Blog Hijack: The Blockheads present Pooka!

In today's Blog Hijack, The Blockheads Artistic Director Lucio Nieto talks about their latest production!

This October, The Blockheads partner with young artists to shed light on domestic violence with their world-premiere of James McCliondon’s new dark fairytale, Pooka.

Theater in the Now sits down with Lucio Nieto, Artistic Director of The Blockheads: Young Artists’ Collective, to talk about their first original play, partnering with students from United Nations International School, raising awareness on domestic violence, and their next step as a collective after receiving their non-profit status through Fractured Atlas.

When did you discover James McClindon’s Pooka?:

In November 2015 we placed a call on Playbill.com seeking undiscovered plays with a passion for social justice, the ability to engage with a 21st century audience, and challenge conventional ways of thinking. We received around 200 submissions and out of the lot, we presented three as a reading series in May of this year. With James’ blessing, we’ve continued working on his piece. This will be our first production of a new play.

Tell us about the partnership with UNIS and what inspired the creation of the costume pieces?

I was lucky enough to know Tim Hall, the middle school’s Theatre Arts teacher. He directed Lion King last year at UNIS and I was immediately awestruck when I saw the production design. I’d learned that the set was designed by the extraordinary Madalena Parreira with the construction of the pieces by the middle and high school students in the art department. When we approached Madalena about a possible partnership, she was just as thrilled as we were to introduce this project to her talented students. It’s been an unforgettable three weeks with Madalena and these incredible young artists. This partnership has been inspiring to the Blockheads and we are looking forward to the next opportunity we have to work with them.

As a collective, part of your mission is to increase awareness on social justice issues through your work. What can the audience take away from Pooka?

Well, we open our show in October, which happens to be the month raising awareness on domestic violence. Of course, as fate would have it, one of the central themes in Pooka is exactly that. With the unique creations from the team at UNIS, we are holding a silent auction at the end of the run selling the hand-crafted pieces designed by the students. All of the proceeds will benefit Safe Horizons–the nation’s leading victim assistance organization. Their mission is to provide support, prevent violence, and promote justice for victims of crime and abuse, their families and communities.

What can we expect next from The Blockheads: Young Artists’ Collective?

As of right now, we are presenting Pooka as our work-in-progress. It’s been such a blast getting this play on its feet. With only two performances, we are presenting something that could potentially be re-mounted next Spring with a larger budget and an extended run. Hopefully, now that we are recognized as a 501(c)(3) non-profit status under Fractured Atlas, our next step is to fundraise for our upcoming productions. As a company, we are learning the mold of our business model. We will be accepting submissions from playwrights this Fall to hold our 2nd New Works Festival in early 2017. We are hungry to develop new text and explore fresh ideas with emerging playwrights.

Details on Pooka:

When?:
October 8th at 9:30pm
October 9th at 7:00pm
Tickets: $8 online | $12 at door
http://www.brownpapertickets.com/event/2603179

Where?:
The Tank
151 W 146th St. 8th Fl
New York, NY 10036

Who?:
Written by James McClindon
Directed by Lucio Nieto
Produced by Michael Finnigan & Alicia G Lopez
Assistant Directed by Gisell Arismendi
Associate Produced by Louise Oliver
Music by Chris Gorman
Art Design by Madalena Parreira (UNIS)
Light and Sound by Michael Witherell

Cast:
Dustin Nichols
Antony Cherrie
Alicia G Lopez
Natalie Stringer
Michael Finnigan
Joan Jamison
Abraham Winter
Lance Styles
Agatha Casiano

Visit www.weareblockheads.com to learn more about The Blockheads.
Instagram / Facebook / Twitter: @weareblockheads

“We are unapologetically not perfect, we’re Blockheads.”

Review: A Timeless Tale with an Iconic Gang

photo courtesy of Yanina May Photography

There are scripts that define generations through its subject matter. For the 21st century, one of those timely scripts is Bert V. Royal’s sensational Dog Sees God: Confessions of a Teenage Blockhead. Inspired by Charles Schultz’s “Peanuts”, the story transporting the gang to high school, a place where today’s problems and fears are confronted firsthand.
In The Blockheads’ production of the instant modern classic, story took center stage as rehearsal cubes, some with chalk drawings, represented everything. A bare bones production truly allows for Royal’s story to shine. This is a piece that can be done minimally but it requires every other aspect to be perfect. This production didn’t quite reach that. Director Lucio Nieto, who also plays the central character CB, had many hats to wear with many aspects to keep an eye on. By choosing a simple approach, there’s little room for error. The transitions need to be crisp. The staging needs to be precise. Fluidity from scene to scene keeps the pace moving. Transitions and scenic element can be created during CB’s monologues so he can enter the scene through a light shift rather than exiting the stage just to reenter. Despite some technical errors, cleaning up the transitions would allow for the momentum of Royal’s script to be maintained, the highlight of this production.

photo courtesy of Yanina May Photography

The ensemble that made up the Dog Sees God was almost perfectly cast. One of the stars of the ensemble was Joan Jamison as the shape shifting CB’s Sister. Jamison’s timing was exquisite. From comedic to dramatic, Jamison nailed it every time. Her costumes, different and hilarious each time, added an extra layer to her brilliance. Josh Meredith as Beethoven portrayed the bullied teen with true sentiment, nicely representing many who have been in his situation. The conflict of self and identity shined even against Michael Finnigan’s bully Matt. Though a little more of a fight and push toward Matt’s own internal conflict could have been boosted. Finnigan’s Matt was just enough loveable goon that you could have been swayed to empathize with him and his Pigpen backstory. Lucio Nieto’s CB was sugary sweet and someone you wanted to be best friends with. Nieto’s animation and joy in the scene with Louise Oliver’s as Van’s Sister was quite wonderful. Though the staging detracted from the strong scene, Nieto and Oliver’s chemistry and timing brought some of the biggest laughs of the night. Shanna Bess and Alicia G. Lopez as Marcy and Tricia respectively had equally great harmony as team double trouble. Patrick Taylor as Van strayed away from the typical stoner archetype, a choice that allowed him to make some strong choices.
This production of Dog Sees God was filled with immense heart. And for that, it’s beautiful and relevant work that should be discussed. But with an abundance of productions of Royal’s play, it needs to stick out. A little more pizzazz would have been an added benefit to the top notch performances.