We define ourselves as an actor-driven theatre company, our goal being to find the fundamental joy of storytelling in both classic and new plays. For audiences, this means productions that speak to what is continually human, in a stripped-down approach that is direct, inventive, and fun. We believe in transparent theatricality as a means of making the story immediate, and we aim to create an experience that capitalizes on all of the things that theatre offers uniquely amongst art forms--namely, the fact that we’re all in a room together.
Community is theatre’s galvanizing force, and it’s our aim in performance but it’s also our aim in rehearsal. We work without an outside director, creating the piece as a company--all members of Actors' Equity with extensive experience on Broadway, Off-Broadway and in regional theatre, who are simply interested in making theatre by our own terms. All of the actors in the room have a voice in creating the production, but we do deem two of the actors in the production 'co-directors,' who are responsible for conceiving of the production and shaping the story we believe the play wants to tell. This is in order to give our company of actors freedom to play and explore within a framework, rather than be burdened by logistical considerations.
This name seems a good choice for us in part because of its simple descriptive accuracy. We're a small company, predominantly actors, making theatre on our own. And our goal in making theatre is to revel in the joy of telling a story together, and to impart as much of that joy as we can to our audiences. So we're few. But we're happy!
But to us, the allusion also carries a broader meaning. We hope to produce any play with the goal of being the lucky conduit of the playwright's story to the audience, in ways that are imaginative and resourceful. Our emblem is an arrow to symbolize our own aim to be both direct and inventive, much as Henry's forces used the weapon in a revolutionary manner to triumph on Crispin’s Day.
Ellen Adair, Co-Artistic Director
Off-Broadway: Cymbeline (Fiasco Theater/Barrow St./TFANA), What the Public Wants (Mint Theatre), Playboy of the Western World (Pearl Theatre), Romeo and Hamlet (GayfestNYC) and special events for Sleep No More (Punchdrunk). Off-Off includes As You Like It and the goodbye room (Happy Few), The Importance of Being Earnest (Titan) and Victor Frange Presents GAS (Incubator Arts). Regional: Huntington, Shakespeare Theatre DC, St. Louis Repertory, Baltimore Centerstage, Pioneer, Shakespeare Theatre NJ, Folger, Commonwealth Shakespeare, Portland Stage, Kitchen, Pennsylvania Shakespeare, American Shakespeare Center, Lyric, SpeakEasy, New Repertory, Publick. TV/Film: recurring roles on "Billions," "The Slap," "Veep," "The Family," and "As the World Turns," along with "The Blacklist," "Nurse Jackie," "Brotherhood," "I Love You But I Lied," "God in America," and PBS films about Louisa May Alcott, Louis Brandeis, John Audubon. She holds a B.A. in English and Theatre from Boston University. www.ellenadair.com
Eric Gilde, Co-Artistic Director
New York acting credits include The Nosemaker’s Apprentice (Terrible Baby), The Tempest (Porpentine), Edgewise (Cherry Lane Studio), and Wedding Pictures (EST), as well as readings and workshops at The Public, Primary Stages, The Lark, and Youngblood, among others. He has also performed extensively outside of New York, including productions at The Repertory Theatre of St. Louis, Pioneer Theatre Company, Syracuse Stage, Weston Playhouse Theatre Company, Gulfshore Playhouse, Virginia Stage, The Kitchen, and The Edinburgh Fringe Festival. Eric is co-artistic director of Happy Few Theatre Company , and is the author of the full length play the goodbye room, which is published by Indie Theater Now. He holds a B.A. and M.F.A. from Yale University.
Nat is an actor, director, musician, and horror playwright. He has appeared in television shows such as "The Following" (Fox), "The Affair" (Showtime), "Red Oaks" (Amazon) "High Maintenance" (HBO), as well as on stage in numerous productions and workshops both Off- and Off-Off-Broadway. Nat's plays have been nominated for a combined total of 17 New York Innovative Theatre Awards, including 3 times for Outstanding Full-Length Script (which he won in 2009, and in 2011 for Outstanding Solo Performance). His work has been seen throughout the country and has been published by Samuel French, Smith & Kraus, NYTE, and Applause Books, and he is a bestselling playwright on the "iTunes for Plays," Indie Theatre Now. In 2012 Nat was commissioned by The Kennedy Center to write the libretto for a world-premiere opera (about the end of the world, natch); and in 2014 his play Any Day Now was chosen to be part of Primary Stages' ESPADrills (The Duke Theatre, directed by Moritz von Stuelpnagel). www.natcassidy.com
Craig Wesley Divino
NYC: Doctor Faustus, Frogs, From White Plains, The Hitchhiker’s Guide to the Galaxy, Breathing Time, At the Table (Faultline Theatre), Destiny and The Little Man (Nightcap Riot); Love’s Labour’s Lost, A Midsummer Night’s Dream, Much Ado About Nothing, As You Like It (Shakespeare at the Manor); Two Noble Kinsmen (Guerrilla Shakespeare Project); The Tragedy of Cardenio (Braintrust Theatricals); Romeo and Hamlet (GayFest). Regional: Cincinnati Playhouse in the Park, Tennessee Shakespeare Co, Kitchen Theater, SpeakEasy Stage Co, Chautauqua Theatre Co, Trinity Rep. Film/TV: The Automatic Hate, Girlfriend (Twelve34 Films); "American Genius" (NatGeo). Craig teaches acting around NYC and is visiting faculty at Xavier University in Cincinnati, Ohio. He is co-founder and co-Artistic Director of Fault Line Theatre, an off-Broadway company. BA Cornell University, MFA Brown University/Trinity Rep.
Bethany Kay, Managing Director
Bethany is an actor, singer, model, improviser, clown, Jersey girl, and producer. She is a graduate of The PIT for improv and has an MFA in Acting from The New School for Drama. TV credits include "Boardwalk Empire," and "Difficult People." www.BethanyKayActor.com
Broadway: Long Day's Journey Into Night. Off-Broadway: Once Upon A Mattress (Transport Group), A Time for Singing (York Theatre: Musicals in Mufti). Regional: Les Miserables (Pioneer Theatre, Duluth Playhouse), A Christmas Carol (Hartford Stage) The Last Five Years (Cape Cod Theatre Co.), Damn Yankees, Lend Me a Tenor, and Born Yesterday (Monomoy Theatre). Proud member of AEA. Graduate of Interlochen Arts Academy and the Hartt School.
Patrick recently appeared in Fiasco Theater's acclaimed production of Into the Woods at The Roundabout Theatre in New York (Lortel Award for Outstanding Revival) as well as in London at the Menier Chocolate Factory. Other performance credits include: Fiasco's Cymbeline (Barrow Street, TFANA); Bum Phillips All-American Opera (La MaMa); As You Like It (Happy Few Theatre Company, NYIT Award Nomination); Fiasco’s Into the Woods (McCarter, Old Globe); Cabaret and Importance of Being Earnest (Trinity Rep); Chain of Fools (Guthrie). He has developed work with Tectonic Theater Project, TFANA, Fiasco, Lark, New Georges, and at the O'Neill Center (NMTC). Patrick received his MFA in Acting from Brown University/Trinity Rep. Other training includes: Moscow Art Theatre (NTI), Oberlin College (BA), and Guthrie Experience for Actors in Training (GEx 13). Patrick was recently invited to become a member of The Actors Center.
Anna is an actor, writer, and literary manager. She has appeared on, off, and off-off Broadway (favorite credits include Tom Stoppard's Rock 'n' Roll, Second Stage's Eurydice, Labyrinth's The Way West, and Christine Jones' site specific installation Theater for One) as well as regionally at Syracuse Stage, the Guthrie, Weston Playhouse, and NJ Rep, among others. A lover of new work, Anna has participated in copious readings and workshops with Sundance, P73, NYTW, New Dramatists, the Lark, the Inge Festival, Playwrights Horizons, Seven Devils, PlayPenn, the O'Neill, etc. Film/new media includes: Funny Bunny; Compulsive Love; Bait; Crickets; The Last Great American Webseries; Stochasticity. Anna is also a company member of Lesser America, Morgan Gould & Friends, and a frequent collaborator with The Representatives. She is a graduate of the Juilliard School.
Michael is also a resident company member of Titan Theatre Company at the Queens Theatre, a company artist of the WorkShop Theater, and a founder of Playsmiths (a playwright development workshop in NYC). NYC: Twelfth Night, A Christmas Carol, King Lear, Romeo and Juliet, The Taming of the Shrew, and Henry V (TITAN Theatre); Daughters of the Sexual Revolution, The Winter's Tale, and A Requiem for Sherlock Holmes (WorkShop Theater); Brilliant Traces (Winter House); Chain Reaction, The Town of No One (Playsmiths/The Fringe). The Seagull, Merry Wives of Windsor (Hudson Warehouse); I, Carpenter and Violins (Manhattan Theater Source); Milan: Hamlet (Teatro Franco Parenti). Film: The Sheol Express, True Love. You can like him on Facebook, follow him on Twitter and/or learn more at www.michaelselkirk.com.
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Alexander is an accomplished actor/musician/composer whose NYC credits include Cyrano de Bergerac (Broadway with Kevin Kline), multiple productions with Red Bull Theater, Theater for a New Audience, The Public's Shakespeare In The Park, Atlantic Theater Co, and the Classical Theater of Harlem. Alexander's regional credits include the Actors' Shakespeare Project, Walnut Street Theater, Shakespeare Theater of NJ, American Shakespeare Center at the Blackfriars Theater, The Wharton Salon, and many seasons with Shakespeare & Company. Alexander has also performed the title role in Hamlet at the Franco Parenti Theater in Milan, Italy as well as in NYC at Teatro Circulo when the production was revived in the USA. Alexander's speciality is the music and sounds of Shakespeare's plays and he teaches workshops on the subject at various theaters and universities including the Shakespeare Theater Company's graduate acting program, the Academy for Classical Acting at George Washington University in DC. For a good time, check out www.AlexanderSovronsky.com.