james lecesne
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  • Off-Broadway Show by New York Film Academy (NYFA) Documentary Instructor James Lecesne Available on Audible

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    The Absolute Brightness of Leonard Pelkey, the Off-Broadway show by New York Film Academy (NYFA) Documentary Filmmaking Instructor, is now available to listen to on Audible, Amazon’s audiobook platform.

    Both written and performed by Lecesne, the story unravels around Leonard Pelkey, a tenaciously optimistic and flamboyant 14-year-old boy who goes missing from a small town on the Jersey Shore. Leonard becomes an unexpected inspiration to the townsfolk, who begin to question how they live, who they love, and what they leave behind. Sound design for the production was done by Christian Frederickson, with original music by Duncan Sheik.

    The New York Times says that The Absolute Brightness of Leonard Pelkey will “leave you beaming with joy … a superlative solo show … Mr. Lecesne is a writer of wit and keen observational skills, who here unfolds a dark tale that shimmers with the needling suspense you associate with the best police procedurals.”

    Much of Lecesne’s work focuses on LGBTQIA+ themes, including his screenplay for the Academy-Award winning short, Trevor. That film directly led to his founding of The Trevor Project, an American non-profit organization focused on suicide prevention efforts among lesbian, gay, bisexual, transgender, and questioning youth. Lecesne also wrote for Further Tales if the City, Will and Grace, and Vicious, starring Ian McKellen and Derek Jacobi.

    The Absolute Brightness of Leonard Pelkey by NYFA Documentary Filmmaking instructor James Lecesne can be found on Audible here. New York Film Academy encourages the NYFA community to check it out today!

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  • NYFA Instructor James Lecesne to Premiere “The Mother of Invention”

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    mother of inventionAbingdon Theatre Company presents the world premiere of “The Mother of Invention,” a new play by New York Film Academy Documentary Story instructor James Lecesne, who is an Academy Award, Drama Desk Award and Outer Critics Circle Award-winner. Ranked by the NY Times as “among of the most talented solo performers of his (or any) generation,” Lecesne has shared the screen with Robert Downey Jr., Ian McKellan, Claire Danes, Holly Hunter, the Sex in the City cast, Anne Bancroft, and many others. He has also shared the stage with Angela Lansbury, James Earl Jones, and many others.

    Performances are set to begin January 28, prior to an official press opening on February 9, at The Abingdon’s Theatre (312 West 36th Street). Artistic Director Tony Speciale, who also directed “The Absolute Brightness of Leonard Pelkey” is set to direct.

    When Dottie Nerber’s son and daughter arrive to pack up the contents of their mother’s Florida home, their conflicting memories of her collide. As the siblings unpack family secrets, they must separate fact from fiction and are forced to question the narratives of their own lives. James Lecesne’s new full-length play is an unflinching and comedic look at how one family deals with the effects of Alzheimer’s. It asks why we tell the stories we do about the people we love, and how we live with those stories after they’ve been debunked.

    Concetta Tomei, best known for her roles on TV’s “China Beach” and “Providence” and on stage in “The Elephant Man” (opposite David Bowie) and Sarah Ruhl’s “The Clean House,” leads the cast as Dottie Nerber.

    Joining Ms. Tomei are James Davis (Broadway revival of “The House of Blue Leaves,” Soho Rep’s “We Are Proud to Present…”), Dan Domingues (INTAR’s “Locusts Have No Kings,” The Civilian’s “The Great Immensity” at The Public), Angela Reed (Broadway’s “The Country Girl” and “The Rainmaker,” and national tours of “War Horse” and “Spring Awakenin”g), Isabella Russo (Broadway’s “School of Rock”), and Dale Soules (“Orange is the New Black,” Broadway’s “Hands on a Hard Body” and “Grey Gardens”).

    The creative team includes Jo Winiarski (Scenic Design), Daisy Long (Lighting Design), Paul Marlow (Costume Design), Christian Frederickson (Sound Design), and Jerry Marsini (Props Design). Deidre Works is Production Stage Manager.

    “The Mother of Invention” runs January 28-February 26: Tuesdays-Saturdays at 7:30PM; plus matinees Saturdays at 2:30PM and Sundays at 2:00PM (with the following exceptions, no matinees January 28-29) at Abingdon Theatre Company’s June Havoc Theatre (312 West 36th Street, between 8th and 9th Avenues).

    For tickets, visit abingdontheatre.org or call 212-352-3101.

    Use code Mother35 for $35 discount tickets during previews* (Jan 28 – Feb 8).

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    January 26, 2017 • Community Highlights, Documentary Filmmaking, Faculty Highlights • Views: 4961

  • NYFA’s James Lecesne Gets Rave Review from NY Times

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    james lecesne

    James Lecesne

    As was made quite clear in the Oscar Winning Best Picture Birdman, having the approval of the New York Times is one of the most crucial components of putting on a successful show. While turning the pages (okay, clicking a link) of a recent Times article, we came across a rave review, highlighting none other than one of our very own, New York Film Academy​’s Oscar-winning Documentary instructor James Lecesne.​

    The New York Times’​ respected and well known critic, Christopher Isherwood, identified Lecesne as one of “the most talented solo performers of his (or any) generation,” in his review of James’ one-man show, The Absolute Brightness of Leonard Pelkey.

    In his one-man show, Lecesne portrays various characters of a small Jersey shore town as they struggle to understand what happened to 14-year-old Leonard Pelkey. Adapted from his YA novel, Absolute Brightness, this solo show begins with the the discovery of Leonard’s disappearance, follows a criminal investigation led by detective Chuck DeSantis, and concludes with a trial that reveals the shocking truth.

    The multi-talented Lecesne has been admired for many of his artistic traits, as well as his work in philanthropy. To attest to his tremendous talent, the first film he ever wrote, Trevor, won the Oscar for best live action short! It’s truly an honor to have Mr. Lecesne as a member of the New York Film Academy.

    The Absolute Brightness of Leonard Pelkey is showing at Dixon Place, 161A Chrystie Street in Manhattan, now until March 28.

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  • The Art of Impact with James Lecesne

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    James Lecesne is an Academy award winning filmmaker, teacher, and philanthropist. It’s been an exciting time for James with a Tony nomination for The Best Man and soon after that receiving the role of Dick Jensen opposite James Earl Jones and Angela Lansbury. However, we especially commend James on the release of his book The Letter Q, a passion project conceived to inspire the youth of America and to raise proceeds for The Trevor Project which he had founded in 1998. We had a chance to speak with James about his inspiration for the book and his teaching at the New York Film Academy. He also shared key insights into the craft of storytelling and how the industry landscape has changed for LGBTQ artists. Don’t forget to get connected with Mr. Lecesne on Twitter and learn about his impact in the arts.

    What was the inspiration for The Letter Q? You’ve already contributed so much to LGBTQ youth, and this book seems to be a continuation of your work with the Trevor Project. 

    Two years ago Dan Savage launched the phenomenally successful It Gets Better Project as a way of spreading the word to young LGBT and Questioning young people that the Trevor Project is there for them 24/7. As the only nationwide suicide prevention and crisis intervention helpline for LGBTQ youth, our organization receives over 30,000 calls a year. Not all of them are rescue calls, but each call establishes a life-to-life connection with a young person who is asking important questions. We provide an ear to listen and the encouragement to be who you are. The idea for the The Letter Q came from Sarah Moon, my co-editor. When she was a teenager, she was lucky enough to be surrounded by adults who shared their stories and their wisdom with her – sometimes in the form of letters, and as she says, “It didn’t seem quite fair to me that I should have been the only teenager to get wonderful letters to carry around.” Soon after coming up with the idea, Sarah approached me about not only writing a letter to my younger self, but also donating a portion of the royalties from the sale of the book to the Trevor Project. Together we compiled a wish-list of authors and began to write to them, ask them, stalk them. The book seemed to fit so perfectly with my own desire around that time to provide young people with tools to help them get through their difficult years. We had been exploring ways to help young people “make it better” right now. And the minute Sarah proposed the idea for the book, I knew we were on our way.

    Has your teaching at NYFA helped inspire your work in some way? Reading the bio on your website, teaching plays a strong role in your career. What are the most important lessons you impart to your students who aspire to make it in film and theatre industries? Have students ever surprised you with their insights in the art and craft of telling stories?

    Teaching is a way to not only give back some of what I’ve learned, but also a way for me to continue learning about story. Storytelling, in any form, is hard work; it requires honesty, courage, craft and above all determination. But it can also be a mysterious and mystical experience, a means to enlarge and enlighten not only the storyteller, but the audience as well. For each of us, it happens differently, the idea comes in the form of a hunch, a worry, an inkling a fear, or sometimes as a fully formed brainstorm; but however it happens it always arises out of something that we happen to believe. We might not be able to articulate what it is exactly, but something in us knows, something in us feels for a truth that we need to prove beyond a shadow of a doubt.

    James as featured in the New Yorker.

    Stories are the blueprints of our passions told in code, the urge of something within our selves that is itching for resolve, the reliable and readable map of our beliefs. Leif Finkel, a professor of bioengineering at UPenn, once wrote: “Our cortex makes up stories about the world and softly hums them to us to keep us from getting scared at night.” I’m no professor of bioengineering, but I heartily agree. Of course, a good story does more than that. Stories hum not only for ourselves, but for our audience as well; their song transforms the muddled and often conflicted experiences of living in this troubled world into something valuable and enduring for us all; they are the means by which we can pass our wisdom along to future generations. The results are always surprising, or at least they should be.

    What are your thoughts on representation in the media regarding the struggles that independent filmmakers face as sexual minorities? How do you see the industry landscape for LGBTQ artists? Has it changed at all since you started as a young artist compared to the present day?

    When I was a teenager, the world was a very different place. I grew up without ever hearing the word homosexual spoken, I didn’t know a single gay person, there were no role models to whom I could look for encouragement or guidance. One of the great accomplishments of the LGBTQ community is this idea that we are not just here for ourselves. We have a responsibility to pass along our history and our pride to the next generation. Young people who are struggling and coming up in the world should not have to figure this out by themselves. Of course, there is still a ways to go in terms of achieving equality. Look to places like Uganda, South Africa, Russia, and Iran. Or right here at home to see what happens to certain people when they express themselves fully. But as Kate Millet, the revolutionary feminist recently pointed out —- gays and lesbians have achieved so much in a matter of mere decades, while women have been struggling for centuries to change things. To hear the President of the United States declare that the love of gays and lesbians is equal to that of their fellow (heterosexual) citizens, is certainly proof to me that the world is changing. More change is possible — and needed.  And I believe that by encouraging people to tell their stories, teaching them how to do it in the most exciting and engaging way, it will make for a better world.

    James with Daniel Radcliffe for The Trevor Project.

    To learn more about the Documentary Filmmaking program at the New York Film Academy, click here.

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    June 11, 2012 • Community Highlights, Documentary Filmmaking • Views: 5132