Author: confettistage-admin

Agnes of God – Martha Livingstone

AoG-20I was tasked with attempting to write something regarding  my experiences with Martha Louise Livingstone.  For the past four weeks I have been working hard to be to be true to her. As an actor I want to be true to the text and make use of all the wonderful things the playwright has given me. It’s daunting.  There is so much.  She lives with me every waking minute of every day. My goal has been to be honest and authentic.

Martha is penitent and engages the audience as confessor. This role is thrust upon the audience. The play demands it.  Mea culpa…

This process of creating Martha Livingstone, for me, has been many things…challenging, enriching, terrifying, joyful, frustrating, gratifying, exhausting, and supremely humbling. I am grateful for the opportunity to be humbled.  Let’s begin…

– Kathleen Reilly

Agnes of God – Window Dressing

m3dezsIQLU1rrutr7o1_500What does the Catholic Church have to do with you?”  Yes, and while we’re at it, what does this play have to do with the Catholic Church, for that matter.  Because, alright fine, let’s just take a minute and acknowledge it: Agnes of God is a play with a reputation, in some circles, at least, for being “anti-Catholic”.  On the wall of our event page for auditions, somebody took it upon themselves to comment “Just what we need, another anti-Catholic play.”  Honestly, I was too wrapped up in making sure everything went well during auditions to give it much mind.   But the question hangs there- is the show anti-Catholic?  Agnes experiences severe trauma in the convent, and it’s covered up.  Mother Miriam lies to the doctor.  The doctor tells several unpleasant stories about her childhood involving nuns.  Does that make the show, as a whole, anti-Catholic?  I truly believe the playwright was much more concerned with deeper, more existential questions than, “Is the governing body of the Catholic Church a backward parliament of ravens?”  Lord knows I am.  I care about these three women and how they strive to find connection, and if they succeed or fail.  The Church stuff?  That’s all just window dressing.
– Nate Beynon

Agnes of God – Becoming Agnes

aog-2When you are used to being the comedic relief it is difficult to just be real.  It has taken several nights of rehearsal to get that through my head.  One night Nate called me out, “lower your voice, you are using it as a mask.  Like a character to protect yourself from being uncomfortable.”  It was one of the hardest things to hear because it was true.  But that is what Nate is pushing us to find, what is true to the story, not some character that we’ve made up.  Chipping away at the “idea” has been a difficult journey.  As the “funny man” it is extremely vulnerable, and I’m trying to lean into all of that and let Agnes come alive.
– Hollie Miller (Sister Agnes)

Elephant’s Graveyard – Stage Manager

We are seeking an enthusiastic stage manager to join to production team for Confetti Stage’s upcoming production of Elephant’s Graveyard by George Brant.

Elephant’s Graveyard is the true tale of the tragic collision of a struggling circus and a tiny town in Tennessee, which resulted in the only known lynching of an elephant. Set in September of 1916, the play combines historical fact and legend, exploring the deep-seated American craving for spectacle, violence and revenge.

Be part of a unique rehearsal process, as we build the environment of the circus organically through improvisation of movement and sound, and develop a cohesive ensemble of actors.

Performance Dates: 4/29/16 – 5/8/16 (Fridays and Saturdays at 7:30pm, Sundays at 2:00pm; Tech week schedule TBD: 4/22/16 – 4/28/16)

Any one interested can please contact the director, Linda Shirey at

Confetti Fest 12 – Call for Submissions

Confetti Fest is an original short play festival that seeks to develop and highlight local playwriting talents.  We are seeking plays written by Capital Region Playwrights to be considered for participation in a play development process and our 12th annual short play festival, Confetti Fest 12 in October 2016.  Our short play festival was the first in the Capital District to feature all original works by local playwrights.  Previous works from our festivals have been chosen to perform at the TANYS (Theatre Association of New York State) and ESTA (Eastern States Theater Association) Festivals, including our 2010 production of “Holy Night” by Diane M. Doring, our 2011 production of “Safe Words” by Nathaniel Beynon, our 2013 production of “Mirror Bowl” by Sunny da Silva, our 2014 production of “Luc” by Julie Demers, and our 2015 production of “Nailing It” by Mark Dalton.

The Play Development Process:

Confetti Stage believes in supporting the improvement and development of artist’s skills through the production process, and with last year’s Confetti Fest 11 we extended this philosophy to script development for playwrights prior to the rehearsal period.  The aim of this process is to help playwrights further explore their scripts in collaboration with an experienced mentor and refine their work for production.

Playwrights who submit their work to Confetti Fest 12 can expect and must agree to participate in this script development period during the summer 2016 months prior to rehearsals starting in August 2016.  Script development will include:

  • Scheduled one-on-one sessions with an experienced playwright mentor, who will provide constructive critique and help you explore ways in which you can further develop and improve your work
  • Discussing and creating a plan of action to address aspects of the work that you and your mentor have targeted for revision
  • A guided revision process, which will result in a refined version of your work by the beginning of the rehearsal period



  • No longer than 30 pages of script AND running time cannot exceed 30 minutes
  • In 12-pt, Times New Roman font
  • Applicable to our mission statement (see below)
  • An original work by a playwright currently local to the Capital Region (works that have NOT been previously produced are encouraged)
  • Multiple submissions are accepted, but please make a separate submission for each script

Please include, on a separate cover page OR in your submission email:

  • Playwright’s contact information, including name, email address, local address, and phone number
  • The following statement: “By submitting [title of play] by [playwright’s name] for consideration, I am agreeing to actively participate in the Confetti Fest 12 script development and revision process before the start of rehearsals.  I understand that if I cannot or do not actively participate in play development, the play may be removed from the festival lineup.”
Please include with the copy of your script:
  • A brief synopsis of your play (100 words max.; think what you’d like publicity for your play to say)
  • Estimated running time
  • Character breakdown, including any casting preferences
  • Set and scene descriptions
  • Tech requirements (include lighting, sound, costume, prop/scenery requirements)
  • Any previous workshop or production history
*Please do NOT include your name or any other identifying information in the body of your script*


Participants of Confetti Fest can expect:

  • A fun, collaborative process
  • A fully-staged, off-book production of your script
  • Full credit in all programs and promotional materials for the festival
  • Possible adjudication by the Theatre Association of New York State (TANYS), as well as the possibility of having your work selected to perform at state (TANYS) and/or regional (ESTA) theater festivals.
Selection Process:
  • Scripts are chosen through a blind selection process by a committee of readers.
  • Playwrights will be notified by June 1st if their submission is chosen and will be expected at that time to make arrangements with the playwright mentor to start the development process.
  • Confetti Stage reserves the right to pull a play from the festival if the playwright cannot or does not actively participate in the script development process after it has been selected.

Submissions can be submitted electronically to or mailed to:

Confetti Stage, Inc.
Confetti Fest 12
67 Corning Place
Albany, NY 12207

Confetti Stage Mission Statement
Our mission is to celebrate the diversities of human experience through thought-provoking, challenging productions.  We foster creative expression in a collaborative, inclusive environment that engages the Capital Region community.

Please contact us at with any questions.  We look forward to receiving your submissions!

Agnes of God – Tick Tock

IMG_0389Tick tock…..The second act of Agnes of God centers around two sessions of hypnotism that the doctor orchestrates.  These scene are wonderful bits of theater.  Past traumatic events in Agnes’s life are acted out, heartbreaking revelations shatter illusions- Imagine a the prison scenes in Silence of the Lambs combined with the last scene of Carrie.  This is high melodrama brought right to edge of credibility.  There’s a reason these scenes are favorites of acting classes.  Hence, the metronome.  I don’t think we’ll be using it during the actual dialog, as it’s more than a little distracting.  But, oh, that sound- I can’t resist live organic sound.  Something that says, “This is happening, right now, and all of us, both on stage and off are experiencing it as it happens”.  It’s a way of putting your audience in the same room as your actors.  Whether they want to be there, or not….

– Nate Beynon

Agnes of God – In Rehearsal

IMG_0385“In Medieval Times…” Well, no. That’s not the line, not exactly. But that’s what got said. And since it was Hollie saying it, I get a sudden image of Hollie’s Agnes at Medieval Times, brandishing a turkey leg, smiling an angelic, goofy smile and cheering on the black knight to victory. I smother a bout of church giggles, and move on. The giggles happen to me when my mind can’t handle something ridiculously awful. When I was in school, they bubbled up at the sight of a mentally disabled girl who hobbled into class on a crutch one day- because the powers that be decided one handicap just wasn’t enough. In this case, it isn’t Hollie so much as the situation in which her character finds herself: Agnes is a young innocent, unschooled, who truly believes she must loose weight or God won’t love her. Add to that an unexplainable traumatic event, and it makes it all just a bit much. This whole play runs the risk of all being just a bit much, of course. It’s not; It wouldn’t be so we regarded if it was simply over-the-top melodrama, but all the blood and agony and secrets and hypnotism scenes for goodness’ sake!- It reminds me that every moment of Agnes of God must be examined, and performed as it’s own separate point in time, without any preconceptions or expectations. And if we giggle a bit, well, stranger things have happened.

– Nate Beynon

Agnes of God – First Reading

IMG_0380First reading of Agnes of God.  Excited to finally start this journey, especially with such able traveling companions. From left to right, Kathleen Reilly, our Dr. Livingstone, Robin Leary, reading Mother Miriam, the indispensable Nick Himmelwright, our stage manager, and Hollie Miller on the right, who’s tackling the role of Sister Agnes.    It’s a wonderfully exhilarating feeling, hearing these three amazing actresses knock the text out of the park, just sitting there at the table.  Each has a distinct voice, and a very clear idea of who their character is, already, and you can sense what this trio will sound like after the show has been put up on it’s feet.  It won’t happen over night, of course, and there will be certainly still be challenges, but, as they say, “We have a show”.

– Nate Beynon

Auditions for Agnes of God: 01/11 and 01/13


by John Pielmeier
directed by Nate Beynon

Auditions Dates & Times:
Monday, January 11 and Wednesday, January 13
6:30pm sign-in; 7:00pm audition start

The Albany Masonic Hall
67 Corning Place
Albany, NY 12207

Performance Dates: 2/26/16 – 3/6/16 (Fridays and Saturdays at 7:30pm, Sundays at 2:00pm; Tech week schedule TBD: 2/19/16 – 2/25/16)

Readings will be from sides.

The body of an asphyxiated newborn has been found in the room of Agnes, a young novice in a convent. When asked where it came from, she insists that God gave her the baby. Enter Doctor Martha Livingstone, tasked with determining whether Sister Agnes is competent to stand trial for murder. Dr. Livingstone soon finds that her questions only beget thornier mysteries, and Mother Miriam, the convent’s mother superior, is clearly hiding just as much as she’s allowing the doctor to see. Agnes of God is a psychological thriller packed with enough plot-twists, family secrets, and cringe-worthy acts of violence to fill a whole season of Law and Order: SVU. It is also a meditation on faith and reason. It explores our need for miracles and their terrible price, and also the cost of living in a world where only what is measurable and proven can exist.

Agnes: Young-ish. Agnes is living with an un-named mental, emotional, or psychological handicap that keeps her, as Mother Miriam says, “simple”. There is something undefinably magical about her. Having acknowledged this, it must be said she is a specific person with a specific past and has specific likes, dislikes, fears, dreams, and desires. All of which is to say, Agnes is neither Saint Joan nor Forrest Gump. For starters, Saint Joan was never never sexually abused by her mother.

Mother Miriam: At least fifty-something, or thereabouts. A former smoker, who still misses it. A woman who has found a little of her faith again after loosing all of it. She is a fiercely protective foster-mother to Agnes, and will fight tooth and nail to keep the young nun’s innocence in tact. Having said all that, Mother Miriam is as warm, funny, and sincerely nurturing as she is calculating and antagonistic toward Doctor Livingstone, if not more so.

Doctor Martha Livingstone: In her forties. Overworked, underpaid, a smoker and probably a drinker, too. She has careened through the past decade of her disheveled life with a wry sense of humor, a belief in her chosen profession, and keen knack for self-deceit. She is smart, funny, bitter, broken, and resilient. She wants to rescue the world, to take it all home with her and feed it soup, but knows this sort of thing is frowned upon. As is usually the case in stories like this, she has issues with The Church.

For further info, contact the director, Nate Beynon at natebeynon AT

Confetti Fest 11 Call for Auditions

Confetti Stage seeks actors and crew for our 11th annual short play festival!

This year we have selected 6 original works by local playwrights to showcase in our 11th season opening show. For years, Confetti Stage has been devoted to developing new works and local talent, and Confetti Fest 11 is the hallmark of our collaborative and creative process.

Monday, June 15th & Tuesday, June 16th
6:30pm sign-in; 7:00pm audition start
Albany Masonic Hall, 67 Corning Place, downtown Albany

Actors should prepare a 1-2 minute monologue. It does not have to be memorized. Actors may also be asked to read selected sides from the plays. Actors may be asked to improvise or demonstrate movement capabilities for certain roles.

This year, in the spirit of the collaborative process, we have added a script development period to the festival for playwrights, directors, and actors. After casting, actors may be called upon in June and July for readings and to be part of workshopping plays. Rehearsals will begin in earnest in August.

Performance dates:
Performances will be held in early to mid-October. Exact dates to be finalized.
Please come prepared with your scheduling conflicts up to October 18th.

Please contact us at with any questions.

We are seeking actors to fill the following 20+ roles for our 6 shows:

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