Theater in the Now

Name: Lulu Fogarty

Hometown: New York, NY

Education: BFA Syracuse University

Select Credits: NYC: Lillian Smith Being Heard (Syracuse Stage, Theatre Row, Dixon Place), SURRENDER (2009 Drama Desk Nomination: Unique Theatrical Experience), Christmas Rappings (dir. Russ Treyz), Henry V (dir. Adam Patterson); Eurydice, Desdemona, The Artifacts, The Mentee (dir. Thom Fogarty). International: Taiwan National Tours of Grandpa’s Dream and The Toy Box; Embedded (Edinburgh International Fringe Festival); A Comedy of Errors Workshop (Shakespeare’s Globe, London). Regional: Steel Magnolias (dir. Russ Treyz).

Why theater?: I love the fact that each moment of every performance can be different. Nothing is locked as it becomes in film. I also love feeling the flow of energy between the audience and performers every night.

Who do you play in Lancelot?: Tara Williams

Tell us about Lancelot:Lancelot is a steamy new play that brings up gnawing questions about what it means to be an artist and the sacrifices required to claim artistry.

What is it like being a part of Lancelot?: This is the third Fechter-Fogarty collaboration that I am acting in. I love working with Steven and my dad (the director) because we are all on the same page about making theatre a collaborative process and making art that can be different every night. The stage, like the rehearsal room, is a safe space to explore new things and play. Steven also is incredibly adept at writing strong, capable women. As one, myself, it is a treat to explore the minds of others, bringing them off the page.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theatre that makes you think. I truly believe that art can change the world and see it as my job as an artist to inspire people to think critically about the world we share, and to perhaps find ways to be more compassionate and human with each other.

Any roles you’re dying to play?: Titania, Maggie the Cat and Mary Tyrone. You know, just all the classics. Also Girleen in Lonesome West because she is heartbreaking and a hoot.

What’s your favorite showtune?:"Why We Tell the Story" from Once On This Island

If you could work with anyone you’ve yet to work with, who would it be?: Anna Deavere Smith

Who would play you in a movie about yourself and what would it be called?: Lily Rabe in "The Spark That Started It"

What show have you recommended to your friends?:Gatz by Elevator Repair Service, The Hallway Trilogy (particularly Part 2, "Paraffin")

What’s the most played song on your iTunes?:"Certainly" by Erykah Badu

What’s your biggest guilty pleasure?: Reality TV like "Mob Wives" and all the NYC, NJ ones (sorry, actors)

What’s up next?: I'm working on a one-woman educational play about politics and ethnicity in Taiwan based off of interviews I conducted while I lived there in 2013. Stay tuned to www.lulufogarty.com and applesandazaleas.com for more info!

For more on Lancelot, visit http://www.360repco.org/

Name: Stephen James Anthony

Hometown: Forest Lake, MN

Education: BFA Syracuse University, Shakespeare's Globe London

Select Credits: Billy in War Horse at Lincoln Center, Smike in Nicholas Nickleby at Orlando Shakes, Valmont in Les Liaisons at Syracuse Stage, Alan in Equus at Black Box Players.

Why theater?: Theater is very satisfying as an actor, because of its immediacy. The constant dialogue between the performers and the audience can be incredibly exhilarating.

Who do you play in Lancelot?: Ryan

Tell us about Lancelot:Lancelot is largely a play about identity, and the struggle we all go through to find our true self. Stephen [Fechter] has done a fantastic job confronting this issue, through a very compelling story.

What is it like being a part of Lancelot?: The process has been very enjoyable. Having been a part of the show since its first reading, I'm thrilled to be in the full production the play deserves.

What kind of theater speaks to you? What or who inspires you as an artist?: I love the feeling, as an audience member, of being thrown off balance. Good theater achieves that. Also, like many people, I relish when theater starts a conversation. There's no better feeling than leaving a theater in a heated debate with your friends.

Any roles you’re dying to play?: Boy in Peter and the Starcatcher, Edmund in Lear, and any part that gives me an excuse to learn a new dialect.

What’s your favorite showtune?: Hmmm, I really love, "Not While I'm Around" from Sweeney Todd.

If you could work with anyone you’ve yet to work with, who would it be?: I'd go for broke and say Mark Rylance, arguably our best living classical actor.

Who would play you in a movie about yourself and what would it be called?:"The Man from Minnesota" starring Benedict Cumberbatch! I'm a bit obsessed with Sherlock.

What show have you recommended to your friends?: Though they're closed now, I was telling everyone to see the Globe productions that were playing in rep this year; "Twelfth Night" and "Richard III", starring Mark Rylance, obviously!

What’s the most played song on your iTunes?: I think it's "Devotion" by Weezer.

What’s your biggest guilty pleasure?: My nerdy tendencies: I have a rather rabid appetite for board games, particularly, "The Settlers of Catan."

What’s up next?: A nine man production of Comedy of Errors, we are workshopping now.

For more on Lancelot, visit http://www.360repco.org/

Shakespeare's The Tempest is one of those pieces that treads the thin line between drama and comedy, having elements of both. Unlike many others in his canon, The Tempest explores the surreal with the use of magic, making it an even more interesting piece. With this as a jumping off point, in The Hurricane, writer Bjorn Berkhout transports the Shakespeare classic to modern day Fire Island and gives it the musical treatment.
In The Hurricane, we watch the magical Madame Sparrow, a man in drag taking on the role of Prospero, as she casts enchantments upon a group of marooned businessmen who play a key role in her past all the while she cares for young Miranda who has suddenly fallen for shipwrecked Ferdinand. At the core, The Hurricane is an interesting concept, though it was unclear whether it wanted to be campy comedy or serious drama. The music Berkhout accompanies the story with is like an operetta with very few "complete" songs. The music is very Sondheim-esque. For the most part the entire score lives in the same style and tempo, with the exception of the standout numbers "The Game" and "Adonis". Despite missing some characters, the story stays in line with the source material, though the intriguing Fire Island location could have been explored further. Additionally, the use of magic so desired to be even grander. Though it could have been a budgetary issue, the underused sorcery made the overall style lost. While Madame Sparrow controlled the underscoring at times, among other thigns, it could have been bigger. The concept already filled with campiness needed to go all out camp or back on the Sondheim spectrum.

The Hurricane featured a pretty solid ensemble comprised of youthful talent. Leading the pack was the spiteful sprite Bryce Henry as Ariel. Henry filled the stage with ego and wit, stopping the show with his ode to Ferdinand, "Adonis". As Sebastian and Antonio respectively, Robert Ackerman and Ryan Rhue played well off of one another. Aided by his surprisingly pure vocals, Ackerman played the naive Sebastian with ease. And though he may have looked more like a Ferdinand, Rhue's Antonio was divine with his boyish good looks and a booming voice and evil side. Laura Sudduth's sweet Miranda and Spencer Glass's innocent Ferdinand were a great pair, both offering some beautiful and unique vocals. Mykel Vaughn decked out in drag looked great but was very low in his projection making it difficult to hear him.
Director Taryn Turney made some strong and unique choices, the most daring of which was having the actors remain and sit in stage. With such a bold direction, Turney needed to explore their presence further. She touched upon playing with then if they were referenced but it was too subtle. The costumes by Anna Grace Carter worked quite well with the exception of Ferdinand's mismatched attire that looked like it came out of the Actor's wardrobe.
The Hurricane has all the right ingredients for something special. With a little more care and guidance, The Hurricane can blow again.

The stories that unfolded in the United States after 9/11 and the resulting War in Iraq were some that tear at your heart. The pain and struggles of those left behind are sometimes more heartbreaking than the stories of the lives lost. In The 8th Fold, a titled inspired by the folding of the flag, four boys are brought together by unfortunate circumstance as they learn to cope and grow with a little help from their friends.
The 8th Fold is a heavy musical about loss, grief, and friendship in the age of war. Though billed as a 9/11 musical, The 8th Fold is more of a reactionary piece about the aftermath. With music by Gianni Onori and a book by Onori and Ava Eldred, The 8th Fold follows young Elijah as he makes three new friends at the gravesite of their family members’, all of who were in the military and lost their lives in battle. As their friendships build, secrets are revealed, bonds grow closer, and time heals wounds. Where The 8th Fold shines is the power of storytelling through song. Perhaps an excess of material, the majority of Onori’s music is beautiful and poignant, though none are all too memorable. Where The 8th Fold falls flat is in the book. The book is thin and relies too heavily on the circumstances. The musical hits stronger through a grief lens then through the 9/11 and Iraq War lens. Act I is a long actionless backstory set up for Act II which is a fun “Stand By Me” time buddy story. The 8th Fold wanted too much to trim the fluff and be a one act musical. Additionally, there are some glaring dramaturgical and factual errors that call Onori and Eldred’s book into question. Early on in Elijah’s first monologue, he lists what happened after the Twin Towers fell, one of which including “people were drafted.” As history shows, there was no draft in America and this seemingly small mistake forced listening to every word of the show on high alert for fact check.

The cast made up of four young men, and two “shadows” present mostly to add more sound, were individually quite good. But when it came to harmonizing and singing as one, the quartet seemed unable to blend allowing for some insane pitch problems. Kyle Schliefer as newcomer with a thousand secrets Kane was phenomenal. Schliefer has a pure voice, and offered a complete performance. Matthew Brown as bad boy Russ played mostly to the extremes of anger, though his pain and suffering were the most intriguing to watch. Thaddeus Kolwicz as the baby of the group had possibly the least complete arc of the bunch. With what little material he had to work with, Kolwicz did wonders. Micah Cowher as Elijah serves as the narrator but his performance was mostly monotonous. Each time he broke the fourth wall, he offered a nonchalant retelling of the action we saw or passage of time. For the most part Cowher’s voice was beautiful, though there were moments Onori’s score made him squeak in the upper register.
With Gianni Onori serving as director, the musical allowed for some stunning stage pictures. Though one big question mark was would these kids really be sitting on the ground at a graveyard where they’re paying their respects to the lost? One of the biggest disservices to the production was the lack of buttons at the end of each song. Lighting designer Sean Nicoll's rarely but a light button at the end of songs forcing the audience not the clap and the actors to continue on. With some strong songs that deserved applause, there were many awkward moments of air. Another bold choice was the primary color, and green, color scheme Onori put the actors in. It was clever at first to give each character a color identity but became distracting when all of their props matched their respective color.
The music of The 8th Fold is the glue that holds the show together and may be better served as a song cycle than a book musical. The concept is incredibly intriguing but with some mistakes and use of sacred 9/11 terms, it puts the entire work in question. The 8th Fold is a piece that has a future with some work.

Name: Mason O'Sullivan

Hometown: Chesapeake, VA

Education: BA in Film and Video Studies, minor in Theater; George Mason University '12, George Mason Improv Association, Private Coaching; Stella Adler Studio (present)

Select Credits: This Is Our Youth (Warren, DC), Pun: A Play on Words (Floccy, DC Fringe Festival), Check Please (RAL Productions, NYC), "Cella" (Dan, short film by Hooligan & Co. NYC)

Why theater?: Well it always struck me as weird why it was such an oddity to all my friends when I was little that I liked to do voices, impressions, and make up these characters. Then somebody thankfully had the light bulb to ask me to try out for Drama Club in third grade; I remember my mom helped me learn a poem called, "The Sandman", about the feeling of sand lol. Well...crushed it. Was put in that years' play and never looked back; #hooked.

Who do you play in The Text of Sex?: Jason Redgear (or Jason motherf*#@ing Redgear as the cast and crew like to say)

Tell us aboutThe Text of Sex: What I liked about the play when I first read it was how it presented such a modern day situation, which is actually completely relevant right now, in just such a real way through the relationships of the characters. It's about what happens when technology and the legal system collide with adolescent screw ups; i.e. two girls sexting a picture of a boob to a very excited teenage boy. What unravels because of that delves into the coming of age, experiencing your first love, and even the destruction/rebuilding of a marriage. I mean shit gets real ya'll there's something for everyone; comedy implied.

What is it like being a part of The Text of Sex?: Pretty Sexy

What kind of theater speaks to you? What or who inspires you as an artist?: I really dig those intense character roles, they just captivate me and inspire me to create new material, new characters myself; something completely original that only you can bring to life with that sense of fantasy. Basically what I'm saying is I really like to act and I'm kind of a nerd so I just have to say three things;
"Game of Thrones" call me, I'm really sad I never got to audition for "United States of Tara", and I can do my own stunts so "Star Wars Episode VII"...hey there.

What’s your favorite showtune?: This is always the hardest one on any questionnaire: In general I'd have to say classic would be "Feelin'" Good by Nina Simone, current would have to be "Sweet Disposition" by The Temper Trap, and musical theater would be "There's a Fine Fine Line" from Avenue Q.

If you could work with anyone you’ve yet to work with, who would it be?: Oh I'm gonna just throw out this idea for a dream cast to work with: Judi Dench, Maggie Smith, Robin Williams, and Stacey Keach

Who would play you in a movie about yourself and what would it be called?: Joan Rivers in "I Told you So!"

What show have you recommended to your friends?:Mothers and Sons, Pump Boys and Dinettes that was being put up at New York City Center, and of course The Text of Sex.

What’s the most played song on your iTunes?: Not gonna lie, it's a toss up between "Adore You" and "Wrecking Ball"

What’s your biggest guilty pleasure?: Spooning Nutella, Marshmellow Fluff, and Peanut Butter together and indulging.

What’s up next?: The Text of Sex, some really cool editorial shoots coming up, and in the meantime...I'm for hire!

Name: Gianmarco Soresi (I am, however, just 1/8 Italian)

Hometown: Potomac, MD. But I tell people DC to sound cool.

Education: University of Miami, Ward Studio, Alan Langdon (three different phases of my acting training, at least)

Favorite Credits: Danny in Danny and the Deep Blue Sea, Officer Lockstock in Urinetown, and, one day, I hope, Salieri in Amadeus and Max in Becky Shaw

Why theater?: A longing to connect with other human beings, I sucked at sports, and a very big ego.

Tell us about <50%:<50%, a stand-up comedy filled “Annie Hall” meets Charlie Kaufman with a dash of “Inception”, is a show about me and my ex putting on a show about ourselves putting on a show about ourselves. This will hopefully make more sense when I answer the next question.

What inspired you to write <50%: I originally wrote <50% to reunite my ex-girlfriend and I. After five years together, we amicably split with the caveat that we would be in the show at the next Fringe Festival. The plot was based on our plan to reunite with a play about ourselves…Unfortunately that show did not get in. On top of that, my friendship with my ex got, as they often do, complicated. Undeterred by rejection on all fronts I continued to work on the play, this time acknowledging that the play was literally about the two people performing it, allowing her and I to break out of the play at times to try to figure out what the f*ck we were doing in the first place. From there, time got warped, plays within plays within plays merged with real life, and hopefully what has emerged is a hilariously tragic emotional trainwreck. You can see me attempt an explanation of the show here as well: https://www.youtube.com/watch?v=ZmBShDSvaH0 - though I’m not promising it’ll make it any clearer.

What kind of theater speaks to you? What or who inspires you as an artist?: I. LOVE. TELEVISION. I love sitting at home with a glass of the most inexpensive wine I could find at the grocery store and watching Netflix. So theater that speaks to me is anything I couldn’t have gotten on my iPad. It really doesn’t get more specific than that. I recently saw “Queen of the Night”, which, based on its description, I would never have considered my jam. But when I was there, sharing food with complete strangers, getting touched in places I’m not normally touched in public, etc….IT WAS AWESOME! That certainly doesn’t mean interactive/immersive/w/e is all that it takes..my top three experiences at the theater are Philip Seymour Hoffman in Death of a Salesman, Liev Schreiber in A View From the Bridge and the OBC in August: Osage County. At the end of the day, if you make me feel connected to other people I’m gonna dig it.

If you could work with anyone you’ve yet to work with, who would it be?: I would like to work on a Stephen Adly Guirgis play with Sean Penn and Julianne Moore as my parents and Rooney Mara as my love interest, directed by David Cromer. It has to all happen at the same time or I’m simply not interested.

What show have you recommended to your friends?: Unfortunately the run has ended but Animus Theatre Company’s Dutch Heart of Man at the Cherry Lane Theatre was some of the best acting I’ve seen all year. For the two or tree non-theater people I know I always recommend Sleep No More to establish trust and gradually get riskier with my recommendations.OH! You know what was really spectacular? And full disclosure one of my Fringe producers is working on the next incarnation, Strangeman & Co.’s The Woodsman at 59E59 was a pretty extraordinary experience. The puppetry, the movement, the music…that one is coming back to 59E59 at some point-don’t miss it!

Who would play you in a movie about yourself and what would it be called?: My doppelgänger, Jeff Goldblum, would star as Gianmarco Soresi in: “Stop Telling Me I Look Like Jeff Goldblum”

What’s your biggest guilty pleasure?: Blockheads. I love cheap frozen margaritas. When the Fringe Festival is done I plan to have many.

What’s the most played song on your iTunes?: "Quando m’en vo" from La Boheme (1990, Berlin Philharmonic Orchestra). That being said, the second is "Legally Blonde Remix" from Legally Blonde The Musical.

If you weren’t working in theater, you would be _____?: In advertising. However, my knowledge as to what that means is entirely informed by Mad Men.

What’s up next?: I’ll continue acting in Pipeline Theatre Company’s immersive Clown Bar, Off-Broadway at The Box every Saturday night. Depending on the night I play Zeezoo, a newly immigrated French Lecoq school drop-out diligently manning the bathrooms, Happy, an ex-clown cop hell bent on avenging his unfunny dead brother, and Bo Bo, a slimy mobster clown with a taste for bananas. We were recently extended! http://pipelinetheatre.org/main-stage/clown-bar/
My web series, "An Actor Unprepared", which just completed its first season with 1909 Productions, is actively being submitted to festivals. www.AnActorUnprepared.com And I’ll also begin work on Para-, a play about a phony psychic’s rise to riches in the infamous Camp Chesterfield, Indiana, a stand-up comedy hour called Sex, Drugs and Anxiety, and my first children’s book, Sisyphus and Sam, is nearly done being illustrated by the incredible Brian Cheng. If any of these things actually get done you can find out at www.GianmarcoSoresi.com

Telling stories may be easy for some but finding an audience to listen to it is the challenge. What makes this particular story important to share? In the unfortunately youthful new musical Dust Can't Kill Me, we're introduced to Jack Omaha, a storyteller with a tale to tell about life in the Dust Bowl.

In Dust Can't Kill Me, we journey to the past as we watch a group of strangers search for a way out of their current pain and suffering with the aid of a mysterious Prophet man. The set up begins with a seemingly innocent guy, Jack Omaha, as he tells the tale of these people who were strangers at first whose lives are about to intertwine. As the play continues, Jack takes on the role of Montgomery, a man who goes on this journey, and observe the hardships that this adventure takes. The musical, with a book by Abigail Carney and music and lyrics by Elliah Heifetz, began as a "what do you like so let's turn that into a musical" journey that suffered in its execution. Carney's book was filled with ideas, but once the rules of the world took a turn for the surreal, the book became muddy. The plot has a set up of a story teller present throughout, but it soon gets abandoned by the middle of Act I. The conceit of a potential brother and sister dual romance was intriguing and cute until we learn in Act II about the true nature of Abraham and Birch's relationship. It's a bizarre twist that seemingly comes out of nowhere that could have worked had their been clues earlier in the show. The music by Heifetz has its moments of excellence but treads the fine line between period music and feeling too modern and out of place.
The young ensemble does a fine job bringing their heart to the stage. The standout performance within the cast come from Chris Camp. Camp’s Abraham had a wonderful mix of hilarity and tenderness with one of the strongest vocals on stage. As the guy with the bad side Wesley, Jamie Bogyo brings a smooth voice to the least fleshed out character. Michael Ruocco as Prophet brings out a sinister side to an intriguing character that wanted to be explored further. On the opposite side of the spectrum, Paul Hinkes as Jack Omaha-slash-Montgomery offered a different stylistic approach to the play, often times appearing as a distraction, hamming it up on stage.
Director Jacob Osborne struggled to bring the woes of the Dust Bowl to the stage. The set by David Shatan-Pardo was simple and country-lite but for a musical about a journey, it was not transformative enough. With a script that needed assistance, Osborne needed to be the one to help discover the solutions.
Dust Can't Kill Me is a musical put on by some of the future of theater but it needed some guidance to help it receive its full potentials. There was much passion on the stage and on the page but the execution was very youthful. In time, this piece may be something of great note.

photo courtesy of Dixie Sheridan

Name: Barry Levey

Hometown: Beachwood, OH

Education: BA Yale, MFA University of California, San Diego

Favorite Credits: Critical Darling (The New Group), Woman of Troy (2014 O'Neill Finalist), Downeaster Alexa (Ars Nova)

Why theater?: For the collaborative experience of rehearsal, and the communal experience of performance. For the thrill of the live high wire act. Because I'm better at writing dialogue than description.

Tell us about HOAXOCAUST!: It's a satirical solo show about a man who travels the world meeting Holocaust deniers, while struggling with how much to let past horrors define his identity. Some of the deniers'"arguments" are so ridiculous as to be funny; others are so cloaked in pseudo-science as to be terrifying. It all adds up to a pretty dark comedy.

What inspired you to write HOAXOCAUST!?: Our director Jeremy Gold Kronenberg had a weekend slot in Prospect Theater Company's "Dark Nights" series five years ago, and asked if I would write something. I pitched him an epic, Dan-Brown-meets-Indiana-Jones adventure with a cast of dozens. He said "Great: now make it a one-man show." Hoaxocaust was born! I'd never done a one-man show before and I love setting myself new formal challenges with each play, so the restrictions became inspiring.

What kind of theater speaks to you? What or who inspires you as an artist?: I like art that's in dialogue with history, as well as an audience. Not that it has to be historical, but it should have an awareness of the continuum it's in, the fellow travelers on its path. I geek out when a work inspires me to seek out other works by other artists that are part of the same conversation. Also I like things that are funny. Also I'm a sentimentalist.

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

What show have you recommended to your friends?: Just last night, I was telling some friends who missed it how good Fault Line's production was of Crystal Finn's The Faire last spring.

Who would play you in a movie about yourself and what would it be called?: Now that I've mastered performing for Hoaxocaust!, I'd play myself! Unless I need someone who can "open" a film, box-office-wise. Then, obviously, Rick Moranis.

What’s your biggest guilty pleasure?: I eat a family-sized tub of hummus a day. While watching Bravo and HGTV.

What’s the most played song on your iTunes?: The past few months I keep coming back to the Belle Brigade. But my computer tells me the true answer is "Diane Young" (Vampire Weekend).

If you weren’t working in theater, you would be _____?: Animating stuff, if I could draw. Also at one point I seemed to have a promising career as a children's birthday party magician.

What’s up next?: I'm keeping my schedule clear, in case my acting is so celebrated after Hoaxocaust! that I get asked to anchor a superhero franchise. If not: another play.

No one says growing up is easy. Things change during that period between adolescence and adulthood. The time when you leave home for college and when you return home from college. In Freaks: a legend about growing up, we see just exactly how that in between period shapes the lives of three hometown friends just before they’re about to take the next step in life’s journey.

In Sam French’s poetically courageous new play Freaks: a legend about growing up, a late night Floridian reunion brings together old pals Carl, Danny, and Jenny on the beach as Jenny, who’s brought along new friend Flower as reinforcement, is about to reveal the next step in her life. As we learn the history of the trio, their past relationships, pain, and memories are brought out through a secret language French has expertly scribed. Freaks is a beautiful example of what happens when people change over time. Sure, good friends are able to pick back up again but growing up means knowing when it’s time to leave. The overall stakes French has set up are seemingly low, especially after we learn how minimal Jenny’s next life step is in the grand scheme of things. Instead, we observe the stunning power of friendship and how the past is never fully forgotten. The individual relationships, primarily between Carl and Danny and Danny and Jenny are incredibly intriguing. The addition of Flower into the mix muddies up the concept of the secret language. While off stage Jenny could have briefed Flower on the trio’s language but having Flower exist and speak in the same world as the others felt contrived. As did the instant love connection between Flower and Carl.
The quartet did a spectacular job bringing an immense amount of chemistry to the stage. The individual performances were stunning and real. Colleen Pulawski as Jenny filled the stage with fear and longing. Her mannerisms were beautiful to watch as she struggled to come clean. As Danny, Carl Lundstedt played the boy next door turned man with ease. Lundstedt’s journey as Danny was the clearest, sincere and optimistic, yet excited to relive the good ol’ days. Sawyer Pierce as Carl brought exuberant energy and anguish to the guy who never left home. Cara Ronzetti as the eccentric Flower seemed to fit her part well as the hopeful outsider, though at times she bordered on the side of caricature compared to the others.
Director Kyle Wilson did a sublime guiding the ensemble, finding a clear way to share the story. His approach to the world allowed the ensemble to make great choices throughout the dramedy. The lighting design by Jackson Gallagher was colorful evoking the looming storm, though the exact time of the night was at times lost.
French’s play is intricate and thought out. For those in this transition period, it hits home. For those out of it, it’s a piece of nostalgia. Where Freaks: a legend about growing up can grow is expanding the past in a more accessible language. There is room to grow. And add.

Name: Bryan T. Donovan

Hometown: Sterling Heights, MI

Education: Interlochen Arts Academy, AMDA (for a hot second), Burt Reynolds now defunct Jupiter Theatre Apprentice Program

Favorite Credits: Boeing Boeing and The Mystery of Irma Vep.

Why theater?: The money.

Tell us about The List?:The List is a mash-up, parody based on the American Film Institutes Top 100 American Films of all time in which 4 actors play over 40 iconic film characters in a twister of a comedy so crazy that by you’ll be wish Nurse Ratched WAS your primary physician.

What inspired you to create The List?: While doing a production of The Mystery of Irma Vep out of town, I started watching the top 100 American films of all time as a way to help pass the time. After getting through about a dozen films or so on the list, a nugget of an idea began to form and percolate and from there…Well, the rest as they say, is history.

What kind of theater speaks to you? What or who inspires you as an artist?: Mime troupes because they are loud. Just kidding. I love comedy. And nothing makes me happier then laughing and hearing others laugh. It’s good for the soul. And nothing inspires me more then a brilliant comedienne- people like Charles Bush, "Kids in The Hall", Gene Wilder, Kristen Wiig, Mark Rylance, Melissa McCathy, Tina Fey, Laura Benanti. (Yes, Laura I just threw your name in their because I find you pretty damn funny and easy on the eyes.)

If you could work with anyone you’ve yet to work with, who would it be?: Shia Labeouf, Lindsey Lohan, and Joyce DeWitt. I would love for the four of us to do a revival of Extremities somewhere.
What show have you recommended to your friends?:Book of Mormon because I love that it’s next to impossible to afford.

Who would play you in a movie about yourself and what would it be called?: If we were simply going by looks- I’m most often mistaken for Harry Styles from One Direction, but frankly I don’t see it. However, if we were going strictly by talent and had a great makeup artist at our disposal then I would say Kristen Stewart. Title: "Burnt Corn in Autumn".

What’s your biggest guilty pleasure?: Bad TV and Skinnypop aged cheddar popcorn.

What’s the most played song on your iTunes?: So I literally just scrolled through several thousand songs to see what was actually the most played on my computer. And I am not sure this is necessarily accurate, and it was a close call but Number #1- "I Look to You" by Whitney Houston #2-"Work B**" by Brittany Spears followed by #3 "Good Feeling" by Flo Rida. Frankly this list worries me. I feel like I don’t even know myself anymore.

If you weren’t working in theater, you would be _____?: A hostage negotiator. Or a receipt checker at Ikea.

What’s up next?: A seriously LONG overdo vacation and a massive clean up of my iTunes library.

Love. It's an evil thing. Life after love is rarely explored on stage. Once you're done, the story is finished. But when fate complicates the breakup, then there's a story to watch! In Fortuna Fantasia, a speck of dust forces a couple to continue to interact way after the relationship ends.
In Jesse Schreck's innovative romcom Fortuna Fantasia, a Ringmaster leads the audience to bare witness to the demise and aftermath of young lovers Claire and Jeffrey. After Jeffrey proposes and Claire denies it, a freak accident leads to Jeffrey breaking his foot leading to him not being able to move out leading to new love affairs with two whack jobs and a whole comedy of errors. What Schreck does is wonderful. He takes a simple love story and turns it on its head. The “expect the unexpected” comedy has a brilliant device in the Ringmaster who is not only a hilarious aspect of the show but draws and engages the audience into the world. However while the metaphor of the Ringmaster is a clever choice for the end, he serves more as a puppet master as the circus concept is few and far between. The plot takes some bizarrely hilarious twists that lead to a demonic end, which is a bit confusing and unclear. The script could use a little trimming in each scene reducing it to an intermissionless one act, keeping the momentum continuous.

Leading the pack as Ringmaster was Jeremy Weiss. Weiss was incredible and hilarious with his energy-filled character. He created a clear and bold character that worked wonders in the vehicle Schreck devised. Juliana Canfield as love obsessed Kathleen added a funny aura of psychotic against Paul Hinkes’ Jeffrey. The height difference of the pair was an extra hilarious element. Jacob Osborne as coma survivor turned epic poem scribe Thomas had some great bits against straight-laced Claire played by Chander Rosenthal. While the quartet was good, they were no match for Weiss.
Director Nailah Harper-Malveaux created an active world for the Ringmaster to control however his presence wanted to be even grander. Instead of observing the action from the shadows, having him manipulate his puppets may have been a stronger action, keeping the humor and device alive. Harper-Malveaux utilized the lighting and sound world designed by Amanda Chang and Max Gordon to her advantage.
Fortuna Fantasia a fun time with all the elements that make a Fringe show tick. A streamlined future may be in order but for now, this piece showcases an upcoming talent of the page and stage.

There are a lot of ingredients to make something funny. From funny characters to an outrageous plot, funny comes in many forms. But sometimes combining ingredients may be a disaster and recipe for crickets. In Birds Should Fly Free, aside from the title character, the only other nonhumans on stage were the crickets.

Billed as a comedy cross between “Animal Farm” and “House of Cards”, Birds Should Fly Free is set in a new America where humans and animals live together as the only rights being fought for are animal rights. The play follows science project turned tyrannical parrot Alex as he goes on a Frank Underwood-like journey to become President. On the way we meet a cast of characters including sugar daddy Hank, his handsome twink boyfriend Max, animal lawyer Maude, and two television reporters present only to offer commentary in between scenes. Written by Alex McFarlane, Birds Should Fly Free is a script packed with unfunny jokes and puns that induce more groans than laughs. The satirical plot McFarlane has devised on paper sounds intriguing but as the characters take on these outrageous archetypes, nothing seems to mesh. McFarlane’s script features a main cast of four that propel the plot but for some odd reason, he introduces two television reporters who serve as a device for sharing backstory and nothing more. These characters easily could have been voice-overs during scene shifts as there was no sound or music to speak of during these. Well, except for that moment the "House of Cards" theme song played. Alex the talking parrot is a wonderful way to incorporate a puppet into theater but by the end when, spoiler alert, he takes over the country, having him appear in human form takes away from the fun and original intent. If the goal is to watch him grow and rise to power, by solely making his world expand does the trick. By abandoning the puppet concept at the end, the battle between animal and human is lost.
With a pretty weak script, the ensemble had difficulty tackling this world. However there were two nice performances. First was puppeteer Joseph Garner as Alex. Garner created a wonderful voice to Alex bringing his expertise to the stage as he operated the creature. The other great performance came from Anthony Ritosa as Max. Ritosa shined as the hot dumb blonde with a mission and passion for using his hands. On the flip side, Richard Fisher's Hank had very little chemistry with Ritosa’s Max. The odd pairing was what the script called for but their believability factor took away from the action. Karen McFarlane as Maude the lawyer was quite flat bringing nothing but monotony and confusing recurring jokes.
Director Veronica Dang seemed to have great trouble making sense of this world. With no design team to work with, the overall production lacked. Dang’s staging was static with an incredibly bland stage picture, though the furniture was sleek and attractive. Dang left so many pockets of air between and within the scenes, it stalled any momentum and comedies have a need for speed. The other questionable moment came from the inclusion of Lynyrd Skynyrd’s “Free Bird” during intermission when half the audience is in the bathroom. The song would have been the perfect curtain call moment. Cheap laughs are what do the trick.
When the audience arrives, each person is given a sheet of paper to write down a “safe word” that the cast may use in the show. It should be noted that I was the lucky winner of this game at the performance I attended. What’s unfortunate is that my safe word may have brought more laughs than some of the scripted jokes. Birds Should Fly Free is the quintessential Fringe show: a crazy concept with an intriguing poster that just doesn’t work.

This generation is the generation of social media. When something happens in the world, it explodes on cyber space allowing the World Wide Web to discuss and offer their commentary. Through social media, certain topics have taken center stage, one of which is teen suicide. In the deeply topical Generation Me, the lives of teenagers are altered and put into perspective after a friend decides to commit suicide.
Though never glorifying, teen suicide takes the spotlight in the brazen new musical Generation Me. The musical follows the death of Milo, journeying back and forth in time, watching how his friends and peers deal with his passing and the events that led up to his untimely death. With a story by Julie Soto and Ryan Warren and music by Will Finan, Generation Me is a musical for teenagers about teenagers. The weighty topics are no laughing matter though. They range from suicide to date rape to abuse. While they all may not need to be present in the same show, the way book writer Soto tackles them is tasteful. Regardless, these are extremely difficult topics to ask a young actor to tap into. It’s a difficult topic to ask any actor to tap into! But the approach that Ryan Warren takes with it allows for a discussion to be had. As far as Generation Me is as a musical, it’s pretty decent. Billed as a production for kids to perform in, the book and music is stronger than most scripts currently out there. It features an incredibly large ensemble with characters who are present with mere interjections, but the characters that do get the focus are well rounded. There are moments where the script seems to borrow elements from well known Disney and Nickelodeon shows and movies, but you forgive because these characters are “all in this together.” The music by Will Finan is lively and overall accessible and easy enough for the young ensemble to sing. Where Generation Me suffers is the length. With such a large cast, showcasing each actor is a goal, but that leads to a long script. Shrinking the cast, perhaps even combining certain characters may help reduce the fluff.

The entire ensemble wore their heart on their sleeves in this production. While the majority of the cast have room to grow as performers, acting to the extreme, there were some wonderful performances. As the comic relief, Caroline Coyle as party girl Ginny is hysterical. She works her magic owning her colorful character. Madison Judd has an exceptional voice as Harper, the girl with a dark past. Judd’s vocals may be the strongest and cleanest on stage. Emma Stone look-a-like Kennedy Slocum is divine as mean girl Addison. Cody Craven as senior bad boy Kyle Peterson was clearly the most seasoned actor on stage, bringing one of the finer performances of the show. Kayla Wood as Kaylee may have had one of the more traumatic arcs of any character, but Wood shined in her vocals, especial in the trio with Judd and Courtney Clark’s Zoe.
Ryan Warren had a strong showing as director, guiding a large group of youth actors through difficult terrain. While he was unable to prevent all of the over acting, he get out some strong performances. The one questionable moment of staging was having the ensemble face the video screens at the end, leaving their back to the audience. Additionally, the Act I finale had a massive food fight: with actual food. The impact was there but was the shock value actually necessary? The lighting by Julie Soto was a tad too presentational and a bit too much, especially in a Fringe style setting. Rather than leaving a general wash for the actors to live in, we saw a light shift as characters would cross the stage. The redeeming lighting moment came with the clear shifts between present and memory with the added purple light. Kristin Cunningham’s costumes were incredibly predictable yet practical. The grayscale set by Shane Alan Bradley was simple and effective. The closet that lived at the back of the stage was a very strong visual reminder.
For a piece that could come off as a bad after-school special, it doesn’t. But there are big flags the creators have to consider as it is bound for a larger audience. The first being the party scene. While the scene does not promote alcohol and underage drinking, it also does not condone it either. The other is Milo’s reason for his suicide. While the musical follows the time leading up to his death, the ultimate trigger for Milo’s suicide is his fight with his best friend Cody and the resulting ignored calls. This unfortunately makes Cody a villain. Generation Me is a musical for the generation. When the musical finds a future home and an even stronger cast, this piece could have an impact. This is a musical that needs to be heard.

Name: Lorinda Lisitza

Hometown: Porcupine Plain, Saskatchewan, Canada

Education: University of Saskatchewan, Theatre, AMDA, Musical Theatre Conservatory

Select Credits: New York: From Berlin to Broadway with Kurt Weill (Theatre Ten Ten & Off-Broadway revival), The Plant That Ate Dirty Socks, ReWrite, The Joe Iconis Christmas Spectacular (with the Iconis Family) The Three Penny Opera, Mother Courage and The Miser, with The Jean Cocteau Repertory Company. Regional: The Music Man (Riverside Theater) and Dirty Rotten Scoundrels (Arvada Center).

Why theater?: It’s the only thing I was ever really interested it, and the only thing I ever really considered.

Who do you play in Dragon’s Breath?: Justine Drake

Tell us about Dragon’s Breath: It’s about a woman, who lacks confidence, just trying to do her thing, and about all the bumps along the way, because of other people just searching for their path as well. It’s set against the backdrop of the E-publishing world, and all the interesting characters out there who want their stories heard!

What is it like being a part of Dragon’s Breath?: So far it’s been great! Everyone is very supportive and good at their job(s). Mikaela and Michael did an amazing job assembling this team of people, and I can’t wait until we open and we can all breath and we can maybe spend some time together socially!

What kind of theater speaks to you? What or who inspires you as an artist?: I tend to gravitate to new theatre and new voices, people out their scratching away to get their voices heard no matter what. I like independent theatre. I love new musical theatre. I’m inspired constantly by people who MUST do this, and find ways to put themselves and their work out there, even at the cost of living a less “traditional” lifestyle; people who make sacrifices for their art and the standards they set for themselves to achieve their goals, whether on a grand scale, or with the tiniest of budgets. I am inspired by people who use their imagination.

Any roles you’re dying to play?: I’ve been really lucky. I’ve played almost all of the parts I’ve truly wanted to play, so far, and I got to do them in NY. I’m heading (rapidly) towards my 50’s and I would love to take a crack at Mama Rose, or Dolly Levi, or Mrs. Lovett... all the things I’ve been drawn to and waiting to do are still ahead of me... but I am still the most interested in continuing to develop and work on new material, and original roles with friends and artists I love and that I have been working with, in some instances, for over a decade now. People like Joe Iconis, Michael Ogborn, Mike Pettry, Michael R. Jackson and so many other great and incredible writers who have asked me to sing a new song, or work on a piece with them over the years!

What’s your favorite showtune?: I really like "Windflowers" from The Golden Apple. It’s an elegant, beautiful song just made for acting. I also have always loved "Mr. Snow" and "I Cain’t Say No". The classics.

If you could work with anyone you’ve yet to work with, who would it be?: Alex Timbers and Robert Lepage.

Who would play you in a movie about yourself and what would it be called?: Some spazzy, awkward girl from the prairies that hasn’t been discovered, or maybe even born yet. The movie would be called "The Tarnished Pomegranate".

What show have you recommended to your friends?: I haven’t had a chance yet to really explore what’s going on at the Fringe, but we saw some great teasers at an event last weekend and Fortuna Fantasia looked interesting, and the stage combat in The Call of the Siren really caught my eye! I hope I can go see those two, once we open and rehearsals are no longer the top priority, as I am sure they are for all involved.

What’s the most played song on your iTunes?: I looked it up, apparently it’s “Rose Garden”, the old Lynn Anderson tune!

What’s your biggest guilty pleasure?: Getting a really good pedicure.

What’s up next?: I have my own duo show, with Ted Stafford, called The Ted & Lo Show. We write our own songs, and we do covers, arranging them to fit more of a “Coffee House” style. It’s just 2 voices, guitar and harmonica. It’s a labor of love and I spend a great deal of time with that, we start back at Don’t Tell Mama in October and we play there every month. I’m always auditioning, looking for the next theatrical gig. And I hope that my husband Kevin and I might buy an apartment this fall. Like grown-ups!

Who doesn't love a mashup? Wait, what is a mashup? When two or more things are slammed together to make one new cohesive thing. Well the goal is to make it cohesive. In the new musical Olympus Records, the 90s and Greek drama are slammed together for a musical tragicomedy of epic proportions.
With music by Morgan Clarke and a book by Alex Prather, Olympus Records is a “Behind the Music”-esque musical about the tragedy that is hot band Sophocles. The members of Sophocles all happen to be characters of Greek tragedy. As the musical progresses the band breaks up and falls apart, some to the point of death, as their record label, Olympus Records, controls their every move. While the concept is intriguing, why Greek characters are brought to the 90s is the big question. Finding the justification of this question seems to be impossible in the given script. As it stands now, they appear as two arbitrary ideas the creators decided to place together. What made the 1990s a decade that was like a Greek tragedy? Despite this flaw, the 90s play a comedic role in the musical. From subliminal references to slap bracelets to musical odes to 90s music including Backstreet Boys, Alanis Morissette, and Hootie, Olympus Records is never short in remind the audience of the decade that was. The Greek characters brought into this world include Odysseus, Elektra, Antigone, Philoctetes, and Agamemnon. How these characters are the chosen few is never quite answered. Dramaturgically, the original arcs of some of these characters are explored, but to slam their presence further, a more obvious parallel was needed. There were moments that the characters appeared as if they only shared the names and not the identities. Additionally, the “rock god” the band worships is a character called Eddie Wonder. Why Prather didn’t use another Greek character to take on this role is quite confusing. As far as Morgan Clarke’s score is concerned, Clarke does a nice job using the polarizing decade of music as inspiration. You almost wonder though would Olympus Records have been a stronger musical had the story been the same but it was a jukebox musical featuring actual songs of the decade.

Although there were some severe audio problems in the show, the entire cast rocked out. The scene stealing and strongest performance in the production came from Scott Johnson. Johnson is brilliant in his hilarious turn as the artist formally known as Phil. He has impeccable timing, busting out his best boy band moves. As Agamemnon, Eddie Wonder, and Johnny Nightly, Justin Perez brought the hysterical funny. Perez was the right amount of sleazy and pinch-your-cheeks loveable. Jonathan Grunert and Jacob Thompson as Odysseus and Ajax played up the rage comedy, though the former’s was a bit one dimensional leaving the character as a whiney unlikeable character. Every Greek tragedy needs a chorus and the 90s Greek Chorus were utilized to showcase their talents. Samantha Blain was funny as the quintessential fan girl and Mack Shirilla was the overall standout of the bunch with his pure vocals and perfect dance moves.
Director Nikki Rothenberg did her best to salvage the script. Rothenberg played up the comedy and references to the best of her abilities. Alina Uzlov’s set was perfectly simple with a clever Greek column concept. Having Gustavo Valdes’ lights inside of the columns added a nice colorful punch to the bland space they were forced to use. Nikki Bosso evoked the 90s through her costumes though you wonder what adding an element of classic Greek theatrics would do to help the mashup idea. In a Fringe setting, production value is never going to be what it needs to be. But when the vocals are compromised by a poor sound system, it’s a disservice to the entire production. This musical thrives on the rock and roll world and needed microphones and stands, but figuring out a way to make them actually work was essential.
Olympus Records is a fun concept on paper that died in its execution. With too many “whys”, Prather and Clarke may need to fine tune their piece if they hope to have a future with it.

The things we do for love. It's crazy. To win hearts back, sometimes we go to great lengths to prove our desire for the love of our life. Some even go as far as writing a play in hopes they will not only come back but be in said play...as them self. In Giamarco Soresi's highly meta tragicomedy about love <50%, we learn about Soresi and his on again, off again romance with his love, Laura.
In an evening of many concepts,<50% follows writer Soresi as he concocts a plan to write a play for Fringe, submit it, and then play opposite the source material of the piece. Told through an array of styles through monologue and scenes and excerpts and vignettes and stand up, we watch the highs and lows of a turbulent romance as Soresi discovers himself along the journey. Though there are two actors on stage, <50% is truly a cathartic evening for Soresi. It's a clever idea that was a Lena Dunham-esque showcase for himself. The material is beyond personal and Soresi presents it in an interesting manner. Sure, there are times that it comes across as self-indulgent but who better to tell your story and play yourself than yourself? Soresi shines through his stand up bits, the place where he seemed most comfortable. These were also the moments that were most accessible for the strangers in the audience. For those who know him, there was a symphony of laughter during many of his anecdotes. When a piece evokes a different experience depending on the relationship with the performer, you have to wonder if the piece is doing its job properly. Soresi spends a great majority of the piece commenting on love and marriage. When he presents his opinions through the microphone, it comes off more genuine than through his scenes with Laura. Kristin Parker as Laura's proxy was a great supporting act for Soresi. Parker brought a plethora of emotional range.

Bringing Soresi's variety to the stage, director Max Freedman is able to keep the bits fresh. Freedman keeps the action moving, though the script could be streamlined even further. Ben Danielowski's lights served the stage well but there were moments that Soresi was in complete darkness making you wonder who missed their mark.
<50% is a special play for Soresi. It's a special play for his friends and family. Soresi's challenge is discovering a way to allow strangers to enter and relate to his world. <50% hits with those who know him and creating a piece that is 100% accessible will work in his advantage. In the meantime, if he's ever doing stand up, go check it out. He's great.

Every once in a while there comes a show that is so outrageous it actually works. At least for the most part. One of those pieces is the new glam rock musical Coming, the bastard love child of The Rocky Horror Show and Jesus Christ Superstar. Written by Erik Ransom, most likely as a star vehicle for himself, Coming tells the tale of the second coming of Christ in the form of a beautiful blonde haired, blue eyed teenager from Bethlehem, PA.

With a musical style that deserves to be explored further on stage, Coming tells the tale of Josh Crensha, sharing the not so subtle initials with a certain someone, as he discovers his true calling: being a pop star. Oh and being the second coming of Jesus Christ. To thwart his journey, the son of the devil, Damian Salt, a glam rocker himself, makes it his mission to prevent God’s plan after a group of homophobes kill his one true love. Salt discovers a way to get America to turn on their newfound favorite son and seduce him in the process. What Coming does well is it knows exactly what it is and owns it. Ransom maintains the campy, queer nature of the musical throughout allowing for the dramatic to be strong. The jokes Ransom sprinkles in the script are head shakingly funny. At times he goes with the obvious which makes it even funnier. The score Ransom creates lives beautifully in the landscape he has imagined. But there are times, especially during American Icon, that he suffers from "Smash" Syndrome. "Smash” Syndrome is when the characters of the play comment on the amazing nature of a song or performance but what the audience actually sees and hears is really not as good. This happens quite often, especially in regards to Damian’s performances. Overall Act II could use some cleaning up as, like many musicals, Act I is much stronger.
The entire ensemble has such conviction in their performance. The shining star of the show is Glen North as Josh. North is a quadruple threat showcasing the obvious three threats and the fourth...his body, as director Rachel Klein clearly has no qualms asking her ensemble to show some skin. Coming was a wonderful "coming" out performance, pun intended, for the rising star. Counter Simmons was absolutely magnificent in his various parts. Simmons has a flawless voice, even rocking the angel wings and high heels as Israfil. Likewise, Ashanti J'aria was brilliant in her many comedic bits with a near spot-on parody of "American Idol" judge Jennifer Lopez. Erik Ransom as Damien Salt brought soul to the devil. For someone who wrote a part for himself, his vocals were by no means perfect but his comedy was. Salt did have a song or two too many. When Coming finds a bigger home, courting a real glam rock icon like Adam Lambert to play Damien will make Ransom's score soar.

Director Rachel Klein did nice work creating this fabulous world. Klein, who's costumes appeared recycled, brought a spark to Coming. However, her use of the furniture, especially in transitions, was distracting. Rather than eliminating pieces to the wings, Klein asked her company to push them to the back of the stage, leaving them in complete view of the scene. The lighting design by Zephan Ellenbogen was colorful and transformative.
There will be a second coming of Coming. The musical is bound to be a cult classic. With a fly-less venue and the ability to glamorize technically, Coming will gain a new following.

Name: J. W. Crump (@jwcrump, thistheater.com)

Hometown: Lenoir, NC

Education: Economics Major at Wake Forest University, Play writing minor

Favorite Credits: Larry in Mr. Marmalade (mostly because it's the best review I've ever received)

Why theater?: Live performance is just so...organic. You HAVE to be there to experience it fully and that's a quality that's held true of the form over decades and centuries. I do a lot of live comedy as well (standup, improvisation) and there's nothing like a live audience.

Tell us about Bonerz Coffee?: Bonerz Coffee is my attempt at making a web series that's shown to the audience as a stage play. There're a lot of fun multimedia tricks as well as an episodic structure. The comedy is high-energy, silly, and witty, and the aim is to show the audience a different type of theater. We take the modern day concept of a web series and serve it up in stage form. As the title implies, it doesn't take itself seriously.

What inspired you to create Bonerz Coffee?: I was writing the show as an exercise to see just HOW FUNNY I could be with no production restraints. When I sent it around to personal colleagues for notes (like you do), the positive response I got was overwhelming. Originally, I had never intended to actually FILM it because I've done web series in the past and wasn't interested in doing another, and that's when the idea of staging it live popped into my head. After speaking with some actors that I thought would rock their parts, I moved forward. People were excited to try something inventive and fresh.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theater that makes use of its live presentation. If it's something that could be produced as a movie with the same result, then why not just do that since it's permanent. Make use of that kinetic, frenzied, live energy! I also always dig on big ensemble casts (just like the ones in Bonerz). Most any comedian inspires me, because I know that the good ones are always expressing their real personalities and ideas, and that's a scary thing to do.

If you could work with anyone you’ve yet to work with, who would it be?: John Mulaney, Seth Meyers, Tina Fey...which I guess just means I want to work on Saturday Night Live.

What show have you recommended to your friends?:Clybourne Park is a consistent favorite. I saw a production of this show at the Woolly Mammoth Theater in Washington, DC years ago, and it was the first show to ever make me cry. And I'm not a crier. I'm also a huge fan of the Improvised Shakespeare Company; I've seen them three times.

Who would play you in a movie about yourself and what would it be called?: Adam Scott, and the title would have to be a huge pun. I love puns.

What’s your biggest guilty pleasure?: Any and all of Gordan Ramsey's shows.

What’s the most played song on your iTunes?: Recently, "On Our Way" by The Royal Concept. I also like cheesy, bad pop music too. You'll hear a lot of it in my show.

If you weren’t working in theater, you would be _____?: A chef. I always loved food and cooking, but was never really good at it. There's a reason Gordon Ramsey's television programs are my guilty pleasure.

What’s up next?: I perform every week at the Peoples Improv Theater (thepit-nyc.com) as part of a Monday night ensemble called Night Shift. We recently began our second season. I also produce two monthly shows for that theater, one called Sktch Shw where I serve as Head Writer. We write, rehearse, and perform an hour-long sketch show in one day. The other is called Gas Station Horror (gasstationhorror.com) where comedians use terrible b-movie clips to inspire comedic scenes. It's got a very grindhouse, anything goes, vibe to it. I also host a podcast called "Talk Party" (look for it on itunes!) where my co-hosts and I interview up-and-coming creative artists in tons of different fields.

There are many types of love. Family love. Straight love. Gay love. But rarely do we get to see Bro love. You know, the love two best buds have for each other. In Brandon Baruch’s new play NO HOMO, we watch as two long time straight friends explore their relationship as they come to terms as to exactly what they mean to one another.
NO HOMO follows roommates and best friends Ash and Luke as they examine their friendship as new factors in their relationship are introduced. After a comedy of errors lead to the unspoken truths revealed to the wrong people, Ash and Luke’s relationship is put to the extreme test as they must admit their feelings, a very unbro-like thing to do. Baruch’s script is quite funny, filled with some brilliant one-liners and comedic gags, but also has a beautiful amount of heart and emotion. NO HOMO does have moments of a Hollywood romcom, which isn’t necessarily a bad thing. Where NO HOMO stands out is through it’s bravery and approach to the topic. We all know these people. We all have friends who you wonder “what if.” Friendships are harder than relationships because they tend to have more risks attached. The way these characters “come out” with the truths is empowering. Baruch takes a potentially taboo idea and brings light to it. This is a play about friendship and the impact a friend can have in your life. While the base of the story focuses on Ash and Luke, we also observe a different spectrum of gay with Serge, Ash’s brother, and Kris. The relationship that Serge and Kris have is extremely messy but, like Ash and Luke, they are compatible for each other. Though you want to shake Serge and tell him he’s an idiot, in this moment he needs Kris. The balance between the two stage relationships is intriguing to watch though the ending is a bit confusing. Without spoiling too much, Ash and Luke remain a happy bromantic duo but the facial expression Luke offers makes you wonder if he’s actually happy with the decision he’s made. Everyone loves a happy ending so the ambiguity of the ending may not necessarily be a complete crowd pleaser.

In the wrong hands, Baruch’s script could come across hokey and too much like a sitcom. Fortunately Baruch and director Jessica Hanna had an outstanding cohesive ensemble that lifted the words from the page with ease. Leading the pack was Jonny Rodgers as Ash. Rodgers used everything in his repertoire to his advantage. From his boyish good looks to his charm to his abs, there was no way you couldn’t love Ash. Rodgers’ layered performance was a real joy to watch. His chemistry with Benjamin Durham’s Luke was the heart and soul of the show. Durham was wonderful as the kinda geeky awkward Luke. As his newly out and proud sister Chrissy, Karen Baughn delivered. Baughn is a comic genius bringing a whole bunch of sass and spunk to the stage. Elizabeth Ellson as quirky Babette, Luke’s lady friend, offered some of the best unintentional intentional laughs. AJ Jones and Henry McMillan as Serge and Kris respectively played well off each other as the couple you love to hate. McMillan’s super flaming Kris was a great foil to Jones’ super macho Serge. McMillan’s Kris was a fabulous villain with some brilliant lines that deserves to have his own reality spinoff on Bravo.
With a solid ensemble and a great script to work with, director Jessica Hanna had an easy job. Hanna dove into the gamut of emotions from start to finish. By highlighting the funny, the sentimental moments were well deserved. Hanna’s staging was simple though the simplicity of David Offner’s barebones, cubes represent everything set was disappointing. Laura Wong expertly dressed the characters to bring out their personalities. The subtle soundtrack from Corwin Evans added a new dimension to the story. Playwright Baruch also served as lighting designer and truly gave his world a colorful punch.
NO HOMO is one of those plays that in the right hands is not only a wonderful piece to watch but an incredible script for actors to explore. With an exceptional cast and a accurately poignant story, NO HOMO is certainly a highlight of this year’s FringeNYC.

Many great actors have tackled the coveted role of Hamlet from Kenneth Branagh to Jude Law and everyone in between but did you know the one actor you've been holding out for in the coveted role was Gary Busey? Yes, you read that correctly. Gary Busey. Once upon a time Gary Busey was a real actor. Now he's a parody of his former self. As a former Academy Award nominee, Today's Gary Busey has turned into a former “Celebrity Apprentice” contestant with a knack for the crazy and his infamous Busey-isms, you know when Gary Busey takes a word and spells it out giving each letter a word that then reveals the Gary Busey definition of the said word. As the epitome of what a Fringe show should be, the title says it all: Gary Busey's One Man Hamlet (as performed by David Carl).

Comedian David Carl takes on the role of the iconic actor who takes on every single role in the Shakespearean drama all while doing a very intricate text analysis and recapping his career. Did you know there are a lot of scenes in Hamlet that are just not important? Gary Busey taught me that! Gary Busey’s One Man Hamlet (as performed by David Carl) is a surprisingly great character study on the bafoonery that is today’s Busey. Carl has clearly done his homework, nailing down everything from his mannerisms to his screech to his teeth. Unless you've been living under a rock, the new Busey is known for his crazy antics and Buseyisms of words and that awful commercial where he yells his name at his TV. The man has turned into a parody of himself so allowing this character to take on Shakespeare's potentially nutty character just makes sense. The writing of the piece is near perfection. With Busey-faced puppets representing characters to the Hair version of "What a Piece of Work is Man" to the final fight where he battles himself on screen, the bits are what make this abridged version of Hamlet a success. Carl’s Busey's use of a microphone and announcement every time he changes character is brilliant, never getting old. Where Carl struggles is giving Busey the ability to play the characters. To differentiate each role, Carl as Busey puts on different voices, though some are not very Busey. It's a struggle that may be on the button of the priority list with everything else so great and fine-tuned. But with the rest of the show in brilliant condition, mastering this will give the solo show greater life.
Director Michole Biancosino guides Carl with great ease. Biancosino knows how to give each Busey bit a different direction, rarely ever leaving too much unfunny air. Lighting designer Derek Wright does a phenomenal job bringing variety to the space. The video design by Carl and Jeanette Sears is hilarious with the added bonus of seeing Carl’s painted Buseyisms. The fight sequence is one of the greatest moments of the show.
The title alone is a reason to be intrigued. You should be fearful before entering Gary Busey’s One Man Hamlet (as performed by David Carl). But when the show concludes, you’ll be pleasantly surprised just how brilliant Carl’s performance is.

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