Theater in the Now

By Michael Block

First there was Cats. Now we have humans playing Dogs. In Joe Ferraro's whacky Diamond Dogs, we watch the behind the scenes antics of an annual dog competition, not called Westminster's, through the perspective of man's best friend.
Diamond Dogs is an ensemble comedy about a pack of pups competing for doggy glory. Between a will-they-won't-they romance between a Border Collie and a Golden Retriever, a high-energy Jack Russell Terrier, and an evil mastermind in the form of a Bichon Frise, Diamond Dogs is everything you could want in a campy comedy. Only that's not exactly how it was executed. Diamond Dogs is not quite sure what it is. Ferraro is a smart scribe when it comes to comedy. But the reality is, these are humans playing dogs. Diamond Dogs desperately needs to be a laugh-a-minute comedy. Because when it’s present, Ferraro's writing shines. The antics can go even further over the top. The struggle in this format is that when Ferraro infuses human situations for these dogs, it's just not funny. That being said, if you turn this script into an Adult Swim late night cartoon, Diamond Dogs is a cult classic. Just close your eyes and imagine cartoon dogs talking about these real life situations. It's hilarious! But in theatrical form, Diamond Dogs is not nearly as strong as it can be. And there is great worth and potential within.
The other slight problem is the consistency of this world. With Diamond Dogs virtually being "Toy Story" for pups, the switch from dog perspective to human presence needed a stronger shift. For example, the explanation of the naming of dogs is a bit farfetched. The joke is if the dogs refer to one another through their dog name. Imagine having a serious conversation and use the name Fluffy or Sparky. But giving them human names and then learn the humans are just ridiculous namers, it loses the comedic steam. Additionally, going further in the characterization is essential. As a whole, implementing more dog mannerisms help to marry the worlds. The reality is that walking on all fours is annoying for the whole show. But when the owners arrive, it's time to drop down. Director Megan Magee blended the styles well, though if it was essential to keep all the dogs inactively present on stage during their "off" scenes, more attention needed to be paid to what they were doing in the background. Though some actors took it upon themselves to find a dog action. Nothing is funnier than watching a human actor chew a bone like a dog. That takes commitment.

The ensemble of eight has a lot of fun playing pretend. By far, the standout of the bunch was Andrew Orsie as the adorably impressionable ball of energy, Sonata. Orsie is the definition of an effortless character actor. The attention to detail was exceptional, crafting a fan-favorite Jack Russell terrier. Between circling to chase his tail, pawing at his fellow dogs, and falling asleep as dogs always do, Orsie's Sonata was fully fleshed out. He deserves credit simply for the amount of running around he did. If you don't want to give him a belly rub, you likely are missing a heart. Though she didn't quite get the laugh lines in the text, Ariel Judson as Allie was a wonderful ingénue dog. Judson had a sweet charm about her. The scribe himself played the gruff pug Frank. He had some of the bigger comedic plot points that resulted in some huge laughs. As the perfectly evil Marcus the Bichon Frise, Zach Rich allowed a vocal inflection to wonderfully carry the character. In some alternate universe, Rich's Marcus would be the perfect lapdog to an evil villain.
As a whole, much credit should be given to costume designer Kaitlyn Biancaniello. She gave each character a personality that not only resembled the real-life dog but worked for each individual. Whether it was scripted or not, another missed comedic moment was waiting to reveal the dogs' costumes later on.
Diamond Dogs may not win Best In Show quite yet but give it some time and it certainly can. Joe Ferraro has great potential with his text that with some refining will be making audiences bark instead of growl. Crass and crude is the right brand. Sentimentality is not.

Name: Julie Ann Earls

Hometown: Paramus, NJ

Education: Boston University, School of Theatre, BFA Acting

Select Credits: Mary Magdalene in The Mysteries (The Flea), Juliet in Romeo and Juliet (Actors' Shakespeare Project)

Why theater?: I think it comes down to how unapologetically present it is (if it's any good). It is humans coming together to watch other humans make sense of life. It's endless possibilities. How can we evoke a storm at sea with two spoons, a blanket, and a violin? It's very MacGyver and I think that's where the magic lies. We, a group of 50 or 500 people all just agreed that we are watching a storm at sea when it's really just two spoons. Especially in this day and age when we are constantly looking at screens, watching creativity, imagination, and people, IN REAL TIME, feels necessary. Theatre will get in your face (sometimes literally) and make you think, laugh, and cry ... the best theatre I've seen affects me that way.

Who do you play in Puffs, or: Seven Increasingly Eventful Years at a Certain School of Magic & Magic?: Megan Jones

Tell us about Puffs: It's the 7 famous years at a certain school of magic and magic through the lens of the lesser known Puff house in 90ish minutes. It's laughter from beginning to end that will unexpectedly pull at your heartstrings. It's also more than a parody play, in my opinion. It genuinely tells a story that we don't often hear.

What is it like being a part of Puffs?: It's like I'm putting on a show with my friends ... which is really the best feeling. It's a process that is as enjoyable as the product. We are still laughing and breaking character at jokes we have been saying for 9 months. It's the little show that could ... we started out as this little rag-tag parody play at the PIT and now we are off-Broadway. It's also being the tiniest bit of a celebrity? We already have some serious fans out there!

What kind of theater speaks to you? What or who inspires you as an artist?: Two theatrical experiences come to mind for me -- seeing Eddie Redmayne do Shakespeare's Richard II in London and Charles Francis Chan Jr.'s Exotic Oriental Murder Mystery by Lloyd Suh. One is a classic that is performed again and again but it was the first time I really understood what the big deal with Shakespeare was about. It was drama with the added layer of poetry. It rocked my world and I remember feeling such sadness for this young man who became king far too soon. The second was a new work that addressed the Asian-American experience in the midst of a long history of stereotypes and prejudice. I'm half Irish, half Filipino and it was the first time I saw the main character of a story resemble my brother. I felt myself stop and think "wait - it's 2016 and THIS is the first time I see my brother on stage?" It was very upsetting but also made me feel so grateful for the piece. So all in all, I appreciate theater that can simply tell a story well and/or that starts or adds to a conversation. I appreciate beautiful language. Let me leave the theatre with a phrase I can't get out of my head. I had pulled out magazine pages of Jennifer Lawrence and Angelina Jolie on my wall at one point. I have a classic picture of Marilyn Monroe lifting weights on my wall. I am inspired by beautiful women that have a strength to them. Raw, natural beauty. I am inspired by artists who are kind, generous people. I am also simply inspired by my parents who have supported me to pursue this field. They keep me going. I hope one day I can stand up and really say "Thanks for all of your help -- look what I've done".

Any roles you’re dying to play?: Joan de Pucelle from Henry VI, Part 1 and Helen from Cripple of Inishmaan (I got tastes of them in college, would love to play them in full productions), Eponine, Rosalind from As You Like It, Vanda from Venus In Fur (so does everyone and their mom), Brooke from Other Desert Cities, I would love to try Rose from The Flick. Katniss Everdeen. I also died when I saw Rey from "Star Wars: The Force Awakens" on the big screen, I was just like OMG THAT'S WHAT I WANNA DO.

What’s your favorite showtune?: Favorite?! Oof. Of recent taste, "She Used To Be Mine" from Waitress is a song that I think is staggeringly beautiful. I want to say "Rose's Turn" too because it just doesn't get bigger or more Broadway than that.

If you could work with anyone you’ve yet to work with, who would it be?: I would love to just watch Kate Winslet work. Just like bring her coffee and see what she does, how she prepares. Amy Poehler, Tina Fey, Amy Schumer, Lin-Manuel Miranda, Jennifer Lawrence, Eddie Redmayne, Reese Witherspoon.

Who would play you in a movie about yourself and what would it be called?: "Diaries of a Mixed Girl" starring an unknown young biracial actor :)

If you could go back in time and see any play or musical you missed, what would it be?:Red by John Logan with Eddie Redmayne (if you can't tell, I'm a fan), a lot of musicals, I just missed Fun Home which I'm bummed about. So much more.

What show have you recommended to your friends?:The Wolves by Sarah DeLappe at The Duke

What’s your biggest guilty pleasure?: "The Bachelor/Bachelorette" when I catch it on TV.

What’s up next?: Just focusing on the opening of PUFFS for now!

For more on Julie, visit julieannearls.com

Drag name: Avant Garbage

Real name: Jesse Hicks

Education: I've graduated D.A.R.E.

Credits: Opening or closing?

What is the origin of your drag name?: This is a long one... when I was a young boy my dream in life was to become April O'Neil from the Teenage Mutant Ninja Turtles. At one point they made a crossover action figure series with each character dressed like the Universal Studios Monsters. I became obsessed with Frankenstein, Dracula, The Bride, etc. ever since. I used to make action figures and dolls and recently when the Monster High Doll line (Universal Monsters children in high school) came out I was altering some of the dolls. A friend asked me if I could invent a new type of monster, who would i make? I came up with this concept of "The Trash Queen". I was cosplay and costuming a lot and thought, "Why don't I just become the trash queen?". Avant Garbage was born and I never looked back.

What is your drag aesthetic?: Equal parts Courtney Love, Strawberry Shortcake, and a bag of yeah thrown into a blender. Hit puree.

Why drag?: I love dressing in costume and playing pretend. I make all of my wigs out of mops or yarn. I just recently completed a brillo pad wig. I make all my close from trash or heavily altered garments. Avant Garbage was a way for me to utilize all of my talents and people really seem to love her!

How did you get involved in the drag community?: I just dove in head first. I never had a drag mom or family and I'm totally self-taught. RuPaul's Drag Race has obviously had a huge impact the gay community and is making drag more mainstream and acceptable. So I figured I would just start dressing as Avant while still being an artist. The drag community has been getting involved in me!

What or who inspires you as an artist?: Everything! My eyes are constantly open to see what new things people are producing. But I'm also looking at Garbage on the street! "Ooh! Those 6 ring soda can duck killer things would make amazing fishnet stockings!"

You're given a microphone and a stage, describe your ideal show: I would love to have a 4 queen panel, similar to "The View," where we discuss current events and different topics. Well each get a number after and during our maybe we'll do commentary during a movie ala Mystery Science Theater 3K.

What is your go-to lip sync song?:"Celebrity Skin" by Hole

If you had to pick a character for Snatch Game, who would it be?: Come on Laganja Estranja! Okkkkuuuur Mama! C'mon mawmaw! I'M FEELING VERY ATTACKED!

If you could work with any Drag Queen you've yet to work with, who would it be?: Willam, Alaska, Tammie Brown, Tara Sofia, Discord Addams, Madelyn Hatter, and everyone I forgot to name... c'mon Miss Congeniality!

What is the most embarrassing moment you've had in a performance?: Losing to Judy Darling *wink*

What do you like to do when you're in not in drag?: I play a lot of Smash Bros and other video games. Watch a lot of movies. Read comics. Create elaborate costumes. I feel like this is a dating ad. I'm versatile and my ideal relationship is: Whoever wins at Mario Kart chooses the position...

What was it like to compete in (and WIN!) Miss Liberty?: Winning was incredible! I beat over 60 queens in a completion! I was on cloud 9 for weeks! But it was right back to being busy and performing. There is very little sleep in this career. I just recently won my way into the finale of the 2017 Look Queen competition hosted by Bob The Drag Queen!

What will you do with the prize money?: Well, since it took me so long to respond I've already spent my prize money on rent. I got some sweet looking shoes, clothes and wig from The House of La Rue!

Why is drag important for the LGBTQ community?: For many in the community it is a way to express yourself freely and creatively a safe space. It's a way to find community within a community. And for the masc bros/HK gym queens, drag is important for them to be able to bottom shame and preach hetero-normative discrimination!

What's up next?: I'm performing on October 3rd at Rockbar, and I just won season 10 of Ru Paul's Drag Race!

By Michael Block

Picture it. A theater in Union Square. A packed audience immediately sings along to the iconic theme song of "The Golden Girls." And then Sophia Petrillo, Blanche Devereaux, Dorothy Zbornak, and Rose Nylund parade in. In puppet form. Will the show be a hit or will it be tossed out in the seas of Sicily? That Golden Girls Show! is the puppet parody you never knew you desperately needed.
Written and directed by Jonathan Rockefeller, That Golden Girls Show is a faithful parody that honored the hit series yet still maintained originality. The parody follows the quartet through a new, yet familiar, situational comedy where Sophia tries to make cash quick, Blanche suffers a reality check when she's stood up, Rose tried to save a herring circus, and Dorothy is hounded by her ex husband Stan. That Golden Girls Show exemplified brilliant writing. Rockefeller stayed true to the characters and their multi-season arcs. It was as if Rockefeller's script was a treatment for an actual episode. And that's why this show was so strong. Who needs a laugh track when the audience does it for you? In true "Golden Girls" fashion, there were some sentimental moments sprinkled into the big laughs. As much of a great time That Golden Girls Show is, the one character that didn't get lifted from show to stage effortlessly was Rose. This may simply due to the fact that no one can replicate Betty White. Rockefeller's writing of Rose was meager and Arlee Chadwick's take on the airhead did not come close to Betty White level. But that may simply be the reason. No one can truly replicate Betty White and the way she crafted Rose Nylund.

photo by Russ Rowland

Puppets and “Golden Girls”? In what world should that work? It works in a world when you have extraordinary talent who not only are expert puppeteers but performers with an immense ability to replicate a character. Far and away, there were two standout performances. It was if a recording of Rue McClanahan was being played as Cat Greenfield opened her mouth. Between the spot on physicalization and flawless Blanche dialect, cadence and all, Greenfield's performance was one for the ages. It's something you have to see to believe. Similarly, Michael LaMasa was a fabulous Dorothy. Bea Arthur is iconic for her masculine voice and demeanor so it was fitting to have a male take on the role. But once again, it came down to an extraordinary vocal inflection. Close your eyes and you'd think Bea Arthur was really there. With a waddle in her walk and a shuffle in her step, Emmanuelle Zeesman made Sophia the crass momma we know and love. Though he may not have looked like Stanley, Zach Kononov did a fine job playing the oft-despised ex husband.
With the material speaking for itself, Rockefeller did what most playwright-director combos rarely do. Succeed. Rockefeller brought out the comedy of the story while helping his company marry puppet with actor. The focus was solely on the extraordinary puppets created by Joel Gennari. When it came to pacing, Rockefeller found a way to make the ninety minute comedy maintain the beats of a half hour sitcom. And it was aided by smartly allowing the tender moments to resonate. The set by David Goldstein is the closest thing to a replica you can get. The attention to detail was exemplary. Goldstein, who was also in charge of the lighting design, honored the colors of the sitcom with a warmer pallet for the living room and the cooler one in the kitchen.
That Golden Girls Show can guarantee that smiles are contagious. This is a perfect show to share with that person who you consider a friend. Just don’t forget to thank them for being a friend.

Name: Howie Schaal

Hometown: Oneida, NY

Education: BFA in Acting from Pace University

Select Credits: Off-Broadway: That Bachelorette Show (Brian Burtleman), Regional: Side Show (Boss), Urinetown (Cladwell), TV: "Mysteries at the Castle" (Martin Luther)

Why theater?: There is no place I would rather be than onstage performing. The connections you have to other actors as well as the audience in a show makes the stage one of the most special places I have ever been. I first realized this around 8th grade and it made it hard to think about doing anything else but theater after.

Who do you play in Wild Women of Planet Wongo?: Louie Lefever, second in command of a space ship that delivers Potato chips to the far reaches of the galaxy.

Tell us about Wild Women of Planet Wongo: It is an interactive 60’s Sci-Fi musical comedy about two astronauts that crash on to a planet inhabited by only beautiful Alien women. Then Chaos ensues. The title comes from a 1958 movie called The Wild Women of Wongo. The musical version spoofs that movie as well as other 60’s movies like Plan 9 from Outer Space, and the Beach Party series.

What is it like being a part of Wild Women of Planet Wongo?: It is some of the most fun I’ve had on stage! This is my second time playing Louie. The audience is sometimes inches away from the actors and interacting with the all sorts of people every night makes each performance different and memorable. It never feels like the same show so it stays fresh.

What kind of theater speaks to you? What or who inspires you as an artist?: Any that makes you think about it for days after. Whether it’s comedy or drama, play or musical, if the story is great I’m there. Lin Manuel Miranda and Louie CK are both people who seem to never stop working even though they are among the best in their field. Their work ethic and passion for that work inspires me.

Any roles you’re dying to play?: 10 years from now Tevye in Fiddler on the Roof

What’s your favorite showtune?: Anything from Les Miserables

If you could work with anyone you’ve yet to work with, who would it be?: Lin Manuel Miranda or Mel Brooks

Who would play you in a movie about yourself and what would it be called?:   Josh Gad and it would be called “How we doin: the Story of a Geeky Jew”

If you could go back in time and see any play or musical you missed, what would it be?: The original cast of The Producers in 2001 or the Original cast of Fiddler on the Roof in 1964

What show have you recommended to your friends?:Hamilton and Book of Mormon

What’s your biggest guilty pleasure?: Anything with superheroes.

What’s up next?: A short film that I was in Called “Oiled Up!” is starting to make its rounds through some different festivals.

Name: Michael Thurber

Hometown: LaSalle, MI

Education: Juilliard

Select Credits: "Late Show With Stephen Colbert.""Antony and Cleopatra" at The Public Theater. “Goddess” at the 2013 Eugene O’Neill Theater Conference.

Why theater?: There’s few other art forms that require so many layers of storytelling. Music, words (both spoken and sung), lights, set design, acting, dancing, etc. And all of those elements have to come together in just the right way for a story to shine and a soul to be stirred. When it all happens right, there’s nothing like it. It’s pure magic. I love the challenge and the amount of problem solving that has to happen to make it all come together.

Who do you play in The Booty Call?: Gabe, a 28 year old musician.

Tell us about The Booty Call: Gabe gets a booty call while at home, creating demo recordings of his new songs. The call sends him off on an existential musing of his past experiences with love and intimacy. The whole show takes place in his bedroom/recording studio and all of the music is generated live by me, actually playing and recording multiple instruments while singing. Lyrically, the show examines straight-male sexuality and all of the insecurities that surround it. It calls into question some of the machismo stereotypes about masculinity and libido. The music is a fun, grooving mix of electric and acoustic sounds inspired by R&B and Club music.

What is it like being a part of Inner Voices?: It’s incredible. The idea of one-act, one-person musicals is brilliant. It’s essentially a sung monologue and there is just so much you can do with that. The creator, Paulette Haupt, is one of the smartest, warmest, most courageous women I have ever met. So it is humbling to be commissioned by her and learn from her wisdom about making musicals.

What kind of theater speaks to you? What or who inspires you as an artist?: I like theater that gets to the core of a human truth. Because when you get to the core of a truth, a really cool paradox happens…on one hand you feel more understood and less alone because a truth is something everyone can identify with...but on the other hand, you end up with more questions than answers because a truth forces you to examine other things you think you know. I love that duality. You get to feel comfort, but you also get challenged to grow. A few of my musical inspirations are Edgar Meyer, D’Angelo, Debussy, Michael Jackson, Leonard Bernstein and Miles Davis. My favorite theater writers are Adam Guettel, Benjamin Scheuer and Lin Manuel Miranda.

Any roles you’re dying to play?: I would love to play Sweeney Todd, the Lion from The Wiz, or Berger in Hair.

What’s your favorite show tune?: It changes all the time but right now it’s “Dividing Day” from Light In The Piazza.

If you could work with anyone you’ve yet to work with, who would it be?: I’d love to write a show for Rebecca Naomi Jones and/or Kelli O’Hara. I would love to work with Directors Tommy Kail or Rachel Chavkin. And I’d love to write a show with Lin Manuel. And I’m still searching for my dream librettist, so if she/he is out there, I want to work with them, too!

Who would play you in a movie about yourself and what would it be called?: Tom Hanks would play me and it’d be called Forrest Gump.

If you could go back in time and see any play or musical you missed, what would it be?: I would have loved to see Shakespeare in action, any of his plays. I also would have loved to see the original production of West Side Story.

What show have you recommended to your friends?:Murder Ballad is an incredible musical that I told everyone about when it was running. I also really loved Branden Jacobs Jenkins’ play Gloria. And School Of Rock was AWESOME!

What’s your biggest guilty pleasure?: A cheeseburger and fries with a pint of cheap beer.

What’s up next?: I just finished a Violin Concerto for rising star violinist Tessa Lark, which will be premiered in 2017. I have a dance piece opening in Dallas in November with choreographer Tiffany Rae Fisher and Dallas Black Dance Theater. And there’s 2 amazing new theater commissions in the works but I can’t say anything yet :)

For more on Inner Voices, visit www.premieresnyc.org

In today's Blog Hijack, The Blockheads Artistic Director Lucio Nieto talks about their latest production!

This October, The Blockheads partner with young artists to shed light on domestic violence with their world-premiere of James McCliondon’s new dark fairytale, Pooka.

Theater in the Now sits down with Lucio Nieto, Artistic Director of The Blockheads: Young Artists’ Collective, to talk about their first original play, partnering with students from United Nations International School, raising awareness on domestic violence, and their next step as a collective after receiving their non-profit status through Fractured Atlas.

When did you discover James McClindon’s Pooka?:

In November 2015 we placed a call on Playbill.com seeking undiscovered plays with a passion for social justice, the ability to engage with a 21st century audience, and challenge conventional ways of thinking. We received around 200 submissions and out of the lot, we presented three as a reading series in May of this year. With James’ blessing, we’ve continued working on his piece. This will be our first production of a new play.

Tell us about the partnership with UNIS and what inspired the creation of the costume pieces?

I was lucky enough to know Tim Hall, the middle school’s Theatre Arts teacher. He directed Lion King last year at UNIS and I was immediately awestruck when I saw the production design. I’d learned that the set was designed by the extraordinary Madalena Parreira with the construction of the pieces by the middle and high school students in the art department. When we approached Madalena about a possible partnership, she was just as thrilled as we were to introduce this project to her talented students. It’s been an unforgettable three weeks with Madalena and these incredible young artists. This partnership has been inspiring to the Blockheads and we are looking forward to the next opportunity we have to work with them.

As a collective, part of your mission is to increase awareness on social justice issues through your work. What can the audience take away from Pooka?

Well, we open our show in October, which happens to be the month raising awareness on domestic violence. Of course, as fate would have it, one of the central themes in Pooka is exactly that. With the unique creations from the team at UNIS, we are holding a silent auction at the end of the run selling the hand-crafted pieces designed by the students. All of the proceeds will benefit Safe Horizons–the nation’s leading victim assistance organization. Their mission is to provide support, prevent violence, and promote justice for victims of crime and abuse, their families and communities.

What can we expect next from The Blockheads: Young Artists’ Collective?

As of right now, we are presenting Pooka as our work-in-progress. It’s been such a blast getting this play on its feet. With only two performances, we are presenting something that could potentially be re-mounted next Spring with a larger budget and an extended run. Hopefully, now that we are recognized as a 501(c)(3) non-profit status under Fractured Atlas, our next step is to fundraise for our upcoming productions. As a company, we are learning the mold of our business model. We will be accepting submissions from playwrights this Fall to hold our 2nd New Works Festival in early 2017. We are hungry to develop new text and explore fresh ideas with emerging playwrights.

Details on Pooka:

When?:
October 8th at 9:30pm
October 9th at 7:00pm
Tickets: $8 online | $12 at door
http://www.brownpapertickets.com/event/2603179

Where?:
The Tank
151 W 146th St. 8th Fl
New York, NY 10036

Who?:
Written by James McClindon
Directed by Lucio Nieto
Produced by Michael Finnigan & Alicia G Lopez
Assistant Directed by Gisell Arismendi
Associate Produced by Louise Oliver
Music by Chris Gorman
Art Design by Madalena Parreira (UNIS)
Light and Sound by Michael Witherell

Cast:
Dustin Nichols
Antony Cherrie
Alicia G Lopez
Natalie Stringer
Michael Finnigan
Joan Jamison
Abraham Winter
Lance Styles
Agatha Casiano

Visit www.weareblockheads.com to learn more about The Blockheads.
Instagram / Facebook / Twitter: @weareblockheads

“We are unapologetically not perfect, we’re Blockheads.”

Name: Christine Zagrobelny

Hometown: Raleigh, NC

Education: BA Dramatic Arts, UNC-CH

Favorite Credits: An immersive play about office life/culture (in development), The Splendid Adventurers Club (one-act, Everyday Inferno Theatre Company), Breathing Corpses (John Strasberg Studios)

Why theater?: I love the connection with/relationship to the audience and working on something that can never be perfect and it is never ‘done’. Through the rehearsal process, we get to create this work that is the sum of hundreds of decisions made both individually and collectively about the beats, characters, relationships, blocking, design. What comes out of it is both wholly unique to the group of artists and much deeper than anything our individual efforts could have created.

What inspired you to direct The Importance of Being Earnest?: First and foremost, it’s an absurdly fun play and a perfect farce. But also, in re-reading Earnest, I was struck between the similarities in the presentation of the younger generation in the play and our society’s obsession with the eccentricities and foolishness of millennials.

What kind of theater speaks to you? What or who inspires you as an artist?: Theatre that speaks to me: Immersive/interactive theatre. Stories I haven’t heard before. Theatre that digs into the complex, unsolvable things that weigh us down a little bit every day. Narratives that break away from realism and provide puzzles for the actors and director rather than answers. The artists I collaborate with continually inspire me as an artist with their talent, unrelenting kindness, and unstoppable hustle.

If you could work with anyone you’ve yet to work with, who would it be?: Rachel Chavkin

What show have you recommended to your friends?:Small Mouth Sounds at The Pershing Square Signature Center

If you could go back in time and see any play or musical you missed, what would it be?: Barrow Street Theatre’s Our Town

What’s your biggest guilty pleasure?: I like toasting cheese on bread on a daily basis, I feel no guilt ☺

If you weren’t working in theater, you would be _____?: Well, from 9-5pm I am a software developer for Fractured Atlas. So, realistically, if I wasn’t doing theatre, I would be a software developer with free time ☺

What’s up next?: The Instigators production of The Importance of Being Earnest at The Secret Theatre

For more on Christine, visit http://www.christinezagrobelny.com/

By Kaila M. Stokes

Hit the Body Alarm is an avant-garde look at one person’s perception of heaven, hell, and the in-between. As the audience assumes their seats the actress, Winsome Brown, is at the microphone singing, creating sound bites, and making other weird noises that include metal on metal and chewing food. The sound mixer, also on stage, smashed all the sounds together to create noisy chaos. Winsome Brown was incredibly talented with accents, foreign languages, and has a certain ease standing on stage looking into the eyes of her audience. It takes an unteachable confidence that comes from years of performing to be able to portray that.
Then the show began. Huge amounts of plastic tarp were used as the set. What was interesting was that the beginning of the show is “Satan’s Fall From Heaven To Hell.” The actress took her place behind the tarp with wings on and was suspended by a rope & hook. Using lighting, the sound effects created from earlier, and voice over; the audience was swept into a world of dark mysterious confusion. You could see her shadow through the tarp creating an effect of her falling through clouds while the voice narrated the story of Satan’s fall. The stage managers, also on stage, moved the plastic from one position to another as scenes transitioned. Disappointingly that was the only time the tarp was used in an interesting manner pertaining to the text. The next five parts of this mysterious play included: Hit the Body Alarm, Satan Addresses the Fallen Angels, Elaine, Satan Arrives on Earth, and Eve’s Dream.

photo by Theo Cote

It was hard to follow exactly what was happening since the actress was in and out of roles that did not seem to tie into one another. The ideas were there, but it landed differently. The set should have been used more. The idea was unique and original with the plastic – it metaphorical fit so well. The narration should have been shorter and less theoretical. The narrator should be the one to cut through the smoke & fog to produce the facts. The stories themselves, felt long and winded. It would have been nice if the stories tied together more. The scenes were only identifiable by what was written in the program. An audience member shouldn’t have to look at a program to figure out what is going on.
The artistry of having the stage managers and sound mixer on stage was appreciated. It was a true testament of how much the “behind the scenes” work actually means for the show being performed. Hit the Body Alarm is not for everyone. Windsome Brown is undoubtedly a seasoned artist. Like many forms of art, people can interpret as they will, but she clearly stays true to herself. If you like avant-garde and would like to see a portrayal of heaven to hell and the in-between then head to The Performing Garage.

By Michael Block

She's creepy and she's kooky and she's the Queen of House Haunt. To celebrate everyone's favorite October holiday, Sharon Needles returns to the Laurie Beechman Theatre for The Sharon Needles Halloween Special.

With her spooky music along with holiday favorites, The Sharon Needles Halloween Special honors the dark and scary through song and story. What works about this show is the consistency in spontaneity. Sharon Needles is able to infuse a spur of the moment jokes into her perfect brand of off-color humor. Between the hot off the presses "grab her by the pussy" quote from Donald Trump to Alaska's temper tantrum and bribery on the recent episode of "RuPaul's Drag Race All-Stars 2", Sharon Needles incorporated it flawlessly. Many of the stories she shared were inspired by Halloween, scary movies, or the treats of the holiday. But she killed when she read other Drag Race Queens. That's what the audience was truly waiting for. And they were few and far between. Though the brilliant milking she performed in "Sweet Transvestite" brought the house down. She may have set the record for longest pause between "antici-" and "pation." This show would not be complete without costume changes and Sharon delivered three haunting looks. Sharon Needles' has a wonderful rapport with her crowd, making them feel comfortable in the discomfort, something only she can pull off.
The Sharon Needles Halloween Special is a creepy and kooky comedy that is a thematic success. Even the man on the keys gets his face beat with a skeleton. If you weren't ready for a haunted Halloween, you are now!

Name: David Stallings

Hometown: Galveston, Texas.

Education: Theater.

Why theater?: Theater is who I am. I started acting at the age of 5 in Community Theater and by the time I was 11, was doing Summer Stock in Regional Theater.s The craft and tradition of Theater is in my blood.

Tell us about Anaïs Nin Goes to Hell: This play is a comedy with heart. It follows some powerful women in the afterlife who are all struggling with the concept of change and how they can continue to evolve even after the great deeds, loves, and circumstances of their lives have past.

What inspired you to write Anaïs Nin Goes to Hell?: So many things. My mother for one is a strong influence in my writing. She was a single parent in the South who struggled to raise 2 boys without much help. When I was 14, she gave me the novel "Tess of the D'urbervilles," and always was an influence on my love of literature. Then of course there was college. I took a philosophy class where the male professor said that, "Women do not make good philosophers because they pay too close attention to detail." This really upset me, so the next course I took was "Women in Philosophy" with an amazing female professor. I learned about Heloise, Anaïs Nin, Sappho--it was one of my favorite classes. And of course, being a theatre person, I wondered why most of our existential comedies are dominated by male characters. We have Waiting for Godot and Rosencrantz and Guildenstern are Dead, but I wanted something with women. This had been my thought for years. Then one day I was reading Delta of Venus on the Subway and the entire play just hit me at once. I blushed and laughed and went home and started writing.

What kind of theater speaks to you? What or who inspires you as an artist?: Magic speaks to me. I don't respond to Theater that mimics film. I embrace Theater that allows itself to be Theatrical and alter form.

If you could work with anyone you’ve yet to work with, who would it be?: Sam Mendes is certainly an idol. Also Mark Rylance, Maggie Smith...I like the Brits.

What show have you recommended to your friends?:Fun Home, I loved the Public's Troilus and Cressida this year, Curious Incident is stunning.

Who would play you in a movie about yourself and what would it be called?: I imagine a young Vivien Leigh and the film would be called, "Everything will be fine if you listen to me" or "Fleeing the South."

If you could go back in time and see any play or musical you missed, what would it be?: The original Macbeth
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What’s your biggest guilty pleasure?: This is tough...I rarely allow myself to feel guilt anymore as it dominated my life as a closeted gay boy in the South, but I guess Guacamole?

If you weren’t working in theater, you would be _____?: an alcoholic.

What’s up next?: I am acting in Eric Ehn's new play, Clover at La MaMa in December.

For more on David, visit www.stallingswrites.com. For more on Anaïs Nin Goes to Hell, visit www.mtworks.org.

By Michael Block

Brian Quijada has upped the solo storytelling game in his best-infused narrative recounting a tale of identity. Presented by Ensemble Studio Theatre, Where Did We Sit On the Bus? by Brian Quijada explores his journey as he tries to piece together who he is.
In this near ninety-minute play, we hear Quijada's beautiful use of language accompanied by live beats and music as he proves how much of an effortless entertainer he is. Where Did We Sit On the Bus? takes the audience on an intimate journey through Quijada’s struggles as a child of color, framing his piece through questions of race and culture in modern history. It's a revealing story that taps into Quijada's core. Yet he seemed to lack an emotional connection. That's not to say he didn't feel, there was a sense of neutrality that emanated to the audience. Quijada is a very "matter-of-fact" narrator. His focus is on the musicality of his words. Sometimes it gets in the way of a genuine demeanor, opting for something crisp, clean, and calculated. No matter what, Quijada was engaging, shining brightest through his musicianship. He posses a skill that many have; actually being a multi-faceted performer. Unfortunately, his skillset didn’t translate into the writing. Quijada’s text lacks bearing. There is a bit of a bookend, but the journey in the middle is wonky.

Despite an ok script, Where Did We Sit On the Bus? is a great production. Hands down, the visuals of carried this show from start to finish. For a solo show, the technical advancements were mesmerizing. Director Chay Yew tightly choreographed the piece, moving Quijada fluidly through the space and the stories. The diamond white floor from scenic designer Angelica Borrero-Fortier was the perfect canvas for the extraordinarily marvelous projection design from Liviu Pasare. Sure, it’s not the first time it’s been done but Pasare’s decision to project onto the floor and not onto the wall allowed for some striking designs that paired well with Diane D. Fairchild’s precise lighting. Yew ensured that there was something to focus on visually in case the story didn’t resonate.
You have to wonder had the production not been what it was, would Where Did We Sit On the Bus? have the same effectiveness as the Ensemble Studio Theatre’s production had? Likely not. But credit must be give to Chay Yew and his design team for elevating Brian Quijada’s play.

By Michael Block

Have you ever wanted to see a spooky dance circus? Well Hideaway has delivered something unique in Slumber, a haunted delight ready for Halloween. With a mix of acrobatic tricks and choreographed treats set to a pulsating score, Slumber brings the audience into their world of visual wonder. But when you remember that directors Josh Aviner and Lyndsay Magid tried to incorporate a story into their little floorshow, the proverbial tent comes tumbling down.
Playing the stunning House of Yes, Slumber is an energetic night of performance from a talented troupe of acrobats and dancers who use the architecture of the space to tell the story of a girl who has a taste for blood. The painfully thin follows Mabel after a kinky night with a hunky guy leads her on a power trip of murderous revenge against her mean girl friends. Throwing in arial acts, contortion, dance, and much much more, Slumber pleases those thrill seekers but dies when it tries to be something greater than it can be. Like another similar New York based company that seems to experience similar traps, Company XIV, Hideaway tries to explore story and theme through the art of circus and burlesque while aspiring to be the next Cirque Du Soleil. The trouble that Aviner and Magid experience is trying to make this a flawless piece. Unfortunately the execution leaves much to be desired. To cover up the holes and set ups for the next act, Slumber suddenly breaks the fourth wall through monologues by Mabel. Whether it was weak writing or Lee Hubilla’s inability to improv, the direct addresses were nothing short of uncomfortable. That’s not to say she’s not charming or engaging, the material Hubilla had to work with was simply not flattering. As an emcee, her banter with the audience needed finessing. The concept is enthralling, but if the draw is the intrigue of circus and dance why even introduce a story?

Directors Josh Aviner and Lyndsay Magid incorporate an electronic pop score to accompany the acts. It’s a smart choice for this style of performance. But once again, concept aside, the execution was what held Slumber back from being successful. When the first image is your performers laying down on a raised stage and the majority of your audience can't see it, you know you're in for trouble. Moving from act to act, you may have had a glimpse of a hope being lowered or a rigger running across the stage to set the Chinese pole. It hurts the illusion. The specific routines were catered to the specific artist. And at times, it destroyed the momentum. Especially when discovering an intermission was about to come. This proved that much needed to be reconsidered. The individual pieces can be restructured as, from a story perspective, one murder didn’t always lead to another. At first glance, House of Yes looks like the perfect venue for this show, but as the night proceeds, you discover there's only so much it offers. Safety is important but when giant glow tape corners are visible at all times, it’s just unfortunate. There’s no denying that choreographers Keone Madrid and Mari Madrid’s dances were some of the most extraordinary and most polished moments. They were fresh and energetic, keeping the spirit the piece alive. The lighting design by Dan Alaimo evoked the feeling of a Brooklyn dance party. But when you walk into Slumber, the mix of reds and blue lights give you the illusion of wearing 3-D glasses, and a bit of a headache.
If you like danger and the potential of a catastrophe, these performers will deliver. And perhaps whip you with a silk. There's no denying the spectacular talent in the blood. Joren Dawson surely knows how to work a pole. You simply can't keep your eyes off him, especially after that magical Spider-Man drop-in. Olga Karmansky was the Queen of the Contortion. Her Act II number was mesmerizing to say the least.
So how do you improve something like Slumber? Bring in an expert that knows how to execute an event like this. Hideaway has something potentially great on their hands but this product was not it. There are far too many flaws that detract from the beauty. But if the goal is to pull the wool over the untrained eye, audiences looking for a good time will likely have fun. But don’t think you actually get a say in who lives and who dies. That’s just a gimmick to attempt to explain the immersive.

Name: Jill Bianchini

Hometown: Cheltenham, PA

Education: NYU (Drama)

Favorite Credits: Ann in Balm in Gilead, Suzy in Hot L Baltimore and Lee in Marvin's Room.

Why theater?: Because I love everything about it: the first table read, the rehearsals, the research, the collaboration, putting on the costume for the first time, even the point during rehearsal when I feel lost can be exciting... and of course, the thrill of an audience. But mostly, it's about the money.

Tell us about The Motherf**ker with the Hat?: It's just good, wholesome family entertainment. Bring the kids! Kidding. It's a dark comedy about love, fidelity, sobriety, friendship, moral codes and other hard things about being an adult. It's funny, poignant and beautifully written.

What kind of theater speaks to you? What or who inspires you as an artist?: I just want to be moved. I want to be entertained, to laugh, to be awed. I am especially inspired by Lanford Wilson, John Patrick Stanley, Sam Shepard, Tennessee Williams and Arthur Miller.

If you could work with anyone you’ve yet to work with, who would it be?: I'd like to do a remake of Midnight Run with Cate Blanchett.

What show have you recommended to your friends?: Any show directed by Peter Jensen.

Who would play you in a movie about yourself and what would it be called?: Bea Arthur (the Maude years). "And Then There's Jill!"

If you could go back in time and see any play or musical you missed, what would it be?: I'd see the original production of Runaways at The Public Theatre, because my sweetheart Evan Miranda was in it.

What’s your biggest guilty pleasure?: Cookies and cocktails.

If you weren’t working in theater, you would be _____?: Lost

What’s up next?: Cookies and cocktails.

For more on The Motherfucker with the Hat, visit http://tschreiber.org/the-motherfucker-with-the-hat/

by Michael Block

Rather than opting for a generic family drama, Leegrid Stevens levels up his story by layering in the world of 8-bit gaming in The Dudleys. A cathartic piece about the aftermath following the family patriarch's death, The Dudleys explores human emotion in a nostalgic digital world. Produced by Loading Dock Theatre at HERE Arts Center, The Dudleys is unique in execution but lacks a strong, cohesive story to carry the audience on a two-hour journey.
Told through the unique lens of an 8-bit video game of yore, The Dudleys is a play about loss and grief. A young man returns home to burry his father. He goes into his childhood bedroom and is engulfed by an old Nintendo game that has seemingly come to life. As the gamer plays, the Dudleys, the titular family from the game, engage in the aftermath of the recent tragedy, in classic game form. Between killing zombies to running from the cops, Leegrid Stevens offers a sentimental feel to the story. But there is no mystery or surprise to be had. The moment the gamer walks in and the game comes to life, the big twist becomes instantaneously predictable. While the story ultimately comes together, confusion sets in when the gamer presses start. The biggest roadblock for The Dudleys is the rules of the world. And the rules of this world are integral. Unfortunately, they don’t work. The story is essentially told out of order. The levels, or scenes, are not chronological. But in the world of video games, who is manipulating the level order and why is that allowed. Sure, from a theatrical standpoint, Stevens story order is interesting. But it doesn’t work with the concept he established. Stevens’ mission seemed to be infusing lighthearted humor into the weighty family drama. He found a way to bring that in through the gaming. His characters were defined but the dialogue was often bogged down by metaphor. For a play that relies on relationships, the familiar bond wasn’t as strong as it should have been. While each character had their personal woes and issues, they seemed to live in their own solitary world.

The Dudleys is an ensemble effort yet it was all about the individuals. The standout of the bunch was Erik Kochenberger as Vic. Kochenberger has remarkable presence on stage. He has a command that is effortless, with an ease to crafting a relatable character. Kochenberger has a cinematic charm to his performance. Marlowe Holden had a complex character with Sylvia yet Holden had the sensibility to find the positivity through darkness of Sylvia’s situation. Amy Bizjak’s eccentric Meg was a brilliant antagonist despite the confusing arc her character experienced. Erin Treadway was able to find humor within the death-hungry widow Clara. Despite the outrageous world of the play, Treadway found reality in her character.
The draw of this play is the unique visuals created by the skilled creative team. The set created by Jonathan Cottle was virtually just a canvas for video designer Reid Farrington. Farrington, along with animators David Bengali, David Mauro, Angela “Overkill” Hill, Roger Miller, Dan Monceaux, & Leegrid Stevens, captured the video game vibe effortlessly. It moved succinctly with the choreography from director Jacob Titus. The Dudleys was a tech heavy show. And it’s clear much time and thought went into the logistics. But Titus didn’t seem to handle the story as well as he did the production. Though the text was a giant factor. As much as you wanted to give sympathy to this family and the situation, there was little to give. When it came to costumes, Heather Carey found a color scheme for each individual that popped. Though the brown on Clara was a bit of a letdown in comparison to the vibrancy around her. Even if her character was depressed, a different color would have done the trick. Carey paid attention to fabrics and patterns to match the 8-bit world without becoming forced.
The technical execution of Leegrid Stevens’ play was what The Dudleys will be remembered for. It was a daring production to say the least. Perhaps it was the lack of connection to the material that caused the audience to not get on board for the ride. When the audience is unsure of whether to clap or not at the intermission break, it’s a warning sign that something isn’t working.

Name: Elena Grosso

Hometown: Venice (Italy)

Education: The Lee Strasberg Theater And Film Institute

Why theater?: Theater give me the possibility to be truly myself , playing somebody else, live in front of an audience.

Who do you play in Fear Fest?: I play two different characters, one is a young woman who is not ready to “leave “ this word yet, the other is a peculiar girl who is in love with a vampire.

Tell us about Fear Fest: It’s a series of different scenes all related to each other with the theme of the obscure the sinister and the horror , with a comedy twist.

What is it like being a part of Fear Fest?: It’s been very fun working with such a diverse group of people , the experience of working for a small theater it’s always great because you get to know everyone and you get to work really hard.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theater in general, i love it when it’s real and dynamic, given my background I am always looking for real life on stage!

Any roles you’re dying to play?: I always wanted to play Martha from Who’s Afraid of Virginia Woolf, I’ve played many time at school but i can’t wait to play it in the theaters around us!

What’s your favorite showtune?: Before every show i love listening to music and it’s always different but I have to say that for this character nothing gets me in the mood like some Foo Fighters songs.

If you could work with anyone you’ve yet to work with, who would it be?: I would love to work with Christian Bale, he is now my favorite actor.

Who would play you in a movie about yourself and what would it be called?: I think the movie would be called : “How to make mistakes but always look innocent” and maybe Amy Schumer?

If you could go back in time and see any play or musical you missed, what would it be?: I would go back to see Kim Stanley in The Three Sisters directed by The Actor Studio.

What show have you recommended to your friends?: The last I recommended was Den of Thieves which is one of my favorite plays.

What’s up next?: My next project is working on my web series that shows how is the life of an Italian Actress in New York.

For more on Elena, visit elenagrosso.com

In case you haven't heard, we are celebrating 5 years of Theater in the Now with a birthday bash at 54 Below THIS SATURDAY! And we want you there. As loyal supporters of the website, here is an exclusive discount. Please show your support and get your tickets TODAY! Here is the direct link to purchase!

Name: Adam Knight

Hometown: Greenville, South Carolina

Education: University of Evansville (Indiana)

Favorite Credits:Naperville by Mat Smart (Slant, 2014), Exit Carolyn by Jennie Berman Eng (Sans A, 2011), and Beef by Lawrence Dial (Slant, 2008)

Why theater?: I was overseas and was asked this question at a dinner party where I was the only American. I put on my Sam Shepard face and said, “Because it’s the best damned thing there is.” I stand by that answer.

Tell us about In The Room: A teacher once told me, “Your problems in life are your problems in art.” I think that’s what Lawrence Dial is getting at in his play. In the Room finds seven disparate characters in a playwriting workshop. The classroom takes on a life of its own, as alliances are formed and broken, and each writer confronts his or her “unresolved issue.” How do you close that door once it’s been opened?... Also the play touches on a larger thing happening in NYC theatre. How the business of theatre is in conflict with economics and just the strain of the city. What does it say about our art that more people are interested in paying to LEARN the craft than to SEE the craft?

What inspired you to direct In the Room?: I’ve known Larry for a long time and have directed three of his plays. We often meet up and he’ll hand me a stack of pages and a glass of wine and go from there. This play was one of those stacks, and the more we talked about it, the more we realized it needed to be staged. Also it hearkens back to an earlier period of Slant Theatre Project’s history where we’d stage plays in comedy clubs or the hulls of ships, anywhere but a theatre. We’re doing this play in a rehearsal room – which is where the play would actually take place – allowing the audience to experience the piece from an intimate vantage point.

What kind of theater speaks to you? What or who inspires you as an artist?: A great traditional production of Nöel Coward can speak to me as much as something utterly insane and experimental at BAM. The main thing for me is that it needs to feel PRESENT. Why this play, why now? If the artists have answered that question for themselves, the audience is sure to follow… I try to go see a lot of art beyond just theatre. I go to the opera and to museums and particularly love the symphony. When I’m inspired by a piece of music or a painting, my way of viewing the world blossoms out, which in turn deepens my own art.

If you could work with anyone you’ve yet to work with, who would it be?: Athol Fugard’s work continues to resonate beyond the very specific world his writing inhabits. And as a director of his own work, he’s able to cull enormous meaning out of simple actions such as painting a rock or digging a trench. I’d love to be a fly on the wall and watch him work.

What show have you recommended to your friends?: I was over the moon recently about Skeleton Crew by Dominique Morisseau, The Body of an American by Dan O’Brien, and Together We Are Making a Poem in Honor of Life by Dean Poynor. I pitch them to every artistic director I know.

Who would play you in a movie about yourself and what would it be called?: I’ve always thought it was so sad that Mozart was something of a secondary character in the movie “Amadeus.” And then F. Murray Abraham wins the Academy Award! Wouldn’t that be terrifying? If, in the movie of MY life, the person playing my RIVAL wins the Oscar!?

If you could go back in time and see any play or musical you missed, what would it be?: Probably Daniel Cromer’s production of Our Town or Mark Rylance in Boeing-Boeing. I was living in the city at the time so have no excuse. It’s like heroes who’ve died – you keep thinking you’ve got another chance to see them, then they’re gone.

What’s your biggest guilty pleasure?: Esoteric studies. I’m in a Russian history phase at the moment, reading all about the Romanovs. Up next is Gibbon’s The Decline and Fall of the Roman Empire. Past junkets include Greek vases and Chinese poetry. None of these have anything to do with my work or life, and that’s why I love them.

If you weren’t working in theater, you would be _____?: A professional bookkeeper. (That’s a common answer, right?) I like working with numbers and with accounting. In fact, it’s what I do as my day job. It’s a job which holds enormous trust, and there’s also an elegance to it. At the end of the day it all just has to balance. I like that.

What’s up next?: I’m producing a world premiere in NYC next April by an acclaimed international writer… but that’s all I can say right now! Stay tuned.

For more on In the Room, visit www.intheroom.net.

Name: Shara Ashley Zeiger

Hometown: Bensalem, PA (right outside of Philly)

Education: Ithaca College, The National Theater Institute at The O'Neill Center, UCB, etc.

Favorite Credits: Awhile back I got play Toinette in a billingual tour of Moliere's Imaginary Invalid (Le Malade Imaginaire) It's one of my favorite plays.

Why theater?: I love the immediacy of theatre. It's a world that gives permission to play and effect people in ways no other medium can. You can make someone laugh whose having a bad day and feel it because they are in the room with you. You can also teach people or create catharsis. It's cool. Theatre is dangerous because it's live so anything can happen, but in that danger there's a sort of magic that happens. I live for that magic.

Tell us about Roughly Speaking: Roughly Speaking is a play with rap based on 200 interviews with the guests of Xavier Mission, most of which are homeless. It takes place over the course of one meal service at the soup kitchen through the eyes of Lightning.bolt (lightning dot bolt) a rapper bound only by his wheel chair and a cast of diverse characters on a not so typical day. It's about a group of people over a period of time stuck in the round robin that we call "the system". There are 9 actors playing 13 characters, and there's a little bit of magical realism that takes place. (there I go again with the magic!) It's funny, it's sad, it's a lot of things.

What inspired you to write Roughly Speaking?: My husband is a volunteer director of Xavier Mission in Chelsea, so I've spent many Sundays there over the past 6 years. At first it was let's find the play about the homeless that exists and we'll put it on stage, but I couldn't find the play. I couldn't find a play that spoke the reality of the homeless in a way that was honest and truthful. I also used to be "salad girl" on the serving line a lot. The woman next to me "dessert girl" one day told me her story. This woman whom I had become friendly with I learned was a guest at the soup kitchen for many years before she became a volunteer. It was eye opening. At first it was about exploring her story. Then the more I became comfortable with the guests at the soup kitchen I decided to explore a lot of stories. Other people helped me interview early on, but I conducted most of them, and eventually I realized I had talked to over 200 people about their struggles, and fears, and hopes, and dreams, and eventually Roughly Speaking basically wrote itself.

What kind of theater speaks to you? What or who inspires you as an artist?: Theatre that makes me feel something. It's not about a specific genre, its about how I feel when I leave. A lot of people inspire me. Lin Manuel Miranda of course. Someone who makes his own work and plays by his own rules. As an actor, I'm constantly in awe of people like Meryl Streep and Daniel Dae-Lewis who physically become their characters. Honestly I'm inspired by kids a lot. My day job I devise new works with kids through different residencies through the Queens Theatre and am always amazed by what they come up with and how they play with abandon.

If you could work with anyone you’ve yet to work with, who would it be?: Do I have to pick just one? There are soooo many.

What show have you recommended to your friends?: I'm a big Third Rail Project nerd and recommend everything they do.

Who would play you in a movie about yourself and what would it be called?: Maybe Julia Luis-Dryfus? We have a similar sensibility. My father in law always calls me "The Unsinkable Shara" so perhaps it would be called that.

If you could go back in time and see any play or musical you missed, what would it be?: Maybe back to 70s and see the original production of Hair? I also learned that my great grandmother traveled with a troup in eastern europe when she was young. Maybe i'd go back and see her perform. That would be cool.

What’s your biggest guilty pleasure?: Everything on TLC.... it happens.

If you weren’t working in theater, you would be _____?: When I was younger I wanted to be an animator for Disney because I wanted to create characters. I feel like I'd be doing something with creating characters with visual art for sure.

What’s up next?: I'm not sure. We'll see :) I've been working on this for so long it's hard to think of a next.

For more on Roughly Speaking, visit www.ThePlatformGroup.org. For more on Shara, visit www.SharaAshleyZeiger.com

Name: Susan Ferrara

Hometown: Rochelle, Illinois

Education: Millikin University; National Theatre, UK

Select Credits: The Wonder, Sans Merci, Then We Got Help

Why theater?: It's immediate; visceral. The best possible conversation to have with people you know and don't know.

Who do you play in The Pumpkin Pie Show?: A very sweet, very kind political rally go-er. There to see, in person, the man she most admires; the man running for president.

Tell us about The Pumpkin Pie Show: It's a house-a-fire ride; a political horror show.

What is it like being a part of The Pumpkin Pie Show?: I've been watching and admiring these actors and this writer for years, so to be in the same room with them is pretty cool. I saw a previous Pumpkin Pie Show a few years ago and was mesmerized by Clay Mcleod Chapman's writing and performance. B-Side was the name of the piece and it just sucked me in. Gave me nightmares for weeks.

What kind of theater speaks to you? What or who inspires you as an artist?: Intimate theatre performed in small spaces are my favorite. Straight up storytelling (like The Weir) or something mind-blowing (like Hamilton). I'm inspired by the day-to-day; eavesdropping in New York is its own kind of theatre. Definitely inspired by my friends and family. When I was a kid, I could sit and listen to my Aunt Rosie tell stories for hours. My friend Ace insists that she isn't funny, but she kills me every time we talk.

Any roles you’re dying to play?: I'm looking forward to playing an 80-year old super hero; someone who can bring you to your knees with a paper clip. I'll have to write that one. Am excited about the new work out there. If Sarah Kane were still with us, I'd play anything she asked.

What’s your favorite showtune?: “Right Hand Man”

If you could work with anyone you’ve yet to work with, who would it be?: Reed Birney, Kathryn Hunter. Jesus - too many to list here.

Who would play you in a movie about yourself and what would it be called?: Imelda Staunton in "I Was Never Young"

If you could go back in time and see any play or musical you missed, what would it be?: Laurette Taylor in the 1944 Chicago production of The Glass Menagerie

What show have you recommended to your friends?:The Encounter

What’s your biggest guilty pleasure?: Anything with Keanu Reeves (and it's not even a guilty pleasure - I genuinely like the guy and would love to work with him. Wish I'd seen his Hamlet)

What’s up next?: Writing a trilogy called The Silver Kitchen (a dark family comedy); shooting minute-long teasers for a web-series called "Mean Secretary"; introducing our crack BUZZ play and team (with director Carrie Preston and Anatol Yusef, Julie Ann Emery, Susan Pourfar, Marcia DeBonis and Sam McMurray) to the world.

For more on Susan, visit susanferrara.com

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Spotlight On...Julie Ann Earls

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Review: Thank You For Being So Good

Spotlight On...Howie Schaal

Spotlight On...Michael Thurber

Blog Hijack: The Blockheads present Pooka!

Spotlight On...Christine Zagrobelny

Review: A Little Bit of Heaven & Hell

Review: Sharon Needles' Spooky Show

Spotlight On...David Stallings

Review: Aided By Visual

Review: A Bloody Circus Mess

Spotlight On...Jill Bianchini

Review: The Game of Life and Death

Spotlight On...Elena Grosso

Theater in the Now at 54 Below!

Spotlight On...Adam Knight

Spotlight On...Shara Ashley Zeiger

Spotlight On...Susan Ferrara