Sold-Out Shows, Rave Reviews!
Our FringeNYC premiere could not have gone better…
ONAJE sold out all five shows, the performances were riveting, and both audiences and critics were exceedingly positive. Check out these great reviews from onstageblog.com and Theatre is Easy (theasy.com) .
Thanks again to our incredible cast, crew, and creative team — and to everyone whose generous support helped bring ONAJE to life!
“The Naked House Painting Society”
“Easily the festival’s best. Riveting drama with genuine humor and intense relationships. Mystical in nature, the play turns on incisive philosophical dialogue.” — Winifred Walsh, The Baltimore Sun
“Slavery,” a play in one act
Ownership is the issue as two associates draft a patent at a huge law firm in Robert Bowie, Jr’s one‑act play “Slavery.”
“Crash & Burn PA”
“It’s pretty damned refreshing. Tightly woven, with comic prowess and a nicely fast pace. If you want a carefree night of fun and laughs, this is your ticket.” — Pandora Locks
“Witchcraft,” a play in one act
“‘Witchcraft’ offers the suspenseful flavor of Alfred Hitchcock show. The drama unfolds with many unanticipated twists and turns…” — Janet Stidman Evleth
More plays by Robert Bowie, Jr…
Onaje is moving up the ladder in New York.
It is funny how you take a new path and learn the same lesson. Trusted friends, credibility, and hard work were everything in creating my law firm almost 30 years ago and now I learn the same is true in the world of New York theater.
When I sold my controlling interest in my law firm I had decided that I wanted to be equally as successful as a playwright. The problem was I had to make up for 40 years of lost time. I decided I would become the oldest playwright ever to apply to Yale Drama school. I succeeded in being the oldest playwright ever to be rejected by Yale Drama school.
So with my objective still firmly in mind, I decided I would have to change my approach. I took a class at the Commercial Theater Institute in New York, not in playwriting, but in producing. After the first morning, the students gathered outside and shared conversation during a brown bag lunch. As they went around the circle, they all talked about plays they were hoping to produce. When it came to me, I confessed I did not want to be a producer. I wanted them to produce me. I got a laugh and two offers which led to staged readings in San Francisco, NYC, and Los Angeles and I made new friends.
One, Parker Bennett of Aligned Online, signed on to teach me how to create and manage my new website. Following the precedent set with Yale, I proved myself to be an unworthy student, but Parker became a trusted friend, took over the website, and became my guru on all things pertaining to script writing and the business generally, since he is an accomplished writer in his own right.
The following summer I continued on my path and was admitted into the Producers’ Class at the O’Neill Festival in Connecticut and there I met Sue Conover Marinello, the future producer of Onaje at FringeNYC and Christian De Gré Cardenas, who would become an indispensable ally at FringeNYC and ultimately the composer for “The Voice of the People,“ after I was asked to write the libretto by Mind the Art Entertainment.
When Onaje was chosen to be performed at FringeNYC, Sue Conover Marinello asked Kevin R Free, the highly respected NYC director, to direct. He read the script, but had a scheduling conflict and was unable to join us at FringeNYC.
During the pre-rehearsal and rehearsal stages leading up to the performances, Onaje was lovingly shaped and focused with the ideas of additional friends: the actors, director, stage manager, and others. It opened to sold-out performances and rave reviews, largely due to the tireless work of Sue Conover Marinello as its producer.
Sue decided that she wanted to take Onaje up the ladder in New York and elsewhere. She wanted Kevin R Free.
She took me to see several 10-minute plays directed by Kevin for Kelly Girod, the Obie winner and manager of The Fire This Time Theatre Festival. Based on the successes in New York, Sue took the script to Kevin’s agent, John Essay, again. By coincidence, John had seen the reviews of Onaje and asked that Kevin revisit the play.
The path is always different but the results are always the same. When we all met each other for the first time during a Zoom conference call about a month and a half later, Kevin had fresh ideas that highlighted missed opportunities in the script. He had X-rayed it and knew the bone structure perfectly. I joked with him that it was almost as if he had a lawnchair in my brain.
The same lesson is re-learned: trusted friends, credibility, and hard work make the apparently impossible dream happen. I’m so excited to be reaching for the next rung of the ladder.
As a lawyer I was your advocate, but now as a Poet my job is to help you see all things differently. For example: I have a silver gray antique BMW Z3 convertible. It looks like a ridiculous self important go-cart. It has five gears and a stick shift. It is loud. It is...read more
For me, the “future” is like a churning cement truck going to a job. The “present” is the dump of the watery mixture and its slow and permanent hardening. The “past” are the hardened roads I travel on again and again and again. Only the gift of “accident” can break...read more
I’m extremely fortunate to have had a class with Elizabeth Bishop, who was one of our great, late 20th Century poets. She taught us that any two poems, no matter where they are from, when placed side-by-side will cause an unintended contrast that will illuminate both....read more
About Robert Bowie, Jr.
“Without the arts, we are a rudderless boat.”
— Robert Bowie, Jr.