Theater in the Now

By Michael Block

Addiction. She's a bitch. In Hollis James' grungy Kyle, a man falls down the rabbit hole of addiction as he's seduced by the devil on his shoulder, convincing him to continue the cocaine train. Produced by Hot Tramp Productions, Kyle is an indie punk dark comedy that dares to go to the edge of a personal crisis.
Jack is in a relationship with Crystal. After going to a concert, Crystal suggests calling her dealer for some cocaine. What she doesn't realize is this late night fun fest is going to turn Jack into a Pringles can because once you pop the fun don't stop. As Jack spirals out of control, losing grip on his relationship, work, and money, he's haunted by Kyle, the problem personified. With a heavy theme and colorful characters, Kyle teeters on tone. Hollis James has written something that is real. But rather than approach it like after school special, he implements a dark, foreboding spell. In comparison to other works of art, Kyle plays like American Idiot's St. Jimmy, only Kyle's sense of humor is not nearly as twisted. While the device may not be novel, it's the way James incorporates him, making him a more influential element. His script is quite colloquial, with a natural flow. It features a multitude of snapshot scenes that may feel more like a film. Kyle is an inherently dangerous but it feels light. Balancing the tone is important for discovering the message. Jack's journey through addiction is personal but accessible yet the stakes, at times, felt minimal. Amping up the stakes, breaking down Jack's world further, will keep the intensity for change prevalent.

photo by Jody Christopherson

Simplicity and storytelling were at the forefront of Emily Owens’ direction. With an intimate couch and a few surfaces to play off of, Owens kept the action realistic. The staging smartly lacked being superfluous. Music played an influential role in this play. Even when not incorporated into the scenes, its presence was felt through transitions. James, who played sound designer as well, occasionally capped scenes off with musical references, creating prime opportunity for their inclusion. A mood was felt, at times, but the sound design could certainly have made it more in your face. With the amount of coke lines needed to tell this story, covering up the theater magic later in the narrative could have been beneficial.
Taking on Jack, Nat Cassidy and his wide eyes went on a difficult journey. Battling his inner demons, Cassidy found the comedy of the dark battle between addiction and depression without making light of the situation, though his characterization was occasionally larger than life. As the titular character, Hollis James took on a suave and captivating demeanor that enticed Jack to the dark side. As we learn the reason for the personification, it makes his presence strikingly terrifying. Playing the array of dealers, Christian Polanco was comic gold, especially as the late play every Chad. Polanco has the ability to turn on a dime when it comes to variance in character. As the woman pulling Jack to change, Tricia Alexandro as Crystal and Christine Renne Miller as Reggie made the most of their characters. They teetered on after school special but still made an impact on Jack's journey.
It's hard to tell a new story about addiction but in our climate, Kyle is an important play to produce. Hollis James has planted some brilliant seeds to succeed that will blossom into something substantial over time.

By Michael Block

When catastrophic life events happen, it can feel like the world is ending. Finding light in the darkness is the hope. In Rachel Bonds’ Sundown, Yellow Moon, a time of uncertainty is explored through the perspective of an assortment of individuals. A co-production between Ars Nova and Women’s Project Theater, Sundown, Yellow Moon is sadly lost, much like the characters.
Exploring the idea of loss and letting go, Sundown, Yellow Moon by Rachel Bonds, with music by The Bengsons, captures the aftermath of a group of individuals displaced in life and relationship. Twin sisters and Joey and Ray, return home to take care of their father after he is asked out of his teaching position. As they find solace in his tiny backwoods home, Ray comes to grips with the loss of her job while Joey grapples with whether her Fulbright is worth leaving for. Congruently, Carver, an old acquaintance of the girls, is trying to be Tom's support as Ted Driscoll, a prolific poet, meanders into the woods and finds comfort with Joey. And then there is Jean and Bobby, neighbors whose sole purpose is to play some music since this is a play with music. Packed into a single act, Sundown, Yellow Moon provides insufficient information that leaves you unfulfilled. Bonds showcases some intricate intimacies through some stunning scene work. The content of her writing is beautiful. But as an overall structure of a play with a clear beginning, middle, and end, she falters. When Joey, Ray, and Tom have their family music moment leading to the black out, you sat there wondering what exactly this play was about. Bonds has some glimmers of great potential. Carver is a stunning character. But we don't get a complete arc for him. Carver could easily have his own play. Bonds is strongest in her theatrical duets. We see a big group scene that only drops hints of important plot. She could easily transplant the necessary information and place them in other scenes, fleshing out relationships. This would also help to eliminate the superfluous characters in Jean and Bobby.

photo by Ben Arons

With a feeling of uncertainty, Anne Kauffman didn't help the story move. Kauffman directed the piece at a sluggish, cinematic pace. She did, however, capture the intimacy within the blooming relationships. She was able to explore the dependency of human connection through the proximity of emotional attachment. The set by Lauren Helpern provided Kauffman exploratory playground for staging but the installation proved difficult. The installation was evocative but costly to the world of the play. Creating distinct locales within the singular, multi-tier set caused limited movement within the scenes. Called a nighttime play, lighting designers Isabella Byrd and Matt Frey and sound designer Leah Gelpe capitalized on this. The darkness of the forest companied with the evening creatures captured the ambiance of the environment.
Sundown, Yellow Moon focused on the dynamics between Joey, Ray, and Tom. Each family member had their own set of problems and dependencies. As the twins, Eboni Booth and Lilli Cooper as Joey and Ray respectively found the extremities of their dynamic. Booth’s Joey was high-strung longing for a release, ultimately getting her vulnerability pulled out from under her. Cooper gave the laxer of the sisters a mature edge, trying to prioritize her litany of complications. Peter Friedman’s Tom struggled with pride, often exploding out of frustration. Carver is a beautifully complex character, layered through his dark history. He is more than a brooding boy longing to break free from the past. Facing Carver head on, JD Taylor spellbinding performance was a highlight of the production.
Rachel Bonds has a beautiful voice and a beautiful perspective. Sundown, Yellow Moon, just wasn't the right showcase for it.

photo by Kurt Sneddon

Name: Taylor Frey

Hometown: Las Vegas, Nevada

Education: Brigham Young University, Provo, UT

Select Credits: Venice Film Festival: Summertime (Matt- Dir. Gabriele Muccino “Pursuit of Happyness”), Tribeca FIlm Festival: G.B.F. (Topher, dir Darren Stein); South Pacific @ Lincoln Center

Why theater?: Because it's in the now. It’s happening right before us. It wasn’t recorded somewhere in time and witnessed on playback. Because I love humans and interacting with them. To come on stage and see a crowd full of people there who came to go on a journey and dig into a story is so thrilling to me. Building a relationship with them throughout a couple hours in a dark theater where incredible experiences can be had is very motivating to me.

Tell us about The View UpStairs: The View Upstairs is based on the real event that occurred in New Orleans in 1973 where a gay bar was burned down. It dissects the gay community quite a bit, it examines our hierarchy, our stereotypes, what’s beautiful about us and what’s tricky about us. It examines how far we’ve come and how far we need to go. It tells the story that the 32 lives in 1973 didn’t ever get to tell. Every single night before I go on that stage I send up a sort of thought/prayer into the universe and to the lives that were lost in hopes that I tell the story well and remind people of these lives lost in a way that is honorable to them.

Who do you play in The View UpStairs?: Patrick, a runaway hustler trying to stay afloat.

What is it like being a part of The View UpStairs?: It’s been incredibly rewarding to be apart of the creation of new work, and to put my artistic stamp on Patrick and the show. It’s also important to tell a story so few know occurred. It feels especially meaningful. But as a gay dude, it’s rare and special to be a part of something that is predominantly lead by gay characters. I love that Max Vernon created something that is so specifically fabulous, and GAY.

What kind of theater speaks to you? What or who inspires you as an artist?: Theater that has a message, a reason behind it. The kind of theater that reaches into your heart and then slowly moves up your throat as it tightens and your jaw locks to hold in the emotion you are overwhelmed by. I suppose that will occur in different types of shows depending on the person. It happened to me in very memorable ways during Once and The Color Purple. I was a mess. I loved feeling that. I have this phrase always on the forefront of my mind in terms of inspiration, and its “Tell your story.” As an artist we can get so caught up in just getting jobs and to “stay working” that we forget that a massive reason behind what makes this process special is that it’s you doing it, and there are things only you and your life experience can offer a role or piece. I find that incredibly inspiring. No one will do it like you do. Who inspires me? Artists who are completely themselves and not afraid of what jobs may or may not come because of that. Also, my husband’s work ethic honestly, and Beyonce’s appeal and originality :). Truly her appeal is so universal, it blows my mind. And she maintains that appeal while putting whatever the hell she feels like creating out there. And people eat. that. shit. up. We don’t meed more artists trying to fit a mold. We need new original artists here to shake things up and be different (enter: Max Vernon.)

What’s your favorite showtune?: Hmm. Tough. I love so many. But as of now---- I did kind of just swoon over “Too Beautiful For Words” recently when I saw Heather Headley perform it (the key being Heather Headley singing and acting it.)

If you could work with anyone you’ve yet to work with, who would it be?: There’s an Australian director who I think is truly a visionary named Neil Armfield. I would die to work with him. He is a brilliant story teller and celebrates all the things that make me excited to continue on in this business. Him and also my dear friend and brilliant actress Meghann Fahy. I would love to be opposite her on any stage or set anywhere and feel what that’s like.

Who would play you in a movie about yourself and what would it be called?: I don’t know who would play me, but it would be called “You finally got your shit together!"

If you could go back in time and see any play or musical you missed, what would it be?:Crazy For You original cast, 1992. That show makes me happy. I love those tunes.

What show have you recommended to your friends?: Not many recently to be honest. There’s still a lot I need to see this year. I would recommend Hamilton more often if tickets were more readily available.

What’s your biggest guilty pleasure?: Wine.

What’s up next?: An 8 show week at the Lynn Redgrave this week.

For more on Taylor, visit www.TaylorFrey.com. For more on The View UpStairs, visit www.TheViewUpStairs.com

By Michael Block

Blood is thick. Family is forever. Cliches are real. And they're the center of Arthur Miller's The Price. Receiving a starry revival at Roundabout Theatre Company, this production honors Miller's text readily, proving this antique will never go out of fashion.
With a singular set comprising of an attic filled with furniture in a soon-to-be demolished building, The Price watches Victor Franz as he brings an eccentric furniture dealer in to sell his parents' estate. But this sale is not so easy. While Victor has hopes of selling fast, he soon comes to grips with the past. His brother, Walter, aversely returns, opening up a dialogue of sacrifice and resentment both brothers have been harboring, centered around the manipulative patriarch of the family. But the truths from the past only seem to be convenient in the present. The Price is a play that talks in circles with purpose. It's a captivating character study, heightening the familiar relationships that Arthur Miller is known for. Directed by Terry Kinney, The Price has a resounding relevance. Kinney keeps the play in period, yet sprinkles hints of a modern sensibility. The Price is an emotionally gripping play, especially felt in the second act, but when you have Danny DeVito, there's a profound humor inherently infused. By grounding the Franzs in deep desolation, Kinney easily allowed Solomon to break up the tension with hilarity. The heaviness of the situation in turns feels even more raw. DeVito as Solomon chewed the scenery, metaphorically speaking, as he gnawed on his hard-boiled egg, spewing bits as he spoke. As the laughs cascaded, the tone shifted, yet the sincerity remained. Even in our darkest moments, we can laugh at the little things. Kinney helped find those gems to ensure that this play feel emotionally taxing for character and audience alike. Miller wrote this play with four characters but the presence of the father is especially felt. And Kinney ensured he was there, exploring the power of his chair. It began as subtle but by the end, the acknowledgment was profound, ending the play with Solomon in the chair laughing, mirroring what the father was likely doing internally. It's these key moments that defined how in tune Kinney was with Miller's narrative.

photo by Joan Marcus

Rather than stripping the piece down, Kinney and his team went big. Perhaps a little too big. It was all in the atmosphere. The attic of the building was an antique hoarders dream. Designed by Derek McLane, an array of furniture filled the stage as cupboards and cabinets and chairs hung from the ceiling. Without walls, McLane didn't give us skyline, instead opting for water tanks on the building tops against a cloud-lined sky. With the exposed sky, we were gifted a passage of time from day to night. Lighting designer David Weiner's passage wasn't sweeping but barely noticeable to the unobservant eye. It begged to be a bit grander. With it being the most theatrical element in the piece, Weiner could have afforded more. When it comes to attire, costume designer Sarah J. Holden played with status. This night was Victor and Esther's night out so Esther was dressed to the nines, given their wealth. Victor's police attire was lived in to say the least. Solomon's three piece suit was brazen. When it came to Walter, the way his suit shined, matching his persona to the t.
No doubt about it, this was an immensely talented company. As Victor, Mark Ruffalo gave an admirable performance. Ruffalo's take on the honorable man of honor and pride carrying the weight of the world on his shoulders wavered when it came to morals, finally finding the moment to break out of his despair. This play found one brother filled with betrayal and another with guilt. The latter, played with ease by Tony Shalhoub, may be a doctor by profession but he may be Miller's best salesman. Walter found himself in a position where he had no contemporaneous party to corroborate his story, so finding when the truth was factual was the name of the game. And Shalhoub made you believe every word he sold. Jessica Hecht's tenacity as the faithful wife was delectable. Even when she was told to leave it to the boys, she put up a glorious fight. Her power had no bounds. How do make you Arthur Miller funny? Cast Danny DeVito. DeVito is naturally hilarious. And even in his absurdity, his Solomon was tangible. This production will be remembered for DeVito’s pristine performance.
When you lie so much to yourself you almost believe it and perhaps that's the biggest take away from The Price. The revival was substantiated in naturalism and rarely strayed. It may not have been the most remarkable piece of theater, but it was riveting.

Name: Darcy Dunn

Hometown: Warren Township, NJ

Education: BA

Select Credits: Carmen, Rosina, Cherubino, Hansel, Dido

Why theater?: I’m a classical singer who in recent years has enjoyed doing some musical theater and theater. I love learning a new character and being that character on stage. I love the kind of sacred process of making someone else’s words and music real to myself, and then hopefully to an audience, and the sharing that goes on between actors, as well as between actor and audience. I love the stories. I love the heart and art of making theater and its power to change.

Who do you play in Grand Theft Musical?: I play two roles. Rose Roseglass – an optimistic, joyful, stage mother who loves her life and even more, her son Ernest; and Chloe - an ex-lover of heartthrob Guy Loverly

Tell us about Grand Theft Musical: It’s a farcical musical that borrows from musicals of the past (hence the title). There is a Broadway show designed to fail, mobsters looming, unfulfilled love, devoted love; oversexed stars of the stage, a stripper with a heart of gold…. It’s fun-filled and silly, with poignant moments and lovely music, and a terrific cast of performers bringing all the fun to life.

What is it like being a part of Grand Theft Musical?: It is great fun working with this talented and hilarious cast and crew. Lissa Moira, our director and playwright, imbues all her productions with joy and depth. Over time, she’s created a bit of a troupe by working again and again with favorite actors, many of whom are cast members in this production, and I think this sense of ensemble adds to the overall experience for audience and actors alike.

What kind of theater speaks to you? What or who inspires you as an artist?: Comedy, on the one hand, and psychological drama on the other. Some favorite inspirations: Stephen Colbert (our dog is named Colby), Carol Burnett, Maya Angelou, Joyce DiDinato.

Any roles you’re dying to play?: I’m still new to theater roles, so I’m open! I’ve always wanted to sing Mimi in La Boheme. As a mezzo, that hasn’t been an option, but stay tuned….

What’s your favorite showtune?: "Finishing the Hat"; "Mr. Snow"; "How Could I Ever Know"; "It Ain’t Necessarily So."

If you could work with anyone you’ve yet to work with, who would it be?: Not to sound ridiculous, but who wouldn’t I like to work with? I admire and love so many actors.

Who would play you in a movie about yourself, and what would it be called?: How about Frances McDormand? Title: "That Wasn’t Even My Worst Stepmother"

If you could go back in time and see any play or musical you missed, what would it be?:Angels in America

What show have you recommended to your friends?:Tristan und Isolde at the Met

What’s your biggest guilty pleasure?: Gritty psychological crime dramas.

What’s up next?: A weekend with American Bolero Dance (Spanish and Flamenco) Company in June at the Secret Theater in Queens.

In a very special Block Talk, I sat down with the Diva himself, Sean Patrick Monahan to chat about being a diva and Diva: Live from Hell!

Diva: Live from Hell plays Theater for the New City March 23rd through April 9th.

To listen to this episode as well as previous episodes, visit iTunes or Soundcloud!

Don't forget to visit our Patreon page at patreon.com/theaterinthenow and learn about how you can support Theater in the Now!

By Michael Block

What do millennials in New York City love most? Brunch! Tell an audience you're giving them brunch food, you might get them to the theater. Brunch Theatre is brining eight new plays to the stage in Bangerz & Mash.

photo by Ellis Vizcarra

Brunch Theatre is millennial artists creating millennial theater about millennial topics for a millennial audience. Dropping references from today, from social media addictions to dating app woes to one night stands, these eight plays do their best to keep you captivated. Mostly rooted with comedic undertones, the overwhelming theme of the night is celebrating the generation and our real world problems. With eight offerings and live musical interludes provided by Kerri George and Lydia Granered, the night featured some dishes both hot and cold. The hottest dish by far was the silent slapstick comedy of filth, Sexybeer by Zachary Connolly. Michael, a nebbish guy, seduces the sultry Zoe at a restaurant. Told through impeccable physical lead by the chameleon of the stage, Forrest Weber, and the sultry Hanah McKechnie, this play, directed to the hilarious extremes by Liz Rogers, will leave you, and the stage, wet. Sexybeer defines the power of strong storytelling. Of her three appearances in the night's program, another great play was the heartbreakingly beautiful Tantalus, or Whatever by Haley Jakobson. A play about moving on and letting go of love, Conrad is visited by his deceased boyfriend on the night of their anniversary. Only getting seven minutes in heaven, Jakobson showcases a beautiful relationship as the pair grapples with their circumstance. Ryan Meyer as Conrad and Lukas Papenfusscline as his former flame had a natural chemistry. His costume was fitting as Papenfusscline was perfectly angelic. Rounding out the hot was Harrison Bryan's far too real Get Off Your Cell Phone (or World War III). World War III is upon us and four millennials are wound up on likes, and lack there of. A satirical comedy on the state of our priorities, Bryan paints a picture that ironically carried through into the audience. But more on that later. Sometimes absurdity can be comedy gold but there were a few misfires. And it started from the jump. Conceptually, Overshot by Taylor Beidler had all the right pieces, the execution missed the mark, dragging on a couple beats too long. Similarly, despite a fantastic punch line, Long List of Ex-Lovers by Trevor Stankiewicz needed to be shrunk to truly match the brilliance in concept.
Bangerz & Mash leaves you with a full stomach. Maybe dropping an entree or two may have been most satisfying. In a time where art is important, it's the millennial generation leading the charge. Brunch Theatre is taking advantage of it! Just expect to see some phone glows as you view as some of the crowd will be watching their snaps on snapchat during a live performance. Serve it up to the attention span of the demographic I suppose.

Name: Sarah Beth Pfeifer

Hometown: Elliott City, MD

Education: BM in Musical Theatre from The Catholic University of America

Select Credits: Enid Hoopes in the national tour of Legally Blonde, Patsy in Always, Patsy Cline at Toby's Dinner Theatre, Cochina in Ferdinand the Bull at Imagination Stage

Why theater?: The act of getting a bunch of real live humans in a room together to play pretend and tell stories...that's a craaazy powerful thing! I've loved performing since I was a kid, and as I grew up I really came to appreciate how theatre promotes community and helps us realize our shared humanity. There's nothing else like it!

Who do you play in The Lightning Thief: The Percy Jackson Musical?: I play a bunch of different characters! My main character is Clarisse, daughter of Ares, but I also play Katie Gardiner, Mrs. Dodds, and a very sassy squirrel, among others!

Tell us about The Lightning Thief: The Percy Jackson Musical: Oh, man. The Lightning Thief is a story about Percy Jackson, who finds out right in the middle of growing up that Greek gods are real and one of them is his dad! This, plus all the monster attacks and a quest where the fate of the world pretty much hangs in the balance, makes for a pretty complicated year for Percy...and we do it all live on stage!! The music rocks, the cast is amazing, and the show is hilarious and touching and totally taps into what it really feels like to be a teenager...trying to find your identity while feeling trapped in between childhood and the "real" adult world.

What is it like being a part of The Lightning Thief: The Percy Jackson Musical?: It. Is. So. Much. Fun! We don't use any "Hollywood" type special effects to portray all the crazy epic stuff that happens to Percy and his friends...so as a company of actors (and under the brilliant guidance of our director, Stephen Brackett, and choreographer Patrick McCollum), we've figured out ways to make things like flying shoes and bus explosions come to life using just our bodies and found objects from our set. Stuff like that is my absolute favorite kind of creative challenge!

What kind of theater speaks to you? What or who inspires you as an artist?: My favorite kind of theater embraces theatricality, inspires conversation around what divides and unites us as human beings, and doesn't shy away from good, silly fun when it's called for :) I'm always trying to consume as much art from as many diverse sources as possible to feed my own artistic pursuits...at the theatre, I'm loving anything Lin Manuel or Joe Iconis is doing these days, I'm watching a ton (too much? nah...) of great TV (some of my favs recently have been Mad Men, Fleabag, Love), I love catching live music in the city and checking out art exhibits...anything and everything!

Any roles you’re dying to play?: My absolute favorite projects to work on as an actor are new works...so I like to say that all of my dream roles are ones that haven't been written yet!

What’s your favorite showtune?: Ooo...these days, I gotta say "My Shot." It's a modern masterpiece!!

If you could work with anyone you’ve yet to work with, who would it be?: I'm a big fan of Great Comet...I'd love to get to collaborate with Dave Malloy, the composer, or Rachel Chavkin, the director!

Who would play you in a movie about yourself and what would it be called?: In my dreams, I'd have Lena Hall play me (I mean...she's literally the coolest...) aaaand it would be called...hmm....how about we quote the Bard on this one and say "Though She Be But Little, She is Fierce"? Hah that was hard!

If you could go back in time and see any play or musical you missed, what would it be?: I've always kicked myself for missing Phillip Seymour Hoffman as Willie Loman in Death of a Salesman

What show have you recommended to your friends?: Come From Away! So beautiful. A must see...but bring tissues.

What’s your biggest guilty pleasure?: Ya know, I put a lot of effort into eating right and staying in shape, but there's just something about the neon orange cheese dust they put on Cheetos, etc, that just gets me every time...

What’s up next?: I do a lot of work in the voice over world, so once Lightning Thief closes, I'll be getting back to that and maybe taking a trip to Europe this summer!

Fore more on Sarah Beth, visit www.sarahbethpfeifer.com

By Michael Block

What brings two humans together? Is it fate? Or maybe circumstance? Perhaps it's a superpower. A play about human connection, Omega Kids by Noah Mease is a subtly stunning drama about two young men spending a rainy evening in an unfurnished apartment as they bond over the titular comic book while exploring the bounds of their newfound companionship.
Produced by New Light Theater Project in association with Access Theater, Omega Kids follows Michael and Michael as one gushes over his favorite comic universe and it's new reboot as the other looks longingly for something else. While they both seem to be on the same page, there's a fear of uncertainty that defies the magnetic force. If you read Noah Mease's text, it may feel like it's literally about two guys talking about comics. It's like Annie Baker's Circle Mirror Transformation. It's all in the subtext. The beauty is defined in the physicalization of the pair. With the tools on the page paired with Jay Stull's impeccable direction, Noah Mease has crafted a marvelous universe. It’s a spellbinding story. It’s a modern story yet it’s timeless. The characters are simple yet clear.
Omega Kids captures the intricacies of human connections. And Jay Stull insured this in his approach of the piece. His work was exceptional to say the least. The two Michaels have a special relationship. Stull unfolds the nature of their friendship slowly and at times sloppily. Yet Stull and Mease makes us believe we know them from the start. And know them well. Stull's vision capitalized on the intimacy. Every beat was intricately active, continuing the narrative through the transitions. His focus on storytelling was careful. Each scene, as they grew closer, how Stull positioned them in the room and in the floor, how they were sitting and where the focus was, each moment was alive. If your heart wasn't beating fast with the late game foot touch, you might not be an owner of a heart. Speaking of, this scene may have been Mease's strongest writing.

photo by Hunter Canning

The power of intimacy was carried through the exquisite technical design. The play was staged literally within a black box. Sitting a level above the cream colored carpeted floors, the space was small yet scenic designer Brian Dudkiewicz made the space feel vast. To help bring personality into this world, lighting designer Scot Gianelli allowed a flow to illuminate from below the rafters and reject off the ceiling. The bursts of color became more prominent, filling the space, as the Michaels grew closer but the second the draw of love broke, the snap of color dissipated and the luster disappear. And that moment was heartbreaking. It's a turn that you hate happened but it's far too real. Not every story can have a happy ending. As you sat in the lobby, an atmospheric drone fills the room. Sound designer Eben Hoffer continues the design into the show with great precision. The atmospheric cues, such as running water, were not stock sounds. They sounded real. When a cue is introduced, like the flushing of a toilet, and it sounds like an effect, it pulls you out and ruins the moment. Though some were superfluous, Hoffer's ability to root his design in reality allowed the authenticity of the universe to feel present.
This play is a celebration of chemistry. Omega Kids would not be what it is unless the pair of actors weren’t as strong. As the Michaels, Fernando Gonzalez and Will Sarratt were extraordinary. As the more dominant of the two, Gonzalez found layers upon layers as the kid with a troubled past. He played things coy with the other Michael yet the slight smile he often brought out told a different story. Opposite him, Sarratt took on the shy kid who comes to life when the conversation revolves around a comic book. The exploration of comfort was a joy to watch. With the story occurring over only a few hours, Sarratt’s Michael ran the gamut of feelings impeccably.
No matter who you are, there is something to relate to in Omega Kids. Noah Mease’s play is nice but vastly elevated by the remarkable direction by Jay Stull. Omega Kids truly is a spellbinding production. To commemorate the show, you get a take home souvenir comic book. If you were touched by the play, glance through the comic book, created by Mease. It’s filled with so much more that adds to the show.

Name: Alexander Sage Oyen

Hometown: Orlando, Florida

Education: University of Minnesota/Guthrie Theater BFA Actor Training Program

Favorite Credits: I played Willy Loman as a 17 year old in high school.

Why theater?: Theatre is the most collaborative art form that I’ve ever found- it gives me the opportunity to meet and work with people from all different mediums and styles of collaboration.

Tell us about DIVA: Live from Hell:DIVA is a musical about a young man named Desmond Channing who takes his role as Drama Club President a little too seriously. When Desmond’s theater school rival Evan Harris muscles in on Desmond’s territory, Desmond takes things into his own hands. Oh, yeah, also Desmond’s dead and the whole thing takes place from a cabaret room in hell.

What inspired you to compose the music for DIVA?: I saw a version of the show as a play at a solo festival and I absolutely fell in love, both with SP Monahan’s incredible writing but also with the idea of crafting an idiosyncratic score to this style of storytelling.

What kind of theater speaks to you? What or who inspires you as an artist?: I like a lot of eclectic art- I find that if any style is being presented in its most authentic manner that I can find something to relate with. I love the fact that I get to see so many stories told in so many different ways.

If you could work with anyone you’ve yet to work with, who would it be?: Tony Kushner but like, obviously, who wouldn’t right?

What show have you recommended to your friends?: Come From Away- it’s a really fun and engaging little musical.

Who would play you in a movie about yourself and what would it be called?: James Franco (as his character from Pineapple Express), “Offer Only.”

If you could go back in time and see any play or musical you missed, what would it be?: I wish I could’ve seen the original Merrily We Roll Along. I wish so desperately.

What’s your biggest guilty pleasure?: Other than Peanut Butter? Oh, were we talking about theatre? Epic modern musicals.

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

What’s up next?: My band, Discount Ghost Stories, will be playing this summer and some other shows are getting some developments!

For more on DIVA: Live from Hell, visit https://www.desmondthediva.com/

By Michael Block

First it was Shakespeare. Ibsen and Chekhov followed after. Even Miller has been reinvented. Now's the time for Tennessee Williams to be redefined on stage. In the latest revival of The Glass Menagerie, the memory play finds itself in modern times. Purists, stay far away. Helmed by Sam Gold, this reinvention brings some incredible new insights into the text yet also veers, at times, unrecognizably too far.
The Glass Menagerie is regarded highly as one of the greatest American plays. And it is. It’s a family drama told through the perspective of Tom Wingfield. It should be remembered that The Glass Menagerie is in fact a memory play. And a memory play can be interpreted as one sees fit. There is wiggle room. But how much until its no longer the play? The production has a modern perspective with nearly blank stage featuring a basic folding table, chairs, and prop shelf curated by scenic designer Andrew Lieberman. To walk into a Broadway house and encounter this minimal set, it’s jarring. There’s nothing lavish about it. You wonder why not stage this production in a more intimate theater. But with near nothing, it allows Williams’ text to take center stage. You hear the words in a new way. And at times, Gold blatantly defies the text. From Amanda yelling at Laura to sit on a non-existent couch in a different room to a distinctly stating it’s time for the lace tablecloth yet it’s anything but. Gold interprets the text a manner that may be confusing but he goes all in with it. But there are some haphazard inconsistencies when it came to staging and defining the rules of his world. It may have taken some time to get into this version of the play. But strip it down to candlelight and Williams' exquisite text, The Glass Menagerie was at its best. Jim and Laura scene was extraordinary. But it lived in another world from the rest of the play. It’s so stripped down that when something fantastical is introduced like the waterworks creating the misty rain of the St. Louis night, it causes confusion. Lighting designer Adam Silverman shined brightest with the usage of the neon sign. In a production of bold moves, the insanely slow fade down of the house lights needed to be deliberate. When the house was fully out felt arbitrary. If this is a memory play designed by Tom, shouldn’t he be the one manipulating the world? Wojciech Dziedzic’s costume design was comfy modern but Dziedzic’s moment of courage was the loud pink dress Amanda puts on. It was a statement piece to say the least. It caused a laugh from the crowd, but was that truly the intent?

photo by Julieta Cervantes

This production was essentially a showcase for Sally Field as Amanda Wingfield. And boy does she know how to work her magic. Despite the flaws of the production, Field gave a dynamic performance. With this casting, Gold highlighted the ladies of the play to create a true examination of the relationship between Amanda and Laura. Rather than living a life vicariously through her daughter, this Amanda was a biting, bitter woman jaded for living a life of care for her handicapped daughter. It was a lens that was beautifully unique. And it’s a shame that the production got the best of it. As Jim, Finn Wittrock is a captivating charmer. He has a genuine goodness that makes his rejection of Laura even more heart shattering. Madison Ferris as Laura held her own amongst her starry scene partners, though with the lack of stage busy work, Ferris got stuck when forced out of the main part of the scene. Joe Mantello as Tom was subtle, shockingly fading into the back. With the focus mostly on Amanda and Laura, Tom’s outburst didn’t land as it should.
The Glass Menagerie is a play that has been done to death and yet there will always be something to explore. Sam Gold’s rendition is stripped down, that if it’s not to your taste, the intermissionless production can be hard to sit through. Gold made a noble risk that unfortunately didn’t pay off this time.

By Kaila M. Stokes

Feeling like you’re living in a world where your voice is not heard? Ever think that our government was never going to take us seriously unless we do something drastic? Should we send a violent message to President Trump? Congratulations, your views align with the Weathermen Underground of the late 1960’s and 1970’s. The Assembly Theater Project presents Home/Sick, directed by Jess Chayes, a play that explores these humans that were once a thorn in the government’s side. Some may call them anarchists, some heroes, but no matter your beliefs - you must be curious how the country let people get to feel so hopeless that violence was the only answer. Although set in the 60’s and 70’s this play is incredibly timely. It deals with the same questions people ask themselves today.
Home/Sick begins with helicopter sounds, actors at microphones trying to rally their angsty crowds, and an overall flood of noise that exposes one’s senses (Sound by Asa Wember). Then there we all are in the bunker of the Weathermen Underground! Six characters are on stage experiencing different levels of commitment and places in their lives, and yet they all ended up together in this one hideout for a cause that will mean the end for some of them. Anna, played by Emily Louise Perkins, is wide-eyed and completely naive to the world. She is the comic relief, often times chiming in when completely unexpected for humor that is welcomed since the topics ring so heavy. Bernard, played by Kate Benson, is the leader of this group. She guides people, fucks people, and overall is one of the people that allowed the Weathermen Underground to be as successful as they were even if it was short-lived. Paul, played by Luke Harlan, is a nervous-nelly and has a conscious greater than most of the others. His reasons for being there are very different from everyone else’s which ultimately allows him to break away before the group's demise. Tommy, played by Ben Beckley, was the playboy anarchist of the group. He had a knack for speaking to the public, but was not on-board with most of the violence that occurred. Kathy and David, played by Anna Abhau Elliott and Edward Bauer, were similar in that they had let their rage and conviction for “the cause” completely overtake them. It became about ego, which led to their fall. The entire cast was a unit, not one weak link. Their passion was so clear and appreciated by the audience. This may be because the cast were also the writers of this passion project.

photo by Nick Benacerraf

The story told was very interesting and dynamic, it had many great ideas! But in that, there were at times too many ideas. The play was very focused on the timeline of events, so the development of the characters suffered. Each character starts out all in with “the cause” and then slowly some become unhinged because of it and some simply don’t believe anymore. Because the events were being focused on, that transition got lost and happens a little too quickly on stage. As an audience member, you were invested in these characters and wanted to know when they shifted.
One of the most interesting parts of the show, was when each actor broke character and spoke into a microphone about why this story was important to them and how they got involved - this part was audience interactive. It made the audience feel like they were involved and had a place in the story as well. This was an idea that worked. The show is very long and there are places that could be buttoned-up a bit. The first act flowed well, but the second act drags. It would have been great if the first act held all of the events, then the second act was the unraveling of the Weathermen Underground and each of the characters. This would have given the story more of an arc and well-rounded feeling. It would have also allowed some of the unnecessary moments to be cut/edited down.
The set was created throughout the show which was visually stunning. Must have been awful for the stage manager (Anna Engelsman), but as an audience member to see the chaos created more and more throughout made it feel tangible. It was quite impressive that they made the entire space into their giant canvas. Home/Sick is an important piece to see, it really rings true with today’s society, unfortunately. The audience was full of both old and young - but their was a cohesiveness because the passion of the writers jumped out into the audience. Home/Sick is highly recommended even in it’s flaws, it is too relatable not to see.

By Michael Block

John Cage was an American composer, music theorist, writer, philosopher, and artist. He seemed like the perfect subject for a work of theatrical art. Presented by Abingdon Theatre Company, SITI Company’s Chess Match No. 5 finds the world of John Cage live on stage. Conceived and directed by Anne Bogart and text arrangement by Jocelyn Clarke, Chess Match No. 5 maintains your attention for some time until it just becomes a superfluous examination of what else can be thrown at the wall.

photo by Maria Baranova

Adventurous to say the least, Chess Match No. 5 brings the words of John Cage to the stage in an array of movements to create a grand symphony of music, dance, and conversation. An exploratory work of art, Chess Match No. 5 is most exciting when it comes to the theatrical vision rather than the content of the material. If you’re not a Cage aficionado, you’re likely lost. Trying to ingest the words and make sense of them in the grand scheme of the piece is like finding a needle in a haystack. But if you open your mind to the nearly five senses production, there’s something to take away from Chess Match No. 5. But no matter what, it went on a little too long. Anne Bogart ensures the specificity of her work in this piece. Bogart maintains a consistency in theatrical vocabulary in her staging. When the door opens, the sounds of the world flood in. The chess match is riveting each time the pair plays. We find the musicality of everyday objects as a highlight in the piece. It’s easy to appreciate the individual moments but as a whole composition, Chess Match No. 5 is sadly unsatisfying.
If the experimental elements of SITI Company is not for you, the production design will keep you enthralled at least. This piece cannot exist without sound. And the sound design from Darron L. West is out of this world. Between the placement of microphones to the incorporation of atmospheric sounds, West’s design is just another example of how important sound is to live theater. Pairing it with Brian H. Scott’s lighting design, Anne Bogart told a story in this art piece. Scott introduces the audience into his light show by dousing the big bright open stage in light when the house opens. At first, it may be a bit much. Scott used the various exposed bulbs regularly as the focal point of light but when he brings in the colors, Chess Match No. 5 becomes more stimulating. But those moments are far and few between simply due to the structure of the narrative. Bogart and scenic designer James Schuette strategically placed every piece of random furniture on the open stage. And yet with only two performers, Will Bond and Elle Lauren got trapped at times.
Chess Match No. 5 is fun for the first five minutes. Then it seems to drag on and on. Having an appreciation for SITI Company and John Cage is nearly essential for this show to be invigorating.

Name: Edward Heinemann

Hometown: Philadelphia, PA

Education: Coker College B.S. Psychology Minor in Theatre Arts; Two Year Conservatory Program The Lee Strasberg Theatre and Film Institute (NYC)

Select Credits: Metamorphoses (Orpheus, Dir Kindra Steenerson, Coker College), Dog Sees God (Van, Dir Patrick B. Doughty, Coker College), Balm in Gilead (Tim, Dir Jenna Worsham, The Lee Strasberg Institute

Why theater?: There is just something exhilarating about performing in front of a live audience, that you cant get anywhere else.

Who do you play in The Last Days of Judas Iscariot?: The Bailiff and Simon The Zealot

Tell us about The Last Days of Judas Iscariot: Stephen Aldy Guirgis' plays are always so hard to label into one genre because they are very charming with comedic moments, but always end up ripping your heart out. However, The Last Days of Judas Iscariot is a courtroom drama that has Judas Iscariot on trial, in purgatory, to see if he is going to Heaven or Hell.

What kind of theater speaks to you?: Geoffrey Horne, one of my many lovely teachers I've had in my life, once said that a good play is meant to show you a piece of the human experience that you wouldn't know about unless you saw that play. Thats what kind of Theatre speaks to me.

Any roles you’re dying to play?: Cliff from William Mastrosimone's The Woolgatherer and Doug From Rajiv Joseph's Gruesome Playground Injuries

What’s your favorite showtune?:"Popular" from Wicked

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

Who would play you in a movie about yourself and what would it be called?: Im going to have to call an "8 Mile" on this one and say I'd have to play myself.

If you could go back in time and see any play or musical you missed, what would it be?: The original production of A Raisin in The Sun with Sidney Poitier as Walter Lee.

What show have you recommended to your friends?: I haven't really recommended anyone to see anything because Im broke.

What’s your biggest guilty pleasure?: Pickles. Ill eat a whole jar in one sitting and drink all the brine in the jar.

What’s up next?: Rhapsody Collective at The Tank, May 18th, 20th and 21st!

By Michael Block

Once upon a time on RuPaul's Drag Race season 7, Kennedy Davenport roared her way to victory by eliminating fan goddess Katya in an epic lip sync. Based on the ridiculous challenges and "the edit", losing Katya was devastating simply because we watched more of her story than Kennedy's. We didn't see her in her prime. But boy did she make up for it in The Gospel According to...Kennedy Davenport.

photo by Michael Block

Turning the lounge vibe of the Laurie Beechman into a house of worship, Kennedy Davenport takes you to church. A celebration of classic tunes and personal stories, assisted by pianists to the Drag Stars Christopher Hamblin, Kennedy Davenport makes a wondrous New York City solo cabaret debut. Beginning the night with Hamblin tickling the ivories with "Try to Remember" leading into the Babs standard "The Way We Were," this was one of those nights where you should expect the unexpected. Kennedy recounts the times prior to her appearance on Drag Race in a very religious world while exploring the list of substance abuse and depression, Kennedy is eager to share and get these stories off her chest. She dove deep to tell her personal experiences, offering her emotions to beautifully take over. With such weighty material, the show does get a reprieve from the ballad heavy score with "Tooty Fruity", an ode to her Snatch Game character Little Richard. For someone who experienced such hardships, Kennedy ensured a message of hope filled the room. Even as she rambled on, motivation was at the forefront. Capping off the night, Jekyll and Hyde's "This is the Moment" seemed like an odd pick but it made complete sense in context. The message within is fitting. From a structure perspective, the piece had a good flow, keeping things chronological. As a performer, Kennedy Davenport is a pageant queen and the epitome of diva. Just look at that stunner of a dress that was too hot for daytime.
We may not have seen her dance, but she made up for it through story and song. It's likely that the Beechman can't handle her moves. No matter what, The Gospel According to…Kennedy Davenport was spectacular. This is just another example of a Drag Race queen getting to showcase the rest of herself in an intimate setting. Beg Kennedy Davenport for a return engagement.

By Michael Block

A year since her appearance on the eighth season of RuPaul's Drag Race, Cynthia Lee Fontaine returns to the Laurie Beechman Theater with Cynthia Lee Fontaine’s More intimate CuCu Confessions. Sharing stories from her past, both naughty and nice, Cynthia Lee Fontaine is a personality like no other.

photo by Michael Block

A reimagined of her original solo cabaret, Cynthia Lee Fontaine’s More Intimate CuCu Confessions marries music, storytelling, and comedy in an hour-long celebration of love and life. Looking stunning in a flashy gown, Cynthia Lee, and her CuCu, was nothing but real. Incorporating some new material with bits from her original show, Cynthia Lee Fontaine’s More Intimate CuCu Confessions. is well on its way. Since it’s last incarnation, the show has evolved. She still shares her intimate moments, including growing up abroad, the influential parental figures in life, as well as her bout with cancer, which she proudly revealed she is now cancer free! And it wouldn’t be a CuCu confession without the origin story to her signature catch phrase. The new addition to the show is her stand up bit. Stand up you ask? Well Cynthia Lee Fontaine is hilarious, intentionally and not! Her set included a bit about waiting for a plane, sitting her CuCu with herpes and how not fun an experience that is. Coming from a Miss Congeniality, it seems like a whacky story, but she’s crazy at heart! Vocally, Cynthia shows off her range by singing Latin standards as well as a tribute to the Pulse Orlando victims in “Wishing You Were Somehow Here Again” from The Phantom of the Opera. She has a natural rasp in her tone that sets her a part.
Cynthia Lee Fontain is an effervescent performer. Her piece may still need a shine but when you have a personality like hers, you can forgive the flaws. The more she puts the show up in front of an adoring audience, the more comfortable she will get.

Name: Chris O'Connor

Hometown: Cedar Falls, Iowa

Education: BFA in acting from Carnegie-Mellon University; MFA in directing from Rutgers University

Favorite Credits: Recent favorites for acting: George in Billy Elliot at Maltz Jupiter Theatre and Art at Mile Square Theatre. Directing: Circle Mirror Transformation at MST.

Why theater?: I’m completely inspired by the magic of theatre. The idea that people will agree to enter a darkened room together and engage in a ritual of belief is truly beautiful to me. I’m proud to be a member of the theatre community and thrilled to have a venue that is a platform for theatre-making.

Tell us about Mile Square Theatre: We have a new space, which we opened in April 2016. We are a professional non-profit theatre modeled as a regional theatre, so we have a broad mission. We produce a broad range of theatrical styles and genres; the classics, contemporary drama, new works, and are committed to producing theatre for young audiences. Last year we did our first premiere, Joseph Gallo’s Long Gone Daddy, and this year we are producing Erin Mallon’s new play The Net Will Appear. Most of us are teaching artists as well, so we have a strong thrust as an educational organization. We offer classes at our space and we are doing a lot of work with the local schools.

What inspired you to create Mile Square Theatre?: I started MST in 2003 (while getting my MFA in directing at Rutgers) because I saw a need for art and theatre in Hoboken and Hudson County. I found it strange that there was no professional theatre on this side of the Hudson, yet just a river crossing away was arguably the greatest theatre city in the world. I wanted to create an arts organization that had a cultural impact on its community.

Why is theater in Hoboken important?: I’ve lived here for 20 years and I love this city. Like any city, having a rich arts environment and cultural landscape is key to its quality of life. Theatre has a unique way of engaging with the community; it involves a lot of people, it gets people talking, it can educate, and when you have a venue, the impact is multiplied because it gives a platform for other artists and events. It also spurs economic development. It’s great for business!

What kind of theater speaks to you? What or who inspires you as an artist?: I love so many forms of theatre. I do want to be moved when I go to the theatre. I want the visceral punch of feeling the emotional depth of performance. I was blown away by Ivo Van Hove’s A View from the Bridge recently. The raw emotion of that piece was not only in the actors but in the brilliant design. There was spectacle in that, but I can be just as satisfied by seeing a pair of actors alone on stage. It’s inspiring to know that you can work with what you have and make moving work.

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

What show have you recommended to your friends?: Recently, I saw The Skin of Our Teeth at Theatre for New Audience. It was a beautiful production of a fascinating play that continues to have relevance, particularly now. I recommended it to friends and to my directing students.

Who would play you in a movie about yourself and what would it be called?: Hugh Jackman, of course. “Hugh Jackman in O’Connor’s Folly"

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

What’s your biggest guilty pleasure?: My very boring answer is basketball. I love to play and I love to watch it.

If you weren’t working in theater, you would be _____?: A struggling musician!

What’s up next?: I’m directing Betrayal by Harold Pinter at Mile Square Theatre

For more on Mile Square Theatre, visit www.milesquaretheatre.org

Today's Block Talk features Rafa Reyes, the creator and performer of A Mexican Affair, a cabaret at The Metropolitan Room on April 8th and 20th!

For more on A Mexican Affair, visit http://www.convergencescollective.org/a-mexican-affair.html

To listen to the episode, visit iTunes or Soundcloud. And don't forget to subscribe so you'll never miss one!

Don't forget to visit our Patreon page at patreon.com/theaterinthenow to learn the benefits of becoming a patron!

By Ed Malin

In a world of crooks and unscrupulous press, imagine you are a broke theater producer itching to put on a production of The Threepenny Opera (that classic show about thieves). Grand Theft Musical uses high and low comedy to address themes of love, musical theater envy, and crime. The tap dancing such a proposition implies comes from the work of the late famous Chicago theatrician Robert Sickinger (specifically his 1994 work Platinum Taps), transformed and rewritten by director and collaborator Lissa Moira, with John Taylor Thomas’s compositions and the usual dream team of performers.
Back in one of the golden ages of Broadway, William Gandolph Furst (William Broderick) is a lovable villain, also known as “the Worm”, who breaks his victim just as he breaks stories in his newspaper. He has a stable of lovers (both female and queen) who ferret out news for the dirty rat. Meanwhile, there’s a good girl, sort of, named Shoshana (Becca Gottlieb) whose stage name is “Sugar Cohen”. Jacks Bagelman (Jonathan Fox Powers) is the producer who loves Sugar Cohen, but ow can he marry the dear until he makes a pile of money? While Sherry, a.k.a. dazzlingly blonde Inger (Bevin Bell Hall) spies for Furst, Jacks gathers his associates, Arnold “Benny” Benedict (Robert Homeyer) and the larger-than-life Russian émigré director-type Misha Goss (David F. Slone, Esq.) to create a surefire theatrical cash cow. This would be a good time to point out that “mishigas” (see: Misha Goss) is Yiddish for “craziness”, and that’s what these schemers—who namedrops a certain Bialystock (of The Producers fame)—deliver. Also, Jacks’s office is full of posters (Oklahoma!, South Pacific, Camelot) which lend their plot-twists to the pretzel-logic of the musical-within-the-musical. However, there is much of the unique within the show’s two ironic, comedic acts.

When you hear an Ashkenazic-inflected arrangement of the Tarantella, you will soon see the mafia appear. Jacks wants local mobster Don Mangemore (Jef Cant3r) to bankroll the likely flop, written by the rather green and idealistic Ernest Roseglass (James Parks). The moolah comes with compulsory casting of the Don’s relative, Gino Raftino (Alex Hayden Miller), who’s returned from studying in, of course, Oklahoma. The new show is choreographed by the flamboyant Sammy Song (Darius-Anthony Robinson), who is also with the Worm. Some of the star power comes from the hesitant Deborah Downs (Kayleigh Shuler). When she sobs to her director, he exclaims, “Are you acting? Even Misha can’t tell!” She replies “Neother can I. That’s what’s so frightening.” And then it gets that much more like Anything Goes when the two British stars, Sir Guy Loverly (Douglas MacDonnell) and his wife Lady Lily Loverly (Shana Farr) disembark. These two have a jolly good time romancing everyone in the cast, even Ernest and Deborah, who had just managed to fall in love with each other a minute before. The thrust of the play (which takes place in front of an art-deco phallic skyscraper mosaic, designed by Mark Marcante and Lytza Colon) is a musical pep-talk by Sir Guy, who wears a caped superhero outfit and calls himself Mighty Voice. Sounding a bit like Might Mouse, Sir Guy counsels some recognizable, forlorn musical theater characters. People might indeed say they’re in love, and every day can’t be your Camelot, but if you carefully teach yourself to believe in yourself, that would be a great start. Lo and behold, the rest of the cast falls in love with its better halves, and the show makes bank. Don Mangemore, tipped off by the Worm’s media whores, steps in to punish “traitors” such as Arnold Benedict; the victim takes a bullet to the chest but his Grandma’s Bible in his pocket spares his life. As the show goes on, the only without a love interest is poor, incarcerated Don Mangemore. However, he is in a gourmet prison where he can hang out with all the boys.
This lovely, full-length musical has something for everyone. Fans of the American songbook will enjoy all the inside jokes. Sexual innuendo abounds, as well. Musical Director Andy Peterson keeps the show’s 24 musical numbers rolling along, and a team of choreographers (J. Allan Hanna, Carlos Gomez, Mallory Brophy and Alex Hayden Miller) provide classy tap-dancing for Gino and many swoonable moments for the ensemble. A lot of love for the genre and for the late Sickinger went into this production, which has been getting packed houses. You will probably want to see what all the commotion is about.

Name: Gabriel Vasquez

Hometown: New York City

Education: SUNY Purchase

Favorite Credits: Sweeping the floor at the Performing Garage.

Why theater?: Because it’s the weirdest art form! I always feel funny about thinking that but it’s really how I feel. I was about to say something about how it’s happening right in front of you, but that’s also the reason theater is so sloppy and bizarre. There is so much pretending going on and not many options for masking it. And while it is physically happening in front of you, the spontaneity was very likely sucked out in a long rehearsal process. AND even though it was rehearsed for ages, it’s impossible to make people look exactly where you want them to. You also can’t hide the light plot or any of the other things that remind you it’s a play.The list goes on. So maybe I’m a masochist, but figuring out how get around those issues and be honest about this fake thing I’m making is the most exciting thing in the world. It’s a goofy, funny way of telling stories that requires creativity and a sense of humor. And it reminds me that I like people.

Tell us about What Makes Us Feel Good: Well, first of all, it’s a true story. Sort of. The show follows William Bradford Bishop’s quest for masculine freedom after murdering his family and is chronicled by a group of actors in the form of a children’s show. Joined by his loyal friends, Johnny the Cow and Mrs. Teapot, they seek a place where they won’t be plagued by negative feelings. Simultaneously, the actors portraying these roles try to get through the show without voicing their deepest personal secrets. The demonic talkback looms from the background. A life sized squirrel appears.

What inspired you to direct What Makes Us Feel Good?: I have been absolutely obsessed with this piece since I read an early draft about two years ago. My mouth has actually watered at the idea of directing this since 2015. The playwright Brett and I work together often, so when the Tank showed interest in the piece, it seemed natural that I'd direct it. This is the first time this show is going to be on its feet, so it’s a chance to test it out before potentially doing a longer run.

What kind of theater speaks to you? What or who inspires you as an artist?: I like work that is wild and unapologetic. I always want more of whatever it is you’re dishing out. I can’t think of a single instance where I thought a play went “too far”. And dancing. I think every play should have dancing. A selected list of companies I have found to be inspirational: Elevator Repair Service, Little Lord, Nightdrive, The Rude Mechs, Title:Point, Radiohole, Forced Entertainment. Things in life I find inspirational: failure, trash tv, Lifetime movies, the B-52s, Jordan Tannahill’s book “Theater of the Unimpressed”, YouTube binges.

If you could work with anyone you’ve yet to work with, who would it be?: I’ve never told anyone this before, but I sometimes fantasize about collaborating with Mark Mothersbaugh on musical about his theory of devolution.

What show have you recommended to your friends?: I told everyone to see Frontiéres san Frontières at the Bushwick Starr. I also thought Sam Gold's The Glass Menagerie was exquisite.

Who would play you in a movie about yourself and what would it be called?: One time a very drunk girl told me I looked like John Mayor, which I found hilarious. So I think I would have John Mayor play me in a movie called “One Time a Very Drunk Girl Told Me I Looked Like John Mayor, Which I Found Hilarious”.

If you could go back in time and see any play or musical you missed, what would it be?: I’d go back to 1966 to see the America Hurrah trilogy at LaMama. Or 1984 to see the Wooster Group’s L.S.D. (...just the high points).

What’s your biggest guilty pleasure?: The Food Network and cherry coke zero.

If you weren’t working in theater, you would be____?: an accountant, according to my mother.

What’s up next?: What Makes Us Feel Good in April, a one-act with Rhapsody Collective in May, and a residency at The Drama League to develop Such A Tragedy over the summer.

For more on What Makes Us Feel Good, visit http://www.thetanknyc.org/theater/708-what-makes-us-feel-good/ and https://www.facebook.com/events/1290007511091460/

Review: The Rabbit Hole of Addiction

Review: An Unsatisfying Night

Spotlight On...Taylor Frey

Review: Familiar Divide

Spotlight On...Darcy Dunn

Block Talk- Episode 12- Sean Patrick Monahan

Review: Millennial Theater for Millennial Audiences

Spotlight On...Sarah Beth Pfeifer

Review: The Beauty of Intimacy

Spotlight On...Alexander Sage Oyen

Review: A Real Unicorn

Review: The Past Echoes the Present

Review: Pawn Down

Spotlight On...Edward Heinemann

Review: This is the Moment for Kennedy Davenport

Review: Cynthia Lee Fontaine Gets Real

Spotlight On...Chris O'Connor

Block Talk- Episode 13- Rafa Reyes

Review: Dancing Can Save Your Life

Spotlight On...Gabriel Vasquez