In Remembrance of Kyle Chepulis

It is with a heavy heart and deep sadness that we share the passing of Flea co-founder and aesthetic visionary, Kyle Chepulis. He poured his heart and tenacity into every project he took on, often finding elegant, delightful and distinctly affordable “downtown” scenic solutions to even the most challenging plays. The Flea and so many great productions have made their mark because of his excellent artistry. 

Over 25 years, Kyle designed eighteen shows with The Flea including the breakout hit Benton Kozo and The Guys, an ode to 9/11 firefighters. He oversaw the design of our first home on 41 White Street, installing an intimate stage house in our downstairs theater that allowed artists to take risks without having to incur the expense of building an original set. This singular stroke of genius was the home to countless first productions, world premieres and where over 35 cycles of Serials were staged and celebrated. 

He brought the same deft thinking to the conceptualization of our current home on 20 Thomas Street ensuring that each space has a distinct personality that inspires artists and serves the diversity of disciplines that call downtown theater home. Although, we may no longer get to live in the presence of his thrilling creativity, pointed advice or steadfast friendship, his indelible mark will live on in our hearts and in the theaters he helped dream into being.

A Statement From The Flea – Dec 2020

2020 has been a momentous year wherein The Flea has faced tremendous challenge, growth, and transformation. No theater will come out of the past year unchanged. We believe leaning into that change is the only way to evolve so that we can bravely meet the needs of artists and the public. 

As The Flea looks toward 2021, anti-oppression will be the rubric for the re-envisioning of all new programs and initiatives. Please stay tuned for updates on our progress as we work to realign The Flea’s programming, organizational design, and vision with our values and means. We promise to emerge a radically changed institution… but with the same small-but-mighty vitality that has always been synonymous with The Flea. 

Please consider supporting us through this time of deep transition. Good things are coming.

 

Yours,

The Flea Theater

 

Black Lives Matter. A Message from The Flea’s Artistic Director

Dear Friends,

In the midst of this horrific moment when the emergency of the Coronavirus pandemic intersects with the continual injustice and dehumanization of black lives, I am reminded of the words of James Baldwin, one of America’s greatest literary artists: “To be a Negro in this country and to be relatively conscious is to be in a rage almost all the time.”

Here we are sixty years later still provoked to that same rage. George Floyd faced cops who regarded his life with little value. Christian Cooper could not bird watch without his race being used to escalate police violence against him. Ahmaud Arbery could not run in his community. Every black person in America is staring at the fact that because of a history of social injustice ranging from housing to wealth creation, we are disproportionately infected with and die from Covid-19. Black folks in America are reminded every day that we are oppressed. That despite our shared humanity, the dominant power structures formed and ingrained by white supremacy seek to devalue our lives.

Even though I have lived my life dedicated to reminding America of its promise, I’m tired from the past few days of feeling sorrow, rage, fear and impotence. I have once again needed to lean on those close to me, to reaffirm that the younger members of my family hold tight in this moment, and to imagine how our society will get through this time and emerge in solidarity.

Some of us are funneling our response toward creating culture to provoke empathy and change. Carol and I turned to our past work to find some guidance. Geraldine Inoa, whose brilliant play Scraps opened our Color Brave Season, began with these words from the character of Jean Baptiste:

How are you supposed to win when you don’t even know the rules?
They don’t teach this shit in schools
These muthafucka, they stealin’ our family jewels
Our sons and fathers, nigga
You bettah recognize that they changin’ history
An entire generation of black men who were never allowed to be
Yo, they might have stopped hangin’ us from trees
But a century later, they still cuttin’ black people at the knees

At the Flea, we stand with our Black artists, staff, board, audiences, and supporters who bring their bravery and zeal to create a more just world. We stand with our POC and white allies who call out injustice, who engage all with respect and who help us to create an environment of equity and inclusion. In this trying time we wish that we could gather to make culture with our community, to rally the mind and spirit to envision and make the society we all deserve. When we re-emerge from this pandemic, we hope you will join us to help make that change happen.

Until that time, we stand in solidarity and encourage donations to Black Lives Matter.

Niegel Smith, Artistic Director

 

In solidarity,

The Flea Staff

Thanks for giving us 5!

High Five Back to You!

Thank you for making our #GivingTuesdayNow so special. Your support not only helped The Flea, but three other worthy organizations. Especially in times like these, we keep learning how communities can step up and help each other out.

While our GIMME FIVE! Campaign is closed, it’s never too late to donate to The Flea or give to the three charities:

Donate to Church Street School for Music & Art
Donate to the NYC Low-Income Artist Relief Fund
Donate to the NY Foundation for Senior Citizens

Don’t have the means to financially give 5, but still want to show your support?

Spread Joy Volunteer …or just say “Hello!”

Costume Shop and Wardrobe Manager, Adrienne Smith, Makes PPE for the Broadway Relief Project

Meet Adrienne Smith, The Flea’s Costume Shop and Wardrobe Manager! While The Flea’s theaters are shuttered and dark, Adrienne has used her expertise in costume design and fashion styling to create medical gowns for Broadway Relief Project. In this Flea Chat, get a behind-the-scenes look at what Adrienne has been up to!

What is the Broadway Relief Project?

The Broadway Relief Project is a coalition of many skilled artists in the Broadway community who are partnering with NYC/EDC (Economic Development Corporation) to assist the medical community to build surgical gowns and other needed materials. The goal is to make 50,000 fabric medical gowns and masks for public service workers (50,000) in the next few weeks for those fighting on the front lines.

What are you up to?

Each week, we are creating 30 fabric medical gowns, complete with Velcro closures and ties. By the end of this week, we are expected to have completed 90 gowns. I am typically sewing 6-10 hours per day as there are many small steps involved to make sure the gowns are safe for use in the hospital (no loose threads!) and can be washed in a washing machine.

What has this process been like? 

I love being able to put my skills to work during this crisis, but I will say this project is INTENSE! My home studio has been turned into a gown factory as the easiest way to create these gowns is step by step – it looks like the gown factory exploded all over my apartment. 

What’s next for Adrienne?

We are getting a new workload starting next week, so I am planning to have completed over 200 gowns on behalf of The Flea by June 1st.

Stay tuned for more Flea Staff updates!

Help Support Tribeca Businesses

Nearly four weeks into self-quarantine, we can’t help but miss our neighborhood’s incredible eateries. While some restaurants are still delivering take-out, we feel for all of the folks who have lost their main source of income. The Flea asks that you  consider donating to these campaigns until you can attend a Flea performance and eat in our neighborhood again. And  please feel free to share any additional local campaigns not listed in the “Leave a Reply” section below, we’re happy to list any and all Tribeca-based businesses!

 

Edward’s – GoFundMe for Staff

 

Woodrow’s – Staff Fund

 

Tribeca Tavern – COVID-19 Support for Wait Staff

 

Gigino Trattoria – Employee Relief Fund

 

Bubby’s – Employee Relief Fund

 

Billy’s Bakery – Community GoFundMe

 

Whiskey Tavern – GoFundMe for “The Family”

 

Macao Trading Co. – Staff Relief Fund

 

Anotheroom – COVID-19 Relief Fund

 

Mr. Chow – GoFundMe for Employees

 

La Colombe – GoFundMe for TriBeCa Baristas

 

Tribeca Grill – Employee Relief Fund

 

Walker’s – Bar & Service Staff Relief Fund

 

The Odeon – GoFundMe for Employees

Remembering a Dear Flea Friend

Yesterday we were shocked and saddened to learn that COIVD-19 hit close to our artistic home. This past Friday on Staten Island, Andy Koutsoudakis, the owner of Tribeca’s Kitchen, passed away at the age of 59 from the Coronavirus.

Andy opened Tribeca’s Kitchen in 2014, and when The Flea moved around the corner in 2017, Andy and his restaurant became an instantaneous friend and go-to caterer for Flea events.  Just three weeks ago, we worked with Andy on the order for our opening celebration of The Fre and Andy generously offered what he usually did – free cookies for dessert.

We encourage you to read Carl Glassman’s poignant article in The Tribeca Trib, which details Andy’s life and glowing testimonials from quite a few friends and family, including one from NYC Council Speaker Corey Johnson.

But most importantly, if you have a few extra dollars, Andy’s family has launched a GoFundMe page to support the purchase of protective gowns and masks for the staff at Richmond County Medical Center in Staten Island, where Andy passed away. In these trying times, we can’t help but think back to the old adage, “it takes a village.”

RIP Andy, we’ll miss your friendly emails, delicious and filling food, and of course, those cookies.

Our hearts go out to our Tribeca community, everyone at Tribeca’s Kitchen, and to everyone in the Koutsoudakis family.

Important Update from The Flea Theater

In light of the current COVID-19 pandemic, The Flea will be closed and all performances canceled until further notice. The safety and security of our audiences, artists, and staff is our highest priority.

We are following the lead of our city, state, and federal elected officials as well as the recommendations of the Department of Health and the Center for Disease Control.

Current ticket holders have been sent an email with details on their canceled performances. If you have questions or concerns please contact our box office at austins@theflea.org.

Patrons who have tickets to any of these performances will have the option to be credited their tickets by rescheduling tickets to a Flea performance for a later date, donating the value of a ticket as a tax-deductible contribution, or by requesting a full refund of the original method of payment.

The Flea does not take this change in calendar lightly and deeply appreciates the impact this has on its community — the artists who have made inspired work, the staff that has tirelessly supported the work and the audience who have planned to join us in the coming weeks.

The Flea will be back and looks forward to welcoming audiences back to The Flea.

The Land of The Fre: A Chat with Taylor Mac & Niegel Smith

By Aurie Ceylon Satterthwaite
February 4, 2020

Pulitzer Prize and Tony Award-nominee Taylor Mac is no stranger to The Flea. Taylor and Flea Artistic Director Niegel Smith have collaborated on a number of creative projects, most notably Taylor’s radical Pulitzer Finalist, A 24-Decade History of Popular Music. In this exclusive Flea Chat, Taylor & Niegel discuss The Fre, The Flea, and what it means to get in the mud!

Niegel Smith: Here we are – in workshop! The Fre is finally happening!

Taylor Mac: It’s finally happening! I’m so happy.

NS: So, can you tell us what The Fre is about?

TM: The Fre has a lot to do with our polarization. I’ve taken two different worlds: a world of intellectual pursuit and a world of base sensuality and humanity, and I’ve squished them together! So, they’re trying to figure out how to exist with each other in this very rambunctious, filthy world. And, the entire play is set in a mud pit! It was really an opportunity for me to write a play that would have been useful to me to see as a kid, which I never got to see. It’s a Queer All-Ages Play!

NS: Where did you first start writing The Fre? Were you really in a mud pit?

TM: I was on a silent retreat in the middle of dry Texas, near San Antonio. It was on a beautiful ranch, and there was this swimming hole – it was a little like a quarry, with fish and lily pods. It wasn’t pristine, but it was the most gorgeous swimming hole I’ve ever been to in my life! There was something so healing; it felt like communing with the earth. I just found that by being quiet, I could listen to the writing and not the chatter of the world. So, I wrote the entire first draft in ten days.

NS: Why a mud pit? Why is the audience in the mud with us?

TM: I actually think it goes back to the ACT UP movement, and the idea that you do not need to ask permission to participate in the creativity of your own survival. I didn’t want to just comment on the world that is, or wish for a different world. I wanted to manifest a better world through the work I’m making. We have to rely on each other and we have to use our radical imaginations. Because we are all in the mud together and we have to find our way out.

NS: So, who are The Fre? What is The Fre?

TM: The Fre are Americans, but that particular part of America that is tied down to the narrative of anti-intellectualism.

NS: And you’re asking us to jump in the mud pit with them?!

TM: YES! Well, I guess what I’m saying is we are in the mud with them, already. Right now, you can’t turn on the news without feeling like the leading narrative is anti-intellectualism. I don’t think there has ever been a time in this country in which we fully embraced the idea of asking questions; there is too much assuredness here. I want to manifest a world in which people of all ages can participate in intellectual pursuits with total wild abandon. This play asks the audience to disobey all rules, and everyone is in the awkward position of having to participate in this strange universe we’re making.

NS: And we’re going to a ball pit tomorrow!

TM: YES! The play is written to have mud everywhere, but we’ve changed that to a ball pit. I think that’s really fun! It’s less messy, but also more accessible. A lot of people won’t go to see something where they get dirty. So, I thought, well that’s a nice creative solution: Metaphorical Mud! Everyone loves a ball pit.

NS: I want to take us to some Flea roots. You were a Bat!

TM: I was! I came to The Flea about sixteen years ago, and it opened up my brain. You can be conscious about social justice and the pain people are dealing with, and that can be part of theater! As a kid, it was the first time I had that thought. My time at The Flea was transformative.

NS: And now, you do it all! You direct, you act, you write.

TM: I do a lot. I think that’s the Act Up in me. I feel like I don’t need to apologize for surviving. I can chisel space for myself, and I learned that from the Flea artists that make the thing, rather than just commenting on the thing. We make theater.

NS: Our mission at The Flea – given to us by Mac Wellman – is to raise a joyful hell. I think about how it feels so right for The Fre to be at The Flea, in the bodies of The Bats. They are the kind of performers who will go anywhere.

TM: YES! The Bats are always ready to JUMP! I love working with people who are game to go BIG and find the intimacy within that, rather than starting small and trying to get them to jump.

NS: Your art has been downtown, it’s been in cabarets, it’s been on Broadway, it’s been in Opera Houses in Berlin! Why does it make sense for The Fre to be downtown?

TM: You know, I’m in it for the hang. I want to be where the artists and ideas and collaborators are. You were here, The Bats are here – and I wanted to hang out! I think it’s almost that simple, and that’s the authentic experience for me, in this play. The Bats are always going to say YES; they’re always going to try. I like working with people who want to say YES! There’s a youthful spirit in this play, and it needs young people to make it. I feel like the people here are genuinely passionate and excited to make work.