Helluva Theatre Co. is raising the funds necessary to go into production for the World Premiere of The Husk by Jake Quinn. Jake, a retired NYC detective, has written a compelling story of three detectives tasked with identifying a young woman whose body was found frozen in an abandoned apartment. Who was she? Why was she there? What was she looking for? In searching for those answers each detective confronts questions of his own identity while laying bare their own troubled, haunted lives.
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Major Barbara is an exercise in inspecting nuance of point of view — one any modern citizen would be served well by. It gives introspective voice to facets of anxiety that can feel beyond articulation, while reminding of the irrationality borne from fear (perhaps encapsulated most memorably with the line, “hatred is the coward’s revenge for being intimidated”.) Helluva Theatre’s timely choice of production, skillful stamina, and range of style all project a promising forecast on their beginning tenure in the theatre community.
By Rachel E. Diken on November 28, 2016
January 2017 - "Pirandello 150" is a city-wide, year-long festival commemorating the 150th anniversary of Pirandello's birth, presented by the newly-formed Helluva Theatre Company. In addition to the film festival, it will include one-act plays, major theatrical productions, readings, panel discussions, podcasts, and academic seminars.
Says John Martello, artistic director of the "Pirandello 150," "Our purpose is not simply to celebrate the anniversary of this great playwright's birth, but to also bring new audiences to his work and to re-establish his place in dramatic literature. The seven Pirandello adaptations in Film Forum's series are a fine example of his comic genius and represent his power as a dramatist."
Helluva Theatre Company just finished a five performance run (Oct. 30 - Nov. 3) of Conor McPherson's St. Nicholas at The Sanctuary in Montgomery, Alabama.
From Michael Howley's review in theatremontgomery:
"Directed by Alex Dmitriev, and featuring John Martello as the cynical unnamed critic.... The staging is minimal, with no props and only a single chair and a small rug at center stage, and a few lighting modifications for atmospheric reference; so we rely exclusively on Mr. Martello's abilities as an interpreter of McPherson's words to engage with us for almost two hours; an intimacy he achieves with apparent comfort ..... In short, we are captivated by McPherson's chilling supernatural script and Martello's shaping of it into a seductive evening's entertainment."