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Posts Tagged ‘Tiny Dynamite’

Good Sex, Better Conversation

Posted August 22nd, 2012

Festival Blog contributor Richard Bon lives in Northern Liberties with his wife and daughter. He posts original flash fiction of his own or by a guest writer every other Monday on his blog, liminalfiction.com.

Random sex happens. In David Ireland‘s The End of Hope, The End of Desire, co-produced for 2012 Philly Fringe by Tiny Dynamite and Extreme Measures, it happens just before the play’s opening lines. Characters played by Corinna Burns and Jared Delaney are introduced during detumescence and, after conveying their mutual satisfaction, engage in a conversation that takes them to unexpected places.

While their characters in End of Hope met via a web site dedicated to sex between consenting strangers, Corinna and Jared met in real life ten years ago when they both were cast in a collaborative play called The Artist’s Workshop. “We were both very opinionated and always seemed to disagree,” Corinna tells me, “but eventually we came to respect each other and became good friends.” Though they’ve rarely acted together since, their friendship has grown, as has their mutual respect. When Emma Gibson, producing artistic director for Tiny Dynamite, asked them to star in End of Hope’s Philadelphia debut as part of her “a Play, a Pie, and a Pint” program in October 2011, they jumped at the chance.

“Corinna’s unique quality as an actor,” says Jared, “is believability. It never seems like she’s acting, I never doubt her.” He can hardly finish the sentence before Corinna nods and declares that Jared has a similar “honesty and a grounded presence on stage.”

With only a few weeks to prepare for End of Hope last autumn, the duo relied heavily on their natural chemistry to make the show work. And work it did, selling out The Red Room of The Society Hill Playhouse, Fergie’s Pub in Center City, and MilkBoy in Ardmore.

After the jump: summing the whole of human existence (you read that right).

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In-Yer-Face, Philly: Tiny Dynamite’s Emma Gibson discusses The Country

Posted June 13th, 2012

Heavy conversation in The Country.

Playwright and director Martin Crimp has long been a staple of underground UK theater. His career, spanning back over the last three decades, covers over fifteen original plays and more than a handful of highly sought-after modern translations of pivotal writers like Moliere, Ionesco, and Chekhov. He’s known across Europe and has been produced as far away as Sydney, Australia, but he remains relatively unknown to American audiences. This month, Tiny Dynamite’s production of The Country will be his Philadelphia premiere.

Tiny Dynamite, a budding Philly theater company dedicated to bringing forward compelling contemporary British plays, has produced two full-length plays at the Philly Fringe, and their a Play, a Pie and a Pint series has played to sold-out audiences. We caught up with artistic director (and The Country cast member) Emma Gibson to find out more about their upcoming show.

Live Arts: What made you choose The Country as the next script for Tiny Dynamite?

Emma Gibson: I’ve always been a huge fan of Martin Crimp and the school of “in yer face” theater that the Brits are so good at—Sarah Kane, Mark Ravenhill, Debbie Tucker Green, etc. When I arrived in the US (from the UK) five years ago I realized that Crimp’s work is seldom produced here. I read The Country and it really excited me. It’s a taught, extremely well-written psychological thriller with fantastic characters. I tried to get the rights a couple of years ago but they were waiting for a New York premiere. In the end they gave it to us and our production will be the Philadelphia premiere of his work.

I also wanted to honor Tiny Dynamite’s mission of producing contemporary, exciting plays and projects from the UK. Crimp has such a fresh voice, such a unique identity that it feels perfect to bring this to a town that loves theater and has a growing audience, thanks to the brilliant Inis Nua Theatre Company amongst others, for British works.

LA: What is it about the The Country that will allow American audiences to be drawn in to contemporary British issues, or will they recognize more relevant American themes?

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