the dreamer examines his pillow

*published on 12 Aug 2015 on The EDGE

Summer theater abounds in NYC; it is a time to wander the edges and find places, companies and plays that might elude us during the year. One such offering shining brightly in TriBeCa is The Attic Theater Company’s production of “the dreamer examines his pillow,” mounted at The Flea Theater and artfully directed by Attic’s artistic director Laura Braza.

The play was written nearly 30 years ago by consummate New Yorker John Patrick Shanley. Shanley surmounted a thug-tough

Summer theater abounds in NYC; it is a time to wander the edges and find places, companies and plays that might elude us during the year. One such offering shining brightly in TriBeCa is The Attic Theater Company’s production of “the dreamer examines his pillow,” mounted at The Flea Theater and artfully directed by Attic’s artistic director Laura Braza.

The play was written nearly 30 years ago by consummate New Yorker John Patrick Shanley. Shanley surmounted a thug-tough childhood and draws upon it liberally in all his writing. He garnered accolades in film, TV, and theater winning every prize imaginable. Many know him for “Moon-Struck” and “Doubt” on Broadway and film.

“dreamer” is described as a “comedy of anguish” and The Flea is the perfect intimate space for the play’s dreamlike exploration of tragedy and exuberant connective tissue between two lovers.

Donna and Tommy grope their way through lust, love and art. Donna, played with gusto by Lauren Nicole Cipoletti, has an on again, off again relationship with Tommy, the wonderful Shane Patrick Kearns, who will be seen opposite Jacqueline Bisset in the upcoming feature film “Peter & John.”

In three scenes wrought in ramshackle rooms well-designed by Julia Noulin-Merat, we follow the couple as they fight about the meaning of life and fidelity. Tommy is also having an affair with Donna’s 16-year-old sister. These endless conversations lead Donna to return to confront her Irish father, embodied by Dennis Parlato who galvanizes the stage as a drunk in a regal-red robe.

Donna refers to him as a piece of red lint and accosts him until he finally agrees to answer her questions about her own life. This charged conversation leads her to insist that he talk to Tommy “to get him to marry me, or beat him up.”

The play alternates between the surreal; it opens with a Tommy praying to his small refrigerator, and poetic; a monologue delivered by Donna extolling the transformative nature of amazing sex is glorious. As ever, Shanley can write; his dialogue is pitch-perfect and his musings can transport audiences. Occasionally the mix of rat-a-tat-tat dialogue and long monologues can seem off-kilter, but Shanley quickly ropes us back in to the yin and yang dissection of love.

“the dreamer examines his pillow” runs through August 25 at The Flea Theater, 41 White Street in Tribeca. For information or tickets,

Dinner Guest- Joe Carini

*published in Aspire Metro Magazine on 29 July 2015

Sought after for their artistic design, elegant materials and traditional hand weaving methods rarely utilized in modern carpet making, Carini Lang’s carpets grace the homes of bold-faced names such as Stephen Spielberg, Beyonce and Jay-Z, Brad Pitt and Angelina Jolie, and architect extraordinaire, Lord Norman Foster. We caught up with Carini in his studio in Tribeca, located in a former Art Deco-designed bank, to learn more of his trade.

Wickham Boyle: How did you get started?
Joe Carini: Honestly, I became fascinated with carpets at an early age; my grandmother had some marvelous rugs in a sunroom on which I delightedly traced the patterns with my trucks. Later, I went to Pratt to study painting. During art school, I got interested in buying and selling rare and collectible carpets.

When buying and selling antique carpets at high prices, you need specific knowledge. So, I learned about designs, the provenance of works, original colors and materials so as to place them in historical context. I also worked with some Persian carpet repairmen in an attempt to absorb the integral workings of these carpets. By doing so, I immersed in the ancient culture, and by learning the repair, I began to absorb the entire carpet culture.

WB: How did you first become involved in the carpet making business?
JC: In 1990 I was introduced to someone starting a carpet company, and I wore many hats in this start up: design, specifications and often the sourcing of materials. I found there weren’t that many interesting contemporary rugs. Many companies were selling bad repros of traditional rugs, almost reproducing antique rugs slavishly.

I saw an opportunity to take carpets to a higher level by using traditionally trained quality weavers and the best sourced materials. I left in 1997 to start my own company. I wanted to go further with natural traditional vegetable dyes. My desire was to move away from commercial carpet production to an experimental and unique kind of work – a product where quality would be the main focus and would include a revival of many ancient techniques that, sadly, were beginning to disappear.

I spent a long time reintroducing the techniques into Carini Lang productions. It took a few years to get the process, materials and dyes to the level that I envisioned. After mastering that component, I began dreaming and designing a contemporary line, which is our signature.


WB: How did you become interested in and drawn to natural dyes and products?
JC: At an early age when I was studying painting, I became aware of and attracted to the physical materials of paint. For example, Fra Angelico ground lapis lazuli stone into his paint, and I feel it has a physiological effect. Rembrandt and Titian ground minerals and even sometimes semi-precious gems, all suspended in oil or egg tempera.

Carpets had compelled me by color and pattern. I was most attracted to old carpets; I wasn’t drawn to new carpets with synthetic dyes. The original colors were so luminous and fascinating. For me, the essence of the carpets was the color, just like in a Renaissance painting. If you regard that same painting in black and white, you only glimpse a small aspect of it. Like Renaissance work, carpets are a combination of color and geometry.

Five hundred years ago, color was the cutting edge of technology. Color used to be what set classes aside. Royalty was ranked by the value of their clothing; only the upper class could wear purple. This study of color led me to ask, “How did certain colors make me feel?”

I wanted to understand where these colors came from because I had a sense that their origins might unlock some secrets. I was intrigued with the stories of the revered dye masters who discovered these colors and passed them on as secrets, almost like alchemical secrets. The other aspect for me was that these magical colors appeared much more vibrant than colors made in modern chemical laboratories.

I was working in another country, in another culture. I didn’t want to make my living by making a negative impact on the environment;
I wanted to work responsibly. Vegetable dyes are one of the things we can do that leaves very little impact on the environment. The plants utilized in dyes, for the most part, are cultivated as herbal remedies. Thus, the surplus dye is just organic matter that dissolves back into the earth.


WB: What draws you to the culture of Nepal?
JC: Nepal’s charms come from a combination of the people, who are so smart and joyful and seem to relate from their hearts, and the opulent beauty of the physical surroundings. Kathmandu is in a fertile valley ringed by the majestic Himalayas. The raw materials, the cashmere, the yak wool available in abundance and the reverence for a tradition of carpet making are very clear when you come to Nepal.

Also, the ancient cities have architecture that leaves you agog, art that is on every street corner in some small way, and magnificent temples on the hilltops, such as Swayambhunath, the famous monkey temple. The religious traditions, Buddhism and Hinduism, make you feel as if you are in contact with another world from 1,000 years ago. This energy makes it very conducive for inner reflection.

WB: Did your interest in traditional carpet making and knot tying come before or after the business started to boom?
JC: I went into the business thinking that I would make everything with the best of all artisanal methods. Why throw out all the progress made over hundreds of years? Who makes better wine: the small batch wine maker on his great grandfather’s estate or the giant vats using chemicals to enhance and speed things up? Me, I am always going to want to taste from the small guy, not the new processed version. I took that vision into my carpet making.

WB: What is your favorite part of making magical carpets?
JC: Discovering something new that I didn’t know before. Making something that I didn’t think was possible. I’ve made colors that I didn’t think possible, and now people often ask for them.

WB: What are your clients like?
JC: My clients are usually people who collect fine art, and are interested in design and in furniture as art. They range from celebrities to people with a heightened sensibility for how finer things enhance lives.

WB: What is your personal space like style wise?
JC: Kind of a clean, ‘70s style – the ‘70s high style as that is the period of my youth. My home is decorated with good ‘70s furniture and Italian chandeliers. It’s not too cluttered; it’s homey and simple.

My office is now global style, but my spaces change often. I vacillate between a Victorian clutter and a monastic simplicity. I am now in a period of trying to declutter; I don’t want to be around too many objects. We’ll see how that unfolds.



Righty or lefty?

Drinks of choice?
Laughing Man Ethiopian coffee beans, made by drip with whole milk. Cocktail of choice is an Arnold Palmer (and he laughs).

Favorite food?
Wild salmon or good Indian food (little on the spicy side).

Favorite food as a child?
Italian chicken cutlets, meatballs and lots of veggies. That’s what I cook for my three kids now.

Favorite local restaurant?
The Odeon, a Tribeca standard. I start with the calamari. For dinner, I have steak frites, and for lunch, a tuna burger.

Prefer intimate dinners or large gatherings?
Intimate dinners, and I am a pretty good cook.

Favorite dinner music?
I like to cook to Bob Marley, the Beatles and the Allman Brothers Band. Last night I made baby bok choy, sweet potatoes, snap peas, quinoa and broiled wild salmon. For dinner music, I prefer Beethoven piano sonatas, the middle to late period.

Most memorable dinner to date?
This may surprise people. I was flying to Vienna first-class on Austrian Airlines, and they served a five-course meal. The chef, Kurt Gutenbrunner, owns Blaue Gans and Wallse in downtown New York City. The wines, everything was perfect.

If you could have dinner with anyone from your past, who would it be?
My grandparents because I miss them.

If you could have dinner with anyone living, who would it be?
Oh, with the Dalai Lama. I imagine we’d have an amazing vegetarian meal in a fine Indian restaurant.

What do you do for exercise?
I am a walker because I find walking so meditative. Sometimes I ride bikes with my kids. I have a few wonderful vintage motorcycles, but I ride a Vespa for commuting.

If you could cook for anyone, who would it be?
My kids and their friends.

Joe Carini supports the Dalai-La Nepal Earthquake Relief. To make a donation visit

Egypt Still Inspires

Egyptian Design Still Inspires Awe, Even 3,300 Years Later

Wickham-Nefertiti-tombEgyptian artists, artisans, architects and astrologers reached heights of sophistication and mastery that deemed Egypt one of the greatest ancient civilizations. Their construction of the pyramids, understanding of planetary movements and interior decoration are still marveled at by the modern world; it’s no wonder that Egypt is on everyone’s must-see list. Today, after the revolution, Egypt is eager to welcome visitors from all corners of the world to revel in its culture.

Wickham-tomb-entranceThe merging of paintings and sculptural elements in the much-lauded Queen Nefertiti’s tomb is a prime example of the Egyptians’ accomplishments. Since its massive renovation, completed in 1992, the tomb is rarely opened. However, the well-timed visitor can enter into a world of such refined glory and beauty that it virtually vibrates with architectural reverence.

The huge tomb – really the size and lay-out of a large modern apartment – is chiseled into a limestone mountain. It features paintings in bright colors, employing bas-relief to enhance the realism, as well as poems inscribed on the walls, composed by Ramses II to memorialize his deceased wife.

Wickham-tomb-insideThe style is less naturalistic than what was later employed by the Greeks and Romans, yet it draws a modern eye. In his book “Egyptian Painting and Relief,” Gay Robins, an expert on Egyptian painting, explains a technique with which the Egyptians would draw a square around the intended space for decorating to ensure correct proportions. This grid system begins to unpack the precision evinced in Nefertiti’s tomb, but the artistry of the birds, goddesses, robes and beauty of Queen Nefertiti holding hands with Isis welcomes the viewer to a rich world.

Every surface is painted and relief cut to portray the continuity of beliefs, friendships, desires and religious customs. However, to the modern discerning eye, the moment of great covetousness comes when the viewer’s gaze turns upward and beholds a ceiling in deepest Egyptian blue filled with a field of stars.

Wickham-tomb-ceilingAlthough the Egyptians knew each star by name, this is not an actual sky, but rather a decorator’s depiction of stars – row after row of hand-painted, fivepointed stars in horizontal and vertical patterns, with endless tiny permutations that in themselves could occupy a day’s visit. The effect is to reproduce eternity underground.



In one of his poems about Nefertiti, Ramses II wrote, “My love is unique – no one can rival her, for she is the most beautiful woman alive. Just by passing, she has stolen away my heart.” Many will feel that way about the design in this 3,300-year-old tomb.

Photography courtesy of Wickham Boyle

This is Mary Brown at LaMama

Entertainment » Theatre
This is Mary Brown
by Wickham Boyle
Sunday Jun 21, 2015

Although Mother’s Day has passed, it is never too late to find a way to offer eulogies for the women who toil gleefully or in sodden sadness to raise their broods, “This is Mary Brown” is such a marvelous show.

OBIE award winner Winsome Brown performs this work as an homage to her Irish mother with no sugar coating. We see Mary Brown with her sharp tongue; her drunken disregard for the tiny scary egos of children and her fierce love, all intermingled to create a real mother.



Brown embodies her entire family, Alaskan fisherman father, twin siblings and a host of teachers, priests and friends along the way. With deft switches in stance, or a cigarette held or discarded, she becomes these characters and illuminates the nearly bare, first floor theater on East Fourth Street.

The work would not be nearly so endearing without the hand of director Brad Rouse who allowed Winsome Brown to visit and portray passages that under less sensitive hands might have morphed to mawkish or maudlin. In one scene, a mother asks her daughter to “Come here Pet, put out your hand.” This instruction is in order for her young child to take the ash of a cigarette from a “mum” too drunk to get up and move across a room to properly deposit it, and it becomes a signature moment evincing sadness and humor.

In the end Mary Brown dies of complications of alcoholism that include lack of nutrition, overtaxed organs and a still razor-edged sense of humor. Any of us who grew up in such a household know that the gifts bestowed for comedy, verbosity and a can-do attitude often tend to outshine the terror and confusion of childhood. Winsome Brown seems to possess these skills in abundance as her writing is crisp and cutting and her ability to create characters out of threads is a joy to behold.

The marvelous Irish American actor Geraldine Fitzgerald once remarked that there are only two truly magical theaters in the world, The first floor at La Mama and the Abby in Dublin. This work unites them.

“This is Mary Brown” runs through June 28 at La Mama’s first floor Theater, 74A East Fourth Street in New York. For information or tickets, call 212-475-7710 or 646-430-5374
or visit

Finding Neverland By WIckham Boyle

Printed from the EDGE

Although “Finding Neverland” is set in turn-of-the-19th century London where the renowned Scottish author J. M. Barrie was the darling of the smart set, this is not an historic reproduction of the times or the actual events surrounding the creation of the beloved play and novel, “Peter Pan: The Boy Who Wouldn’t Grow Up.”

Courtney Balan and Chris Dwa, Tyley Ross, Kelsey Grammer, Teal Wicks, Matthew Morrison

Courtney Balan and Chris Dwa, Tyley Ross, Kelsey Grammer, Teal Wicks, Matthew Morrison  

On the stage of the Lunt-Fontanne, what is celebrated is a kind of wonderful schmaltz that is as welcome as the spring shower outside, an overdose of candy or loop of romantic songs.

If you are not a fan of fantasy or romance, or if you do not believe in fairies, mermaids, pirates and flying children then please stay home and binge on Netflix. From the moment the house lights dim and a glimmering light jumps and bounces across the stage, into the audience and across the opulent flowered, velvet stage curtain, we know we are about to go to Neverland.

The play is based on the movie of the same title, which stared Johnny Depp as Barrie; in this production the very talented, sweet-faced Matthew Morrison, late of TV’s “Glee,” takes up the mantle of tortured playwright in an unhappy marriage. Morrison is a consummate song and dance man and with his curly hair and new bushy beard he straddles the line from boy to man nicely.

The opening number features a cast of wildly talented thespians filling the stage and spilling out, showcasing wonderful costumes by Suttiratt Anne Larlarb, on a set by Scott Pask that only seems to get better and better as the scenes unfold.

Barrie has writer’s block and seems to turn out one terrible play after another. His American producer Charles Frohman is played with a hammy exuberance by Kelsey Grammer, who also steps into a curly wig and hooked hand of Peter Pan’s villain during Barrie’s mental gymnastics while creating this new genre of play. It was groundbreaking work meant to appeal to both adults and children. And this new musical on Broadway seems to take up that cause with abandon and wisdom.

The work was originally directed and is now remounted by the dexterous, innovative Diane Paulus. It was the most attended production in the history of the esteemed American Repertory Theater in Boston before moving to the Great White Way. Paulus added choreography by Mia Michaels, which while not monumental, does move the work along nicely including some inspired dance moves in the air, on tables, and walking a plank improvised from a park bench.

There is plenty of shtick and mugging in the production. One example is when Grammer, as the producer, takes the cast out for drinks to a pub and one actor asks him, “Do they say ‘Cheers’ where you come from?” The audience raised on the hit sitcom “Cheers,” where Grammer became a household name, guffaws uproariously.

Legend has it that Barrie encountered Sylvia Llewellyn Davies and her band of boys in Kensington Park during one of Barrie’s wool-gathering sessions intended to provoke creativity. Instead of finding the inspiration for the next drawing room drama, Barrie began to be beguiled by the boys and their wild romps of imagination.

The siblings were particularly ready for adult male attention, having lost their father a year earlier. And so throughout we see the themes of unwillingness to grow up, the absence of a father, the importance of a mother evinced in the Wendy character, as well as the importance of belief in self and in magic in order to tow the line to be an artist, a writer.

The gaggle of boys in this production are played by a rotating septet and my group was superb. They sang, harmonized, danced, pouted, hid under tables and tore up the stage with impish grins and gamin tears. These boys have soprano voices so clear and sharp I imagine they could cut glass and certainly do sound like angels. They make the magic in the production seem, oh so much more real.

“Peter Pan” opened to great fanfare in the West End and in this Neverland the magical kingdom is well represented with one mermaid, a floppy crawling crocodile and the smallest boy Michael brought to life by the rotund played for maximum giggles by Josh Lamon. Add to the mix a cast of pirates, fairies and a giant Nana Dog.

As Barrie’s creativity surges Sylvia, the mother of the real boys, is dying of consumption. She is played with an ethereal loveliness by Laura Michelle Kelly. Sylvia’s willingness to go along and do almost anything to make her boys smile and feel alive again is countered by her quite dour yet loving mother played by Carolee Carmello, who in a fun twist of fate was Grammer’s agent in the long-running hit “Fraiser.” She is marvelous in voice and presence.

The wonderful lighting by Phillip S. Rosenberg and the projections of magical pyrotechnic element by John Driscoll and Paul Kieve, respectively round out the feeling of genuine magic that pervades the show. The music, by Gary Barlow and Eliot Kennedy (music and lyrics) is well sung by everyone, but there is no song that sticks in your head so that you roll along humming a tune. Rather the wander home in the welcome springtime air seems to find you humming pure joy.

“Finding Neverland” enjoys an extended run at the Lunt-Fontanne Theater, 205 W 46 St. in New York City. For information or tickets, call 877-250-2929 or visit

The Tallest Tree in the Forest: Paul Robeson at BAM

Wickham Boyle Contributor THE EDGE 
Wednesday Mar 25, 2015
Daniel Beaty

Daniel Beaty as Paul Robeson  

As we are witnessing with the ongoing events in Ferguson and with the resurgence of interest in the Civil Rights movement coinciding with the release of “Selma” and the fiftieth anniversary of the march, the course of freedom and equality for people of color in America has never been easy. To witness the struggle for equality through the eyes of a once in a lifetime talent like Paul Robeson is even more ponderous and saddening, as seen in BAM’s staging of “The Tallest Tree in the Forest.”

Daniel Beaty is a Yale-educated actor, singer, writer and motivational speaker and who has crafted a two hour long foray into the remarkable life of Paul Robeson who achieved artistic fame in the 1920′ and ’30s only to be brought down by his political beliefs and the rabid assaults of communist witch hunts in the 1950’s. Beaty has undertaken to portray not only the man, but also dozens of the characters that populated his complicated life.

Robeson was the son of a slave whose father was an autodidact and a minister who endeavored to raised sons who would go on to raise up their race. Both Paul Robeson and his brother received an education in Latin and Greek, but only Paul went on to higher education, his brother perished tragically on the streets.

Robeson was only one of three African Americans to graduate from Rutgers University and he did so as the Valedictorian. He then went on to graduate from Columbia Law School where in a poignant scene we see his later employment in an upscale, largely white firm where he is racially assaulted by a secretary and further told by his boss that he must write briefs for the white lawyers as clients would not stand for a “Negro attorney.” This moment provided the impetus for the very proud Robeson, encouraged by his ever-supportive wife Essie, to leave the law and pursue a career on the stage. Before this moment Robeson had been singing largely to support his educational arc.

The work is directed by Moises Kaufman and musically enhance by a trio of talented musicians who provide themes and support for the many songs, like “Ol’ Man River”, “The Joint is Jumpin” and “Didn’t My Lord Deliver Daniel” among a dozen others. Beaty’s voice is not Robeson’s, but he delivers effortless songs, and a panoply of voices for the various characters with an aplomb that carries the evening along.

We move from Harlem to the new equality of the Soviet Union, to the downfall of that dream and the murder of many of Robeson’s Jewish friends, and yet we witness his inability to stand up for his endangered colleagues because he believes it might unseat the dream of equality for Blacks in Russia. As always, political paths are not strait and as a man of conscience we see Robeson tested again and again.

His artistic route takes him to London to star in “Show Boat” and he attained star power there only to be ousted from one of his favorite haunts, the Savoy, when visiting Americans would not abide eating in an establishment that served Negros. Many of these emblematic scenes are enacted and enhanced with the use of John Narun’s wonderful video and stills projected on the bare back walls of the Harvey Theater, making great use of Derek McLane’s sparse, innovative stage design.

Robeson went on to star in an ill-fated film, “Sanders of the River” about the colonization of Africa, launch an stage acting career in Eugene O’Neil’s “All God’s Chillun Got Wings” and to portray Othello twice, engaging in affairs both times with his Desdemonas, Peggy Ashcroft and Uta Hagen. Through it all, his wife Eslanda, remained at his side for her entire life and acted as his agent.

In the 1950’s when he was a target of the House on Un-American Activities Committee, his state side performance contracts evaporated. And to further hamstring Robeson, his passport was confiscated rendering him unable to work anywhere.

This show has a monument life to cover in historically turbulent times and as a one man show, sometimes the jumps and cuts chosen combined with the many voices portraying the likes of Paul as a child to J. Edger Hoover, to Truman, to Russian dissident poets, to Robeson’s brother and to Essie herself, can be a bit discombobulating.

The evening does continue to show us the distance we have traveled to achieve a kind of equality and it illuminates one of the great tall trees that towered across the landscape as an artist and a humanist.

“The Tallest Tree in the Forest” runs through March 29 at the Harvey Theater, Brooklyn Academy of Music, 651 Fulton Street in Brooklyn. For information or tickets, call 718-636-4100 or visit

The Lion ROARS, what a great piece of theater

The Lion

by Wickham Boyle
Wednesday Feb 11, 2015
Ben Scheuer

Ben Scheuer  (

A 5 p.m. matinee on a snowy Saturday seemed like a punishment, when all I wanted was tea and comfort, but two minutes into Ben Scheuer’s “The Lion” at the Culture Project, was the only place I could imagine being. What a joy, a wild unexpected ride and a heart-opening experience.

Benjamin Scheuer is tall and fit and so handsome with a shock of messy brown hair and fingers so fast on any of the seven guitars arrayed on stage that for the music and the visage alone you may be willing to surrender to his one-man show. His voice is never perfect, but so alluring, and even better than perfection is the story he has to tell. Scheuer is sharing with us, ever so generously, the tale of his coming to manhood. And we all know that voyage is full of trips, cracking voices, explosions, challenges, sadness and joys, but his is a gripping one.

Scheuer had a stern mathematician father who also harbored a desire and talent for music. He taught young Ben to play on a banjo constructed out of a pie pan with rubber bands and Ben and his dad played music on and off with his two younger brothers. The three boys comprised the lion pack inside the family’s pride. Scheuer’s father was mercurial, one day sweet and funny the next screaming and abusive. Ben caught his full wrath in the weeks leading up to his 14th birthday and then tragically his father died before there could be a denouement.

His British mother took young Ben and the other lion cubs back to England for boarding school and more strictness. Finally Ben headed back to America to be an erstwhile musician; along the way he falls in love, plays hard rock, falls ill and recovers. Well, we knew he would get better otherwise someone else would be telling the story, but knowing he ascends doesn’t in any way diminish this glorious, uplifting piece.

The stories are heartfelt and never maudlin, the music is sweet, or tangy or sad and sings and twangs to tug on our heartstrings. The piece moves with the well-paced direction of Sean Daniels and combines so seamlessly that at the end the tired, cold audience rose to its feet cheering.

The Lynn Redgrave Theater, one of the many spaces at Culture Project, is a clean theater, one that seems to accommodate many different kinds of work at varying levels of wonder and resonance. But the technical elements, the design, the sound, the lights are always so well wrought. In this instance the spare but alluring set design was by Neil Patel, light by Ben Stanton and sound, which worked so well by Leon Rosenberg. This is a great winter interlude.

“The Lion” runs through March 29 at The Culture Project, 45 Bleecker Street in New York City. For information or tickets, call 866-811-4111 or visit