〉 SUNY Ulster’s Theatre Workshop will produce David’s play Restoration/Conservation (directed by Nicole Tarcza) in their 10-Minute Play Festival in May 2015. Read the play.
〉 David is in pre-production for The Threepenny Opera, which he will direct this fall at Bloomsburg University.
〉 DEVISING: David taught a course on Devised and Collaboratively Created Theatre at Bloomsburg University (Theatre 492) this spring. The starting point for this collaboratively created performance is maps, mapmakers, and the feeling of being lost. A work-in-progress performance of You are here. (or, A Traveler’s Guide to Traveler’s Guides) (working title) was performed in April.
〉 DIRECTING: The BU Players production of The Nosemaker’s Apprentice: Chronicles of a Medieval Plastic Surgeon performed in February and March 2015. The production used the same design approach as the professional production with Amphibian Stage Productions in the summer of 2014. Sean Urbantke re-imagined his set design for a larger theatre and David Lanza’s sound design delighted and grossed out audiences in Bloomsburg. New designs from Zak Knoll (lights) and Emily Miller (costumes) gave this Nosemaker’s a makeover.
〉 DIRECTING: Directed a concert reading of Daddy’s Little Girls, a 10-minute play by Ryan Patrick Dolan (a second year MFA Candidate in the Ohio University Playwriting Program) for the Kennedy Center American College Theatre Festival’s (KCACTF) Region 2 Festival in Cleveland, OH in January 2015. Update: The play was selected as a National Semi-Finalist.
〉 DIRECTING: Directed Macbeth at Bloomsburg University, November 2014. In this production, women dominate the cast and the world of the play. Featured actors include Kellyanne Klause as Macbeth, Chelsea Lucas as his Lady, and Bry Kifolo as Macduff. David was also the Scenic Designer for this production.
〉 PLAYWRITING: Mystic in the Savage State received a week-long workshop with Strange Sun Theater, August 2014
About the Play: Professor Calkins, a psychologist at Wellesley College, attempts to legitimize synesthesia (particularly pseudo-chromesia which includes “color hearing”) in the eyes and ears of her peers. It’s the 1890s, so her field and the newness of the research, as well as expectations about her gender, stand in her way.