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More Fire! Productions

January 01, 1970

More Fire! Productions was a women's theatre collective active in New York City from 1980 to 1988. It was founded by Robin Epstein and Dorothy Cantwell and based in the East Village section of Lower Manhattan, New York City. More Fire! Productions created and produced eight full-length plays between 1980 and 1988, becoming known as "one of the city's leading women's theatre groups" for its contributions to the downtown, experimental theatre, and women's and lesbian theatre scenes of the 1980s.[1] Epstein and Cantwell co-wrote, produced, and performed in the company's first three plays: As the Burger Broils (1980), The Exorcism of Cheryl (1981), and Junk Love (1981), which had numerous runs and became a neighborhood cult classic, "the longest running show on Avenue A."[2] Epstein then wrote and produced The Godmother (1983). Novelist and writer Sarah Schulman joined the company in 1983 and collaborated on the writing and performing of three later plays: Art Failures (1983), Whining and Dining (1984), and Epstein on the Beach (1985). The final play, Beyond Bedlam (1987), was written and produced by Epstein, who was the only person involved in all More Fire! plays.

Early history edit

Along with Epstein and Cantwell, another founding member of More Fire! was Stephanie Doba, who collaborated on and performed in six More Fire! plays. In the mid-1970s, Doba was working at The Kosciuszko Foundation, a Polish-American non-profit organization having its headquarters in New York City. She was asked by Polish theatre director Jerzy Grotowski to help facilitate the participation of Americans in the "Tree of People", a new project of his Polish Laboratory Theatre. Grotowski's work at that time embodied a search for authentic expression through improvisation and interaction among participants, rather than performance for audiences.[3] Cantwell and Doba met as participants in the Tree of People project in Wroclaw, Poland, in the winter of 1979.[4]

Grotowski's focus on improvisatory expression matched and nurtured a strong interest in movement improvisation in the downtown community of the East Village in the late 1970s. Open Movement, the weekly participatory event held at Performance Space 122 (also known as P.S. 122), became a regular meeting ground for New York and European dancers, actors and other artists, a number of whom had taken part in Grotowski's projects. Cantwell, Doba, and Epstein were all regular participants in Open Movement.[4] Cantwell and Doba began collaborating with Epstein, who was then primarily a painter, to create an avant-garde, experimental theatre style.[5]

Another founding member was Marianne Willtorp, now a member of the Swedish Film Institute (Svenska Filminstitutet). Willtorp collaborated on and performed in The Exorcism of Cheryl, Junk Love, and The Godmother. Willtorp's 1981 documentary film More Fire! explores the making of the collective's first original experimental play, As the Burger Broils, which used the movement and physicality of restaurant work to create theatre. The film shows the company's improvisational use of restaurant movement and language, and its real-life context in Epstein and Cantwell's lives as busy East Village artists and actresses who earned their livings as waitresses.

As co-founders of More Fire! Productions, Epstein and Cantwell shared a joint vision and aesthetic. Cantwell's writing and acting abilities were crucial to the company's early success. Her primary interest was in creating a passionate, funny, excessive style of acting, using characters and situations drawn with broad strokes and shameless exaggeration. Cantwell's ability to improvise and understanding of theatre inspired and shaped Epstein's own theatrical vision, which also developed out of her work as a painter, interest in popular film, and background as a working-class Jewish New Yorker.[5] More Fire! used the superficial appearance of autobiography––particularly Epstein's––as a framework for the satirical exploration of a variety of themes and genres, including the confessional style of some East Village performance art. The company's style developed through collaborative improvising and writing, with lesbians and straight women working together to create and sustain an avant-garde, alternative theatre company.

Later history edit

In 1983, Cantwell began to perform with Good Medicine and Company, founded by Carlos Ricardo Martinez and downtown actor/playwright Jeff Weiss. She performed in carlos ricardo martinez's Teddy and the Social Worker and Art the Rat.[6] She starred with Jeff Weiss in his long-running, episodic show, . . . and That's How the Rent Gets Paid (Part IV).[7] Cantwell also performed with Weiss and members of the Wooster Group, including Ron Vawter and Willem Dafoe, at the Performing Garage.[8] In 1987, Cantwell debuted on Broadway (at the Longacre Theatre) in Circle Repertory Company's production of John Bishop's The Musical Comedy Murders of 1940.[9]

Epstein, who has been called the "lesbian equivalent of Woody Allen,"[10] continued as the central creative and organizing force behind More Fire! until she decided to disband the company in 1988. She was involved in every aspect of the production end as well as the artistic creation and design. She wrote, often in collaboration with others, all eight More Fire! experimental plays, performed in them, designed sets and painted scenery, created popular music soundtracks, and wrote songs.[5]

Epstein's later work with More Fire! includes Beyond Bedlam and three plays written in collaboration with Sarah Schulman: Art Failures, Whining and Dining, and Epstein on the Beach. Other downtown performers appeared with the company, including Stephanie Skura in the title role in The Godmother, Jennifer Miller in Whining and Dining and Epstein on the Beach, and Holly Hughes in Whining and Dining. Writer and performer Deb Margolin contributed monologues for The Godmother and Beyond Bedlam, and a guest appearance in Junk Love. Some productions (Junk Love and Epstein on the Beach) also included male actors, such as actor/playwright Paul Walker and comic Jerry Turner.

Audience and critics edit

More Fire! Productions developed a following among East Village theatre audiences. East Village, women's, and New York gay and lesbian publications commented on the company's energy, inventiveness, broad humor, and satire of the downtown arts scene. Other Stages described Junk Love as "savagely witty" and praised the company's "original and daring performers."[11] The New York Native called Whining and Dining "theater as carnival."[12] The Flue, published by Franklin Furnace, an avant-garde art and performance space, noted that "the business is fast and funny, ferociously local."[13] The East Village Eye wrote of Art Failures: "Perhaps Epstein and Schulman's greatest achievement was their ability to crystalize the contradictions at the heart of the theatre/performance world. . . . Along the way Epstein and Schulman knowingly poke fun at themselves and lots of other talented individuals."[14]

Performances by More Fire! received mixed reviews in The New York Times and The Village Voice. Stephen Holden of The New York Times wrote: "Obviously, ensembles like More Fire!, which has earned a loyal cult following, are determined to remain outside of the mainstream."[15] C. Carr of The Village Voice wrote of Epstein on the Beach: "Parts of the show were quite funny––especially a parody of Quarry which managed to recreate and mock many of the visual high points of Meredith Monk's classic within a few minutes. But the gist of the story––that 'hypocrisy is the spice of life' and lesbians will sell out as fast as the next person––made it . . . cynical."[16] The harshest commentary came from Alisa Solomon, also of The Village Voice, who reviewed Art Failures after audience members sent hundreds of postcards demanding a review. Although the postcards were part of the performance, Solomon saw them as a "cry for reviews" and described the play as "politically irresponsible. . . . Instead of taking potshots from a fortress of self-indulgence, why not seriously engage issues of capitalist patriarchy?"[17]

Performance venues edit

Most productions were performed at the University of the Streets, located on Seventh Street and Avenue A in the East Village. As the Burger Broils previewed at P.S. 122's Avant-Garde-Arama and then became the first full-length public play or performance ever to be presented in P.S. 122, in October 1980. In 1981, More Fire! participated in the Second Women's One World (WOW) Festival of women's and lesbian theatre, in New York City, where the company performed The Exorcism of Cheryl and an excerpt from Junk Love.[18] The Exorcism of Cheryl was also performed at the 1981 Boston Women's Theatre Festival. In 1986, The Performing Garage hosted a More Fire! Productions retrospective that included performances of Junk Love and Epstein on the Beach.[19]

Plays edit

In April 2008, the More Fire! Productions archive, including scripts, photographs, reviews, production notes, and videos, was donated to NYC's Lincoln Center Library for the Performing Arts.

  • As the Burger Broils (Oct. 1980)
  • The Exorcism of Cheryl (April–June 1980; Feb. 1982)
  • Junk Love (Nov. 1981, Feb. 1982, April 1982, May 1985, Sept. 1986)
  • The Godmother (April 1983)
  • Art Failures (Dec. 1983, April 1984)
  • Whining and Dining (Dec. 1984-Jan. 1985)
  • Epstein on the Beach (Nov. 1985, Sept. 1986)
  • Beyond Bedlam (April–May 1987)

External links edit

References edit

Sources edit

  • Austin, Gayle. "Women/Text/Theater." Performing Arts Journal 9, no. 2/3 (1985): 185-190.
  • Baracks, Barbara. "All You Need Is Junk." Review of Junk Love, by Robin Epstein and Dorothy Cantwell, University of the Streets, New York. The Flue 2:3 (1982): 24-27.
  • Baracks, Barbara. "Deja WOW." The Village Voice, 14 October 1981: 103+.
  • Baracks, Barbara. "WOW: Funky and Feminist." The Village Voice, 7 October 1981: 93.
  • Benal, Jolanta. "Failures: Standups Sit Down and Take Over." Review of Art Failures, by Robin Epstein and Sarah Schulman, University of the Streets, New York. Gay Community News, 14 January 1984: 14.
  • Benal, Jolanta. "Soul on Trial in Grossinger's Dining Room." Review of Whining and Dining, by Robin Epstein and Sarah Schulman, University of the Streets, New York. New York Native, 14 January 1985.
  • Burke, Bonnie. "A Tour of Bohemia's Last Refuge." Advocate, 25 June 1981: 21-23.
  • Carr, C. "The Queer Frontier." Review of Epstein on the Beach, by Robin Epstein and Sarah Schulman, University of the Streets, New York. The Village Voice, December 1985.
  • Carr, C. On Edge: Performance at the End of the Twentieth Century. Hanover, NH: Wesleyan University Press, 1993: 87.
  • Cashman, Daniel E. "Grotowski: His Twentieth Anniversary." Theatre Journal 31, no. 4 (December 1979): 460-66.
  • Chisholm, Dianne. Queer Constellations: Subcultural Space In The Wake Of The City. Minneapolis: University of Minnesota Press, 2005.
  • Dace, Tish. "Failures of Sex." Review of Art Failures, by Robin Epstein and Sarah Schulman, University of the Streets, New York. New York Native, 2 January 1984.
  • Dace, Tish. "Mayhem in the Streets." Review of Epstein on the Beach, by Robin Epstein and Sarah Schulman, University of the Streets, New York. New York Native, 2 December 1985.
  • Day, Susie. "NY Dyke Theater: More Fire! makes more sex satire." Review of Beyond Bedlam, by Robin Epstein, University of the Streets, New York. Gay Community News 14, no. 44, 31 May 1987: 6+.
  • Deutsch, Nicholas. Review of Epstein on the Beach, by Robin Epstein and Sarah Schulman. Gay Community News 13, no. 21, 7 December 1985.
  • Dunning, Jennifer. "What's Doing in Town and Out." The New York Times, 24 May 1985: C1+.
  • East Village Eye, unsigned review of The Exorcism of Cheryl, by More Fire! Productions, University of the Streets, New York. January 1982.
  • Findlay, Robert. "Grotowski's 'Cultural Explorations Bordering on Art, Especially Theatre.'" Theatre Journal 32, no. 3 (October 1980): 349-56.
  • Grimes, Ron. "The Theatre of Sources." The Drama Review 25, no. 3 (Autumn 1981): 67-74.
  • Gevirtz, Leslie. Review of Whining and Dining, by Robin Epstein and Sarah Schulman, University of the Streets, New York. Gay Community News 12, no. 27, 26 January 1985.
  • Grubb, Kevin. "Matzohs for the Audience." Review of Beyond Bedlam, by Robin Epstein, University of the Streets, New York. New York Native, 4 May 1987: 33.
  • Gussow, Mel. "Jeff Weiss's Rent Gets Paid." Review of And That's How the Rent Gets Paid (Part IV), by Jeff Weiss, Performing Garage, New York. The New York Times, 30 August 1984.
  • Gussow, Mel. "New Stars on Stage and Restaurant Row." The New York Times, 10 April 1987.
  • Gussow, Mel. "Stage: Junk Love, Modern Romance." Review of Junk Love, by Robin Epstein and Dorothy Cantwell, Performing Garage, New York. The New York Times, 18 September 1986.
  • Harris, William. "How Weiss Pays the Rent." Review of And That's How the Rent Gets Paid (Part IV), by Jeff Weiss, Performing Garage, New York. East Village Eye, February 1984.
  • Harris, William. Review of Art Failures, by Robin Epstein and Sarah Schulman, University of the Streets, New York. East Village Eye, February 1984.
  • Harris, William. Review of Epstein on the Beach, by Robin Epstein and Sarah Schulman. East Village Eye, December/January 1986.
  • Harris, William. "Wurst Case Scenario." Review Art Failures, by Robin Epstein and Sarah Schulman, University of the Streets, New York. East Village Eye, April 1984.
  • Hirshorn, Harriet. "Failures Makes It." Review of Art Failures, by Robin Epstein and Sarah Schulman, University of the Streets, New York. Womanews 5, no. 2 (February 1984).
  • Holden, Stephen. "Avant-Garde Antics for the Adventurous." The New York Times, 5 September 1986, C1+.
  • Leondar, Gail. Framing the Mirror/Mirroring the Frame: Feminist Uses of Plays within Plays. Master's Thesis. New York University Department of Performance Studies, 1991.
  • Mernit, Susan. "Robin Epstein: From Painter to Playwright." New Women's Times Feminist Review (November/December 1984): 7+.
  • Miller, Rosalie J. "Lesbian Theater." Visibilities (Summer 1987).
  • Schulman, Sarah. "E. Village Alternative to Therapy: Junk Love and Exorcism." Review of Junk Love and The Exorcism of Cheryl, by More Fire! Productions, University of the Streets, New York, Womanews (February 1982).
  • Schulman, Sarah. Stagestruck: Theater, AIDS, and the Marketing of Gay America. Durham, North Carolina|Durham: Duke University Press, 1998.
  • Shalson, Lara. "Creating Community, Constructing Criticism: The Women's One World Festival 1980-1981." Theatre Topics 15, no. 2 (September 2005): 221-239
  • Shewey, Don. "Art from Trash." Review of Art Failures, by Robin Epstein and Sarah Schulman, University of the Streets, New York. New York Beat, 25 April 1984: 25.
  • Solomon, Alisa. "Bold Whines in New Battles." Review of Art Failures, by Robin Epstein and Sarah Schulman, University of the Streets, New York. The Village Voice, 21 December 1983.
  • Solomon, Alisa. "As the Gender's Bent." Review of Epstein on the Beach, by Robin Epstein and Sarah Schulman, Performing Garage, New York. The Village Voice 31, no. 37, 16 September 1986.
  • Tarzian, Charles. "Performance Space P.S. 122," The Drama Review 29, no. 1 (Spring 1985): 84-91.
  • Tierney, Regina. Review of Epstein on the Beach, by Robin Epstein and Sarah Schulman, Performing Garage, New York. WNYC, September 27, 1986.
  • Walter, Carol. "'Whining and Dining' in the Lesbo Ghetto: An Interview with Robin Epstein." Womanews, December–January 1984: 13.
  • Walter, Kate. "Endangered East Village: Gentrification Threatens Lesbian Artists' Last Hold-Out." Advocate, 4 February 1986: 36-38.
  • Winer, Laurie. Review of Junk Love, by Dorothy Cantwell and Robin Epstein, University of the Streets, New York. Other Stages, 22 April 1982: 5.

Notes edit

  1. ^ Jennifer Dunning, "What's Doing in Town and Out," The New York Times, 24 May 1985: C22.
  2. ^ Sarah Schulman, "E. Village Alternative to Therapy: Junk Love and Exorcism," Womanews (February 1982). See also Stephen Holden, "Avant-Garde Antics for the Adventurous," The New York Times, 5 September 1986: C5.
  3. ^ Ron Grimes, "The Theatre of Sources," The Drama Review 25, no. 3 (1981): 67; Daniel E. Cashman, "Grotowski: His Twentieth Anniversary," Theatre Journal 31, no. 4 (1979): 460-66; Robert Findlay, "Grotowski's 'Cultural Explorations Bordering on Art, Especially Theatre'," Theatre Journal 32, no. 3 (1980): 349-56.
  4. ^ a b Charles Tarzian, "Performance Space P.S. 122", The Drama Review 29, no. 1 (1985): 86.
  5. ^ a b c Susan Mernit, "Robin Epstein: From Painter to Playwright," New Women's Times Feminist Review (November/December 1984): 7.
  6. ^ Peter Rose - performance history
  7. ^ William Harris, "How Weiss Pays the Rent," East Village Eye, February 1984; Sarah Schulman, Stagestruck: Theater, AIDS, and the Marketing of Gay America. Durham, NC: Duke University Press, 1998, 57-61; Dianne Chisholm, Queer Constellations: Subcultural Space In The Wake Of The City (Minneapolis: University of Minnesota Press, 2005), 217.
  8. ^ Mel Gussow, "Jeff Weiss's Rent Gets Paid," The New York Times, 30 August 1984.
  9. ^ Mel Gussow, "New Stars on Stage and Restaurant Row," The New York Times, 10 April 1987.
  10. ^ Leslie Gevirtz, "Whining and Dining," Gay Community News 12, no. 27, 26 January 1985.
  11. ^ Laurie Winer, Review of Junk Love, Other Stages, 22 April 1982: 5.
  12. ^ Jolanta Benal, "Soul on Trial in Grossinger's Dining Room," New York Native, 14 January 1985.
  13. ^ Barbara Baracks, "All You Need Is Junk," The Flue 2:3 (1982): 24-27.
  14. ^ William Harris, "Review of Art Failures," East Village Eye, February 1984.
  15. ^ Stephen Holden, "Avant-Garde Antics for the Adventurous," The New York Times, 5 September 1986: C5.
  16. ^ C. Carr, On Edge: Performance at the End of the Twentieth Century (Hanover, NH: Wesleyan University Press, 1993), 87.
  17. ^ Alisa Solomon, "Bold Whines in New Battles," The Village Voice, 21 December 1983.
  18. ^ Barbara Baracks, "Deja WOW," The Village Voice 14 October 1981: 103.
  19. ^ Mel Gussow, "Junk Love, Modern Romance," The New York Times, 18 September 1986.

January 01, 1970
more, fire, productions, women, theatre, collective, active, york, city, from, 1980, 1988, founded, robin, epstein, dorothy, cantwell, based, east, village, section, lower, manhattan, york, city, created, produced, eight, full, length, plays, between, 1980, 19. More Fire Productions was a women s theatre collective active in New York City from 1980 to 1988 It was founded by Robin Epstein and Dorothy Cantwell and based in the East Village section of Lower Manhattan New York City More Fire Productions created and produced eight full length plays between 1980 and 1988 becoming known as one of the city s leading women s theatre groups for its contributions to the downtown experimental theatre and women s and lesbian theatre scenes of the 1980s 1 Epstein and Cantwell co wrote produced and performed in the company s first three plays As the Burger Broils 1980 The Exorcism of Cheryl 1981 and Junk Love 1981 which had numerous runs and became a neighborhood cult classic the longest running show on Avenue A 2 Epstein then wrote and produced The Godmother 1983 Novelist and writer Sarah Schulman joined the company in 1983 and collaborated on the writing and performing of three later plays Art Failures 1983 Whining and Dining 1984 and Epstein on the Beach 1985 The final play Beyond Bedlam 1987 was written and produced by Epstein who was the only person involved in all More Fire plays Contents 1 Early history 2 Later history 3 Audience and critics 4 Performance venues 5 Plays 6 External links 7 References 7 1 Sources 7 2 NotesEarly history editAlong with Epstein and Cantwell another founding member of More Fire was Stephanie Doba who collaborated on and performed in six More Fire plays In the mid 1970s Doba was working at The Kosciuszko Foundation a Polish American non profit organization having its headquarters in New York City She was asked by Polish theatre director Jerzy Grotowski to help facilitate the participation of Americans in the Tree of People a new project of his Polish Laboratory Theatre Grotowski s work at that time embodied a search for authentic expression through improvisation and interaction among participants rather than performance for audiences 3 Cantwell and Doba met as participants in the Tree of People project in Wroclaw Poland in the winter of 1979 4 Grotowski s focus on improvisatory expression matched and nurtured a strong interest in movement improvisation in the downtown community of the East Village in the late 1970s Open Movement the weekly participatory event held at Performance Space 122 also known as P S 122 became a regular meeting ground for New York and European dancers actors and other artists a number of whom had taken part in Grotowski s projects Cantwell Doba and Epstein were all regular participants in Open Movement 4 Cantwell and Doba began collaborating with Epstein who was then primarily a painter to create an avant garde experimental theatre style 5 Another founding member was Marianne Willtorp now a member of the Swedish Film Institute Svenska Filminstitutet Willtorp collaborated on and performed in The Exorcism of Cheryl Junk Love and The Godmother Willtorp s 1981 documentary film More Fire explores the making of the collective s first original experimental play As the Burger Broils which used the movement and physicality of restaurant work to create theatre The film shows the company s improvisational use of restaurant movement and language and its real life context in Epstein and Cantwell s lives as busy East Village artists and actresses who earned their livings as waitresses As co founders of More Fire Productions Epstein and Cantwell shared a joint vision and aesthetic Cantwell s writing and acting abilities were crucial to the company s early success Her primary interest was in creating a passionate funny excessive style of acting using characters and situations drawn with broad strokes and shameless exaggeration Cantwell s ability to improvise and understanding of theatre inspired and shaped Epstein s own theatrical vision which also developed out of her work as a painter interest in popular film and background as a working class Jewish New Yorker 5 More Fire used the superficial appearance of autobiography particularly Epstein s as a framework for the satirical exploration of a variety of themes and genres including the confessional style of some East Village performance art The company s style developed through collaborative improvising and writing with lesbians and straight women working together to create and sustain an avant garde alternative theatre company Later history editIn 1983 Cantwell began to perform with Good Medicine and Company founded by Carlos Ricardo Martinez and downtown actor playwright Jeff Weiss She performed in carlos ricardo martinez s Teddy and the Social Worker and Art the Rat 6 She starred with Jeff Weiss in his long running episodic show and That s How the Rent Gets Paid Part IV 7 Cantwell also performed with Weiss and members of the Wooster Group including Ron Vawter and Willem Dafoe at the Performing Garage 8 In 1987 Cantwell debuted on Broadway at the Longacre Theatre in Circle Repertory Company s production of John Bishop s The Musical Comedy Murders of 1940 9 Epstein who has been called the lesbian equivalent of Woody Allen 10 continued as the central creative and organizing force behind More Fire until she decided to disband the company in 1988 She was involved in every aspect of the production end as well as the artistic creation and design She wrote often in collaboration with others all eight More Fire experimental plays performed in them designed sets and painted scenery created popular music soundtracks and wrote songs 5 Epstein s later work with More Fire includes Beyond Bedlam and three plays written in collaboration with Sarah Schulman Art Failures Whining and Dining and Epstein on the Beach Other downtown performers appeared with the company including Stephanie Skura in the title role in The Godmother Jennifer Miller in Whining and Dining and Epstein on the Beach and Holly Hughes in Whining and Dining Writer and performer Deb Margolin contributed monologues for The Godmother and Beyond Bedlam and a guest appearance in Junk Love Some productions Junk Love and Epstein on the Beach also included male actors such as actor playwright Paul Walker and comic Jerry Turner Audience and critics editMore Fire Productions developed a following among East Village theatre audiences East Village women s and New York gay and lesbian publications commented on the company s energy inventiveness broad humor and satire of the downtown arts scene Other Stages described Junk Love as savagely witty and praised the company s original and daring performers 11 The New York Native called Whining and Dining theater as carnival 12 The Flue published by Franklin Furnace an avant garde art and performance space noted that the business is fast and funny ferociously local 13 The East Village Eye wrote of Art Failures Perhaps Epstein and Schulman s greatest achievement was their ability to crystalize the contradictions at the heart of the theatre performance world Along the way Epstein and Schulman knowingly poke fun at themselves and lots of other talented individuals 14 Performances by More Fire received mixed reviews in The New York Times and The Village Voice Stephen Holden of The New York Times wrote Obviously ensembles like More Fire which has earned a loyal cult following are determined to remain outside of the mainstream 15 C Carr of The Village Voice wrote of Epstein on the Beach Parts of the show were quite funny especially a parody of Quarry which managed to recreate and mock many of the visual high points of Meredith Monk s classic within a few minutes But the gist of the story that hypocrisy is the spice of life and lesbians will sell out as fast as the next person made it cynical 16 The harshest commentary came from Alisa Solomon also of The Village Voice who reviewed Art Failures after audience members sent hundreds of postcards demanding a review Although the postcards were part of the performance Solomon saw them as a cry for reviews and described the play as politically irresponsible Instead of taking potshots from a fortress of self indulgence why not seriously engage issues of capitalist patriarchy 17 Performance venues editMost productions were performed at the University of the Streets located on Seventh Street and Avenue A in the East Village As the Burger Broils previewed at P S 122 s Avant Garde Arama and then became the first full length public play or performance ever to be presented in P S 122 in October 1980 In 1981 More Fire participated in the Second Women s One World WOW Festival of women s and lesbian theatre in New York City where the company performed The Exorcism of Cheryl and an excerpt from Junk Love 18 The Exorcism of Cheryl was also performed at the 1981 Boston Women s Theatre Festival In 1986 The Performing Garage hosted a More Fire Productions retrospective that included performances of Junk Love and Epstein on the Beach 19 Plays editIn April 2008 the More Fire Productions archive including scripts photographs reviews production notes and videos was donated to NYC s Lincoln Center Library for the Performing Arts As the Burger Broils Oct 1980 The Exorcism of Cheryl April June 1980 Feb 1982 Junk Love Nov 1981 Feb 1982 April 1982 May 1985 Sept 1986 The Godmother April 1983 Art Failures Dec 1983 April 1984 Whining and Dining Dec 1984 Jan 1985 Epstein on the Beach Nov 1985 Sept 1986 Beyond Bedlam April May 1987 External links editRobin Epstein com Founder s website More Fire Productions records 1980 2006 held by the Billy Rose Theatre Division New York Public Library for the Performing ArtsReferences editSources edit Austin Gayle Women Text Theater Performing Arts Journal 9 no 2 3 1985 185 190 Baracks Barbara All You Need Is Junk Review of Junk Love by Robin Epstein and Dorothy Cantwell University of the Streets New York The Flue 2 3 1982 24 27 Baracks Barbara Deja WOW The Village Voice 14 October 1981 103 Baracks Barbara WOW Funky and Feminist The Village Voice 7 October 1981 93 Benal Jolanta Failures Standups Sit Down and Take Over Review of Art Failures by Robin Epstein and Sarah Schulman University of the Streets New York Gay Community News 14 January 1984 14 Benal Jolanta Soul on Trial in Grossinger s Dining Room Review of Whining and Dining by Robin Epstein and Sarah Schulman University of the Streets New York New York Native 14 January 1985 Burke Bonnie A Tour of Bohemia s Last Refuge Advocate 25 June 1981 21 23 Carr C The Queer Frontier Review of Epstein on the Beach by Robin Epstein and Sarah Schulman University of the Streets New York The Village Voice December 1985 Carr C On Edge Performance at the End of the Twentieth Century Hanover NH Wesleyan University Press 1993 87 Cashman Daniel E Grotowski His Twentieth Anniversary Theatre Journal 31 no 4 December 1979 460 66 Chisholm Dianne Queer Constellations Subcultural Space In The Wake Of The City Minneapolis University of Minnesota Press 2005 Dace Tish Failures of Sex Review of Art Failures by Robin Epstein and Sarah Schulman University of the Streets New York New York Native 2 January 1984 Dace Tish Mayhem in the Streets Review of Epstein on the Beach by Robin Epstein and Sarah Schulman University of the Streets New York New York Native 2 December 1985 Day Susie NY Dyke Theater More Fire makes more sex satire Review of Beyond Bedlam by Robin Epstein University of the Streets New York Gay Community News 14 no 44 31 May 1987 6 Deutsch Nicholas Review of Epstein on the Beach by Robin Epstein and Sarah Schulman Gay Community News 13 no 21 7 December 1985 Dunning Jennifer What s Doing in Town and Out The New York Times 24 May 1985 C1 East Village Eye unsigned review of The Exorcism of Cheryl by More Fire Productions University of the Streets New York January 1982 Findlay Robert Grotowski s Cultural Explorations Bordering on Art Especially Theatre Theatre Journal 32 no 3 October 1980 349 56 Grimes Ron The Theatre of Sources The Drama Review 25 no 3 Autumn 1981 67 74 Gevirtz Leslie Review of Whining and Dining by Robin Epstein and Sarah Schulman University of the Streets New York Gay Community News 12 no 27 26 January 1985 Grubb Kevin Matzohs for the Audience Review of Beyond Bedlam by Robin Epstein University of the Streets New York New York Native 4 May 1987 33 Gussow Mel Jeff Weiss s Rent Gets Paid Review of And That s How the Rent Gets Paid Part IV by Jeff Weiss Performing Garage New York The New York Times 30 August 1984 Gussow Mel New Stars on Stage and Restaurant Row The New York Times 10 April 1987 Gussow Mel Stage Junk Love Modern Romance Review of Junk Love by Robin Epstein and Dorothy Cantwell Performing Garage New York The New York Times 18 September 1986 Harris William How Weiss Pays the Rent Review of And That s How the Rent Gets Paid Part IV by Jeff Weiss Performing Garage New York East Village Eye February 1984 Harris William Review of Art Failures by Robin Epstein and Sarah Schulman University of the Streets New York East Village Eye February 1984 Harris William Review of Epstein on the Beach by Robin Epstein and Sarah Schulman East Village Eye December January 1986 Harris William Wurst Case Scenario Review Art Failures by Robin Epstein and Sarah Schulman University of the Streets New York East Village Eye April 1984 Hirshorn Harriet Failures Makes It Review of Art Failures by Robin Epstein and Sarah Schulman University of the Streets New York Womanews 5 no 2 February 1984 Holden Stephen Avant Garde Antics for the Adventurous The New York Times 5 September 1986 C1 Leondar Gail Framing the Mirror Mirroring the Frame Feminist Uses of Plays within Plays Master s Thesis New York University Department of Performance Studies 1991 Mernit Susan Robin Epstein From Painter to Playwright New Women s Times Feminist Review November December 1984 7 Miller Rosalie J Lesbian Theater Visibilities Summer 1987 Schulman Sarah E Village Alternative to Therapy Junk Love and Exorcism Review of Junk Love and The Exorcism of Cheryl by More Fire Productions University of the Streets New York Womanews February 1982 Schulman Sarah Stagestruck Theater AIDS and the Marketing of Gay America Durham North Carolina Durham Duke University Press 1998 Shalson Lara Creating Community Constructing Criticism The Women s One World Festival 1980 1981 Theatre Topics 15 no 2 September 2005 221 239 Shewey Don Art from Trash Review of Art Failures by Robin Epstein and Sarah Schulman University of the Streets New York New York Beat 25 April 1984 25 Solomon Alisa Bold Whines in New Battles Review of Art Failures by Robin Epstein and Sarah Schulman University of the Streets New York The Village Voice 21 December 1983 Solomon Alisa As the Gender s Bent Review of Epstein on the Beach by Robin Epstein and Sarah Schulman Performing Garage New York The Village Voice 31 no 37 16 September 1986 Tarzian Charles Performance Space P S 122 The Drama Review 29 no 1 Spring 1985 84 91 Tierney Regina Review of Epstein on the Beach by Robin Epstein and Sarah Schulman Performing Garage New York WNYC September 27 1986 Walter Carol Whining and Dining in the Lesbo Ghetto An Interview with Robin Epstein Womanews December January 1984 13 Walter Kate Endangered East Village Gentrification Threatens Lesbian Artists Last Hold Out Advocate 4 February 1986 36 38 Winer Laurie Review of Junk Love by Dorothy Cantwell and Robin Epstein University of the Streets New York Other Stages 22 April 1982 5 Notes edit Jennifer Dunning What s Doing in Town and Out The New York Times 24 May 1985 C22 Sarah Schulman E Village Alternative to Therapy Junk Love and Exorcism Womanews February 1982 See also Stephen Holden Avant Garde Antics for the Adventurous The New York Times 5 September 1986 C5 Ron Grimes The Theatre of Sources The Drama Review 25 no 3 1981 67 Daniel E Cashman Grotowski His Twentieth Anniversary Theatre Journal 31 no 4 1979 460 66 Robert Findlay Grotowski s Cultural Explorations Bordering on Art Especially Theatre Theatre Journal 32 no 3 1980 349 56 a b Charles Tarzian Performance Space P S 122 The Drama Review 29 no 1 1985 86 a b c Susan Mernit Robin Epstein From Painter to Playwright New Women s Times Feminist Review November December 1984 7 Peter Rose performance history William Harris How Weiss Pays the Rent East Village Eye February 1984 Sarah Schulman Stagestruck Theater AIDS and the Marketing of Gay America Durham NC Duke University Press 1998 57 61 Dianne Chisholm Queer Constellations Subcultural Space In The Wake Of The City Minneapolis University of Minnesota Press 2005 217 Mel Gussow Jeff Weiss s Rent Gets Paid The New York Times 30 August 1984 Mel Gussow New Stars on Stage and Restaurant Row The New York Times 10 April 1987 Leslie Gevirtz Whining and Dining Gay Community News 12 no 27 26 January 1985 Laurie Winer Review of Junk Love Other Stages 22 April 1982 5 Jolanta Benal Soul on Trial in Grossinger s Dining Room New York Native 14 January 1985 Barbara Baracks All You Need Is Junk The Flue 2 3 1982 24 27 William Harris Review of Art Failures East Village Eye February 1984 Stephen Holden Avant Garde Antics for the Adventurous The New York Times 5 September 1986 C5 C Carr On Edge Performance at the End of the Twentieth Century Hanover NH Wesleyan University Press 1993 87 Alisa Solomon Bold Whines in New Battles The Village Voice 21 December 1983 Barbara Baracks Deja WOW The Village Voice 14 October 1981 103 Mel Gussow Junk Love Modern Romance The New York Times 18 September 1986 Retrieved from https en wikipedia org w index php title More Fire Productions amp oldid 1132072011, wikipedia, wiki, book, books, library,

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