Search Results for: "Latenite"



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img November 13, 201712:25 pmimg 0 Comments

Everybody’s fav stop!!

After another Friday night spent getting plastered with your NYU friends, it’s time to make the lonely trek back uptown on our good ole friend The 1 Train. This weekend, Arts Editor Sarah Kinney shared a 1 train car at 2am with a good friend (totally coincidental encounter) who then proceeded to puke all over the platform on 42nd St. station. Oh, and also her ex’s roommate. She was consequently inspired to create this guide for the archetypes you encounter on the 1 train at 2am on a Friday night, all the way from Canal to 116th. 

The couple making out.

Late at night you can always find couples on the train who have had a bit too much wine and don’t give a shit about PDA. They’re sitting down, but really one of them is just sitting on the other’s lap. They’re getting handsy and it would make you uncomf except for the fact that this is New York and everybody just minds their own damn business. You’d think they were cute if you weren’t drowning in crippling loneliness yourself. They get off at Times Square, presumably to transfer.

The guy snoring.

You’re pretty sure they’ve missed their stop. Their snoring is louder than the macking sounds of the couple across from them, so at least you’ve got an eclectic soundtrack. You relate to them on a deeply personal level because falling asleep on the subway can be so cathartic. As long as no one steals your stuff. Tread carefully, kids. You never see them get off the train.

The girl crying

Same, girl. She’s lettin’ those tears flow and she doesn’t give a fuck about who sees. You sorta want to go over to her and make sure she’s okay, but as I’ve said before, this is New York and everybody just minds their own damn business, so you decide to stay where you are. You wonder about all the different reasons why she could be crying… did she just get dumped? Did her grandma die? Is she just the type of person who cries every time they get drunk? Same, girl. She gets off at Lincoln Center.

The happy group of friends.

Finally, something positive! This group of pals has just finished a #lit evening doing karaoke in Ktown and now they’re headed back uptown. You’re pretty sure they go to Columbia. You feel a sense of camaraderie with them, knowing you’ll all be getting off at the same spot. They’re in high spirits and provide a nice contract to the bawling girl a few seats down. They get off at 116th.

The loud drunk.

This guy is singing, yelling, and almost falling on his face every single time the train pulls away from the station. You’re kinda worried he’s gonna puke on you. He’s totally alone, which is a tad worrisome… Is he going to make it home okay? He’s a grown ass man, hopefully he will. Also you don’t really give a shit and you try to tune him out. You get off the train before he does.

The lone observer.

You. You’re just drunk enough after your night out to where you take in the subway car around you as if in a dream. You’re content and observant. You probably have headphones in, but also maybe not. You’re carefully looking at each other person in the almost-empty car because they’re so caught up in their own worlds that they’re not noticing a thing. You’re not snoring or yelling or crying. You get off at 116th.

Image via Wikipedia (can you believe the 116th st station has its own Wikipedia page??)



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img December 10, 20163:11 pmimg 3 Comments

Image Description: I'm very sorry, I can't try to describe this.

believe it or not, this is an accurate representation of Latenite

Like Bwoggers before me, I was not truly prepared for the madness of Latenite. The comedy group for new and original student theatre put on their semesterly Anthology show, a collection of seven sketches written, directed, and acted by Columbia students. The pieces ranged from vulgar to absurd, in case their photo on Facebook didn’t give that away. If you looked at the photo in this article and thought that this show might be for you, then it definitely is.

The following was printed in the program: “Trigger Warnings: Graphic depiction of violence: Urban Mass Jesus Class. Depictions of Incest: Honey I Am Now At The Home. Body Horror: Waffle Cone Wednesday.”

The first sketch, “Spider Man,” set the show off on the wrong foot. It came with a brief production note: “Instead of sleeping I like to lay in the bed and wonder if I am good or bad. :(” The text contained more original dialogue than the sketch, which, like a cheap skit, drew out one joke for minutes on end. The audience seemed to enjoy it until I realized that about 30% of the people in the room were members of Latenite, who waited behind the risers instead of in another room. As such, the comedians had a primed audience to work with, which can admittedly make it easier for the viewers to laugh and enjoy the show. However, the overwhelming presence of Latenite performers in the room felt like a shady tactic to make the skits seem funnier than they were.

But after “Spider Man,” the show really picked up. The next act, “Sad Boys Club,” followed Werner Herzog as he created a nature documentary on “the ignominous Sad Boi,” a unique species “within the fuckboi phylum.” While drawing on the previously defined trope of the sadboi, “Sad Boys Club” brought an original angle by using the nature documentary form to hyperanalyze the social behavior of the two main characters. The role of Werner Herzog gave Amelia Arnold plenty of room to wow the audience. The next show, “Fist Me Bro,” was shorter. It put us into the fraternity (G)Gamma (A)Alpha (Y)Upsilon, where a trio of frat boys exhibit more than just undertones of homoeroticism. The shortest sketch, it knew not to stretch out its joke, and it successfully kept the audience guessing as to whether or not it would commit to its punchline.

But when does it get crazier?



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img March 04, 20164:59 pmimg 5 Comments

The 2016 Latenite Spring Anthology promised a lot, from Star Wars to viking epics. We couldn’t resist checking it out, even if the 11pm time slot interrupted a much needed Netflix session. Senior Staff Writer Mia Lindheimer was there to follow the action from the seven seas to outer space and everywhere in between. Editor-in-chief Mason Amelotte leaves a brief note at the end of this review. Latenite will perform its Spring Anthology three more times this weekend: 11pm Friday and Saturday, as well as an additional 8pm showing on Saturday.  

I have to admit, I really didn’t want to get out of bed at 11pm on Thursday night. Fresh out of one midterm and psyching myself up to plunge into studying for the next one was my plan for the evening, so a little palate cleanser was just what I needed in the middle of this semesterly midterm storm. Latenite would have to do.

Ok, so it wasn’t the classy image you get when you think of a palate cleanser, but it was the perfect mix of satire, dancing, and straight up stupid jokes to refresh my mind. Before the show began, there was a projector prompting audience members to “Text the Latenite ghost”. A range of texts popped up on the projector: a nasty breakup scene, a cheerful newbie texting about her first time at Latenite, and of course shoutouts to audience members from their friends. And by the time that got old, the show was beginning.

the opening performance?

the opening performance?

The spotlight brightened as a viking (Mark Lerner, CC ’18) stomped onstage. Check that off the list of promises for tonight’s show. He opened the performance with a joke, spoken in a deep, booming, compelling (we imagine) viking voice: “How…do vikings…COMmuniCATE? *long, dramatic pause* NOoooRSE CODE.” Ok, I realize this looks really stupid as you read it in an article, but the acting was neanderthalian enough to get laughs out of the entire audience. And then the dancers came in, one at a time, clad in black tights, black tops, and viking helmets. There was an interpretive dance of sorts set to Enya’s “Only Time”, during which there was some viking-romance, viking human sacrifice, a viking-fairy, and viking-resurrection. With a “and 1 and 2 and 3 and 4,” the vikings pranced off-stage and the next skit began.

Can anything beat vikings in tights though?



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img December 04, 20155:07 pmimg 3 Comments

Pizza and screaming makes a show

Pizza and screaming makes a show

Latenight Theatre returned last night with their Fall Anthology performance. We sent a new Staff Writer to see his first Latenite at Columbia and review the show. Shows will also be held tonight at 11 PM and Saturday night at 8PM and 11PM. Tickets are free and available through TIC.

Despite being warned numerous times beforehand about the ‘weirdness’ of Latenite Theatre, I still feel that I was somewhat unprepared in attending my first Latenite performance in the 5th floor Lerner Black Box Theater. No one I asked seemed to be able to describe exactly what Latenite ‘is’ in terms of what to expect, and after sitting through the performance, I understand the difficulty of describing Latenite to the uninitiated. The bottom line of Latenite is that even though it’s weird in the extreme, the performances in this year’s fall anthology were satisfyingly entertaining, riotously funny, and wonderful in a truly absurd way.

This year’s anthology presented a fairly diverse set of seven plays, ranging from the incredibly short faux-pornscene in “Pizza Delivery” to the much longer “Little Tree,” which follows a tree’s journey in following her dream to ‘get swole’ and become the Christmas tree at Rockefeller Center. The variety of plays and styles was greatly appreciated, since it gave a solid pace to the entire show; while every play was engaging in its own right, the inclusion of such a variety of material means that Latenite truly has something for everyone.

The second play in the show, “Gary Poppin,” was an impressive performance and quite possibly my favorite. The play is styled as a parody of the story “Mary Poppins,” where in this version, Michael and Jane (played by Shreyas Manohar and Eliana Pipes respectively) hire a nanny off of Craigslist. Gary Poppin, the eponymous nanny played by Lara Karaaslan, turns out to be very invested in his “medicine” for his glaucoma in addition to his penchant for unspecified hallucinogens and other substances, and he ends up taking the children on a very trippy journey with the help of some pills, powder, and a spoonful of “sugar.” Antics ensue when Bert arrives with a delivery of more drugs, and Gary ends up assaulting Bert and enlisting the help of the children in hiding the body. Needless to say, Latenite is clearly warning us about the dangers of Craigslist.

More on Latenite after the break.



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img March 31, 20153:08 pmimg 0 Comments

11062101_1819946648231311_8951879269539803685_nThis year, we ignored our haphazardly implemented tradition of making the outgoing EIC review the semi-annual Latenite comedy show, and instead we sent an under-qualified daily editor to check it out. Mason Amelotte thusly brings you his review of Latenite Theatre: Spring 2015 Anthology.

This year’s three night spring anthology showcased nine short plays that were written and directed by students, for students, as was realized after noticing the bemused expressions of the few parents scattered throughout the audience when a play featuring two “bros” revolved around understanding the term “Yaaasss.” This year’s anthology was a fairly cohesive show that, for the most part, depicted contemporary issues in a subversive, satirical manner. Latenite offered a unique collection of plays that varied in form, ranging from a musical-parody of Les Miserables titled “Les Miserweedless,” to a 90-second dinner party at “Madame Sequester’s” that completely obliterated the fourth wall, much to the audience’s pleasure.

The nine shows maintained a good (read: minimum) level of Columbia-centric content (after all, isn’t that what the Varsity Show is for?). The first and only play to take place in Butler, titled “Butler’s Eleven,” kicked off the show with an exaggerated depiction of what happens when someone in the reference room asks the age-old question “hey can you watch my stuff?” What proceeded to ensue was nothing short of an exciting Kubrick homage that can only be described as a whimsical, more kinky manifestation of the Inferno. Three Butler laptop vigilantes, two Sia dancers, one PrezBo face mask, and some hula hoops later, the audience was being showered in free condoms and lube, while our loyal Butler patron writhed on the floor, protecting her neighbor’s laptop. The short ended with an all too real one-liner: “This isn’t even a fucking Macbook.”

Performed later, “Sweet Dreams” added some much needed millennial humor to the anthology. Written by Eric Donahue, the skit took place at a viral content firm responsible for coming up with the clickbait articles that tend to litter Facebook. After all was said and done, two recent hires discover the source of all things viral on the internet: a comatose individual called “Ideastream” kept in the basement of the viral content firm under a white linen bed sheet. As someone who is enamored by the metaphysical concept of clickbait, this play had me on my knees.

Read more professional theatre critiques after the jump



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img December 08, 201411:28 amimg 5 Comments

Latenite in the hot seat

Latenite in the hot seat

Like the Seth Myers, David Letterman, and Jimmy Fallon variety, our campus got our annual dose of a late night show. Trading in the oversized leather chair next to the host for a meager audience seat, late night entertainment lover Julia Goodman tells of her experience at this year’s anthology. 

Latenite’s fall 2014 anthology was extremely entertaining, as always. While last semester’s showcase took on some more intense plays, this semester saw a return to the absurdist comedy Latenite has become known for. That’s not to say that there were no serious moments in the performance—though every show got laughs, there was also plenty of snapping for some of the more thoughtful beats of each show.

More so than in past years, this anthology felt like a very cohesive show rather than a collection of plays. Each act opened with a short, absurdist sketch that set the tone for anyone who might be unaware of what they were getting into. “A Sunday Drive” consisted of only two lines, but Adil Habib as Hip & cool Christian dad and Simisola Olagundoye as Jesus Christ delivered those lines perfectly. Half movement piece, half meditation on the driving abilities of Jesus, this show had a clear vision that director Chris Evans executed very well. The show was hilariously chaotic, and Olagundoye’s poised and stately Jesus held it all together.

The second act opener, “Teardrop Soup,” was even stranger—more performance art than anything else. The directing talents of Michael Rodriguez (or, as he’s credited in the program, Daniel Day Lewis) were put to excellent use with a show whose three lines served as the backdrop for a strange, ritualistic undertaking. No one in the audience seemed to understand this show at all, but that was entirely the point. Anyone who wasn’t there should regret the missed opportunity to see siblings Grayson and Alexandra Warrick cover their faces in red lipstick, while their butler (Shreyas Manohar) sobbed quietly to himself.

Self-deprecating humor & bizarre sex jokes



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img December 04, 20144:03 pmimg 2 Comments

Latenite Theatre’s fall performance premieres this weekend! If you’re interested in student-created theater, be sure to get a ticket for one of the performances. You can go tonight or Friday at 11pm or Saturday at either 8pm or 11pm. Check out this teaser below:



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img December 09, 20136:08 pmimg 3 Comments

This year Bwog decided to make it tradition that the outgoing EIC reviews Latenite. Why? Unclear, but we’re doing it. Alexandra Svokos thusly tunes in.

Unlike M. Jones, I’d never been to a Latenite performance before this semester—which I now realize was a major mistake of my past 3.5 years here. I’ve been impressed by nearly every performance I’ve been able to see in my time here, and Latenite kept up that tradition. With a series of short, student-written/directed/acted plays, there are few other platforms on campus that showcase this many talented individuals.

Each of the works had their own special twist, tone, and draw. Watching the pieces, and thinking about the different crews of people behind them, I couldn’t help but take a moment to mourn that this year’s Varsity Show has an essentially identical C-team to last year’s show. There is so much talent on this campus; it’s unfortunate that in two years most students will only see the work of those dozen individuals.

But let’s stop thinking about what could have been and move onto what was. I sat through both performances on Saturday night: first sober, second decidedly less so (for journalism! —hi potential employers). There were 7 pieces of varying levels of humor, ranging from cleverness to absurdism to good ol’ physical comedy.

Tell us about ’em



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img October 21, 20119:36 pmimg 25 Comments

Bwog’s comedy correspondent, and Saturday daily editor Bijan Samareh, got his first taste of Late Nite, late last night. He tells it from a freshperson’s perspective. You can see LateNite for yourself tonight and tomorrow at 11pm.

When I hear the term “student-written plays,” I dread concept-heavy experimental pieces in which characters recite Shel Silverstein poems while stabbing a manifestation of the internet to death against the backdrop of Marcel Duchamp paintings. After entering the Lerner Black Box last night, however, my preconceived notions were shattered. A hip horde of theatergoers awaited the LateNite Fall Anthology , all chatting happily around an empty stage while “The Ghost of LateNite” was being projected against the back wall. The projection allowed students to text anything they wanted to a designated number and have it displayed to the whole audience. The messages included anything from “___ is so sexy!” to the egregiously lewd. Nonetheless, I was reassured that the show was not going to be taking itself too seriously.

The first performance was “Porn! The Musical!”, written by Alex Katz. The short sketch was a revue of famous musical theater songs with an erotic twist. A group of actors dressed as porn stars switched off verses from “There’s No Business Like Porn Business,” “Five Hundred Twenty Five Thousand Six Hundred Condoms,” and that’s about as far as I can go. The parodies were nothing short of hilarious and started the evening on a note of laughter.

Next up on the bill was “Reconnecting,” written by Jacob Marx Rice. James, a 30 year old financial consultant, meets up with Julie, a girl he liked in middle school. The catch is that Julie brings a lawyer to the reunion who reveals a contract James signed when he was 14 stating that if he and Julie were still single at 30, they would get married. James is in disbelief as Julie pushes him for marriage and the lawyer validates his obligation. While the premise was promising, the conflict was only sustained for so long, as the characters began to talk about their past, plot was disregarded for exposition and a few one-liners worth a chuckle.

Read on for vaginas, Shakespeare and Pokemon …



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img April 08, 20118:36 pmimg 16 Comments

Late Nite was last night, and it’s also this night! Peter Sterne thinks you should go, and describes his experience below…

The first play, directed by Steele Sternberg, begins with action movie music swelling as the suave Agent 7, played by the even suaver James Rodrigues attempts to…well, it isn’t really clear, but suffice to say he is captured by ninja henchmen sent by an unnamed Villain, played by a German accented Dennis V. Perepelitsa. Perepelitsa’s performance effortessly reveals the insecurity that underlies his character’s arrogance, leading to great laughs from the crowd. Taylor Owens’ performance as dissatisfied (and eponymous) henchman Ted, on the other hand, channels a righteous outrage that is a bit too raw to be laugh-out-loud hilarious.

“We do have a lot of awkward moments, don’t we?” asks Jordan, the well-meaning hostage-taker played by Sam Johnson in Charlie Gillette’s “Not Really a Pizza Party.” Written by Zack Sheppard, the play depicts the often awkward relationship between Jordan and his hostage Will, a victim of circumstance by Lorenzo Landini. Johnson fully inhabits his character, who appears less dangerous or cruel than simply misguided. He has great chemistry with Landini, who gradually warms to Johnson’s friendly overtures, though this may simply be due to Stockholm Syndrome. The skit drags on a bit, but is abruptly ended with the surprise appearance of Matt Yeaton’s character.




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img December 03, 20108:30 pmimg 8 Comments

LateNite Theatre presented the first showing of its fall anthology last night. Bwog’s own Peter Sterne reports.

An NYC Late Night Subway Map

Last night, LateNite presented a series of six short plays written, directed by, and starring members of the Columbia community, as they have for the past 15 years. All of them were quite funny, though they varied in tone from laugh-out-loud hilarious to almost dark comedy. Some were just short sketches based on a central idea, while others were full-fledged short plays.

The opening play, “The Haunting of Our Lives,” written by Augusto Corvolan and directed by Steele Sternberg, examined what happens when a demon tries to haunt an apathetic loser. Despite the simple premise, it was very entertaining to watch Dan Aprahamian remain completely oblivious to everything and everyone around him, from Alex Katz’s suave but increasingly frustrated demon to Hannah Ceja as his terribly under-appreciated girlfriend. The ending is fairly obvious, but the journey there is a treat.

Another popular play was “Lost Manuscripts.” Written by Brian LaPerche and directed by Zack Sheppard, this show has no plot. Instead, the actors all play drunken versions of Shakespeare brainstorming ideas for his next play. The actors are a mix of KCST and improv types, and it shows as they deliver quick sketches of classic plays that are short, vulgar, and pitch-perfect in their middlebrow Shakespearean satire. Who else could summarize Taming of the Shrew as “Bitch get trained!” or call the end of Othello a “pillow fight”? By the time the actors run out of Shakespearean parodies and tackle everything from Waiting for Godot (“He never fucking comes!”) to Inception (BWAAAAANG!), the audience is in stitches.

In a similar vein, Alyssa Lamontagne’s “Don’t Teach Archery (Lest You Become the Target)” mocks Ocean’s Eleven-type caper movies and soap opera drama. It also makes great use of music. The centerpiece of the play is a scenario, set to the tune of “Mission Impossible,” where various stereotypical assassins (a ninja, a sexy Russian, a bombs expert, etc.) work together to assassinate the English king and prince, with the Mission Impossible theme blaring in the background. Perhaps the best scene occurs when the prince’s archery teacher (Kendale Winbush) and the queen (Lida Benson) find themselves attracted to one another. While romantic music swells in the background, Winbush and Benson express the melodrama of the scene to a truly absurd degree. Throw in a great finale, where the assassins try to execute Winbush with a bow but struggle to do so until he teaches them how to hold it properly, and you’ve got one hilarious show.




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img April 16, 20107:00 pmimg 7 Comments

LateNight Theater doesn’t joke around. While the rest of you were either studying or holding fast to the fleeting spirit of youth, they put on a serious series of comedies starting at 11 pm. Bwog’s Senior Insomniac Megan McGregor reports from last night’s hilarious and eclectic performance.

LateNite Theatre’s Spring 2010 Anthology opened Thursday night in the Diana Black Box with melodic melodrama–Shira Laucharoen’s musical piece titled “Late One Tonight” served as an introductory piece before the first play of the evening, “Roofie Bros,” written and directed by Lily Feinn.  “Roofie Bros” was a true crowd-pleaser; how could a play in which three fumbling, idiotic frat boys discuss roofies not be?  Add talk of murder, kidnappings, and iTunes visualizers into the mix and success is inevitable.  Mke Kennelly and Henry Mortensen played their roles as two experienced frat boys alarmingly well, convincing their newbie frat bro, played by Matt Yeaton, to roofie Amanda, played by Alice Mottola.  Mottola’s performance was absolutely exquisite–not many individuals have the skill to remain sincere (let alone limp) in the midst of such ludicrousness.  Overall, Feinn and her cast put a comical and tasteful spin on a taboo topic that left the audience in an uproar.  Following a surprising ending to “Roofie Bros” was “Mothers in the Park,” written by Allesandra Gotbaum and directed by Fran Bodomo. “Mothers” was lightly comical and absurd, albeit less scandalously. (more…)



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img April 08, 20102:11 pmimg 0 Comments

LateNite Theatre: Spring 2010 Anthology
Diana Black Box
Thursday, April 15–11 PM
Friday, April 16–11 PM
Saturday, April 17–8 PM and 11 PM

Ninjas, zombies, and roofies, oh my! LateNite, the bi-annual anthology of student-written plays, is here! It’s funny, horrifying, lewd, crude, and just plain wrong. Don’t worry, it’s LateNite: Prudent sensibilities have gone to bed for the night, and you never know what’s coming up next. Featuring new works written by: George Currie Lily Feinn Alessandra Gotbaum H. Levick Jacob Rice Mike Wymbs Starring: A cast of DOZENS! The event will be held in the Glick-Milstein Black Box Theater in the Diana Vagelos Center at Barnard College. (NOT the Austin E. Quigley Black Box Theater in Alfred Lerner Hall at Columbia University in the City of New York. NOT that one.) Tickets FREE. Available at the TIC. Performances: Thursday, April 15, 11PM Friday, April 16, 11PM Saturday, April 17, 8PM Saturday, April 17, 11PM



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img January 27, 20109:47 pmimg 0 Comments

Write Us A Play.
LateNite Theatre, New & Original Student Theatre.
To submit, visit our website ( or send submissions to  Plays must be no more than 30 pages in length.



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img April 17, 20095:46 pmimg 12 Comments

Image courtesy of Facebook

Thespian tracker Liz Naiden sends Bwog this dispatch from the spring showing of LateNite Theater, playing tonight and tomorrow at 11 p.m.

As the LateNite crowd stumbled in they may or may not have had time to engage in thoughtful conversation with the giant computer screen projected onto the back wall of Lerner’s Black Box theater.

If they got through their programs at a near sober rate, they probably spent at least 10 minutes watching the “man behind the curtain” typing inside jokes for people in the audience, insulting his own taste in music, and displaying his private AIM conversations.

It only got more absurd from there. (more…)

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