Created and Performed by Paige Collette / Tatiana Pavela
Friday, March 1, 2019
10:00 pm / Doors open at 9:30pm
Tickets: $10-$15 sliding scale
"THE MONICA MEDITATIONS"
Written and Performed by Paige Collette
In the 1990s, Bill Clinton began an affair with a 22-year-old intern named Monica Lewinsky, and ever since, Paige Collette has been obsessed. According to the news section of her 1999 Catholic high school yearbook, "Scandal rocks the White House as President Bill Clinton is accused of perjury and obstruction of justice." Monica isn't explicitly mentioned, but she was integral to the story, and she's the figure who's captured Paige's imagination for years. "The Monica Meditations" is a hilarious, emotionally charged exploration of public scandal, private heartbreak, and resilience. QVC meets cooking show meets history lesson.
PAIGE COLLETTE is a Minneapolis-based writer and performer. She has graced the BLB stage many times (as alter-egos Maxine LaRue and Patricia Lake) as part of Magic 8-Ball (curated by Theresa Madaus), Raw Sugar's THE FUNNY, Tara King's 30th birthday celebration, Wheel Sexy Cabaret, and 9x22. "The Monica Meditations" was first developed as part of Red Eye's New Works 4 Weeks Festival, and Paige can't wait to share it with more audiences at BLB. Paige and Tatiana became friends as drama majors at NYU's Tisch School of the Arts in the early 2000s, and she's super-excited to showcase Tatiana's amazing talents here in the Twin Cities!
Written and Performed by Tatiana Pavela
Directed by Maggie Rogers
The year is 1987 and Brandi Alexander is prepping for her stand-up comedy comeback tour. For her first return gig she'll be the opening act to the man who assaulted her. Emerging from a long hiatus of self-loathing, alcohol abuse and chicken nuggets, Brandi reinvents herself and finally lets loose. Combining performance art, 80s culture, and an absurd and caustic sense of humor, this is stand up gone radically wrong.
"An exploration of sexual assault, misogyny & self-loathing, forged in fury," - City Arts, Seattle
"A caustic & explicit berserker rage of a confessional from a woman who was sexually assaulted by a fellow comic." - Broadway World
TATIANA PAVELA "...is funny, crass, heartbreaking and so ran in her performance that by the end, we are made to feel as if we have come into so personal and revealing a moment as to question whether we have any business being there." -Arts Louisville
She is a Seattle-based actress & theatre artist who gravitates towards experimental theatre, devised work and heightened language. During her prior time in New York, she has performed at the New Ohio, Chashama, Dixon Place, La Mama ETC, HERE Arts Center, Tribeca Performing Arts Center, CATCH Performance Series and PS 122 (to name some favorites). She has been a performer and collaborator with companies such as Drama of Works, Sightline Theatre Company, Obie award winning Theatre of a Two-Headed Calf and was a puppeteer for the Mabou Mines/Basil Twist production of Red Beads.
Outside of New York and Seattle, Tatiana has worked in Minneapolis, Louisville, Providence, Finland, Indonesia and Serbia. Her original works include Brandi Alexander, El Diablo and Buttercream & Scotch (co-written with Paige Collette). She is a recipient of a 2017 Artist Trust Award for Brandi Alexander. MFA from University of Washington PATP; BFA from NYU Tisch School of the Arts.
MAGGIE ROGERS (director of "Brandi Alexander") is a Seattle based director, dramaturg, and fat activist who proudly hails from Louisville, Kentucky where she attended the Walden Theatre Conservatory. She is the Literary Manager and Resident Dramaturg at Washington Ensemble Theatre, a company member with The Horse in Motion, and the Resident Dramaturg for Cherdonna Shinatra's company, Donna. Before moving to Seattle to complete the Literary Apprenticeship at Seattle Repertory Theatre, she obtained her degree in directing from Columbia College Chicago and graduated as the class Valedictorian of 2014. Her piece All Sizes Fit All: The Case for Normalizing Fatness Onstage was recently published in American Theatre Magazine.
PHOTO CREDITS: Billy Luetzen / Marcia Davis