The Tribe takes over Rutgers University
I just got back from a guest stint at Rutgers University’s Creative Writing: MIddle Grade & YA Fiction workshop. Don’t believe me? Here—I have photographic evidence:
So this marks the second time I’ve braved cracking open the book in front of a live audience and reading from it. I was petrified. I thought these guys were going to eat me alive, given the fact that, you know, they’re going to school to write these kinds of books. Writing workshop students can smell your fear. They eat the weaker writers. I was done for.
But guess what? They dug it. I got up in front of the class and hooted and hollered through a few chapters. During the reading, one student and I got into a crazy call-and-response together. I love stuff like that. The discussion afterwards was so overwhelmingly positive, I felt a certain weight lift off the shoulders (“You like me! You really, really like me!”). If the rest of my readings are as much of a blast as this one was, this book tour is gonna rock.
After class was done, a few students stayed after to chat. One student told me that he’d had the exact same fantasy of running rampant through his school when nobody was around, which made me realize that I wasn’t the only kid who dreamed of wreaking havoc in the hallways. It’s a relief to hear that I’m not alone. Now… it’s time to find more likeminded readers out there.
To Alex Dawson — thank you for letting me wreck your class this morning. To the students — thank you for your kind words, your enthusiasm, and your willingness to share. You guys were some of the first to hear this book out loud, so thanks for being the best guinea pigs around. Consider yourself all honorary members of the Tribe… To the law of claw and fang!
April 9, 2013
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It’s a booooooook!
Look what came in the mail! The first copy of HOMEROOM HEADHUNTERS just arrived and it is a thing of hardback beauty.
This week marked the first time ever — ever! — that I read from HOMEROOM HEADHUNTERS in front of a captive audience (captive in the sense that they had been kidnapped). The folks at Elephant Run District were kind enough to invite me to take part in their Stampede Lab, where artists are asked to present a short excerpt of something new that they’re working on. I decided to take advantage of the offer and try out THE TRIBE for a live crowd.
Here’s proof. Somebody took a photo from the audience. Looks like a fuzzy-photoed Bigfoot sighting if you ask me:
I read around fifteen — okay, more like twenty — minutes worth of the book and it zipped by. Talk about a blast. We got to hear Spencer Pendleton, the book’s wiseacre narrator, fumble and holler all over the place. We got to wander through the hallways of Greenfield Middle in the dead of the night when nobody else was around. We got to wreak havoc, Tribal-style!
All I can say is… Book tour is going to be blast. Who wants some?
April 7, 2013
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Kirkus gives HOMEROOM HEADHUNTERS a rave!
I've been dreading what Kirkus might say about my new novel. All my fears evaporated like a vampire at dawn when I read: "An engaging, over-the-top tale with much to say about how schools treat individuals and outsiders." First review's a rave. Please let this be a trend.
Click here to read the full review: http://bit.ly/XKRkwY
March 8, 2013
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R.I.P. Red Room…
The Red Room is dead, long live the Red Room…
I did a lot of stupid things in the Red Room. It’s a bit jaw-dropping to look back and reflect on all the half-assed stunts me and my cohorts pulled off in front of a live, ticket-buying audience—all in the name of downtown theater. To think that we were allowed to do what we did on that stage, that no one stopped us, that we weren’t arrested, that more audience members didn’t walk out on us… That's what made the Red Room the Red Room, with its Lynchian blood red walls and its black corrugated tin ceiling—you could always expect the unspeakable onstage. Sometimes, you even saw some great theater. Sometimes. But it was always raw.
Now the Red Room's dead. Or dying. At the end of March, this 3rd floor stage will go the way of most black boxes here in New York City… dark for good.
“Intimate” would be one way to describe the Red Room. “Shoebox” would be another. Audience participation always went hand-in-hand with the stage, whether the script called for it or not. The main entrance to the theater was actually located right onstage, which usually meant any late-comers or drunken bar patrons looking for the bathroom would make their New York stage debut with whatever show was performing at that given moment.
I first stepped into the Red Room back in the summer of 1999 via the NY International Fringe Festival. I was twenty years old, a rising senior in college, and totally broke—not to mention naïve enough to put on a show in the Big Apple and assume a pre-packaged audience would magically appear the moment the curtain raised. The Fringe assigned companies a venue fitting their show’s needs—which, for us, was the smallest theatre possible in order to spare us the fate of performing to an empty house.
By some fortuitous twist of programming, we were assigned the Red Room.
All in all, probably thirty people saw our show that summer. Most of them fell asleep. But one stayed awake—I think. Erez Ziv is one of the three original founding members of the Horse Trade Theater Group. Horse Trade has taken over a few spaces in the East Village—the Red Room, the Kraine theater, and Under St. Mark’s—and turned them into safe havens for rising theater artists here in New York to throw just about anything they can come up with onstage. From that blisteringly hot August on, he gave our scrappy (emphasis on crappy) company a home to produce our own bizarre blend of theater whenever we were able to whip something up.
Fourteen years later, we still call Horse Trade—and the Red Room—home.
A dissertation could be written about all the different exploits that happened on that stage. It was not uncommon for neighbors to call the police on us with noise complaints. Audience lap dances were par for the course. For one particular show we did back in 2002, we brought in a professional knife thrower to perform ten minutes worth of his standard routine—with actual knives—while his assistant belted out one of our character monologues. The notion of somebody performing a story while being subjected to a barrage of knives, mini-axes and machetes is one thing—but compact that with the fact that this was in the Red Room, the eensie-weensie Red Room, and you come to realize that our audience was in danger. Real danger. Sitting in the front row was a matter of life and death. As fate would have it, a knife nicked this poor assistant in her upper-inner thigh one night—and sure enough, everyone in the theater could see the thinnest trickle of blood come dribbling down her leg. I figured that would the end of us—show’s over, everybody—but that bleeding assistant, bless her, forged ahead and kept performing.
How were we even allowed to do this onstage? Why didn’t anybody stop us?
You can have this conversation with just about any artist who’s poked around off-off-off-off-off-Broadway over the last few years. The numbers of closet spaces, attics and basements that have been renovated into theatres, then closed down and overhauled into bars or American Apparels is endless. Todo Con Nada. Surf Reality. House of Candles. The list goes on. All gone, all footnotes to performers who flagellated themselves before a half dozen folks and will eventually, sadly, be forgotten.
But what separated the Red Room from all the other black boxes, in my mind at least, was the devil-may-care attitude towards its programming. The doors were open to anybody. And I mean anybody. If you had a show, well, the Red Room had a slot for you to fill. Bring us your poor, huddled productions—and more often than not, they did. No other theater around town gave this many undergrads, no-grads, and MFAers their first shot under the fresnels. I saw my fair share of crappy, crappy theater in the Red Room. Hell—I was responsible for my fair share of it. More than my fair share. But I also got to see the very first production by The Debate Society in the Red Room. I got to perform with Daniel Handler (a.k.a Lemony Snicket) in the Red Room. Mike Daisey. But most importantly, I got to create theatre that, regardless of how few people actually saw it, remain personal benchmarks to my own theatrical education onstage.
And I got to work with some very talented people. My hero Hanna Cheek. Zachary Knighton. Max Moore. Jenna Friedenberg. Paul Thureen. Hannah Bos. Isaac Butler. Abe Goldfarb. Hannah Timmons. And more. Too many to name. People who have not only left an indelible impression on me, but on my memory of that space and what it stood for. Most of these performers have moved onto larger venues, onstage or onscreen, but it’s the time we shared in the Red Room that will stick with me forever.
I have been fortunate enough to have worked with some very kind, immensely generous theater people here in New York, but none of them can hold a candle to Erez. His heart has always been bigger than the Red Room, bigger than all three of his theatres combined. That one chamber of his heart is shutting down will only force the others to pump harder. To Erez and Heidi and Shula and everyone else who has kept the Red Room full of life, thank you for letting me be a part of it.
In the dressing room located just off to the side of the stage, there’s a wall that has been overtaken with graffiti scribbled by performers waiting for their entrance. It has always been a rite of passage for young companies to write the name of their show directly above the mirror. I wrote our name up there somewhere back in 1999, or 2000, or 2001… In time, some other young buck wrote his name over ours, and then some other company wrote theirs over his, and so on. All the names have tangled up into a kudzu at this point, the endless din of fifteen years of theatre.
Here’s an obituary for one more black box: The Red Room is dead, long live the Red Room…
P.S. The Red Room is going out with a bang. In March, before closing its doors for good, Horse Trade will host some of the Red Room’s highlights from over ten years worth of productions. We will be performing a double-bill of COMMENCEMENT (with Hanna Cheek) and THE PUMPKIN PIE SHOW (and special guests). We’ll be performing stories that originated in the Red Room, so please come pay your respects to one of the rawest black boxes in NYC.
January 28, 2013
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My new Avengers comic hits the shelves today!
I wrote an Avengers comic! Not only… It's the cover story! And it hits the shelves today. Check out The Avenger's: Earth's Mightiest Heroes #10.
If you're looking for an adorable lil' story about what it's like for Ultron to take over your body for evil purposes, then this is the comic for you… It's got Iron Man, Wasp, that big baddy Ultron, and one of my personal faves: The Vision.
Can't wait to head to the comic book shop and wrestle a copy away from all the other ten year olds. Take that, Billy! BIFF! This one's mine! BAM! Get your own copy! KAPOW!
January 9, 2013
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Dispatches from India…
Greetings from Santiniketan! Every year since 2006, my wife and I have ventured across the pond to India around the holidays. It's an excuse to get off the grid for a bit and do nothing but write and read a lot of books under the mosquito net. This year, we decided to bring the newest addition to the family, our 3-month old son Jasper, rather than leave him at home with a couple tins of Campbell's soup and a can opener. So far, he's been digging it here.
So. 2012 is nearly over and done. Time to ring in the new year. But before we do, I've been looking back and thinking about all the adventures that took place in 2012. The year kickstarted with a sojourn to the Sundance Film Festival with our short HENLEY. We were fortunate enough to land a deal to produce a feature-length version with Elijah Wood's new production company The Woodshed. Plus my very first Spider-Man comic came out.
Oh, and there was that whole baby thing. That was pretty cool.
So what's there to look forward to in 2013? It's aiming to be a doozy, from the looks of it. In May, my novel HOMEROOM HEADHUNTERS hits the shelves. This one's been in the works for a while and I'm very, very excited. Please pick up ten copies. We are gearing up to shoot HENLEY this summer, which should be crazy. I've got an Avengers comic coming out. I've scored a few playwriting commissions which will see the light of day throughout the year… And no Halloween would be the same without a Pumpkin Pie Show.
All in all, 2013's looking like it could be a mind-blowing year. Cross those fingers. While I'm swaddled in my mosquito net with the rest of the fam, thinking about new years resolutions, I'm planning on coming into 2013 to kick some ass and chew bubble gum… and I'm all out of bubble gum.
December 29, 2012
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15 Seconds of Fame
A while back I was invited by the super cool theatre company The Debate Society to write a 15 second play. It'd be included in an anthology of other 15 second plays written by a bunch of really awesome writers. I've done a pretty good job at writing some pretty awful plays in my life, so the notion of whittling away all the bad parts of a play in order to get to that really, really good part seemed like a pretty keen idea to me. Whittle it!
I don't know if this is the right 15 seconds, but these are my 15 seonds… And all fifteen of them are included in this brand new book, aptly titled…
"15-Second Plays curated by The Debate Society."
This is probably the only time in my life I'll ever be included in an anthology with the likes of Annie Baker, Itamar Moses and Reggie Watts, so I'm going to soak up my 15 seconds of fame down to the last drop. Pass the courvoisier.
This beautiful chapbook is published by Ugly Duckling Presse. Here's what they have to say: "The Debate Society asked a group of fellow playwrights and friends to contribute to a chapbook. The stipulation: Write a play intended to last 15 seconds. Contributors include: Annie Baker, Mike Batistick, Adam Bock, Joshua Conkel, Jason Craig, Lisa D’Amour, Ann Marie Healy, Kyle Jarrow, Lally Katz, Kristen Kosmas, Kirk Lynn, Clay McLeod Chapman, Itamar Moses, Donna di Novelli, Sylvan Oswald, Reggie Watts."
And this is what Lisa Kron (!) has to say: "They’re tiny, vivid bursts of theatrical imagination. They’re crystalline distillations of theatrical essence. They’re candid snapshots of 17 distinct theatrical souls. I love this tiny book."
Just in time for Christmas. What a perfect stocking stuffer. To pick up your own copy, click here: http://bit.ly/TBwIF2
December 2, 2012
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Over a year and seventeen film festivals later…
Tonight, our short film HENLEY screens at the Cucalorus Annual Festival of Independent Film in Wilmington, North Carolina. It will be the seventeenth film festival HENLEY will have screened at since we hit up the circuit last year, kickstarting the blitz with the Gen Art Film Festival in NYC. It was around about this time last year that we first got word that we had been accepted into the Sundance Film Fest, so it's pretty crazy to look back now at all the different corners of the world where HENLEY has gone on to screen. Everywhere from Malaysia to Mexico, to my hometown in Richmond, Virginia to Clint Eastwood's own fest in Carmel, California.
Now that we're gearing up to produce a feature length version of HENLEY with The Woodshed and Parent Company Films, it's exciting to think, in a year or more (definitely more), we'll be hitting up the festival circuit again… Fingers crossed. First, though, we should probably shoot the damn thing.
For more info on the Cucalorus Film Festival, click here: http://bit.ly/RZK8ak
Here's a list, in no particular order, of all the festivals and awards HENLEY has screened/garnered. Here's to seventeen more!
2012 Sundance Film Festival.
2012 Guanajuato International Film Festival
2012 New Hampshire Film Festival.
2012 Cucalorus Film Festival.
2012 Short Shorts & Asia
2012 Short Shorts & Asia tour: Malaysia
2012 Short Shorts & Asia tour: Short Shorts Int'l Mexico Film Festival.
2012 James River Film Festival.
2011 New Orleans Film Festival.
2011 Hamptons International Film Festival.
2011 Carmel Film and Arts Festival. *Winner of Grand Jury Prize for BEST SHORT FILM
2011 San Diego Film Festival.
2011 Gen Art Film Festival. *Winner of Grand Jury Prize for BEST SHORT FILM
2011 BAM CinemaFEST.
2011 Rooftop Films Summer Series.
2011 Woods Hole Film Festival.
2011 New York's Museum of Moving Images / Rural Route Film Festival.
November 8, 2012
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Pumpkin Pie blowout
Woke up this morning to face some pretty intense winds outside our home. Sandy's a coming, and she's looking to be a pretty mean one.
But to be honest, I've been caught up in a whirlwind ever since Thursday… The Pumpkin Pie Show blew through town in a three-night blitz. We sold out each performance a couple days before opening night, which is unheard of. Still, more people came and we crammed everybody in. Fire marshal be damned!
Thanks to everyone for making this short run of The Pumpkin Pie Show an absolute blast. To everybody who shared the stage with me: Hanna Cheek, Abe Goldfarb, Kevin Townley and Brian Silliman—you guys were amazing, night after night. The sheer joy of watching you take these stories and lift them to a higher level… it was an absolute honor. Thank you.
To Erez Ziv and everbyody at Horse Trade, thank you for giving The Pumpkin Pie Show a home for over a decade now. Can't wait to do it again next year… See you all next Halloween! Same time, same place.
October 28, 2012
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Spider-Man’s on the shelves and ready for reading!
So here's a totally new experience for me… Today, I'm going to go to Forbidden Planet in Union Square. I'm going to go up to the cashier and ask, "Do you have a copy of Marvel Universe Ultimate Spider-Man #7?" And the cashier is going to say something like, "Yeah, we, like, just got that issue in today." And then I'll yell, "I wrote that!" And the dude behind the counter will probably look at me funny and not really respond, silently judging me.
But I won't care, because today marks the day when my first Spider-Man comic hits the shelves. My story is called "There's A Ghost In My Locker" and it's all about how Peter Parker's locker is haunted by the ghost of a bullied kid who died in a locker-stuffing accident.
The kids'll love it!
I'm dying to get my hands on a copy. I'm dying to pull the issue off the shelf and flip through and just hold it in my hands and see how my story unfolds. Am I going a little overboard here? Totally. But this is my first comic! And it's for Spider-Man! I feel like you only get this experience once, encountering your work in a new medium for the very first time, which just so happens to be a medium that I grew up reading incessantly… so I'm going to savor the moment for as long as I can. And then I'm going to buy out the whole stash.
Oh… Here's a little secret: I tried to insert a few references to The Shining in the storyline. Let me know if anyone catches them. Pick up a copy today!
October 24, 2012
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My Avengers comic soars!
One week before my first Spider-Man storyline hits the shelves (Oct 24, hint, hint), I'm super-psyched to announce the release of my first Avengers comic! Not only, but it looks like my story made the front cover! Woot-woot!
(Check out the cool cover by Khoi Pham over to your left.)
I whipped up a story that includes a lesser known character from the Marvel universe named Iron Man. Mr. Tony Stark, along with Wasp and The Vision, have to go up against the grandaddy of all baddies… Ultron himself.
Marvel Universe AVENGERS: Earth's Mightiest Heroes #10
Written by TODD DEZAGO & CLAY MCLEOD CHAPMAN
Art by CHRISTOPHER JONES & LUCIANO VECCHIO
Cover by KHOI PHAM
• When the loathsome Leader attacks NYC with an army of Monsters, the Avengers get ready for the fight of their lives, but it's the Astonishing Ant Man who holds the key to saving the day!
• Techno-terror Ultron seizes control of the Vision to attack Avengers mansion, but Vision will show Ultron that you can't reprogram a superhero!
Issue #10 hits the shelves on January 9, 2013. If you want to read more online about Marvel's January solicitations, click here: http://bit.ly/QYZmwU
"While Tony Stark fixes a glitch on the Vision’s mechanical body, Vision must upload his sentient brain patterns into a “loaner body,” a temporary mechanical vessel that houses his consciousness. At first, it’s almost a dream come true for Vision—So this is what it must feel like to be human; power-free, vulnerable. But when Ultron deploys an artificially intelligent computer virus to hack into the Vision’s empty body and take it over for his own nefarious purposes—Iron Man, with the help of Wasp, must get Vision’s actual body back before he’s stranded inside this analog-system forever."
October 18, 2012
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Fango Flashback: “Two on a Guillotine”
The folks over at Fangoria asked me to review the classic Connie Stevens' corker "Two on a Guillotine" for their Fango Flashback section. For those out there who love mad magician movies, William Castle rip-offs, completely inconsequential jazz numbers and possessed bunny rabbits, then this film is for you…
To read the full review at Fangoria, click here: http://bit.ly/RFlxLv
October 17, 2012
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The Pumpkin Pie Show gets profiled in The Brooklyn Rail
Playwright Mac Rogers was invited by the editors of The Brooklyn Rail to expound upon any particular performance of his choosing happening throughout the month of October. For some ungodly reason, he picked The Pumpkin Pie Show.
I'd just like to take this opportunity to say… God bless Mac Rogers.
He has written probably one of the most incisive, heartfelt accounts of The Pumpkin Pie Show ever. In our show's decade-plus run, we've had the good fortune of getting some great press, but it's an article like this, where the author has the journalistic real estate to really get into the nitty gritty of our performances, that feels like a benchmark for us and the work we've done.
"[The Pumpkin Pie Show] has become one of downtown New York theater’s best-kept secrets—a cult success that loyal fans eagerly await every Halloween."—The Brooklyn Rail
Mac makes us sound better than we truly are. I aspire to be as good as the show he's writing about. Please, as a favor to me, read this article and spread it around. It's solid writing and it's an absolute honor to be the subject of such writing. And come see the Pumpkin Pie Show for the love of all that is unholy!
To read the full article at Brooklyn Rail, click here: http://bit.ly/Rg9Vvp
Purchase your tix for The Pumpkin Pie Show here: http://bit.ly/OxY49H
October 8, 2012
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New pix from Glass Eye’s Tales from Beyond the Pale!
Glass Eye Pix posted some great shots from opening night of "Tales from Beyond the Pale." The evening at Dixon Place was documented by filmmakers (and pals) Noah Greenberg and Craig Macneill, capturing our live performances of Joe Maggio's "Ram King" and my very own "Like Father, Like Son" with none other than Larry Fessenden and Vincent D'Onofrio starring.
Plus there are a few shots of me hosting my lil' heart out. Thanks, Noah and Craig. To see the full set of photos, click here: http://bit.ly/Q0VhbT
There are three more evenings of bone-chilling "Tales from Beyond the Pale" coming up throughout October, so venture on out to see us!
October 5, 2012
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Elijah Wood’s new film co is set to produce feature length version of HENLEY
Earlier this week, Deadline reported in an exclusive that Elijah Wood has partnered up with Daniel Noah and Josh C. Waller to form The Woodshed, an indie production company whose sole goal in life is to make some of scariest horror movies you'll ever see.
Looking over their slate of upcoming productions, I believe them. Read the full article at Deadline here: http://bit.ly/O2H5AX
But the real jaw-dropper: On their roster is none other than a feature length version of our very own HENLEY, written by myself and director Craig Macneill. It's based on our 2012 Sundance-selected short, which was based on the chapter "The Henley Road Motel" from my novel MISS CORPUS. For the short, we focussed on the first half of the chapter and its major players—so when it came time to start developing the feature-length script, Craig and I went back to "The Henley Road Motel" and essentially picked up where we left off, expanding on the world we had started to create. And for anyone who's read MISS CORPUS (all three of you), you know it doesn't end well.
This project has been in the works since January. We've been working on the script while trying our hardest to keep mum about the good news. Do you know how tough it is to keep something like this a secret? Good news gnaws on your insides. Bottling up good news causes awesome-ulcers. But now that Deadline has broken the news, we can shout it from the mountaintop…
More HENLEY is coming your way. Two hours more. You've been warned.
Here's what Deadline had to say:
"On the production side, Woodshed gets underway with… Henley, a feature transfer of the 2012 Sundance short written by Clay McLeod Chapman and Craig Macneill. Macneill will direct and Noah Greenberg is producer as well as cinematographer. The film is described as an intimate portrait of a 9-year-old sociopath as he first discovers his taste for killing."
October 3, 2012
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From the pale depths of tech rehearsal…
We've been in the bowels of Dixon Place for the last couple days, gearing up for tonight's premiere pairing of Joe Maggio's "Ram King" and my very own "Like Father, Like Son" for Glass Eye Pix's radio play series Tales from Beyond the Pale. It's been a blast putting these shows together with Glenn McQuaid (I Sell the Dead) and Larry Fessenden (The Last Winter). And hell… It's not every day you get to hang out with the likes of Vincent D'Onofrio, hearing him rock your script out.
Beyond tonight's performance, there will be three more nights of radio plays for your listening pleasure by Jeff Buhler, Ashley Thorpe, Simon Barrett, Kim Newman, McQuaid, and Fessenden himself all throughout the month of October. And then…? Well, fingers crossed, the recordings of our plays will make up the second season of Tales ready for listening at your own home!
Hope to see you tonight… 9:30 at Dixon Place!
For more info on Like Father, Like Son, click here: http://bit.ly/W8darI
October 1, 2012
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Entertainment Weekly goes Beyond the Pale!
You go to the dentist. You're stuck in the waiting room. What do you do? You pick up a copy of Entertainment Weekly and flip through. But rather than settle in on an interview with Robert Pattinson… What's this? An article about Glass Eye Pix's upcoming Tales from Beyond the Pale? Oh ho!
It's an embarrassment of promotional materials this morning. Entertainment Weekly ran a nice lil' story about next week's show, featuring the poster art for our two premiere pieces "Ram King" by Jow Maggio and my play "Like Father, Like Son."
Fangoria, Shock Til You Drop and Dread Central also posted stories online yesterday. I'm telling you now… This is going to be a blast. I'm really proud of my piece. It definitely doesn't hurt to have the windpipes of Larry Fessenden and Vincent D’Onofrio supporting your words, either. Come check it out on Oct 2nd at Dixon Place!
To read the Entertainment Weekly article, click here: http://bit.ly/S8Pr6y
To read the Fangoria article, click here: http://bit.ly/SlCdD6
To read the Shock Til You Drop article, click here: http://bit.ly/S8G1rM
To read the Dread Central article, click here: http://bit.ly/Q3tVBK
September 27, 2012
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Ghoulish poster art for “Like Father, Like Son”
The folks at Glass Eye Pix have just unveiled the new poster for my story "Like Father, Like Son" in part of their radio play series Tales from Beyond the Pale. It's a thing of beauty. Ghoulish beauty, for sure, but when it's by none other than the Ghoulish Gary Pullin himself, would you expect anything less? Never!
Tales from Beyond the Pale starts up this coming Tuesday, October 2nd at Dixon Place. Trust me, kiddies… You are not going to want to miss it!
For more info about our four-night event, go here: http://talesfrombeyondthepale.com/
Fango did a nice little writeup on the Tales series as well today, which you can read here: http://bit.ly/SlCdD6
September 26, 2012
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NYtheatre interview
It's that time of year again… Time for another Pumpkin Pie Show. The folks at Nytheatre.com were kind enough to throw a couple questions my way about me and the show. You can read the interview here: http://bit.ly/TvtO7f
How much of a jackass am I in this interview? Too much? Not enough?
We are one month away from showtime. Three nights only, y'all. Get your tix!
September 25, 2012
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Genius? Classic? Thank you, Flavorpill!
God bless you, Flavorpill. This year's Pumpkin Pie Show is an editor's pick once again. Not only: John Peacock goes out of his way to say some pretty darn spectacular things about us and the show. Check this out: "Sick storytelling genius Clay McLeod Chapman's Pumpkin Pie Show returns to shock and bring laughter to its loyal fans. ...The best reason to see the show is the return of Hanna Cheek's drunken bridesmaid monologue, a comedic classic so expertly executed it needs to be experienced more than once."
To read the whole post, click here: http://bit.ly/OxUufE
Our run is only one weekend, okay? This one's gonna be awfully randy. Better get your tickets now: http://bit.ly/OxY49H
September 17, 2012
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“A deeply eerie and evocative portrayal of what it's like to stare into the abyss and find something there waiting for you. A memorable, disquieting ghost story about stories, rendered inside a Möbius strip.”
— Kirkus
