AFTER US THE SAVAGE GOD – The Reading.

July 12th, 2016 – The first of hopefully many ‘Salon’ style Dancing Monkey gatherings was held at the Mainline Theatre in Montreal to present a reading of Mike Czuba’s play AFTER US THE SAVAGE GOD, about the writer Alfred Jarry and his discovery of Time Travel.

The readers were: Caitlin Murphy, Sonia Patenaude, Liz Valdez, Paul-Eric Hausknost and Olivier Lamarche.

“A play that speaks directly to our current political environment. One part (un)historical biography – one part biting satire on our modern media.”

The history books all suggest the writer, Alfred Jarry, died from a combination of malnutrition and a super-human consumption of alcohol, After Us The Savage God will offer another hypothesis – Time travel. With his life long interest in science and cycling, Alfred Jarry secretly managed to build a time machine in his decrepit apartment. Jarry, traveling in and out of time and losing track of it, must battle his nemesis, his creation, the beast known as UBU, before it completely takes over and destroys his life and possibly ours…

“This play will rattle some cages! Congratulations to all the actors and especially to Mike Czuba for writing this daring piece! Watch out for “After Us The Savage God’!!!”

All photos by Jimmy Hayes.

AFTER US THE SAVAGE GOD – A play reading…July 12th.

On July 12th in Montreal, a reading of Mike Czuba’s new work AFTER US THE SAVAGE GOD will take place at the Mainline theatre.

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A Review from Chicago.

A review from Bob  Lichtenbert (meaninginart.orgof Mike Czuba’s Satie et Cocteau.
Produced by Genesis Theatrical Productions. Directed by Elayne LeTraunik.
Featuring: Scott Purdy as Cocteau and Dwight Sora as The Actor (Satie)

“Satie et Cocteau” by Genesis Theatrical Productions (Meaning Grade: 89%) features surrealist poet Jean Cocteau’s attempting to deal with the death of his friend, the composer Eric Satie, by directing an actor in a play that the poet wrote about the musician. As Cocteau was doing surrealism years before this arts movement emerged, this play represents imagination squared, but not much about the physical world.

Although it is sometimes hard to tell the difference between waking, dreams and opim-induced states, that is not the point. The point seems to create more and better reality through the arts. Thus, this play attains a high level of meaning since it is so well acted, directed and designed, mostly by plastic tubular pipes.

What I enjoyed most about this play was playwright Mike Czuba’s frequent references to basic ideas in the arts, poetry and life, for example: “the truth is a lie in the theater; don’t think, be; Cocteau aims to find the essence of poetry by looking for the life that is not seen-intangible! And he can make a circle of light around an actor; we are dreams, fantasies and illusions to be alive.”

I find all these statements fundamental and inspiring, even though Satie lambastes critics as too realistic.

“Satie et Cocteau” begins as a “memory of a memory of an actual event” between the two innovative artists. Cocteau admits that it ends as more of a masquerade probably because it reflects poorly on him.

Robert Lichtenbert,

May 21, 2016

A Monkey In Chicago – Satie et Cocteau, 2016

May 14th, 2016 – (S)cientist Mike Czuba went to Chicago to see a production of his play Satie et Cocteau: A Rehearsal of a Play of a Composer by a Poet at the Athenaeum Theatre. Then he looked at stuff….
Produced by Genesis Theatrical Productions
Produced and Directed by Elayne LeTraunik.
Featuring: Scott Purdy as Cocteau and Dwight Sora as The Actor (Satie)
Stage Manager: Beth Burns
Design: Jess Goings (lights), Harrison Ornelas (set), JJ PorterField (sound), Paula Kenar (costumes), Serena Sandoval (props).

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