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Block Talk- Episode 16- Daniel John Kelley

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On this episode of Block Talk, I sit down with Daniel John Kelley, playwright of That True Phoenix! 

For more on That True Phoenix, visit teamawesomerobot.com!

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

And visit patreon.com/theaterinthenow to learn about how you can support the website and receive more content like this!

Spotlight On...Brian Mulay

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Name: Brian Mulay

Hometown:  Originally from Kalamazoo, Michigan.  Been in NYC since 1999.

Education:  BFA in Musical Theatre from The University of Michigan

Favorite Credits: Falsettoland, 42nd Street, Godspell 

Why theater?: It has the power to transform the way a person thinks.

Tell us about The Love Curriculum: One day I realized that my love life has been the reverse of what many people experience.  Then it occurred to me that we're all learning the same lessons, but they just occur in a different order for everyone.  I wanted to put together a show that explored these lessons by relating my experience and allowing others to reflect on theirs.

What inspired you to write The Love Curriculum?:  Situations I've experienced in my life seem to be reflected in the musical theatre songs I've listened to over the years.  We've all heard songs that make us say "that's my life!" I wanted to do something with the songs that have shaped my life in hopes that others will relate as well.

What kind of theater speaks to you? What or who inspires you as an artist?:  My favorite kind of theater is the kind that forces you to think and question what you already know.  It was always stars and legends of the musical theater who seemed to be able to do everything: Ben Vereen, Gene Kelley, Chita Rivera, and Judy Garland, just to name a few.

If you could work with anyone you’ve yet to work with, who would it be?:  I adore Patti LuPone.  I'd be content just to have dinner with her!

What show have you recommended to your friends?:  Next To Normal, Title Of Show, Waitress, Avenue Q, so many....

Who would play you in a movie about yourself and what would it be called?: Oh, it's already been done.  Amy Adams played me.  It was a little movie called "Enchanted".  Lol

If you could go back in time and see any play or musical you missed, what would it be?: Who wouldn't want to time travel to see Barbra Streisand play Fanny Brice in the original Funny Girl on Broadway.  That had to have been thrilling to see a star be born.

What’s your biggest guilty pleasure?:  RuPaul's Drag Race and everything on the Food Network or Cooking Channel.

If you weren’t working in theater, you would be _____?:  I have a wonderful job outside of theater working for Nespresso as a training specialist.  My Nespresso family is very special to me and I'm so grateful for their support of my theatrical ventures.

What’s up next?:  Brainstorming on an idea about exploring the four elements of fire, water, earth and air from a musical perspective.

Spotlight On...Katie Goodman

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Name: Katie Goodman

Hometown: Boston

Education: U. Penn

Why theater?: I’m starting to think it’s the only thing that can save the world. Besides kale. And pharmaceudicals like post-election anti-anxiety meds. In that order. Or star with the kale. Get a good jump on the day.

Who do you play in Broad Comedy?: We all play about ten parts. Ya know, from talking vaginas to MILF’s to rats in a maze. Just the usual Off-Broadway parts.

Tell us about Broad Comedy: Ever wonder what would happen if “Inside Amy Schumer” & “Full Frontal with Samantha Bee” had a child and hired Tim Minchin as the manny? That’s pretty much us.

What is it like being a part of Broad Comedy?:  It’s really the joy of my life. The camaraderie is endless and we get to evolve as the world changes.

What kind of theater speaks to you? What or who inspires you as an artist?: Comedy has always challenged me more than drama so I love doing comedy and I love watching drama. I am inspired by other writers who are trying to figure out what we all want to say in this trying time. I love seeing other artists create their own work from scratch. It’s freaking exhausting but satisfying.

Any roles you’re dying to play?: I have already done all of the ones I was dying to do because I spent 15 years running my own theater. (It’s good to be the King…er, queen.) Faves were the Nanny in Baby With The Bathwater, and the title role in Edwin Drood.

What’s your favorite showtune?:  I’d be a real schmuck to name one of my own, so I guess I’d have to say anything by my buddy Lawrence O’Keefe (Batboy), and there are a few from Altar Boys (particularly "Epiphany") and Book of Mormon ("Turn It Off"… hmmm… noticing a theme here) that are faves. I also am still a fangirl of In The Heights ("96,000"), and, yeah, I love some of the greats like "America", and "Suddenly Seymour."

If you could work with anyone you’ve yet to work with, who would it be?:  Tim Minchin and Samantha Bee. Together. In a musical we’d call Trumped. I have no idea what the story would be but it would be glorious. And it would get panned. But we wouldn’t care.

Who would play you in a movie about yourself and what would it be called?: Sarah Silverman. “All Fucked Up.”

If you could go back in time and see any play or musical you missed, what would it be?: I’d like to see Tom Lehrer and Victor Borge live. There are so few musical comics and they are my heroes.

What show have you recommended to your friends?: Book of Mormon, Book of Mormon, Book of Mormon.

What’s up next?: This! I can’t think past it!

For more on Katie, visit www.KatieGoodman.com

Review: A Sensitive Story About A Traumatized Child

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By Ed Malin

Rising Sun Performance Company begins its 16th season with Child’s Play, written by Kevin D. Ferguson and directed by Brock Harris Hill. Vera, a child psychologist (Crystal Edn) frames the story with a TED Talk which she is delivering after the events we see on stage.  Vera has worked with a ten year-old girl named Cindy (Raiane Cantisano) who suddenly stopped using words to communicate.  Saddened by their daughter’s silence, Cindy’s strong-willed mother (Mercedes Vasquez) and gentle step-father (Michael Pichardo) have sought out Vera’s help.  Vera is able to talk to Cindy and get nods and other non-verbal responses.  Also, Cindy uses action toys to tell the story of a princess whose parents stifle her ambition of fighting a dragon; that is, until she gets help from a warrior.  These clue-filled episodes are performed on a human scale by Christian Victoria Allen, Ashleigh Herndon, Katie Lynn Esswein and Ronald Kitts.   Vera has some meeting with Cindy’s mother and step-father, where she learns that Cindy’s mother keeps insisting that everything was fine in their house up until Cindy stopped talking.  However, Cindy’s step-father has a different point of view.  He says that, during the years he spent living with Cindy’s mother before they got married, his bride’s parents were cold to him.  What happened when Cindy went to her grandparents’ house for the duration of her mother and step-father’s honeymoon?  Who is the dragon who has caused so much suffering to several of the characters?  When Cindy tells you, you may find yourself crying.
photo by N-K Photography
Raiane Cantisano’s performance as Cindy and her transformation from tortured girl to triumphant young person in control of herself is worth watching.  Mercedes Vasquez gives a dynamite performance as a very strong woman who is shutting out her family while she continues to overcome much bad karma.  It is really a triumph to see the patient, nurturing Crystal Edn and the empowered Cindy finally get Cindy’s mother to listen to them.  Director Brock Harris Hill helps us get into the characters’ heads so we can confront the sensitive, unpleasant truth.   This happens at a decent pace, never boring, always making me want to embrace the evolving complexity of the story.  I am still not clear whether events such as these could be discussed in such identifying detail in a TED Talk, nor whether a young person in shock can recover quite so quickly, but the rest of the story is very moving and well-acted.

Spotlight On...Joshua De Jesus

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Name: Joshua De Jesus

Hometown: I’ve moved around a lot during the recent years so I don’t have one set hometown. Born in Washington Heights, raised in Bushwick, moved out to Bay Shore, Long Island, currently in Dix Hills, Long Island.

Education: Bay Shore High School (Freshman year) Half Hollow Hills West High school (Sophomore-Senior Year) Long Island High School for the Arts (Senior Year)

Select Credits: Runaways (Encores! City Center); Guest star season 5 of "Chicago Fire"

Why theater?: It was the most accessible form of art to me growing up. Theatre is a way to find yourself. Even if it isn't for you, it can open you up to various other opportunities as well.

Who do you play in Wink?: Wink!

Tell us about Wink: Wink is a timely piece of theater revolving a homeless and traumatized gender questioning teenager, and Dario Villanova, an ex-A list actor doing B movies, both down on their luck in Los Angeles. Their kindred spirits bond over doo-wop music and an effort to forge a heartfelt and unconventional love story of surrogate father and child.

What is it like being a part of Wink?: It’s been a rollercoaster of an experience. Definitely the biggest challenge I’ve faced thus far as an actor trying to tell the story of this fragile being with complete authenticity.

What kind of theater speaks to you? What or who inspires you as an artist?: Unconventional theater. Theater that doesn’t hesitate to provide a new experience for audience members that are both avid theater goers and newcomers alike. As an artist, names like Diego Luna, Gael Garcia Bernal, and Oscar Isaac are all huge inspirations to me, all whom are hispanic and began at the theater. They really set the bar for me.

Any roles you’re dying to play?: ANY role in a Stephen Adly Gurgis play. He’s my favorite.

What’s your favorite showtune?:“Heaven on Their Minds” from Jesus Christ Superstar.

If you could work with anyone you’ve yet to work with, who would it be?: That’s a hard one, there’s so many! I’ve always wanted to work with Jake Gyllenhaal. He’s an all around talent.

Who would play you in a movie about yourself and what would it be called?: Either Jay Hernandez or Rami Malek. I don’t think I’ve experienced enough of life to come up with a title yet.

If you could go back in time and see any play or musical you missed, what would it be?: Al Pacino in Does a Tiger Wear a Necktie?

What show have you recommended to your friends?: Lynn Nottage’s new play Sweat.

What’s your biggest guilty pleasure?: Taking really long hot showers.

What’s up next?: Something very very exciting!

Review: Stacy Layne Matthews Shares the Love

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By Michael Block

The Laurie Beechman Theater is the hub for the RuPaul’s Drag Race queens to showcase their talents off the screen. Unlike a club, the stage is theirs to do what with they please. Season 3 icon Stacy Layne Matthews shares the love in her show From Stacy with Love.
photo by Michael Block
A quick night of song, From Stacy with Love is a showcase for Stacy Layne Matthews and her soulful voice. Decked out in a beautiful blood red gown covered with stones, Stacy Layne Matthews found a safe space on stage to share some of her favorite love songs that played a part in her life. The set list was quite ballad heavy. But the truth is, when you think of love songs, they tend to be slow. Despite what was presented, she found moments to tell the story of why the upcoming song had an impact on her life. For example Robyn’s “Dancing on My Own” included an anecdote about falling in love with a best friend. Or how, following special guest Natalie Weiss, she discussed how “Quiet” was a song she played on repeat during a hard time. These stories, paired with song, was when From Stacy with Love was at its finest. Stacy Layne Matthews has R&B soul with a lot of heart in her song. She has more to give but held back a bit. When she did open up and riffed off of the audience, she felt at home with her hennies. Hopefully the next iteration will include more comfort.
With more polish and confidence, From Stacy with Love can be a special night of love and song. If there’s one thing to take away from this show it’s that if you ever felt like you’re the only person who’s experienced a broken heart, you’re not alone.

Block Talk- Episode 17- Joshua Young

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In today's episode of Block Talk, I sit down with Josh Young to talk about The Playwriting Collective and their upcoming fundraiser Godzilla vs My Ex-Girlfriends coming to Dixon Place!

For more on the event, visit http://dixonplace.org/performances/godzilla-vs-my-ex-girlfriends-a-playwriting-collective-party/

To listen to the episode, visit iTunes or Soundcloud and make sure to subscribe to the podcast to never miss an episode!

And visit patreon.com/theaterinthenow to become a patron today!

Review: The Play About Coming Home

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By Ed Malin

Boomerang Theatre Company presents the starkly substantial play The Reckless Season by Lauren Ferebee.    Dominic D’Andrea directs.   In the modern world, sometimes we must face a test and try to stand on our own.  Some join the army.  Some take drugs, or sell them.  Some play video games to maintain some sense of order.  This play dares to show us flawed, articulate characters on the verge of destroying themselves and each other.
photo by Kate Hess
Terry (Trace Pope) works at a truck stop mini-mart and wants to contacts his brother, Simon (Chase Burnett), who is somewhere serving in the army.  Their mother has just committed suicide and Terry has already made arrangements for the cremation when Simon suddenly returns home.  They are not sure what to do after the cremation; supposedly the Grand Canyon is a popular spot for scattering ashes, but Terry isn’t sure if their mother would have wanted to be scattered there and is leery of walking on the ashes of so many dead people.  Simon, who has seen his fellow soldiers blown up, does not have sufficient information to process his current situation. In the last few years, Terry has had nothing to do but play Spartan Glory (a war game Simon left him), try to connect with his troubled mother, and hang around Lisa (Amanda Tudor), who works other shifts at the truck stop.  Lisa, who was a medic in Afghanistan, initially butts heads with Simon.  Terry takes a large box of Almond Joy candy bars from his job; this box will be used to store his mother’s ashes. Terry and Simon receive a visit from a shady drug dealer named Flynn (Brian Morvant), who says he’s just checking on their mother.  It turns out that said mother as well as many local veterans and Lisa’s soon-to-be ex-husband all use drugs to cope with life.  Simon himself says that he doesn’t have PTSD, he just needs something to dull the nightmares.  Flynn, a mostly self-serving person ostensibly not very knowledgeable about life (he thinks drug recovery is a 17-step program), theorizes that people take drugs because their loved ones don’t love them enough.  After his usual spats with the local police, the meth-head husband overdoses and ends up in a coma. Lisa is eight months pregnant with her ex-husband’s baby when she finally accepts Simon’s offer to go out to eat.  Simon is now a mall security guard and drinks heavily.  Simon doesn’t know how Lisa can bring new life into this world.  Lisa knows Simon is buying drugs from Flynn but can’t tell him to stop; it takes all that she has to keep herself from not using drugs again.  Flynn has a transcendental vision and finally finds his places in the universe.  Terry and Simon are headed to the Grand Canyon with their mother’s ashes when they get the call that Lisa has gone into labor.  Which is stronger, the will to live or the will to die?  These many revelations may be rough, but just remember, even mighty Sparta is a thing of the past.
The ensemble is strong and Dominic D’Andrea’s directing in this play is a thing of beauty.  Lauren Ferebee’s writing is both kind to everyone and no one; quite a feat.  It really is wonderful to see onstage the people you may actually know—if not the gamer who never moved out of his parent’s house, then perhaps the veteran who left but had some obstacles to overcome upon his return. Scott Tedmon-Jones has designed a deceptively homey set; in the hallucinatory part of the play, it shifts around in ways more familiar to viewers of “Inception” and “Doctor Strange”.  Steve Channon’s projection design includes those realistic war games which seem to be playing us. Kia Rogers’s lighting injects just the right amount of hope into this wonderfully honest and otherwise unfiltered world.  Viviane Galloway’s costumes help address the important question: what does a drug dealer wear?  David Anzuelo’s fight direction is needed, too, just like every drug dealer is in need of a beating.  Andy Evan Cohen’s sound design nicely sets the mood for those characters who work the night shift of life.

Review: Making a Surreal and Just World

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By Ed Malin

Ildiko Nemeth and New Stage Theatre Company have a new avant-grade and socially relevant show called The Rules, which draws on the play of the same name by Charles Mee as well as "Invisible Man" by Ralph Ellison. The show features an ensemble of provocatively-dressed characters who are by turns colonial aristocrats and oppressed indigenous persons and other minorities. The soundtrack includes Leonard Cohen, Nina Simone, and the Weimar cabaret stylings of Mischa Spoliansky.
An Indian Grandma (Gloria Miguel, a founding member of Spiderwoman Theater) calmly theorizes about why Pre-Columbian natives of the Americas are seen by Europeans as wild animals needing to be tamed.  In this intriguing oration, the white man wants land and sees anyone taking up land as an animal, as opposed to the enslaved Negro laborer who would be seen as a machine.  Did the white man's disproportionate efforts to take the natives' culture away succeed? While the effete colonials (Adam Boncz, Zachary Alexander, Brian Linden, Dana Boll, Conor Weiss, Markus Hirnigel) acknowledge past difficulties (such as the Pilgrims at Plymouth Rock possibly digging up their own dead to consume during times of famine), they are by now blasé. Unfortunately, the world that Western Capitalism and Imperialism created does not offer freedom even for its constituents.  The charming Danielle Hauser and Jeanne Smith demonstrate onstage how one is supposed to act as a woman in this world.
Tom Martin adds a most appropriate discourse from Ralph’s Ellison’s novel, “Invisible Man”, about the self-empowerment of African-Americans.  Brandon Olson’s character uses language that defines herself as female, and further broadens our minds about the role of women.  The masses rise in protest, to a background of slogans and posters that those who resist our current administration have seen and lived.  It is evidently time for new Rules to replace the Ten Commandments.  My favorite, of the Rules posited here, is “Do not destroy what you can’t create.”
New Stages has consistently delivered stimulating, surreal theater.  Brandon Olson’s costumes (and in some cases the lack thereof) create a rainbow of identities for the ensemble.  There are masks, and chains, and elegance throughout.  Federico Restrepo’s lighting is kind of hallucinatory. The play takes place amid diverse projections created by Ildiko Nementh, Alex Santullo and Chris Sharp which speak of truth and hope.

Review: The Best Film Ever Deconstructed

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By Ed Malin

CasblancaBox is a riveting, immersive theatrical collage about the making of the classic film “Casablanca”.  Playwright Sara Farrington and Director Reid Farrington developed the piece over the last three years through HERE’s Artist Residency Program.  The large ensemble carries around translucent screens, onto which portions of the finished film are projected while, right behind the screens, live performers stage and voice the same scenes.  It is wonderfully disorienting to try to focus on any particular part of the stage (as the film camera would ask us to do) while so much else is going on.  There was a lot of drama happening off the set, as well, which this masterful production shows.
 It is 1942 on the set of Hungarian-American director Michael Curtiz’s (Kevin R. Free) film, “Casablanca” at Warner Brothers Studios.  The United States had entered World War II only a few months prior, and this particular film, adapted from an earlier, unproduced stage play taking the side of the French against the Germans, had been rushed into production.  Curtiz, who has worked with Erroll Flynn in “The Adventures of Robin Hood” and recreated enormous battle scenes in “The Charge of the Light Brigade” which left hundreds of horses dead, would never have imagined the challenges of his current project.   The script is not finished.  A team of four writers argue with each other as they fight through several drafts of an ending.  Each new version is scrutinized by the censors, who scent infidelity both on and off the set. Peter Lorre (Rob Hille), the famous Austro-Hungarian actor, must hide in his dressing room to immerse himself in each new draft while dodging the ghosts afflicting his psyche.  Leading man Humphrey Bogart (Roger Casey) is occasionally visited by his intoxicated wife, the former actress Mayo Methot (Erin Treadway), who accuses her husband of having an affair. Bogart, who would not begin his affair with his next wife, Lauren Bacall, for several years, is nevertheless having trouble focusing on love scenes with co-star Ingrid Bergman (Catherine Gowl), and even laments to Curtiz that he may have done better with a different contemporary film star like Ronald Reagan. Curtiz takes this moment to teach Bogart how to kiss a woman onscreen: first, stare at her but focus on one of her eyes, then move closer, switching to her other eye.  Apocryphal or not, these stories are joyfully hilarious.
The production moves at high speed through many scenes of the film, showing us the disillusionment of some cast members. Gregory Gaye (Gabriel Diego Hernández), once a famous Austrian actor and now a refugee, is told to be happy playing a caricature of a Nazi in Hollywood.  Lukas (Matt McGloin), a German, assures Gaye that they are lucky to be “atmosphere” for the rest of a film, just like a lamp.  Adrianna (Annemarie Hagenaars),  a refugee from Poland, has a mind to attack Gaye for the crimes of the Third Reich, while he insists that as an Austrian he is not responsible.  Dooley Wilson as Sam the pianist (Toussaint Jeanlouis) has a few problems.  He is a drummer sent to this film to fulfill his studio contract; Curtiz learns mid-way through the shoot that Dooley’s famous playing of “As Time Goes By” and other songs is being done by another musician and dubbed into the final cut, although since both musicians are African-American, they can get away with paying them so little that the expense can be overlooked.  Ingrid Bergman longs for the stormy neo-realism of Italian cinema; her subsequent collaboration and romantic relationship with director Roberto Rossellini (Zac Hoogendyk) is summarized against the backdrop of an active volcano.  An airplane prop is built out of rationed cardboard and is so small that midget actors are hired to play mechanics and correct the scale.
And yes, what of the elusive ending?  Lenore Coffee (Lynn R. Guerra) is the only “dame” among the screenwriters.  Her colleagues, Howard Koch (Kyle Stockburger), Julius Epstein (Jon Swain) and Philip Epstein (Adam Patterson) fight with her constantly. Paul Henreid (Matt McGloin), who plays Resistance hero Victor Laszlo, demands that per his Warner Brothers contract he must get the girl.  The ending is rewritten and staged for us several times. We see the psychological brilliance which emerges from the struggle and eventual united front of the writers.  (The script of the original play is available online; it, too, has a very different ending.)  The outstanding ensemble show us a simple way to say everything that was contemplated in the previous drafts.  As an example, “Here’s looking at you, kid” replaced many sentences of florid dialogue.  We even get to witness the ecstasy of the scene where the residents of Casablanca under German occupation proudly sing the French national anthem, “La Marseillaise”.
Rejoice, fans of the film.  What may have been one of hundreds of movies to come out of the Hollywood studio system in 1942 is celebrated in this production as a classic, with just a little sardonic humor.  The plight of refugees trying to flee Europe and Northern Africa is again a reason to appreciate the story.  Hats off to the Farringtons for realizing this breakneck journey through the creation of “Casablanca”, which at 90 minutes packs so very much into a running time which is slightly shorter than that of the film. Laura Mroczkowski’s lighting is essential for the jumps between scenes and for the old-time film feel.  Roger Casey uses his style and fine-tuned voice to out-Bogart Bogart.  Kevin R. Free as Curtiz really knows how to turn on the charm and how to believably crack under pressure, as one does when there isn't even time to round up the usual suspects.  Zac Hoogendyk delightfully channels the jovially amoral French Captain Renault played by Claude Rains.

Review: Too Much Imagination

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By Michael Block 

There are just some franchises that are so iconic that reinventing it seems taboo. That was the case for one. Until this millennium, Charlie Bucket, Willy Wonka, the Oompa Loompas and the bratty kids from Roald Dahl's iconic book were synonymous with the classic 1971 film starring Gene Wilder. In 2005, when the new Tim Burton interpretation rocked childhoods, scarring kids with the darker tone that was closer to the book, it seemed as if any new takes on the franchise should never happen. But fret not, a new musical adaptation was born in 2013 in London and now Charlie and the Chocolate Factory has found a home on Broadway. Filled with sugary sweetness, this musical confection spins a flavor that can only be described as modern. And it's just one of many choices that are bursting with boldness.
photo by Joan Marcus
Like a cautionary tale about what happens if you eat too much candy and are just a terrible kid, Charlie and the Chocolate Factory follows Willy Wonka as he searches for his replacement chocolatier. Through an international Golden Ticket hunt, five lucky kids get to tour the infamous wacky factory but only one makes it out unscathed. With book by David Greig, music by Marc Shaiman, and lyrics by Scott Wittman and Marc Shaiman, Charlie and the Chocolate Factory is a magical musical where dreams come true, as long as you have a big imagination. There are two ways to look at this production. If you're looking to throw your cares away and just have fun, there's nothing more tantalizing than Charlie and the Chocolate Factory. But if a well-structured, smartly-planned musical is what you seek, this show swings for the fences and strikes out often. Liberties have to be taken. Willy, on his replacement quest, decides to be where the people are and opens up a candy shop in town where he stumbles on his future apprentice, Charlie Bucket. From there, we watch an hour of exposition and set up before an intermission and we haven't even seen the thing we desire most: Wonka's Chocolate Factory! And once we get inside, things get dark and twisted. But that's Roald Dahl's story. The audience is completely onboard with the familiarity that the writing team infuses into the theatrical treat. Starting off the show with "Candy Man" leading a little later to “I’ve Got a Golden Ticket” and then onto “The Oompa Loompa Song”, an overwhelming sense of nostalgia fills the wide smiles. The new music from Wittman and Shaiman is vibrant, modern, and earworm worthy. Just take the new Oompa Looma song. It will get stuck in your head as easily as "It's a Small World," take that for what you will. The score, while not novel, is entertaining to say the least. The numbers that reveal the Golden Ticket winners are incredibly campy and deliciously hilarious. Greig's book is filled with jokes for all ages. But the characters rely on our awareness of the source material. They needed be fleshed out more, but there simply isn't enough time before we would hit the three hour mark. What’s interesting about this version of the story is the early insertion of Willy into the narrative makes this show Willy’s journey, not necessarily Charlie’s. It becomes prominent by the time we enter the Chocolate Factory as Willy is steering the ship, with Charlie getting interjections post drama. There was a superfluous amount of content, especially in the first act. Did Mrs. Bucket truly need a solo and if she really did, did dream dad have to dance his way on stage? The moral of the story is the libretto was overstuffed and may have needed the blow dart Violet got.
Bringing magic to the stage may not always be easy but if you have the ability to entertain the masses, then that’s all the magic you need. Jack O’Brien directed the musical with flourish and spectacle at the forefront. And spectacle surely covered up the woes. This show was all about the visuals, treading the fine line of homage and originality. You hate to compare and contrast the show against the field but you’d expect Charlie and the Chocolate Factory to capitalize on the magic of evolving theatrical technology. Instead O’Brien and his creative team asked the audience to tap deeper into their imagination. It’s safe to say that scenic and costume designer Mark Thompson had the most important and most difficult task of all. Thompson controlled the visual aesthetic of the show. You can suspend disbelief and watch the ensemble shuffle on their knees to play the Oompa Loompas. You can appreciate the ridiculousness of the props on the Bucket “house.” But nothing is more disappointing than the cube that represented the edible world of Willy Wonka. The moment that cube appeared, you waited for magic to happen. For it to expand or come to life or something. In a modern time where we like our things small and compact, this was one instance where more is desired. Despite this, the reimaginings of the Golden Ticket winners through costumes allowed Thompson to put his stamp on the characters. But we should all be glad that he kept Willy Wonka in that infamous purple jacket. That liberty would have gone too far.
photo by Joan Marcus
Charlie and the Chocolate Factory featured a cast that was more than capable and eager to enter a world of pure imagination. Willy Wonka was the central character of this story and the character was left in the best hands possible. Christian Borle has once again asserted himself as a legend of the Broadway stage. Borle’s natural whimsy and charm allowed him to make Wonka his own. He entices with his smile, offering a lightness, but his ability to turn to the darkside on whim gave his Wonka a tenacious edge. The rotating Charlie at my performance was played by Ryan Foust. And boy did he hold his own, going toe to toe with Borle and the rest of the veterans on stage. By far, the biggest and boldest move in this production came with the casting of the Golden Ticket winning kids. Rather than casting children, the team chose four twentysomthings to take on Violet, Agustus, Veruca, and Mike. Standing next to Foust as Charlie, it was jarring. But it eventually all melted away as the quartet’s talent was on full display. Monette McKay, on for Trista Dollison, as Violet brought the soul and the voice. F. Michael Haynie as August nailed the hilarity. Emma Pfaeffle as Veruca was a balletic dream. And Michael Wartella as Mike, looking like a Nickelodeon cartoon character, displayed all the worst traits of kids these days. The adults in this story tend to be outshined by their child counterparts but when you have Jackie Hoffman, she will inevitably steal the show. As Mrs. Teavee, Hoffman nearly stopped the show every time she opened her mouth with her witty zingers. Was it part of this world? Not always but when something’s funny, you go with it.
Charlie and the Chocolate Factory is flashy and fun. Watching as an audience member, you’re bound to smile from ear to ear. You wanted it to be scrumptious but sadly the musical isn’t as satisfying as it should be.

Review: An Easy Night of Laughs

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By Michael Block

Filling the classical quota of the season, Noel Coward’s Present Laughter is the surefire show that won't upset the status quo. But rather than just be another production of a Coward play, this production is a hit simply thanks to its star, Kevin Kline. Directed by Moritz Von Stuelpnagel, Present Laughter is a night of full laughter and high-class comedy.
Following the days in the life of egomaniacal playboy Garry Essendine as he’s set to embark on an African theater tour, Present Laughter is the madcap adventures of the people that populate Garry’s flat and the women who desperately want him. The almost farce-like light comedy is a Coward classic that is an easy audience pleaser. Moritz Von Stuelpnagel directs the play a bit safe but fills it with hilarity. And that’s thanks to Kevin Kline as Garry Essendine. Kline is a natural comedian. He knows how to land a joke. His physical comedy is effortless. And no matter who his scene partner is, his ability to take and give the moment proves his strengths as a performer. Put anyone else in this role and Present Laughter would be a blip on the map of the Broadway season. Kevin Kline makes the production worthy of recognition. Alongside him was a strong supporting ensemble of women including the delightful as always Kristine Nielsen as Monica, Garry’s secretary, Kate Burton as the sly Liz Essendine, Garry’s former wife, and extraordinarily whimsical Tedra Millan, making her Broadway debut, as Daphne Stillington. The other leading lady in Garry’s life was Joanna played by Cobie Smulders. Smulders was strong in her characterization but she was unfortunately a bit rigid and robotic in her take on the debonair wife of his producer Harry and mistress of his manager Morris. With the rest of the cast taking big leaps in comedy, Smulders approach seemed to place her in a different play. Von Stuelpnagel didn’t seem to have the tools to bring her into the same world as the other characters.
photo by Joan Marcus
As a period piece set in 1939 London, Von Stuelpnagel and his team honored the time, and Garry’s personality, through the entirety of the design. The scenic design by David Zinn featured a stylish home that was a bit chaotic. With books lining every inch of every shelf and artwork strewn about the walls, even creeping down on the shelves, there were no details left out. The color scheme was classic and soothing. The only down side was no matter the seat, you’re likely to miss something. The layout of the apartment was specific, calling attention to the necessity of Von Stuelpnagel’s comedic staging. Doors were placed in certain areas to cause quick timed reveals. A mirror was cleverly placed near the hallway where Kline’s Garry did double takes to check his appearance. And then there is said hallway where the audience gets glances on who’s ringing the bell often before the characters. But depending on where you were seated, you likely missed some of these comedic beats. Personally, I lucked out and only missed the entrances from the main door but as I was cackling every time Kline looked in the mirror, my neighbors to my left were left out of the moment as they couldn’t see the action. The costumes designed by Susan Hilferty were first rate. Matching the personas of each character through color, cut and fit, Hilferty too honored the period while maintaining the high status of this world.
Present Laughter was a great vehicle for a triumphant Broadway return for Kevin Kline. Sometimes you just need to go to the theater for a laugh and this production fulfills that. There’s no need to reinvent the wheel when it comes to Noel Coward.

Block Talk- Episode 18- Jen Sandella and Victoria Teague

Spotlight On...Shay Gines

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Name: Shay Gines

Hometown:  Salt Lake City, UT

Education:  University of Utah (Actor’s Training Program)

Why theater?: Because it is a communal experience that incorporates the audience. The energy exchange between audience and performers is always so fascinating and exciting to me. How the audience affects the performance and how the performance affects the audience. Also I love the collaborative process.

Tell us about And Miss Reardon Drinks A Little?:  Miss Reardon… is a dark comedy about three sisters trying to hold on and move forward.

What inspired you to direct And Miss Reardon Drinks A Little?: Initially I was struck by the dynamics of an all-female family of educated, career oriented women in the late 1960’s. All of the characters have such depth and are witty and smart and wonderfully wounded. During my research, I was struck by how many clear political and cultural parallels there are between 1968 (when our play is set) and our current environment. I was excited to explore how those external pressures influenced this family. Also, it is a dream to work with such a sensational cast and phenomenal designers and crew.

What kind of theater speaks to you? What or who inspires you as an artist?:  I am often inspired by paintings or photographs and how a single image can tell an entire story or express an unfeigned emotion. I will often try to capture moments like that on stage, where a character reveals their underbelly and the audience gets a snapshot of something profound.

If you could work with anyone you’ve yet to work with, who would it be?: Well before this production, I would have said Sara Thigpen… but here I am enjoying working with her on Miss Reardon…. There are so many artists that I would love to work with: Nat Cassidy, Jordana Williams, Ari Laura Kreith, Mac Rogers, Greg Oliver Bodine, Savian Stanescu, Carl Andress... Seriously, I could go on and on.

What show have you recommended to your friends?:  Whenever I have friends come to NYC, I always encourage them to see shows that are running Off and Off-Off-Broadway. The Broadway shows are obvious. If you are coming to NYC, of course you are going to see a Broadway show. However, some of the most memorable experiences are performed on intimate stages. I love the work of the NY Neo Futurists, Gideon Productions, stuff at HERE Arts Center, The Brick, LaMama, and of course Retro Productions.

Who would play you in a movie about yourself and what would it be called?:  It would be called “Taking the Shay,” which is a term that my friends use – it’s a little embarrassing. “Taking the Shay” is basically making a decision. It is like when a group of people are all standing around talking about where to go for dinner and it just keeps going around-and-around and finally someone says, “That’s it. We’re going for Indian food.”

If you could go back in time and see any play or musical you missed, what would it be?:  I would have loved to see some Ancient Greek theatre.

What’s your biggest guilty pleasure?:  Peeps and video games.

If you weren’t working in theater, you would be _____?:  My immediate reaction to this was marketing and psychology. But really if you were to blend marketing and psychology up in a blender… you’d get theatre.

What’s up next?: The New York Innovative Theatre Awards. Basically Miss Reardon… ends just in time for us to start production for the 2017 awards.

Review: Anastasia's Uneven Journey

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By Michael Block

If you were a child of the 90s, you likely remember the 20th Century Fox animated musical “Anastasia.” Bringing history and an infusion of fantasy, the film held its own up against the Disney juggernauts of the time. The movie may be most revered thanks to its soundtrack written by Broadway writing team Lynn Ahrens and Stephen Flaherty. With help from Terrence McNally, Ahrens and Flaherty went back to the beginning and reimagined their hit 1997 animated film. If you're looking for a piece that honors said film, journey to Netflix and just watch it there. The stage adaptation is an uneven mash-up of the animated film as well as the 1956 film of the same name starring Ingrid Bergman.
photo by Matthew Murphy
It’s 1907 St. Petersburg. The Bolsheviks have invaded the Romanov palace. On their path to escape, Tsar Nicholas and his family are captured are executed. Tsarism is dead. Ten years later, St. Petersburg is now Leningrad and controlled by the Bolsheviks. But there is a sudden stirring, or rumor if you will, that Anastasia Romanov may have survived the attack and is alive. With the rumors swirling, two conmen, Dmitry and Vlad, a member of the old Royal Court, discover a young girl named Anya, who suffers from memory loss despite flashes of the past coming back continually. They deem her as their ticket out of Russia in hopes of convincing the Dowager Empress that this in fact Anastasia. From here on out, the story follows Anya remembering her past, discovering the truth of her history, and falling in love with Dmitry. If this doesn’t seem like enough, a Russian spy thriller plot line is inserted into the story to create minimal conflict as Gleb vows to kill the last remaining Romanov to avenge his father, only to find his greatest obstacle is falling in love with this girl he stumbled upon once or twice. For those familiar with the animated film, the central fantastical conflict came in the form of the deceased Rasputin and his sidekick, talking bat Bartok, coming in the dark of the night and trying to kill Anya. Eliminating these characters may be a blow to the loyalist of the film, but to create a more nuanced historical musical, they needed to go. The introduction of Gleb allows McNally to be heavy on the history. And it’s greatly appreciated. But the integration of the two plot elines was not nearly as polished or seamless as it needed to be. Had Gleb and the love triangle not been explored, and continued to be hammered in with the historically accurate depiction of “Swan Lake,” Anastasia the musical still exists and may in fact be stronger. Gleb, who feels as if he’s closer to a creepy stalker, simply complicates the story. Sure, audiences love love. Amplify Anya and Dmitry and the quota is fulfilled. With more score and a new character, there was a strong reliance on the movie when maintaining plot points. There were many moments where story was rushed, hoping you’d remember key details from the film. Additionally in Act II, we spend a good twenty minutes or so without our heroine in sight. We spend three songs in the subplot of Lily and Vlad and then another song with Gleb before Anya returns. Anastasia’s book is another example of how plot drops can not only hurt character arcs but hinder the overall narrative. McNally has done a fantastic job with the historical stakes but it felt as if Gleb just dropped in from a completely different idea. The original animated movie featured a memorable score from Ahrens and Flaherty but their heavy-hitters came early in the story. With the libretto being repurposed and a plethora of new hits, the creative had room to re-place “Once Upon a December” and “Journey to the Past” in better spots for the arc. Ending the first act with “Journey to the Past” was an exceptionally strong choice. Overall, the new tunes are quite good, though the historical ones felt a touch out of the world.
Whether the new interpretation deters you from the production, Anastasia is a visual triumph. Transporting you from Russia to Paris, director Darko Tresnjak and his team have forever raised the technological standards. Come for the music, stay for Aaron Rhyne’s breathtaking projection design. Sensational is an understatement. Since the production already tried to depart from the film, Rhyne didn’t try to recreate anything, rather visualize a brand new world. Alexander Dodge’s scenic design was minimal but was elevated thanks to the array of locales Rhyne depicted throughout the space. And these weren’t just static images, Rhyne made the world move. Without spoiling the experience, the train scene was something to be remembered. The way the train moved in unison with the hurried landscape positioned you onto the vehicle alongside our characters. But don’t think for one moment that costume designer Linda Cho would be outmatched. The curtain rises and nearly every performer who enters the stage glistens as Donald Holder’s lights hit each of the thousand stones on every gown and uniform. They sparkled with regality. Cho had the unique challenge of creating her own visual design while still honoring the source material. And she did a phenomenal job marrying the two in stunning fashion. When Anya enters in her iconic gown in Act II, there is sense of excitement that fills the theater.
photo by Matthew Murphy
For the most part, the characters live in a larger-than-life world. Perhaps you’d say they’re even animated. All except Gleb. With the character not necessarily being fleshed out completely through the text, Ramin Karimloo had a great obstacle in his path. Karimloo’s Gleb was very even keeled. He seemed to exist and do what was told. It’s a shame that such a strong performer was given such a blip of a role. Taking on the title role, Christy Altomore had some of the spunk and tenacity of the cartoon version but captured the essence of princess. The new story defused some of the fight Anya had but Altomore’s purity is what kept the character going. As Dmitry, Derek Klena was the epitome of musical theater love interest. He was big, vivacious, and ran on and off the stage with musical theater purpose. With so much truthfulness infused, it could have been toned down. Regardless, Klena’s charm and effortless smile proved why Anya just couldn’t refuse Dmitry’s love. John Bolton as Vlad was nothing short of fun. Matched by the exceptionally brilliant Caroline O’Connor as Countless Lily, the supporting characters stole the show more often than not. O’Connor’s performance is one of the most underrated performances of the season. If you’re looking for a perfect comedic supporting performance, look no further. As the authoritative Dowager Empress, Mary Beth Peil floated with supremacy.
Visually, Anastasia is dazzling. For a musical made for families, this production is a technological game changer. But it’s not perfect. You almost wish that there was one more step prior to the Broadway bow. Will Anastasia the musical stand the test of theatrical time? Likely not. But her impact will surely be felt.

Block Talk- Episode 19- Rhapsody Collective Roundtable Cycle 5

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On a very special edition of Block Talk, my theater collective, Rhapsody Collective gets the spotlight! I was joined by a roundtable of Cycle 5 collective members to talk about our upcoming celebration of new works at The Tank, May 18th, May 20th, and May 21st.

For more information on Rhapsody Collective presents Cycle 5: Deus Ex Machina, visit http://www.brownpapertickets.com/event/2944275

To listen to the episode, visit iTunes or Soundcloud and make sure you subscribe!

And visit patreon.com/theaterinthenow to learn about the benefits of becoming a patron.

Spotlight On...Jonathan Louis Dent

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Name: Jonathan Louis Dent

Hometown: Denville, New Jersey

Education: MFA NYU Grad Acting; BA Brown University

Select Credits: Sons of the Prophet (Roundabout); The Broken Record (NYC Fringe); Romeo and Juliet (Hartford Stage)

Why theater?: I love the spontaneity and energy with live theater and also participating in an art-form that has the potential to shift the consciousness of those in attendance.

Who do you play in Church and State? Tom/ Marshall

Tell us about Church and State:Church and State is a serious comedy that follows a republican Senator -Charles Whitmore- who is experiencing a crisis of faith just days before his reelection bid.

What is it like being a part of Church and State?: I've been having a lot of fun performing in Church and State. Since I play multiple roles, it really stretches me as a performer to be as specific as possible with each character I portray. I enjoy being able to showcase different aspects within my own personality.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theater that feels like it is socially relevant. I think the best art serves as a mirror to society and culture, so theater that feels truly reflective of the times we are living in really excites me.   August Wilson is an artist that I admire a great deal; he's a great example of an artist who served as a mirror for the times he found himself in.

Any roles you're dying to play?: Bynum (Joe Turner Come and Gone)

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

Who would play you in a movie about yourself and what would it be called?: Michael B. Jordan in “The Architect.”

If you could go back in time and see any play or musical you missed, what would it be?: A Raisin in the Sun

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

What’s your biggest guilty pleasure?: freshly baked chocolate chip cookies

What’s up next?: Not sure, just riding the wave!

Review: The Girl from Oz-some

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By Michael Block 

Most of us have pride when it comes to where we’re from. It tends to be a great theme for a show. Just ask drag’s pop princess Courtney Act! Courtney Act, one of the most stunning humans in and out of drag, brings her homeland of Australia to America in a celebration of song in The Girl From Oz.
photo by Michael Block
While she’s best known to us stateside as a runner-up on season 6 of RuPaul’s Drag Race, Courtney Act is also known for her time as a contestant on Australia Idol. The Girl From Oz was top to bottom a concert and Courtney Act has the pipes for it. Working her Australian artist repertoire, Courtney started off the night with an homage to Olivia Newton John and “The Wizard of Oz” as she roller skated her way through “Xanadu.” From there, Courtney left no big name Australian untouched. Ranging from a Sia medley to rocking AC/DC cover, not only did she educate the crowd on the talents that came from the land down under but quite possibly proved they might just have more talent. Wit three sexy looks that ranged from a riff on Dorothy, a gold frock, and glistening swimsuit accompanied by some ruby red thigh-highs, there wasn’t a moment when she didn’t slay the stage. She may not be known as a comedy queen like her season 6 sister Bianca Del Rio, but Courtney Act is one funny lady. Her audience banter included an array of funny jabs and shady jokes that came easy. What made The Girl From Oz a successful cabaret was the flow of the show and her ability to move from song to song seamlessly. The integration of the videos were a hilarious touch that only added to the humor and theme.
Courtney Act may be blocked by RuPaul but the rest of the fandom loves her and The Girl From Oz proves why. She is an effervescent performer that knows how to command the room. You know you have control when your audience demands an encore by holding gay Aussie icon Kylie Minogue for very last.

Spotlight On...Kimberley Bechtold

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Name:  Kimberley Bechtold

Hometown:  Menominee, Michigan (the Upper Peninsula for those of you who have heard of it). Yes, I am a Yooper!

Education: I recently graduated with a Master’s of Music in Vocal Performance from the Brooklyn College Conservatory of Music. My undergrad degree was also in Vocal Performance, from Georgia State University.

Select Credits:  Most recently I performed the role of Brigitta in Iolanta with the New York Opera Theater. While at Brooklyn College, I performed the roles of Adele in Die Fledermaus, Gilda in Rigoletto (scenes), Mary in G Train the Musical, Tchervyakov’s Wife (and 4 other characters!) in Death of an Underling, and Hillary Hickory in the children’s opera Mambo. Recently, I participated in an Italian immersion opera program called Si Parla, Si Canta in Urbana, Italy. While there, I performed the roles of Sandrina in La finta giardiniera, Beatrice in Beatrice di Tenda, Eternità in La Calisto, and Jouvenot in Adriana Lecouvreur (scenes).

Why theater?: A few years ago, I attempted to get a “real job,” and let’s just say that didn’t last…. There is this longing inside of me that has to be expressed. I grew up taking piano lessons and acting in community theater productions. Then I went home and enjoyed singing along and acting out every song and scene in The Sound of Music. I like to pretend that Julie Andrews taught me how to sing.

Who do you play in Giovanni the Fearless?: I play Columbina, the eldest of two daughters in the Bombasto family. Columbina dreams of love, and she finds it with Giovanni.

Tell us about Giovanni the Fearless: Giovanni the Fearless is a silly, funny, and witty story about a family of traveling performers (actors, singers, musicians, acrobats) referencing the Commedia dell’arte form of theater. This is a show will take you on an adventure to a haunted castle, will absolutely makes you laugh (there is literally a song about pasta), and also will invoke feelings both of romantic love, but also love of family, and of course the love of theater!

What is it like being a part of Giovanni the Fearless?: Every day is an adventure! Seriously… Our director has thought about every detail of this show and each character. We are all reaching deep within ourselves to make this show as exciting as possible. In what other show could I sing, tango, play the trombone, and dance with pasta??!

What kind of theater speaks to you? What or who inspires you as an artist?: I have always been drawn first to those with a beautiful mastery of vocal technique.  Beyond that, I am drawn to those who have a mastery of comedy, especially those who use this mastery in a creative way. As far as a mastery of vocal technique, and expressing emotion through this, my teacher, Anna Skibinsky, inspires me the most. She has such an effortless, beautiful tone, and the most gorgeous high pianissimo notes you have ever heard! As far as comedy, my inspiration is absolutely Carol Burnett. Who else can sing alongside opera singers such as Beverly Sills, and then produce elaborate music scenes that make you roll on the floor laughing? She is truly one of a kind.

Any roles you are king to play?: Honestly, Cunegonde in Candide. Also, I have to play Maria in The Sound of Music before I die.

What is your favorite showtune?: I literally can not pick just one… I grew up singing The Sound of Music, so that song holds a special place in my heart. The music in West Side Story is so unbelievable though. Literally every song in that show… I also occasionally geek out to The Last Five Years and Les Miserables. I told you I couldn’t pick just one show tune.

If you could work with anyone you’ve yet to work with, who would it be?: I think I would want to meet and work with Carol Burnett and Julie Andrews. I have difficulty choosing just one…

Who would play you in a movie about yourself and what would it be called?: The actress would be Amy Adams, and I feel like it was already made… Have you heard of "Enchanted"? I feel like a movie about me would feature me singing every word (instead of speaking) in an operatic way, and then everyone else would just start at me awkwardly.

If you could go back in time and see any play or music you missed, what would it be?: I wish I could go back and see/hear Julie Andrews sing while she was in good vocal health.

What show have you recommended to your friends?: Which friends?

What’s your biggest guilty pleasure?: I think one of my favorite things to do in life is sing all of the parts to “One Day More” from Les Miserables.

What’s up next?: I produced and performed in 10 singing variety shows called Les Chanteuses. We are currently working on the 11th, which should debut this summer in Brooklyn. Details coming…

Spotlight On...Jef Canter

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Name: Jef Canter (Jef with one F)

Hometown: Tallahassee, FL

Education: BS Marketing Florida State University; Young Actors Studio

Select Credits: I loved playing Dr. Watson in the East Coast Premier of Watson at Gretna Theatre and playing 21 different roles in Around the World in 80 Days. I’ve also had the privilege to play Clarence the Angel in two different productions of It’s a Wonderful Life and to return to my hometown to perform Bottom the Weaver in A Midsummer Night’s Dream at the Southern Shakespeare Festival.

Why theater?: Theatre is my love because of the audience. You have the ability to interact with them, to play off their energy, to make them laugh, cry or think. Nothing beats it because each show is a living breathing creation that is special and unique each time you perform it.

Who do you play in Giovanni The Fearless?: I play Jacopo Bombasto, (pronounced Ya-co-po), the patriarch and leader of a family troupe of commedia dell’arte actors.

Tell us about Giovanni The Fearless: Giovanni The Fearless is a wonderful new show with something for everyone. We describe it as a family-friendly commedia dell’arte folk opera. It’s a story about love, a troupe of travelling actors, a deserted castle and a couple of ghosts. This is the first full professional production of this work with book and lyrics by Carolyn Balducci and music composed by Mira J. Spektor. It’s directed by Lissa Moira, whom I’m pleased to be working with for the second time. The music is beautiful and it will be a treat for kids and adults as well. We will be performing at the iconic Theater for the New City in the Village from May 12 – 21.

What is it like being a part of Giovanni The Fearless?: It’s a thrill to be able to originate a new role and bring new works to life. The show has wonderful music and the style of the acting is very playful. It will be the first time I’ve ever gotten to play a giant ghost puppet on stage which should be a lot of fun!

What kind of theater speaks to you? What or who inspires you as an artist?: I love it all from straight plays to musicals, classics to contemporary. There are so many amazing stories to be told. But I love and live for the comedic roles and making people laugh. I am inspired by great performances and there are so many to see it would be hard to choose just one.

Any roles you’re dying to play?: Dave in Full Monty, Freddy in Dirty Rotten Scoundrels, Billis in South Pacific, Thernardier in Les Mis. I also played Tevye in Fiddler on the Roof in my community theater days and would love to play the role professionally.

What’s your favorite showtune?: That’s a hard one. Maybe “There is Nothing Like a Dame” from South Pacific or “Big Ass Rock” from The Full Monty.

If you could work with anyone you’ve yet to work with, who would it be?: Wow… writers like Tim Minchen, Alan Menken, Lin Manuel Miranda… directors like Casey Nicholaw, John Doyle, Jack O’Brian… Anyone who wants me for their Broadway show!

Who would play you in a movie about yourself, and what would it be called?: If I couldn’t play myself, I think maybe Jack Black or Zach Galifianakis. It would be called “Jump and You’ll Find the Net” which is one of the philosophies I try to live by.

If you could go back in time and see any play or musical you missed, what would it be?: I’d love to see the original production of Fiddler with Zero Mostel.

What show have you recommended to your friends?: I can’t say enough good things about Groundhog Day!

What’s your biggest guilty pleasure?: Ben and Jerry’s ice cream and buffalo wings!

What’s up next?: Earlier in the year, I played Michael Larson in a staged reading of a new musical called Big Bucks: The Press Your Luck Scandal. It’s an amazing new piece of work, written by Brandon Sturiale, and I’m excited to be going into the recording studio to record some demo tracks to help take the show to a full-staged production. I’m looking for my next immediate gig… so if you’re looking?

For more on Jef, visit www.jefcanter.com
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