Theater in the Now

By Michael Block

When I was a kid, I distinctly remember a store called Motophoto. It was a photo development shop. There were a few of these stores in our area. I remember the excitement of going after vacations or events to get hard copies of our memories. But as time went on and technology evolved, this store disappeared like a whisper in the wind. In Eat Drink Tell Your Friends'Photo & Supply, a similar shop is on the verge of closing its doors set against the backdrop of a changing society.

photo by Chani Bock

As part of The Tank's Flint and Tinder series, this experimental work from Eat Drink Tell Your Friends is a surrealistic puppet show about closing up shop and the sense of community that this one place brought as time and people change. If you go in blind to Photo & Supply, you'll be bound to get lost and have to play a game of catch up. With no dialogue, well comprehensible dialogue that is, this story is told entirely through physical puppetry and some sound and music accompaniment. Directed by Andy Manjuck, Photo & Supply is on its way to being something worthwhile. The vantage in which they're telling this story is unique. But there were some faults and flaws that pulled the show backward. First and foremost, the Eat Drink Tell Your Friends team did a commendable job in the space. You must be able to get rid of belief to fully engage with this piece. But the lighting and scenic design occasionally forced the illusion to break. The unfortunate light leak that seeped over or the ability to see the body despite the attempt to go pitch black in the back, even having to walk in front of the puppet platforms sadly affected the overall aesthetic. But the vision Manjuck brought displays great hope when the execution in the entirety of the elements can be achieved. Puppets and shadow work were at the forefront of the piece. When you have no words to tell the story, there needs to be some sort of soundscape to subside. Just look at the hit The Woodsman. But there were many silent beats. Sure, there is a power in silence if it's earned. There needed to be more of an underscore pop, whether it was from sound effects or music. This isn't a show to play on mute. There was daring craftsmanship but the puppets lacked a common vocabulary as they each seemed to live in a different world. The puppeteers ability to concoct this story through limitations was strong, especially with the central puppet Phyllis. It was her story and her physicality was compelling, even if tedious. Infusing a less passive activity into her could help the momentum. The best puppet of the bunch was the red dog. Talk about coming to life. If that personality matched the rest of the show, Photo & Supply could be next level.
Photo & Supply is a great example of the courageous work that comes through the Flint & Tinder series at The Tank. But this one wasn’t as polished as it could have been. Keep your eye out for the next incarnation as Eat Drink Tell Your Friends has a unique perspective in storytelling.

By Michael Block

The world is filled with talented people. But sometimes those talented people don't get "discovered." All it takes is one tweet that can pave the way to future stardom. The girls of Siren made a music video of RuPaul's "Sissy That Walk" to pay tribute to the icon. Mama Ru tweeted out a response that is now their pull-quote pride and joy. And from there, Siren was on the map. Drag Race queens gave them some Twitter love. They even got invited by the stars themselves to play and open for them. I "discovered" them after they stole the show at Mimi Imfurst's Britney Spears Tribute show. And that rightly lead to a headlining gig at the Laurie Beechman called Can We Get An Amen: The RuMixes.

photo by Michael Block

An homage to the queens and the moments that make RuPaul's Drag Race special, Can We Get An Amen: the RuMixes is a showcase that celebrates the dazzling musicality and imagination of Siren. Comprised of Colleen Harris, Lindsay Morgan, and Shanna Sharp, Siren reimagines pop tunes through a country lens. Whether country is your cup of tea, what makes these girls special is their astonishing artistry, powerhouse vocals, and ability to arrange the music in a way that, often, made the song better. With a Drag Race centric night of music, the girls shared stories of their favorite moments and queens that directly tied into the songs. The set list didn't entirely comprise of RuPaul and contestant songs. If you wondered how numbers from the likes of Katy Perry and Ariana Grande made the night, they were loving Ru-demptions for Alyssa Edwards and Tatiana in their abysmal showings in their respective Snatch Games. But if you came for the Ru and girls songs, they weren't in short supply. With covers including hits by Jinkx Monsoon, Courtney Act, and Adore Delano, plus spoof hits like “Chow Down (at Chik-fil-a)” made famous by Willam, Detox, and Vicky Vox, it was the brightly poppy reimagining of Alaska's "Your Make Up is Terrible" (which sounded eerily similar to “Everything is Awesome”, which is awesome) and the Andrew Sisters inspired "Purse First" by Bob the Drag Queen that got the crowd gagging. These two numbers also highlighted just how ridiculously silly some club hits are. I'm looking at you Ms. the Drag Queen! Keeping the night in near chronological order from the birth of RuPaul through the history of the seasons, capping it off with a Lady Gaga season 9 tribute, Siren knew how to put on a complete show. If you looked over toward the side of the stage, you noticed a shrine to Ru. It would have been nice to incorporate it into the night a bit. If it's there, acknowledge it. Beyond their ability to belt the house down with their three-part harmony, they each have a personality that is magnetic. This isn't Destiny's Child. There's no hierarchy. They are a trio of equals.
If you missed Can We Get An Amen: The RuMixes, you missed out. The moral of the story is, come for the tunes, stay for the pipes. You best get to a Siren gig before they snatch their ticket to stardom and you miss your chance.

By Michael Block

High school is hard but in the era of evolving technology and the power of social media, it seems to get even harder. But what hasn't changed is the presence of the bully. The bully has now had the ability to turn into the cyber bully. This is the backdrop Adam Szymkowicz sets his play Rare Birds. Produced by The Red Fern Theatre Company, the troubled, offbeat kid is forced into a difficult decision after a video goes viral around the school and his bully literally puts a gun in his hands.
Evan is a little bit different. He has a fascination with birds that no one seems to understand. He has a crush on someone who barely sees him. His dad left his mom and him alone. His mom is eager to find love again. And Evan challenges every single guy who walks through the door. Evan is trying to handle it all and his life just seems to be spiraling out of control. If Adam Szymkowicz's story sounds familiar it's because it, well, is. Stories like this have been nearly exploited in media. But that's not necessarily a bad thing. If it's done well. Rare Birds is one of those middle of the road shows. Szymkowicz doesn't offer a new perspective in the theme. For the most part, the plot is predictable. The characters fit into common stereotypes. The play is essentially told through the perspective of the victim and, whether it was the text or characterization, or some combination of the two, Evan isn't a completely sympathetic character. Yes, you sympathize with the situation but Evan is a challenging person. He is a lost soul in a way that defies the help that's offered to him. We never see him ask for solace from the bullies. Could it have backfired? Yes. But in a story, that complication is necessary for Evan's journey. Even when there is a moment to tell his mother about his problems, she is completely oblivious, not even noticing her own son bloodied after a beating by the bullies. Is this because she may have a drinking problem? It's possible but it's never addressed. And when it comes to layering Dylan the bully, he's presented as a one-dimensional antagonist whose only nuance is potentially being a homophobic closet case. Again, nothing novel. Cyber bullying is a current topic but Rare Birds feels falsely dated.

photo by Billy Thompkins

We see hints of humor in Szymkowicz's text but the audience never seemed to be invited to laugh. Director Scott Eberold needed to somehow infuse more humor at the start to avoid the weighty topic becoming too overwhelming. There were hits of comedy in Szymkowicz’s writing, especially when combined with the hutzpah of Evan, but the audience didn’t seem to get an invitation to laugh.
There was an aura of classic sensibility in the story, reminiscent of a Greek tragedy where everything is heightened. Scott Ebersold attempted to bring the high stakes nature of the world into today. When it came to bringing this world to life, Scott Ebersold managed to retain reality despite. The vastness of the 14th Street Y Theater wasn’t a challenge for scenic designer Andrew Mannion. The focal point of Mannion’s design was Evan’s bedroom featuring birds a-plenty. The way Mannion created Evan’s world allowed more insight into Evan but when it comes to being nitpicky, the placement of the door handle was a bit of a hindrance when it came to actors unable to find it in the heat of the moment. With the play being a multi-location piece, Mannion used the extremes of the stage for a set of lockers and a dining set on either side. Thankfully they didn’t pull focus as much as the painted backdrop that housed the lagged videos. Izzy Fields’ curating of the costumes was interesting. She was pigeonholed, pun intended, when it came to Evan’s attire, but once again, a narrative was provided in the looks for the bully and his sidekick Dylan and Mike. They somehow managed to read as bad 80s bully.
This was Evan’s story. And boy did he have a journey. Trying to find a way to portray the victim in a new light is difficult. Jake Glassman was heavy in the hysterics as Evan in hopes of finding the funny. It read as something different thanks to the text. Glassman is a charismatic performer, it just didn’t connect to this particular journey. As his mother, Tracey Gilbert made Janet the “over-it” mother who comes to the rescue a little too late. Difficult characters was the trend in Rare Birds. Dylan’s plot twist was clear from the start simply due to being a step ahead. George Colligan tried not to play into that hand.
Rare Birds is a play that thrives on the emotional content. It unfortunately begged too hard for it. With Chekhov’s gun on the mind, it was just a waiting game to see how it was going to be executed.

By Michael Block

The evolution of a script is not something we all are privy to. Rarely do you get the treat of tracing a script through development. Diva is one that I've watched grow from little solo play at United Solo to flashy production at Theater for the New City. With book and characters by Sean Patrick Monahan and music and lyrics by Alexander Sage Oyen, Diva: Live From Hell is the quintessential show for musical theater lovers.

photo by Russ Rowland

Hopefully not inspired by a true story, Diva: Live From Hell let's the titular character, Desmond Channing, have a hell-ish cabaret as he recants the tale that sent him to hell. Taking on the key characters in the narrative, Desmond is destined to share his story with his Hell-mates, the audience. Desmond recants his time as a teenage diva when his life is turned upside down when a new kid, with a fabulous resume, intrudes on his drama club and their fall production of the public domain friendly The Pirates of Penzance. A tale of jealousy and revenge, Diva: Live From Hell is a musical for the theater kid at heart. Through the development of the piece, the structure of the show has evolved. Originally told as Desmond’s final story before his date with the electric chair, the first big change was the introduction of musical numbers. Written by Alexander Sage Oyen, the score fits Monahan’s world dreamily. With odes to the Golden Age, jazzy lounge numbers, and some exquisite showstoppers, Sage Oyen has brought new vivacity to Monahan’s colorful characters. If “How’s the Show” doesn’t get stuck in your head, you likely lack a pulse. The biggest change to Monahan’s story is Desmond is no longer waiting for death. He’s dead. He’s in hell and really has no clue why. His new “death” sentence is performing his greatest act in cabaret form for eternity. We’re granted the performance where he starts to break down for us. With a new location, the slightly new structure allowed for a more personal experience for Desmond where he literally gets to perform for an audience. There’s an inherent ability to interact, feeding off of the energy from the audience. With the content filled with insider jabs and recurring jokes, the cabaret environment is right for Desmond and Monahan. But no cabaret should ever begin without a musical number. Diva: Live From Hell did not, sadly. After a brief musical introduction and a telling sound cue, Desmond reluctantly walks on stage and spews out a monologue of disdain, spoiling why he was sent to hell. We learn that this is way deep into his performance run, outlasting even the longest running Broadway musicals, but the reality is that this is our first introduction to Desmond’s cabaret. The spoiler-heavy monologue virtually lowers the stakes within the story as we’re pretty much aware what he did to his rival, Evan Harris. Perhaps switching the order and giving less of a lead-in could be beneficial to the cabaret. That being said, the newfound hints of jealousy and denial that monologue throws in between Desmond and Evan builds that relationship exceedingly. The Desmond vs. Evan love and attention death match is truly one for the ages. This show would not be possible for the brilliance that is Sean Patrick Monahan. Both as a performer and writer, he has a strong ability to paint the players. They may be over the top but they are genuine and accessible. As a performer, Monahan is transformative. He has a magnetic allure that draws you into his world.
Director Daniel Goldstein helped guide Monahan and his characters through hell and back. Goldstein kept the tempo snappy and the audience on their toes. Desmond is a naturally comical person but he doesn’t necessarily find his situation comical. And that’s where the humor shines. There’s a newfound moment of vulnerability for Desmond in his arc. And Goldstein has Desmond strip away to reveal his vulnerability. Literally. And it felt completely out of character. Rather than expose a new side of the character, you were left wondering why. With a lounge in hell, ambiance was integral. The scenic design from Dan Geggatt and Caitlyn Murphy was perfect for Desmond. This diva needed her stage and her runway and he got it. With headshots and photos through the ages, red string lights, and cabaret tables galore, the smoky lounge was elevated even further through the pristine lighting from Paige Seber. It all came down to color and the blues and reds worked wonders. Tyler Kieffer maintained the feeling of hell by incorporating the crackling embers at moments. Perfectly placed echoes helped Desmond transform into storytelling flashbacks but the school “bell” wanted to be a little more universal and less buzzy. Desmond would not be Desmond without the flashiest of flashy outfits. The shiny suit and bowtie matched the character. It was a great choice by costume designer Tilly Grimes.
Diva: Live From Hell is a theater lover’s dream. If you find yourself asking if you have a little Desmond Channing in you, it’s totally ok. Just hopefully it’s not the psychopath part of him. The journey for Diva: Live From Hell is far from over. Desmond Channing has a lot more show in him.

In today's episode of Block Talk, I sat down with Pop Punk High's Ben Lapidus (music) and Turner Barrett Law (director)!

For more on Pop Punk High, visit https://thepit-nyc.com/event/2017-04-07-pop-punk-high

To listen to the episode, visit iTunes or Soundcloud, and don't forget to subscribe to never miss an episode!

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Name: Lowell Byers

Hometown: Chappaqua, NY

Education: Denison University BA, Old Globe/USD MFA

Favorite Credits: Title role in Pericles (Old Globe), Sergeant Trotter in The Mousetrap (Alabama Shakespeare Festival), Thurio in Two Gentleman of Verona (Old Globe)

Why theater?: You just can't beat the thrill of a live performance. It's a chance for the cast and audience to be living and breathing in the same room together and just live in that current moment.

What inspired you to write and perform in Luft Gangster?: As a writer, I just felt the story had to be shared. It delivers what I believe is an incredibly inspirational message that one can never lose hope, in spite of being faced with insurmountable odds. Coming from an athletic background myself, these are the stories that I am most drawn to. As an actor, there is nothing more powerful than interviewing the actual individual you are playing. When I traveled down to South Carolina to interview my cousin face to face and see the look in his eyes when he was reliving some of these moments, I felt compelled to take on his role.

What kind of theater speaks to you? What or who inspires you as an artist?: I love a good play in a black box. One where the actors are telling the story and can successfully immerse the audience into their world. Some of my favorite productions are those with a minimal set, maybe a few chairs and props which is what I love about Austin Pendleton's vision for Luft Gangster. I had a chance to see a production of Coriolanus in London two years ago at the Donmar Warehouse which incorporated a minimalist theatricality and was massively successful.

If you could work with anyone you’ve yet to work with, who would it be?: I love working with veteran actors. They always seem to know how to encourage productivity in the rehearsal room which I think is extremely important. As a theater actor, it's important to know when to lighten the mood, and when to get down to work. I had a chance to work with Hal Linden while playing the guard in The Twenty-Seventh Man at the Old Globe two years ago. He celebrated his 84th birthday during our run, and he was a guy who had seen it all. I would love to work with John Lithgow. I have tremendous respect for his theatrical and cinematic work. He is an intelligent actor who always does incredible work.

What show have you recommended to your friends?: I loved seeing The Humans on Broadway. In my opinion, it wasn't anything too fancy other than a great script with a great group of actors. We need more original work in today's theatre and this was it.

Who would play you in a movie about yourself and what would it be called?:"I'm not that serious". Even though I come off somewhat stern, secretly, I love to goof around. I love a good goofy comedy and love to laugh.

If you could go back in time and see any play or musical you missed, what would it be?: I'm a big fan of Arthur Miller and never made it out to see Death of a Salesman. I tried to go later in the run and tickets were sold out. From what I hear, it was an amazing production. And of course, the industry lost two of the greats in the recent passing of Phillip Seymour Hoffman and Mike Nichols.

What’s your biggest guilty pleasure?: Junk food and sweets. Who doesn't right? I have a sweet tooth and love to visit the old fashioned bulk candy stores.

If you weren’t working in theater, you would be _____?: I love to cook. I learned various greek recipes from my grandfather who was born in Greece. Stuffed peppers and eggplant dip are my two favorites and family recipes from my great grandmother. That is always my comfort food.

What’s up next?: I'm collaborating with my partner in Cloverleaf and we are currently writing a web series together that is scheduled to shoot later this year. Other than that, I'm working on my next original play which was based on my graduate school thesis with the Old Globe MFA program in San Diego.

For more on Luft Gangster, visit www.sheencenter.org/shows/luftgangster/

By Michael Block

Last year, we raised a glass with Latrice Royale, toasting "Here's to Life." Now she's back telling us that Life Goes On. Returning to the Laurie Beechman once again, the legendary queen picks up exactly where she left off. And it's a night to remember.

photo by Michael Block

Sequels are hard. Latrice does a mighty fine job with her follow-up to her solo cabaret Here's to Life with Life Goes On. If you missed the first show, don't worry, she gives you a Cliffs Notes rundown of the previous show where she spoke about growing up in Compton, her familiar strains, and the hardships she encountered as she transformed into the Latrice Royale we know and love. Life Goes On takes a brighter approach. While the backdrop of 2016 may not have been great in the global level but for Latrice, her year was one of love, hope, and reconnection. Her stories this time around include her beautiful engagement to Christopher Hamblin, with whom she also shares the stage with. The other big headline story includes a follow up about her relationship with her brother. And spoiler alert, it's another happy ending there too. With so much love and hope in this show, Latrice is relaxed and inviting while looking exquisite in her striking stone-covered purple dress. With fame a central aspect of her life and career now, a portion of her show is spent discussing the importance of friendships, space, and knowing the truth of your relationships. Her words are universal. She jokes that the audience is like her therapist but the reality is with her great advice, she might actually be ours. You just won't believe where she learned the best tidbit. But I'll save that reveal for your night with Latrice. This wouldn't be a Latrice Royale show without song, lip sync, and a little shade. Scratch that, a lot of shade. With more of a happy tone, Latrice goes beyond the standards, including “I Can See Clearly Now,” featuring a cool arrangement, but also pays homage to her post turn at post Drag Race fame singing the fan favorite "Weight." She even gave the crowd some nuts in honor of her infamous catch phrase while singing "Hot Nuts." But when it came to bringing the house down, it was her roasting of the Season 9 queens that got some of the grandest reactions. But you can't throw shade without love. And Latrice is all about love.
Art has a different impression on everyone. You can see an evening of story and song and something within can strike you in a way you never thought possible. Latrice Royale's ability to bring hope and love into her words is powerful. I know I left struck.

By Michael Block

She’s back! After a long stint in Puerto Vallarta, Sutton Lee Seymour returns to the Laurie Beechman in her newest night of comedy and song in Fame-ish. Paying homage to the Great White Way, Sutton Lee Seymour is a rude and crude, dynamite performer unlike anyone you’ve seen before.

photo by Michael Block

Back with a crowd of people who get her without prodding, Sutton Lee Seymour is in her element. Keeping the night in line with that infamous street only a few blocks away, she starts the night off with a bang with a slight parody of “A Musical” from Something Rotten. And then she’s off to the races. And this is a high-octane performance. But be warned, if you have performance anxiety, Sutton Lee will find you and drag you on stage because this queen likes a little audience participation. Actually a lot. If you’re already a fan of her performance, you know her innate ability to transform from her drag persona and into an array of parody characters. Her musical theater sensibility transcends the genre, falling back to her roots. As a Camp Queen of Stage and Screen, Sutton Lee Seymour has the intellect to destroy classic musicals, like Wicked and Chicago, and perform them in 5 minutes, parodying to oblivion. She even does a mash-up parody of “Titanic” in the spirit of Grease. By performing routines like this, she has the audience eating out of the palm of her hand. The jokes are easy but it gets the audience roaring. Even in her moments of banter, her stories are hilarious. Whether it’s anecdote about an epic flop moment in West Side Story or throwing immense shade to a Drag Race queen for spinning into a costume reveal and ending up on the show, she knows how to get a crowd to laugh. It’s a trait that, shockingly, is rare for some drag queens.
If you’ve seen her multiple times or this is your first time a Sutton Lee Seymour show, she makes sure that you feel welcome and a part of her family. She may call her show Fame-ish, but she is well on her way to be famous.

By Michael Block

When you have a brand, run with it! The popular young adult book series “Percy Jackson & the Olympians” has seen life on the big screen but now it's time for a turn on stage. The mythical world of Greek gods and modern teen hardships battle it out in The Lightning Thief. Inspired by the book, The Lightning Thief, featuring a book by Joe Tracz and score by Rob Rokicki, is great for the demographic, honoring the source material. But it can be much stronger.
Percy Jackson isn't your average, teen. Sure, he has dyslexia and ADHD but he's also a half-blood. His mom is mortal but his dad is a god. A big three god too. As he learns of his powers as monsters begin to attack, Percy goes on an epic quest to save the world from the feuding gods. With an energetic pop rock score by Rob Rokicki and a text that heavily taps into the real world themes by Joe Tracz, The Lightning Thief has the potential for greatness. It just misses the mark, at times. There is a lot of material to cover and a lot left out to create the complete story on stage. If you're unfamiliar with the source material, the way some facts unfold become confusing. There is a good chunk of the score that can easily be lifted as stand alone songs. Even with the content being thematically significant, every three or four minute number that lacks plot causes a game of catch up in the libretto. Even if the show is directed for kids, ensuring the dramaturgical holes don't exist is essential. And it all starts with the opening number. If Percy doesn't know he's a half blood yet, how can he sing about it in the first song? It's not presented as a future moment in the story. It's the start of the narrative. Kids may not care or notice but one blaring plot hole causes the others to become prominent. With an approach that explored real life problems, the accessibility invited kids to feel like they're not alone, boosting their morals while going on an insane adventure with Percy and his friends. And that is what makes this musical, and series, so important. It does take a heavy-handed turn at the end that is reflective of today. It may go over the kids' heads but it's there for the adults.

photo by Jeremy Daniels

The Percy Jackson property has a world open for creation. What can be done on film cannot be done on stage. And for that, the pieces are singular. That being said, the magical world of The Lightning Thief was subpar. Director Stephen Brackett's vision didn't seem like what you'd expect for a Percy Jackson musical. It felt a little more like reject Rent production. This is a magical world. It’s our world but there is the element of the Greek gods. The things that can be created are boundless and yet Lee Savage’s set felt like a waste. The scaffolding may work for a tour but this sit down production needed more brilliance. It desired flash and pizzazz. It wasn’t here. The actual magic is small in this show but it just highlights what a giant budget could bring. The costumes from Sydney Maresca did their job but once again, when characters weren’t rooted in reality, something more was desired. That being said, the Deadmau5 inspired Cerberus head was exactly what this show needed. The colorful rock show vibe from lighting designer David Lander was visually pleasing, helping to create the many worlds of Percy’s quest.
Chris McCarrell took on Percy Jackson with an angsty approach. He had a rocker grit in his voice that brought out Percy’s personality. McCarrell has a natural allure that kept the piece moving. Taking on Percy’s bestie Grover and camp warden Mr. D, George Salazar was a scene stealer. His ability to shift from the meek and trepidacious Grover to the boisterous and animated Mr. D was nothing short of seamless. Salazar was the unsung hero of the show. Kristin Stokes as Annabeth was quite understated. Simply by being surrounded by such big characters, Stokes fell into the background. Taking on the array of monsters, gods, and creatures of the world, Carrie Compere, Sarah Beth Pfeifer, Jonathan Raviv, and James Hayden Rodriguez took their moments in the spotlight and made the best of it. They were more than a support, they were the pulse of the production.
The Lightning Thief is meant for the stage. And this production shows what it can be. Kids will love it. Parents will tolerate it. And in the end, it’s really up to the former.

Name: Terry Schreiber

Hometown: I moved to Saint Paul, Minnesota when I was six, where I stayed until I came to New York in 1960.

Education: I have a BA in English and Speech from St. Thomas University (back then it was St. Thomas College) in Saint Paul, Minnesota.

Favorite Credits: The Trip Back Down which turned our little 3rd Avenue Studio into a Broadway Springboard. Also K2, because working with the writer was a very trusting and special processes. The set design on K2 was an exciting adventure, having to create a mountain on stage. Every Checkov play that I have done at the studio will always have a special place in my heart, as well as the Tennessee Williams and Pinter shows. The opportunity to delve into such rich material is always a joy.

Why theater?: There is nothing more exciting than the house going black, the curtain opening, and the lights going up on stage. I’ve always found it more exciting than any motion picture. Nothing can beat a live experience.

Tell us about Loose Ends?: Loose Ends is a play I’ve been fond of ever since I first saw it Off-Broadway in the 80’s. I like Weller’s writing a lot, and this is a play I have always wanted to do. We attempted in 2010 but had to cancel our plans. I’m lucky that Michael released the rights to us for this second, successful attempt. The tumultuous times of the 70’s, Vietnam as a backdrop, and the male/female role changes of that decade is exciting material for me to explore. We’re experience a similar kind of tumultuous time, now in 2017.

What inspired you to direct Loose Ends?: I really like plays about relationships, that’s what speaks to me the most. When I can get into the people, and what’s happening to their lives, that is what peaks my interest. The difficulty and complications that go into all relationships, family, lovers, etc. is what attracts me. Nothing didactic, I have trouble sitting through a Brecht play.

What kind of theater speaks to you? What or who inspires you as an artist?: The work of Elia Kazan, film or stage, has always been inspiring. What a terrific director. Bergman, too, is just an inspiration. When it comes to both of their approach with actors, you know you will always get brilliant, honest performances.

Tell us about T. Schreiber Studio: We started in 1959 with twelve students, on 3rd Avenue above a paint store. I wanted right off the bat to start a studio that not only focused on acting classes but emphasize the importance of producing theatre as well. We started with a production of Summer and Smoke, which we took to New Jersey. The following year we moved to 81st between 2/3 Avenues in a converted carriage house, and enrollment increased to about 30-40 students. That season we did three plays, and produced some of our works in Vermont that summer. From there the studio grew and has continued to grow, frequently changing location until we finally settled into our current home in Chelsea in the mid 1990’s.

How has T. Schreiber Studio changed since it opened?: We’ve really diversified our program over time. With Peter Jensen acting as my co-Artistic director and our staff of wonderful teachers, the Studio now really offers an “across the board” training experience. The faculty we have now covers a wide range of professional training, and that’s some growth of which I am incredibly proud.

What is the biggest reward to teaching?: The biggest reward as a teacher is always that “lightbulb” moment with an actor, when you can see an actor finally “drop in” and understand the role, and what goes into building it. To get a front seat to the growth of an artist. There is always, without exception, a clear moment where an actor jumps into a new understanding of the work, where they learn to bring their naked selves-and nothing else-to the role. The moment where you can say “today you broke through” is the most rewarding experience. That and watching the commitment that follows, is what continues to inspire me as a teacher.

If you could work with anyone you’ve yet to work with, who would it be?: I would give my right arm to work with Mark Rylance, his work is always a knockout. I would also love an opportunity to direct Mary Louise Parker.

What show have you recommended to your friends?: Playing now, I would recommend everyone go see Dear Even Hansen. The writing, score, staging, and performances were so accessible. I was deeply touched by the play and subject matter. It was a wonderful experimental musical. A big obstacle in going to the theatre today is the expense, it’s hard to commit to a show at such a high price when you don’t know what you’re getting yourself into. That’s a big reason why we’re so committed to keeping our ticket prices affordable.

Who would play you in a movie about yourself and what would it be called?: If they were to make a movie about me it would be called “The Kid from the Midwest”

If you could go back in time and see any play or musical you missed, what would it be?: I’m sorry I missed the original production of Streetcar Named Desire.

What’s your biggest guilty pleasure?: My guilty pleasure is going to a movie in the afternoon during the week.

If you weren’t working in theater, you would be _____?: If I wasn’t working in theatre would probably be a psychotherapist. That, or a sports coach, either baseball or football.

By Michael Block

Inspired by the 2001 French film of the same name, Amelie has been given the musical theater treatment. With book by Craig Lucas, music by Daniel Messe, and lyrics by Nathan Tysen and Messe, this romantic comedy is fluffy and sweet. And that’s about it. Amelie isn’t revolutionary, it is what it is: silly.
Amelie is a girl with a big heart. Her childhood isn’t perfect. Her dad is a germaphobe. Her mom is neurotic. She is sheltered from the outside world. But even when tragedy strikes, in the form of her best friend Fluffy the goldfish being flushed way to the Seine and her mom getting crushed by a suicidal tourist, Amelie has hopes for something different from her quiet life. Spending years as a waitress at a café, she spends her days helping others while not helping herself. And that’s essentially where the rest of the musical's journey. We watch Amelie on her tour of good deeds until her heart longs for something new. Amelie is a delectably world of whimsy and joy but the overall execution is mediocre at best. You want to root for Amelie, both the character and the show, but it often gets in its own way. There is a lot of heart but not much else. Daniel Messe’s score is a melodic modern folk and pop mix that doesn’t quite offer variety in sound. Each number gives off the same midtempo vibe that it’s hard to leave the theater humming along. And even when it does stray and pick up, in moments like “Goodbye, Amelie” featuring a bizarro alternate universe Elton John and the supporting women showcase number “A Better Haircut,” they don’t fully serve the overall arc but get plopped into Lucas’ libretto just for variety’s sake. And it’s a shame as the latter is one of the highlights of the score. The score was very much the Achilles’ Heel of the production. And it’s a shame. The musical ends with a sweet finish in a beautiful song in “Where Do We Go From Here.” It’s a strong yet soft, understated conclusion but lacks the emphasis it deserves when it feels like the rest of the show. Amelie’s world is full of luster and variety and that’s what this score needed. If the sole, central “conflict” of Amelie is whether to help others or help herself, the romance plotline between Amelie and Nino needed to be amplified significantly. Lucas gives us a taste of the love-at-first-sight amorousness but we want more. It’s hard to want the pair to end up together if we’re given so little.

photo by Joan Marcus

When it comes to bringing cinema to life, director Pam McKinnon achieves the unimaginable. She uses David Zinn’s pleasant looking set to her advantage. But if you look a little closer, there are a lot of distractions in staging to deter from the real problems. This is essentially a fantasy conjured up by the titular character. And yet it feels far too subdued to work. She does her best to break from the plateau that is the Craig Lucas’ book but when she finally does so, it’s far too late. That being said, the fluidity of McKinnon’s staging is near flawless. The world keeps chugging along, giving those moments alone for Amelie worth something. For those who may suffer from OCD, Zinn’s set is deliberately askew. And it’s right for Amelie’s world. He gives nods to the locale through his design in both the set and the costumes.
Phillipa Soo has made a name for herself in two previous smash hits. While pretty central, her roles were supported by an ensemble of equals. Amelie is a departure for Soo where the show falls on her shoulders, needing to carry the show. Soo is delightful. Her voice is pretty. Her presence is sweet. But the character gave her little to play with that her full potential didn’t shine through. As Nino, Adam Chanler-Berat brought his charm as he chased down Amelie. It wasn’t until late in the show that Harriett D. Foy, Alyse Alan Louis, and maria-Christina Oliveras got their moment to truly shine. And they did. Playing Amelie’s co-workers Suzanne, Georgette, and Gina respectively, this trio got us wanting more. With a show providing snapshots like pictures from a photo booth, Foy, Louis, and Oliveras made their characters, at times, more engaging that the titular one.
Amelie was played far too safe. It’s an enchanting show that doesn’t ruffle any feathers. If you’re looking for something that will warm you heart, this might be it. But in such a staked season of musical theater on Broadway, Amelie is a middle of the pack musical. It’s not great, but it’s not bad. It’s just Amelie.

By Michael Block

She was crowned the winner of Lady Liberty Cycle 3 and now she's bringing her spin on the Kardashian momager to life in I Am Kris, a boisterous cabaret paying homage while poking fun. Jan Sport, the premiere Kris Jenner impersonator, gives you the only mashup of showtunes and Kardashian you'll ever need. Or, for that matter, want.

photo by Michael Block

Gracing the stage at the spiffy and luxurious Greenroom 42, New York's newest late night cabaret hot spot, Jan Sport parodies the world's most famous momager since Mama Rose. Spoofing Kris' ex's television series "I Am Cait,"I Am Kris showcase the seven-step program to gaining fame. I Am Kris was the perfect marriage between drag and theater. Jan Sport brought a fully fleshed out narrative to the stage, something some other drag performers are unable to do in similar settings. Each step revolved around a spoken word lip sync accompanied by a rousing showtune parody. If you groaned when you knew the song coming up, it's because it paired up so well with the bit. The structure was a tad formulaic and yet it worked because Kris is, well, pretty damn basic. Jan Sport proves that she's not only a dynamic performer but she's also a smart artist. There is no arbitrary song selection here. Every musical inclusion is deliberate and precise. Any moment of video accompaniment helps tell the story. And then there is her portrayal of Kris. While she's much younger than her real life counterpart, Jan Sport has Kris J on lock. This is a loving spoof but there is a glimmer of humanity in her characterization. She goes beyond the lampoon to explore why we have such a great fascination with this woman and her family. And don't fret, JanSport doesn't skimp on the look changes. She gives Kris her array of styles. As the show continues to find life, where Jan Sport can improve most is in her improvisational skills while in character. There's always bound to be a technical snafu requiring her to cover. That's when the little blip to the audience while waiting for the correct track to play can garner big laughs. Get them to see the other layers to the character. There's always room for improvement and this is where it comes.
I Am Kris may have only been a one night extravaganza but expect to see it return again and again. This is one show you'll be happy to see in syndication. Jan Sport is an elite performer who is taking nightlife by storm. Be warned.

By Michael Block

There's no denying why this play now. Church & State by Jason Odell Williams is more than relevant in our political climate. The political comedy playing New World Stages may not be radical, but it's the manner in which it is presented that makes this play important today.
In the heart of Red State America, Charles Whitmore is running for Senate re-election. With only a few days before the big day, Senator Whitmore is about to make a usual speech. Only he is preempted by a breaking story of him announcing his loss of faith and belief in God. It sends shockwaves to his team as his hard-nosed campaign manager Alex Klein and faithful yet kooky wife Sara try to fix the situation before he walks on stage and tanks his chances. So what causes this loss of faith? Another mass murder at an elementary school by a lone gunman. Aside from being a glimpse into the backstage of politics, Church & State is a play that continues the necessary gun control conversation. With a smartly comedic backdrop, Williams is able to explore the various sides on the debate of faith and gun control while keeping the action moving. The play is bold but in no ways is it perfect. While his use of comedy is blended well into the overall drama of the situation, some of his characters are a tad cartoonish. Perhaps just for comedy's sake. He paints the southerners as a bit backwards, especially through the running gag of "the Twitter," while the northerner is on point with reality. It's a comedic juxtaposition and lends itself well to natural comedy but causes some believability issues when the important issues arise. Arc wise, Sara goes through a drastic transformation by the end. But the election night antics of Sara and her pretzel bites was the humor filler for the beat, the aftermath may not have been the most believable. Despite the poles of comedy in the text, it’s important to have some. It’s easier and most successful to capture an audience’s ear when they have permission to laugh. Church & State is a conversation starter. The points he introduced are poignant. They have great weight. They may not be brand new but they’re important to the overall political narrative. Same tragedy, no new changes.

Taking on the pivotal role of Senator Whitmore, Rob Nagle took the exuberance of the character and managed to bring out honesty and sincerity when it mattered. He stood firmly to his beliefs and helped to prove that anybody with a heart can change. As his wife Sara, Nadia Bowers tapped into Williams’ writing and ran with it, creating a character that was a scene-stealer. Bowers takes the silly jokes and makes them land hard. She has no fears on stage. Despite the drastic turn her character takes, Bowers allows it to feel as natural as possible. Channeling her best C.J. Cregg, Christa Scott-Reed as Alex was the brains inside the campaign. Putting the “ish” in Jewish, her Democratic Yankee campaign manager was wonderfully uptight and rightly wound up dealing with a pair of unpredictable personalities. Though mostly secluded to the editorial points of Williams’ script, Jonathan Louis Dent hammered home the essential points with ease and sublimity.
Markus Potter directed the fast-paced dark comedy with great intent and mindfulness. Church & State is filled with a big themes that was equally matched on stage through David Goldstein’s scenic design. It was America live on stage, as red, white, and blue seemed to be regurgitated in the room. It was comical to the point of being obscene. Goldstein placed some sort of scenic piece in every possible inch of the playing space, even the far extremes. Potter ensured that those pieces were touched even if it felt unnatural, especially bringing added light for the seldom moments. For the most part, sound designer Erik T. Lawson played with atmospheric sounds, most notably with the sounds of the unseen television screen. But you know you garner a powerful reaction when a, spoiler alert, a gunshot rings out and the audience cowers. It’s what the moment called for, bringing reality into theatricality.
Church & State is a play that can easily travel around the country in hopes of making an impact while still entertaining. Regardless where you fall in your beliefs, Jason Odell Williams has written a play that continues the national conversation on gun control. You may not walk out of the show talking about the play itself but it will certainly get you discussing the topic. And that’s almost more important.

Today on Block Talk, I sat down with the extraordinary Dominique Salerno to talk all things The Box Show, making a return engagement at The PIT!

For more on The Box Show, visit theboxshow.org!

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By Michael Block

Harold Pinter' backwards timeline play, Betrayal, takes the stage at Mile Square Theater. The slightly autobiographically inspired play tracks the years-long affair of Jerry and Emma as Robert, Emma's husband and Jerry's best friend, watches from afar.
The year is 1977. Emma and Jerry meet up two years following the end of their affair. She reveals that after learning that her husband Robert has been betraying her with affairs of his own, she spills the beans on the nature of her relationship with Jerry. But rather than seeing the aftermath, playwright Harold Pinter goes backwards as we watch how it came to this. Regarded as one of Pinter's finest texts, Chris O’Connor directs this juicy drama of deceit, dishonesty, and, oh yeah, betrayal with great purpose and ease. There is a specificity in the tempo and cadence of Pinter's text. O’Connor approached it with immense care, finding the beats and exploring the necessity of silence. But the intimacy of the story seemed to be lost, perhaps due to the great expansive feel of the space. Designed by Matthew J. Fick, the set looked exquisite with the clean lines and rustic floor. Combined with the boldness of the white walls, the excessive negative space wasn't used to its advantage. O’Connor played into body language but not quite with spatial relationship. And there is a story of its own there. For example, how O’Connor sat Emma on in the middle bench, leaning toward Jerry, put her on his side in the trio's discussion. It was a stunning stage picture and a strong moment of story. These moments could have been played with even further throughout the play. Look at when Emma and Robert were in their hotel room. As soon as Robert figured out the truth of the affair, he needed to assert his power by creeping in closer to Emma, not stand stationary on the other side of the room in an almost cavalier manner. With limited furniture and architecture for the characters to utilize, it created some obstacles. There was a sense of nowhere to go. It's a slippery slope to fall into the realm of melodramatic soap opera. The soundtrack provided by Kari Bernson in the transitions pushed it in that direction. While the men were dressed properly dapper, the outfits Peter Fogel placed on Emma were simply exceptional. Not only did the rich color pallet fit her personality, the silhouettes and patterns lived in the period but also managed to reveal so much about the character.

photo by Joe Epstein

Betrayal is one of those plays where the content is seeping with potential in character. Pinter has painted a broad picture on who these three individuals are but the dynamics and chemistry makes the play tick. If there was ever a pair you wanted to see work, it was Jerry, played by Aidan Redmond, and Emma, played by Dena Tyler. They had a fervent magnetism that was transcendent. Tyler is remarkable, gravitating toward the danger of the affair. Redmond as Jerry had a genuine aura of amiability. It’s no wonder Emma was drawn toward him. But for this play to work completely, the casting of Robert is key. You must believe that there is something, aside from cultural, familiar, and class taboos, that would keep Emma from staying with Robert. Likewise, the friendship of Robert and Jerry is key. Unfortunately, Matthew Lawler as Robert seemed to be living in his own play. It's like he's in the Monty Python sketch version of Betrayal. Lawler has a natural comedic presence that didn’t quite match Redmond and Tyler's dramatic prowess. Cut Robert out of the equation, this Betrayal becomes infinitely more engaging. Some of Lawler's choices seemed to defy Pinter and O’Connor’s intent simply based on the actions of his scene partners.
At times, Mile Square Theatre’s production of Betrayal is ripe with intrigue. And then it seems to stumble, needing time to get back on track. You don’t think that the little things will hurt the big picture, but as the little things add up, the big picture doesn’t look so pristine. Put a filter on and you might see it that way.

By Ed Malin

The Tank, in association with Glass Bandits, is now presenting Charleses by Carl Holder at the Brick Theater. Meghan Finn directs. Charleses is a play full of, well, men named Charles. It has a striking, spacious set designed by Peiyi Wong, which serves as a humble cabinet-making workshop but also has a skeleton of a roof. Similarly, the play is full of amazing silences and tableaux, just like real life with real men.
The elder Charles (Richard Toth) is discovered in his workshop, finishing a piece of furniture. The rotary phone rings, presumably announcing the birth of his son. (The play never shows us any women, instead allowing us to focus on the relationships of the XY chromosome people.) Without missing a beat, Charles puts together a cradle. When the lights come up again, he is rocking Charles 2 (Mike Shapiro), a grown actor who will go through an accelerated childhood before our eyes. Charles may be a self-made man of few words, but his smiles and gestures of victory make you want to smile, laugh and cry. Charles tries to teach Charles 2 how to say their name, with charmingly futile results. A few minutes later, Charles 2 is learning to ride a bike. Next, a drum beat punctuates a scene where Charles and Charles 2 enter a deli, order sandwiches and wax metaphysical; it scans nicely and feels very ordered, the way our ancestors lived and thought of themselves. Soon, Charles 2 is learning to drive a car and gets a distant-feeling shaving lesson from Charles. But is it Charles’s fault he doesn’t make small talk? As they wipe off the shaving cream, Charles asks Charles 2, “What else would you like to talk about?”
Soon enough, the stork brings Charles and Charles 2 their very own Charles 3 (Fernando Gonzalez). Charles 3 will also have to learn to say their name, ride a bike, try to pee against a tree and order a deli sandwich, but he is very much his own person. Charles 3 is sensitive and prone to question the existing order. For example, Charles 3 does a school film on the history of logging and cabinetry work in his community. Charles 3 sympathizes with those who, according to him, lived simply doing the only thing they knew how to do; Charles, in contrast, gets bored when Charles 3 has technical difficulties during the presentation. Later, when Charles is not around, Charles 2 tells Charles 3 that their patriarch “grew up in a time when all men had to be bad. He even was made fun of for having a feminine job like cabinet making.”

photo by Josh Luxenberg

This play patiently and benevolently gives each generation its say. We see the adolescent Charles 3 gay cruising on the internet. The elder Charles has a stroke but, no matter how long it takes him to articulate his thoughts, he is willful and dignified. Eventually, Charles 3 goes into medicine, at a time when people seem to have more difficulty connecting with each other. Charles 3 is seen somewhat listlessly telling a computer to read his email; 90% of the messages are marked “ignore”. We also see a retrospective of each generation discovering the neighborhood sandwich shop (no menu, just order) and its specialties. Clearly, some things don’t change, and that’s OK, too.
Charleses is a well-written and exquisitely directed and performed play. If you haven’t had a “show don’t tell experience” in a while, please go see it. I’m sure you will be left with the pleasurable task of learning to like three nice but flawed people. They are solid, and totally different from each other, and speak as often as not in facial expressions. Nevertheless, all of the family members, sandwich makers, the local barber, etc. are names Charles. Are YOU set in your ways? Is being super-progressive a form of intolerance? These producing organizations are always moving forwards, so it is a great joy to see them deliver this work.

By Michael Block

Spring is here! And Paige Turner is here to welcome it! Throw your winter blues away as Paige Turner and her friends, Jackie Cox and Remy Germinario, fill your Easter basket with enough sweetness to last the whole year in Paige Turner’s Easter Egg-stravaganza.
Back at the Beechman, Paige Turner gives a revisionist Easter as she tries to share the joy of the holiday with her agnostic friend Jackie Cox. On the journey toward Easter understanding, they perform a show for kids thanks to a rapping bunny, learn from a blonde twink why spring is important for the gays, and of course take a lively trip to a gay church. It's right for Paige to joke that there used to be a plot because the story seems to fall to the wayside in return for more gay inside jokes, silly songs, and rousing comedy. Paige Turner’s Easter Egg-stravaganza isn't meant to be a well-made theatrical piece. It's a celebration of holiday fun. Filled with double-entendres and gay jokes out the wazoo, the show has that child-like aura, similar to Pee Wee’s Playhouse, that is simply made to entertain. Filled with some easy recurring jokes and hidden Easter eggs, Paige makes them obvious. And that’s part of the humor. For the theater lovers, you will get your fill of industry jabs as well. Since the trio have pipes for days, Paige Turner’s Easter Egg-stravaganza has a full basket of musical numbers, many of which are riffs on showtunes. From “Little Known Facts” from You’re a Good Man, Charlie Brown to a couple of numbers for Godspell, some of the songs get the full parody treatment while others remained nearly in tact. And that’s not fun! But since this is drag, expect a lip sync for your salvation.

photo by Michael Block

This show is a dazzling character showcase. Paige Turner is a star among stars. Her comedic timing is on point, but it’s made brighter next to her co-star Jackie Cox. The pair is unstoppable. Paige Turner may look like a dumb blonde but it’s her zippy reads hurled at Jackie that prove she’s quite brilliant. And every jab toward Jackie makes you want to give her a sympathy aw. Jackie may be the sidekick but it’s time for her turn in the limelight. Thanks to silly costumes and ridiculous wigs, Remy Germinario was the scene-stealer of the night. Putting on goofy voices, Germinario held his own in-between the drag dynamos.
Paige Turner’s Easter Egg-stravaganza is nowhere near perfect but it’s perfectly endearing. You’re bound to leave with a full stomach thanks to all the sugar Paige and friends serve.

Name: Jenn Harris

 Hometown: Plano, IL.

Education: BFA from Boston University, LAMDA, London, Second City, Chicago

Select Credits: Modern Orthodox, Silence! The Musical, and the revival of All In The Timing.

Why theater?: It's scary, and I like scary.

Who do you play in Pressing Matters?: Betty, Judy, Chole, Ticket Agent.

Tell us about Pressing Matters: A wonderful, clever collection of short plays about relating, loss, gain, and delight.

 What is it like being a part of Pressing Matters?: Lovely is the first word that comes to mind. It's a blessing and refreshing to get to play 4 different characters in women centric stories. I needed this now...we all do.

What kind of theater speaks to you? What or who inspires you as an artist?: The new kind. Or if it's a revival, I want to see a fresh take. I appreciate and lean towards different. Bold, kind people who don't apologize. And every single one of my friends who are still trying to make a living as an artist - THAT'S guts, THAT'S inspiring to the core.

Any roles you’re dying to play?: I like creating them, so... yet to be written, but listen, if Leslie Kritzer isn't available, I could tackle Annie in Annie Get Your Gun for the next revival...I have a take on her.

What’s your favorite showtune?: Besides "Would you Fu*k Me" from Silence!, “Lily's Eyes” from The Secret Garden - I sing it with myself with barbies. Haven't found the right audition for it, but I have it. Also If I want to cry I put on "The Mirror-Blue Night" from Spring Awakening

If you could work with anyone you’ve yet to work with, who would it be?: Sting. But also Carol Burnett and Brian d'Arcy James.

Who would play you in a movie about yourself and what would it be called?: Pee Wee Herman in "Me In My Apartment"

If you could go back in time and see any play or musical you missed, what would it be?: I would have lived to see the opening night of Merrily We Roll Along, right?!?!

What show have you recommended to your friends?: Ice Man Comeith at BAM I LOVED and thought I was gonna hate. I haven't seen so much that I want to see that I bet i'de love, so go see Dolls House Part 2 and tell me about it cuz THAT CAST!!!!

 What’s your biggest guilty pleasure?: Oh NO guilt in pleasure.

What’s up next?: I created a Web Series called NEW YORK IS DEAD that I co wrote and star in with Matt Wilkas that is premiering at the Tribeca Film Festival this month.

Name: Molly Kelleher

Hometown: Guilderland, NY

Education: Emerson College

Select Credits: Broad Comedy member of the troupe for nearly a decade, recently seen on “Hack My Life” on TruTV , her film “The Cat Callers”(finalist at the New York Downtown Short Film Festival), as well as this past summer’s NYCFRINGE festival with The Illusory Adventures of a Dreamer written by the amazing Michael Bradley Block. You may also recognize her from teenVOGUE’S “Ask a Comedian” video series. Her upcoming project “BERT”, a web series she is co-creating will be hitting YouTube this fall. Throngs of internet trolls are anxiously awaiting the usage of their comment buttons.

Why theater?: I spent about five years performing for children as Helen Keller and this role was my most satisfying theatrical role to date. To tell the story of such an incredible woman is the gift theater gives the world. Before I step on stage I want to run away as fast as possible (every time), but once I’m out there I feel truly whole. That is the gift theater gives me. The gift to trust fall into the story and pleasure of the audience’s experiences.

Who do you play in Broad Comedy?: I play over a dozen characters. We are a fast moving political-comedy-musical troupe (say that five times fast), so every 3-5 minutes I’m someone else!

Tell us about Broad Comedy: Broad Comedy is a musical comedy show. We are a very liberal, sex positive, empowering, feminist and we manage to make that really really funny! We are different from your usual sketch shows however. I think of our pieces more like 20 mini stories rather than sketches that are looking to just find the laugh. You will laugh, but you will also be asked to think. I hope it inspires our audiences to get involved in the movements that matter most to them!

What is it like being a part of Broad Comedy?: This show, the Soho Playhouse run, has been my dream for a decade. I started working with the company when the did a quick run in Boston ten years ago. I’ve since performed with them a Planned Parenthood fundraisers, colleges, the Triad Theater, and the PIT. The show is originally out of Bozeman MT where we have another amazing cast of actresses but now our NYC cast is taking this city by storm. And I’m just thrilled to be part of it!

What kind of theater speaks to you? What or who inspires you as an artist?: Telling stories that make you think. That leave you wanting to do more, learn more, feel deeper or stronger about a topic. I love working on conversation starters! I’m inspired by so many things all of the time. I’m a total nerd for learning and reading. I never feel full of knowledge or curiosity. NYC inspires me. My friends and fellow artists inspire me. I’m also a Yoga and Pilates teacher, I find movement inspires me greatly. I’m mad for magical realism and Gustav Klimt. I like my life sprinkled with a little bit of wonderment.

Any roles you’re dying to play?: Yes! I can’t wait to play Berta in Pippin some day. Trina in Falsettos. I’d love to play Marisol in Jose Rivera’s Marisol (but I never will…for obvious reasons) still I love his writing so much!

What’s your favorite showtune?: This is an impossible question. But I’ll tell you I am looking to learn a few from the new Amelie (which I saw at Berkley Rep).

If you could work with anyone you’ve yet to work with, who would it be?: For TV: I have an actor crush on Walton Googins and Aaron Sorkin. For (recent) Theater: I fell in love with Taylor Louderman (Kinky Boots) this past week. She’s my favorite kind of actress….always busy, always in character. totally committed. For “THE DREAM”: Meryl, Cate, Kate, Helen, Jane+Lili, Judi, Kathy, Julianne, Susan, Sissy, Francis, Maggie, Glenn, Tom, Jack, Morgan, Ed….I’m easily inspired.

Who would play you in a movie about yourself and what would it be called?: “French Bulldogs, Wine, and Ambition” starring Jade Jolie

If you could go back in time and see any play or musical you missed, what would it be?: I recently missed out on The Color Purple and Bridges of Madison County. Tori Amos’ “The Light Princess” that played in the West End. I would have loved to see Philip Seymour Hoffman in anything he ever did.

What show have you recommended to your friends?: Hamilton, have you seen it…the tickets are real easy to get.

What’s your biggest guilty pleasure?: HGTV, give me Chip and Joanna with a side of Nicole any day

What’s up next?: I’m in the middle of writing a new web series and filming that this summer. We have a bunch more Broad Comedy shows coming up. And I’m taking a week off at the end of August for a much needed break away from America!

For more on Molly, visit mollykelleher.com!

Lady Liberty is in their FOURTH CYCLE! So who is competing to snatch the crown in the first semifinal round? It's time to meet the Queens. Check them out Friday, April 21st at the Ace Hotel. Doors Open at 7:00pm, Drag Race Viewing Party at 8:00pm, and the Lady Liberty Drag Competition, hosted by Brita Filter and Terra Hyman, at 9:00pm

MEET THE QUEENS

What is your drag name?: Egypt

What is the origin of your drag name?: For the longest time everywhere I would go people thought I was from Egypt so I said since they already saying I'm from their why not name myself Egypt.

How did you get involved in the drag community?: I started competing back in September of last year as an androgynous performer and this past January I entered my first pageant Ms. Barracuda.

What or who inspires you as a performer?: The people who inspired me to start coming out clammed up were grace Jones and Leigh Bowery.

If you had your own show, what would it be?: If I had my own show I would have it were the audience would get a chance to raise money for different organizations benefiting the LGBTQ community.

What is your go-to lip sync song?: My go to lip sync is "I Am Telling You" from Dreamgirls

Facebook/Instagram/Twitter: My instagram is Therealegypt

What is your drag name?: Jessie James

What is the origin of your drag name?: My favorite female vocalist is Jessie J! The name also ties in with the famous bank robber, Jessica Rabbit, and I love that the name Jessie is androgynous

How did you get involved in the drag community?: After having one experience with a drag queen, that was it! The amount of sole talent, passion, and tenacity it takes is unsurpassable and respectively admirable. Being able to utilize and strengthen multiple artistic outlets at once is invigorating!

What or who inspires you as a performer?: Strong, committed performers are my biggest inspiration. Artists that are 100% unapologetically and authentically themselves is fuel for my fire!

If you had your own show, what would it be?: A cabaret or a game show!

What is your go-to lip sync song?: "Mama Knows Best" - Jessie J

Facebook/Instagram/Twitter: @JessieJamesNY everywhere!

What is your drag name?: Miss Carriage

What is the origin of your drag name?: The inability of a higher power to keep me from the current situation of "alive" that I am in.

How did you get involved in the drag community?: I've seen all to many shows and thought what the hell.

What or who inspires you as a performer?: Chameleons.

If you had your own show, what would it be?: I'd never have my own show because my hamstrings can't handle all the drop splits.

What is your go-to lip sync song?: Lucky

Facebook/Instagram/Twitter: @datgirlmisscarriage @tayteehanson

What is your drag name?: Shirley U Jest

What is the origin of your drag name?: I got it from the movie Airplane!

How did you get involved in the drag community?: I played dress-up in preschool and I've never been the same since.

What or who inspires you as a performer?: Big theatre comedy divas like Carol Burnett

If you had your own show, what would it be?: Two hours of me lip syncing to "Mah Na Mah Na" by the Muppets

What is your go-to lip sync song?: "Rose's Turn" (the Bernadette Peters revival)

Facebook/Instagram/Twitter: Facebook-Shirley U. Jest, Instagram @thinkoutleod, twitter Jest_a_girl

What is your drag name?: Sullivan

What is the origin of your drag name?: Somewhere in Ireland?

How did you get involved in the drag community?: As a little boy I would drape a towel down my head pretending it was beautiful luscious hair. The drag community is the closest thing to reliving my childhood fantasies

What or who inspires you as a performer?: Creating experiences with people through artistic expression and connection

If you had your own show, what would it be?: Two parts. First half: a choral and theatrical performance in a concert hall or church! During the intermission, the audience will head over to a nearby cabaret space or a bar to watch the second half. singing. vaudeville. dance. comedy. The works!

What is your go-to lip sync song?: Anything by Babz

Facebook/Instagram/Twitter: mike3sullivan

What is your drag name?: Tess Tickles

What is the origin of your drag name?: My friends were just throwing random names at me of things I liked and testickles just so happened to be number one.

How did you get involved in the drag community?: We have a super small drag community here in Westchester and I started going to their Thursday shows a few years ago at a young age, and a few years later I decided to give it a try and stuck to it.

What or who inspires you as a performer?: My drag inspirations are all the westchester queens starting with Gigi Cutina, dotty Spartans, Rhoda Rollin Stone and Bella Biscotti.They all taught me different things about drag and made me who i am today.

If you had your own show, what would it be?: If I could have my own show it would be a show where I could get new queens involved in because I don't feel like they have many opportunities and only get to perform in competitions where they don't really get to showcase who they are as a drag queen.

What is your go-to lip sync song?: "Voodoo Pussy" by Miss Prada

Facebook/Instagram/Twitter: Instagram @whostesstickles Facebook: Dan Richards (Tess Tickles)

Review: Death of the Photo Shop Around the Corner

Review: Give Them an Amen!

Review: People Watching

Review: A Hell-uva Show

Block Talk- Episode 14- Pop Punk High

Spotlight On...Lowell Byers

Review: A Night of Pure Love

Review: From Fame-ish to Famous

Review: Percy Takes on a Musical

Spotlight On...Terry Schreiber

Review: A Fluffy Heart

Review: Fame According to Kris

Review: The Gun Conversation

Block Talk- Episode 15- Dominique Salerno

Review: A Risky Affair

Review: Different But the Same, Just Like You and Me

Review: A Silly, Goofy, Campy Easter

Spotlight On...Jenn Harris

Spotlight On...Molly Kelleher

Meet the Queens! Lady Liberty Semifinals Round 1!