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British Plays
 
HOT MOON C**T

Please contact us if you are interested in seeing the complete illustrated package of this play.
Book includes puppet illustrations, set designs and script.
Email Victor: vvillarhauser@nyc.rr.com


Director's Notes

“Excuse me brother, sir. Can I have a (sic) eternal minute of your time?”
- Prince of Love, Hot Moon Cunt

Jamie Linley’s Hot Moon Cunt is the most engaging, compelling, and entertaining play I’ve read in at least the last five years. I describe it as a “beautiful ugly” play. It examines an ugly world (strippers, drug addicts, porn stars, low life rock and rollers) in a beautiful and poetic fashion. Linley’s use of heightened language, extreme imagery (inspiring and devastating), unique characterizations, and juxtaposition of genuine tragedy and fall- down- laughing comedy all come together to form a perfect exploration of a dreamer’s last day on earth. Although the play is extremely graphic and shocking in places, it is ultimately warm, moving, heartbreaking; and, while not necessarily uplifting, it is finally positive and breathtaking in it’s last image of its protagonist as butterfly. For all the base human behavior depicted in Hot Moon, the play is not a “kitchen sink” realistic account. Rather it poetically and expansively examines its beautiful theme: transformation. In the hands of a less skilled playwright, Hot Moon Cunt would depict a fallen woman who only needs “the love of a good man” to redeem her. Yes, Emmanuelle, the cokehead stripper at the end of her rope does need someone to help her. However, she doesn’t need a man to help her live, but rather she needs a man who is strong enough to help her die, thus setting her free. Linley eschews the earthly concern of redemption for the more powerful transcendence. Like Tennessee Williams’ greatest female protagonists, Emmanuelle is just too fragile and special to live on this earth. She is meant for some other realm. The play is a fable and thus takes place in “a eternal minute”. It could be happening in real time (the course of one evening) or it could all be taking place in the exact instant of death (transition) in Emmanuelle’s head and body. Therefore, my production will mirror and underscore Linley’s literary poetry with stage poetry. I believe that a story written in such a singular style cannot be staged in the tradition of strict American Realism. It demands a conceptualized, bold, and expansive physical production. The events in Hot Moon Cunt are seen strictly through the eyes of Emmanuelle and so my production will be Expressionistic. We will see all the characters (other than Tommy and The Prince of Love) as Emmanuelle sees them. Because the story has Alice in Wonderland allusions, my production will feel like Emmanuelle has fallen down a “rabbit hole.” The characters are life-like but not living, realistic, but not real. Our actors will be costumed in an exaggerated manner, to appear almost puppet-like. This conceit throws into relief Emmanuelle’s state of being (she is either mentally and emotionally imbalanced or seeing straighter than she’s ever seen in her life) and has the added benefit of strongly accentuating Tommy and Emmanuelle’s naked human bodies in relation to the puppet flesh Emmanuelle has been experiencing until she is “free” with Tommy. I sit on pins and needles in anticipation of the opportunity to enter the creative process that will lead to the full production of Hot Moon Cunt, a play that I firmly believe deserves a chance to move audiences in that rare way that only certain pieces of live theater can.


 
 







Puppet by Erik Sanko



Jamie Linley

Hot Moon Cunt is Jamie Linley’s second play. His first, Dirty Works, was performed by Stiff Upper Lip Theatre Co. at both The Greenwich Street Theatre Jan 2005 and the Edinburgh Fringe Festival Aug 2005. He is writing his third, King Coal (a piece with songs),about the British miners’ strike of 1984.


Set Design Drawings by Mark Symczak


Kevin Kittle

Kevin Kittle has worked as Joseph Chaikin’s assistant director and with Arthur Miller and Sam Shepard for the Signature Theater Company. He has directed numerous productions in such New York City theaters as The Joseph Papp Public Theater, The John Houseman, The Neighborhood Playhouse, The Harold Clurman, Ensemble Studio Theater, Arclight, Chashama, HERE, Sullivan Street Playhouse, The Zipper, The Gene Frankel, and The Irish Repertory Theatre, as well as regionally. His most recent productions include The Medicine Show at CSV (Flamboyen), Animals at The Connolly, and A New Television Arrives, Finally, at Theater 54. At The Greenwich Street Theatre, he directed the world premiere of Jamie Linley’s Dirty Works (critical acclaim in NYC and at The Edinburgh Fringe Festival) and Philip Ridley’s The Pitchfork Disney, both as resident director of Stiff Upper Lip, as well as Joe Penhall’s Some Voices with The Villar-Hauser Development Fund. Other credits include: And Mirasaki Danced (starring Michael Warren Powell) for Circle East, the NYC premiere of Carter Lewis’ Soft Click of a Switch at The Flatiron Playhouse, and Watching and Waiting at The Judith Anderson, The House of Yes at The Currican, and Life During Wartime (2001 Off-Off Broadway Review Award for Outstanding Production) for Inertia Productions. As co-developer and dramaturge-director, Kevin has worked on Burnt, with Rhett Rossi at The Present Company Theatorium, David Dannenfelser’s When Words Fail… at The NY International Fringe Festival (the script of which is published in Plays and Playwrights, Vol. One), and Peter Handy’s East of the Sun and West of the Moon, which was a finalist in the Samuel French One Act Festival and is published by Samuel French. His Los Angeles production of Chet Whell’s Economic Subterfuge, starring Jason Huber, was nominated for an LA Weekly Award. Kevin is an assistant professor of Acting and the Director of Performance Ensemble in the BFA program at Mason Gross School of the Arts, Rutgers University, and is an associate director of the Youth Theater of New Jersey, where he teaches in their Summer Theater Institute in residence at Columbia University and Juilliard.


Erik Sanko

Erik Sanko is known best as a fixture of the NY downtown music scene, having worked with such noble musical institutions as John Cale, Yoko Ono, Jim Carroll, James Chance and the Contortions as well as being a 16-year veteran of The Lounge Lizards. His own band, Skeleton Key was nominated for a Grammy in 1997 for their album Fantastic Spikes Through Balloon and Erik’s solo record, Past Imperfect Present Tense was sited by Jon Pareles as one of the top ten most underrated albums of 2002 in the NY Times. He holds a B.F.A. from Cooper Union and has been a closet puppet maker since childhood. Over the course of the last three years of going public as a puppeteer, he has had several gallery showings and makes custom made marionettes for eclectic art collectors. His first foray into the theatrical marionette world produced The Fortune Teller, a collaboration musically with Danny Elfman. The play was extended twice and ran for two sold out months, receiving praise from every publication ranging from The New York Times to Backstage. Erik and The Fortune Teller were also featured as an answer on Jeopardy in the category of “Puppet-pourri”. Erik recently composed and performed music for Ulrike Quade’s world premiere of The Wall at MASS MoCA. More recently he completed a set design collaboration with Jessica Grindstaff for the play Speaking in Tongues in Copenhagen at the Eklektisk Teater. This year the Kronos Quartet commissioned Erik to create Dear Mme., an original music composition and puppet piece to open the 25th Anniversary of the Next Wave Festival this October in New York at B.A.M. In addition Erik is currently designing marionettes for Ping Chong Company’s The Devil and Daniel Webster in collaboration with the Youkiza marionette company in Tokyo in 2008.
Erik is the recipient of a Jim Henson Foundation Grant and a LMCC Swing Space grant.
www.eriksanko.com


Mark Symczak

Mark Symczak, set design, NYC designs include “Macbeth” at Classic Stage Co., “Dirty Works” at the Greenwich Street Theater, “Duet” at The Greenwich Street Theater, “The Countess” at The Greenwich Street Theater, Samuel Beckett Theater and The Lambs’ Theater, “Master and Margarita” at the Theater for the New City, “The Conversation”, “The Belly of the Beast”, “Hiding Behind Comets”, The High Priest of California”, “Bold Girls”, “Tracers”, “Bible Burlesque”, and “The Wake of Jamie Foster” all at 29th Street Rep. “My Sweetheart’s the Man in the Moon”, “Sitting Pretty”, “The Garden of Hannah List”, “Quake”, “Gun Club”, and “Buying Time” all for the Hypothetical Theater Co. at the 14th street theater. “The last Jew in Europe”, “A Love in Great Neck”, “The Last Virgin”, “The Suicide Bomber”, “The Diary of Adolph Eichmann”, “The American Jew”, “The Father of Angels”, and “Love Letters to Adolph Hitler” all for the Jewish Theater of New York. “I Never Saw Another Butterfly” at the Mazer Theater, “One Act Marathon” 1995 & 96 at Ensemble Studio Theatre and over 30 productions as resident set designer for the Synchronicity Theatre Group at Synchronicity Space, 1992-99.


Set Design Drawings by Mark Symczak



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