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Long overdue pictures from the EMERGENYC performance at Museo del Barrio. There are A LOT more pictures from the actual performance but I have not seen them yet. I highly recommend applying to EMERGENYC for the next round in 2009. I'll post information about how to apply when I hear about it.
The run has been fantastic and we've been receiving great feedback. Check out pictures from GirlPower: Voices of A Generation, which opened at the Manhattan Theatre Source this past weekend as part of the Estrogenius Festival 2008. The full script will be published in "The Book of Estrogenius" which will be available at the Drama Book Shop in 2009. It is available for pre-order right now ( http://www.theatresource.org/estro/bookofestro.html ).
A full set of pictures are available at: http://www.photoblog.com/ashleymarinaccio/2008/10/27/
Charging Bias by Theaters, Female Playwrights to Hold Meeting
Frustrated by what they describe as difficulty in getting their work produced, enough female playwrights to make a standing-room-only crowd are planning to attend a town hall meeting on Monday night to air their grievances with representatives of New York’s leading Off Broadway and nonprofit theaters.
The gathering was organized by the playwrights Sarah Schulman and Julia Jordan, who have rallied their colleagues to the cause, contending that their male counterparts in the 2008-9 season are being produced at 14 of the largest Off Broadway institutions at four times the rate that women are. More than 150 playwrights appeared at a meeting last month to discuss the issue, and all 90 seats at New Dramatists, the playwriting center where Monday night’s meeting is scheduled, are already spoken for, and there is a long waiting list.
“I personally don’t think playwriting is a gene on a Y chromosome,” said Theresa Rebeck, a playwright whose work (“Omnium Gatherum,” “Mauritius,” “The Scene”) has been produced frequently on New York stages, including on Broadway. She added that there has been a reluctance to confront the issue: “Many of our male peers find the debate intolerable. Men in the community seem to think that everything is fine.”
Ms. Schulman counted 50 plays by living American playwrights that are being mounted at the 14 theaters, 40 by men and 10 by women. Although there are differences about the best way to tally the numbers, no one disputes that a significant inequity exists.
“It’s harder for women playwrights and directors,” said Oskar Eustis, artistic director at the nonprofit Public Theater, because “it’s harder for professional women in the United States.”
This season the Public is putting on six new plays by men and one by a woman. Since Mr. Eustis arrived in 2005, the count of new plays has been 19 plays by men and 9 by women (with one by a male/female team). It is a record that Mr. Eustis labeled as “pretty good but not great.”
“The issue is best dealt with by consistent consciousness-raising rather than a specific program,” he added, saying the same approach applies to minority playwrights.
Mr. Eustis plans to attend the meeting on Monday night, along with representatives from about a half-dozen other institutions, including the Atlantic Theater, the Manhattan Theater Club, Second Stage, SoHo Rep, MCC Theater and Playwrights Horizons, Ms. Jordan said. Audience members will have a chance to question the panelists.
The explanation for such an imbalance is a puzzle, said André Bishop, the artistic director of Lincoln Center Theater, which has one Broadway and two Off Broadway theaters. Some people argue that “most artistic directors are men, and they don’t relate to or connect with women as much as men,” Mr. Bishop said.
“Connecting to a play is a very personal and unconscious thing,” he mused. “I hope that isn’t true, but I don’t know.”
He added, “I try to think about these things all the time, but I don’t, because I’m a pathetic mortal.” He said he could not attend the meeting because it conflicted with a board of trustees dinner but said the recent opening of Lincoln Center’s new Off Broadway theater, LCT3, should provide more opportunities for female playwrights.
Lynne Meadow is an example of that rare commodity Mr. Bishop referred to: a female artistic director in New York. Ms. Meadow, who has led Manhattan Theater Club for more than 35 years, reviewed submissions from recent years and estimated that about 40 percent came from women. Of 22 plays commissioned in the past eight years, 8 have been by women, she said. Manhattan Theater Club has two Off Broadway stages and one Broadway theater.
Over a five-year period, 28 plays by men (including revivals) and 6 by women have been produced. This season, one of six plays is by a woman, Lynn Nottage.
Ms. Jordan said she did not think that the sex of the artistic director was an issue, nor that there was conscious discrimination. The primary aim of the meeting is to raise awareness, she said. “Everyone knows of the problem, but they don’t realize its depth,” she said, or that “it is not getting better.” She said she wanted artistic directors and their literary managers to request more plays from American women if they were not getting them from agents.
Monday’s meeting will focus on Off Broadway, which includes a number of nonprofit theaters with a mission to bring diverse new work to audiences. Broadway’s high-priced commercial operations, however, have a much worse record. At the moment, none of the plays on Broadway are written by women. The problem seems to be magnified in New York, many playwrights agreed.
Gina Gionfriddo, whose play “Becky Shaw” is having its New York premiere at Second Stage in December, said that in her experience, the country’s most prominent festivals — including those at Humana in Louisville, Ky., and at the Eugene O’Neill Theater Center in Waterford, Conn. — were dominated by women. She said there were probably multiple reasons for the additional barriers women face, citing the fondness among directors and audiences for revivals and British imports, as well as some unconscious biases.
Ms. Gionfriddo said she had been told that her characters were unlikable. “I wonder if Neil LaBute hears this,” she said of a playwright known for his corrosive depictions of human nature. She also suggested that women’s plays often do not resolve as conclusively as those by men, and that they do not follow the Aristotelian model of drama, which makes directors uncomfortable.
Andrew Leynse, the artistic director of Primary Stages, where two of the six new plays this season are by men, said his organization was trying to improve that record. (Tina Howe’s new comedy “Chasing Manet” is being presented there.) Balancing all the demands of Primary Stages’ mission is “something we struggle with,” he said, listing support of minority and emerging playwrights, and pleasing audiences, which can sometimes pull in different directions. (The organization’s gala will prevent his attending the meeting, Mr. Leynse said.)
For Carole Rothman, the co-founder and artistic director of Second Stage, the disadvantaged position of women is a familiar story. “Is there a cultural bias against women? I don’t know,” she said, but either way, “People don’t care.”
Although artistic directors have the largest say over which plays get produced, Ms. Rothman is not convinced that they are the best pressure point. “It’s all about money,” she said. “Talk to people on the board, that’s more important than talking to the artistic director.”
She added that contacting enlightened foundations that provide money to the arts and recruiting powerful female artists like Eve Ensler and Jane Fonda are other useful tactics.
Ms. Rebeck said that male friends “in the system say to me I have to keep my mouth shut; don’t be part of the problem, don’t be a whiner.” But Ms. Rebeck, who has written on the subject in the London newspaper The Guardian and attended the last meeting, has disregarded their advice.
“I think it puts in question excellence,” she said. “Whether it’s cronyism or bias,” she added, the result was that a message is sent that what is put onstage is “not about excellence.”
Documentary: A Suicide Narrative
Written and Directed by Ashley Marinaccio
Assistant Directed by Tiffany Hightower
Stage Managed by Olivia Rose Peterson
Lighting and Sound Design by Robert Gonyo
“Documentary: A Suicide Narrative” uses testimonial theatre to share the story of a 16-year old suburban high school student trying to find her identity. When Ariel Valeria falls for a mysterious new student, Fatima Zee, the homophobic attitudes of the school take their toll on the young women. “Documentary: A Suicide Narrative” combines a contemporary love story with the personal narratives of young adults experiencing similar issues.
Lighting and Sound Design by Robert Gonyo
“Documentary: A Suicide Narrative” uses testimonial theatre to share the story of a 16-year old suburban high school student trying to find her identity. When Ariel Valeria falls for a mysterious new student, Fatima Zee, the homophobic attitudes of the school take their toll on the young women. “Documentary: A Suicide Narrative” combines a contemporary love story with the personal narratives of young adults experiencing similar issues.
Friday, November 7, 2008 at 7:00pm Saturday, November 8, 2008 at 2:00pm and 7:00pm
Sunday, November 9, 2008 at 2:00pm and 7:00pm
Endtimes Underground @ The Gene Frankel Theatre
24 Bond Street (at Lafayette Street)
B/D/F/V/6 Trains
To reserve tickets visit www.endtimesproductions.org or e-mail cooptheatreeast@gmail.com $15 student/$18 general admission
Proceeds from Sunday’s matinee performance will go to support The Trevor Project. Every day, The Trevor Project saves lives though its free and confidential suicide helpline, its website and its educational services. http://www.thetrevorproject.org .
Co-Op Theatre East Mission Statement: Co-Op Theatre East believes in the power of art to foster a dialogue for social change. We provide an entertaining performance forum in which to ask evocative, challenging questions of artists and audiences on our way to creating collaborative answers. www.cooptheatreeast.org and www.myspace.com/cooptheatreeast .
Two articles that are worth reading...
newsday.com/entertainment/stage/ny-ffthe5856573sep28a,0,2219216.columnNewsday.com
Linda Winer: The sad decline of Off-Broadway
Linda Winer
Critical Mass
September 28, 2008
Where's Off-Broadway? This is not a trick question, like the one about how to get to Carnegie Hall. You see, most theatergoers, after a few visits, know where to find what we know as Broadway - the nearly 40 playhouses that line and, more often, adjoin Broadway, the boulevard, from 41st Street to 54th.
In contrast, Off-Broadway has always been more of a sensibility than a neighborhood. Fomented almost a century ago in rebellion of theater as mere mass entertainment, the far-flung "Off" movement sprawled downtown, uptown, all around town. Most unromantically, such theaters are defined by size (fewer than 499 seats) and union contracts (far more modest than Broadway deals). Most undeniably, they have been responsible for the bulk of New York's challenging theater of the past half century.
But I'm not asking directions to these theaters today. What I'm asking has more to do with the direction of their movement. Whatever happened to the thriving scene that supported artists and seduced audiences with edgy, serious, unconventional work that didn't need to attract thousands of customers a week or compete with " Mamma Mia!" and movie stars for attention?
There's a sea change in New York theater, one both healthy and alarming. Thanks to the smash success of such risky transfers as "Spring Awakening" and "In the Heights," it appears that everyone wants to go to Broadway now. "Hair," Neil LaBute's "reasons to be pretty" and "Fela!," Bill T. Jones' Afro-beat bio-musical, are either scheduled for transfer or heavily rumored for one. Youth and multicultural demographics are the drug of choice for a business flattened out by chandelier-falling spectacles and rote revivals. After all, "Rent" and "Avenue Q" broke the mold so smoothly that it is hard to remember a time when their move from tiny theaters was considered a high-stakes gamble.
But the beast is in danger of eating its young. Today's Broadway has accomplished the goal it set a decade ago. It's an awesome branding machine. Big-bucks producers are sniffing around every Off-Broadway production that has a pulse, much less a buzz. The financial and celebrity allure of the commercial theater is perilously close to sucking the energy from Off-Broadway productions that aren't aimed at being a crossover phenomenon. Add the economic meltdown, even before this month, and cutbacks in coverage from mainstream media everywhere, and it must be lonely out there for anyone more interested in putting on a play than a blockbuster.
Off-Broadway used to be the place where theater artists could get cachet, even if they couldn't get rich and famous. But the best commercial Off-Broadway houses (including the Promenade, the Century, Variety Arts) were sold as real estate in recent years. Producing in those smaller houses was obviously less attractive financially than a big leap to Broadway. Thus, plays acclaimed in the nonprofit institutional theaters (the Vineyard, MCC Theater, Playwrights Horizons, the Public, Primary Stages) have nowhere else to move.
In today's winner-take-all culture, the payoff is eligibility for Tony Awards, which are owned by Broadway, and the brand imprimatur on roadshow potential. This is well and good, not to mention pretty fascinating for anyone watching the fate of the seriously hormone-charged "Spring Awakening," just starting its American tour.Not so good is the parallel universe for productions that aren't courted by Broadway. Instead of being too hip or too smart or just too specialized to compete as mass entertainment, these productions get lost - as if stuck down on the farm team or not invited to sit at the grown-ups' table.
When theatergoers can go to the Broadway TKTS booth right now and buy deeply discounted seats for many Broadway shows with stars, the competition is just too tough. Even "Forbidden Broadway" - Off-Broadway's beloved institution for theater satire - is closing in January after more than 25 years.There is also the problem of transfers for shows that don't belong on Broadway. To my mind, this includes "[title of show]," a clever but limited four-actor, single-set, self-referential musical that's much loved by theater insiders. The piece has struggled to find an audience and just announced an Oct. 12 closing. There are rumors of a transfer back to an Off-Broadway commercial house, which is where the sketches belonged in the first place. On the other hand, hey, the Tony committee just announced that the two creator-performers are eligible for best-actor nominations.
Douglas Aibel, artistic director of the Vineyard, has seen two of his co-productions - "Avenue Q" and "[title of show]" - meet different fates on Broadway. He doesn't regret the latest transfer, but laments the loss of the commercial Off-Broadway theaters where, not so long ago, Vineyard's productions of Edward Albee's "Three Tall Women" and Paula Vogel's "How I Learned to Drive" had long happy runs. Today, for better or worse, they would have gone instead to Broadway.
"The climate for commercial Off-Broadway is quite perilous," he says, "So many small projects are being lost in the shuffle."Managing director Elliot Fox, whose Primary Stages has an upcoming Broadway transfer of Horton Foote's "Dividing the Estate," agrees. "There's a lot of noise on Broadway right now. Some is warranted, the rest is just about marketing power."Nerves are raw, obviously, over the trickle-down effects of Wall Street on donors and ticket buyers. But for now, there's a bubble to enjoy on Broadway. Nobody wants that to burst.
Copyright © 2008, Newsday Inc.
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The Off-Broadway Question from The Playgoer
by noreply@blogger.com (Abigail Katz)
by Abigail Katz Newsday Theatre Critic
Linda Winer asked the other day, "Where's Off-Broadway?" This is not a new question, nor one with an easy answer. Commercial Off-Broadway seems to barely exist anymore, at least in the way we like to think of Off-Broadway as a "rebellion of theater as mere mass entertainment" to quote Winer. Of course there are shows that are characterized as Off-Broadway, ranging anywhere from BLUE MAN GROUP, STOMP, and FUERZA BRUTA to ADDING MACHINE and GONE MISSING. But it has become harder and harder for a commercial Off-Broadway show to be viable in the current New York theatre landscape.
As Winer points out, one of the reasons is that many commercial houses in this category have closed in the last few years. But another very important reason is simply the economics of a commercial Off-Broadway show. If the cost of an Off-Broadway show can run in the neighborhood of $1 million, and the show is playing in a house with a capacity anywhere from 100-499 seats, and ticket prices are lower than Broadway (although not by much these days- some are as high as $80) how does such a production make back its money and continue running? Advertising budgets for these productions don't approach those of a Broadway show, so in a competitive market it's even harder to get the word out. Even rave reviews and awards enjoyed by shows such as ADDING MACHINE (one of the best productions I've seen in years) didn't necessarily result in more audience. Under these circumstances, how is the Off-Broadway that we long for to exist?
Another contributing factor to the situation is the rise of so many non-profit theatres in last couple of decades. Their productions are for the most part also characterized as Off-Broadway, and because their structures as non-profit institutions differ from those of a commercial production, they are more able to take the risks that we associate with the Off-Broadway of yore. The main difference of course is that the runs of these shows are limited, and if they get enough attention and audience the shows will transfer, but these days more likely to a Broadway production than an Off-Broadway one simply because it makes more economic sense. In many cases, productions in the non-profit theatres are "enhanced" by commercial producers with idea of a transfer beforehand, and the non-profit production is essentially a pre-Broadway tryout.
So what is the answer? Do we accept that the adventurous Off-Broadway is a dinosaur, and that the term now means mini-Broadway, non-profit limited runs, and entertaining performance art? Not necessarily. There are producers, like Scott Morfee of Barrow Street Theatre who continue to produce and support interesting and excellent work. The Cherry Lane and Minetta Lane Theatres still exist, as do the Daryl Roth and the DR2. New World Stages may be a little bit more mainstream, but it is a home for shows that are appealing but wouldn't work well in a Broadway house. Co-productions may also be a way to make the idea work, so there is shared risk. The fact is Off-Broadway is hard to define, and that's not necessarily a bad thing. Right now it is experiencing growing pains, and it will be a while before we know what the future holds for this important aspect of New York theatre.
You can check it out on your local newsstand or at http://danceruniverse.com/stories/issues/200810/one_on_one_with_tyce_diorio-O29/ . Not only is Tyce a dynamic performer but he's very humble and fun to interview! Of course, out of all his credits, I personally am most excited about his performance in "The Newsies". Best movie EVER! The other stuff is good too...
One on One with Tyce Diorio
by Ashley Marinaccio — Oct 14, 2008
Tyce Diorio is now a household name thanks to the success of FOX’s hit reality show “So You Think You Can Dance?” But most of the program’s younger viewers don’t realize that Diorio made his small-screen debut on a different form of reality television years ago -- at age 17 he was a winner on “Star Search.” Following his record-breaking winning sweep on “Star Search,” Diorio moved to Los Angeles to join Paula Abdul’s “Under My Spell” world tour, where he also made appearances in some of her videos and on award shows. The rest is history.
“When I returned to L.A. after the tour, I went back to the beginning and trained with Paula Morgan for four years,” said Diorio. “I did four-hour private lessons with her a day. It wasn’t enough that I was just working as a dancer. I needed to retrain to sustain a lifetime of dance. I had high hopes.”
Diorio’s commitment, work ethic and positive attitude have certainly paid off. Since then, a few of the many credits on his resume include touring with Janet Jackson on her Velvet Rope World Tour along with appearances in “If” and “Together Again” music videos. He has also toured with Ricky Martin, Celine Dion, Mya, *NSYNC and Jennifer Lopez, in addition to working on movies and television sets including "Mr. and Mrs. Smith," "13 Going on 30," "That 70’s Show," "The Tyra Banks Show," "The Academy Awards," "American Music Awards" and "Fame." Diorio has graced the Broadway stage in "Chicago" and "Fosse" in addition to being the founder of Entyce productions, which produces workshop classes with faculty from SYTYCD and choreographers in the industry.
“Entyce does three dance workshops per year where we bring in guest choreographers and dancers. We have classes all day long and sessions on the industry. There is no pressure to feel like you need to compete.”
The Entyce workshops are done in the New York City metro area. Some of the top-notch choreographers that will be joining Entyce this fall include the choreographer of “High School Musical,” (***what’s this person’s name???***) and Mia Michaels, and dancers from Janet Jackson’s tour.
Although he’s hit the big time now, he comes from humble beginnings. Diorio is a Brooklyn native who trained at Horizons Dance Center.
“It’s still there today and is a great studio,” Diorio said. “I actually started with ballroom dance. I was in the ballroom competition doing cha-cha, swing and foxtrot. I was in the U.S. ballroom championship for young kids. My versatility is attributed to that foundation.”
As a young dancer, his influences included Mary Ann Lamb, Jerome Robbins and Desmond Richardson.
“They are such icons in the industry and have such longevity in the world of dance and theatre,” he said. “Jerome Robbins’ Broadway was one of the shows that really touched me. It was a dancer’s dream to be in that show. I saw it 13 times. That was the choreographer in me a long time ago.”
Diorio attended the LaGuardia High School of Performing Arts in New York City where he studied Martha Graham technique and ballet for several hours a day in addition to his regular academic curriculum.
“There was no jazz option offered at that time,” he said adding that he had a great base. Following high school graduation and his appearance on “Star Search”, he moved to Los Angeles.
He joined the crew of “So You Think You Can Dance?” as a choreographer in season two and said that the hit show has made a tremendous impact on dance viewership.
“SYTYCD has brought so much exposure,” said Diorio. “It’s absolutely unbelievable and one of the best things that’s happened to dance in the history of television. You see dance in its finest form. You get to see the truth of our lives as dancers. You are watching people be who they are. The creativity is great.”
His favorite dancers from “SYTYCD?” include Dmitry Chaplin from season two and Benji Schwimmer, Anya Garnis and Donyelle Jones from season three. However, he said that as an overall cast, season four was his favorite to work with. “They were the hardest working bunch,” he adds, noting that he especially enjoyed working with Josh Allen, Katee Shean, Stephen “Twitch” Boss and Will Wingfield.
“They were my favorites, not necessarily because they were the best dancers but they had work ethic and positive attitudes.”
He stresses work ethic and attitude as the two most important attributes that a dancer can possess.
“They came in ready to work and there was so much heart, soul and struggle. We knew that they wanted to please us (the choreographers),” he said. “They were so much more concerned with how the choreographers felt about the piece rather than what the judges would think of their dancing. They were committed.”
Diorio offers this advice for dancers who make it on to “SYTYCD?”.
“The big thing in SYTYCD? is that you need to walk away with life experience. I have made a living from being a dancer my whole life,” he said.
“ I’ve never had a nine to five job. I knew when I was young that I wanted to do this for a living. I knew when I was young that I wasn’t going to be anything other than a performer and knew that I had to immerse myself in training and that it would be my livelihood,” he continues. “It’s cool to be on the show but the show will end and your performance will be a memory. The show needs to be used to gain knowledge and experience. It’s here today and gone tomorrow. It’s not something that will last. As an artist you want to have longevity.”
Longevity, according to Diorio, manifests itself through good training, including a solid foundation in ballet and modern. “Versatility is key. Be well versed in each style and have at least four styles,” he suggests. And most importantly, Diorio promotes a good work ethic. “I would rather hire someone who has great energy who can deliver and not a lot of training, over someone with superior technique. You want to have great energy around you at all times. It’s also important to know the energy that you bring to a room.”
So what does the future hold for this dance maverick? Diorio would say that he sees himself headed towards choreographing more film and doing a Broadway musical. He notes that he has had meetings with producers of the Broadway musicals “Chicago” and “Hairspray.”
“The ball is rolling and I am headed to New York for networking,” he says proudly.
Diorio has also been working with Katie Holmes on a television show for the past nine months. "I just choreographed an episode of ABC’s Eli Stone—a musical number that will air on October 21. We’ve been working four times a week.”
This year Diorio is joining Broadway Dance Center and fellow “SYTYCD?”
Choreographer Mia Michaels for Broadway Dance Center’s traveling workshop/competition “The Pulse on Tour.” He is currently choreographing a production of “Oklahoma” at the Fulton Opera House in Lancaster, PA, (http://www.thefulton.org/), in addition to doing choreography for the 2008 tour of “SYTYCD?”
Where else does Diorio see himself?
“Directing is in my path somewhere, we’ll see,” he says. “Hopefully a clothing line. I’m thinking of calling it Entyce Wear. We can start with a really cool sweat suit for dancers and build from there.”
If you're in the NYC area at the end of October, it would mean a lot to me if you could come and check out "GirlPower: Voices of a Generation". Elizabeth Koke (Performance Studies alum) and I have been working with the most amazing group of teen girls between the ages of 13-19 on developing their voices and creating this performance piece. The issues covered range anywhere from relationships and family problems to body image issues and their understanding of what it means to be a young artist in today's world (and what they want to do with that power). Two of the performances have already sold out but the Manhattan Theatre Source added a 9:00pm show on Sunday (maybe more!). Below is the information. Hope to see you there!
*****
The Manhattan Theatre Source Presents:
Girl Power: Voices of a Generation
Written by the 2008 Estrogenius GirlPower Company
Developed and Directed by Ashley Marinaccio
Assistant Directed by Elizabeth Koke
Featuring: Lyric Anderson, Brittany Alyss DalCais, Alondra Diaz, Candice Fernandez, Dominique Fishback, Nora Kennedy, Roni Laytin, Michelle Lee, Melissa Morley, Andrea Panichi, Christina Elise Perry, Stephanie Rae Shafir, Katya Stepanov, Ellen Swanson, Anastasia Zorin
GirlPower: Voices of a Generation, is a series of powerful written words performed by actors in their teens, struggling with issues that they face growing up in today's world. The performers share their experiences of love, relationships, parents, pain and success.
Sunday, October 26th at 3:00pm and 9:00pm
Monday, October 27th at 6:00pm
Tickets: $12
Manhattan Theatre Source at Washington Square Park
177 MacDougal Street, NY, NY, 10011
between West 8th and Waverly Streets(Subway: A, B, C, D, E, F, or V to West 4th Street)
Call: 212-501-4751 or www.theatresource.org for ticket information
Part of the Manhattan Theatre Source's "Estrogenius 2008", a celebration of womens' voices. For more information, visit: www.estrogenius.org/estro.html .
Come and check out my solo performance (a work in progress) called "What to Do In Case You Miss the Rapture". The performance explores beliefs and obsessions with "the end of the world".
****
The Hemispheric Institute for Arts and Politics Presents:
OFFERINGS
Works in progress by the EMERGENYC 2008 cohort: Aisha Jordan, Arun Storrs, Ashley Marinaccio, Beatrice Glow, Bekah Dinnerstein, Branden Jacobs-Jenkins, Clare Barron, Edward McWilliams, Fernanda Coppel, Frantz Jerome, Kim Fischer, Leslie Guyton, Timothy Murray, Tina Louise Vásquez and Yael Miriam.
Saturday, October 18th
8:00 pm
El Museo del Barrio
1230 5th Avenue (at 104th Street)New York, NY 10029
Tel: 212.831.7272 Fax: 212.831.7927 Email: info@elmuseo.org
Subway#6 train to 103rd Street station, walk one block north to 104th Street, then two blocks west to Fifth Avenue. Entrance on the corner of 5th and 104th.#2 or #3 train to 110th Street and Lenox Avenue, walk one block east to Fifth Avenue, then south to 104th Street. Entrance on the corner of 5th and 104th.BusM1, M3, M4 northbound on Madison Avenue or southbound on Fifth Avenue to 104th Street. Entrance on the corner of 5th and 104th.CarTriboro Bridge - Take FDR south, exit at 106th Street to Fifth Avenue. George Washington Bridge - Take Harlem River Drive to FDR south, exit at 106th Street to Fifth Avenue. Cross-Bronx Expressway - Take 87 south, exit at 138th Street Bridge, follow signs to Fifth Avenue. Entrance on the corner of 5th and 104th. Labels: EMERGENYC
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