Club Woolly

May the Force be Woolly!

2007-12-04T08:30:00.000-08:00

November is a busy month for everyone and it was been busy for Club Woolly, too! Club Woolly nights for the world premieres of Current Nobody and Josh Lefkowitz’s Now What? happened before the arrival of Thanksgiving turkey (or tofurkey).

But December brings the long awaited return of One Man Star Wars to Woolly Mammoth. A one man, highly energetic and entertaining show, performer Charles Ross condenses all 3 Star Wars movies into 75 minutes that are not to be missed. Don’t believe us? Check out the videos at the bottom of this page to see Charlie doing a preview of the show, interviewed on MSNBC and on YouTube or his fan site for some other insider information. Club Woolly night is December 14^th… and there’s less than 50 tickets left for that performance! If you don’t want to be left out of the fun, get your tickets today!

Does this leave you wanting more? Check out How The "One Man Star Wars" Works for an in-depth article about how the show came to be and how many calories Charles burns per show.

The "Woolly" in Woolly

2007-10-05T15:10:00.000-07:00

Recently, our Artistic Director Howard Shalwitz wrote a brief history of Woolly Mammoth, including what defines us and our style. Here’s what he had to say about what makes Woolly Mammoth’s style so distinct:

People talk about a “Woolly” play, but what is it? Well, it’s no single thing, but generally includes two or three of the following: originality of voice (e.g. Sarah Ruhl’s DEAD MAN’S CELL PHONE), unusual narrative structure (e.g. Noah Haidle’s VIGILS), heightened theatricality (e.g. David Greenspan’s SHE STOOPS TO COMEDY), challenging or provocative subject matter (e.g. Craig Wright’s GRACE), and/or characters from the margins of the culture rather than the center (e.g. IN THE BLOOD).

Above all, we believe that the audience has its own job to do in the theatre – they have to sort something out, or think about something in a new way, or struggle with their feelings in response to provocative images. If you spoon feed the audience, if you take their job away and put them in a totally comfortable, passive role – what’s in it for them?

Artistic Directors from other companies come up to me at theatre conferences and say, “I sure wish my theatre could do the kinds of plays you do at Woolly Mammoth – we’d probably lose half our audience.” And it’s true, at Woolly we have a remarkable degree of artistic freedom – but I think it’s a freedom we’ve earned. By sticking to our own vision, we have developed a cadre of actors and other theatre artists who are especially skilled at pulling off certain kinds of plays, and an audience that appreciates them and wants to see more.

What do you think makes Woolly Mammoth so special? Leave us a comment with your thoughts!

Club Woolly Strikes Again!

2007-09-18T14:03:00.000-07:00

For those of you who missed it, Club Woolly night for The Unmentionables, it was a great night. Members got their member packets (including a swanky lapel pin) and proceeded to the classroom where they mixed and mingled with the cast and our Artistic Director Howard Shalwitz. Howard started off the evening talking about the show, taking questions, and asking the Club Woolly folk about their experience watching the show. Incredible insight and commentary was provided by cast members. Following the discussion the attendees had the chance to talk one-on-one with the cast. The set model and costume sketches were also out for members to peruse while they talked. All in all, it was a really fun time. The next Club Woolly night is for Current Nobody on Friday, November 9th. Tickets are going fast – so if you’re planning to bring a friend who’d not a Club Woolly Subscriber, contact the box office soon at 202-393-3939 to make sure that you don't get left out!

We have some other exciting news. Dawn Ursula, who is currently playing Aunty Mimi so brilliantly in the The Unmentionables, has accepted an invitation from our Artistic Director Howard Shalwitz to become the newest member of the Woolly Mammoth acting company. Her previous appearances at Woolly Mammoth were in STARVING and THE VELVET SKY. Dawn is a dynamic and versatile performer, and the most wonderful collaborator and colleague imaginable. We hope you will join us in congratulating Dawn when you have the chance. She’s here in The Unmentionables through September 30.

Behind the Scenes of "Vigils"

2007-07-02T12:07:00.001-07:00

One of the perks of joining Club Woolly is getting an insider look into Woolly Mammoth productions. In February, we got our members together and took them on a tour of the theater and provided them with a behind the scenes look at Vigils. Hana Sellars, our technical director showed us the green room, the scene shop, the back of the sets where the cast had scrawled notes to one another… Here she is demonstrating how we kept Michael Russotto in a box without actually having to keep him in a chest for the majority of the play. Hana showed us the ropes… literally. We got to see a detailed demonstation of how Naomi Jacobson and Michael Russotto flew, including rigging and stagehands. Naomi & Michael also talked about their experiences working on the show, how they got everything together and how they managed to fly without getting airsick. It was an unforgettable experience and a fun way to see how shows come together. If you couldn’t make it, you missed a great time!

Please, Silence Your Cell Phones

2007-06-26T08:50:00.000-07:00

It’s getting to be pretty standard that there’s always one person who doesn’t pay attention to the “silence your cell phone” speech that is given before every performance at every theater. It never fails that during a dramatic moment of any play, someone’s phone rings. I can think of at least two occasions where someone answered their phone and held a conversation in the theatre, while the actors (attempted to) continue acting. When you’re doing a play about cell phone etiquette, these interruptions are still funny and rude, but also rather ironic.

On our opening night on June 10^th, Howard Shalwitz gave our preshow speech and ended with “In a show about cell phones, I feel like I don’t even have to say it… in fact I won’t say it.” The next day, our Communications Director received this email from a patron:

I don't make this stuff up.

So about 20 minutes into Act I, I hear a cell phone ring... and it is not coming from the speakers where the sound cue cell phone rings are. And someone in the audience answers the phone. Another person in the row behind me says, "I'm over here, Seymour" and waves. And Seymour says, just as if he were in his living room, "I see you." He starts saying "excuse me," in his outdoor voice, as he nudges his way through the crowds. Most of us in the neighborhood were contemplating re-naming the evening Dead Man: Cell Phone.

So, don’t forget to turn off your cell phone! If you haven't seen Dead Man's Cell Phone yet, you're not too late! We've just extended (twice) through July 14th.

2007-06-18T12:52:00.000-07:00

Friday was Club Woolly night for Woolly’s smash hit, Dead Man’s Cell Phone, as well as our press night. It was a great performance with a lot of energy and the reception was a lot of fun, too! We decked out our reception room with some lost props – things that were created for the production but weren’t used for various reasons. Howard spoke a bit about the process of creating the show and why the larger than life portrait of Rick Foucheux didn’t make it on stage. After that, cast and crew mingled with our Club Woolly members and enjoyed some wonderful food and drink. Strangely, no one attempted to eat the prop suckling pig that was our centerpiece, though one Club Woolly member did mention that he was going to a pig roast this weekend. Unfortunately, he’s a vegetarian and won’t be able to partake in the pig.

All in all, it was a fun time with some excellent food. I hope we can see you at the next one! And if you want to see what the press has to say, check out today's review in the Washington Post!

(Pictured: Naomi Jacobson, Polly Noonan & Sarah Marshall. Photo by Stan Barouh)

Recovering from Loss

2007-06-14T11:52:00.000-07:00

No, this isn’t an entry about our show Vigils which played during the month of February to great success. That show was about a Widow who was learning to grieve from her husband’s death and trying to move on, while keeping his soul locked in a box. It was a wonderful show and it’s appropriate that it was the last show for our former Managing Director Kevin Moore before he moved on to run the Cleveland Playhouse. We miss you, Kevin!

While news of this move has been common knowledge for a while, I’ve found that many people are unaware of what Kevin did and the tremendous impact he had on our theater. Howard is the face of Woolly Mammoth and one that our subscribers have come to know and love. Howard built Woolly from the ground up and the theatre won’t be the same without him when he retires (hopefully a day in the far, far future). But while Howard made the artistic choices that put us on the map, Kevin was the one who kept the theater moving. From getting sure everyone got their paychecks on time to being the leader of our multi-million dollar campaign to land us in our beautiful new space, Kevin did it all.

We’re in the midst of interviewing candidates for Kevin’s replacement and it’s an exciting time… we don’t know who we’ll get or how they’ll shape Woolly Mammoth in years to come, but we’re sure they’ll be wonderfully woolly! And hopefully, we’ll still get paid on a regular basis.

By the way, tomorrow is Club Woolly night for Dead Man's Cell Phone by Sarah Ruhl. Don't miss this heartwarming and lyrical world premiere by the author of The Clean House!

The Plays Are The Thing....

2007-02-02T09:38:00.000-08:00

Hi, everyone! Hope you're looking forward to the Vigils Club Woolly Night, this Friday--February, 9th. (Look for the review in the Washington Post on Wednesday if you're curious.) In the mean time, we have a few words from Jaclyn, one of our new interns, about choosing the 2007-08 Season:

Hey blogfans! I’m Jaclyn, the new lit intern at Woolly Mammoth. My job is to assist Elissa Goetschius, Woolly’s Literary Associate, with script evaluations, new play development, agency contacts, and whatever else happens to come along. In the next few weeks I’ll be gearing up to work on the dramaturgy for Woolly’s next production, David Greenspan’s She Stoops to Comedy. It’s so exciting to be part of the production process—and the Shakespeare Festival in Washington to boot.

It seems that I’ve come at the perfect time. The east coast premiere of Noah Haidle’s Vigils is just opened, and I’ve been lucky enough to watch it evolve from the designer run through the preview week. Working on a new play—with the playwright present for revisions!—is exhilarating and unique. Things can quite literally change from one moment to the next, and it’s amazing to see how much can be accomplished when you put together a solid group of artists with complementing visions.

Choosing those artists, however, can sometimes be a little tricky. My arrival also coincided with one of the most stressful times in any theatre’s year: choosing the lineup for the coming season. Like Jen said in her last post, there are so many factors to weigh that it’s easily overwhelming.

Along with the more point-blank concerns—script quality, subject matter, adherence to Woolly’s mission of producing new and edgy work—season planning deals with a lot of amorphous, make-it-or-break-it factors: whether the rights can be obtained, how many world premieres can be produced in a season, the various effects of pitting certain plays against each other, whether the budget can contain a desired cast, whether there is already a director or designer associated with the project, etc. etc. etc.

At this point we’re left with so few scripts in the ’07-’08 consideration pile that the nuances of each play have become incredibly important. The selection process, which involves a good deal of roundtable discussion (and sometimes a change of heart that can alter things completely), is still so organic despite its financial implications. I think that I like the roundabout nature of the decision process the best; sure, it can be stressful, but the amount of consideration that so many people put into creating the best art possible is really affirming when so many theatres now are forced to rely on commercial factors alone.

It’s also a great way to get a taste of what goes on during new play development. So few venues commit to producing new plays with the vigor that Woolly demands, and I can already tell that being a part of it for the next few months is going to change the way I look at theatre completely.

Woolly Mammoth: From the Intern Out

2007-01-18T11:43:00.000-08:00

Woolly kicked off the new year with a whole new crop of interns, today we have the unique pleasure of hearing from Jen Rogers. She's Howard's assistant and began her internship on January 2nd--just in time for the Vigils First Read. (And in case you were wondering, that's not Jen over here on the right. It is a publicity shot of Woolly Company Member Naomi Jacobson who stars in Vigils.)

"Hello Club Woolly! My name is Jen and I just started working at Woolly as the assistant to Howard. My first week at Woolly introduced me to a world that I am very excited of being a part of. Everyone in the Artistic office welcomed me as Elissa took me around the theatre.

The tour ended with the first rehearsal of Vigils, Woolly’s next main stage production. I’m pretty sure the format of the first rehearsal was standard, but I’m not so sure of the content! Brian led the meeting as first Howard said a few words, then Colette (the director) discussed her take on the play, then the design presentations and even Noah (the playwright) said a few words before the read.

The set design seemed simple at first, but as Dan’s presentation continued, it became apparent that the set allows for more than meets the eye. Designing a set is far past my ability, but designing a set that is both aesthetically pleasing and allows for flying is a daunting task and I cannot wait to see the final product.

I believe one of the greatest strengths of Woolly’s focus of new work is the fact that playwright can be in the room and work with the entire ensemble. Noah claimed he was neither funny nor provocative, but after hearing the show I beg to differ. I can’t wait to see the show – the talented cast (featuring some Woolly company members) and artistic staff are bound to create a beautiful, absurd, and humorous show. How could you not be excited about a show that has flying and fire?

After rehearsal I met with Howard who outlined what was going on this spring at Woolly. January is the month to finish up season planning for the 2007-2008 season. In order to catch up with everyone I read the remaining plays of the season, She Stoops to Comedy by David Greenspan and Dead Man’s Cell Phone by Sarah Ruhl, before I started reading the selections for next season. Season planning involves reading dozens upon dozens of diverse scripts and countless discussions trying to find the ideal plays that create a well-balanced season and continue Woolly’s mission.

Season planning is a puzzle. We’re trying to balance many different factors such as relevant subject matter, the theatrical nature of each play, casting possibilities, the size of each production, potential directors and designers, with the chief criteria being that the scripts maintain Woolly’s mission of presenting new plays that explore the edge of theatrical style.

Apparently I’ve come at a rather busy and exciting time with season planning, auditions for next season, workshops, and of course the three remaining main stage productions in this season. If this is only my first week, I can’t imagine the rest of my time at Woolly! "

Keeping Watch on Vigils

2007-01-04T14:16:00.000-08:00

On January 2nd, the cast, director, playwright and design team of Vigils by Noah Haidle gathered for the First Read of the play. Woolly's staff, Board and Show Sponors were all invited. To the left, you can see images of the set model by Dan Conway.

Board Member and Club Woolly Member Mark Aron was on hand to witness this kick-off of the Vigils rehearsal process.

"I am always amazed at what a rich theatrical experience a reading can be. Of course, that is probably because Vigils is so wonderful a play and when you add a superb cast what can you expect. Vigils is a many layered play. It is about grieving for someone lost, in this case a dead husband but the theme is more universal. It is about the awkwardness of dating at a stage in life when you think dating is a thing of the past. It is the story of women but it is also the story of lonely older men who seek desperately for one true love. It is sad. It is funny, and it is real. Each character is well defined and even without scenery and a lot of preparation the acting is superb. I found myself rooting for a happy ending because the characters are so sympathetic but who knows what the final production will bring."

Admit it. Woolly makes you feel good.

2006-12-04T09:02:00.000-08:00

As you know, tonight is Woolly's Company Holiday Party. (Hope to see you all there!) In honor of this occasion, today we're bringing you a message from Production Manager, Brian Smith. As you can see, Brian made a very special appearance at our holiday party last year. Who knows what's in store for us tonight...

Did you ever wonder why Woolly Mammoth makes you feel all giddy inside? The fantastic plays? Of course. That sweet new theatre? Definitely. The crazy and beautiful staff? No doubt. But there might be another reason why Woolly Mammoth fills you with that special something. I recently had the pleasure of chatting with Shaligram Shukla before the opening night performance of Martha, Josie & The Chinese Elvis. Mr Shukla is an Associate Professor of Linguistics with research interests in Indo-European, Comparative Amerindian and Anthropological Linguistics at Georgetown University. He told me of a more interesting reason we find Woolly Mammoth appealing:

"The following is the impression that the phonetic makeup of the name Woolly Mammoth creates in a mind sensitive to the beauty of sounds:

The vowels and consonants involved in the articulation of the name Woolly Mammoth are all continuant sounds in which the air-stream escaping through the mouth never stops. This process of continuous creation of sounds gives a sense of unity to the entire name which is not only aesthetically pleasing but which also has the beauty of ease of articulation, and along with its enigmatic semantics, adores the name 'Woolly Mammoth' with a charming acoustic image. "

Now, when you're done whispering "Woolly Mammoth" to yourself to test out its aesthetically pleasing airstream, put on your party shoes and come down to Woolly tonight!

Was Your House Clean for Thanksgiving?

2006-11-27T09:15:00.000-08:00

A few words from the fabulous Linette Hwu, Club Woolly Member and Board Member extraordinaire:

Hi everyone. I hope you all enjoyed a happy and stomach-filling Thanksgiving. I'm sorry I missed you all at the last Club Woolly Night; I was on my way to NYC for something of a Woolly field trip on Saturday, November 18th. A group of 16 of us, including Artistic Director Howard Shalwitz, Managing Director Kevin Moore and, treat of all treats, Guenia Lemos, gathered at Mitzi E. Newhouse Theater that afternoon to see the Lincoln Center production of The Clean House, by MacArthur genius Sarah Ruhl, also the playwright of our last production of this season, Dead Man's Cell Phone.

As you probably know, Woolly's second production in its new space was The Clean House, in July 2005, a huge success in every imaginable way (including two Helen Hayes awards! -- Outstanding Resident Play and Outstanding Supporting Actress in a Resident Play (for Franca Barchiesi)), in which Guenia delivered what The Washington Post called "a beguiling central performance" as Matilde, the Brazilian maid who would rather work on coming up with the perfect joke than clean the house of her employer, a successful doctor named Lane (Woolly company member Naomi Jacobson in our production). It turns out that Lane's sister Virginia (Woolly company member Sarah Marshall, now playing Martha in Martha, Josie and the Chinese Elvis) *does* like to clean, and well... I won't reveal the plot in case anyone has yet to see this fantastic play.

So it goes without saying that it was truly special to see the Lincoln Center production with Guenia. And it was so interesting to see how another director, cast, set designer, etc. took on this play that I loved so much at Woolly! Outside of Shakespeare, I've not had many opportunities to see different productions of the same play, but I think it might become a new hobby. Anyway, I'd have to say that I much preferred our production, and that seemed to be the consensus in our group. Yeah, yeah, we're biased, but for me -- I'll let others who were in the group comment in response -- the fact that the stage is on the same level as the first row of seats and the rest of the seats go up from there really changed the experience. I didn't like looking down on the action, and I didn't like that the balcony scene in the second act is basically at eye level. Plus, the stage is a circle, with the seats around it in kind of a horseshoe, which means that there's always someone in the audience who can't see the facial expressions of one of the actors on stage.

Also, for me the play is very much a play about two sisters. Lane and Virginia have their differences and are competitive with each other, but at bottom there's a bond between them that will survive through thick and thin. I think because I am one of two sisters I could really understand the relationship between Lane and Virginia that Sarah Ruhl captures; it and they felt completely believable to me. And so it was quite a disappointment not to feel that same energy and emotion between the Lane and Virginia of the Lincoln Center production (played by Blair Brown and Jill Clayburgh, respectively).

In fact, I'd say that was the major flaw of the Lincoln Center production overall -- a comparative lack of energy and emotion. I wouldn't say I'm a particularly sophisticated theatergoer; instead, I'm happy with my night out if I feel really drawn into what's happening on stage. I did not feel engaged and invested in the Lincoln Center production at all, so I was quite surprised to find myself shedding tears at the end of the play! I think that speaks to the strength of the play and Sarah Ruhl's writing.

So I would still recommend this production. Especially for anyone who didn't see our Clean House, it is a good use of a couple of hours, and I personally don't think I'll pass up any chances to see Sarah Ruhl's work. If you go see it, let us know what you think! And get psyched for Dead Man's Cell Phone -- I am!!!

(Photos: Woolly's 2005 Production of The Clean House, top right, Guenia Lemos, left: Naomi Jacobson & Sarah Marshall, bottom Guenia Lemos & Naomi Jacobson)

Catastrophes All Around!

2006-11-21T12:34:00.000-08:00

Chris Babb is back today with his take on the second Club Woolly Happy Hour...

"It was great seeing everyone at Club Woolly on Friday night. We all had a chance to chat with Tiffany Fillmore (Louise), Kimberly Gilbert (Brenda-Marie) and Beth Hylton (Josie). Thanks guys for taking the time before the show to visit with us!!! So what did you all think about the show? It made me want to go ice skating, but I do not know how I would look in Brenda-Marie's skating costume. Now there is a frightening image. Well I am off to Charleston, South Carolina for the Holiday....I think I'll ask Jenn Sheetz, our Properties Master, what is into those green cocktails everyone is drinking on stage, to make sure the trip is smooth sailing. Hope you all have a wonderful Thanksgiving.

Woolly Trivia: Kimberly Gilbert is the newest member of our Acting Company.

Woolly Trivia Question: Who else in the show is also a member of the Acting Company?"

...And for those of you who want to try out that green concoction at the big family Thanksgiving here's what's in a Catastrophe according to idrink.com:

Catastrophe Recipe

Ingredients:

1 cup Blackberry Liqueur
1 can Pineapple Juice
2 cups coconut Rum
2 cups Rum
2 cups Vodka
1 gallon Hawaiian Punch

Directions:Mix all ingredients in a punch bowl; add ice. Serve into cups when chilled.

Enjoy! And if you try it--let us know how it was!

Martinis, Babb & The Chinese Elvis

2006-11-15T06:54:00.000-08:00

Today, we have a few words from the remarkable Chris Babb. For those of you who don't know Chris--you should! He started out years ago as a staff member here at Woolly and then came back for more as a Board Member--more importantly, he's a man who knows his Elvis impersonators--(and his martinis!) Here's what he has to say about how he spends his Friday nights:

Last Friday was VIP night for Martha, Josie and the Chinese Elvis. What can I say besides it is a fantastic, funny show?!? Now maybe it was the two martinis I had beforehand, but this show has a big heart and it wears it on its skirt, and yes I said skirt and yes that would be a man wearing the skirt. What else would you expect when an aging dominatrix turns forty, wants to retire and a good client throws her a birthday party? Oh, did I forget to mention the Chinese Elvis, who of course is not Chinese but Vietnamese and needs cue cards to sing songs? And oh, don’t forget the surprise guest! These are not martini driven hallucinations but a sweet endearing show that feels like an early holiday gift, Christmas tree and snow included. The set is fantastic, probably to the best I have seen since we moved into the new space last season. I had a long talk with Hana, Woolly’s Technical Director, after the show and she said it was a real challenge to pull off. Congratulations to the Production Staff. It was great to see Sarah Marshall on stage once again keeping things clean and Kimberly Gilbert was adorable as Brenda-Marie the girl who dreams of becoming a professional figure skater. Hey, who has never dreamed of becoming a professional figure skater, I know I have. I am going back to see the show on Friday, for Club Woolly Night. Hope to see you there…I’ll be the one outside the theatre, martini glass in hand.

"Faking It" by Hana Sellers

2006-10-23T12:41:00.000-07:00

For today's post, we asked Woolly's Technical Director Hana Sellers to tell us a little about what was going on downstairs in the shop. Martha, Josie and the Chinese Elvis opens November 12, (Club Woolly night is November 17th), so the shop is in full swing getting everything ready. Over here to the right you'll see a picture of the model built by set designer, Dan Conway. The set model is an integral part of the process and helps the set designer and Technical Director communicate more clearly about the look and feel of the set. Most set models are done in 1/4 inch scale and often in black and white. This one is unique because it's larger, (1/2 inch scale) and in full color. Looking at it up close is just like looking into a child's dollhouse. It's a pretty amazing work of art in and of itself....but enough about the tiny wonder. Here's Technical Director, Hana Sellers talking about how they're going to make the "real" version of this and about why you might not want her to visit you at home:

"Tudor timbers, brickwork, wainscoting, and wallpaper, are all elements of a realistic interior. The set for Martha, Josie and the Chinese Elvis has all of these elements and more. At Woolly realism is fake. We work with some offbeat materials to build our fake “real” house. Our Tudor timbers look like 6 x 6 beams, but they are actually steel skeletons with a veneer board cover. Our brickwork is made from split thicknesses of Homosote. I have to admit, I do not even know how Homosote is used in the real world (I think it might be some sort of insulation). Our wainscoting is milled in the scene shop by our dedicated carpentry staff. And our wallpaper is fabric wrapped around theatrical flats.

It takes a good deal of research to make our fake set look real. I spend weeks pouring over books, the internet, and the architectural elements in my world to work out the details. I visit my friends and linger over the details of their stairways or the slope of their roof. My kid finds me measuring the windowsills at our house. I draft details over and over until they look as authentic as possible. And then I head out for the store to see how we can construct them.

At Woolly, though, there is always more than just realism. There’s “Woolly Magic”, the special effects work that we turn our attention to once our house is completed. The magic can be the hardest work that we do, but it is also the stuff that makes us smile!"

We're going to stop Hana here so she doesn't spoil the Woolly Magic for you in this show...you'll just have to check out that part for yourself.

Getting Your Woolly On

2006-10-16T08:47:00.000-07:00

A message from Artistic Director, Howard Shalwitz on the Club Woolly Kick-Off Happy Hour:

"There was a special electricity in the air at Woolly Mammoth last Friday as artists and audience members met and mingled at the first Club Woolly Happy Hour. This exclusive pre-show event was the Kick-Off for a year’s worth of fantastic Club Woolly events. GET YOUR WAR ON creator David Rees arrived in town Friday afternoon and headed straight to the theatre. Along with the show’s director, Shawn Sides, and the five performers of Rude Mechanicals, they all stopped in for a beer before the show started. Club Woolly members and their guests had the unique opportunity to share some one on one time with these remarkable artists. After the performance, David and Shawn joined me for a terrific onstage discussion, talking about how David first started creating his now-legendary comic strip, how the Rude Mechs got involved. Since this was David’s first time seeing the production, it was fascinating to hear his reactions about how the show translated from the page to the stage. (Fortunately he loved the show!) I could not be more thrilled with the start of the Club Woolly program. It’s going to provide some unprecedented opportunities for its members as well as enriching experiences for Woolly’s artists."

Woolly decor featured at the National Building Museum

2006-10-10T10:23:00.000-07:00

Woolly's cutting-edge nature isn't limited to the new and challenging art on its stage. I was proud to see that the National Building Museum's cool exhibit on sustainable living "The Green House" featured the same countertops used on the Woolly box-office. From a distance they may look like stone, but next time you pick up your ticket or buy a candy at our concessions, look closely -- the countertops are really made of recycled aluminum shavings and clear resin. Who knew mammoths came in green?

Exclusive Happy Hour with David Rees

2006-10-05T13:33:00.000-07:00

p.s. the pre-show happy hour with david rees is a club woolly exclusive! anyone want membership information??? ;)

The Rude Mechs & a Trip to SF

2006-10-05T13:20:00.000-07:00

ooh, that sounds so fun. just after thanksgiving, my boyfriend and i will be going on the trip i bid on and won during the live auction at woolly's 2006 benefit (THE YEAR OF THE MAMMOTH) -- to san francisco -- so i will make sure to report back on what shenanigans we get up to. not sure if you recall, anthony, but i was the one who stuck with you the longest during the bidding on that nyc trip... obviously, i couldn't keep up, which made me all the more determined to win the san fran trip! just a little good-natured ribbing between club woollies :)

in other club woolly news, the inaugural club woolly event takes place tomorrow night, friday, october 6th, when we all attend that evening's performance of GET YOUR WAR ON by the rude mechanicals. from what i understand (i know i should be more on top of my entertainment), they've adapted an online comic strip created by david rees, who will actually be at woolly in the flesh, signing copies of his books and hanging out with us all the while. pretty cool, eh?

so i'll see you there... and back on the blog after that!

New York, the Club Woolly Way

2006-10-05T11:24:00.000-07:00

No, your favorite theatre hasn't moved! At the last Woolly Gala I won a trip for four to New York to see theatre, eat good food, and attend a taping of The Daily Show. On Sept 21 my girlfriend, two friends and I set off for a weekend of food, drink, drama, and Jon Stewart.

We stayed in the cool retro-modern Hotel QT, at Times Square in the middle of the Theatre District. Our Daily Show tickets were that evening. It was fascinating to see how the show is put together and the warm-up comic was pretty funny. Stewart himself also talks to the audience before the show and explains things as the taping goes along. We all were surprised how small the set is -- things really do look bigger on TV.

Over the next two days we saw several more plays. We'd arrived for the New York Musical Theatre Festival, where 30-odd budding musicals perform rough stagings in small theaters. Highlights included Smoking Bloomberg, a show about a dry cleaner angry at the city's mayor for the smoking ban's effect on her buisness.

We also saw two fully staged plays. The silly energetic Altar Boyz is a satire about a Christian boy band (with one Jewish member), lighter than helium but great for kicking off a fun Friday night. Playwright's Horizons has a fantastic production of Bruce Norris's The Pain and the Itch, a brutal yet hilarious play about a Thanksgiving dinner gone horribly wrong into disease, infidelity and death. Gee, doesn't that sound like the kind of play we need at Woolly?

With a grueling entertainment schedule we needed frequent eating and drinking to replenish our chi. As part of our auction package we enjoyed the tasting menu at Cité, with champagne and three wine courses paired with the food. Cité mixes good cooking and attention to detail with a relaxed attitude and generous pours.

The tasting menus, vegetarian and omnivore, at Devi on 8th Street, offer a parade of beautiful distinctive dishes (Mongolian Cauliflower, yum). Bond 45, just up the block from Hotel QT, is a warm, lively Italian restaurant meant for big groups with what may be the best antipasto selection in the city (roasted cipollini, yum).

Finally, a shout out to Little Branch, an old-school bar in the West Village where the cocktails are exotic and exacting. Fresh ingredients complement fine recipes. The perfectionism extends to the ice, made of filtered water in different sizes to match different drinks: a single slow-to-melt block in an Old Fashioned, tiny crisp pellets piled high in a Queen's Park Swizzle. Intoxicating yet refreshing. Get there early - like all the best bars, it's small.

I'm looking forward to my next Club Woolly Adventure!