Theater in the Now

Name: Eric Nightengale

Hometown: New Albany, Indiana

Education: I’m still working on that part.

Favorite Credits: My sons Thomas, 11, and James, 14.

Why theater?: It’s a compulsion. I’m sure there are easier and more satisfying ways to pass the time.

Tell us about Alone in Triptych?: Three people, alone yet connected, sinking in quicksand at the edge of a cliff: if they move they’ll fall off, if they stay still they’ll be sucked under. It’s a comedy.

What inspired you to direct Alone in Triptych?: Renee Philippi, who wrote and is co-directing the play, as well as a marvelously eccentric and talented company of actors.

What kind of theater speaks to you? What or who inspires you as an artist?: I don’t know how to answer that question. It’s a moving target that changes all the time. However I respond will feel wrong to me a week from now. Anyway, I don’t like to think of myself as an artist – when I’m in that headspace it stifles whatever creative impulses I may have. I work with artists. I respond to what they are doing. I try to help them tell their stories. Watching them struggle to find an unusual, yet authentic way to express themselves is as inspiring as it gets.

If you could work with anyone you’ve yet to work with, who would it be?: Stephen Hawking. I like what he says about being urged towards his numerous breakthroughs by the prospect of an early death.

What show have you recommended to your friends?: Pippin. There is no understandable explanation for how good it is.

What’s your biggest guilty pleasure?: I can’t tell you the biggest, but "Game of Thrones" is in the top ten.

What’s the most played song on your iPod?: This week it’s “Everything is Awesome,” from the "Lego Movie".

If you weren’t working in theater, you would be _____?: I like solving problems. I think I would make an exceptionally good shoe salesman.

What’s up next?: I’m working with Paul Allman on a new play called Happy Now? and I have to figure out how to qualify for unemployment.

Name: Luke Leonard

Hometown: Houston, Texas

Education: MFA, The University of Texas at Austin

Favorite Credits:Bony & Poot (1999), L’indiano vuole il Bronx (2009), The Difficulty of Crossing a Field (2010), GRBL (2011), Here I Go (2012)

Why theater?: It’s my first love. It is what I grew up doing. I am an only child, so I had to find ways of entertaining myself, which involved using my imagination to create performances that would entertain others. Before leaving high school, my theatre teacher warned me that a life in the arts would be very difficult, but there was nothing else that I was good at or that made me happy. I could feel it in my bones. When I ask myself that question today, the answer is that theatre is how I learn about the world. Each work requires a tremendous amount of research and development, and introduces new challenges and new collaborators. I am always learning from productions and the people that I work with. The work is interdisciplinary. I really enjoy working with designers and people from other fields, and I thrive on the energy of a rehearsal room. I want to produce theatre that brings all types of people together. Theatre has the power to leave lasting, visual/visceral imprints on the minds and hearts of audiences. Art doesn’t change the world. People change the world. But art changes people.

Tell us about Bum Phillips All-American Opera?: Bum Phillips is an epic portrait of a small town Texan whose colorful character and homespun principles wound up on the sidelines of the NFL and in the hearts of thousands of adoring fans. It is a story about faith and failure, the pursuit of excellence, and the importance of family.

What inspired you to create and direct Bum Phillips All-American Opera?: A combination of thoughts I was meditating on associated with happiness, healing, innocence, imperfections, the discipline and skills acquired from playing sports and performing in plays, and even Jesus. Bum’s name popped into my head one day and the warmest smile crossed my face. I grew up in Houston during the Luv Ya Blue days and those memories are very nostalgic. After reading Bum’s autobiography, I felt he was the perfect anchor to hinge these themes. I knew that I wanted my next work to be music-driven, but “Bum Phillips, The Musical” didn’t feel right. Texas, football, and opera…those are generally associated with being grand-scale. I wanted to direct Bum Phillips for many reasons, but among the top were: the challenges of bridging opera and football, the opportunity to share Bum’s story and to present it at La MaMa in New York, and to work with Kirk Lynn and Peter Stopschinski.

What kind of theater speaks to you? What or who inspires you as an artist?: I like to see people really going for it. You can’t hide on stage. It doesn’t really matter the style, if it’s honest it’s good. However, I am interested in ideas and process, “assembly plays”, and work that values movement and design just as much as text. I appreciate work that leaves room for interpretation. I am attracted to the strange and a sense of wonder. And I like things that appear simple, but that are actually quite complex. I am really inspired by contemporary theatre right now because I think there are artists with shared objectives, which is interesting in a time that is, perhaps, considered to have no movements, or no one direction in theatre. The groups that I admire most have certainly paid their dues and have paved the way for emerging artists and collectives. I feel there are commonalities that have developed over the past 15-20 years. Groups like Rude Mechs, Elevator Repair Service, Radiohole, National Theatre of the United States of America, NYC Players, Young Jean Lee’s Theatre Company, Nature Theatre of Oklahoma, to name only a few, and I believe Monk Parrots et al. are a part of this conversation. There is an exchange in one of my early plays from 1999: “I have nothing to say…Say it anyway.” I think that sums up the frustration and, eventually, the direction that play-making went for some theatre artists during the 90s. Beckett, of course, is credited for shaking things up structurally, and Mac Wellman inspired everyone working today to think of story in terms of: and then...and then...and then. Plays became more about ideas and questions, less narrative-driven, and folks delved more into how a play is made, e.g., tracking mundane, daily rituals and creating a performance out of that (I did this with Performance Record #1 in 2002), or using interviews and ‘borrowed’ texts to construct a script, etc. Like artist Cory Arcangel said about pop culture, “it is no longer ‘source material’, [but] is the only material.” I’m excited now because there is a bigger audience for what was once considered marginalized, “downtown” theatre. Festivals like Under the Radar help put people on the map. Now, bigger institutions are creating programming that brings downtown to uptown. YJL and Rude Mechs at Lincoln Center?! This is very inspiring for hungry artists that are committed to a career in theatre.

If you could work with anyone you’ve yet to work with, who would it be?: Daniel Johnston, Morrissey, Matthew Barney, Suzan Lori-Parks...I am very ambitious. ;) I have directed Mac Wellman’s plays and always look for opportunities to do so again. I want to work with David Lang. He introduced me to composer Ted Hearne who I am very interested in now.

What show have you recommended to your friends?: The shows that I have recommended over the past couple of years have been Rude Mechs Stop Hitting Yourself, Thomas Bradshaw’s Burning, NTUSA’s The Golden Veil, and Robert Wilson’s Zinnias.

Who would play you in a movie about yourself and what would it be called?: I don’t know. How about we age Willem Dafoe by 30 years to portray me near the end of my life and title it, “Nothing Without Great Effort,” after the Brooklyn College motto.

What’s your biggest guilty pleasure?: Isn’t everyone’s binge watching Netflix?

What’s the most played song on your iPod?: Maybe Diamond Rugs “Blue Mountains”. I just love that “duh. duh-duh-duh. duh-duh. duh-duh-duh-duh-duh”.

If you weren’t working in theater, you would be ________?: Bruce Nauman

What’s up next?: Monk Parrots’ Welcome to the Kingdom of Saudi Arabia with Peter Stopschinski and Katie Pearl, premiering 2015 at 59E59 Theaters.

For more on Luke, visit www.lukeleonard.com. For more on Bum Phillips All-American Opera, visit www.monkparrots.org and www.bumphillipsopera.com

Name: Lyonel Reneau

Hometown: Houston, TX

Education: BFA Acting - Oklahoma City University

Select Credits: Frenemies- TV: ID; US TOUR: Shrek The Musical; The Taming of The Shrew, Othello

Why theater?: It's the only medium that lets me be an artist with all these crazy voices in my head.

Tell us about Wild: Wild is freeing. Crystal Skillman wrote an amazing piece of literature that goes right for that "thing" that we try and avoid in relationships with people. It's that fight for understanding, love, and appreciation that all of us can relate to.

What is it like being a part of Wild?: #EPIC. It's like having a surprise birthday party and someone invited all your ex's without you knowing.

What kind of theater speaks to you? What or who inspires you as an artist?: It has to be as honest as it is radical. I love a good twist. I love complexity. I love a good fight for the underdog. What or who inspires you as an artist?: The list of people could go on for days. Michael B. Jordan, Viola Davis, Michael Fassbender, Meryl Streep, Jamie Foxx...the list could go on and on..When it comes to what inspires me I'm definitely driven by perception. The way you look at something and the different variations it allows you to go with gets me every time.Drive, something with an outlook ( good or bad, just be moving doing something)

Any roles you’re dying to play?: Corey in Fences, Ken in Red, Spike in Vanya/Sonia/Masha/Spike, any character they would like to write for me for "New Girls".

What’s your favorite showtune?: "I'm ALIVE"Next to Normal (my shower edition)

If you could work with anyone you’ve yet to work with, who would it be?: Patina Miller, Alan Cumming..and something where Viola Davis is my mom.

Who would play you in a movie about yourself and what would it be called?: Haha..I don't think I've met the person to play me yet...The title would definitely be "Just Not Your Type"

What show have you recommended to your friends?:Pippin and The Glass Menagerie

What’s the most played song on your iTunes?:"Blurred Lines"

What’s your biggest guilty pleasure?: Peanut Butter Burgers with bacon

Name: Tony Head

Hometown: Born in Fort Sill Oklahoma, but my father worked for the military, so I've lived all over the world…Japan, Okinawa, France and Germany.

Education: High school in Orleans, France and Mannheim, Germany. Attended Howard University.

Favorite Credits: Bobby Reed in HBO's "The Wire"; as well as Peter in "After the Rain” and Stanley in "Leather Heart" (ATA productions)

Why theater?: Every night is different. You learn something new. It touches your soul like no other medium.

Tell us about Hounds of War: Everyone has a secret, a yearning, a hang up. Sometimes we go through life "settling" for what others expect of us and never act on what we really want. "Hounds of War" explores these challenges and shows us the consequences of inaction.

What inspired you perform in Hounds of War?: It helps that you're working with talented people and a great production team. Playwright Bill Holland has written a compelling and entertaining story that any actor would love to be a part of.

What kind of theater speaks to you? Who or what inspires you as an artist?: I'm interested in any type of theatre that has something to say about us as people and how we relate to each other. I'm particularly inspired by such actors as the late Phillip Seymour Hoffman, Al Pacino and Robert DeNiro.

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

What show have you recommended to your friends?: Besides Hounds of War? A Raisin in the Sun.

Who would play you in a movie about yourself and what would it be called?: "A dream deferred...Never give up". Starring Forrest Whitaker.

What’s your biggest guilty pleasure?: Sweets

What’s the most played song on your iTunes?:“Adorn” by Miguel

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

What’s up next?: Will be appearing as co lead in an independent film "Destiny Jones" in March . Just read for the NBC series "Odyssey."

Name: Patrick Massey

Hometown: Black Mountain, NC

Education: Undergrad UNC-Chapel Hill BA in Religious Studies and BM in Vocal Performance, MM from the Boston Conservatory for grad school

Favorite Credits: The title role in Candide. Not only does this show have beautiful music, but its content is something that I philosophically have dealt with my whole life. As humans we struggle with the events that happen in our lives, good or bad. The big question is why do these things happen and what does that say about us when we hear the answer? Stepping into Candide’s shoes was a fantastic journey of an extreme idealist and someone who is certain of the answer to why things unfold the way they do. He goes from extreme idealist to a pseudo-nihilist over the course of all these horrible things that happen to him. The show also ends with one of the most beautiful and moving pieces ever written with “Make Your Garden Grow.” My other favorite credit was Mitya in Guerilla Opera’s Heart of a Dog. It’s a really bizarre telling of an even more bizarre story. The production had so much to offer on so many levels: content, music, great performances, and challenging staging.

Why theater?: For me, theater is life under a microscope blown up for all to see and analyze. What we find we discover in underneath is the beginning of a conversation that can serve to change anything from minds to the world. That’s the big picture for me. I am so excited when I go to the theater and I am moved to feel something I have never felt before and I think theater gives us that opportunity to really pay attention, to actually sit and observe life, to take a breather from doing and just sit and really be able to absorb this slice of life that’s being served to you. On a more practical level, I grew up having an amazingly talented brother who found great success in theater and made my decisions to follow that path much easier. It wasn’t until fairly recently that I discovered that I actually wanted to pursue an acting career because I really believed in it rather than something I fell into because my brother did it. I am more appreciative of him even more now that he made my path to this career a much smoother one than it might otherwise have been.

Tell us about Hounds of War?: The more we work on Hounds of War (HOW) the more I see the incredible amount of depth it has. HOW is about a family recently displaced from its former city neighborhoods to an isolated cabin of sorts out in the middle of nowhere. It very clearly lays out the dynamics of an abusive house hold and the struggle of a family trying to stay together but at what cost? There are some very jarring power shifts and self-betrayals that really make this a strong and relevant piece.

What inspires you perform in Hounds of War?: As an actor, I am really inspired by the dynamic range of the piece. Every character in HOW is forced to experience the full spectrum of their emotions for the most part. The challenge is least of what makes this worth doing. My cast members are so strong and committed to their choices that my own work is inspired to much that much more.

What kind of theater speaks to you? What or who inspires you as an artist?: The kind of theater that really inspires me is theater that pushes me to experience feelings in a way that I’ve never felt before. For example, Sleep No More is an excellent example of this. Not only is the whole concept of audience submersion into the space of the story but also the feelings I felt were so much more visceral than anything else I had felt. Going in I knew that actors pulled individual people into closets for private theatrical experiences so I tried to place myself in convenient places for actors pulled me in, but they weren’t doing it! I found myself becoming incredibly jealous and envious; a feeling that no other theatrical performance has ever made me feel. I had to stop and live in that moment to really appreciate what had just happened. I want to be a part of theater that really allows people to experience things and not just observe. I am, of course, inspired as an artist by my brother. Despite the fact that he is incredibly talented, his humility in all of that talent is really astounding. It really becomes about the art and not the exposure. If it weren’t for him I wouldn’t be the artist I am today.

If you could work with anyone you’ve yet to work with, who would it be?: Well the ridiculous goal that I have set for myself is to one day play opposite of Emma Watson….and then marry her! That is really just a guilty pipe dream. I would really love to work with an Alan Cummings or someone like that who could really do the balls to the wall and possibly even absurd work.

What show have you recommended to your friends?: Sleep No More- Hands down the best theater experience I’ve ever had. I’d also recommend Once. It’s harder to find honest musical theater shows these days. I’m not one for unwarranted song and dance and that is why Once is so good. Nothing comes from nowhere in that show and it’s not afraid of silence. All too often the ostentatiousness of 42nd street's flashing lights and constant bombardment manifests itself in Broadway’s theaters and Once manages to cut through all of that with its brutally honest music and authentic atmosphere.

Who would play you in a movie about yourself and what would it be called?: Of course I’d want to say a young Brad Pitt or some ridiculous choice like Michael Kane but if I had to choose….I think Joseph Gordon Levitt would make a decent me, maybe post the ridiculous long hair stage of "Third Rock from the Sun". I think we might call this movie “Just Barely”

What’s your biggest guilty pleasure?: I’m a sucker for blooper reels

What’s the most played song on your iTunes?: If I had to guess I would say it would be “I Will Wait” by Mumford and Sons- I’m learning the banjo at the moment and that is one of the first ones I tried to learn. When I actually checked, it was “Helena” by Nickel Creek. Fantastic song!

If you weren’t working in theater, you would be _____?: A nutritionist or something food related in public policy. In the name of “progress” we have completely wrecked what goes in our food and into our bodies. The industrialization of food was one of the worst things we could have done for our bodies and the lack of nutrition education has resulted in sky rocketing medical bills, which in most cases are completely preventable with a healthy diet.

What’s up next?: Next I will be headed to Utah to perform Les Miserables as Marius and The Student Prince as Count von Asterburg with the Utah Festival Opera and then to Boston to perform a brand new opera with Guerilla Opera.

Name: Justin Hofstad

Hometown: Casper, WY

Education: I have an AFA in Musical Theatre from Western Wyoming Community College, and then earned my BFA in Acting from the Rutgers University Mason Gross School of the Arts.

Favorite Credits: Kev in Bengal Tiger at the Baghdad Zoo directed by our very own Mark Cirnigliaro, and Gerry Evans in Dancing at Lughnasa directed by Karen Babcock.

Why theater?: It's thrilling; every single night. And with that thrill, there is a dialogue between the audience and the performer that I haven't found anywhere else. It's a special thing.

Tell us about Hounds of War?: Hounds of War is about a dysfunctional family fighting for the domestic dream, only to have it shattered by their past and potential futures. Everyone has a choice, but are those choices made for ourselves or the people around us?

What inspires you perform in Hounds of War?:HoW portrays raw themes that I want to bring to life. With good writing and a passionate group of people, it's hard not to be inspired.

What kind of theater speaks to you? What or who inspires you as an artist?: I like gritty theater. Work that makes you question your moralities and ideas, and build upon them. I can't stand that happy go lucky crap. I want it to challenge me, and the audience. Theater should help you grow, not support stasis. I'm inspired by the people close to me, and the many many artists I hold a high regard. If I were to write my list of muses, this interview would be pages upon pages long.

If you could work with anyone you’ve yet to work with, who would it be?: Casting Directors Alexa L. Fogel and Meagan Lewis....

What show have you recommended to your friends?: Hand of God, directed by Moritz von Stuelpnagel, and "Hounds of War."

Who would play you in a movie about yourself and what would it be called?: I'd rather cast one of my friends. So, guys, you can fight it out for that blockbuster. "Skål!"

What’s your biggest guilty pleasure?: Occasional guilt, but very rarely... Hot Sauce. On everything.

What’s the most played song on your iTunes?: The entirety of The Beatles "White Album" Side one.

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

What’s up next?: Will be re-vamping an immersive theatrical adaption of Mary Shelley's Frankenstein, with Floodlight Productions. As well as performing in On the Rocks.

Name: Amity Dry

Why theatre?: I started as a pop singer and songwriter (in Australia) and always wanted to tell stories with my songs, but felt frustrated when it seemed that was the least important thing in pop music. My move to theatre happened completely my chance but I truly feel I have found my calling because now I can tell those stories, but still have a pop influence in my songwriting.  

Tell us about Mother, Wife and the Complicated Life:  When I had my first baby I started writing songs about my experiences and ended up turning them into a cabaret show called Mother, Wife and the Complicated Life. The response to that show from other women was so positive and powerful that I realised how little we get to hear about the real life experiences of marriage and motherhood in a theatrical format. So I decided to expand the idea into a musical, with the concept being kind of '"Sex and the City" meets "Desperate Housewives"' following a year in the lives of four best friends. I wanted it to be real and honest and deal with complicated subjects like unplanned pregnancy, post natal depression and divorce, while being funny and entertaining. I wrote most of it while I was pregnant and then nursing my second baby, so I was completely impressed in the experience myself, which helped with that honesty! The response to the show in Australia has blown me away, we have had multiple hit seasons and when it was selected for the New York Musical Theatre Festival last year it was a dream come true. But now to be playing at the United Nations, as a side event in the Commission for the Status of Women Conference, is just beyond a dream!!   

What kind of theater speaks to you? What or who inspires you as an artist?: Theatre about women, because our stories are still underrepresented on the stage. Women want to feel inspired and empowered and when shows do that well they are passionately embraced, like we've seen with Wicked. As for who inspires me, anyone who has a dream and has the courage and tenacity to make it happen.   

Any roles you’re dying to play?: Elphaba. :)   

What’s your favorite showtune?: “Defying Gravity”, theatrical/pop perfection. I also love anything from The Last Five Years.    

If you could work with anyone you’ve yet to work with, who would it be?: There are so many people! My dream would be to co-write with writers I admire like Tom Kitt, Brian Yorkey, Robert Lopez, Kristen Anderson-Lopez and Stephen Schwartz.  

Who would play you in a movie about yourself and what would it be called?: Reece Witherspoon and it would be the movie version of Mother, Wife and the Complicated Life. :)   

What show have you recommended to your friends?:Book of Mormon and Matilda. Our cast is also going to see If/Then while we're here and are looking forward to that.   

What’s your biggest guilty pleasure?: Doing nothing. And ice-cream. Preferably both at the same time.   

What’s the most played song on your iPod?: Anything by Bruno Mars, because my 7 year old son plays him constantly and always has my ipod.   

What’s up next?: I am writing a new musical, so hopefully I am back in NYC in another years time talking to you about that! I'm also debuting a new cabaret show in Australia in the middle of the year, so am looking forward to that.

Mother, Wife, and the Complicated Life will be performed at 54 Below on Tuesday, March 18 at 7:00pm. For more information, visit http://54below.com/artist/mother-wife-and-the-complicated-life-in-concert/

We live in a world of trends and fades. A world where, if one idea works everyone tries to capitalize on that success. Recently in the world of theater and opera, two trends have risen from the mix. First, fusing sports and theater and second, fusing pop culture icons and opera. In La Mama and Monk Parrot’s latest work, they place a pop culture icon from the sports world and tell his story through opera. Bum Phillips All-American Opera shares the tale of legendary Houston Oilers couch, Bum Phillips on his journey and desire to take his team to, and ultimately win, the Super Bowl.
For those who can’t place just exactly who this man is, Bum Phillips, a Stetson-wearing Texas native, coached the Houston Oilers from 1975 until 1980. Bum Phillips All-American Opera chronicles bits or his early life and the majority of his time in Houston as head coach of the Oilers from ’75 to ’80. Surrounded by big dreams and big personalities, Bum was able to gain great success for his team and city, even earning the “Luv Ya Blue” chant, but ultimately failing to win the big prize, the Super Bowl. Though there were some additional colorful characters propelling Bum, the opera weaves in and out of fun and drama to tell Bum’s trials and tribulations. But for an outsider who doesn’t know Bum’s highlight reel, opera may not have been the right medium for this story.
Opera, in general, has a heightened state. The art itself lives in it’s own world where the stories are acceptably told completely and entirely through song. Its history is rich in drama and romance and elegance and splendor. So when you take an opera and give it flash, panache, glitz, and glamor, especially with recognizability, it comes off as funny and kitschy. The Bum Phillips story is not necessarily funny. Though he may be a larger than life personality, sharing his tale through opera may not have been the best medium. In regards to pop culture icons getting the opera treatment, Jerry Spring and Anna Nicole Smith found themselves in funny, larger than life predicaments that worked in an opera setting. Sure, there were dramatics, but the over-the-topness lends for the drama to land. You were allowed to laugh at them. In what was presented in Bum’s story, there were no peaks and valleys, it was, for the most part level like the Texas setting he lived in. In a piece that was borderline camp, I wasn’t sure if I wanted to laugh at the material or the story. The libretto by Kirk Lynn was filled with “Bumisms” that lacked the impact of importance when accompanied by music.

Of course, there were moments in Bum Phillips that were gold. Jessie Dean, Briana Elyse Hunter, and Victor Khodadad as the ABC announcing team-slash Greek chorus of sorts, were a source of high entertainment and talent. Dean and Hunter especially had beautiful voices and their articulated facial expressions allowed for some shinning moments. Patrick Mulryan, who for the most part remained in the chorus, shined in his Act II role of Mike Barber. Mulryan conveyed beautiful emotion through his solo. Unfortunately, though, Gary Ramsey as the title character lacked lead role credibility. Perhaps it’s the character he portrayed, but Ramsey did not leave a memorable performance despite quite a unique singing voice.
As far as the design of the opera is concerned, everything was big and flashy, like the state it took place in. Scenic designer Marie Yokoyama transformed the cavernous Ellen Stewart Theater and miraculously created an intimate yet large environment inspired by a football field, though I wished there was more artificial turf covering the stage. The projection design by Trey Gilmore brought the opera new life, but occasionally came off as hokey and too distracting against the musical staging.
Director and conceiver Luke Leonard’s bold decision of Bum Phillips All-American Opera was an honorable undertaking that just didn’t score. Maybe for Bum loyalists, this is a can’t miss, but after reading the director’s note, what was written on paper was just not executed on the stage.

Hi Readers! I wanted to take a second and share a special Indiegogo campaign that is near and dear to my heart. My theater collective, Rhapsody Collective, is only ONE WEEK away from nearing the end of our Indiegogo and we could use all the help we can get to raise the final funds. We are raising money to share our seven brand new plays inspired by the Seven Deadly Sins. Rhapsody Collective is a group of young artists devoted to creating brand new plays from the ground up. We are 50 members strong this cycle so your support will help 50 amazing artists who are the future of theater! For more information, feel free to watch this video and follow the link to our Indiegogo to donate! Thank you for your support! http://www.indiegogo.com/projects/rhapsody-collective-cycle-2-the-seven-deadly-plays/x/187288

It’s so true. “Love is wild.” It’s a journey that throws curveballs when you least expect it but its when you’re able to conquer them that you know it’s true love. In Sanguine Theatre Company’s presentation of Crystal Skillman’s Wild we watch that curveball testing the relationship of a young couple. When one foolish mistake is made, it is a catalyst for more errors that tests the true love between Bobby and Peter.
In Skillman’s poetically colloquial and engaging play, a foolish Peter has little beachside rendezvous with a young woman named Nikki, truths come out thusly putting skeptical Bobby and Peter on the rocks. Bobby, in his own drunken stupor begins an affair with Jordy, the feisty and horny young intern who just so happens to work at the same company as Bobby and Peter. More beachside encounters begin including Peter with a hunky man of free will named Vin. But in the end, love prevails and the couple is happy again. I had a hard time rooting for Bobby and Peter getting back together. The hopeless romantic in me wanted to but the observer just couldn’t. We never truly see the happy and good times between Bobby and Peter. Sure, in their five-year relationship we’re told they were happy but the first time we see them on stage together, it’s to reveal the beginning of the potential end. The domino effect leads Bobby to an affair with intern Jordy and Peter in his own with Vin. As we watch these moments, this is when we see Bobby and Peter exclusively happy and can’t help wonder if these are the true pairings we want to see in the end. Yes, Bobby and Peter are each other’s true loves, but being told this through exposition and seeing nothing but trouble, do we truly understand the totality of their love or trust that it’s real because we all want a happy ending? Sure, love has to travel over some bumps in the road, but when we only see the bumps that don’t seem half as a bad, why not continue down that road. Additionally, the plotline with Ted, Bobby’s nurse brother who’s watching over Peter’s father, seemed a little much and not that necessary. Besides that, the script is a knockout.

One of the great achievements in this production is the top-notch ensemble assembled. Hunter Canning and Jeff Ronan were the perfect yin and yang as Peter and Bobby respectively. Canning and Ronan gave solid performances exuding the right amount of heart and wit. Diana Stahl as Nikki was superb. Though only in two scenes, she was stellar, with the latter scene being one of the best in the script. Despite an erratic final scene, David Armanino as baby-faced Jordy was seductive yet juvenile, allowing for great chemistry against Ronan’s Bobby. Vin played delightfully by Lyonel Reneau had a gruff exterior yet was nothing but zen.
Director Evan F. Caccioppoli expertly tackles Skillman’s story, discovering some wonderful moments and creating some beautiful stage pictures on Jonathan Cottle’s sandbox set and atmospheric lighting design. The only attention to detail that seemed to be odd was the arc of when Peter and Bobby were and weren’t wearing their engagement bands.
Until we learn the outcome of Peter and Bobby, Wild is a wonderful relationship play that is accessible and relatable. We’ve been down the path of love before, but Wild puts it in perspective. You’ll go wild if you don’t get a ticket soon.

Theater in the Now is proud to share a brand new feature called "Blog Hijack" where artists will get complete control of Theater in the Now to tell you about their projects! We're proud to have Less Than Rent's Sean Patrick Monahan and James Presson, writers of Little Mac, Little Mac, You're the Very Man, take control.

l to r: Sean Patrick Monohan, director Charlie Polinger, James Presson

Theater in the Now proudly presents

SEAN PATRICK MONAHAN and JAMES PRESSON vs. JAMES LIPTON

Yesterday, Less Than Rent Theatre’s Sean Patrick Monahan and James Presson sat down with legendary interviewer James Lipton to talk about their new play, Little Mac, Little Mac, You’re the Very Man, which runs April 3-27 at The Kraine Theater on E. 4th Street.

JAMES LIPTON: What gave you the idea to write this play?

JAMES PRESSON: Well, we were rehearsing Sean Patrick’s one-man show, which I directed-

SEAN PATRICK MONAHAN: The award-winning solo musical DIVA.

JP: Right. And we were talking about how that was Less Than Rent’s ninth production, and we were trying to wrap our heads around the fact that whatever we did next would be our company’s tenth.

SPM: Double-digits.

JP: Exactly. So we wanted to go all out, and do a big show.

SPM: A spectacular, if you will.

JP: Fine. And we started talking about Less Than Rent’s aesthetic and the idea of cultural mash-up that our company’s sort of known for.

SPM: And then we made the connection to John Gay’s The Beggar’s Opera, which did just that, but for a mid-eighteenth century audience in Great Britain.

JP: So, we realized that we wanted to pursue an adaptation of The Beggar’s Opera and that the character of Macheath would lend himself really well to an American setting. We spent an entire weekend outlining the show and coming up with the insanely intricate plot.

SPM: And here we are. Like Harry and Sally. But not at Katz’s Deli.

JP: I’m gonna kill you.

JL: Often people say that they “co-wrote” a play. How collaborative was this process? How did you delegate responsibilities?

JP: Well, Sean Patrick does all of the work, and I pay for the take-out. Haha.

SPM: That is true.

JP: Dude, I was joking.

SPM: Oh. Haha. Me too. Haha.

JL: How did you discover each other as writing partners?

SPM: Uhhhh…

JP: I’m married! I can’t answer that!

SPM: You’re making me blush…

JP: Next question, please.

JL: How does the Brecht estate feel about this play?

SPM: Haha.

JP: Haha.

SPM: What I will say is that Brecht was so opposed to the idea of intellectual property that he published several poems by Rudyard Kipling under his own name simply because it amused him. But we don’t infringe on Brecht’s work anyway.

JP: Haha.

JL: I think we should move on. How did you come up with eighty-six characters? How did you choose?

SPM: Well, it was a pretty complex process—

JP: It was completely random.

JL: Who’s the most likely to be offended by your play: the President of a Book Club, a Key Club, or a Strip Club?

JP: Our cast is very attractive. A strip club president would be disappointed that there isn’t more nudity.

SPM: Yeah, there’s an Equity thing where—

JP: Don’t be boring.

JL: If you had to assign the play a high school yearbook superlative, what would it be?

SPM: I would give it the same superlative I received in my high school yearbook my freshman, sophomore, AND junior year: Most Original. Also the superlative I received in my senior year: Most Likely To Be Seen On Broadway.

JP: Class car.

SPM: What?

JP: Or best hair.

SPM: Most likely to succeed.

JL: What’s it like working with star actor Tom Sanchez? I hear [REDACTED]. Is that really true?

JP: Well, I’m not supposed to talk about this James, but for you… Haha… So the thing about [REDACTED].

JL: Wow! That is really insightful. It makes me really want to see the show!

SPM: That’s great, James Lipton! We can’t wait to see you there.

Tickets for Little Mac, Little Mac, You’re the Very Man and more information about Monahan and Presson can be found at www.lessthanrent.org.

Name: Peter Staley

Hometown: Needham, MA

Education: UMass, Amherst Class of 2013 (B.A. in Theater)

Selected Credits: Closer (Larry), Connie Congdon's Casanova (Paolo, Victor, Mariucci, Priest), a new translation/adaptation of a Spanish Golden Age play titled Suitors (Frederick of Poland, Euphrosyne), Machinal (Lawyer for the Defense, Man #2), Stop/Kiss (George) all produced through the UMass, Amherst Department of Theater.

Why theater?: There's really no way to answer this without sounding pretentious or facetious... But it's sincerely the best way I've found to express, inspire and to communicate.

Tell us about The Brink of Us: There's so much to say, but we're enjoying keeping it an enigma. Delaney Britt Brewer has concocted a beautifully eerie exploration of love, friendship, ghosts and human nature. Suffice to say that everyone will recognize some of the good, and some of the bad, of each of the characters in themselves. Also it's incredibly manic, funny and gritty. So, who doesn't love that, am I right?

What is it like being a part of The Deer Players?: I'm so in love with all of my fellow Players. It's just so rewarding to be part of a group of incredibly motivated, talented and hardworking people. We're self-producing and we're all putting 100% into this, so it's amazing seeing what everyone is capable of. Plus they're all pretty easy on the eyes.

What kind of theater speaks to you? What or who inspires you as an artist?: I mean, all (or most) theatre speaks to me in some way, but I respond most to sharp, witty theatre delivered with a silver tongue and an important message. Of all the theatre I've seen and been involved with, I've had the most visceral reaction to South African theatre, especially that of the Magnet Theatre of Cape Town, whose style is heartbreakingly honest and back breakingly exertive. Watching the small company weave intricate tales for social good, while pouring all their physical and emotional strength into their work, is just mind-blowing.

Any roles you’re dying to play?: I'd love to be in Will Eno's Middletown.

What’s your favorite showtune?:"Can't Help Lovin' Dat Man," from Showboat. Classic.

If you could work with anyone you’ve yet to work with, who would it be?: Tony Kushner.

Who would play you in a movie about yourself and what would it be called?: Chris Evans, in "Last to Be Chosen for The Dodgeball Team."

What show have you recommended to your friends?: Twelfth Night, by the Shakespeare's Globe company at the Belasco, led by the dreamy Mark Rylance. Unstoppable and unforgettable.

What’s the most played song on your iTunes?: I'd like to say it's Vivaldi, but in reality it's probably Katy Perry's "Last Friday Night."

What’s your biggest guilty pleasure?: "Duck Dynasty". Just kidding. Probably "The Vampire Diaries". Ugh, I hate myself.

What’s up next?: Well, I'm working on a piece with co-producer Julia Piker at the moment. But we'll have to see what The Deer Players dig our antlers into next.

Name: Julia Piker

Hometown: Brooklyn, NY

Education: UMASS Amherst/ Fiorello H. Laguardia H.S.

Most Recent Credits: Sophie in Connie Congdon's Casanova, Directed by Brianna Sloane

Why theater?: There is no better way to express or make meaning of the way humans exist and interact with one another. Watching theater gives you a glimpse into the psychology of your own life. Also, theater is a forward moving art- it is constantly changing and evolving. There is nothing that I want to be a part of more than theater.

Tell us about The Brink of Us: The Brink of Us is a show that transcends the confines of a typical living room drama. It truly changes what we think about contemporary drama and comedy for that matter. Simply put, this play is weird! It captures realism in a very honest way, while still casting this kind of mysterious cloud of "Could this be real? Can humans really act this way? Is this a situation that could actually happen?” For me, I learn from the characters each time I re-read this play. Delaney Britt Brewer brilliantly captures the essence of every character in her writing. She gives an ensemble quality to her play while still individualizing every character.

What is it like being a part of The Deer Players?: We love each other. We've known each other for years. Most us have done plays together in college, so we have an idea of how well we work together. It’s truly a fun time for all of us. Our director Kara-Lynn always encouraged us to create what we think we can't. Its never "We can't" but always "We can."

What kind of theater speaks to you? What or who inspires you as an artist?: I’ve always loved contemporary drama and comedy. I'm a very big empathizer. I love to see situations and emotions that mimic my own life. Seeing Marin Mazzie in Next to Normal was definitely an inspirational experience for me. I remember the whole time I sat there with my jaw dropped wondering where she got the energy to play that kind of depression every night.

Any roles you’re dying to play?: Fantine in Les Miserables, a secret childhood dream.

What’s your favorite show tune?: “The I Love You Song” from The 25th Annual Putnam County Spelling Bee

If you could work with anyone you’ve yet to work with, who would it be?: Tom Kitt, Cate Blanchett, Ian McKellan, and Patti Lupone, just to name a few.

Who would play you in a movie about yourself and what would it be called?: Sandra Bullock in "What the Hell am I Doing". But if there really was a movie about me, wouldn't I play myself? Because I'm better at being me than anyone else I know. Unless Meryl Streep wanted to play me, which would definitely be a better performance.

What show have you recommended to your friends?: I'm recommending everyone to go see Violet on Broadway with Sutton Foster. My dear friend Ilana Ransom Toeplitz is making her Assistant Directorial debut. I love when my friends inspire me!

What’s the most played song on your iTunes?: “Love of My Life”- Queen… Hmm I did not expect that! I've been a huge Queen fan since I was a baby listening to "Made in Heaven." I've always loved Freddie Mercury as an artist, vocalist and just all out amazing performer.

What’s your biggest guilty pleasure?: Chocolate and Burgers. Not together, but maybe someday?

What’s up next?: Currently my partner in crime Peter Staley (Co-Producer, Brink of Us) and I are working under the name PeterPiker Productions. We are writing a musical that we hope to share with the world by early 2015!

Name: Kara-Lynn Vaeni

Hometown: Taunton, MA

Education: MFA, Yale School of Drama

Favorite Credits:Buffy the Vampire Slayer, the Musical in grad school and most recently, the US Russian premiere of Prokofiev's opera Maddalena for Opera Slavica.

Why theater?: What else is there? I'm not trying to be flip, I just really can't think of anything else I want to do or am qualified to do, or could do without becoming homi- or sui-cidal. It's kind of a bummer because I'd love to make like, a LOT of money and not have to worry about student loans and such. I mean, I'd really love it. But I have no affinity for those kinds of jobs. I like theater. I get to make stuff and think about stuff and work with cool people and spend time doing really weird shit and it's you know, meaningful at times, and funny almost always and slightly disturbing. It's a good life when I'm not eating my heart out with jealousy. And I get to share it with other people and that's good too.

Tell us about The Brink of Us: It is the finest play of this or any other generation.

What made you want to direct The Brink of Us?: If I tell you that, I'll give it away!!!!!!! It's funny and it's sexy and it's vicious and it's gritty and there may be a dance break or a drug break or something. It deals with real shit in such a meta-way that you can hunker down and just enjoy the narrative, or you can dig a little deeper and feel validated (or offended, depending). I like that about it.

What kind of theater speaks to you? What or who inspires you as an artist?: I like theatre that asks big questions in irreverent ways, that requires a mastery of language AND physicality. I like theatre that is so much better when you see it than when you read it. I like theatre that couldn't possibly be better as a movie or a TV show. I'm inspired by people who keep plugging away at their own piece of awesome, regardless of accolades or reviews. I strive to be that artist.

If you could work with anyone you’ve yet to work with, who would it be?: I could direct the shit out of a Marcus Gardley show. You hear that Marcus!?!?! I'm a big fan of Hilary Bettis, too.

What show have you recommended to your friends?: All of them!

Who would play you in a movie about yourself and what would it be called?: It's not who would play me, it's who would play my love interest. And that person would be Robert Downey Jr. And I would then have to play myself, or at least be my own stunt double for all the kissing and the witty repartee.

What’s your biggest guilty pleasure?: I don't feel guilty about pleasure.

What’s the most played song on your iPod?:"Tightrope" by Janelle Monae and everything Foo Fighters

If you weren’t working in theater, what would you be ______?: Probably be a UU minister. Got accepted into seminary. True story. Imagine!

What’s up next?: Goin' to Appalachia to do a play and then back to NYC to do an opera and then I'll probably never work again.

Every so often there comes a musical that you know will begin to alter the face of musical theater. A show that others will try and try to recreate in order to cash in on its success. A show that when you walk out of the theater, you know you will be seeing theaters and schools all over the country producing that work for years to come. The newest to be added to that list is Ryan Scott Oliver and Hunter Foster’s Jasper in Deadland. Presented by Prospect Theater Company, Jasper in Deadland follows sixteen-year-old Jasper who journeys to the underworld to save his best friend Agnes. On his Orpheus-like journey, he encounters an assortment of wild character drawing inspiration from afterlife mythology, ranging from Greek to Norse, and discovers the true meaning of life and love.

photo courtesy of Matt Murphy

Jasper, a wiser than his years teen, begins the show like every normal kid, dealing with the woes of high school, the issues at home, and blurred lines of love. When he gets wind that his best friend Agnes dove off a cliff to conquer a fear, Jasper rushes to the scene only to find he’s too late. He takes a dive himself which leads him to Deadland which we learn is an afterlife like no other. On our way we meet characters including Mr. Lethe, a business tycoon attempting to take control of Deadland and stop the hope Jasper has brought, Cerberus the philosophical three headed dog, Hel and Loki, the opera inspired Norse gods, and Pluto and Persophone, the rulers of Deadland. Oh, and of course a young girl named Gretchen, who has a significant secret of her own that you probably saw coming but still gasped when it was revealed. Jasper and Gretchen are a perfect pair, for an assortment of reasons that would contain too many spoilers, but they balance each other harmoniously.
For a musical to be special, it needs to have a memorable score. Ryan Scott Oliver has that covered. Oliver, who wrote both the music and lyrics, has a way with words and the great ability to get the audiences toes tapping. The book by Ryan Scott Oliver and Hunter Foster was, for the most part consistent. Laden with pop culture sprinkles brought laughs, but it was their larger than life characters, expertly crafted by the ensemble, that allowed for the hearty laughs. In a piece where the creators established the world, the rules set forth were pretty accessible and sensible, however there were a few reveals that contradicted previous rules. But with an A+ cast and a rockin' score, you tend to forgive. If there was one momentum crusher, it was the flashback scene at the top of Act II. All it provided was a set up, one that could have been executed in the present.
To give the musical life, Jasper in Deadland collected a multi-talented cast, each with their own shining moments. Led by Matt Doyle and Allison Scagliotti, there wasn’t a flaw within the cast. Matt Doyle's smooth and effortless vocals and ability to command the stage proves why he is a rising star and the future of musical theater. Allison Scagliotti's beautifully unique voice were superb but it was her quick tongue wit and excellence in timing that defined her stellar performance. Rounding out the ensemble with strong performances from Andi Alhadeff and her various whacky character antics, Leo Ash Even’s stellar comedy, and Bonnie Milligan and F. Michael Haynie as the show-stopping Hel and Loki respectively, the latter getting extra props for the sadistically funny "The Chuckster".
Director Brandon Ivie does a wondrous job bringing the rock musical to life. Tackling a journey play can be hard, but Ivie seems at ease. From stunning stage pictures and inventive ideas, Ivie puts a stamp on the production. Ivie's masterful work brought cohesiveness to the world. Expect to see more from him. Lighting designer Herrick Goldman and scenic designer Patrick Rizzotti transformed the Church space to create the memory filled underworld flawlessly, though I wished the props on the shelves had a little more relationship to the characters on stage as opposed to creating shadows and filling negative space. Bobby Pearce’s costumes were big and perfect to invent these big characters. The only part of the creative team that seemed to not connect with the rest of the production was the choreography by Lorin Latarro. In a time where contemporary dance seems to be the trend in rock musicals, the static nature of the movement and the inconsistency in storytelling occasionally drew too much attention in a negative way.
As Jasper in Deadland is sure to get new life in bigger budget venues, the production will soar to new heights. But to be this solid at this point in time is scary. If you don’t have your tickets to Jasper in Deadland, you will kick yourself that you didn’t get the an opportunity to see it in this incarnation. But fear not, Jasper will live a long time.

Name: Karen Kohler

Hometown: Born in Frankfurt, Germany - raised in Amityville, Long Island, NY. Hometowns Today: Berlin & NYC.

Education: BA in International Relations, Minor in Music from the University of Arizona. My husband Robert MacLean Kohler and I have endowed the world's only collegiate scholarship for cabaret at Long Island University where we met.

Select Credits: Cabaret: Little Death, Vienna To Weimar, Moons Of Venus, Jam & Spice, Das Kabarett, and more...Theater/musical Theater: Rocky Horror Picture Show, Night Of The Iguana, Fiddler On The Roof, Oklahoma, South Pacific, Annie...

Why Theater?: Our stories are what connect us as humans beings, and in every culture and every language, we actors tell those stories.

Tell us about Nicholas Nickleby, A New Musical: It's light, it's dark - it's good fun!

What is it like being a part of Nicholas Nickleby?: We have a large and talented cast. Everyone is easy-going and creative in bringing to life this classic tale. I'm delighted to be playing such two very different shades of Victorian femme.

What kind of theater speaks to you? What or who inspires you as an artist?: I chose cabaret as my medium because of how beautifully it blends serious theater with serious music. It permits me to lower the fourth wall and address my audience directly. For a singing actress, there is no other artform more intimate. The best cabaretists that I know or have studied have all had a strong sense for the dramatic. As performing artists go, my heroes are Yvette Guilbert and Charlie Chaplin. As to what inspires me: My family (born and chosen) and all our very human lives and joys and pains; and anyone who is willing to overcome themselves.

Any roles you’re dying to play?: Morgan le Fey. I don't know...has anything really fantastic been written for her yet?

What’s your favorite showtune?:"All That Jazz" (Chicago)

If you could work with anyone you’ve yet to work with, who would it be?: Musician - Lyle Lovett; Dancer - Acia Gray; Filmmaker - whoever is channeling Hitchcock.

Who would play you in a movie about yourself and what would it be called?: The movie would be called "Fin" which is my nickname (Fin Kohler) in the fine art circles of NYC where I also work and model. In French this means "the end," which for me is another way of saying "the beginning." I suppose I would play myself, or else I would direct someone else to play me. That would be illuminating...

What show have you recommended to your friends?: Venus in Fur

What’s the most played song on your iTunes?: As a singer, I'm in the business of songs and this is almost impossible to answer. Maybe Massenet's "meditation" which I chose to accompany me up the aisle on my wedding day. But for me, every day brings its own song. My recordings are on iTunes, but I don't use iTunes that much. As an actress, I'm constantly watching and listening to people, and so I keep myself unplugged from my phone in public. At home, I prefer to listen to CDs and vinyl because the fidelity is just so much better. My top five favorite musicians are Beethoven, The Boswell Sisters, Etta James, Leonard Cohen and Pink Floyd.

What’s your biggest guilty pleasure?: If there's guilt involved, it's not a pleasure. I love chocolate after any strenuous physical activity.

What’s up next?: A trip to Germany, recording my fourth solo album, and curating European cabaret.

Every so often you find a play that offers a slice of life of reality after chaos. A piece that brings you the aftershock of trauma. In Bill Holland’s Hounds of War, we watch a family already torn apart by the past try to recover what was lost. After relocating to a cabin in the woods of upstate New York, Jim, a war veteran, and his wife Mary, and their two sons, Larry and Bobby, attempt to rekindle a family despite lingering problems and secrets.
Hounds of War is not your typical kitchen sink family drama. Sure, every character has a plot reveal that riles up a significant amount of tension. But their skeletons happen to be feasible and realistic to the world of the play. From Jim, an alcoholic who is suffering the affects of PTSD from war and unfaithfulness, to Larry, the prize military son who is afraid to tell his parents about his assignment to Afghanistan, to Mary, who may not have the same love she did for her husband but will stand by his side to save him, to Bobby, who is leaving school to be with his secret significant other. These problems circulate the world of the play and make sense, which is commendable. Holland’s script, though could use a bit of streamlining, is a solid family saga that spends a great deal of time balancing the line between love and abuse. Despite a great story, Holland’s characters wanted a little more depth, and a more oraganic voice.

While the plot is a bit stronger than Holland’s characters, the strongest scene in the play was between brothers Larry and Bobby, played by Justin Hofstad and Patrick Massey respectively. Their organic chemistry made this sentimental scene of bonding, singing, and reminiscing the most exciting to watch against a setting where most other scenes featured explosives. Patrick Massey, who happens to have a beautiful singing voice, as kind hearted and pushed aside Bobby brought light into the world of the play. Margaret Curry as the eternal optimist Mary had a nurturing maternal essence that made you understand why she remained in the marriage with Jim for as long as she did. Christopher LaPanta as hardnosed and closed minded Jim was a bit erratic. His performance went from zero to sixty without warning. Though it could be due to the way the character was written, LaPanta seemed to lack natural transitions from subdued to anger, forcing it to appear as a caricature. Tony Head as Henry, the wisdom filled neighbor, was more of a device than a character.
Director Mark Cirnigliaro did a nice job developing a family for Holland. While, he could have helped LaPanta with Jim’s antics, the beauty of the brother’s scene was the highlight of his work. Scenic designer Bethanie Wampol Watson cleverly took the black box space and simply created a cabin retreat. The wood shadow box features really gave the set character.
Hounds of War, though not perfect, is a diamond in the rough. If anything should come of this play, it will be the fact that young actors will be performing the Larry and Bobby scene in their classes for years to come.

Name: Chapman Riedel

What is your role in Searching for Sebald?: I serve Searching For Sebald in two ways: I’m a member of the performance ensemble, and I also serve as DTP's Line Producer.

Tell us a little about Deconstructive Theatre Project?: The Deconstructive Theatre Project is a Brooklyn-based devised theatre laboratory that creates performance pieces collaboratively among the ensemble and design team. A large amount of our work explores the neuroscience of art and memory. We aim to tell our stories through nontraditional narratives using film, live Foley, practical lighting, and projection.
DTP is also a strong advocate of the power of theatre in the classroom. We have an educational arm of the company that has partnered with Williamsburg Collegiate Charter School to empower their students to tell stories and express themselves using the tools that DTP has pioneered and stylized in our own productions.

How is the creation process going so far?: We’re currently in Stage Two of our three-part development process. Our research and development phase happened this past fall, we’re currently establishing the tools and vocabulary needed to tell our story this spring, and this coming fall will see the shaping of the actual story we tell on stage in the final product.

What is the developmental process like for you as an artist?: I was a part of the producing team for our showing of The Orpheus Variations at HERE last summer, but this is the first piece I've had a hand in creatively developing from the beginning. It has been a revolutionary experience for me as an actor because DTP's process is like no other. Without a script establishing the skeleton of a production, you’re forced to trust your own instincts to create a compelling story that honors both the foundational text ("The Rings of Saturn", in this case), and also truthfully reflects your experiences and insights.

What is it like working with mixed media? What are some challenges, benefits, risks etc.?: All of DTP’s stage pictures are created using found objects, practical lighting, and interactive video imagery. As an actor, you have to become comfortable with all elements of that process, both technical and creative. It’s an entirely new skill set that you have to learn, develop, and manipulate. You never know how something you think up in your head will translate to the stage/screen using DTP’s signature style. That said, the design team and fellow actors have incredible expertise in this area and are always willing to lend a hand in service of your vision. The biggest risk is not trusting yourself to take one.

Tell us a little about W.G. Sebald and “The Rings of Saturn”: W.G. “Max” Sebald was a professor of European literature at the University of East Anglia, and was widely considered to be a future Nobel Prize winner before his untimely death in 2001.
He wrote "The Rings of Saturn" largely as an attempt to reconcile his German heritage with the horrors of World War II. Though the Holocaust of the mid-20th century is never overtly referenced in the book, Sebald indirectly alludes to the pogram through various historical metaphors, and uses the mechanism of a walk he took along the English countryside in the early 1990’s to structure his thoughts.

How does W.G. Sebald and “The Rings of Saturn” inspire you as artist?: Much like DTP itself, Sebald has a style that is uniquely his own. It evolved as a result of his genetics, his upbringing, and his personal history. Sebald’s literary approach couldn’t be more compelling as a means to communicate thought and emotion. It’s nonlinear, multidisciplinary, and— most importantly— his. If I’ve learned anything through my new relationship with the works of Sebald and this development process it’s that one’s perspective matters, one’s history has value, and anything worth saying can be strengthened and made more powerful through collaboration with nurturing friends and colleagues.

What is the importance/relationship of memory and the wandering mind to you as an artist?: Memory is everything to us— it shapes the way we interact with the world. That interaction can certainly be broadened through introspection and development, but memory is the basis. The wandering mind is our brain’s way of processing and creating (hopefully) outside of the gravity of our personal histories. Once you can reconcile the freedom of your unbounded mind with your unedited history, you’re in a place of limitless artistic possibility.

What is it like exploring neuroscience through creativity?: There are two very different sides to neuroscience. The first is the clinical end with axons, dendrites, and neurotransmitters. I’m not much help in that department… The other side is more intuitive. If we pay a little attention to how we think and process information, we start to gain an accessible yet invaluable understanding of how we see and interact with the world. Once you have a small understanding of how your brain works in and of itself, you can start the process of creating things outside of your own mind with greater ease and enjoyment. Creativity really is a mysterious yet complimentary extension of our brain’s microscopic electrical network.

Why Searching for Sebald now?:Searching For Sebald is all about how a group of people understand and interact with a given text. It’s about taking our individual experience with a story and making something bigger and more profound by coupling that independent perspective with those of our peers. The time is always ripe for a project with a goal such as that.

What can we expect to see in Searching for Sebald?: That’s a wonderful question, and the answer is: I’m not sure yet. At this point we’re working on developing our vocabulary for the piece rather than crafting the actual story we’ll end up telling on stage. The story will come, just not quite yet. What I can tell you is you’ll see all of the distinctive performance tools that are DTP’s signature including live filmmaking, innovative projections, practical props and lighting, and a new, through composed musical score. For those of you not already following our journey on social media, I encourage you to check out #searchingforsebald on Instagram for an exclusive peek at our exciting new piece.

Life after Fringe Festival is either nonexistent or fruitful. Thankfully after a 2011 successful Fringe run, The Bardy Bunch is back and better than ever! Drawing inspiration from Shakespeare’s biggest characters and infamous plots, 70s sitcom families The Bradys and The Partridges are engaged in an all out war. Filled with inside jokes, references, and the iconic songs from both shows, writer Stephen Garvey gives each clan member a Shakespearean persona that propels the story into an epic finale.
Though not much has changed within the script since the previous production, The Bardy Bunch chronicles post cancellation life of the epic clans where Shirley Partridge begins a love with Reuben Kincaid while a jealous Danny Partridge vows to avenge his father for his disloyal mother while Chris and Tracy Partridge seek to take down their brother while star-crossed lovers Marsha Brady and Keith Partridge try to hide their love from the families while Mike and Carol Brady kill Mike’s boss in order to rise to power while Greg Brady vows to destroy the Partridges but befriends Snake, who’s actually Laurie Partridge in disguise while Peter practices his magical sorcery while Bobby and Cindy Brady remain eternally adorable and Jan Brady is fully engulfed in being forgotten. Oh and don’t forget about Alice, the loveable maid who knows way too much. For those Shakespeare scholars, you know exactly who which character takes on. Throw in everything you loved about the TV Land staples, and you have an enjoyable night away from the television.

The ensemble is quite impressive in talent. Some of the returning standouts include Talisa Friedman as adorably lispy Cindy, star-crossed lovers Erik Keiser and Cali Elizabeth Moore as Keith and Marcia, and Jan Brady perfectionist Annie Watkins. Of course some the new clan members in the cast do a superb job representing the Bradys and Partridges. Matthew Dorsey Moore brings a loveable charm to Peter while Chaz Jackson lands the dorkiness of Bobby. Kristy Cates takes on everybody’s other favorite mother Shirley Partridge with ease. Chuck Bradley, Alex Goley, and Danielle Sacks add much depth to the youngest Partidge kids Danny, Chris, and Tracy respectively, but it’s Mitch McCarrell who steals the show in quite possibly the best inside joke of the show. His phenomenal number in Act II is electric, allow McCarrell to truly be the biggest rock star of the show.
Director Jay Stern brings nostalgia to the max. A great deal of detail is taken as far as honoring both the Bard and the classic sitcoms. Even the way he has his company exit the stage and button the scenes screams sitcom. With attention to these details allows for the campy nature of the show to shine. Choreographer Lorna Ventura borrows many of the signature moves but also finds a wonderful balance between originality and iconic. For a show that should have grown since it’s previous festival setting, the set and lights by Craig Napoliello and Howard Binkley respectively left so much to be desired. There seemed to be too many restrictions that compromised for some staging.
For a show rich on nostalgia, The Bardy Bunch cashes in. This truly is a show that you will keep on humming along and getting happy.

When the “risky” musical inspired by an original idea is far and few between, the musical inspired by a movie gets the spotlight. But the challenge is finding the right one to get the theatrical treatment. And when you do find the right one, how you tackle it will determine exactly whether it’ll be “good.” Heathers the Musical has done the impossible: reinvent a cult classic into another cult classic.
For those unfamiliar with the movie, Heathers follows the original mean girls, a clique of gorgeous girls all sharing the name Heather. When outcast Veronica is invited into the group by Queen Bee Heather Chandler, life is set. That is until Veronica makes a lethal mistake at a party. After Heather Chandler threatens to eliminate Veronica from social life, Veronica and her new friend, bad boy J.D., set forth a plan to take down the Heathers. Only JD's plan includes murder. After staging Heather Chandler's murder as suicide, madness ensues including more a change in regime, continual take downs of the popular kids, and suicide becoming an unlikley trend.
As far as musicals inspired by movies, Heathers may be one of the more successful ventures. Writers Kevin Murphy and Laurence O’Keefe have honored their source material by perfectly planting the infamous lines from the movie all the while turning up the camp. If they decided to keep the musical like the movie as a super dark comedy, it would have fallen flat and the laughs would have come for all the wrong reasons. Though, by Act II some of the lightness was pushed aside for some darker moments and songs, overall Heathers is campy goodness.
Though the book took a few liberties that didn't seem to quite land, including Martha's grand suicide attempt and the events leading toward the booming climatic ending, Murphy and O’Keefe honored the source material quite nicely. When you have a crowd of cult followers who can recite the lines by heart, when the iconic catch phrases including "what's your damage?" and "fuck me gently with a chainsaw" make their appearances, it stops the show with cheers. And that's ok.

The music also written by the duo found a great balance between 80s and Broadway pop. Despite a few too many slow ballads in Act II, the score kept toe tappers active. With a cast strong in vocal power and ability, the songs were notable. But it was literally the show stopping "My Dead Gay Son" that defined the show. There wanted to be more of those.
As far as the cast is concerned, overall, they were a pretty tight ensemble. Barrett Wilbert Weed is impressive in the fact that not only does she eerily embody Wynonna Ryder, she is able to put her own stamp on Veronica. Weed is a special actress with impressive vocals who knows how to carry the bulk of the show and take a step back to give the Heathers the light. Ryan McCartan takes the good boy baby face of J.D. and still managers to figure out how to creep you out. McCartan is a new breed of leading man. Though his physical presence is a bit more commanding than Christian Slater's J.D. was, his voice is beautiful and the perfect balance to Weed's Veronica. Though they may be the leads, it is called Heathers and they are truly the stars. Jessica Keenan Wynn as Heather Chandler is brilliant, packing in sex and seduction to the original Regina George. You know once she struts on stage, as the living or ghost incarnation of Heather Chandler, she's about to rock the stage with her pure voice or witty tongue. Alice Lee is the epitome of hilarity as Heather Duke. From her first laughable facial expression, you knew she would be the source of some of the bigger laughs. Heather McNamara, played by Elle McLemore, doesn’t quite get the opportunity to take off as much as Wynn and Lee, but she certainly brings a dose of funny with her wide eyes. Though Jon Eidson and Evan Todd look way too old as Ram and Kurt respectively, they embody the bafoony douchebags.
Though there are logical difficulties to consider, tiny details left out did have a larger effect on the sense of theatricality. By not showing the vomit or any blood, the moments lacked the bigger laughs they desired. When the overall direction by Andy Fickman is very stagey, the littliest details look like a mistake or a thought that was completely passed over. What scenic designer Timothy R. Mackabee and lighting designer Jason Lyons do to Heathers is add color. For a movie that only featured color pops in the outfits by the title characters, adding the colorful pallet was a strong choice to confirm the camp nature of the production. However Mackabee’s presentational set was too “use your imagination to see the school”.
Heathers is the original "Mean Girls" for a reason. Sticking to its roots and knowing exactly what this musical wanted to be makes Heathers a hit. Cross your fingers that these shoulder pads will be around for a long time.

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