s and '70s in which young people would sit around a fire singing songs or dance to some hip rock band, so maybe it's not such a weird concept.)
Shock Till You Drop sat down with D'Onofrio earlier this week for the following video interview which started simply enough with us discussing his decision to direct and why he chose a "slasher musical" as his first movie, we then transition into the casting of non-actors and music, the influence of films like High Tension, and eventually we get into a fairly lengthy conversation about the quality of acting in horror films as well as briefly touch upon his work in Scott Derickson's found footage movie Sinister, which D'Onofrio almost literally phoned in (via Skype).
Don't Go In the Woods is now playing on Video on Demand, but if you're in New York City and looking to see some horror on Friday the 13th, it's playing at the Cinema Village.
January 11, 2012
by Edward Douglas
Vincent D'Onofrio may be best known for his acting, from his early work in Stanley Kubrick's Full Metal Jacket to his role in Tarsem's The Cell through his extended run on "Law and Order: Criminal Intent," but a few years ago, he decided to direct a movie and so was born Don't Go In the Woods, a self-described "slasher musical" which puts a spin on the typical "kids go into the woods and are knocked off one by one" horror movie we've seen so many times over the last thirty odd years.
While D'Onofrio's horror debut is just as graphic and gory as you'd expect from any slasher film, what sets it apart is the fact so much of the story is based around music in the form of songs written by D'Onofrio's musical friend Sam Bisbee. The logic is that the unwitting victims in this case are a band on a sabbatical to spend time in the woods to work on some new songs, joined by a group of women. Shortly after they arrive, they start disappearing and being systematically slaughtered… and there are a bunch of songs in between the kills. (There's actually a precedent for this sort of thing with B-horror movies of the '60s and '70s in which young people would sit around a fire singing songs or dance to some hip rock band, so maybe it's not such a weird concept.)
Shock Till You Drop sat down with D'Onofrio earlier this week for the following video interview which started simply enough with us discussing his decision to direct and why he chose a "slasher musical" as his first movie, we then transition into the casting of non-actors and music, the influence of films like High Tension, and eventually we get into a fairly lengthy conversation about the quality of acting in horror films as well as briefly touch upon his work in Scott Derickson's found footage movie Sinister, which D'Onofrio almost literally phoned in (via Skype).
Don't Go In the Woods is now playing on Video on Demand, but if you're in New York City and looking to see some horror on Friday the 13th, it's playing at the Cinema Village.
Saturday, January 14, 2012
Vincent D'Onofrio on MSNBC The Morning Joe 1-13-2012
Visit msnbc.com for breaking news, world news, and news about the economy
Hollywood Do's and Don'ts with Vincent D'Onofrio-This is so much fun!
Don't forget the tater tots, DO wear a top hat and don't F-U-C-K with Vincent D'Onofrio! Oh, and DON'T GO IN THE WOODS! LOL
Way to go, Vincent. :)
Thursday, January 12, 2012
Vincent D'Onofrio | Morning Show - What's New
Vincent D'Onofrio | Morning Show - What's New: Star of Law And Order:CI, Full Metal Jacket, and more. Now he has a new movie out called "Don't Go In The Woods"
Kathryn Erbe Profiled by Rattlestick Playwrights Theater
Wall Photos
Kathryn Erbe (Julie) Born in Newton, Massachusetts, Erbe is a veteran of both fi...lm and television and has been a working actress since she graduated from New York University in 1989. Erbe’s television credits include playing Detective Alexandra Eames in the original series, “Law & Order: Criminal Intent” as well as the infamous death row inmate Shirley Bellinger on the acclaimed HBO series “Oz.” She also appeared on “Chicken Soup” with Lynn Redgrave and Jackie Mason, NBC’s “Homicide: Life on the Street,” the miniseries “George Wallace,” Showtime’s original production of “Naked City: Justice with a Bullet,” NBC’s “Another World,” and the television movie “Breathing Lessons.” Erbe also gained notice in the 1999 box office hit Stir of Echoes opposite Kevin Bacon and Dream with the Fishes with David Arquette. Her additional film credits include Entropy, Kiss of Death, D2: The Mighty Ducks, Rich in Love, What About Bob?, and Speaking of Sex with Lara Flynn Boyle and Bill Murray. Before appearing in feature films, Erbe began her career on the stage. She is a member of the Steppenwolf Theater Company and has starred in many of their productions, including Tennessee Williams’ A Streetcar Named Desire as Stella, Curse of the Starving Class and My Thing of Love. She earned a Tony Award nomination in 1991 for her portrayal of Mary in Speed of Darkness. Erbe is also an active member of the Atlantic Theatre Company. Most recently, Erbe completed filming on Three Backyards, starring opposite Embeth Davidtz and Edie Falco, Mother’s House, Worst Friends, and Sunny Side Up with Parker Posey. Erbe currently resides in New York with her two children.See More
By: Rattlestick Playwrights Theater
Kathryn Erbe (Julie) Born in Newton, Massachusetts, Erbe is a veteran of both fi...lm and television and has been a working actress since she graduated from New York University in 1989. Erbe’s television credits include playing Detective Alexandra Eames in the original series, “Law & Order: Criminal Intent” as well as the infamous death row inmate Shirley Bellinger on the acclaimed HBO series “Oz.” She also appeared on “Chicken Soup” with Lynn Redgrave and Jackie Mason, NBC’s “Homicide: Life on the Street,” the miniseries “George Wallace,” Showtime’s original production of “Naked City: Justice with a Bullet,” NBC’s “Another World,” and the television movie “Breathing Lessons.” Erbe also gained notice in the 1999 box office hit Stir of Echoes opposite Kevin Bacon and Dream with the Fishes with David Arquette. Her additional film credits include Entropy, Kiss of Death, D2: The Mighty Ducks, Rich in Love, What About Bob?, and Speaking of Sex with Lara Flynn Boyle and Bill Murray. Before appearing in feature films, Erbe began her career on the stage. She is a member of the Steppenwolf Theater Company and has starred in many of their productions, including Tennessee Williams’ A Streetcar Named Desire as Stella, Curse of the Starving Class and My Thing of Love. She earned a Tony Award nomination in 1991 for her portrayal of Mary in Speed of Darkness. Erbe is also an active member of the Atlantic Theatre Company. Most recently, Erbe completed filming on Three Backyards, starring opposite Embeth Davidtz and Edie Falco, Mother’s House, Worst Friends, and Sunny Side Up with Parker Posey. Erbe currently resides in New York with her two children.See More
By: Rattlestick Playwrights Theater
YOSEMITE-Limited Time $8 Ticket Offer!
I saw this on Rattlestick Playwrights Theater's Facebook page today!
Rattlestick Playwrights Theater
www.rattlestick.org
LIMITED TIME $8 TICKET OFFER!! Rattlestick is offering $8 TICKETS TO YOSEMITE by Daniel Talbott for all performances (Jan. 18-Feb. 26) TODAY AND TOMORROW (1/12 & 1/13) ONLY! Click on the link below and enter promotional code LTOY8.
Welcome to Ticket Central
www.ticketcentral.com
Rattlestick Playwrights Theater And if the $5.50 service charge has got you down, feel free to call our office at 212 627 2556 and we'll book the ticket for you service charge-free! (Have your credit card information ready.)
Rattlestick Playwrights Theater
www.rattlestick.org
LIMITED TIME $8 TICKET OFFER!! Rattlestick is offering $8 TICKETS TO YOSEMITE by Daniel Talbott for all performances (Jan. 18-Feb. 26) TODAY AND TOMORROW (1/12 & 1/13) ONLY! Click on the link below and enter promotional code LTOY8.
Welcome to Ticket Central
www.ticketcentral.com
Rattlestick Playwrights Theater And if the $5.50 service charge has got you down, feel free to call our office at 212 627 2556 and we'll book the ticket for you service charge-free! (Have your credit card information ready.)
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