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Judson Memorial Church, New York City
Tues Feb 12 thru Friday Feb 22

Directed and designed by John Sowle, with choreography by Jack Dyville, costumes by Mike Floyd, lights by Joe Novak,
and an all-Equity cast including Paul Boesing, Sarah Ferro, Meghan Hales, Michael Lazar, Paul Lincoln, Robin Manning, 
Noelle McGrath, Steven Patterson,Maureen Taylor and Anthony Wills Jr.


Press Page - Click Here

"BLISSFULLY LOVELY! ... Is there a more enchanting musical in New York right now than In Circles? My guess is, probably not: if you crave simplicity and beauty and can do without narrative or convention, then Kaliyuga Arts' revival of this rare jewel of a show is for you ... The genius of this show is how composer/creator/musical arranger Al Carmines found, inside Stein's spare but dense poetry, a vibrant and gorgeous celebration of the moment-to-moment pleasures and enervations of life. Paired with his melodies that sometimes sparkle and sometimes soar, and presented here elegantly by director John Sowle and a truly accomplished ensemble, the piece charms and amuses and teases and - catching us by surprise - moves us deeply. Recall that Stein wrote a book called Everybody's Autobiography: should we wonder that with Carmines she can create for us something as ephemeral and fundamental as Our Town? ... Kaliyuga Arts is presenting In Circles at Judson Memorial Church, where Carmines first staged it more than 40 years ago. It will only be there one week more, which is very sad, because it's the kind of show I can imagine wanting to see many times - to be reminded, as we must, how fleeting is...everything."
Martin Denton, nytheatre.com (click for a link to the full review)

"BACKSTAGE PICK! ... Can it be 41 years since In Circles first appeared? The 1967 musical that composer Al Carmines fashioned from Gertrude Stein's 1920 A Circular Play remains a joyous, still relevant affair ... Even before the evening's official start, Stein and partner Alice B. Toklas - here respectively called Mildred and Mabel - greet the audience and pass out brownies (presumably not made according to Stein's famous marijuana-laced recipe). That party atmosphere is maintained throughout as circles of friendship, love, sex, bliss, and loss are formed."
David A Rosenberg, Backstage (click for a link to the full review)


"Nonlinear structure is a hallmark of avant-garde theatre, yet there has probably never been a production that celebrates the nonlinear like - at the risk of sounding redundant - In Circles ... Al Carmines' lively musical arrangement of the text is a stunning achievement that earned him a 1968 Obie for Best Musical and helped usher in the experimental style that found a home in early Off-Off-Broadway. Such experimentation is no longer as revolutionary as it was in the 20s or 60s, and much of the production feels like something from another era. Interestingly, that's not a bad thing for the piece. In the dedicated hands of director John Sowle, what might otherwise come across as dated instead enhances the play's other-worldly ambience. That ambience is strongly supported by Mike Floyd's delightful 1920s-esque costumes and Joe Novak's arrestingly beautiful light design ... The ensemble is both playful and polished, a remarkable accomplishment given the apparent lack of specificity written into each role. Stein's text lists no characters and contains no real dialogue; In Circlesassigns lines to an ensemble of ten, with characters loosely influenced by Gertrude Stein and her circle of friends from the years surrounding WWI. It's an inspired choice. The onstage manifestation of how Stein perceived her world is a pleasure to watch ... Sense of community pervades In Circles, from the performers' unified enthusiasm in executing Jack Dyville's dizzying choreography to the delight they take in one another's singing. Even at the play's least comprehensible moments, the warmth of the performers and their dedication to the material should keep audiences not just at ease but enraptured ... In Circles oscillates between the inspired exuberance and the melancholic desperation associated with both the Lost Generation of the 1920s and the activists of the 1960s. Anyone nostalgic for such a time - and anyone seeking a powerful theatrical experience - would do well to see In Circles."
Li Cornfeld
, offoffonline.com (click for a link to the full review)

"Like a Sufi, the Steiny Road Poet is spinning with ecstatic energy. On February 12, 2008, she attended the opening night of Kaliyuga Arts' and John Sowle's new production of In Circles, Al Carmines' musical setting of Gertrude Stein's A Circular Play ... Carmines would have been pleased to see how this crowd brought so much new excitement to his celebration of Stein ... In Circles is a kitchen-sink musical offering everything from klezmer to ballroom tunes. Another thing Sowle has added to this production is a dizzying procession of dance numbers that include such forms as tango, waltz, can-can, charleston, cakewalk, Black Bottom, soft-shoe, folkish circle dancing with grapevine steps ... Like a stone cast in water, Sowle and his talented players made In Circles a rich evening of Steinian theater that the Steiny Road Poet will continue to receive insight from. In the meantime, as she continues to spin with excitement, she knows better how to travel in the presence of the Divine. Hats off to Al Carmines!"
Karren Alenier, Scene 4 Magazine (click for a link to the full review)

"At a performance of this fantastic revival of one of Carmines' own signature works In Circles, an actor served me a brownie and engaged me in conversation. Despite being about the supreme 20th Century wordsmith Gertrude Stein and her lover, this was not an Alice B. Toklas brownie, so no pot buzz, darn it. Still it was delicious, and anyway, I didn't need marijuana or any other hallucinogenic to take me on a head trip. This psychedelic, weird-but-wonderful show gave me a contact high. First off, let me state outright: I'm not a Broadway show queen. As soon as I hear the orchestra breaking into song, I want to lurch for the exit. But In Circles helped to reaffirm my faith in the genre. The synergy among the ensemble totally put across the work's inherent scintillating wit and touching eccentricity ... This 1968 show, now playing for a short run back where it debuted at the Judson Memorial Church on Washington Square Park, is a gem. Catch it, please, because only Heaven (where Rev. Al is surely smiling down on this top-notch revival) knows when it will return to this sphere ... The songs nearly brought this jaded listener to tears several times ... This production is a dream come true. One of your weirdest, most powerful dreams. This production of In Circles left me humming, thinking, and feeling that I'd just experienced something remarkable and important."
Steven Sparling, The Edge New York (click for a link to the full review)

Normally the Dresser would give full attention to anything having to with Gertrude Stein and she will as the Steiny Road Poet in her March column of The Steiny Road to Operadom  in Scene 4 Magazine, but In Circles, in a new production by Director John Sowle, will close February 22, 2008, and the show deserves attention immediately so you, Dear Reader, will know what an exciting and historic opportunity this show presents ... If you have been curious about the work of Gertrude Stein, this would be the show to see because Sowle's interpretation threads discernable stories and puts Gertrude Stein and her partner Alice B. Toklas into the spotlight. Based on Stein's A Circular Play: A Play in Circles, which she wrote in 1920, In Circles is a nearly word-for-word rendering of Stein's play that has no character assignments or stage directions. Although they do not follow a linear narrative, the play and musical offer cubist cuts of human dramas about loss (a young man is killed in a war), an adoption of a child, several love stories, and the daily-ness of everyday, including eating, arguing, chopping wood, and even blowing one's nose. The human drama is sadly touching, comically endearing, and made intimate from the moment the players enter the staging arena and begin greeting the audience ... Zany and joyful!"
Karren LaLonde Alenier, The Dressing (click for a link to the full review)

"IN CIRCLES SHOULD STAY AROUND ... I went to three musicals this week and I enjoyed them all. But please, don't summon the men in the white coats just yet; my reasons are easy to explain: In all three shows, something of importance to the creators has been fully articulated according to their own lights. As a result, all three entertain people like me—and give us an inkling of that importance—without going through all the hard-sell calculations that make big commercial musicals so annoying these days. Importance is a relative concept: The key is never how "serious" the material is, but how fully it engages the artists involved. The beauty of both Adding Machine and Passing Strange is that they feel complete. When you leave, you've gotten everything the creators had to tell you about this story. The all-too-brief revival of In Circles, a 1967 work, made a happy reminder that this sense of completeness has always been the musical's goal ... In 1967, In Circles was an extraordinarily light-hearted event, one of the earliest triumphs in the magical collaboration of minister-composer Al Carmines and director Lawrence Kornfeld on Gertrude Stein's allegedly intractable plays. In Circles, written in 1920, is steeped in post–World War I atmosphere; for all its lightness, it rang with eerie resonance in those Vietnam days. Ours is a darker wartime, and John Sowle's revival at Judson, for Kaliyuga Arts, reflected that deeper darkness in its staging. Fortunately, Sowles' cast boasted many first rate singers, particularly the sopranos, so that Carmines' enchanting music kept rescuing the situation with its plangent melodies and deliciously unexpected turns of phrase. A little Stein and Carmines every month might cure all kinds of contemporary ills."
Michael Feingold, Village Voice

"In Circles is a marvelous piece of musical theater, full of entertainment and surprises, sentiment, humor, enterprising in the extreme in its musical mix of high art, klezmer, soft-shoe and show-tune. And quite faithful to Stein ... The way to read Stein is to hear Stein, and In Circles makes her audible, and thus provides a marvelous introduction. More than an introduction, though; In Circles is also an enlargement of Stein's original play. Carmines expands it to a full-evening production, weaving, yes, circles around Stein's motifs, lifting a once-only chance remark — Mrs de Monzy has adopted a child — into a full-out production number; or assigning lines to one or another of the four boys and four girls in the cast ("boys" and "girls" in the theatrical sense) and returning to them, re-investigating them in new contexts and ensembles, and thus revealing new depth and meaning. The result is Cubism, the isolation and consideration of various apparently different aspects of a given event (phrase, character, face) in a manner to enlarge its meanings. This is criticism at its best. So many of the best examples of Criticism are, in fact, works of art themselves, and Theater is the public location of this par excellence."
Charles Shere, The Eastside View

"The divine diva of high modernist literature is mostly known for her challenge, deconstruction, and all-out demolition of English syntax (see: The Making of Americans); but rarely is the jaunty, even fun side of her diction and rhythms remarked upon much. Nowhere is this more apparent than in Kaliyuga Arts’ presentation of In Circles at the Judson Church.  The hour-and-fifteen-minute piece is charming from the get-go, with a representative Gertrude and Alice-type couple emerging to greet the audience, as though we’re perhaps part of one of the famous Paris salons.  'So many new friends,' Gertrude beams, 'How wonderful!' One almost expects her to give out homemade cookies (which, incidentally, does occur later).  Filled with dance, amazing vocal performances by the cast, and wonderful 1920s-era costumes byMike Floyd, it’s easy to be taken away by In Circles ... How often can I make the recommendation that this would be a wonderful piece to introduce children to cubistic literature?"
Steven Luber, 
Obscene Jester

"Astonishing ... Strange, funny, and profoundly moving. And the music is just stunning - very simple, catchy on the surface, resonant and rich in its repetition. Like Stein's words, but without any whiff of artiness or 'high' music ... It only has four more shows. If at all possible, go see it."
David Johnston, Theatre, Culture, Politics & Stuff I Like (click for a link to the full review)

"The exuberance of Stein’s words and Carmines’ music is a restorative and joyful experience. I have written two essays about the production, which was lovingly and intelligently directed by John Sowle of Kaliyuga Arts. One of these two essays is currently posted on my arts blog The Dressing and the other will appear in my Steiny Road to Operadom column in the March edition of Scene4 Magazine. The play deserves as much promotion as it can get before it closes February 22, 2008."
Karren Alenier, alenier.blogspot.com

"IN CIRCLES: This revival of the rarely-seen musical by Al Carmines and Gertrude Stein is a beautiful celebration of the everyday moments of living. The staging by John Sowle and the ten-member cast is glorious. PICK OF THE WEEK!"


Kaliyuga Arts was thrilled to bring In Circles, a seminal work from the early days of off-off-Broadway, back to Judson Memorial Church where it originally premiered in 1967. The fractured, evocative text of Gertrude Stein’s 1920 A Circular Play is set spinning to Al Carmines' wildly eclectic, disgracefully tuneful score in this 1968 Obie-Award-winning musical masterpiece.


In Circles was Kaliyuga Arts’ third New York production following its successful staging of Samuel Beckett’s All That Fall  and its Innovative Theatre Award-nominated presentation of Dan Carbone’s Kingdom of Not, both at the Cherry Lane Theatre. It was also Kaliyuga’s second production of In Circles, which it presented to critical acclaim in Los Angeles in 1986, winning five Drama-Logue awards.

Hear (and download) an excerpt from the show (and 5 others) on
NYTHEATRECAST (the voice of nytheatre.com) Episode #191

For More Photos Click Here

 "In Circles is a beautiful recapturing of that time early in the 20th century when art seemed to be a Paris of the mind where all sensitive spirits could live in a universal communion of form, wit, and feeling. A madly meaningful tea party which composer Al Carmines has turned into a gemlike operetta."
Jack Kroll
, Newsweek Magazine

"Al Carmines and Gertrude Stein have, between them, brought the element of pure delight back to the theatre."
Edith Oliver
, New Yorker Magazine

"Great fun! One of the most delightful shows in New York."
Dan Sullivan
, New York Times

"Hypnotic, charming, and blissful!  Mr. Carmines must eat music in the morning instead of breakfast cereal, rather as Gertrude Stein once must have eaten words. His music is arrogantly eclectic, disgracefully tuneful, and just right for the purpose."
Clive Barnes
, New York Times

"Any attempt to interpret or pin down this enchanting excursion into the iridescent, fantastical world of Gertrude Stein would be to put a butterfly in a cage. In Circles is not to be explained, it is to be experienced and enjoyed."
Polly Warfield, 

"Rich, scintillatingly harmonic and deftly haunting."
Robert Koehler
, Los Angeles Times

"Seductively enchanting ... as though Kurt Weill had collaborated with Apollinaire."
Steven Mikulan
, L.A. Weekly

"In Circles is definitely a play to be experienced ... A memorable night of theatre."
Lynne Lee
, The News

"A poetic pleasure of a play and something rare: a work of true originality."
Richard Labonte
, Update

"It's funny, it's incomprehensible, it's beautiful, it's harsh, but it is, most of all, thoroughly engrossing and entertaining .. A vitality filled evening that cannot help leaving a profound imprint on the audience."
Nancy Illo
, Daily Titan

PAUL BOESING (William), during a span of fifty years in the theater, has done nearly everything. In New York City in the early sixties, he was a member of Joe Chaikin's Open Theater Workshop.  He moved to Minneapolis in 1965 to join the Firehouse Theater, where he was a leading member of the ensemble.  In 1968, he was an original member of Peter Brook's International Workshop in Paris and London.  In Minneapolis, he met his former wife, Martha, and they created many songs and music-dramas together. Paul's acting career has taken him to many regional theater centers, including St. Paul, St. Louis, Milwaukee and Madison.  As a singing actor, he played many leading roles in the oldest and largest dinner theatre in the country at Chanhassen, MN. Paul has appeared in several seasons of The Nebraska Shakespeare Festival, playing Polonius in HAMLET, among other roles. Next summer he will play King Lear. As a composer, Paul has written hundreds of songs, and many works for the theater, from musical comedy to opera. He has written several scores for The Nebraska Shakespeare Festival.  He set a Gertrude Stein play (Photograph) to music which was very influenced by Al Carmines. For Madison Repertory Theater, he created a score for live glass instruments, performed by world- renowned glass harmonica player, Dennis James. Paul created a song/dance/theater piece for Tom Bogdan ( who has sung with Meredith Monk's ensemble) using the poems of W.H. Auden.  The premiere was presented in New York City in Februrary 1999. Last fall, his Wachsenden Ringen, a song cycle for mezzo-soprano and chamber ensemble set to the poetry of Rainer Maria Rilke, was premiered in Omaha.

SARAH FERRO (Jessie) takes the stage with extreme gratitude to John Sowle for bringing this piece to life, and giving her this great opportunity. Ms. Ferro has been a performer ever since she got her start in Army Community Theater as a military brat at the age of 5 with roles such as Helen Keller in The Miracle Worker, Pepper in Annie, and Maria in The Sound of Music. Upon completing a degree in music and theater from the University of Miami, Sarah has been the lead singer on board cruise ships, cabaret venues and various regional theaters. Favorite productions include Berlin To Broadway: The Music of Kurt Weill, Batboy: The Musical, Harry Chapin's America andCome Fly With Me: The Music of Sammy Cahn. Sarah is currently working on an upcoming one-woman cabaret to be seen early spring at Rita Mae's in the West Village. Sarah is a proud member of Actors' Equity Association.

MEGHAN HALES (Sylvia) is ecstatic to be making her NYC debut in this most intriguing piece! She earned a BFA at the Hartt School. Shortly after graduation, she went out on the national tour of My Heart in a Suitcase as Anne. Some favorite credits include the Beggar Woman in Sweeney Todd, Milly in Seven Brides for Seven Brothers, I Love You, You're Perfect, Now Change, and Carousel with Shirley Jones. She thanks her family for their indefatigable love and support.



MICHAEL LAZAR (Brother) holds a 2006 BFA from NYU’s Tisch School of the Arts. While his first and foremost passion lies in performing onstage, he is an aspiring contemporary visual artist and painter as well, and intends to fully pursue both with the aim of one day being a strong force in both artistic communities in NYC. National tours: Mr. Mayor/Wick #1 in Ahrens and Flaherty's Seussical the Musical. NY theatre: Jackie in Michael John LaChiusa’s Wild Party at the Culture Project, Ethan in The Full Monty, Shakespeare in The Jocker, Lucius Andronicus in Titus Andronicus.  Other favorites: Joe Hardy in Damn Yankees, Will Parker in Oklahoma!, Lysander in A Midsummer Night’s Dream, Billy Crocker in Damn Yankees!  It’s both a pleasure and a thrill have the opportunity to work with such unique material and perform with such wonderfully talented people! For my fam. Proud member of AEA.


PAUL LINCOLN (Ollie) is an active performer and teacher in the New York City area. During college, as a member of the Harvard Krokodiloes, he made his solo and conducting debut at Carnegie Hall. Later engagements as a soloist include the Cairo Opera House, Sydney Opera House, Rome Festival and an invitation to sing at the Kennedy Center Millennium Celebrations. Paul has performed in numerous operas and musical theater productions around the world including the original cast of the First National tour of Cabaret. Paul helped develop, music directed and played the part of Euturpe in the world premier of  Lyrical Langston: His Muse for Music. Later, he produced a successful commercial run of this show in association with the Lost Nation Theater.  Paul teaches and coaches in New York and works regularly with Tony Award-winning Broadway performers as well as professional opera singers.  He teaches privately and as a Soyulla Artist.  Paul is also a member of the California Bar and volunteers as a lawyer for environmental organizations.

ROBIN MANNING (Mabel) is proud to be a part of In Circles, her third musical by the great Al Carmines. She  also appeared in Christmas Rappings as Mary, and The Journey of Snow White (dir: Russ Treyz) as the Stepmother/Queen, also at Judson. Her other credits include the National tour of La Cage aux Folles (dir. Arthur Laurents), the 15th Anniversary tour of Annie (dir. Bob Fitch), and regional and stock productions of The Sound of Music, A Tale of Two Cities (dir. Richard Sabellico), Teddy and Alice, Victor/Victoria, Zorba ,and Annie at such theaters as North Shore, Ogunquit, and the Helen Hayes. Her other NYC credits include Broadway Blessing '07 (St John the Divine),Wallenberg (NYMF '06), I Married an Angel (Town Hall), The Yiddish Trojan Women (ass't dir. to Richard Sabellico at AJT) and assorted readings and national commercials. She is especially proud of being a producer of Auntie Mame starring Charles Busch, a benefit for BCEFA! For Stewie.

NOELLE MCGRATH (Mildred)  A versatile actress and singer with many roles to her credit, Noelle comes full circle with this production ofIn Circles, having been a member of the cast of Kaliyuga Arts' 1986 production in Los Angeles. Recent credits include Countess Aurelia inThe Madwoman of Chaillot Off-Broadway at Theatre Unplugged, the Gypsy Fortune-teller in Sleepy Hollow at the York Theatre, and Miss Havisham in Great Expectations at the Mill Mountain Theatre in Virginia. Noelle can be seen in March at the Laurie Beechman Theatre at the West Bank Cafe in Theatre Row performing her cabaret act, Noelle McGrath Entertains! Ms. McGrath coaches young people in acting and voice and is the mother of three budding performers, Lily, Juliet and Colin.

STEVEN PATTERSON (George) has appeared Off Broadway (in his own Genet-inspired one-man show Beauty) and Off-Off Broadway, as well as regionally with such theaters as the Oregon, Orlando, Utah, Lake Tahoe, and Sierra Shakespeare Festivals, South Coast Repertory, TheatreWorks (Palo Alto), American Musical Theatre of San Jose, 42nd Street Moon, Chenango River Theatre, the Lexington Conservatory Theatre, and, most frequently, with Kaliyuga Arts. Recent roles have included Austin Wiggin in The Shaggs: Philosophy of the World, Mr. Barrell in Beckett’s All That Fall, Owen Musser in The Foreigner, Homais in a musical version of Flaubert’s Madame Bovary, Cassius in Julius Caesar, Kent in King Lear, and two solo shows: Jim Helsinger’s Frankenstein: the Modern Prometheus and Gareth Armstrong’s Shylock. On film, Steven has appeared as Bruce in Joseph Graham's Vanilla and in Bill Rose's documentary The Loss of Nameless Things.

MAUREEN TAYLOR (Lucy) is thrilled to be participating with all the wonderful talents of the In Circles community! Performing has been a fabulous journey for her. First stop: OPERA - All over - including a fabulous chapter in Italy with Renata Tebaldi. Next stop: SWITZERLAND - thrilled to perform Madame Giry in Phantom of the Opera...in German! Next stop: LONDON - Lots of benefits: Tribute to Jule Styne at the London Palladium, Theatre Royale, the Bridewell, Heva Castle, Brighton...and a surprise twist: a "New Age" recording with Tim Wheater -Incantations. Returning to the states brought lots of regional theatre, soaps, commercials, print work, and cabaret - most recently at the Eugene O'Neill Cabaret Conference with Michael Bush, Penny Fuller and Barry Kleinbort. With joy and gratitude to all the "Guardian Angels" along the way...the journey continues.


ANTHONY WILLS JR. (Dole) recently relocated to New York where he's performed in Avenue X (Dreamlight Theatre), Talking to Terrorists(Culture Project), A Season of Miracles (Pushcart Players) and his own one-man show, The Happiness of Schizophrenia (New York International Fringe Festival).  Regional credits include seasons at Milwaukee Rep, Utah Shakespearean Festival, Pennsylvania Centre Stage, and First Stage Children's Theater. In his former home of Chicago, he's performed with many companies including Dream Theater, House, Hypocrites, Lookingglass, Northlight, and Steppenwolf.   Memorable roles include Lovin' Al (Working), Doc Daneeka/Chaplain (Catch-22), Lot (Lot's Wife), and Bokonon in a staged adaptation of Kurt Vonnegut's Cat's Cradle which he performed at Lifeline Theater .

JOHN SOWLE (Director/Set Design) has a Ph.D. in Dramatic Art from the University of California at Berkeley and an S.B. in Mathematics from the MIT. For Off-Broadway he designed for the Quantum Leap production of Dostoyevsky's Crime and Punishment at the Harold Clurman Theatre and directed and designed Steven Patterson’s Beauty at Rattlestick. He has also directed and/or designed productions for J.B. Enterprises (the world premieres of Crime and Variations and Mary In The Hydrangea Bush), Contemporary Opera Marin (U.S. premieres of Judith Weir's Heaven Ablaze In His Breast and H.K. Gruber's Gomorra), the UC Berkeley Drama and Music Departments, EXIT Theatre (1999 Upstage/Downstage Award for his Scenic Design for Problem Child), Signal Theatre Company (2000 Upstage/Downstage Award for his Scenic Design for The Years), Teatro Shalom, The Bare Stage, the Jean Shelton Acting Studio, Theatre Metamorphosis, One-Act Theatre Company, the People's Theatre Coalition of San Francisco, the Berkeley Jewish Theatre and Theatre Rhinoceros. For the EXIT Theatre’s Absurdist Series, John directed and designed sets for Samuel Beckett's radio play All That Fall, Robert Montgomery's Subject to Fits, Gertrude Stein's Do Let Us Go Away. A Play, and the world premiere of Dan Carbone's Salvador Dali Talks to the Animals. For Kaliyuga Arts John received three Drama-Logue Awards for his directing and design work on their Los Angeles productions of In Circles, King of the Crystal Palace, and Garcia Lorca’sThe Public, and in San Francisco he directed and designed their productions of The Client and The Secret of the Old Queen (at the New Conservatory Theatre), Beauty (1994 San Francisco Fringe Festival and subsequent tours), Poor Super Man (SOMAR Cultural Center), L'Histoire de Babar (1997 SF Fringe Festival), PRIDE (EXIT Stage Left), The Pilgrim Project (2001 SF Fringe Festival), Up From The Ground, and An Impersonation of Angels or The Enigma of Desire (EXIT on Taylor), and created and performed a one-person show called Horripilation! ("Best of the SF Fringe") based on his experiences in India on a Fulbright Fellowship. For Kaliyuga Arts in Manhattan he directed and designed Beckett's All That Fall and the New York premiere of Dan Carbone's Kingdom of Not, both at the Cherry Lane Theatre.

JACK DYVILLE (Choreographer/Production Stage Manager) is thrilled to be working on his third Kaliyuga project (All That Fall – Stage Manager/Foley Sound, Kingdom of Not – Production Assistant; both at the Cherry Lane). Dyville, a former dancer-actor-singer works now as a Director-Choreographer-Stage Manager with other NYC credits including: Off B’way – Movie Buff and DuBarry Was A Lady; Off-Off B’way – What Makes Sammy Run? and his own written works Umbrellas in the Snow and The Memory Book at the Strawberry Festival, The Wonderland Festival and the NY FRINGE. Dyville has directed/choreographed at Surflight Theatre, Casa Manana, Allenberry, and Mountain Playhouse to list a few. He is a member of Ten Grand Productions and is also working with Algonquin Productions of NYC.
MIKE FLOYD (Costume Designer) Mike’s recent design credits are All’s Well That Ends Well (Yale Repertory Theater); Lady (Northlight Theatre, IL) Hedda Gabler; A Midsummer Night’s Dream; Mirror, Mirror by Sarah Treem (Yale School of Drama); Hedda Gabler, MacBeth, The Taming of the Shrew, Twelfth Night (Trinity Rep Consortium);Little Shop of Horrors; Unnecessary Farce by Paul Slade Smith; Doubt (Peninsula Players, WI); The Audition (a film written and directed by Jim Augustine); Sympathy Jones(NYMF 2007), and The Dumb Waiter (Theater 5, NYC). As an assistant, he has worked with Donna Zakowska (on the upcoming John Adams on HBO and for Kaos at NYTW), Jane Greenwood, Suttirat Larlarb, Camille Assaf (on Elmer Gantry, an Opera that premiered this past fall and was subsequently remounted this winter), and other artists in New York and elsewhere.  He has worked with the National High School Institute at Northwestern University repeatedly, designing shows such as Angels in America, I Am My Own Wife, Polaroid Stories, and Balm in Gilead.  His designs for Amadeus and Faust were featured in the Prague Quadrennial this past summer.  He holds an MFA in Design from the Yale School of Drama, a BA from Kenyon College, and also attended the British-American Drama Academy.  Examples of his work can be seen at www.mikefloyddesign.com.

JOE NOVAK (Lighting Design)  Design credits include Off-Broadway: Odds Bodkin’s The Odyssey  (Lincoln Center), Off-Off Broadway: Macbeth (Another Theatre Company),Midnight (Invisible Theatre Company), several dance and musical events including Penny-4-Eyes. Joe has been the lighting supervisor for Glimmerglass Opera, Martha Graham Dance Company and Aquila Theatre Company. Visit Joe at www.joenovak.net.

MICHAEL TEMLIN (Follow Spot)  Michael has been working in theater since childhood. Primarily an actor/singer, Michael’s New York credits include the role of God in the original production of The Perfect Daydream, Helmer in Nora at HB Studio, and his cabaret debut in last year’s Back in the Swing at Don’t Tell Mama. Bay Area credits includeHello, Dolly! (Dean Goodman Choice award) and ". . . Forum" for the Mountain Play, Man of La Mancha at Pacific Alliance, California Suite at the California Conservatory Theater, Big River at AMT San Jose, Sweet Adeline and Dearest Enemy with 42nd Street Moon, three years with Morris Bobrow's hit revue Party of One (including three tours),  City of Angels (Shellie Award) and Candide with Diablo Light Opera Company, and Once Upon a Mattress at San Francisco's California Club, (where he played the wicked queen Aggravaine!). He holds a degree in theater from Lehigh University.

All cast members are members of Actors' Equity Association.  Jack Dyville is a member of Actors' Equity and of the Society of Stage Directors & Choreographers.  In Circles is an Equity Approved Showcase Production. 

Judson Memorial Church
55 Washington Square Park South
New York City
Tues Feb 12 thru Friday Feb 22
8:00 pm daily except Sunday, Feb 17
Running Time: 1 hour 20 minutes with no intermission

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Kaliyuga Arts, 2678 Old Kings Road, Catskill NY 12414 518-943-3894

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