 Mark-Eugene Garcia is a a Mexican/Honduran playwright and actor. He is a member of the Dramatists Guild and A.S.C.A.P. Bear audiences will recognize him as one of the lead actors in Sidekick Productions’ Demon Doctor. He has also guested on Skeleton Crew and is slated to star in the upcoming A Taste of Youth.
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 It’s time to vote for the 2nd Annual Bear World Magazine Awards, presented by BIKE! After the massive success of last year’s awards ceremony, we decided to do it all again this year! However, this time the Bear World Magazine Awards will be presented LIVE on July 15th as part of Provincetown Bear Week (time to be confirmed) at the Crown & Anchor and later streamed on our social media channels. This year’s ceremony will be sponsored by BIKE Athletic who have all the gear a bear could need for both on and off the field. Our trophy cubs and gogo bears will be decked out in their BIKE brand finest to entice the crowd during the ceremony and the official BIKE Strap afterparty taking place at the Crown later that evening. Favorite Bear Artist Which of these artists, writers or actors is your favorite? Mark-Eugene Garcia Benjamine Lester Glenn Quigley Bear Pad Art Joshua R Pangborn Polleiro Vote Here
Un escritor que se reconecta con su latinidad a través del teatro Mark-Eugene, el subgerente del The Drama Book Shop en Nueva York, escribe historias en las que se sienta representado. Por: Max Martínez Mark-Eugene comenzó a trabajar en The Drama Book Shop después de su reapertura en el 2020. El dramaturgo Mark Eugune García publicó su obra Eight Tales of Pedro en el 2022, después de trabajar en ella durante una década. Este proyecto está basado en las historias folclóricas de la tradición oral de Pedro Urdemales, un personaje recurrente en varias culturas latinoamericanas, quien es reconocido con diferentes apellidos, dependiendo del país (por ejemplo en Puerto Rico se llama Pedro Animala, mientras que en Brasil lo conocen como Pedro Malasartes). Este año se realizó una producción de la obra en el Queens Theatre.
García ha ganado una variedad de premios como dramaturgo a través de los años.Miembro del Gremio de Dramaturgos y A.S.C.A.P., García ha estudiado en algunos de los programas y universidades más prestigiosos, como la Universidad de la Ciudad de Nueva York, la Academia de Nuevo Teatro Musical y el Taller de Teatro Musical BMI Lehman Engle.
Con una inclinación natural hacia la escritura y la representación de otros mundos, García ha logrado hacer realidad sus historias en el escenario con sus obras “Standby”, “The Holy Cows of Credence South Dakota”, “Facing East: A New Musical”, “(Un)missed Connections”, “Shining in Misery: A King-Sized Parody”, y muchos más.
In this interview, Mark tells us about the Queens Theatre’s production of his play, Eight Tales of Pedro. While that production has since closed, the script to Eight Tales of Pedro is available here.
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Directed by Rodrigo Ernesto Bolanos and now playing at Queens Theatre, Garcia’s intensely entertaining play gives a vivid look inside a piece of the Mexican and Mexican-American experience, weaving both past and present. The production is brought to life by the playwright’s full-blooded characters and by his loving reverence for Spanish and Latin American folklore. (It is worth noting that the stories of “Pedro Urdamales” and “Juan Bobo” [More about him later…!] have been told for hundreds of years.) Adorned by live music by Luis D’Elias, Garcia’s play not only reminds us that these tales of inspiration will be with us for eternity, but also that these precious stories serve as MORE than just entertainment or as a conduit for family bonding. As we see with the characters in Eight Tales of Pedro, storytelling can also serve as a survival mechanism in increasingly uncertain times.
On May 5, Mark-Eugene Garcia’s award-winning play, “Eight Tales of Pedro,” will begin its run with music by Luis D’Elias. The play will feature music by Luis D’Elias, who has been with the play since its inception. The cast consists entirely of Latino actors, four of whom were part of the original cast at the play’s 2018 premiere. That same year, the play won the UnFringed Festival Best of the Festival Prize. Most recently, he won the 2021 Jerry Harrington Award for Outstanding Creative Achievement in Musical Theatre.
You can’t successfully send something up if you don’t know it and love it, and it’s clear that writers Mark-Eugene Garcia and Colleen Duvall, as well as composer and Cap City Artistic Director Andrew Abrams have been steeping in King’s particular brand of horror for decades. This show has more clever puns than “It” and “The Stand" have pages, and almost all of them land directly on your bag of (funny) bones.
We can only see one such ghoul, but no matter. When reading Stephen King – or, in the case of Shining in Misery, watching a parody of Stephen King – the underland we’re afraid to see is always teeming with vampires and ghosts, demonic clowns and monstrous pets, the beasts we fear we are and the terrors that keep us awake.
“There’s more of them,” the devilish Randall Flagg says of his ghouls. “I can’t bring them over here because of limits of actors and costuming but trust me when I say, they’re there.”
The show begins with the Torrance family from The Shining, Stephen King/Stanley Kubrick's enduring tale of a haunted Overlook Hotel, checking in to the apparently deserted hotel. They are to look after it over the winter. There are Jack, the father (Jonathan Wagner); mother Wendy (Madeline Glenn Thomas); son Danny (Benji Heying); and Nanny Annie (Gail Becker).This musical is so over the top it hurts. The top line is that the family take in the burned-out novelist kidnapped in Misery, King's tale (and Rob Reiner-directed film) of a writer kidnapped by his biggest fan. He (Cody Gerszewski) inhabits Room 217, where Nanny Annie keeps him captive so she can get him to write a new novel in his "Misery" series, which he has abandoned in favor of a new idea, one that doesn't include Annie's favorite character. (He also plays the vampire Barlow, with a pasted-on face and lovely prosthetic fingers.)
This fun frolic (Book by Colleen Duvall, Music by Andrew Abrams and Book and Lyrics by Mark-Eugene Garcia) takes a look at the goings on in the famed Overlook Hotel. Here we find our caretaker Jack (Jonathan Wagner), his wife Wendy (Madeline Glenn Thomas), their son Danny (Benji Heying) and Danny's nanny Annie (Gail Becker) have just run a 1958 Plymouth Furry off the road and rescued its occupant, Writer Paul Sheldon (Cody Gerszewski).
Having to deal with everything from a cat that keeps reanimating to a rambunctious St. Bernard, this cast takes you on a romp through so many Stephen King references even this die hard fan lost count. And all the while never taking itself too seriously. The show pokes fun at itself and its own campiness numerous times, giving just enough of a knowing nod to the audience to not quite break that fourth wall.
Sure, there’s Pennywise the clown and Cujo the dog, but when “The Girl Who Loved Tom Gordon” made an appearance, I knew the show was created by the sort of obsessed people who read “Christine” cover to cover in the school library when they were supposed to be doing their homework. (Not that I'm speaking from personal experience, of course.)
But even if your only encounter with Stephen King is watching half of “Carrie” through your fingers, “Shining in Misery” is a broadly accessible good time at the theater, more bawdy than bloody. You can very easily see this show going on the road like other parody musicals, or becoming a staple of late-night theater. “Shining in Misery,” written by Colleen Duvall and Mark-Eugene Garcia with music by Andrew Abrams and lyrics by Garcia, runs through Sunday, March 5 in the Playhouse.  MADISON, Wis. (WMTV) - It’s a new festival that celebrates Wisconsin’s active theater scene.
World Premiere Wisconsin is a statewide festival that is celebrating new plays and musicals. NBC15′s Leigh Mills sat down with Jen Gray, the artistic director of Forward Theater Company, and Andrew Abrams of Capital City Theatre. To watch the full interview and learn more, watch the video attached to this story. “Shining in Misery” will run Feb. 23 through March 5 in the Playhouse at Overture Center. For more information, visit capitalcitytheatre.org. For more click here
When a company that produces a sexual enhancement drug relocates to a religious factory town in northern Minnesota, and its fumes begin to enter the air, the puritanical beliefs of the townspeople begin to waver. Long held inhibitions release and untold secrets spurt forth as the town spills into debaucherous revelry. For the pious Pastor Johnson, it means the arrival of the devil. For the tempting Dr. Corazon De La Fuente, who runs the factory, it is a wonder to be studied. Stuck in the middle is Mayor Frankie, anxiously watching as his town populace begins giving into wildest urges. Fargo meets Frankenfurter in this wacky comedy that is based on true events until it’s not. With Bated Breath began in 2003 when playwright Mark-Eugene Garcia stumbled upon a fluff news story about a small Irish town claiming its residents were affected by fumes from a nearby Viagra plant. While Pfizer dismissed the claim as impossible, Mark-Eugene couldn’t help but wonder--what if it wasn’t?
At the time, he and his writing collaborator, composer Jeff Thomson, were searching for a new musical concept. When Mark-Eugene pitched the idea, they jumped on it, crafting an original and outrageous story set in a small Minnesota town affected by a pharmaceutical plant explosion that turns its residents into sex zombies. Over the next year, the team developed the show through The Academy for New Musical Theatre (now New Musicals Inc.), under the direction of Scott Guy and Elise Dewsberry. The piece was presented in a series of workshops and performances over the following two years, culminating in a two-night run at the Colony Theatre in Burbank in 2005. After relocating to New York, both Mark-Eugene and Jeff continued to develop the show. Eventually, they realized their creative visions were diverging, and Jeff offered his blessing for Mark-Eugene to continue the project solo. Mark-Eugene continued developing the piece while working on other shows. Between 2018 and 2020, he presented a reimagined version of the libretto—now titled With Bated Breath—in installments at the BMI Lehman Engel Musical Theatre Workshop. The final draft, shaped by the COVID-19 pandemic, the cultural focus on consent and the Me Too movement, and Mark-Eugene’s personal experiences with anxiety, was presented as a Zoom reading. The overwhelmingly positive response prompted him to pursue publication through Next Stage Press. The play has since found success with Next Stage Press, and Mark-Eugene proudly dedicated the published script to his friend and original collaborator, Jeff Thomson.
“Eight Tales of Pedro” begins in 17th-century Mexico, as Pedro and his companion travel from a small port town into the fabled Veracuz, telling stories while following Pedro’s one true love. Meanwhile, in the present day, in a van full of Mexican immigrants, Peter crosses a border into an unfamiliar country, while his companions tell him stories to chase away his fears. The two storytellers risk everything, as their lives and plots intertwine. Find out more here.
 By Andrew Abrams, Colleen DuVall and Mark-Eugene Garcia Part of the World Premiere Wisconsin theatre festival. Experience a musical parody of King size proportions! During the Misery of a blizzard, five people are drawn to the Shining lights of the Overlook Hotel. The group includes Jack: the hotel’s new caretaker, Wendy: his unhappy wife, Danny: their clairvoyant son, Annie: a quick to anger nurse, and Paul: the mysterious unconscious man she drags up to room 217. As the storm grows so do the mysteries of the hotel and the new guests sing and vocalize while hacking an onslaught of visitors — human, animal, and supernatural. Will this group be able to harmonize through IT, take a Stand, or fade into The Mist?  Eight Tales of Pedro has signed with TRW plays for publishing and licensing. When the script is available for purchase and is available for licensing it will be found here.  Photos: Kevin Yatarola By Marilyn Lester . Lincoln Center’s long-running American Songbook series has dedicated this Spring season to “the significance of globalization in today’s music and the incredible exchange of cultures, American and beyond, that plays a part in music-making.” That box was assuredly ticked with Jaime Lozano’s Songs by an Immigrant. In a generous set, the songwriter presented an eclectic mix of his work, most from his album of the same name, a song-cycle of the challenges of the first – and second – generation newcomers to the USA, particularly in finding a new home, learning a new language, dealing with discrimination, pursuing the American Dream and searching for ways to build bridges. |
Mark-Eugene GarciaWriter/Actor/Storyteller. Theatre Maker. Husband. Bad Hombre. Cat Taunter. ContentsArchives
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