Theater in the Now

Name: Lisa Danielle Buch

Hometown: Farmington Hills Michigan

Education: MFA Acting Ohio University, BA psychology

Favorite Credits: Come back to me in 10 years :)

Why theater?: Woooo boy! Theater and story telling have a way of getting to your heart - it uses all parts of your brain- the audience and the actors- and the lessons learned are deeper as a result.

Tell us about Simple Math:? It has live music, a chalk board, and even a little chemistry. And a whole lotta me! But really, it is a lot more than an assault story. It’s an analytical look at the gray areas often considered “complicated”.

What inspired you to create Simple Math?: It was a slow build. First Weinstein fell. The metoo movement. Suddenly there was a new precedent forming. I heard the arguments and was compelled to fill that gap in people’s understanding of trauma-specifically the role it plays in sexual assault, and how it explains a victim’s/survivor’s behavior, both in the moment and post event.

What kind of theater speaks to you? What or who inspires you as an artist?: Very theatrical, engages with unexpected or uncommon subjects- where I feel like I’ve left changed. Depends on the project. This piece, I was very inspired by Ke$ha’s newest album, Rainbow, Alicia Keys, Amy Winehouse, and the hard sciences :) and NPR or podcasts.

If you could work with anyone you’ve yet to work with, who would it be?: I’d make a musical with Alicia Keys.

What show have you recommended to your friends?: Dear Diary LOL - by a group called Antigravity based in Philly- a devised around young womens’ diary entries from when they were 13. It was a riot! And then struck you with these golden truth gems out of no where. It’s one of the best pieces of theater I have seen in a while.

Who would play you in a movie about yourself and what would it be called?: Stephanie Beatriz- but I’d audition many people - it would be called, "I Laugh" or "There’s Sooo Many Choices."

If you could go back in time and see any play or musical you missed, what would it be?: Maybe original cast of Fiddler - don’t know, I’m crazy about new works.

What’s your biggest guilty pleasure?: Stranger Things and hotel pools.

If you weren’t working in theater, you would be _____?: A detective, psychologist, anything in criminal justice.

What’s up next?: Hopefully another remount of Simple Math!

By Michael Block

The Marvel universe has the Avengers, a super team of heroes who come together to fight the evils of the world. Each of these heroes lives in their own stand-alone story, but when they come together, it’s magical. Such is the case in You Don’t Own Me. Jackie Cox, Paige Turner, and Sutton Lee Seymour, three of New York’s premiere theater drag divas, reunite for an evening of fun, laughs, and a good time in You Don’t Own Me at the Laurie Beechman. With a silly premise to string the night along, the heart of the show is the power of community and friendship.

photo by Michael Block

After a hilarious audition of “Three Little Maid for “Handmaid’s Tale the musical,” Jackie, Paige, and Sutton vow to make a musical on their own. But how will these three different queens with three very different ideas create a jukebox musical? That’s the fun of You Don’t Own Me. This campy musicale brings together a stellar drag trifecta who have each uniquely planted their flags in nightlife and the cabaret scene. While each being a campy Broadway performer, they infuse their own brass, crass, and sass to unite a cohesive team. Whether you know them from their individual shows or at their bar shows, they bring a special version of their character and individual relationships to allow for a necessary plot and arc. Paige portrays the blonde center-of-attention determined to make a musical at any stake. Sutton shows up as the scowl-laden negative Nancy who has taken a hard turn on Broadway. And Jackie jumps in as the air-headed Disney- loving princess. Together, their blend makes magic ignite. This show isn’t all trio numbers as you might wish it were. To cover the tricks if the trade, we get moments of solos and duets that allow each queen their moment to shine.
In a world of hardship, there’s a big, bright, beautiful tomorrow when you find hope and joy in art. You Don’t Own Me delivers a night to escape this world. Love, laughs, and a perfect friendship are their keys to success. The show is nothing short of a satisfying treat that leaves you begging for the next reunion.

Halloween is only days away and to prepare you for all things ooky spooky and spoopy, I'm joined by Cicatrix!

To listen to the podcast, visit iTunes or SoundCloud. And don't forget to subscribe and leave a five star review!

Plus, visit patreon.com/theaterinthenow to learn about becoming a patron today!

Name: Lyto Triantafyllidou

Hometown: Thessaloniki, Greece

Education: I studied theater at the School of Drama of Aristotle University of Thessaloniki, in Greece, with a major in theater directing and dramaturgy. After a year of academic research on New York’s avant-garde theater scene, I moved to New York for the MFA Directing program at The New School for Drama, from where I graduated in 2015.

Favorite Credits: In May 2016, I directed a solo performer adaptation of Mistero Buffo by Dario Fo, featuring Panos Vlahos, produced by Natasha Katerinopoulos. The first presentation of this work was a site specific performance at The Balcony Theater at West Park Presbyterian Church, in New York. Mistero Buffo’s journey continued with performances in Los Angeles, Chicago, Israel and the UK, where it was last presented at The Cockpit Theater in London, in February 2018.

Why theater?: Theater is the most unpredictable art, as it’s as imperfect as the people creating it. As a result, it constantly surprises us, keeps us in our toes. As a theatermaker, I enjoy the endless possibilities of an empty space. It’s a study on freedom.

Tell us about I Want a Country?:I Want A Country is the story of how to be a citizen of a country. Andreas Flourakis wrote the play as a response to the Greek economic crisis in 2012, while the country was in a political turning point. In Andreas Flourakis’ play the protagonist is not a single character but “we the people,” a public responding to times of social change. The characters of the play realize that their country is not build by them or for them. There is much to learn by observing them in their quest of a new country, and even more by their failure to find it. They don’t accept responsibility, instead they blame the previous generations, their government or the “others”. The truth is that their new country would be as broken as the old one. However, we need them to keep dreaming of this new world. Through Eleni Drivas’ translation and a diverse cast of actors, this production of I Want A Country connects the play with the current socio-political state of the USA and the popular demand for representation for all. This is the story I would like to share with FringeNYC’s audience through this play. It’s important in this particular political moment to accept defeat; and then speak, fight, dream!

What kind of theater speaks to you? What or who inspires you as an artist?: I am fascinated by theater that integrates political conflicts into the context of a personal story (and the opposite). This balance between public and private also contains the tension between objectivity and subjectivity. This double point of focus makes every story fragile and somehow more personal. Lately, the news unfortunately…

If you could work with anyone you’ve yet to work with, who would it be?: I would love to work with people from tech industry, in order to expand the limits of theater as we know it!

What show have you recommended to your friends?: The last show I recommended to a friend was Philip Glass’ Satyagraha, opening in November at BAM.

Who would play you in a movie about yourself and what would it be called?: I really don’t know… let’s wait to see!

If you could go back in time and see any play or musical you missed, what would it be?: Probably a theater piece of avant-garde theater. Cage’s Theater Piece No. 1, Schechner’s Dionysous 69 or Foreman’s Miss Universal Happiness.

What’s your biggest guilty pleasure?: I don’t feel guilty by any pleasure.

If you weren’t working in theater, you would be _____?: Sleeping earlier at night

What’s up next?: A multi-lingual theater adaptation of Euripides’ Trojan Women, in English, Greek, Turkish and Arabic. I Want a Country runs until October 27 at The New York International Fringe Festival. More info at https://www.iwantacountry.net/

Name: Marlena Holman

Hometown: Tucson, Arizona

Education: BFA in Drama from NYU Tisch

Select Credits:Plucker (Company of Fools), Macbeth (No Name Collective), The Possibilities (dir. Tim Carroll) and Danni in the Gageing Noel series

Why theater?: Live theatre performances require the actor to emotionally bungee jump every single night. I love working in that atmosphere of extreme courage.

Who do you play in Mary Stuart?: I play Lord Burghley. Some may call him a misogynistic, infantile villain, but I would never pass that kind of judgement on my character. I think he's a loyal, passionate man who is simply trying to keep his country safe and prosperous. And he's a little misogynistic.

Tell us about Mary Stuart: Oof. Okay. Big ask. Here's the Spark Notes version: Mary Stuart became Queen of Scotland when she was six days old. She got married three times in a few different countries basically to gain power. When she fled to England, she was imprisoned for 19 years because she had become the focus of various plots to overthrow her cousin, Queen Elizabeth I. This was especially delicious because Mary Stuart was Catholic, and Queen Elizabeth was Protestant (her father had created the Church of England). Our play begins after Mary Stuart has been imprisoned for decades and has recently been found guilty of plotting to kill Queen Elizabeth and filch her throne. The next two hours are full of Mary trying to prove her innocence, Queen Elizabeth not being able to make up her fickle mind about whether or not to kill Mary off, and a whole mess of other characters plotting some sneaky stuff. Oh and we dance the Volta somewhere in there, too.

What is it like being a part of Mary Stuart?: Mary Stuart is one of those plays that young actors in University programs wish to one day perform. And here I am getting to do it, with an incredibly powerful all female cast. As far as the process goes, one of the notes our director gave those of us playing male characters was to observe the men in our world and all the traits they are allowed to exhibit in public that women cannot without being discredited (such as rage, directness, petulance) and to layer that on to our characters instead of showing we are men by huffing up our shoulders and deepening our voices. It has been a wild ride taking in how easily men can assert themselves, and I must say, it is awesome to have the permission to emotionally and physically manspread every night.

What kind of theater speaks to you? What or who inspires you as an artist?: I appreciate creative lighting designs and elaborate costumes and boy do I love a good revelation of space, but at the end of the day, really specific, truthful acting is what will haunt me (in the best way), and I guess that's what I want when I see theatre…to leave a little bit haunted.

Any roles you’re dying to play?: Stevie in The Goat, or Who Is Sylvia?

What’s your favorite showtune?: Oh man, I'm actually not so much of a shuffle ball change kind of girl. I don't know any!

If you could work with anyone you’ve yet to work with, who would it be?: I'd act in something with Kathleen Turner, directed by Ivo Van Hove.

Who would play you in a movie about yourself and what would it be called?: Steve Buscemi, definitely. The movie would be called Sitting in Bars Drinking Beer. It would be a silent film, where he sits at bars in 60 different countries, drinking the local beer (because this is, fun fact, something I have done).

What show have you recommended to your friends?: I recently saw The Lifespan of a Fact and I really appreciated the acting and the timeliness of the show. I also love everything out of BAM's Next Wave Festival.

What’s the most played song on your iTunes?: I'm actually really into quietly devastating music because haha crippling social anxiety. My most played is Þau Hafa Sloppið Undan Þunga Myrkursins by Olafur Arnalds.

What’s your biggest guilty pleasure?: Eating Hawaiian pizza in my bed while watching home renovation shows. Yeah, I said Hawaiian pizza. Don't @ me.

What’s up next?: I'll be in Twelfth Night with No Name Collective going up at The Alchemical in December. Mary Stuart runs November 7 – 11 at Pushkin Hall on the Upper West Side. More info can be found at https://www.pigeonholedtheater.org/

By Michael Block

She’s like the energizer bunny. I’ve famously called her the Roomba of Drag on an episode of Block Talk. If you’ve never seen Boudoir LeFleur, you’re doing yourself a extreme disservice. Hosting a haunting Pre-Halloween treat, The Witches Rumble is entertainment spectacular hosted New York’s premiere drag witch.

photo by Michael Block

Offering a Halloween spoon, Boudoir LeFleur brings the dark magic to the Laurie Beechman stage as she throws herself across the floor to classic rock, pop divas, and a little Broadway. The Witches Rumble takes the darkness of the season and thrusts it on stage with a sexy spin. If you’re looking for a cabaret with a semblance of a through-line, you won’t find it here. Instead, you get a stellar lineup showcasing their best. Boudoir is an effortless host, as she brings some dry wit. When she performs, she goes 150%. She’s unafraid to risk her body for the sake of the stage. Joining Boudoir is her Assassin sister Kimmi Moore, Drag powerhouse Honey Davenport, Winnifred Sanderson impersonator extraordinaire Jennica McClearly, and former American Idol standout and Broadway superstar Diana DeGarmo. The diverse lineup fit the mood of the evening as they combined live singing, dance, and burlesque. If you’ve been hiding under a rock, you've been missing out on Diana DeGarmo. DeGarmo is the real deal. Singing a pair of numbers from her upcoming album, DeGarmo is a vocal femme fatale. Her voice is a knockout of seductive poison, quite like her song. Jennica McClearly easily proved why she’s a premiere Winnifred Sanderson impersonator. If you’d never seen her before, McClearly brings a dose of burlesque to the character, and it’s everything. Assassin sister Kimmi Moore delivers an original track, but her highlight comes as she shares the stage with Boudoir for a lip sync dance duet. Honey Davenport serves exceptional looks, but stops the show with her emotion-filled rendition of “Angel Down” by Lady Gaga.
The Witches Rumble is a holiday treat among the many Halloween tricks at other venues in the city. Boudoir LeFleur concocts the right potion to captive an audience all night long.

Name: Drew Seigla

Hometown: Richmond, VA

Education: B.M. in Voice Performance from The Juilliard School & attended Elon University two years prior towards a B.F.A. in Music Theatre.

Select NYC Credits: Off Broadway: The Fantasticks (Matt;The Mute), Sweeney Todd (Swing for Anthony/Tobias/Beadle), and Fidler afn Dakh (Pertshik)

Why theater?: Theatre has always captured my imagination, and has given me an outlet to express and expand my inner truth. This therapeutic search of self discovery has allowed me to access emotions that would have otherwise been suppressed by standard social norms. Having this emotional availability has increased my empathy for all people, and for that I couldn’t be more grateful. Most importantly, theatre has the power to teach, to transform, to entertain, and to challenge the minds and hearts of audiences so that social progress can continue growing.

Who do you play in Fiddler on the Roof?: I play Pertshik, a socialist rebel student from Kiev. He is an outspoken, educated, and passionate leader of men who will take a stand for the justice and fair treatment of all mankind. He is a progressive scholar who’s life purpose is based on changing the world into a just, utopian society. One day, he stumbles upon the small village of Anatevka, and makes a deal with Tevye to teach lessons about the Torah to his daughters in exchange for shelter and food. Of all Tevye’s five daughters, Pertshik is curiously challenged mentally and emotionally by his second eldest daughter, Hodl. Hodl is strong willed, smart, and able to express her beliefs with a conviction that Pertshik hasn’t observed from anyone else in Anatevka. He finds his equal in Hodl, eventually falls in love, and proposes to her. However, he’s caught in a predicament and feels he must leave Hodl and Anatevka in order to fight for the revolutionary cause against the Russian Empire. He is sadly captured in Kiev, and exiled to the wilderness of Siberia.

Tell us about Fiddler on the Roof: Fiddler on the Roof is a musical based on the writings of Sholem Aleichem’s “Tevye the Dairyman and the Railroad Stories,” surrounding Tevye, a Bible-quoting milkman from a Jewish, fictional village called Anatevka. Ultimately, the story follows Tevye’s journey as his religious traditions and customs are challenged one by one through the different suitors that court his beloved daughters. The play is set during the eve of the Russian Revolution of 1905, and danger lurks innocent Anatevka as tensions rise between Socialistic revolts and the Russian Empire.

What is it like being a part of Fiddler on the Roof?: It is a rich, truly one of a kind experience. It is my first Fiddler on the Roof which alone makes it special to me, but to have it told in Yiddish, the language that these characters would have spoken, perfectly captures the essence of the story telling. It radiates in an authentic gesture that I’ve never seen portrayed in any show...it’s as real as it gets. The warmth of family tradition and stability juxtaposed against an inevitably changing world is a theme that anyone can grasp, especially in today’s times. The cast, creative team, and theatre all support the common goal of honestly expressing the beauty of the Jewish people as well as the cruel injustices inflicted on them during this time in the beginning of the 20th century Russian Empire.

What kind of theater speaks to you? What or who inspires you as an artist?: I really enjoy all forms of entertainment. There’s a time and a place for it all to exist. Truth and beauty told in an honest dramatic format will always speak to me and to my heart. The value of remembering our humanity through dramatic works is indeed a powerful tool. However, I grew up with a funny bone and I do love being goofy. Nothing is more satisfying than a belly laugh from a ridiculous comedy to remind you that life can and should be taken lightly. It’s a balance of the mysterious and the hilarious that speaks to me. Many different artists, living and dead inspire me. My first idol was Michael Jackson. I listened to all of his albums and still know most lyrics to all of his songs. His singing, dancing, and stage presence is unmatched and inspired me to standout. When it comes to film actors, I have to credit Marlon Brando and Robin Williams. They were titans of their craft and there is so much to be learned by following their examples on screen. Currently, my muse is Seth MacFarlane. He is basically doing what I’ve always wanted: he created a famous cartoon with Family Guy (I also love to draw), he has an incredible sense of humor that he unapologetically exploits, and he can sing like a dream...what a mentsh!

Any roles you’re dying to play?: Yes, a few. I really want to be Quasimodo in Disney’s The Hunchback of Notre Dame, Jamie in The Last Five Years, Raul in Phantom of the Opera, Joe in Damn Yankees, Georg in She Loves Me, Bobby in Company, and George in Sunday in the Park with George.

What’s your favorite showtune?:“Soliloquy” from Carousel

If you could work with anyone you’ve yet to work with, who would it be?: I really want the opportunity to work with either Adam Sandler, Jim Carrey, or Stephen Sondheim. That would be a dream come true!

Who would play you in a movie about yourself and what would it be called?: Andy Samberg in “Where’s my wallet?!”

If you could go back in time and see any play or musical you missed, what would it be?: The original cast of The Secret Garden.

What show have you recommended to your friends?: Fidler afn Dakh! Not because I’m in it, but because it’s truly a beautiful rendition of the classic, and feels completely relevant to our cultural/political climate.

What’s your biggest guilty pleasure?: Junk food! It’s a toss up between either Utz Cheese Balls or Slim Jims Original flavor.

What’s up next?: Not exactly sure. Only the universe knows, but I anticipate nothing less than something amazing.

For more on Drew, visit drewseigla.com

Name: Maya Jacobson

Hometown: Clearwater, Florida

Education: BFA from The Boston Conservatory

Select Credits: Woman 1 in Amerike The Golden Land, Carrie Pipperidge in Carousel, Brenda Strong in Catch Me if You Can

Why theater?: I love that theater is an art form based in relationship and human connection. I freaking love people. Discovering and exploring different types of people by embodying them, collaborating with the people involved in the project(s), and then of course having the privilege of sharing that work with an audience. Also, the kind of people the theater community draws in are the people I want to spend my life working with.

Who do you play in Fiddler on the Roof?: Bielke

Tell us about Fiddler on the Roof: Fiddler on the Roof is one of the most beloved shows in the musical theater cannon. It centers around a milkman, Tevye, and his family living in the town of Anatevka. Our production, directed by Joel Grey, choreographed by Staś Kmieć, and music directed by Zalmen Mlotek brings the human relationships of the show to the forefront. The simplicity of the set and the richness of the yiddish language, as well as the superb direction of the show allow those relationships, and the heartbreak and joys of the story to flourish.

What is it like being a part of Fiddler on the Roof?: It is magic. I am blown away by the dedication, professionalism, and kindness of the cast and crew. On top of that, it is such a gift to speak and sing in yiddish, which is the language that my great-grandparents spoke after escaping Germany during WWII. They felt so betrayed by Germany that the German language felt violent, whereas yiddish connected them with other Jewish immigrants. To tell the story of Fiddler in the language that so many Jewish immigrants spoke/speak is such a privilege. Not to mention that I share a toilet with the infamous Jackie Hoffman. (Joking-she absolutely rocks).

What kind of theater speaks to you? What or who inspires you as an artist?: Theater that can answer the questions “Why this play? Why now?” speaks to me most. I am most inspired by theater that is daring, exposed, and simple. There is nothing more beautiful or exhilarating to me than watching actors live and breathe in real time, exposing their flaws and asking the most difficult questions. Some theater artists I am inspired by are Sarah Ruhl, Lynn Nottage, David Yazbek, Paula Vogel, Jeanine Tesori Mark Rylance, Kelli O’Hara, Laura Benanti, Jessie Mueller, Katrina Lenk and truly so many others. This community inspires me.

Any roles you’re dying to play?: Dot in Sunday in the Park with George, Fanny Brice in Funny Girl, and woman who says “and in a bed” in Les Miserables

What’s your favorite showtune?: "Sunday in the Park with George" from Sunday in the Park with George and everything in “Waitress.”

If you could work with anyone you’ve yet to work with, who would it be?: Mark Rylance. I saw him as Olivia in “Twelfth Night,” and that performance shifted the trajectory of my career goals and ambitions. He is breathtaking.

Who would play you in a movie about yourself and what would it be called?: I would want to cast Meryl Streep because I think one should always cast Meryl in biopics. It would either be called “Hand Me My Bra, I’m Going to Bushwick” or “Funnier Girl” or “Quirky With a Capital Q”

If you could go back in time and see any play or musical you missed, what would it be?: I would want to see Bernadette and Mandy in “Sunday in the Park with George.”

What show have you recommended to your friends?:Come From Away

What’s your biggest guilty pleasure?: Expensive lattes with oat milk or Bachelor in Paradise

What’s up next?: Hopefully a manicure and some very cool theater/film projects

For more on Maya, visit www.mayajacobson.net

By Michael Block

Breaking the mold in theater these days comes with great ambition. We create in a time where we seemingly need to recreate the wheel in order to stand out. And if you can’t recreate the wheel, you just try to do it a little better. If you can’t be better, just make sure your audience is having a blast. Taking over Chelsea Music Hall, Cleopatra takes a historical story and thrusts a modern flair into it to create a flashy theatrical event.
Immersive mania pervades Chelsea Music Hall. Mix a little Great Comet, a dash of Hamilton, and all the glitter, sequins, and rhinestones you can find in a drag queen’s closet, toss it all in a blender and you get Cleopatra. Set up like a theatrical immersive event within a nightlife experience, Cleopatra retells the infamous story of the legendary Egyptian ruler through an electronic pop and R&B score. With music by Jeff Daye and lyrics by Laura Kleinbaum and Daye, with additional material by Drew Fornarola, Cleopatra’s reimagining is less about the story and more about the experience. The creative team has ensured that at the forefront is a strong, powerful woman to reflect the endless struggle women continue to experience, but if an original story was inserted in its place, the glitz, glamour, and pulsating beat will still stand strong. This show is a party. And the way to entice an audience is to intrigue them in with a story that they are likely vaguely familiar with. The score from Daye and Kleinbaum has some club worthy bops. You might not leave the venue reciting them, but the beat is sure to remain with you. For a story about power and downfall, the downfall here is the book, or lack there of. The majority of the piece is sung through, giving it that Hamilton vibe. Unless your ear is completely keen to the words, you’re likely to miss plot points due to the vocal acrobatics in these key parts. Replacing them with pure book scenes would likely suck out the energy of the party atmosphere. Generally, the characters are thin replicas of stock characters. They lack depth and arc. Cleopatra needs to discover how to blend the book musical with an immersive experience. With that, it must establish the rules within the participatory theatrical event. Between pulling random audience members to be tied to chairs for a blindfolded lap dance and a runway walk off hosted by the Mistress of Ceremonies Dusty Ray Bottoms, the audience is invited into the story. However, the audience, some of whom are filled with liquor supplied at the bar, seems to forget that they are at the theater and lack the understanding that you cannot call out your feelings to a moment in the middle of the scene. Even further, moving chairs around to fit your personal seating needs is off limits as well. Finding the balance between the typical piece of theater and the energetic party that it is essential for Cleopatra to maintain its success.

photo by Santiago Felipe

To bring the piece to life, director and choreographer JT Horenstein ensured that the energy was high and there was no shortage of sexy. Horenstein’s choreography was filled with exceptionally athletic dance. In such a tight space, Horenstein and his company did an extraordinary job bringing high level production numbers to the stage. Horenstein’s focus seemed primarily on the choreography as the book scenes clipped along to get back to the dance. Christopher Bowser’s scenic design felt like a stereotypical modern twist on what an Egyptian-themed nightclub would be. Accents of gold were plentiful. The focal point was the almost regal thrown, which dominated the space. Costume designer Nicolas Putvinsky compiled an array of items, many of which had sequins or rhinestones on them, threw them on each performer and somehow the mismatched design appeared cohesive. Putvinsky ensured that there was more than enough skin showing for each performer. The lighting from Joe Cantalupo was theatrical as a nightclub could get. The bulb curtain above the stage allowed for the space to marry nightclub with play. With the score being electronic music, the sound design was no easy feat. Sound designer Drew Levy and electronic music designer and live DJ Lloyd Kikoler worked magic in Chelsea Music Hall.
To play the queen, you have to be the queen. Vocals alone, as the titular character, Nya is a powerhouse. Liken her to Queen B herself, aka Beyonce . She’s the real deal. She keeps a guarded demeanor as Cleopatra that longs to have a bit more emotion in the book scenes. Christian Brailsford is a walking sex machine as Marc Antony. Brailsford exudes a magnetic arura that lures you in with a silky vocal to match. Playing Iris, Sydney Parra is a true stand out, making her voice known. While the scripted character needs a bit of clarity in the book, RuPaul’s Drag Race star Dusty Ray Bottoms is an exquisite Mistress of Ceremonies. Her hosting skills are on full display, as she maintains the party atmosphere all night long. If you’re going to have a drag diva in a show, you better get the crowd gagging and Dusty certainly did. That costume reveal was everything.
The amount of ambition that went into this project is plentiful. The creative team and cast has brought their A game to the show. Cleopatra knows what it wants to be, it just doesn’t know what it is yet. I have visceral memories watching Natasha, Pierre, and the Great Comet of 1812 down in the Meatpacking District in the tent and thinking this was a magical production. Cleopatra is probably a handful of workshops away from that. But it can get there. Immersive theater is alive and well. Cleopatra reminds us why we love it and desire more.

Name: Tracy Weller

Hometown: Cambridge MA

Education: Hamilton College, BA, Columbia University, MFA

Select Credits: Jarring, Holiday House, Most Sincerely, Edward Albee, Heist, A Christmas Carol: A New Musical, The House of Bernarda Alba, Twelfth Night, etc.

Why theater?: Creation is the best way to respond to destruction – and in 2018 we all know a thing or two about destruction. My awareness of mortality and the brevity of life compels me to stretch every millisecond and molecule to find the truest expression of the human experience. Without theatre, I am tormented by everything left unexpressed, unspoken. When I think of the stories that slip through the cracks and the increasing lack of intimacy and human connection, my heart races and I feel sick. Creative expression is an imperative, a matter of survival.

Who do you play in Consumption?: I play Elena Hoyos, a 1950s sitcom actress whose marriage is on the rocks, a cop in tragic love with her partner, an occasionally stoned volleyball-playing teenager, and a cruise ship psychic.

Tell us about Consumption?: The show is inspired by the true story of Elena Hoyos and Carl Von Cosel, which goes something like this: a German immigrant, masquerading as both a doctor and count, falls in love with a married dying girl while working in a tuberculosis sanitarium. She dies, he exhumes her body and lives with it in various stages of decomposition and marital bliss for nearly a decade. BUT, their story is just the launchpad for a bigger exploration of love, traveling through time and space, sickness and health.

What is it like being a part of Consumption?: It’s a bit of a whirling dervish. Very intense, very joyful in all its truth and morbidity.

What kind of theater speaks to you? What or who inspires you as an artist?: My inspiration to make my own theatre comes more from artists working in other artistic mediums: “outsider” artist Henry Darger (an incredible artist and an incredible story), Dare Wright (writer, photographer and creator of The Lonely Doll series), expressionist painters like Munch and Schiele, the work of my own father (who is a brilliant painter), the choreography of Balanchine, Jerome Robbins, Twyla Tharp, composers such as Bernstein, Bartok, Bach, Satie, Prokofiev, and jazz musicians/performers Nina Simone, Art Blakey, John Coltrane, Miles Davis, Errol Garner, Thelonious Monk. But the real, pure drive comes from the wonder of just observing humanity – the people we see every day, who are struggling, carrying secrets, grappling with dreams, and simply trying to survive. All the untold stories locked away in the souls of the forgotten, overlooked and disregarded – that’s inspiration.

Any roles you’re dying to play?: Though my work of late has been very much of my own creation, I do have a huge hunger to play anything by Tennessee Williams (I need to play Blanche before I die), Chekhov and Ibsen.

What’s your favorite showtune?: “One Hand, One Heart” from West Side Story. It seems absurd to call a song this serious and deep a showtune, but I guess it is.

If you could work with anyone you’ve yet to work with, who would it be?: A puppet. I love puppets. They have a humanity that humans often lack.

Who would play you in a movie about yourself and what would it be called?: It would be a stop motion movie made by my kids with whatever they could scrap together. I would be played by a bunch of clay, yarn and paper clips and it would be called "No More Weird Plays, Please!' I really can’t answer this question. Maybe Gena Rowland – so long as she is willing to work with clay, yarn, paper clips and my kids. Maybe I can’t answer this question because my work is the deepest of expression of who I am. A movie about “me” just doesn’t quite compute.

What show have you recommended to your friends?: I recommend anything by Target Margin Theatre, Phantom Limb or anything produced at The Bushwick Starr, but , with two children and my own work, I honestly don’t have much time to see theatre.

What’s the most played song on your iTunes?: I don’t really listen to iTunes, I play records or CDs or dusty old tape cassettes – so I generally listen to albums not just individual songs. As a family, we listen to Revolver, Rubber Soul and Abbey Road a lot. One song, when I’m alone: Leonard Cohen’s Suzanne, as sung by Nina Simone. It’s a beautiful aching, fascinating piece of poetry.

What’s your biggest guilty pleasure?: Dessert in bed. Every damn night. But I don’t actually feel guilty about it.

What’s up next?: Hart Island– a piece I have been working on for a long time, inspired by NYC’s potter’s field. Also: The Mason Holdings Radio Hour – stay tuned.

For more on Consumption, visit https://mason.holdings/consumption/

To commemorate Drag365, I've compiled my favorite nine photos for each month during Drag365. Now's the time for you to tell me YOUR favorite from each month! All you have to do is head on over to Instagram, follow me @michaelblocktalk and comment on the January Fav 9 photo grid! It's so simple!

1- Miz Cracker (@miz_cracker)

2- Marti Gould Cummings (@martigcummings)

3- Aquaria (@ageofaquaria)

4- Prada G. Major (@pradagmajor)

5- Stephanie's Child and Brita Filter (@childofstephanie // @thebritafilter)

6- Gloria Swansong (@gloria_swansong)

7- Petti Cake (@petticakenyc)

8- Vanna Deux and Misty Mountains (@vannadeux // @mistymountainsnyc)

9- Terra Hyman (@terrahyman)

Name: Judy Frank

Hometown: Fort Thomas, Kentucky; Indianapolis, Indiana

Education: Indiana University, Yale Drama School

Favorite Credits: Mary in Mary Mary, Shirley Valentine, Desdemona etc.

Why theater?: It is the most immediate art form for me; I am drawn not just to it, but intoit.

Tell us about Notes To Wherever: After my husband’s death, well meaning friends gave me a number of “how to deal with loss” books, and though I found parts of them somewhat helpful, my overwhelming reaction was that grief is a highly individual process, so I followed my instincts and began to write notes to my husband, with the underlying idea that if what I was writing turned out to be a book – I had been published previously – the reader could take what helped and leave the rest. The surprise for me, though it probably shouldn’t have been a surprise since my husband was wonderfully witty, was how much humor there is in even the bleakest situation. It gets me, and I hope, an audience, through.

What inspired you to create Notes To Wherever?: The transition from book to stage happened because after so many – don’t ask – years in the business, I guess theatre just sort of leaks out of me. Professionals who read the original draft kept saying, “Judy, this is a theatre piece,” and so it became one.

What kind of theater speaks to you? What or who inspires you as an artist?: Comedy. And theatre that reaches the cerebrum through the heart. There are so many things, so many people – but first was a wonderful professor at IU whose love of theatre was absolutely contagious.

If you could work with anyone you’ve yet to work with, who would it be?: Doug Hughes I think. But first I’d like to work with a number of people I’ve already had the good fortune to work with, including my current director, Kathryn Markey.

What show have you recommended to your friends?:Come from Away recently, though I am rather ashamed to admit I’ve been too involved in my own work to do my usual amount of theatre going.

Who would play you in a movie about yourself and what would it be called?: I have no idea who would play me in a movie, but I think as I look back, in spite or perhaps because of some bumps and bruises, I would call the movie “Lucky Girl.”

If you could go back in time and see any play or musical you missed, what would it be?: Opening night of Oklahoma, or anything with the Lunts or Laurette Taylor.

What’s your biggest guilty pleasure?: Chocolate, chocolate, chocolate.

If you weren’t working in theater, you would be?: Dreaming…

What’s up next?: The great (or maybe just interesting) American novel, which friends will probably turn into a play.

Name: Boyish Charm

Where can we find you out and about?: Since I’m still so new to drag I’m mostly working the competition scene in NYC. Most often you can find me at Drag Wars at Pieces on Mondays. Starting Jan 10th you can find me competing in Ultimate Drag Pageant at The West End every Thursday. You can also occasionally find me hosting my own show in Westchester at Vintage Bar. I perform wherever someone will let me on stage I’ll quite literally perform for anyone anywhere.

Why Drag?: I chose drag because I have a background in theatre and I realized drag was the perfect way for me to encompass all aspects of performing into one. I can sing, dance, act, do comedy, work on fashions, do makeup, etc. I also chose drag because as someone who cares for the LGBTQ+ community so much, I always looked to drag queens as the backbone to our community. Drag brings us all together and allows us an escape to have fun and accept ourselves. It means the world to me that I can have a platform through drag to represent our community

What made you start drag?: In high school I found Drag Race and knew immediately that drag was what I was meant to do. Then I went to my first gay club and saw a drag queen live for the first time and started drag about a week after.

Who are you drag inspirations?: Coco Peru, Sharon Needles, Bob The Drag Queen, Shequida, Sherry Vine, Aquaria, Monet X Change

Your favorite part of drag is _____?: Making people happy

What is your number one makeup secret?: I secretly have no idea what I’m doing, Does that count?

The three must haves of drag are _____?: Personality, Kindness, Stage presence

Who are some of your favorite drag artists, designers, stylists, producers, etc. to collaborate with?: My amazing sisters Fool’isha, Roque, Ana Valbanana, Virginia Thicc, Vix, Ratchet Marseilles, etc. the list can go on forever

What has been the most rewarding moment in your drag career?: I put together and hosted a charity show during pride weekend to benefit homeless LGBTQ+ youth and we were able to raise two thousand dollars!

If you were to do one character on Snatch Game, who would it be and why?: Ethel Merman because not only is her personality so big and funny, but I could quote all of the musicals she was in

How can drag change the world?: Drag can change the world because drag has the power to bring people from all walks of life together to have fun and show them that we’re all not so different from one another. It shows people that life isn't that serious, we can all have fun together as one.

What is the biggest tip you can give a queen starting out today?: Don’t worry about what you think you need to be or what anyone tells you that you should be, be yourself and do what makes YOU happy. Drag is meant to be fun. If you’re not having fun the audience won’t have fun.

Social Media: @boyishcharmnyc on Instagram, Twitter, and Venmo (if I’m lucky)

Follow @titndrag365 to see more of Boyish Charm!

Name: Novaczar

Where can we find you out and about?: I perform in Queens, Manhattan and Brooklyn! Icon for open stages in Astoria, Marci Park in Williamsburg, Offside Tavern on 14th street in Manhattan to name a few!

Why Drag?: Drag allows me to get more in touch with my creative side and live out my leading lady fantasies I was always told I’ve never be able to live out growing up.

What made you start drag?: Seeing Sasha Velour compete on RuPaul’s Dragrace Season 9

Who are you drag inspirations?: Sasha Velour and Vander Von Odd

Your favorite part of drag is _____?: Being able to be my own director, producer, choreographer, costume designer

What is your number one makeup secret?: I don’t set my entire face with powder

The three must haves of drag are _____?: Charisma, Uniqueness, nerve and TALENT! HA! That’s four.

Who are some of your favorite drag artists, designers, stylists, producers, etc. to collaborate with?: Madelynn Hatter when it comes to hair, my good friend Ryan Ward when it comes to costumes, my roommate Mikey Dallas too, Jonathan Vasquez when it comes to photography, Gilda Wabbitt when it comes to one of my favorite queens to work with and same with DJ JCLEF

What has been the most rewarding moment in your drag career?: Being embraced, respected and supported by the entire NYC nightlife community

If you were to do one character on Snatch Game, who would it be and why?: Probably something out there like “Old Gregg” because no one would expect it AND his one liners are HILARIOUS!

How can drag change the world?: Drag can change the world because it’s an artform that can bring together almost any artform if you use you creative mind set enough

What is the biggest tip you can give a queen starting out today?: Have a vision and no matter what anyone says, keep that vision and drive alive and well. Don’t let anyone tell you you can’t do something

Social Media: Instagram/Facebook/Venmo: @novaczar Cashapp: @novaczarqueen

Follow @titndrag365 to see more of Novaczar!

It's a DC invasion as Venus Valhalla and Brady Watson join me to go through everything that happened in the Snatch Game of Love episode of RuPaul's Drag Race All Stars 4!

To listen to the episode, visit iTunes, SoundCloud, or Stitcher!

And don't forget to become a patron today at patreon.com/theaterinthenow

Name: Pussy Willow

Where can we find you out and about?: I am at Albatross monthly on Wednesdays for The Pussy Party.

Why Drag?: Because it’s an industry that is ever changing and evolving, which is super exciting.

What made you start drag?: I started drag to change people’s views on female drag and the stigmas beneath it.

Who are you drag inspirations?: Alaska as far as Drag Race girls, but most of my inspiration comes from local queens like Sutton Lee Seymour, Cacophony Daniels, Paige Turner, & Marti Gould Cummings. Just to name a few.

Your favorite part of drag is _____?: Performing for new people and making new connections.

What is your number one makeup secret?: I always contour my neck.

The three must haves of drag are _____?: Wigs, heels, contour.

Who are some of your favorite drag artists, designers, stylists, producers, etc. to collaborate with?: I have yet to find a drag queen that I dislike performing with. As far as stylists go Shelby Late does some incredible hair and Nails for Queens NYC makes killer sets.

What has been the most rewarding moment in your drag career?: When I placed third in Ultimate Drag Pageant, the entire room started chanting my name and the validation/ love was so overwhelming.

If you were to do one character on Snatch Game, who would it be and why?: On UDP I did Dolly Parton for Snatch Game and I wouldn’t hesitate to do her again. However, my original first choice was Katherine Hepburn, because of her quick wit and “I give no fucks” attitude.

How can drag change the world?: Drag is so monumental for the LGBTQAI+ community because the more it is normalized the closer we get to being less ostracized from those who have no knowledge of queer culture. Because it is ever changing and growing, drag is an expression of who you are no matter your gender, race, sexuality, etc. Drag is for everyone.

What is the biggest tip you can give a queen starting out today?: Connect. Connect with your audience, connect with other queens, connect to yourself.

Social Media: Twitter, Facebook, Instagram, & Venmo all @willowthatpuss.

Follow @titndrag365 to see more of Pussy Willow!

Name: Coco Taylor

Where can we find you out and about?: I’m at Rockbar every Tuesday at 9pm hosting my show Cuckoo for Coco.

Why Drag?: Because TheaterWorks USA stopped calling.

What made you start drag?: The first bite was the penultimate Fire Island Drag Party. Then New York Comic Con and a handful of local competitions where unwitting audience members paid me cash to act a fool.

Who are you drag inspirations?: The comedy queens of yesteryear: Coco Peru, Varla Jean Merman, Evie Harris and Dina Martina to name a few.

Your favorite part of drag is _____?: When a joke or mix lands with an audience and they scream.

What is your number one makeup secret?: Alcone Stop The Sweat. You don’t know how many eyebrows I lost to perspiration before finding that.

The three must haves of drag are _____?: Mine are all non-physical: wit, intelligence and empathy.

Who are some of your favorite drag artists, designers, stylists, producers, etc. to collaborate with?: I love Perspective Beats for hair. DJ JClef is my rock during my shows. Nicole Onoscopi is always ready to dive clown-feet in first.

What has been the most rewarding moment in your drag career?: Hosting the Miss Rockbar contest and seeing the diversity (and multitude) of queens competing was a huge accomplishment.

If you were to do one character on Snatch Game, who would it be and why?: Katharine Hepburn. Easy to make her funny and I’ve already done her once.

How can drag change the world?: Opening people’s eyes to new experiences and new ideas.

What is the biggest tip you can give a queen starting out today?: Be patient and be selective. You’ll be tempted to always buy another dress, buy another palette, kill yourself to be out every night. Growing yourself and your aesthetic is important.

Social Media: @CocoTaylorNYC. Coco Taylor because of my name, NYC because I often forget where I live.

To see more of Coco, follow @titndrag365!

Name: Audrey Phoenix

Where can we find you out and about?: The Gutter (it’s a night spot). 10 points to anyone who gets that reference.

Why Drag?: I’ve always wanted to sing, dance and act and I unfortunately can’t do any of those things! Somehow drag allows me to pretend I can.

What made you start drag?: It was totally unplanned. Sutton Lee Seymour was having a debutant show at Albatross and I just decided “why not?” and entered. I didn’t expect that many people to be interested or care, but they did and here I am.

Who are you drag inspirations?: As far as actual drag queens: Shangela, Kizha Carr, Brita Filter, Jasmine Rice LaBeija and of course my drag mother Diana Dzhaketov. As far as overall performers: Judy Garland, Kritin Wiig and strangely enough Conan O’Brien.

Your favorite part of drag is _____?: The sisterhood. I’ve met so many incredible queens this past year who I honestly consider dear friends now. I love these bitches.

What is your number one makeup secret?: If I had any I’d be MUCH prettier!

The three must haves of drag are _____?: Talent, humor, and an ability to know your words in a lip sync.

Who are some of your favorite drag artists, designers, stylists, producers, etc. to collaborate with?: JAX is pretty gold in all regards. I also love sharing the stage with my sis Pussy Willow.

What has been the most rewarding moment in your drag career?: Anytime I feel like an audience is really loving what I’m doing on stage. There’s nothing like hearing people laugh with you (or at you, I’ll take both).

If you were to do one character on Snatch Game, who would it be and why?: The challenge with Snatch Game is making the character funny. I do a pretty good Eartha Kitt impression, but I haven’t figured out how to make her funny yet. She’s too eloquent and regal!

How can drag change the world?: As long as it can continue to inspire creativity, bring joy and be fun.

What is the biggest tip you can give a queen starting out today?: Be kind and leave your ego at the door. There’s no reason to be mean to your sisters.

Social Media: @audreyphoenixrises on Instagram

To see more of Audrey, follow @titndrag365!

Name: Ducky Sheaboi

Where can we find you out and about?: Current gigs taking place at Icon in Astoria and Flower Power Coffee House in Glendale.

Why Drag?: Why NOT drag? Drag can have every element of entertainment within a 3 minute number! It’s a fun way to network. However, the community aspect is the best reason to do drag.

What made you start drag?: I have gone to queer bars and clubs since I was 18. The biggest highlights of a night are when the shows start. Seeing a queen command a room was a feeling that really empowered me to be proud of being part of such a vibrant community. I wanted to become a reason people come to queer spaces rather than just being a spectator.

Who are you drag inspirations?: I definitely draw inspiration from my Southern roots. Southern women have perfected big hair meets going to the function, honey. They incorporate a lot of color into their wardrobe that I really enjoy. However, the biggest impact on my looks is how I listen to music and consider what type of lady Ducky could adapt elements of to best portray the look.

Your favorite part of drag is _____?: The community! From the patrons, bar managers, to the other amazing queens out there it’s impossible not to find the social aspect intoxicating.

What is your number one makeup secret?: Prayer. I can’t afford plastic surgery to shave down this jawline, so prayer is going to have to work for now.

The three must haves of drag are _____?: Clean wigs and wardrobe, a vodka tonic, and good vibes.

Who are some of your favorite drag artists, designers, stylists, producers, etc. to collaborate with?: The ICONIC family has been essential in further developing Ducky as a personality and performer. Heidi Haux, who hosts and mentors throughout the competition, has been such an inspiration on how to constantly take drag to the next level. She’s so stunning but keeps it real - can’t get any better than that.

What has been the most rewarding moment in your drag career?: Honestly, spitting butter into a crowd during ICONIC Season 1. I have never felt more alive!

If you were to do one character on Snatch Game, who would it be and why?: I was Paula Deen during ICONIC Season 1 and I would honestly stay true to her. I am working on a new Paula number, so we’ll see how it goes.

How can drag change the world?: I wish I had a grand answer for this, but I’m going to answer with a more simple approach. I feel like drag can change the world by offering people of all types an escape from the “normal” through entertainment. We should allow ourselves more fantasy in our lives and I think drag is such a beautiful escape into fantasy.

What is the biggest tip you can give a queen starting out today?: Queen, don’t get caught up in catching guest spots. Put your business mind to work and create your own space while still getting those guest spots and features. But more importantly, don’t be a mean queen because there’s always someone meaner and more successful that’s going to let you know what’s up - just have fun and work hard!

Social Media: Instagram @ducky_sheaboi

For more of Ducky, visit @titndrag355!

Name: Vivien Gabor

Where can we find you out and about?: Vivien is often found lurking around her friend’s shows. Nothing stable as of yet.

Why Drag?: I have no clue what I would do if I didn’t do drag. I used to play sports for years. I played the cello and piano and I sang in choirs and did shows at school. But when I discovered drag it was all over.

What made you start drag?: I saw the Sissy That Walk music video, took one look at Darienne Lake and said, “if she can do it, so can I.” And I just haven’t stopped since. Big girls forever.

Who are you drag inspirations?: Darienne Lake, obviously. But also I take huge inspiration from the legends such as Coco Peru and a few OG local girls from around the nation. I also have to credit incredible performers like Vanessa Williams, Ginger Rogers, and Carol Burnett with a lot of my personal etiquette training.

Your favorite part of drag is _____?: I don’t know if I have a favorite part. The thing that attracted me to drag was that I am able to be in complete control of every part of the performance. I make my own outfits. I style my own wigs. I make my own mixes and paint my own face. The only thing I can’t do is dance, so I just make sure to take off my clothes to distract from my stagnant feet.

What is your number one makeup secret?: Use as many colors as you can. Blending doesn’t happen with only two colors.

The three must haves of drag are _____?: Corsets, heels, and total, unabashed stubbornness.

Who are some of your favorite drag artists, designers, stylists, producers, etc. to collaborate with?: I mean, I would be remiss if I didn’t name drop my best friends, Melissa Fint (in Seattle) and Gina Tonic (in New York). Those two have given me so much laughter and support. I owe them everything. When I lived in Seattle I relished every chance I had to work at Julia’s on Broadway. Those queens and their producer are the absolute best and I miss them daily.

What has been the most rewarding moment in your drag career?: The most rewarding was the most grueling part of my drag career so far - myself and Gina Tonic road tripped across the country this past Summer. Once in a lifetime experience. Cause I’m never doing it again, but it was so worth it. I met so many amazing people and saw how vast and beautiful this continent is.

If you were to do one character on Snatch Game, who would it be and why?: Kirstie Alley. There’s so much material to work with. And I can do a killer Minnesota accent.

How can drag change the world?: I prove that fat is also sexy. That loud is also proud. That anger can be righteous and that love is more than a feeling.

What is the biggest tip you can give a queen starting out today?: Don’t. But seriously. Don’t. But if you have to, do it because it’s the only thing you can do to be happy. And then do it to the best of your ability and never sell yourself short.

Social Media: @viviengabornyc on everything including Venmo and Cash App!

Spotlight On...Lisa Danielle Buch

Review: A Powerhouse Trio Unite

Block Talk- Episode 77: Halloween Special

Spotlight On...Lyto Triantafyllidou

Spotlight On...Marlena Holman

Review: Boudoir's Fabulous Coven

Spotlight On...Drew Seigla

Spotlight On...Maya Jacobson

Review: A Modern Party in Ancient Egypt

Spotlight On...Tracy Weller

Drag365: Fav 9 Photos of January!

Spotlight On...Judy Frank

Drag365: #1- Boyish Charm

Drag365: #2- Novaczar

Block Talk: Episode 88- RuPaul's Drag Race All Stars 4 Episode 3 Recap

Drag365: #3- Pussy Willow

Drag365: #4- Coco Taylor

Drag365: #5- Audrey Phoenix

Drag365: #6- Ducky Sheaboi

Drag365: #7- Vivien Gabor