16-year-old actress Natalie Portman in The Diary of Anne Frank (Photo by Frank W. Okenfels, 3rd)

There's an incredible variety of theatre on stages around the city this spring. Comedies, tragedies, mind-reading, musicals, classic opera and rock opera, Shakespeare and experimental plays -- all for $5 - $20 for students. The only hard part is deciding what to see first. Instead of another movie, why not add some spice to your entertainment life.
So... what are you doing on Saturday night? -- Editor

Stefan Marolachakis 12th grade, Dalton School

The play starts on July 6 1942. It was World War II, and Hitler's army was expanding all over Europe. The Nazi regime was attempting to "cleanse" Germany and the rest of Europe of any Jewish presence by sending Jews to their deaths in the concentration camps.

Like many Jewish families, Anne Frank and her family went into hiding to save their lives, but they were discovered by the Nazis. Anne and most of her family were killed. Her diary was saved, and the play, The Diary of Anne Frank, is based on the true events from a young teen's diary of her experiences in the Holocaust.

Sixteen-year-old film and stage actress Natalie Portman delivers a very good performance as Anne Frank. Anne and seven others live in a cramped, tension filled attic, where "one mistake can cost all of us our lives," as Anne's father tells her. There are enjoyable parts and comic parts, but you don't leave the theatre happy. That is not the goal of the play. It makes a statement about the horrors of World War II, and tries to show the audience the personal effect it had on individuals.

The play had an emotional impact, but I left wondering about the point or message of a production like this. It is a well-known, true story that takes place during an unbearably depressing, horrible period in the history of the world. I questioned the reason for making a play about it. After debating it in my mind, I began to think the point is to give more insight into what it was like. It is easy to keep your distance from the scope of tragedy. If you make it personal and individual, it makes it more touching.

I guess the purpose of this play for our generation is to personalize the experience of World War II and to enable our generation to keep the memory of it alive. As the remaining survivors of the Holocaust pass away, it is important that the younger generation doesn't think of it as just another distant chapter in a history book. When you see a story like this one, it gets you involved. You spend two hours becoming emotionally attached to the family, and in the end they're carted away by the Nazis and killed. It makes it hard to forget or dismiss it, or to distance yourself.

It is easier and easier for us in this generation to distance ourselves from the past. This play establishes a real connection for us. I wasn't blown away by the production itself, but I am definitely glad that I saw it.

The Diary of Anne Frank, at Music Box Theatre, 239 W. 45th St., open run. $20 student rush tickets one hour before each performance, with ID at box office. For performance schedule call Tele-charge (212) 239-6200.

Jails, Hospitals, & Hip Hop:

by Briana Haber 12th grade La Guardia H.S.

After I watched the HBO television special of Danny Hoch's one man show Some People, I looked up the word "chameleon" in the dictionary: "Lizard able to change color to suit surroundings." Danny Hoch is not a lizard, but he can change his persona with the ease of one. The twenty-seven-year-old theatre artist is one of the funniest, most talented and original actors I have seen. Hoch portrays vastly different characters and is able to bring their entire past, present, and future to life. His work is refreshingly honest and funny. It runs the gamut of emotions, and sometimes moved me to tears. His new show, Jails, Hospitals, and Hip Hop opens in March at P.S. 122, and I've been telling all my friends that we definitely have to go see his performance.

I spoke on the phone with Danny Hoch about Jails, Hospitals and Hip Hop, which he describes as a show about a dozen characters whose lives are interwoven when they meet each other in and out of jails and hospitals. He uses hip hop language to relate his ethnic and multiracial characters' stories.

Speaking with Danny, his dedication and values impressed me as much as his performance did. Hoch is a graduate of the LaGuardia High School of Performing Arts. He went on to study acting at schools in North Carolina and London, then began to work at NYU in a theatre program where he did conflict-resolution with teens in jails and alternative high schools. Hoch found that this art form was more rewarding than what some call "real theatre," although his friends weren't convinced. "So, are you still doing that jail thing? When are you going to do real-theatre?" his actor friend asked him. But for Hoch, reaching out to kids in trouble and showing them that there are possibilities and different options beyond their lives is more empowering than ordinary acting. Danny Hoch measures his success in non-commercial terms: "The more you do for people, the more successful you are."

Hoch feels that his show is successful with young people because it reflects their lives, their language, and their experiences. If Jails, Hospitals, and Hip Hop is anything like Some People, I would definitely recommend it to everyone.

Jails, Hospitals, and Hip Hop at P.S. 122, 150 First Ave at 9th St, March 18 to April 18. Student rush $10 with ID, day of show. Call (212) 477-5288 for schedule and information.

"Even though seeing an opera isn't the same as watching Scream 2, it might leave an everlasting impression."

by Megan Schneider 12th Grade, Humanities H.S.

The rock opera Rent, written in 1996, is inspired by the opera La Boheme, written a hundred years earlier. Megan Schneider reviewed Rent and the City Opera production of La Boheme.

In New York we have the best of the best in opera and musical drama, including the spellbinding productions of Puccini's opera La Boheme and Larson's Broadway musical Rent. The musical goals of each are completely different but the stories are remarkably similar.

The time is Christmas Eve in Act I, and the setting is the artsy district of Paris for Boheme, and New York's East Village for Rent. The Bohemian lifestyle, living for the moment, surviving the winter with no heat or money, and relying on friends, is central to both shows. In both love stories, a woman named Mimi, (she has HIV in Rent, tuberculosis in Boheme), evokes passion when she first meets Rudolfo/Roger, and asks him to light her candle. A beautiful melody from La Boheme flows throughout each act, played by the orchestra in Boheme and by the electric guitar in Rent. Each show is an emotionally captivating experience for the audience.

Opera is like nothing else in the world; it cleanses the mind, nourishes the heart, and engages the soul. In my experience, opera is a life-enhancing art form. La Boheme could be the zenith of all opera for its tremendous story, moving drama and incredible music. It is a simple and tragic slice of life, containing humor intertwined with sadness and passion. Marcello, a painter, and his roommate Rudolfo, a poet, are two poverty-stricken roommates trying to survive the winter in an attic with no heat, and their rent overdue, when Rudolfo and Mimi fall in love. The story moves quickly through four short acts, and the songs are bolstered with soaring orchestration.

La Boheme is more than beautiful...it is sublime. Just sitting in the New York State Theatre and listening to a work of art that for a century has been cherished by all kinds of people throughout the world is reason enough to give an opera like La Boheme a chance. Another reason is the $10 tickets generously offered to students at the New York City Opera. Even though seeing an opera isn't the same as watching Scream 2, it might offer a dramatically new perspective and leave an everlasting impression.

The awe-inspiring Broadway rock musical Rent is us; our generation, our lifetime. Filled with jam-packed action, Rent is the story of a group of young people struggling to pay their rent during a melancholy Christmas season in New York. The friends in the show help each other deal with HIV and AIDS and losing their closest friends. The music is unforgettable. Each song, accompanied by a very alive rock band, ignites something deep inside. Pure emotion pulses from beginning to end.

Both Rent and La Boheme are musical revelations that will continue to captivate any audience, an audience that could include you.

La Boheme, New York City Opera, Mar 6-29. Call Student Rush Hotline at (212) 870-5630 for full details. $10 student tickets must be purchased on day of performance at the New York State Theatre box office, Lincoln Center (63rd St. & Columbus Ave.)

Rent, at Nederlander Theatre, 208 W. 41 St. Limited number of $20 tickets available day of performance. For information and season schedule call (212) 307-4100

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by Emma Stein 11th Grade, Stuyvesant H.S.
"You just have to accept that your mind is radically being toyed with."

Marc Salem has studied the human mind for over 30 years and he has created an unfathomable performance. Mind Games has the air of a classic magic show, where a single magician, with the help of mirrors and sleight-of-hand, stands on stage and amazes the audience. However, in Mind Games there is no pulling rabbits out of hats. Marc Salem uses few props and everything he does involves the audience. He is able to write down the color or number someone is about to pick before he even knows who they are (he did this to me!), spell out words people have read purely by having them concentrate on the word, detect liars flawlessly, and much, much more. Each game he plays with the audience is more astounding than the last.

Mind Games is a great performance to see with friends or with family. It lasts about an hour and a half in the theatre, but it lasts in you mind for a lot longer. I spent the next day with a friend trying to figure out how Marc Salem did one of his tricks, but for the life of us, we could not figure it out.
I recommend Mind Games to anyone who wants to explore the human mind, or just wants to have a really good time.

Mind Games at the Westside Theatre, 407 W. 43rd St. between 9th & 10th Aves. Student rush tickets $20 with ID and this
Play by Play at the box office, Wed, Thur, and Sun nights. For schedule call (212) 315-2244.

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A wild comedy about growing up Latino in NYC.
John Leguizamo portrays a cast of thousands in his new show about life with the family Leguizamo.
Through March 29 at the Cort Theatre, 138 W. 48 St., $17.50 tickets available day of show at the box office.
For schedule call Tele-charge (212) 239-6200. (This play contains strong language.)

more info http://www.freakonbroadway.com/

ALL THIS FOR $5

Fleet/High 5 on 5th Arts Festival

A two day mix of cultural events for teenagers and their families, in 12 museums on and off 5th Avenue. On March 14 & 15 from 11:00 - 5:00 pm, the festival will include 27 performances, 4 film screenings, and more. Each daily festival ticket is $5, and if you are between the ages of 13 and 18, with a valid ID, you can purchase as many $5 tickets as you want. For festival information, call (212) Hi5-TKTS.

* Indicates Editor's Choice & Student Recommendation. Shows sell out quickly. Call in advance! Always have your student I.D. with you when purchasing or picking up tickets!

The following theatres and organizations are seeking student interns (unpaid) in many areas of the theatre, including production, administration, publicity, ushering, research, etc. Write a letter of inquiry or call for info:

ACTORS THEATER WORKSHOP (212) 947-1386. 145 W. 28 St., NYC 10001. Contact: Sean Barry, Eileen Burke.

CASTILLO THEATRE (212) 941-5800. 500 Greenwich Street #201, NYC 10013. Contact Diane Stiles or Joe Spirito. Stage Crew, Production/Design Assistants, Theatre Management, Word Processing/Inputting, Video Production, Set and Light Engineers, Public Relations and Marketing Assistant, Group Sales Assistant, House Staff.

CIRCLE IN THE SQUARE THEATRE SCHOOL (212) 307-0388. 1633 Broadway, NYC 10019. Contact Dr. Rhonda Dodd. General Office Duties including phones, word processing, etc., Library Research/Writing for children's show study guide (good writing skills necessary).

CONEY ISLAND USA (718) 372-5159. 1208 Surf Ave., Brooklyn 11224. Contact Dick Zigun. Acting, Tech, Lights and Sound, Administration.

CROMARTY & CO (212) 944-8191. 110 W. 40 St., Suite 405, NYC 10018-3616. Contact Alice Herrrick. Public Relations, Journalism, Entertainment Publicity (typing, phone skills, extreme organization, computer knowledge necessary).

ENSEMBLE STUDIO THEATRE (212) 247-4982. 549 W. 52 St., NYC 10019. Contact Chris Smith, Artistic Director of Youngblood Theatre Co.

INTERBOROUGH REPERTORY THEATER (IRT) (212) 206-6875. 154 Christopher St., Suite 3B, NYC 10014. Contact Jonathan Fluck. Marketing and Administrative Assistant.

JEFFREY RICHARDS ASSOCIATES (212) 489-6745. Alwyn Court, Suite 1B, 911 Seventh Ave., NYC 10019. Contact Caral Craig. Public Relations Assistant (good appearance, excellent phone and writing skills, Windows '95, familiarity with all aspects of media including magazines, newspapers and tv, familiarity with major theatrical players necessary.)

KINGS COUNTY SHAKESPEARE CO 155 Henry St. #8B, Brooklyn, NY 11201. Contact Deborah Wright Houston. Ushering, Stage and Costume Crews, Concessions for annual Prospect Park Shakespeare Festival.

LIVENT/FORD CENTER FOR THE PERFORMING ARTS (212) 556-4722. 213 West 42nd St., 3rd Fl., NYC 10036. Contact Wayne Wolf. Assist two Broadway press agents on the musical Ragtime.

MABOU MINES (212) 473-0559. 150 First Ave., NYC 10009. Contact Sharon Fogarty. Administrative.

THE NEW YORK STREET THEATRE CARAVAN (212) 242-6036. 212 W. 14 St., #2A, NYC 10011. Contact Melba Rose. (Please note: the Caravan is a resident theatre company at the Jamaica Arts Center in Queens.) Word Processing, Design and Promotional Materials, Marketing/Fundraising, Stage Crew (touring nationally/internationally), Technical, Costume Design.

PUBLIC THEATER/NYSF (212) 539-8659. 425 Lafayette St., NYC 10003. Contact Alison Harper. Administrative, Creative, Technical, Managerial, Marketing, Promotion.

REPERTORIO ESPANOL (212) 889-2850. 138 E. 27 St., NYC 10016. Contact Felix Arocho. Marketing, Publicity, House Management.

RICHARD FRANKEL PRODUCTIONS (212) 302-5559. 729 7 Ave., Fl 12, NYC 10019. Contact Internship Coordinator. Assist General Managers and Company Managers of Broadway and Off-Broadway productions, attend weekly seminars led by industry professionals.

SPRINGER/CHICOINE PUBLIC RELATIONS (212) 354-4660. 1501 Broadway, #1314A, NYC 10036. Contact Gary Springer. General theatrical press office work: getting out releases, contacting critics, making sure listings go out, etc.

SOHO THINK TANK @ OHIO THEATRE (212) 966-4844. 66 Wooster St, NYC 10012. Contact Robert Lyons. House Management (Ushering, Concessions, Box Office), Marketing (Design, Data Entry), Technical (Stage Crew, Lighting Operator, Sound Operator).

TADA! (212) 627-1732. 120 West 28 St., NYC 10001. Contact Jessica Maccario. Literary, Marketing/General Administration, Electrician/Light Op, House Management, Stage Management, Wardrobe, Production.

TARGET MARGIN THEATER (212) 725-4617. 1879 Murray Hill Station, NYC 10156. Contact David. Production, Stage Crew, Office Work, Phone Calls.

THE THEATRE-STUDIO, INC (212) 719-0500. 750 Eighth Ave. #200, NYC 10036. Contact Abby or Caesar by phone. Contact A.M. Raychel by mail. Ushering, Word Processing, Stage Crew, Marketing, Sound and Light Design. Video Camera Operator, Play Readers.

THEATER FOR THE NEW CITY (212) 254-1109. 155 First Ave., NYC 10003. Contact Jerry Jaffe. Administrative, Marketing, Public Relations, Stage Crew.

TONY ORIGLIO PUBLICITY (212) 695-7400. 330 West 42 St., Fl. 18, NYC 10036. Contact Tony Origlio or Karen Greco. Publicity.

TRIBECA PERFORMING ARTS CENTER (212) 346-8500. 199 Chambers St., Rm S110C, NYC 10007. Contact Jeff Oppenheim. Assist Marketing Director with press releases, marketing strategy and general office work. Knowledge of Quark Express a plus.

WOMEN'S PROJECT AND PRODUCTIONS (212) 765-1706. 55 West End Avenue, NYC 10023. Contact Olivia Corless. Administrative, Literary, Marketing, Development, sometimes Production Crew.

THE WORKING THEATRE (212) 967-5464. 125 East Broadway, Box 892, NYC 10002-0892. Contact Jennifer W. Cook. Development Associate: working with Development Director to research and apply for all income sources including writing grants for the government, corporate sponsorship, individuals and foundations.

CONTESTS

Rent & Young Playwrights, Inc. present:

Deadline April 15. Open to all NYC public high school students.
Cash prizes and other awards. All entries receive written evaluation. For info call (212) 307- 1140.

A Writing/Video Contest open to all NYC high school students. Deadline: March 25. Funky poems, short dialogues and songs one to five pages in length; and video poetry, five to fifteen minutes in length. Winners will receive cash prizes and public performances. Send submissions to Playtime-TSI, 750 8th Ave #200, NYC 10036, or call (212) 719-0500 for more info.

Issue no. 7
March-April, 1998

is a quarterly theatre newsletter
published by
Theatre Development Fund / TDF

Jack Goldstein
Executive Director

Alice Eve Cohen
Editor-in-Chief & Publisher

Beth Chiarelli
Assistant Editor

Layout and Design
Doug Smith, Macsmith designs

Education Director
Marianna Houston Weber

Proofreader
Sally Gardner

Play by Play / TDF
1501 Broadway, 21st floor
New York, NY 10036
(212) 221-0885

If you'd like to write for Play by Play, mail cover letter and writing sample to above address.

Theatre Development Fund

(TDF) is an organization dedicated to the advancement of professional theatre, music, and dance productions of merit. TDF makes the performing arts affordable through TKTS, the half-price ticket booths, and many other programs. You can join TDF for a $15 annual fee to receive discount ticket offerings through the mail, & other benefits. Send a self-addressed, stamped envelope requesting an application to:

TDF
1501 Broadway
NY, NY 10036