In the Blue Hour
New York City, New York | Company
Drama, Experimental
Vanessa hosts one last party, coming to terms with a life lived imperfectly. Over the course of an evening, visitors from the past arrive as memories and dreams oscillate with the present. In the Blue Hour is a play featuring a new form of audience interaction specifically developed for this work.
In the Blue Hour
New York City, New York | Company
Drama, Experimental
1 Campaigns |
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This campaign raised $6,100 for production. Follow the filmmaker to receive future updates on this project.
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Vanessa hosts one last party, coming to terms with a life lived imperfectly. Over the course of an evening, visitors from the past arrive as memories and dreams oscillate with the present. In the Blue Hour is a play featuring a new form of audience interaction specifically developed for this work.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
The Play
What are we supposed to make of a life? Vanessa, a perfect host, invites her friends to attend one last party. Facing a severe illness, she struggles with the abyss that has opened underneath the normality of her life. Over the course of an evening, visitors from the past arrive as memories and dreams oscillate with the present, and we begin to understand the beautiful imperfection of it all.
The Concept
In the Blue Hour is set in a private apartment, and the six scripted characters are joined by a far larger cast - the audience, who is invited as friends of the host. In the Blue Hour takes the concept of audience interaction to a new level by gently embedding audience members into the story line. Invited as guests to Vanessa’s dinner party, they are required to fill out a questionnaire prior to their arrival. The answers provided in advance feed directly and seamlessly into the play. In the Blue Hour changes in tone and flow with each performance depending on the audience and their answers, wrapping each guest individually into the bigger story line.
The Playwright about Audience Embedding
Audience, performer, writer and director are equal story tellers in creating this work. The current theater scene can certainly seem a bit overrun by immersive and audience interactive plays, but I’m oftentimes unsatisfied by the experience. I'm not interested in simply fitting the audience into pre-assigned slots within the work. If we are using interaction and site-specific settings as tools in theater, I want to know why we do it. How do these concepts matter to the specific story we are telling, without merely being a gimmick? How do they actually shape and influence the work?
With In the Blue Hour, we are striving to push the concept of interaction further to fully embed audience members as the individuals they are and give their story room to interweave with the work itself. We are curious to find out how one person can truly matter to a play. How can one audience member change a play - and how can the play change them in return?
- Martina Potratz -
(Pic: A Sitcom for the Apocalypse by Lil' Explosions)
The Audience
We invite you to become part of Vanessa's world. In the Blue Hour only works with the participation of the audience. Get a ticket, fill out our questionnaire and come to the party. But what if you don't live in NYC or want to become involved much sooner in the process? There are other ways to be embedded into the play. Head over to our incentives, and see how your contributions can shape the play in many other ways.
The Company
Lil’ Explosions produces original work that is poetic, slightly surreal and always contains a dance number. Written by Martina Potratz, our plays are developed in artistic collaborations with directors, actors, designers and the audience itself. This probably explains why we have a fondness for immersive work and are constantly refining concepts of audience interaction. You can find our work performed in private apartments, art galleries and - hardly ever - theater spaces.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Actors
Costs $2,000
Our actors have bills to pay and NYC ain't cheap. This will cover a part of our talent's stipends.
Rehearsal Space
Costs $500
We already scored some free rehearsal space and your contribution will cover the rest.
Vanessa's House
Costs $2,500
For four nights, the ground floor of a brownstone in Harlem will be turned into Vanessa's apartment.
Props & Set
Costs $500
Maison D'Art is lending us some furniture for Vanessa's apartment. You can turn it into a cozy home.
Costumes
Costs $500
Our characters need appropriate party outfits for this special occasion.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Melissa Crespo, Director
Melissa is Martina's favorite director and collaborator. They've meet 10 years ago when Martina was acting in an Off-Off-Broadway show and they never really stopped working together since. Needless to say, Melissa also directed Martina's first show with Lil' Explosions, A Sitcom for the Apocalypse.
Melissa is an established New York-based director of theater, opera, film and television, and currently a Usual Suspect at New York Theatre Workshop and a 2016-2018 Time Warner Fellow at WP Theater.
Martina Potratz, Writer & Producer
Martina started as an actor in NYC in experimental downtown theater and collaborating internationally with visual artists. She slowly made her way uptown as a member of Intar Theatre's acting company Unit 52. As a writer, producer and theater maker, she has now arrived in Harlem, where her play In the Blue Hour will have its world premier at La Maison D'Art.
She is the founder of the production company Lil' Explosions. http://www.lilexplosions.com/
Caite Hevner, Projection Design
Lucky us scoring Caite as a collaborator, because she's busy... She is a projection and scenic designer who has worked everywhere, from Broadway's Circle in the Square to Pasadena Playhouse to the Guthrie Theater and the Atlantic Theater Company - and more. She will infuse In the Blue Hour with the needed touch of magic and create Vanessa's dreams and memories. http://caitedesign.com/
Kathryn Rossetter, Vanessa
We found our perfect Vanessa when Kathryn worked on the part in a staged reading. Her intelligence, humor and emotional depth infuse the character with the life we had hoped for.
Kathryn is an accomplished TV, film and Broadway actress (Shows for Days; Time of the Cuckoo; Death of a Salesman). We are so thrilled to have her! http://www.kathrynrossetter.com/
Spencer Scott Barros, Robert
We couldn't have found a better actor than Spencer to play Vanessa's husband Robert. Spencer has developed the part with us over the past two years into a three-dimensional character and turned Robert into a grounding force for Vanessa. http://www.spencerscottbarros.com/
Brittany Bellizeare, Emily
Brittany provides Vanessa's hard-working and pre-occupied daughter Emily with all the vulnerability and thoughtfulness she needs. http://www.brittanybellizeare.com/
Herbie Go, Ghost
This part was written for Herbie, because he can do anything on stage. Really.
Rosie Sowa, Ann
With her wit and confidence, Rosie perfectly captures Ann's free spirit.
John Stewart, Theo
Theo could easily come across as vain and shallow, but we don't have to worry about that with the part in John's capable hands.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
The Play
What are we supposed to make of a life? Vanessa, a perfect host, invites her friends to attend one last party. Facing a severe illness, she struggles with the abyss that has opened underneath the normality of her life. Over the course of an evening, visitors from the past arrive as memories and dreams oscillate with the present, and we begin to understand the beautiful imperfection of it all.
The Concept
In the Blue Hour is set in a private apartment, and the six scripted characters are joined by a far larger cast - the audience, who is invited as friends of the host. In the Blue Hour takes the concept of audience interaction to a new level by gently embedding audience members into the story line. Invited as guests to Vanessa’s dinner party, they are required to fill out a questionnaire prior to their arrival. The answers provided in advance feed directly and seamlessly into the play. In the Blue Hour changes in tone and flow with each performance depending on the audience and their answers, wrapping each guest individually into the bigger story line.
The Playwright about Audience Embedding
Audience, performer, writer and director are equal story tellers in creating this work. The current theater scene can certainly seem a bit overrun by immersive and audience interactive plays, but I’m oftentimes unsatisfied by the experience. I'm not interested in simply fitting the audience into pre-assigned slots within the work. If we are using interaction and site-specific settings as tools in theater, I want to know why we do it. How do these concepts matter to the specific story we are telling, without merely being a gimmick? How do they actually shape and influence the work?
With In the Blue Hour, we are striving to push the concept of interaction further to fully embed audience members as the individuals they are and give their story room to interweave with the work itself. We are curious to find out how one person can truly matter to a play. How can one audience member change a play - and how can the play change them in return?
- Martina Potratz -
(Pic: A Sitcom for the Apocalypse by Lil' Explosions)
The Audience
We invite you to become part of Vanessa's world. In the Blue Hour only works with the participation of the audience. Get a ticket, fill out our questionnaire and come to the party. But what if you don't live in NYC or want to become involved much sooner in the process? There are other ways to be embedded into the play. Head over to our incentives, and see how your contributions can shape the play in many other ways.
The Company
Lil’ Explosions produces original work that is poetic, slightly surreal and always contains a dance number. Written by Martina Potratz, our plays are developed in artistic collaborations with directors, actors, designers and the audience itself. This probably explains why we have a fondness for immersive work and are constantly refining concepts of audience interaction. You can find our work performed in private apartments, art galleries and - hardly ever - theater spaces.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Actors
Costs $2,000
Our actors have bills to pay and NYC ain't cheap. This will cover a part of our talent's stipends.
Rehearsal Space
Costs $500
We already scored some free rehearsal space and your contribution will cover the rest.
Vanessa's House
Costs $2,500
For four nights, the ground floor of a brownstone in Harlem will be turned into Vanessa's apartment.
Props & Set
Costs $500
Maison D'Art is lending us some furniture for Vanessa's apartment. You can turn it into a cozy home.
Costumes
Costs $500
Our characters need appropriate party outfits for this special occasion.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Melissa Crespo, Director
Melissa is Martina's favorite director and collaborator. They've meet 10 years ago when Martina was acting in an Off-Off-Broadway show and they never really stopped working together since. Needless to say, Melissa also directed Martina's first show with Lil' Explosions, A Sitcom for the Apocalypse.
Melissa is an established New York-based director of theater, opera, film and television, and currently a Usual Suspect at New York Theatre Workshop and a 2016-2018 Time Warner Fellow at WP Theater.
Martina Potratz, Writer & Producer
Martina started as an actor in NYC in experimental downtown theater and collaborating internationally with visual artists. She slowly made her way uptown as a member of Intar Theatre's acting company Unit 52. As a writer, producer and theater maker, she has now arrived in Harlem, where her play In the Blue Hour will have its world premier at La Maison D'Art.
She is the founder of the production company Lil' Explosions. http://www.lilexplosions.com/
Caite Hevner, Projection Design
Lucky us scoring Caite as a collaborator, because she's busy... She is a projection and scenic designer who has worked everywhere, from Broadway's Circle in the Square to Pasadena Playhouse to the Guthrie Theater and the Atlantic Theater Company - and more. She will infuse In the Blue Hour with the needed touch of magic and create Vanessa's dreams and memories. http://caitedesign.com/
Kathryn Rossetter, Vanessa
We found our perfect Vanessa when Kathryn worked on the part in a staged reading. Her intelligence, humor and emotional depth infuse the character with the life we had hoped for.
Kathryn is an accomplished TV, film and Broadway actress (Shows for Days; Time of the Cuckoo; Death of a Salesman). We are so thrilled to have her! http://www.kathrynrossetter.com/
Spencer Scott Barros, Robert
We couldn't have found a better actor than Spencer to play Vanessa's husband Robert. Spencer has developed the part with us over the past two years into a three-dimensional character and turned Robert into a grounding force for Vanessa. http://www.spencerscottbarros.com/
Brittany Bellizeare, Emily
Brittany provides Vanessa's hard-working and pre-occupied daughter Emily with all the vulnerability and thoughtfulness she needs. http://www.brittanybellizeare.com/
Herbie Go, Ghost
This part was written for Herbie, because he can do anything on stage. Really.
Rosie Sowa, Ann
With her wit and confidence, Rosie perfectly captures Ann's free spirit.
John Stewart, Theo
Theo could easily come across as vain and shallow, but we don't have to worry about that with the part in John's capable hands.