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	<title>John Kurzynowski</title>
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	<pubDate>Mon, 08 Dec 2025 15:15:53 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://johnkurzynowski.com/Home</link>

		<pubDate>Fri, 07 Apr 2023 17:24:58 +0000</pubDate>

		<dc:creator>John Kurzynowski</dc:creator>

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		<title>01</title>
				
		<link>https://johnkurzynowski.com/01</link>

		<pubDate>Mon, 08 Dec 2025 15:15:53 +0000</pubDate>

		<dc:creator>John Kurzynowski</dc:creator>

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	Never Said I Was a Genius
Conceived and Directed by John KurzynowskiCreated and Produced by Not Quite Theatre co.In development.
Is there such a thing as an artistic genius? Or is genius merely a myth that perpetuates privilege and enables monstrous acts to occur? How does an artist’s biography shape that myth? And what does that biography do to the work once it’s been revealed?

Over the course of the next year, Not Quite Theatre co. will&#38;nbsp;be posing these questions as we begin to develop a new piece of experimental theatre that takes aim at the oft debated concept of the artistic genius. We will also explore the relationship between the genius and the monster; how the horrific acts of an artistic genius have been culturally justified or excused throughout history. And how the biography of an artist shapes our understanding of their work.
Never Said I Was a Genius has received a R&#38;amp;D workshop in November 2025 with the following creative team:

Performers: Alex Ansdell, Valentin Burwell, Lauren Lucy Cook, Dean Elliott, Emily Foxton, Jack Gogarty, Harrison Hartley, Libby Symons, Kim Whatmore

Designers: Alex Ansdell, Valentin Burwell, John Kurzynowski

Photos: Emily Foxton

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		<title>02</title>
				
		<link>https://johnkurzynowski.com/02</link>

		<pubDate>Thu, 11 Jul 2024 12:42:20 +0000</pubDate>

		<dc:creator>John Kurzynowski</dc:creator>

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	This Technicolor Play
Conceived and Directed by John KurzynowskiCreated and Produced by Not Quite Theatre co.Work-In-Progress Production Presented&#38;nbsp;3 — 6 October 2025&#38;nbsp;at&#38;nbsp;Central Film School&#38;nbsp;as part of The Lambeth Fringe&#38;nbsp;(London)
Full Production Presented on 12 &#38;amp; 13 February 2026 at Central Film School (London)
“Technicolor” &#38;nbsp;[ tek-ni-kuhl-er ]noun — a system of making color motion pictures by means of superimposing the three primary colors to produce a final colored print.adjective — flamboyant or lurid, as in color, meaning, or detail.
Behind the idyllic facade of the postwar American home lurks the melodramatic and flamboyant style of Douglas Sirk’s 1950s Technicolor cinema, shining an overly saturated light on the hypocrisy of outdated social norms that still dominate today’s entertainment and media. By interrogating the impact of Sirk’s 1955 melodramatic masterpiece All That Heaven Allows on contemporary artistic practices, an ensemble of secondary stock characters — the Gossiping Busybody Neighbour, the Local Prominent Businessman, the Stern Moustachioed Police Chief, the Familiar Unassuming Milkman ... and Uncle Bernie — ultimately find themselves searching for sincerity amidst the haze of these outdated norms that permeates their shared liminal space, all while activating the Technicolor tropes of Sirkian filmmaking. What they uncover is the dark underbelly of melodrama — the ugly truth hidden beneath the bright veneer of ridiculously dramatic storytelling. This postdramatic fever dream seeks to expose this underbelly and transpose the lurid worlds of Sirkian cinema to the stage. 
Performers: Alex Ansdell, Lauren Lucy Cook, Dean Elliott, Emily Foxton, Ellie McCoy, Tom Neo (2025), Haydn Watts (2026), Kim WhatmoreSound Design: Alex Ansdell &#38;amp; John Kurzynowski

Lighting Design: Valentin BurwellProducer: Libby Symons
Photos: Max Gardner
Video: Hannah Moss






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		<title>03</title>
				
		<link>https://johnkurzynowski.com/03</link>

		<pubDate>Fri, 07 Apr 2023 17:32:00 +0000</pubDate>

		<dc:creator>John Kurzynowski</dc:creator>

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	When a Thing is a Thing Said by Some Other Thing
Conceived and Directed by 
John Kurzynowski
After Gertrude Stein, Dario Argento &#38;amp; Daria Nicolodi, Betty Comden &#38;amp; Adolph Green

Presented 14 May 2021
at the Antonin Artaud Performance Centre (London)


Responding to the use of face masks in the rehearsal studio and the ways in which they complicate our relationship to language and communication, I devised a piece of experimental theatre with the BA Theatre students at Brunel University London based on the idiosyncratic writings of Gertrude Stein – in particular, her 1938 libretto to Doctor Faustus Lights the Lights – and the process of dubbing as observed in Dario Argento’s 1977 Italian horror film Suspiria and the classic 1952 Hollywood musical Singin’ in the Rain. When a Thing is a Thing Said by Some Other Thing interrogates the ownership of language and the ways in which plays are created, reinterpreted and miscommunicated.

Created and Performed by the BA Theatre students at Brunel University London

Performers: Grace Amui, Valentin Burwell, Jacob Diddams, Rhiannon Ellerby, Delight Lawal, Kathleen Matusiak, Aleks Milwicz, Tom Newland, Aaliyah O’Sullivan, Judith Walker, Jasmine Zuvela Valenti
Assistant Directors: Eleni Aristeidou, Damian Laprus, Nahed Safa
Sound Design: Harrison White

Production Design: Alex Farrow and John Kurzynowski

Documentation: Matthew Kaltenborn




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	<item>
		<title>04</title>
				
		<link>https://johnkurzynowski.com/04</link>

		<pubDate>Fri, 07 Apr 2023 17:24:58 +0000</pubDate>

		<dc:creator>John Kurzynowski</dc:creator>

		<guid isPermaLink="true">https://johnkurzynowski.com/04</guid>

		<description>
&#60;img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/198df4aee25151a627c45fb19513e80168abee2040c7831cfa1ece788f057a82/IMG_2043.jpg" data-mid="174605309" border="0"  src="https://freight.cargo.site/w/1000/i/198df4aee25151a627c45fb19513e80168abee2040c7831cfa1ece788f057a82/IMG_2043.jpg" /&#62;
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	How do I know when I know that I know what I know ...
Researched and Facilitated by John Kurzynowski
Presented 3 July 2019 as part of the BRINK Festival (London)
I encounter a practice and it encounters me. How do I develop my own knowing-how to execute this established practice based on my limited knowing-what the practice is or requires? Through the practicing of this new practice how do I then understand profoundly, intuitively and empathetically – or grok, as coined by Robert A. Heinlein – the original practice? Does the practice grok me in return? And when do I know that I’ve successfully grokked this practice through the practicing of my practice of the practice?

Through an individualised performative event, I invited participants to encounter a durational practicing of a practice of practicing practice, during which time I attempted to determine how I know when I know that I know WHAT I know about practicing my practice of practicing practices.

Featured Participant: Adam Johnson
Photos: Jemima Yong
Video: Matthew Kaltenborn




</description>
		
	</item>
		
		
	<item>
		<title>05</title>
				
		<link>https://johnkurzynowski.com/05</link>

		<pubDate>Fri, 07 Apr 2023 17:24:59 +0000</pubDate>

		<dc:creator>John Kurzynowski</dc:creator>

		<guid isPermaLink="true">https://johnkurzynowski.com/05</guid>

		<description>
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6c3f8517846de8b5f6791a8cef142cd751756175eb9698a8d3bf8599ee9b408b/IMG_7494.jpg" data-mid="174606628" border="0"  src="https://freight.cargo.site/w/1000/i/6c3f8517846de8b5f6791a8cef142cd751756175eb9698a8d3bf8599ee9b408b/IMG_7494.jpg" /&#62;
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&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/cf89df982eb20159a1fadbb4aca56692550211913b680c9c51e1c95ca92b8cd0/IMG_8157.jpg" data-mid="174606641" border="0"  src="https://freight.cargo.site/w/1000/i/cf89df982eb20159a1fadbb4aca56692550211913b680c9c51e1c95ca92b8cd0/IMG_8157.jpg" /&#62;

	Cc: FANNY!
Conceived and Directed by John Kurzynowski
After Booth Tarkington and Orson Welles 
Presented 22 — 24 June 2018 at Spaceworks (NYC)

Artists copy one another, whether it be in the repetition of plots or the mimicking of styles. Copying can be viewed as a form of adaptation – one that allows for a process of transformation to take place between the product of one artistic practice into that of another. But how does this practice of copying affect the eventual adaptation? And can the copy ever be as sharply drawn as the original?

“copy”&#38;nbsp; noun  ˈkä-pē
an imitation, transcript, or reproduction of an original work (such as a letter, a painting, a table, or a dress)one of a series of especially mechanical reproductions of an original impression; also an individual example of such a reproduction
I devised an original piece of experimental theatre loosely based on Booth Tarkington’s novel The Magnificent Ambersons and Orson Welles’ infamous film adaptation that focussed on the process of transformation that occured as the story was lifted from the page to film, and our own process of adapting the film for the stage.&#38;nbsp;

Originally Developed and Produced by Theater Reconstruction Ensemble

Performers: Meg MacCary, Nikolai Mishler, Marielle Young


Designers: Marika Kent and John Kurzynowski

Photos: Craig Mungavin


</description>
		
	</item>
		
		
	<item>
		<title>06</title>
				
		<link>https://johnkurzynowski.com/06</link>

		<pubDate>Fri, 07 Apr 2023 17:24:59 +0000</pubDate>

		<dc:creator>John Kurzynowski</dc:creator>

		<guid isPermaLink="true">https://johnkurzynowski.com/06</guid>

		<description>
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How to Hamlet
Conceived and Directed by John Kurzynowski
After William Shakespeare
Presented 30 March — 14 April 2017 at HERE Arts Center (NYC)

	Four ‘audience members’ are unwittingly tasked with staging Hamlet. But can they withstand the historical weight of the most well known play in the English language? As they confront their own artistic anxieties they unexpectedly conjure up the ghosts of Hamlets past, dragging themselves deeper down the rabbit hole of theatrical history. Shakespeare's words swirl around them, but are never quite within their grasp. Ultimately, their struggle gives way to a meta-theatrical meditation on the Bard's most famous work.

Created and Produced by Theater Reconstruction Ensemble
Additional Text by Jon Riddleberger

Associate Director: Lauren Swan-Potras 
Performers: Nathaniel Basch-Gould, Sam Corbin, Joshua William Gelb, Emily Marro
 Designers: Marika Kent and Kate Marvin
Producer: Reed Whitney
Photos: Suzi Sadler
Video: ZANNI Productions





“How to Hamlet is another strange and clever creation from Theater Reconstruction Ensemble. One of TRE’s greatest distinctions as a New York company (in my opinion) is that they are always playing onstage. No one takes themselves too seriously; no one is concerned with looking pretty. TRE’s production offers a refreshingly original take on Hamlet, truly playing with the text and themes, rather than maintaining any sort of reverential attitude towards it. Don’t mistake this levity for lack of integrity, though. True to their name, TRE interrogates the theatrical form itself with their work.”

Culturebot

“Performed with everything from gleeful buffoonery to seriously Elizabethan emoting to sheer panic, Theater Reconstruction Ensemble’s How to Hamlet is an intense, 70-minute whirlwind that lampoons, lionizes, psychoanalyzes and rationalizes the countless thespians and academics who’ve put their stamp, for better or worse, on the circa 1600 tale of a melancholy Dane undone by poisonous acts. Just as that title character is willing to throw the kitchen sink at his vow to avenge dear old dead dad, TRE pulls out all the stops while staying mission-focused on its quest to make sense of things.”

AM New York</description>
		
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	<item>
		<title>07</title>
				
		<link>https://johnkurzynowski.com/07</link>

		<pubDate>Fri, 07 Apr 2023 21:36:20 +0000</pubDate>

		<dc:creator>John Kurzynowski</dc:creator>

		<guid isPermaLink="true">https://johnkurzynowski.com/07</guid>

		<description>
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Rhinbecca, NY
Conceived and Directed by John Kurzynowski

After Alfred Hitchcock and Eugene Ionesco
Presented 4 — 19 March 2016 at The Brick (NYC)

	At the intersection of suspense and the absurd lies Rhinbecca, NY. Population: 367. Not including the mayor. Which makes 368. You may have noticed the mayor’s house. Up on the hill. You can always point to it. You can see it from miles away. The mayor's head is a bald dome with a half skirt of white hair. He's blue collar in the community, top of the food chain. And he is missing. 

Enter Don. Don is a stranger from out. He may or may not remember who he is or how he's arrived in town. And his sudden appearance may or may not be directly related to the mystery of the missing mayor. But his absurdly suspenseful quest to uncover the truth hidden beneath this theatrical facade, loosely inspired by the greatest works of playwright Eugene Ionesco and filmmaker Alfred Hitchcock, may very well leave him irreversibly transformed.

Created and Produced by Theater Reconstruction Ensemble
Additional Text by Alexander Kveton

Performers: Harlan Alford, Nathaniel Basch-Gould, Sam Corbin, Emily Marro, Anastasia Olowin, Jon Riddleberger, Lauren Swan-Potras
Designers: Adrianna Brannon, Jonathan Cottle, Alex Hawthorn, Marika Kent, Joseph Wolfslau 
Producer: Reed Whitney
Photos: Suzi Sadler 
Videos: ZANNI Productions





“The windmills of logic turned on all levels, from juxtaposing styles of speech, to varying tempo and patterns of movement, to upending notions of linear narrative. Director John Kurynowski, who also conceived the show, wrote in his program note that he wanted ‘to create a show that could walk the very fine line between suspense and the absurd.’ In a you-have-to-see-it-to-believe-it kind of way, Rhinbecca, NY is a magnificent tightrope walk between the two.”
Culturebot“Rhinbecca, NY is a play deeply concerned with terror and fear, and how human beings manifest terror and fear. The world Don stumbles into is full of existential dread. The more the people smile, the worse it gets. Every dance break (there are a few) is fun but also pulsates with some sort of primal violence. Or maybe it doesn’t. Maybe it’s all in our heads. Rhinbecca, NY is too shrewd to make that decision for us.”

New York Theatre Review
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		<title>08</title>
				
		<link>https://johnkurzynowski.com/08</link>

		<pubDate>Fri, 07 Apr 2023 21:50:35 +0000</pubDate>

		<dc:creator>John Kurzynowski</dc:creator>

		<guid isPermaLink="true">https://johnkurzynowski.com/08</guid>

		<description>
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You on the Moors Now
Written by Jaclyn Backhaus 

Conceived and Directed by John Kurzynowski
Presented 13 – 28 February 2015 at HERE Arts Center (NYC)

Published by Dramatists Play Service

	You on the Moors Now is a sprawling theatrical examination of four well-known literary heroines of the 19th-century and their shocking rejection of the men who so ardently loved them. What results is a confluence of love, anger, grief, haunting, bloody battles and single tears shed by an ensemble of actors struggling to reconcile the romantic confines of the past with their own contemporary ideas of courtship. You on the Moors Now takes everything you’ve ever learned about love, gleaned from the pages of Pride and Prejudice, Jane Eyre, Wuthering Heights, and Little Women, and puts it somewhere in the tall grasses, hidden from view, where only the truly brave will ever traverse to earn it.

Created and Produced by Theater Reconstruction Ensemble

Performers: Harlan Alford, Michael Barringer, Nathaniel Basch-Gould, Sam Corbin, Eben Hoffer, Lena Hudson, Emily Marro, Preston Martin, Anastasia Olowin, Jon Riddleberger, Kelly Rogers, Claire Rothrock, Patrick Scorese, Lauren Swan-Potras

Designers: Alex Hawthorn, Marika Kent, Joseph Wolfslau
Producer: Reed Whitney
Photos: Suzi Sadler
Video: Michael Barringer





“You on the Moors Now is a wild send up of classic literature and an examination of women’s rights in a time that was sorely lacking in that category. Theater Reconstruction Ensemble develops their work over long periods of time and You on the Moors Now is the culmination of two years of development. Their efforts have paid off with a hit.”
New York Theatre Review“You on the Moors Now contains moments of broad comedy, touching simplicity, and mind-bending originality.&#38;nbsp;Director John Kurzynowski has done excellent work with his cast of fourteen, all of whom meet the challenges of the text head on.”

Theatre Is Easy</description>
		
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		<title>09</title>
				
		<link>https://johnkurzynowski.com/09</link>

		<pubDate>Fri, 07 Apr 2023 22:32:23 +0000</pubDate>

		<dc:creator>John Kurzynowski</dc:creator>

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Salesmen
Conceived and Directed by John Kurzynowski
Presented 24 October – 9 November 2013&#38;nbsp;at HERE Arts Center (NYC)

	In the early years of the American drama, the forefathers of kitchen-sink realism were seeking to create a new form of storytelling in which characters and plot lines could be plucked from the everyday humdrum of American life. Tired of the melodramatic flare inherent in many popular dramatic works of the previous era, these artists were working together to rebel against the status quo by experimenting with the unknown and reveling in a process of development and discovery. 

More than half a century later, eight ‘salesmen’ are tasked with creating their own unique form of theatrical storytelling by examining their forefathers' greatest works and challenging their methods. By looking to the past, they stumble forward into a new reality – a patchwork of style, drama, realism and what lies beyond – rebelling against the rules of ‘playwriting’ defined by the practices of their forefathers.

Created and Produced by Theater Reconstruction Ensemble

Associate Director: Lauren Swan-Potras
Performers: Michael Barringer, Hunter Canning, Jonathan Gordon, Eben Hoffer, Patrick Scorese, Nick Smerkanich, Hugh Trimble, Merlin Whitehawk
Designers: Jonathan Cottle, Aaron Ethan Green, Eben Hoffer, John Kurzynowski
Producer: Reed Whitney
Photos: Suzi Sadler
Video: Michael Barringer





“John Kurzynowski’s Salesmen is a modern experimental form simultaneously honoring its forefathers and breaking their rules at every turn. What results is a fresh, bold production from a voice that clearly has much to say. The young Theater Reconstruction Ensemble is one to watch.”
Show Business Weekly“Salesmen is an experimental wonderland. The performers are fearless in their explorations of the theatre space and even time itself. If you like work that challenges the boundaries of theatre and explores historical influences on contemporary theatrical attitudes then Salesmen is for you.”

Theatre Is Easy</description>
		
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