photos provided by: Working Man's Clothes
When I was asked to come see the Working Man's Clothes' production of "Penetrator" (directed by Jeremy Torres) at the American Place Theater, I have to honestly say I was a bit leery. Not because I'm not into the theater or because I feared boredom but mainly because I a) don't get a lot of theater companies interested in Anti-Mag, b) I feared bad acting, c) I feared an uncomfortable amount of sexual deviancy and abstractness, d) I had no idea what to expect from an indie theater company. So, my ignorance has proven me wrong a whole lotta times and I said, "You know, you could be pleasantly enlightened."I was. Not only was "Penetrator" brilliantly acted, but the subject matter was just edgy enough to feel a bit uncomfortable but then funny enough to put you at ease and understand what the story was about. I'm not a real theater buff and the one Broadway production I went to see bored me to tears, but like any art I like, if it moves me then I love it. "Penetrator" moved me. It was angry enough, provocative enough, and funny enough for me to enjoy. I was truly impressed by actors, Jared Culverhouse, Michael Mason and Cole Wimpee. They are superb performers and what stood out the most for me was their ability to represent truthfulness and realness to their characters.
The award winning Working Man's Clothes' Production is an indie stage production company which lends itself to playwrights, directors, actors, and producers who are passionate about their craft. I love that they create an intimacy with the audience. There's nothing pretentious about them. They are dedicated people with one goal...to bring quality theater to the masses and to do it well. What I love most about them is that they care about the community and everyone is involved in the work that gets put into the productions. It's a place where these types of people can showcase their talents in truth and sharing together to create something that is true art. They work very hard and it shows. I highly encourage anyone visiting or living in the New York area to attend one of their productions. For a small admission you will receive a well-crafted show and feel good about it!
How did Working Man's Clothes come about and its relationship with the American Place Theater and do you work with other theaters?
Two Texan transplants and old friends, Isaac Byrne and Jared Culverhouse spawned the idea for a theatre company in January 2005 over drinks at the Four Faced Liar in the West Village, within weeks Maggie Hamilton, David Carr-Berry, and Bekah Brunstetter became founding members and we formed a vision for a company that produces original, essentialistic theatre without any limits on a social/political agenda.
Our relationship with American Place Theatre is as tenants and volunteer labor forces. There is no creative connection between the two but there is a great deal of respect for the legacy of edgy and innovative work they have created over the years and we consider ourselves lucky to work from their home base.
The company has branched out and produced shows at Under St. Mark’s, Jimmy’s No. 43, The Red Room – all in the East Village – as well as the Ohio Theatre in SoHo. In addition, Working Man’s Clothes was the evolve artist guest at Galapagos Art Space in Williamsburg where we presented ‘fuckplays’ – a festival of sexually illicit short works.
How do you all feel you stand out as a production company?
We value bold and direct choices. The projects we choose to undertake, though varying perhaps in style and form, all share a common denominator: they originate from a need to take risks and push ourselves and maintain a quality of essential storytelling. In New York City, small theatre companies come and go. We are proud of the work we’ve produced and plan to continue giving life to the stories we like.
We feel people appreciate our plays and are genuinely affected by them. We hope to continue in this tradition.
You all deal with some edgy material...what's the reaction from the audience usually like?
Some audiences don’t want to be challenged in the theatre, but entertained. Our work is not for everybody. The patrons, however that continue to seek us out, are looking for edgy material, risky or challenging experiences in theatre. We are doing shows for them. We’ve evoked a wide variety of physical and emotional reactions from our audiences. People laugh. Hard. People Cry. People squirm in their seats. People gasp. People pull back and lean in. We’ve had a small number of people vomit – although that is not something we are emboldened by. Not all of our work is subversive and while our audiences enjoy that thrill ride that comes with tense or wicked theatre such as ‘Penetrator’ or ‘fuckplays’ we also provide the occasional palette cleanser like ‘Many Worlds’ or ‘To Nineveh’ which are less about shock and more about beauty in theatre. Either way, shocking or beautiful, we challenge them to see the world differently and in that vein we succeed.
Do you feel you have an advantage being a more intimate playhouse?
The American Place Theatre was absolutely ideal for our most recent production of ‘Penetrator’ because of its intimacy. The play is complimented by the ‘in-yer-face’ / ‘in your lap’ proximity of the audience/actor. This was definitely an advantage because of that intensity. With all of our plays we are intent on finding the best space that fits the practical needs to suit the storytelling.
What's been your favorite production by far and why?
Our stock answer: ‘To Nineveh’ - it was our first big production and a large company cast and it just felt something like a first kiss. We stumbled, we learned, we loved it and it was beautiful.
The truth: The next one…we love the process and creating. From day one we said we would always make the next show a little bit better than the last so the ‘next’ show is always our favorite.
How are actor's chosen for these plays? Do they audition or are they "in-house"?
We have company members that include a core group of actors but we do not strictly cast from them- there are non-company actors that float in and out of our creative circle and we encourage this as we are excited by the prospect of making liaisons with other producing bodies via guest or ‘floating’ artists. That having been said, we have previously chosen material based on the individual strengths of the actors from our company and if we read a submitted play, and can see one of our core members playing a particular part the piece is given an extra leg up on the ladder for a reading or production.
How do you all go about getting an audience to come to the shows? Is this a challenge?This is every producer’s conundrum. It’s always a huge challenge to get an audience. Even when a show gets a great review and tons of press the houses can sometimes be weak. In reality most off-off shows are primarily attended by other artists, friends and supporters of the people involved in the production. If everyone involved is adamant about telling everyone they know you can easily pack a house. Word of mouth is definitely the best form of marketing in our experience. Our most recent festival ‘Fuckplays’ involved some 40 people, inside and outside WMC and ticket sales were phenomenal based on the number of people involved. We also list our productions on as many websites and in as many publications as possible, and use all the standard print marketing options like postcards and program inserts etc.
What are some future projects you all are working on?
We are throwing our Second Annual Binge Festival in September. Last year, WMC presented the first annual BINGE Festival at Jimmy’s No. 43, in the East Village. This impromptu event was so raucous and successful; we decided we had to do it again. Fifty theater enthusiasts packing into a small space while the booze is flowing and the plays are happening! It’s quite the theatrical event and one hell of a party.
This year, we’ve commissioned seven playwrights, whose work we love, to write one 10 minute play each about binging, over indulgence and hedonistic behavior however it is that they interpret it. We really enjoy these festivals they keep as many people involved and working as possible and each time we stage them, we meet some great new artists.
Our Fall Main Stage Production is ‘I Used to Write on Walls’, a New Play by Bekah Brunstetter winner of the 2006 New York Innovative Theatre Award for Best Full Length Play. WMC actually won 6 New York Innovative Theater Awards in 2006 for Bekah’s play, To Nineveh, and this writer/company that’s a match made in heaven is at it again.
‘I Used To Write On Walls’ offers 6 wonderful parts for women- we were looking for a piece that would showcase some of the ladies in our company of actors and this play will certainly display their strengths. The play is a love story about a woman named Diane, a lady cop down on her luck with love, who meets Trevor: a sexy stoner/surfer from Cali who is on a ‘totally rad’ philosophical journey. She is so swept away by his boyish antics and stunning good looks that she is willing to do anything for him: even risk loosing her job. But little does Diane know: Trevor has other liaisons up his sleeves, or lack there of. Walls attempts to accurately, sadly, and humorously portray how far the lonely lady will go for just one night with a hottie.
Do you all ever do any traveling with the productions?
Touring is not really our objective but if we had the means or invitation we’d be happy to oblige! Why you know of a gig?
If Shakespeare were alive which one of your plays would he most enjoy and why?
'Many Worlds' – it had physics, love, philosophy, adultery, psychology, religion, comedy, drama: all-in-one. And it had some fun heady word-interplay, which I think the old bard would've liked. Shakespeare was an all-the-world-in-one type of guy!
For more information on The Working Man's Clothes Productions, please visit their website or check out what's going on via their MySpace. Be sure to catch their upcoming production.
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