Culture Project Presents “The Real Americans” and “The Junket”. Performances Begin March 13 and 14
Contact: Rick Miramontez / Marie Pace / Sarah Babin
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FOR IMMEDIATE RELEASE, PLEASE
CULTURE PROJECT PRESENTS
“ T H E R E A L A M E R I C A N S ”
” T H E J U N K E T ”
STARTING THIS WEEK
MARCH 13 AND MARCH 14
LYNN REDGRAVE THEATER
New York, NY (March 12, 2014) – Beginning this week, Culture Project (Allan Buchman, Artistic Director) will examine contemporary American society with two journalistic theater pieces in rep. The Real Americans, a compelling and uniquely galvanizing new work written and performed by Dan Hoyle, will join The Junket, a new, hilariously revealing solo show based on scandalous actual events, written and performed by Mike Albo. The Real Americans begins performances this Thursday, March 13th at 7 p.m. and The Junket begins on Friday, March 14th at 7 p.m. Performances run until April 20th at the Lynn Redgrave Theater (45 Bleecker Street, NYC).
Escaping his hipster bubble in San Francisco, Dan Hoyle spent 100 days searching to bridge the divide between the liberal, achingly hip, moral-relativism of gentrified city life and the conservative, absolutist, often aggressive populism he found in small-town America. The Real Americans tells of Hoyle’s time living out of his van and sleeping in backyards and parking lots, sharing meals and conversations with cowboys, Reaganite union coal miners in Appalachia, soldiers, rural drug dealers in the Mississippi Delta, itinerant preachers, creation theory experts in West Texas, and closeted gay fundamentalists. Hoyle sought to see the world through their eyes in search of country wisdom and a way to reconcile the divide between the Two Americas. Instead, he found himself at ground zero of our country’s growing economic inequality and increasingly polarized politics. The Real Americans is written and performed by Hoyle, developed with and directed by Charlie Varon, and proudly presented in partnership with Marsha Garces Williams.
Hoyle won the distinguished 2007 Will Glickman ‘Best New Play’ award for his previous show, Tings Dey Happen, which reveled in long runs at The Marsh in San Francisco and Off-Broadway, where it was nominated for a 2008 Lucille Lortel Award for Outstanding Solo Performance.
What’s it like to be a scapegoat? Writer/performer/comedian Mike Albo presents his newest solo show The Junket, about what happens when your freelance job turns out to be your worst enemy. In this hilarious, harrowing, thinly-veiled tale, a struggling writer (named, um, Mike Albo) gets a freelance gig to pen a column for the country’s most influential newspaper. It’s a dream come true, and after years of low pay, Albo thinks he may finally be able to afford NYC’s new luxury loft lifestyle (he even gets a new stylish boyfriend). But after he goes on an over¬-the-top, ill-fated press junket, he becomes a gossip item on the city’s snarkiest, meanest blog, and is thrown into an acrimonious war between old and new media. The Junket is a much ¬needed investigation into the compromised state of modern journalism, provoking questions about how we get our news and who gives it to us.
Helmed by acclaimed theater director David Schweizer, with video effects by Larry Shea, The Junket is a wildly funny but emotionally painful account of New York’s back¬biting media scene, the inner workings of the fashion industry, and what it takes to survive as a writer in our chattering, challenging, increasingly unaffordable culture.
Culture Project is New York’s premier destination for artistic work that investigates urgent social and political issues. By fostering innovative collaboration between human rights organizations and theatre, music and film artists, Culture Project aims to inspire and impact public dialogue and policy, encouraging democratic participation in the most urgent matters of our time. Founded in 1996 by Artistic Director Allan Buchman, Culture Project has premiered celebrated shows including The Exonerated, Sarah Jones’ Bridge & Tunnel, Guantanamo: Honor Bound to Defend Freedom, Lawrence Wright’s My Trip To Al-Qaeda, the Lucille Lortel Award-winning world premiere of George Packer’s Betrayed, James X, directed by Gabriel Byrne and the revival of Rinde Eckert’s acclaimed And God Created Great Whales. Culture Project also produced Breaking the Silence, Beating the Drum, a groundbreaking concert at the United Nations to commemorate the abolition of the Trans-Atlantic Slave Trade. During the 2012 – 2013 season, Culture Project presented a revival of The Exonerated and Anna Khaja’s Shaheed: The Dream and Death of Benazir Bhutto and most recently, the Women Center Stage festival in Summer 2013 and the US premiere of Thomas Kilroy’s adaptation of Chekhov’s classic The Seagull, directed by Max Stafford-Clark (Royal Court Theater).
The Lynn Redgrave Theater is located at 45 Bleecker Street (at Lafayette), New York City. General tickets are available for $35, and premium tickets for $55. Student tickets can be purchased for $25, and rush tickets are available for $20 on a first come first serve basis. To purchase tickets, please call OvationTix at 866-811-4111, or visit https://web.ovationtix.com/trs/cal/351.
CRITICAL PRAISE FOR DAN HOYLE and THE REAL AMERICANS
“Mr. Hoyle is both a first rate reporter and actor.” – The New York Times
“Impressive, hilarious, moving and provocative.” – San Francisco Chronicle
“You’ll discover yourself struggling to find ways to accurately describe the emotional depth and intellectual breadth of what you have just witnessed.” – Huffington Post
“Hilariously dead-on” – Willamette Week, Portland, Oregon
“Hoyle is brilliant, the show a revelation.” – SF Weekly
CRITICAL PRAISE FOR THE JUNKET
“Like many good comic monologuists, Albo makes serious points that land like clouds in our consciousness as we giggle along.” – The New Yorker
“A densely packed rumination on professional ethics, love, self-delusion, and the ambiguity of artistic integrity. It is unambiguously hilarious.” – NYtheaternow.com
“Albo delivered belly laughs with astonishing frequency. Clad all in white, he used his training as a dancer to fill Dixon Place’s expansive, open floor stage.” – Stagetology