Collaborative Stages


Posted by collaborativestages on July 8, 2011

Daniel Packard’s


A New Interactive Comedy

Saturday July 9 – 8:00pm
Tuesday July 12 – 8:00pm
Arrive at 7:30 pm

The Directors Studio
311 West 43rd St, 4th Floor
(near 8th Ave)
Subway to 42nd St: 1,2,3,7,N,Q,R,S,A,C,E


The smart & sexy comedy that gets you more of what you want in dating, love and sex. National romance expert, Daniel Packard, shares his own hysterical “I can’t believe that really happened” cautionary love tales to create this dynamic, and thought provoking new comedy.

Audiences share their inner most thoughts and participate via their cell phones with live interactive texting and polling. Experience a live in-theatre social network created with innovative technology. It’s a secret revealing, myth busting joyride that inspires the audience to laugh, learn, and unleash the sexy beast within.

“Laughing Away Dating Dilemmas!” – TIMEOUT NY

“Hilarious and Insightful!” – VANCOUVER SUN


RSVP for FREE Tickets:


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Orpheus & Euridice by Ricky Ian Gordon – June 2nd-12th, 2011

Posted by collaborativestages on May 16, 2011

The Orpheus Project


Collaborative Stages


Orpheus & Euridice

By Ricky Ian Gordon

“Masterpieces of the 21st Century” – Opera News

(New York, NY) Collaborative Stages and The Orpheus Project are proud to announce a new production of Ricky Ian Gordon’s Orpheus and Euridice.  Directed by Brian Letchworth, this staged production of the popular song cycle will run June 2-12, 2011 at the Duo Multicultural Arts Center in Manhattan. This co-production of Orpheus and Euridice will be the first New York City production of this beautiful song cycle since it’s premiere at Lincoln Center in 2005.

Completed in 2001, Ricky Ian Gordon’s hour-long song cycle Orpheus and Euridice is the most recent interpretation of the Orphic myth by a major composer. The text, which he wrote himself, is at once timeless and highly personal. The music is epic in scope while still maintaining the blend of modern art music and popular musical theatre for which Mr. Gordon is so well-known. In his setting of the tale, told by the soprano as she recounts a dream she had, Orpheus is represented by the clarinet, who speaks in music through his instrument. Labeled by the composer as a dramatic song cycle, Orpheus and Euridice was intended to be presented not only through music, but also through movement and stagecraft.

Orpheus and Euridice features an impressive ensemble of talented musicians: Heather Dudenbostel, soprano, Ryan Dudenbostel, clarinet and Jad Bernardo, piano.

Orpheus & Euridice is directed by Brian Letchworth and produced by Sarah Jane Arnegger for Collaborative Stages.  The Production staff includes Dan Jobbins, Lighting Designer; Zhuojie Chen, Video and Projection Designer and Gabriella Senatore, Assistant Stage Manager. The Production Supervisor is Griffin Parker.

MEET THE ARTISTS: There will be a talkback with composer Ricky Ian Gordon and the performers following the 8:00pm performance on Thursday, June 2.

Orpheus & Euridice opens Thursday, June 2 at 8pm and runs June 3, 4, 9, 10, and 11 at 8pm and June 5 and 12 at 3pm.  All performances will be held at The Duo Multicultural Arts Center located at 62 East 4th Street (between Bowery and 2nd Avenue) New York, NY.  You can reach the theatre by taking the 6 Train to either Astor Place or Bleeker Street.  Tickets to Orpheus & Euridice are $20 and can be purchased by visiting  A limited number of tickets will be available one hour before each show at the box office.  Discounts and groups rates are available. For more information please call 631-678-7839 or visit


Founded by Sarah Jane Arnegger (Executive Director) and Brian Letchworth (Artistic Director), Collaborative Stages is dedicated to establishing an active and ever-evolving environment that fosters innovative theatrical collaboration. Producing revivals and original works, Collaborative Stages challenges artistic boundaries, cultivates an ensemble spirit, and promotes dynamic dialogues between artist and audience.

Our company is committed to the work of the Ensemble and the advancement of the collaborative arts.  There are hundreds, if not thousands, of small, fledgling theatre companies with a wide variety of goals and missions. We could spend hours and days, weeks and months pondering over how to be unique, how to stand out, but rather we’ve chosen to go with our gut instincts and let this organization develop into something on its own. There are far too many limitations in this world – why should we begin with an agenda that’s too rigid and defined?

The essence of Collaborative Stages is that we are seeking new and innovative ways to encourage and promote collaboration. Theatre is a team sport. It is collaboration. We strive to create an organization that ultimately highlights, encourages and fosters that sort of work and that seeks new and pioneering ways to create compelling, interesting, dynamic theatre. Our emphasis in on the theatre itself: The people involved and the work they do – they are our focus. Collaborative Stages is a sponsored project of Fractured Atlas, a non-profit arts service organization.


The Orpheus Project began over Thanksgiving dinner in 2008. Ryan and Heather Dudenbostel were hosting their first holiday meal in New York City that evening, and among the guests was the clarinetist Todd Palmer, who casually mentioned a piece for clarinet, soprano, and piano that he had commissioned from the composer Ricky Ian Gordon some years earlier. The following week, Todd gave the couple a copy of the recording of Orpheus and Euridice he had made with soprano Elizabeth Futral and pianist Melvin Chen following their performances of the cycle at the Lincoln Center Festival in 2006. Heather and Ryan listened to it together, and were immediately captivated, both by Gordon’s stunning music, but also by his intimate and highly relevant text. Form there The Orpheus Project was born.


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Passing Fancies : Cherry Bomb

Posted by collaborativestages on June 26, 2010

So, I went to see The Runaways with some friends. To start, I wasn’t very impressed by the movie overall. It was enjoyable, but a second rate biopic in my opinion. The part I did really enjoy was the music. I didn’t know too much about the band or their music going into it, but by the end of the movie I was downloading Runaways’ songs on my iPhone. The only Runaways’ song I knew was “Cherry Bomb” and I hadn’t heard it in a really long time. However, once I left the movie it was in my head for the next three weeks. So I am spreading the joy and the agony of this catchy song to a greater audience. Below is a video of the band playing “Cherry Bomb” in Japan!

‘Til we meet again,


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A Shamelessly Unauthorized Parody of The Breakfast Club

Posted by collaborativestages on June 22, 2010

Collaborative Stages


A Shamelessly Unauthorized Parody


The Breakfast Club

One Night Only!

Friday, June 25th @ 9:30pm

Conceived and Directed by

Brian Letchworth & Griffin Parker

You’ve seen the movie.  You can quote the Lines.

Now come check out everyone’s favorite 80’s teen classic…with a twist!

Claire, Andrew, Brian, Allison and Bender find themselves forced together again at

New York’s famous Duplex Cabaret Theatre.  Find out what happens

When this fantastic five stop being polite and start getting FIERCE!


Megan Sass

Jordan Levin

Tim Williams

MacKenzie Mott

Jeff Greenberg

Griffin Parker

Advance Tickets $15.00 + 2 Drink Minimum

Day Of Tickets $20.00 + 2 Drink Minimum

Must be 21 or older to attend

To purchase tickets please visit

The Duplex Cabaret Theatre

61 Christopher Street @ 7th Avenue

Take the 1 train to Christopher Street

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Word of the Week : Tincture

Posted by collaborativestages on June 17, 2010

TINCTURE : /tiŋ(k)-chər/


1 archaic : a substance that colors, dyes, or stains
2 a. a characteristic quality : cast b : a slight admixture : trace <a tincture of doubt>
3 obsolete : an active principle or extract
4 a heraldic metal, color, or fur
5 a solution of a medicinal substance in an alcoholic solvent

‘Til we meet again,


“tincture.” Merriam-Webster Online Dictionary. 2010. Merriam-Webster Online. 30 May 2010


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Word of the Week : Howler

Posted by collaborativestages on June 10, 2010

HOWLER : /hau-lər/

noun. a humorous or ridiculous blunder

‘Til we meet again,


“howler.” Merriam-Webster Online Dictionary. 2010. Merriam-Webster Online. 30 May 2010


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A Shamelessly Unauthorized Parody of The Breakfast Club!

Posted by collaborativestages on June 8, 2010

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Word of the Week : Quandary

Posted by collaborativestages on June 3, 2010

QUANDARY : /kwän-d(ə-)rē/

noun. a state of perplexity or doubt

‘Til we meet again,


“quandary.” Merriam-Webster Online Dictionary. 2010. Merriam-Webster Online. 30 May 2010


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Spark : Everything Old is New Again

Posted by collaborativestages on June 2, 2010

Not long ago I was watching the movie All That Jazz and remembering how amazing it is. All That Jazz, is a movie written, directed, and based on the life of Bob Fosse. Starring Roy Scheider as the Fosse-carbon-copy, Joe Gideon, Jessica Lange as the mysterious maternal-figure, Angelique, and Ann Reinking as Kate Jagger, the adoring girlfriend of the philandering Gideon, this movie is filled with all of drive, decadence, and destruction that always seems to be the story of great genius. This movie is an injection of pure passion, creativity, and excitement. My favorite part is a dance between Gideon’s daughter and Kate Jagger to Peter Allen’s “Everything Old is New Again”. This dance exhibits Fosse’s ability to present movement that looks so simplistic, but bears the depth and complexity of a true artist.His style, much like the man himself, embodied a contradiction. A contradiction I just can’t get enough of. This dance just keeps you fixated and smiling. It is so good!  I hope you like it!

‘Til we meet again,


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10 Questions for our Collaborator : Jordan Levin

Posted by collaborativestages on May 31, 2010

Name: Jordan Levin

Shows with CS: Deflowering Waldo

Characters: Waldo

1. Where are you from originally?

I am originally from Valley Stream, Long Island, NY.

2. What do you consider to be your favorite theatrical experience and why?

This might sound kind of creepy, but it was super intense.  I was doing Spring Awakening, the original play by Wedekindt at school (SUNY Buffalo).  I was playing Moritz and I was having a bit of trouble with the monologue at the end just before he commits suicide.  I needed to get to a very intense place and I was just didn’t know how to get there.  I did the monologue a few times and just kept getting more and more frustrated with it.  Finally I just told my director, Kate Loconti, that I needed some serious help.  She came up to me in private and handed me a boxcutter, told me to put it in my pocket and make sure nobody knew that I had it.  I took a moment and started the monologue again and it was the craziest rush of emotions I’d ever felt onstage.  The moment she gave me was so powerful and I will never ever forget it.

3. If someone gave you access to all the money and resources you could ever need to do any show in the world, which show would it be and why?

I’ve always loved The Pillowman.  Despite having all the money and resources, though, I honestly think that I would make it a very low budget, bare bones style production.  I’ve always loved watching plays that have very minimal sets so that the focus is brought to the action.  I recently saw a production that had a prefectly beautiful set that almost became another personality in the production, but it remained very simple and to the point.  I hate it when sets outdo the production.  Or I would just put on a staged version of Iron Man 2.  I joke I joke.

4. What was your favorite toy as a kid?

I had a bunch of favorite toys as a kid.  All of them involved Power Rangers.  I love the zords, the big robots that would transform and connect to each other to make a bigger robot.  I could spend hours just changing them back and forth.  I miss those toys.  They don’t make them like they used to.

5. What is your favorite word?

Bootylicious. Look it up.

6. Who was your theatrical mentor?

I think my high school drama teacher; Ms. Dawn DeMaio was the biggest influence on me, theatrically speaking.  She’s the one who made me realize that I could choose acting as a major in college and eventually make a career out of it.  She helped me get super involved in the theater department at my high school, even though I was a latecomer to the program.  And whenever I’m onstage, I can hear her in my head saying, “I can’t hear you, Levin!”  That’s when I start projecting.

7. What is the hardest part of your job?

The hardest part of my job as an actor…let me see…I often have trouble disconnecting from characters.  I always end up relating my personal life to that of the character I am playing.  I may just have been lucky (or unlucky) enough to have very similar things going on in my life to the life of the character.  It’s tough to let go.  I feel like I become friends with the character and I don’t like goodbyes ::tear::

8. What is your favorite part of your job?

It’s funny because I think my favorite part of my job as an actor is letting go of the character despite how difficult it can be (see answer above).  It makes me realize how true a connection can be made with a character.  I don’t know if I’m a good actor, but I love the connection that I make with the characters I play.

9. Where did you go on your first airplane ride?

My first plane ride was probably to Israel.

10. If you could collaborate with anyone who has worked in the entertainment industry, dead or alive, who would it be?

I would love to collaborate with Heath Ledger.  He truly was going somewhere great, and accomplished so much in such a short amount of time.  I would also love to work with James Dean, another actor who really was lost on his way to some amazing places.  Alive?  I would have to say I’m a big fan of Billy Crudup, who is an incredible actor, and someone I would love to collaborate with.

Thanks Jordan!

‘Til we meet again,


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