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Punk or Provocateur with...Ryan Mills

June 19, 2015, 12:42 pm
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Name: Ryan Mills

Hometown: Washington, Missouri

Tell us about The Roaring Girl: Strikingly prescient Jacobean comedy

Describe The Roaring Girl in 3 words: Great Dick Jokes

Who do you play in The Roaring Girl?: Goshawk, Sir Beauteous, Curtilax

Describe your character in 3 words: Goshwak: Stuffy Puffy Lecher / Sir Beauteous:  Fabulous Flippant Fop / Curtilax: Bumbling Inept Rogue

Which company member is most likely to be a roaring boy or girl?: Rebecca

Most likely to get in a brawl?: Erin

Who’s the fanciest?: Joel

What is the best thing about being a part of The Roaring Girl?: Watching the other actors create.

What is your favorite moment in The Roaring Girl?: How Mr Gallipot "handles" his wife.

Why The Roaring Girl now?: Middleton and Decker wrote a Judd Apatow film centuries before he was born.

Punk or Provocateur?: Provocateur

Have you ever performed in rep before? What are the challenges/struggles?: No. Cohabitating shows with vastly different needs.

What are you most excited to see in the other play?: How they bring band dynamics to the stage and a look back at a time in music I am intimately familiar with.

Why should we come see Punks and Provocateurs?: More funny than you catch in just one sitting
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Spotlight On...Laura Scruggs

June 19, 2015, 1:18 pm
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Name: Laura Elizabeth Scruggs

Hometown: Normal, IL

Education: B.S. in Elementary Education & M.A. in Communication, Media and Theater.  I also studied acting and directing at Act One Studios and independently with Dan Taube in Chicago.  I've taken play writing classes at Chicago Dramatists with Douglas Post, Arlene Malinowski and the late M.E.H. Lewis. In addition, I've taken storytelling classes with Scott Whitehair.  Finally, I've taken an intensive at Second City, a European Clown Class at The Inside Out Art Studio and The Art of the Idiot class (with Dean Evans).

Favorite Credits: Wendy in Peter Pan, Joanna in Home Free, Mother of victim in Bully: The Hip Hop Musical, Mary in The Red Coat and Fairy Freak Finooza in Six Stories Up, Up and Away (a collaboration of people with and without special needs and it was circus and super hero-themed)

Why theater?: I feel that theater is one of the purest forms of expression, lacks a single solution and enables us to explore other worlds and escape.  Also, I love how it is never the same twice.  It's a place where I can fit in and be uncensored. Abraham Maslow says that education-through-art is not so much about turning out better artists, as it is about turning out better people.  I love to hear other peoples' stories and I once heard in the play "Who Am I This Time?" that theater is the best way to get to know people in a short amount of time.

Tell us about Punk Grandpa: It is the story about how I didn't fit in and how my grandpa taught me that I was okay, just the way I am, through his uninhibited, reckless approach to life.  He would do things like pretend to communicate with spies through his hearing aids, yell at women on the sidewalk, "Hey, pick you up in an hour!" and tell me that eating lots of syrup would put hair on my chest (and later, he would cut off part of his own hair from on top of his head and tape it to my chest while I was sleeping). It is also a fund-raiser for Alzheimer's (as my grandpa passed away due to Alzheimer's almost nine years ago); so far, Punk Grandpa has raised about $2,000 (from performances at the Fringe festivals in Chicago, Orlando and Elgin as well as at Stage 773 in Chicago).  In addition, it was used as a fund-raiser for the theater department at Hammond Academy for the Performing Arts; I performed it three times in one day for the students, back in October of 2013. It is portrayed through storytelling, music, dance, vintage family photos and film footage and little bit of puppetry.

What inspired you to create Punk Grandpa?: My grandpa was the freest person I ever knew.  I want to tell others what he taught me, that it's okay to be different and to be yourself.  I want for others to feel the way I did around him:  to be swept away in his humor, spontaneity and freedom.  He passed away due to Alzheimer's almost nine years ago, so this is a tribute to him; he is truly unforgettable.

What kind of theater speaks to you? What or who inspires you as an artist?: Fringe theater speaks to me; whenever an underdog or someone who doesn't fit in is involved, I am interested.  I also love and am inspired by people who take great risks, romance (when it involves complete acceptance on both sides), the 80's and puppetry.  I recently read a quote in a book from the puppet museum in Atlanta, GA that says that puppets help us discover a deeper reality. Weird Al and Richard Simmons inspire me, with their ability to be themselves, shamelessly and unfiltered. Susan Ariel Rainbow Kennedy inspires me as well, as she is a laser beam of love and tells everyone to take care of themselves in most magical ways and to dream, dare and do things like eat hilarious cookies. I am also inspired by Nikki Minaj's creativity in "Starships,""Va Va Voom" and "Pound the Alarm."

If you could work with anyone you’ve yet to work with, who would it be?: Weird Al, Richard Simmons, Susan Ariel Rainbow Kennedy and Bernadette Peters.

What show have you recommended to your friends?: Literary Lunatics, by the Pink Elephant Performance Troupe at Rhinofest.

Who would play you in a movie about yourself and what would it be called?: Lili Taylor or Aileen Quinn would play me in a movie about myself and the movie would be called "Normal No More, How Laura Became a Fairy."

If you could go back in time and see any play or musical you missed, what would it be?: Anything at the Caffe Cino, particularly Home Free and Dames at Sea, featuring Bernadette Peters.

What’s your biggest guilty pleasure?: Burlesque (as long as it tells a story; I once saw a really good performance that was inspired by Hitchcock's "The Birds")

If you weren’t working in theater, you would be _____?: Teaching people how to be faeries, performing in a circus and being a counselor.

What’s up next?: Punk Grandpa will be presented next at Three Brothers Theater in Waukegan on July 17th and 18th, as a multiple character show (for the first time, I won't be performing in it and it won't be performed as a one woman show).  This will be the first time that I get to be solely the playwright and I am very excited to see what Three Brothers does with the show!

For more on Laura, visit lauraforcescruggs.com. For more on Punk Grandpa, visit punkgrandpa.com and https://soundcloud.com/wbez/storycorps-chicago-punk-grandpa-inspires-granddaughter

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Spotlight On...Spencer Wilson

June 20, 2015, 11:01 am
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Name: Spencer Wilson

Hometown: Kansas City, Missouri

Education: Marymount Manhattan College in New York City

Select Credits:Triumph of Love (Harlequin), Elegies for Angels Punks and Raging Queens, and Unidentified Human Remains and the True Nature of Love (David).

Why theater?: I've never done anything else since the age of 2, and I would have it no other way.  I don't think anything would be quite as fulfilling as this.

Who do you play in The Immortal Coil?: I am Ketchum Harley, an adorably clueless, young, new actor.

Tell us about The Immortal Coil: The Immortal Coil is a great new work by Jody Heaps focusing on the relationship between a young actor and his role model.  It's an eloquent and hilarious script with some great moments of darkness.  

What is it like being a part of The Immortal Coil?: It's very collaborative! We always have a great time laughing and working together to make this a great piece!

What kind of theater speaks to you? What or who inspires you as an artist?: I'm really loving this immersive style of theatre that became so popular with Sleep No More.  It's just so alive and really transports you to another world.  I love working on brand new plays, and watching the library of great theatre keep growing.

Any roles you’re dying to play?: Anthony-Sweeney Todd, Miss Trunchbull-Matilda, Lord Farquad-Shrek, and I also have this passion to do an all male version of Nine in which I would want to portray the Claudia Jenssen role.

What’s your favorite showtune?:"Unusual Way" from Nine, and "Johanna" from Sweeney Todd.  I also can't stop singing "Last Midnight" from Into the Woods but I think we all go through that phase at least once.

If you could work with anyone you’ve yet to work with, who would it be?: Hands down, no questions, Jessica Lange.

Who would play you in a movie about yourself and what would it be called?: Kristin Chenoweth and it will be called "Legally Drunk: Red, White, and Bubbly".

If you could go back in time and see any play or musical you missed, what would it be?: Definitely the original Cabaret, or Robert Preston and Barbara Cook in The Music Man.

What show have you recommended to your friends?: I recently told a friend about the play The Memory of Water by Shelagh Stephenson.  It's a great piece for women.  Currently on Broadway, Fun Home is so beautiful and incredible.

What’s your biggest guilty pleasure?: Totinos Pizza Rolls.

What’s up next?: Auditioning!  I always update my site www.Spencer-Wilson.com with what I am up to!
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Review: Love of Doom

June 20, 2015, 1:56 pm
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You ever see a show where the conflict could easily be solved with a simple line or action but instead there are an abundance of senseless "reasons" why you're stuck sitting through an entire play where what should happen does happen anyway? Though the title likely is the answer why, Easier Said Than Done is a relationship drama that should be considered a comedy due to the engineered situation.
Written by Paul John DeSena, Easier Said Than Done follows two couples that should really just switch spouses but are tied down by fear and irrational reasoning. This is a play about loving the wrong person and finding ways to self-destruct in response to the choices of the past. Married couple Nathan and Catherine are set to renew their vows after five years of marriage. But before that day happens, friend Nikki, who has a thing with Nathan, reveals she suspects her husband Justin is cheating on her. Her suspicion is correct as Justin and Catherine, a pair with a very storied past, are engaged in an affair of their own. Truths are revealed and the past comes screaming back as four people attempt to figure out how to be adults despite their high school actions. DeSena sets the tone of despicable actions from the start when we watch Nathan and Nikki engage in something they should not. Something we learn has happened before. From this moment, you see them as villains. Despite learning about the other duo and their extramarital affair, you've already sympathized with them regardless of their ways. You slowly understand that their true love is masking retaliation. By picking the order of events, DeSena establishes the rules of right and wrong. Had the affair been swapped, a new narrative might have formed. As the play goes on, nothing seems to go right for anyone. From destruction of property to the reveal of a pregnancy, it’s a comedy of errors. For a play about people and relationships, DeSena's characters have little to no redeeming qualities. Justin is spiteful. Catherine is feeble. Nikki is manipulative. And Nathan, well he’s just an asshole. You almost wish that Nathan were completely coherent when Catherine spills the beans about the identity of the father because you want to see him truly feel the pain of losing everything. Rooting against characters is never a good sign.
photo courtesy of JC Vasquez
The unfortunate thing for Easier Said Than Done is the company is split down the middle in strength. Dana Leigh Snyder as Catherine and Christopher Stokes as Justin offer adequate performances. Emily DeSena as Nikki and Michael S. Rehse as Nathan struggle majorly. Snyder and Stokes show their potential for great depth. They have a natural ability that allowed them to find something within their script scenes together. Snyder has control on stage. Stokes has an aura of a Williams’ leading man, like Brick or Stanley Kowalski. Emily DeSena seemed misplaced in the piece. The piece strives on chemistry and DeSena lacked any with her male counterparts. Nathan is unsavory. And Rehse's performance resembled a used car salesman. You listen but you don't believe. Rehse's choices on stage were large and theatrical, not fitting into the world of the play. His portrayal was unreal for a character that was such a driving factor.
The direction by Kristen Penner couldn't save DeSena’s weak script. With a storage bench that oddly represented a beach and two rehearsal cubes, the set is basic yet unclear. Additionally, with a three quarter audience situation and little variation to work with, Penner's staging suffered. Penner had her actors circling the scenic elements in a game of cat and mouse. With little to work with, it caused sight line issues as well as felt monotonous. The lighting and sound design by Melissa Farinelli was quite bothersome. It’s possible that many of the lighting issues were to no fault of Farinelli’s as she used a festival light plot, but Farinelli used instruments that cast unfortunate shadows and forced a giant circle on the upstage wall as it appeared to be the only light that could hit Penner's blocking. Had Farinelli advised Penner to these issues, perhaps the staging could have been aided. The soundscape that Farinelli used was distracting at times, sounding more like generic sound cue file than built design. There was also a lack of consistency between cued door slams and actor generating knocking. When it doubt, take it out.
When bringing life to a piece in a festival, it’s always important to know what can and cannot realistically be achieved. Easier Said Than Done appeared to be lost in a festival setting, not knowing the limitations and struggles. But festival aside, DeSena’s script lacks appeal.
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Review: Not Your Average Jane Austen Adaptation

June 23, 2015, 12:53 pm
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It's not necessarily a new idea. In fact the musicalization of the Jane Austen classic “Pride and Prejudice” has seen recent stage life in an entirely different production at NYMF in 2011 and at La Mirada Theatre a few months back, though the conceit is a bit more unique. There were truer book adaptations done in London and Chicago, both of which are penned by different writers. The appeal of giving the epic romance the musical treatment is apparent. It’s rich with character and love and everything a musical ideally needs. Playing at Theater for the New City, John Taylor Thomas'Pride and Prejudice is a long musical version that has great difficulty finding its groove and resolve.
"Pride and Prejudice" is a beloved story, receiving film and stage treatments for generations. Though the story is virtually the same, Thomas’ Pride and Prejudice follows Austen’s novel about the unwed Bennet sisters and their pursuit for love. Thomas includes nearly every major and minor character of Austen’s story for his stage production, something that seems to be one of the very many downfalls of this show. The score, for the most part, remains pretty consistent and alike stylistically. Thomas gives practically every character their own number, many of which do not further the story at all. These fluff songs could easily be eliminated to cut much needed and valuable time. The sound Thomas uses is reminiscent of the Golden Age of Broadway mixed with a tinge of Gilbert and Sullivan. The only song that seems out of place is Jane’s Act II number as it had a bit more of a modern vibe comparatively. While music is the draw of a musical, nothing can kill a show more than a vapid or over-stuffed book. The draw of "Pride and Prejudice" is the will they-won't they romance between Elizabeth Bennet and Mr. Darcy. And when adapting it for the stage, this needs to be the dramaturgical focus. As far as subplots and minor characters are concerned, if they don't directly have anything to do with forwarding Lizzie and Darcy's story, they're not necessary on stage. Thomas’ musical adaptation spends too much time with the less important plots that it's no wonder the production surpasses a long third hour. Not every single moment from the book needs to be recreated on stage. Taking liberties is not necessarily a bad thing.
With bad material, finding standout performances from the acting company was like finding a diamond in the rough. Thankfully, there were a few. Rebecca Knowles and Hallie Wage as Lydia and Kitty Bennet respectfully brought the full package. As the giddy bouncy sisters, Knowels and Wage made their characters real and invigorating, something the rest of the drab ensemble could not do. There were some wonderful vocals from Britney Simone as Mary, Stephanie Leone as Jane, and Chris Donovan as Mr. Bingley. Casting a pair of impeccable leads as Elizabeth and Darcy is crucial. If you don’t care for them, the piece is over. Sadly, neither Amanda Yachechak or Jonathan Fox Powers could deliver worthy performances. Yachechak did not have the fervor for the mighty sister. Powers, like many of the men of the show, was charming-lite. Their lack of chemistry was solidified at the end of the show with their long, awkward kiss.
photo courtesy of Peter Welch
The great trouble with Pride and Prejudice from a production standpoint is it doesn't quite exit the vibe of "community theater." Transitions are messy. The scenic elements don't match. The acting is all over the map. But with a keen eye, these mishaps could easily be avoided. Director Lissa Moira struggled to find the proper theatrical vocabulary to make this a successful production. As far as staging, Moira struggles with consistency. With no scenic architecture to create the Bennet household, among other locales, Moira has her ensemble use the only two entrances behind the scrim to come and go. Yet it's a free for all where those paths lead as the presumable front door switches from scene to scene, actor to actor. Moira doesn’t assist her company in discovering ways to find expression in the one-dimensional characters. Many of Moira’s directorial choices are border-line bizarre. Musical theater is known for the musical freeze device where a character sings and the ensemble is virtually frozen behind. While lighting usually assists in melting the world away, when that is not possible, any movement is distracting. One of the prime moments of this was during Darcy’s song where he sings of Elizabeth dancing. Had Moria allowed Darcy to see Elizabeth partake in the action he’s singing about, it could be possibly be excused. Not only is she not dancing, Moria has Elizabeth talking to another character while the rest of the ensemble is frozen. Another great example of the absurd is the final stage picture. It includes the ensemble on stage for the joint wedding. Moira not only has Lydia and Mr. Whickham on opposite sides of the stage, but he is linked arm and arm with Mary Bennett! Other strange choices included the poor casting decision of Henrietta Steventon as Mrs. Bennet, who not only looks younger than some of her onstage daughters but also offers an over-the-top caricature display that could only be compared to a cartoon. Moira employs a series of scene location through improper voiceover that garnered some laughs simply due to its jolt of intensity. Prop, set, and costume coordinator Lytza Colon compiled a jumbled muster of furniture that was recycled into ever scene. Mr. Bennet's modest income or not, the lack of matching chairs in the Bennet house was upsetting. But nothing was more disappointing than the backdrop that looked sloppy, especially due to the random fake greens and winding road that lead to a grey city of the future. The choreography by Robert Gonzales Jr. was primarily featured in the ball scenes. Gonzales Jr. seemed to be clueless how to use the stage properly, cramming the ensemble into a line where the actors couldn’t navigate or maneuver their way around the person nearest them. The balls needed to be grand. They were anything but.
When “Pride and Prejudice” plays closer to a Gilbert and Sullivan comedy than an epic romance, something is wrong. This production of Pride and Prejudice needs assistance in the slicing and dicing of fluff material in order to something of note. But with stiff competition, it may already be a losing battle.
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Spotlight On...Stephen Jobes

June 23, 2015, 2:14 pm
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Name: Stephen Jobes

Hometown: Littleton, Colorado

Education: Colorado College

Why theater?: Nothing else is as lively.

Tell us about The Immortal Coil?: A sardonic comedy where a young soul meets an old soul & both strive to create a work that neither can create alone. Humor, explosion, tenderness, death.  Our playwright, J.B. Heaps, calls to account all those who fake their craft & reveal the price to be paid for those lacking humility.

What kind of theater speaks to you? What or who inspires you as an artist?: All kinds, all styles. Oliver Sacks, Philippe Genty, Jane Hirshfield, Gene Scrimpsher, Charles Laughton, Michael Shurtleff, Ted Roethke, Benjamin Black, all playwrights.

What’s your favorite show tune?: The first are the best: “Soon It’s Going to Rain”, The Fantasticks; “Willkomen”, Cabaret; "Mira", Carnival.

If you could work with anyone you’ve yet to work with, who would it be?: Bill Nighy, Patricia Clarkson

Who would play you in a movie about yourself and what would it be called?: A toss up between the Muppet, Floyd Pepper and the Colorado Rockies, mascot, Dinger. It would be called, “Oh No, Please!”

What show have you recommended to your friends?:Hand to God, The Last Ship, always Alvin Ailey.

What’s the most played song on your iTunes?:"The Weight", from The Band’s Last Waltz

What’s your biggest guilty pleasure?: Finnegans Wake at midnight; if I say more, I’m in trouble.

What’s up next?: Manitou Springs, Colorado
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Review: A Night to krav

June 24, 2015, 12:27 pm
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The formula for theater is not always cut and dry. The way audience and production interact is changing. Changing into something wondrous. With new theatrical events popping up all over the place, the nuances of testing the limits of an audience are becoming more and more stimulating.  5 Senses Theatre’s krav gives you the ultimate theatrical social experiment masked as a supper club.
With no two experiences ever being alike, krav features a 4 course Cajun tasting menu and wine pairing prepared by expert chef Rick Martinez in addition to a swanky social gathering where mixing and mingling with a stranger is encouraged. With food and drink being the glue that brings everyone together, what happens when all the guests have arrived is what makes this evening simply extraordinary. Though the intent is not to insult with the reference and though they are actually quite different, krav is almost the equivalent of "The Joe Schmo Show", a "fake" reality show where a set of actors had to make an unsuspecting Joe believe he was a participant on a "real" reality competition show. For those who remember, that show featured a virtually unknown comedian named Kristen Wiig as Dr. Pat, a darling plant who nearly blew the entire cover when she got injured in a competition. I compare the two because the audience of krav has no idea who is who. If you have trust issues, leave them at the door because the darling girl you sat next to during the four course meal may not actually be an actor and actually be a "real person". The set up is simple. A group of guests are invited to an apartment for a dinner party. What ensues is an evening of truths, lies, loss of inhibition, and an incredible gourmet meal. This is a work that defines the power and intricacies of personal relationships. How do you interact with a complete stranger as you wine and dine with talking points ranging from escaped convicts to AOL Instant Messenger names. With a basic structure composed by Jason Aguire, every evening will be drastically different depending on the makeup of the audience and who you're fortunate to be sitting with at the table.
From a theatrical standpoint, krav keeps the atmosphere genuine. Mood music fills the room. A giant table splits the space. And a set of rules is placed on the wall. Be sure to follow them because those who disobey will be shone the door. Once the food is served, it’s nothing short of a flavor explosion. The tour of the South includes sensational Cajun Fried Oysters with garlic aioli and pickled fresno peppers, Spicy Glazed Short Ribs that melt right off the bone, and Strawberry Rhubarb Bread Pudding which truly makes for a happy ending. I’ll never consider myself a food connoisseur just an avid eater, but Chef Martinez’s menu was simply divine.
Upon reading the cast list at the end of the night, I realized I had cracked the entirety of the acting company. A win for me. Others were completely shocked that their neighbor lied and deceived. Great acting I suppose. And that is what's absolutely fascinating about krav. The entire experience is driven by you and your peers. As an avid fan of “Big Brother”, the ultimate social experiment, krav was the closest thing to actually playing that game. And getting to have that adrenaline rush for the night was simply thrilling. A moment I want again.
Whether you view it as immersive theater or a cousin to the Escape the Room trend krav and 5 Senses Theatre are on the pulse of the future of theatrical experiences. When the next iteration rolls around, expect a night you'll never forget and won’t stop talking about. It's a must.
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Spotlight On...Bay Bryan

June 26, 2015, 9:47 am
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Name: Bay Bryan

Hometown: Golden, Colorado

Education: Life. Royal Conservatoire of Scotland

Favorite Credits: The past couple months I have been really fortunate: I composed the music and played it live in True Believer at TheaterLab; it is a one woman show, and the actress that played the woman is my sister Kersti Bryan, so that was a very special run for me. Less than a week later I was in Scotland, and I had the opportunity to play my music at Dundee Rep Theater, opening for singer-songwriter Horse McDonald. Then immediately after that I flew out to LA to visit a friend and by chance I got to see a screening of an animation I composed the music for: The Walker by Heather Collins, Produced by Matt Groening.

Why theater?: Well... I love stories. On top of that though, there is just something so powerful about them unfolding in front of us live... There we sit grouped together as individuals and as a collective to witness it. It's kinda weird right...? I LOVE IT!

Tell us about Growing into My Beard: Let's see... it is a quirky coming-of-age story of sorts that follows my personal journey of coming out, flying far from home, and inevitably ending up where I am now. Ultimately it's about self-acceptance and love, and is told through my songs, farcical dance, musical improvisations, anecdotes, with dash of drag queen thrown somewhere in!

What inspired you to create Growing into My Beard?: Since arriving in NYC I've been feeling my way through the singer-songwriter world and the theater world; even though they are both performance, they are very different market-places and I suppose I've been trying to find where they can intersect... So I guess this show is sort of the product of that effort- a piece where I get to tell a story that both involves my music and whatever the hell else I want to do.

What kind of theater speaks to you? What or who inspires you as an artist?: Stories with heart. done.

If you could work with anyone you’ve yet to work with, who would it be?: There are so many I can't even think... I'll shoot for the stars: Ian McKellen, because he's Ian McKellen.

What show have you recommended to your friends?:Matilda, because I love that story, and because Tim Minchen is such a talented and quirky songwriter, and then to have him write the music and lyrics for the show was an interesting choice which I thought it worked beautifully!

Who would play you in a movie about yourself and what would it be called?: Kersti Bryan in drag because we kind of look identical, although she's far prettier than I... I think it would be called "Growing into My Beard" :P

If you could go back in time and see any play or musical you missed, what would it be?: I would have to say the original production of Hedwig.

What’s your biggest guilty pleasure?: Plants vs Zombies.

If you weren’t working in theater, you would be _____?: a Killer Whale. definitely.

What’s up next?: A kombucha. Yes I think that will do the trick
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Review: The Cyborg Future

June 28, 2015, 9:59 am
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The future is upon us. The rise of technology has proven that the world is ever-changing and the capabilities are boundless. What was once science fiction is becoming science fact. In Citizen Cyborg, a stage version of the James Hughes book, an enthusiastic ensemble takes the audience on a journey to a future where the next class of citizens are robots.
Adapted for the stage from the book of the same name, Citizen Cyborg is a series of vignettes and audience addresses that tackle the technological near future of the next generation of citizens. By blending mask work with mashups of Shakespearean and Greek texts, Citizen Cyborg takes the audience on an ambitious eye-opening expedition. From the start, the fourth wall is broken. The ensemble mingles with the audience prior to the first line, the dressing room area is completely exposed, and the masks are placed on chairs to encourage handoffs. Without warning, the transmission begins and a fast paced flurry of definitions are tossed into the room. Broken up into three short "acts", what occurs next are the theatrical vignettes where well known characters and themes are replaced with Hughes' thesis of the future. Director Neal Utterback established a physical vocabulary with his ensemble that allowed a cohesive dialogue with the audience. The physical theater nature of the piece is strong. The simplicity of the staging allows for the thesis to take the focus. That being said, some of the masks were a bit restricting in vocal clarity as dialogue muddied tone. The piece remains moving allowing space to be virtually nonexistent. The moments of air are deliberate, allowing the audience a moment to digest.
photo courtesy of Ethan Farell
The way into this world is through the youthful acting ensemble. They are an assertive bunch eager to share a warning of the future. They bring a mesmerizing sense of devotion and commitment even if they may not comprehend every word they recite. With the piece merging the world of character and actor, some of the best moments came through the direct addresses where they were given the opportunity to share their hopes, fears, and beliefs. One of the most beautiful moments of vulnerability came from Jamison Monella, who also gave a strong showing throughout. Monella is an actor that in time could have a bright future.
Due to the nature of the piece, Citizen Cyborg treads that fine line of hokey experimental theater that gets parodied on “SNL”. With a group of growing actors, there were times that came off as unintentionally humorous. The basic black shirt, no shoes, and jeans uniform were a bit too on point, aiding into the hokey nature. Though the paired down approach Utterback took did work well with the festival confines. He used the space properly, benefiting from the diagonal, and kept the various worlds consistent through lighting looks. What did bring the production up to a new standard was the live music created by Gabriel Gould. The soundtrack blended electronic sounds into an underscore that kept the stakes high.
Citizen Cyborg is a piece of political theater that provokes great talking points. It's ambitious and brave and happens to be wonderfully prevalent.
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Preview: 2015 New York Musical Theatre Festival

June 29, 2015, 9:49 am
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The 2015 New York Musical Theatre is upon us and to get you ready, Theater in the Now is giving you a little glimpse into the 22 full production of this year’s festival! NYMF runs from July 7th until July 27th. For more information and to purchase tickets, visit nymf.org and remember to use #musicalslivehere and #titn on Twitter and Facebook! And visit NYMF's Soundcloud playlist for a musical glimpse into the festival. And without further ado, a preview!



Top 5 Exciters

Claudio Quest
Book, Music, and Lyrics by Drew Fornarola and Marshall Pailet

This is the show for the geek inside. Written by Drew Fornarola and Marshall Pailet (Triassic Parq) and directed by Tony Nominee John Tartaglia (Avenue Q), Claudio Quest has all the makings for a superfun musical with a vibrant young cast. The musical follows a very super hero, his less super brother, and one butt-kicking princess on a mission to overcome killer eggplants, a love starved platypus, and their own 8-bit existential crisis. It sounds like it will be paying homage to Mario and friends, Claudio Quest has a cool logo and the marketability potential.

The Alice Griffin Jewel Box Theatre
7/7 @ 7; 7/10 @ 1; 7/12 @ 8; 7/13 @ 1; 7/14 @ 5; 7/14 @ 9

Deep Love: A Ghostly Rock Opera
Book by Jon Peter Lewis, Ryan Hayes, and Garrett Sherwood, Music and Lyrics by Ryan Hayes and Garrett Sherwood

Reality TV super fanatics, we got some names to draw you into this one! Written by Ryan Hayes, Garett Sherwood, and Jon Peter Lewis, Deep Love: A Ghostly Rock Opera is a haunting rock and roll opera where sweethearts become adversaries in pursuit of what they cannot live without. For those who are avid fans of singing competitions, Deep Love is written by The Voice season 4 contestants Ryan Hayes and Jon Peter Lewis of Midas Whale and features Amy Whitcomb. If you want to go deeper, you'll remember Amber from The Sing Off Season 3 and JPL from one of the most competitive seasons of American Idol, Season 3, also known as the year that Jennifer Hudson was robbed. But back to the musical. Rock and roll and musical theater have had a nice bond in recent years and this one has a haunting score. Audience, you are encouraged to come dressed in your best funeral attire. Cue the cult followers

The Alice Griffin Jewel Box Theatre
7/17 @ 8; 7/17 @ 9; 7/19 @ 4; 7/22 @ 1; 7/24 @ 5
deeploveopera.com

Manuel Versus the Statue of Liberty
Book by Noemi de la Puente, Music by David Davila and Howard Post, Lyrics by Noemi de la Puente and David Davila

If ever there were a poignant piece of theater. Manuel Versus the Statue of Liberty is a Latin-infused American musical set up as the ultimate boxing match where Manuel, an undocumented immigrant, must take on The Statue of Liberty in a high-stakes fight known as immigration. Manuel Versus the Statue of Liberty packs all the punches in musical comedy fashion. Led by powerhouse performers Shakina Nayfack and Gil Perez-Abraham, this musical is riding high on the American Dream.

The Alice Griffin Jewel Box Theatre
7/21 @ 8; 7/22 @ 5; 7/25 @ 5; 7/26 @ 8; 7/27 @ 12
manuelvsthestatueofliberty.com

Spot on the Wall
Book and Lyrics by Kevin Jaeger, Music by Alex Mitchell

Following the tale of Paul Hunter, a talented photographer who is about to receive an exhibition of work that focuses on his mother’s recent battle with cancer, Spot of the Wall is a musical about the difficulty of facing your pain and your past. Led by the stunning vocals of Robert Hager and featuring the beautiful score by Jaeger and Mitchell, Spot on the Wall seems like the sleeper musical of the festival that you’ll need a pack of tissues or two for.

Theater 3
7/7 @ 7; 7/10 @ 5; 7/11 @ 9; 7/12 @ 12; 7/14 @ 5
spotonthewall.com

Tonya & Nancy: the Rock Opera
Book and Lyrics by Elizabeth Searle, Music by Michael Teoli

Every festival needs that campy show that draws audiences via pop culture. And believe me, I love pop culture. NYMF’s offering this year is Tonya & Nancy: The Rock Opera. For those who may not remember these 90s icon, this musical is about dueling figure skating divas Tonya Harding and Nancy Kerigan and the infamous whack heard round the world. Tonya & Nancy is certainly bound to garner much attention. Led by Jenna Leigh Green and Tracy McDowell as Nancy and Tonya, this one is sure to pack houses by concept alone.

PTC Performance Space
7/9 @ 8; 7/11 @ 5; 7/12 @ 8; 7/14 @ 9; 7/16 @ 1
tonyaandnancytherockopera.com

The Rest of the Fest

210 Amlent Avenue
Book by Becky Goldberg, Music and Lyrics by Karl Hinze

An homage to New York, rather the Hamptons, 210 Amlent Avenue follows a Fourth of July celebration at the old Jordan estate hosted by retired actress Mrs. Jordan. A young poet arrives in search of the truth, setting off a firestorm of events. Inspired by the storytelling styles of Ibsen, Chekhov, and O’Neill, 210 Amlent Avenue features a score reminiscent of the classics.

The Alice Griffin Jewel Box Theatre
7/9 @ 8; 7/10 @ 9; 7/11 @ 1; 7/12 @ 4; 7/14 @ 1
210amlentavenue.com

Acappella
Conceived by Greg Cooper, Book by Vynnie Meli, Music and Lyrics by The Acappella Company

A gospel singer leaves home and makes it big as a pop singer. He returns home to find his own voice. Acappella is the message and the music in this romantic comedy. Performed solely by voice, Acappella has a hook that is certain to entice audiences.

PTC Performance Space
7/7 @ 7; 7/10 @ 5; 7/11 @ 9; 7/12 @ 12; 7/14 @ 1
acappellathemusical.com

Foolerie 
Book, Music, and Lyrics by Santino DeAngelo

Be a guest of the Great Earl and meet Clowne, the most infamous jester of the age, and his traveling troop of fools as they employ madcap madness and musical comedy in their desire to divert you. Wits will be battled, entendres will be doubled, and art itself shall be put on trail in this whacky cross-dressing, mistaken identity, true love, and pure, unadulterated, foolerie send-up of Shakespearean proportions. And for those brave souls, on-stage seating is available!

PTC Performance Space
7/22 @ 8; 7/24 @ 5; 7/25 @ 9; 7/25 @ 12; 7/27 @4
fooleriemusical.com

Headvoice
Book, Music, and Lyrics by Ethan Anderson

Eric is writing a musical about his life. But instead of actors, he’s using voices…the voices in his head. Headvoice is a funny, touching, and original musical that tells the story of a young composer grow up and discovering love, loss, and the power of music. Developed at Elon University with a workshop session with Adam Guettel, Headvoice is a witty and clever score, featuring super beltress Molly Emerson, and is certain to touch hearts.

Theater 3
7/17 @ 8; 7/19 @ 12; 7/22 @ 9, 7/23 @ 1; 7/25 @ 9

Held Momentarily
Book, Music, and Lyrics by Oliver Houser, Additional Material by James Zebooker

Previously part of FringeNYC last year, Held Momentarily has an eerily similar story to NYMF 2012 show Stuck. Regardless, the musical follows six strangers stuck on a stalled subway car and discover it’s not just the train that’s stuck. Held Momentarily is a musical comedy about making connections, living in the moment, and moving on in life. Oh, and a woman just went into labor.

PTC Performance Space
7/20 @ 8; 7/23 @ 1; 7/25 @ 5; 7/26 @ 8; 7/27 @12
heldmomentarilythemusical.com

Moses Man
Book and Lyrics by Deborah Haber, Music by Casey Filiaci

Inspired by the true saga, Moses Man portrays the indomitable spirit of survival recounting the true saga of a Holocaust survivor and his nine-year journey throughout Europe, Cypris, Palestine, and Africa before finally finding freedom in America. Leading the cast of the epic musical is West End legend Oliver Thornton

The Alice Griffin Jewel Box Theatre
7/8 @ 8; 7/10 @ 5; 7/11 @ 9; 7/12 @ 12; 7/13 @ 9
mosesmanthemusical.com

Napoleon
Book, Music, and Lyrics by Andrew Sabiston and Timothy Williams

With a score reminiscent of Les Miserables, Napoleon is the story about icons and the people who make them. Talleyrand, a mater politician operating in the shadows, believes he can manage the man he’s grooming for greatness. But there’s only one thing he can’t control; Napoleon’s obsession with Josephine. In the battle to come, two of the three will be known forever, one will be known as the devil incarnate.

The Alice Griffin Jewel Box Theatre
7/15 @ 8; 7/18 @ 5; 7/19 @ 8; 7/20 @ 12; 7/22 @ 9

Passing By
Book, Music, and Lyrics by Patrick Thompson

Set in the small rural town of Jacksonia, Wisconsin, Passing By follows the relationship of Jenny Zimmerman, an ambitious writer, and Edison Wolter, a young man who runs his family farm. The two have grown up together and now they must decide what comes next. Will they plan a life together or follow their own separate dreams? Passing By is a romantic dramedy with a contemporary folk score.

The Laurie Beechman Theatre at the West Bank Café
7/20 @ 4; 7/21 @ 12
passingbymusical.com

Pope! An Epic Musical
Book and Lyrics by Justin Moran, Music by Christopher Pappas

Pope! An Epic Musical tells the tale of a young, idealistic, rock star Pope and his ambitious nemesis, the Archbishop, who will stop at nothing to wear Pope’s mitre. With a comic book world backdrop, Pope soon learns that a few well-placed enemies can overpower a few million fans. Good and evil collide in this rambunctious, Shakespearean power struggle where liens must be drawn, sides must be taken, and confrontations must be musical.

PTC Performance Space
7/15 @ 8; 7/16 @ 9; 7/ 19 @ 4; 7/ 19 @ 8; 7/21 @ 5
popethemusical.com

Real Men: A Musical for Guys and the Woman Who Put Up With Them
Book, Music, and Lyrics by Paul Louis and Nick Santa Maria

A show for bros by bros. Getting straight men to the theater without being dragged by their lady is hard. Get ready for an original musical comedy about real men behaving like, well, real men. This musical revue answers the one pertinent question on everyone’s mind: “Do real men sing and play with puppets?” You better believe they do!

The Laurie Beechman Theatre at the West Bank Café
7/13 @ 8; 7/15 @ 12; 7/17 @ 12; 7/18 @ 7:30; 7/20 @ 8
realmensingshowtunes.com

Single Wide
Book and Additional Lyrics by George D. Nelson; Music and Lyrics by Jordan Kamalu

Katy may live in a trailer park but that doesn’t stop her from having enormous dreams. As a single mother, living with her own single mother, Katy does all she can do to get her son out of the “single wide” situation. But when her son befriends the reclusive new move-in two trailers down, Katy sees something different in him that makes her take a second look. Led by Stacia Fernandez and Emma Stratton, Single Wide features some unlikely musical heroes.

PTC Performance Space
7/17 @ 8; 7/21 @ 9; 7/23 @ 5; 7/24 @ 9; 7/25 @ 1

Songs for the Fallen 
Book by Sheridan Harbridge; Music and Lyrics by Sheridan Harbridge and Basil Hogios

The year is 1847. The place is Paris. Songs for the Fallen takes you through the extraordinary life of Marie Duplessis, courtesan, party girl, liar, and legend, from desperate poverty to meteoric rise as the most notorious woman in France. Part vaudeville, part cabaret part MTV-goes-Baroque, Songs for the Fallen is the wild and hilarious tale of a woman who knew one thing: good girls don’t make history.

Theater 3
7/21 @ 8; 7/24 @ 12; 7/25 @ 1; 7/26 @ 9; 7/27 @ 12

Summer Valley Fair
Book, Music, and Lyrics by Dylan Frederick

At Summer Valley Fair you can be anyone you want to be, right? Aching for more than the blue glow of 432 friends, one sixteen year old girl trades safety of her attic for roller coaster screams, laser light nights, boys who might be real, and supermoon girls who definitely aren’t. Created and featuring Dylan Frederick, Summer Valley Fair is the great hope that even without uploading, we can sing ourselves into existence.

Theater 3
7/16 @ 8; 7/18 @ 1; 7/19 @4
summervalleyfair.com

The Calico Buffalo
Book by EJ Stapleton, Music and Lyrics by Peter Stopschinski and EJ Stepleton

When the first born son to chief of all buffalo arrives covered with the markings of a calico kitten, the chief, his son, and the entire buffalo nation are catapulted into the adventure of a lifetime. This kid friendly musical is the stage adaptation of the book of the same name.

PTC Performance Space
7/8 @ 8; 7/10 @ 9; 7/11 @ 1; 7/12 @ 4; 7/16 @ 5

The Cobalteans
Book and Lyrics by Yianni Papadimos, Music by Andrew Bridges, Ben Chavez, and Yianni Papadimos

One year after their friend Gabriel’s death, four young men return to the lake house they had spent their summers growing up in. The boys have come to say goodbye but the tranquility of November on the Lake Erie coastline does not linger for long as tensions rise. The folk rock inspired score features a top notch young cast eager to explode on stage.

Theater 3
7/8 @ 8, 7/10 @ 1; 7/11 @ 5, 7/13 @ 1; 7/15 @ 9
thecobalteans.com

Wearing Black
Book, Music, and Lyrics by Riley Thomas

When his twin brother Charlie suddenly passes away, all Evan wants to do is forget their complicated relationship and move on, but the tangled relationships Charlie left behind prevent Evan from truly letting go. As he slops into a spiral of self-destruction, Evan must mark a stark decision: either accept and forgive his dead twin brother, or become him. Written by Stuck scribe Riley Thomas, Wearing Black is an emotional journey of moving on featuring a heavy score.

Theater 3
7/9 @ 8, 7/10 @ 9, 7/11 @ 1, 7/13 @ 5, 7/15 @ 1

What Do Critics Know 
Book by Matthew Gurren, Music and Lyrics by James Campodonico and Matthew Gurren

This musical already gets the award for insulting the people reviewing the show! But nevertheless, What Do Critics Know follows three of the most powerful theater critics who have taken countless shows off the stage and now must put one on. With time running out they enlist struggling writing Nathan Wood, who is in need of a comeback. Can cooperation, harmony, and perhaps even love exist between an artist and a critic? The old-fashioned musical features Bach and Shakespeare, so get ready for anything!

The Alice Griffin Jewel Box Theatre
7/23 @ 8; 7/24 @ 9; 7/25 @ 1; 7/26 @ 4; 7/27 @ 4
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Spotlight On...Catherine Gowl

June 30, 2015, 2:10 pm
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Name: Catherine Gowl

Hometown: NYC. I was born and raised in Murray Hill.

Education: BA in the History and Literature of France and America from Harvard. MFA in Acting from the Old Globe/USD.

Select Credits: Baby Joey/Callaghan in the War Horse North American Tour. Chyrsothemis in Electra at the Pittsburgh Public Theater. Understudy for all of the female roles in Theater for a New Audience’s tour of Merchant of Venice. Kate in Taming of the Shrew and Emilia in Othello at the Virginia Shakespeare Festival. Cordelia in King Lear, and Elizabeth in Six Degrees of Separation at the Old Globe. Milton in The Director at The Flea. Wendy in I’m Not Peter Pan at the Cherry Lane and the Edinburgh Fringe Festival. Associate Artist with blessed unrest.

Why theater?: I believe that theater is one of our greatest tools in what I trust, at least on some subliminal level, is the universal human project towards empathy. I love telling stories, finding points of connection to and entry into lives distant from mine, and the small act of community building and consciousness raising that comes with each performance. Theater, especially theater in intimate spaces, can demand an immediate and visceral connection between audience and performer that both engages the imagination, and bypasses it, to go straight for the gut.

Who do you play in Body?: Body is a fully ensemble piece, but my main role step out role is that of the Doctor. She is a trauma surgeon.

Tell us about Body:Body is a fully devised piece, that started with a germ of an idea and some bodies in a room. The initial activation energy came from the real life inspiration of two people: a painter of nudes and a trauma surgeon. How do these two professionals see and encounter the body differently? Our exploration lead us to other sources of inspiration: a sister struggling with her sister’s absence, and a woman grappling with the literal loss of part of herself. Body has become an exploration of our relationships to, and through, the body.

What is it like being a part of Body?: My work and education have taken me out of the city for 5 or so of the 8 years I have been working with blessed unrest, but even with that time away, blessed unrest has become the artistic home to which I always return. Body has brought together an ensemble of actors who know each other both as professionals and as complex whole people. We are a true family, and from that foundation our rehearsal room is utterly safe and therefore deliciously dangerous.

What kind of theater speaks to you? What or who inspires you as an artist?: I’m an omnivore, theatrically. I’ll see shows in houses and warehouses and Broadway houses. I am moved by theater that seems necessary, that lingers with me afterwards, that surprises me by engaging my thoughts and my feelings, and that demonstrates mastery and/or exuberant mess. Tom Nelis, Chuck Mee especially as directed by Tina Landau, Ivan Van Hove, Jason Robert Brown, Fun Home, Trip Cullman, Laurie Metcalf, Branden Jacob-Jenkins, Ko Murobushi, Keli O’Hara, K. Todd Freeman, Will Eno - these are some of the people who inspire me.

Any roles you’re dying to play?: I’d love to do a Shakespearean pants role: Rosalind, Portia; and I’ve recently developed a hunger for Lady M. Anything by Will Eno.  I do love working collaboratively, though, so a play written with me in mind, that I’d really love to do.

What’s your favorite showtune?: At this moment, "Another Life" by Jason Robert Brown. But I was raised on Camelot and have a solid through line of love for Sondheim.

If you could work with anyone you’ve yet to work with, who would it be?: There are so many wonderful artists I’ve yet to work with. Today, I’ll say Steppenwolf. The totality of the world they created with Airline Highway blew me away.

Who would play you in a movie about yourself and what would it be called: Jessica Ranville then Keri Russell and then Annette Bening. “The Right Words”

If you could go back in time and see any musical or play you missed what would it be?:The Rite of Spring complete with riot.

What show have you recommended to your friends: Airline Highway. Gloria. Fun Home. Hand to God. Curious Incident.

What’s your biggest guilty pleasure?: Nut butter from the container, frequently on a double-dipped spoon.

What’s up next:The Return at the Metropolitan Museum of Art in July. This piece is an intersection of traditional performance and new technology. I play a docent in conversation with a digital avatar of a Renaissance sculpture of Adam, played by an actor in a motion capture suit in the next room and rendered using gaming technology. Together we tell the story of how the sculpture, the Biblical Adam on which it is based, the fall that shattered it in 2002, and the digital Adam that was used to help the conservators reconstruct it over 12 years are all intertwined.
http://www.metmuseum.org/events/programs/concerts-and-performances/the-return-reid-farrington
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Spotlight On...Kevin Jaeger and Alex Mitchell

July 1, 2015, 10:16 am
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Name: Kevin Jaeger and Alex Mitchell

Hometown: 
KJ: Ponte Vedra Beach, Florida
AM: East Windsor, New Jersey

Education:
KJ: Florida State University
AM: AMDA

Favorite Credits:
KJ: As an actor, Louie in Do Black Patent Leather Shoes Really Reflect Up? and Joseph Wykowski in Biloxi Blues.
AM: Performing as Private Louden Downey in A Few Good Men, Noah Countability in Billionaires for Bush and singing aboard the Norwegian Majesty.
KJ: As writers, I think we can definitely agree that the upcoming World Premiere of Spot on the Wall in the 2015 New York Musical Theatre Festival is our favorite credit.
AM: Absolutely.  Hands down.

Why theater?:
AM: Because live theater is one of the most honest and intimate ways to tell a story. The connection that is created and the communal experience that is shared between audiences and performers when the curtain rises and the lights come up--there's nothing like it in the world.

Tell us about Spot on the Wall:
KJ: Spot on the Wall is a musical about the beautiful forms of art and self-expression that are born out of love, loss, and grief.  Paul Hunter, a photographer, is preparing for an exhibition of his artwork that focuses on his mother's recent lost battle with cancer. As Paul and those close to him are forced to face their past on the walls of the museum, they learn to appreciate the ugly side of life and see the beauty in the stories we live.

What inspired you to write Spot on the Wall?:
AM: We both began as actors, so I think first and foremost we were inspired to create a show that actors would want to do.  Actors are the instruments of storytelling in theater and giving them a piece they can really sink their teeth into was something we were very focused on.
KJ: We were also inspired by elements of Greek mythology.  I have a degree in Classical Civilizations with a focus on Ancient Greco-Roman Society and Culture--
AM: And I've always loved mythology.
KJ: So we were both excited about creating a contemporary story with allusions to classical mythology.

What kind of theater speaks to you? What or who inspires you as an artist?:
AM: Theater that is honest and original.  Pieces that inspire you to think and question things.  Shows that push the boundaries of storytelling and reimagine the strengths and limitations of the live theater experience.
KJ: People like Jeanine Tesori, Lisa Kron, Simon Stephens, Marianne Elliott, Lin-Manuel Miranda, Tracy Letts, and the incomparable Stephen Sondheim continue to raise the bar and advance the art form of live theater.

If you could work with anyone you’ve yet to work with, who would it be?:
KJ: We've definitely fantasized about working with people like Audra McDonald, Michael Cerveris, Brian d'Arcy James, and Lindsay Mendez...but to be honest, we have been amazingly blessed with the people we've been able to work with so far!  Our cast and creative team for the NYMF production of Spot on the Wall is an absolute dream team, so we're pretty lucky guys!
AM: As long as we can continue to work with people who are passionate about telling stories, we're happy.

What show have you recommended to your friends?:
KJ:Fun Home and The Curious Incident of the Dog in the Night-Time.
AM: Two of the best shows we've ever seen.  Just amazing.  Everyone should run and see both of these productions.

Who would play you in a movie about yourself and what would it be called?:
KJ: Chris Pratt...in his chubbier "Parks and Recreation" days...and it would probably be called "Finding the Words".
AM: Eddie Redmayne and it would be called "A Search Within".

If you could go back in time and see any play or musical you missed, what would it be?:
KJ: The opening night of Sweeney Todd on Broadway!
AM: Anything produced by The Group Theater in the 1930's!

What’s your biggest guilty pleasure?:
KJ and AM: AMERICAN NINJA WARRIOR!!
KJ: We've been watching it for a few seasons now and we're obsessed!  We never miss an episode.
AM: But it's not really a guilty pleasure...I mean, I don't feel guilty about it.
KJ: Because Alex is going to be on it one day.
AM: Exactly.  First goal: Establish Jaeger/Mitchell on the Musical Theater scene. Second Goal: American Ninja Warrior. But really. I'm serious.

If you weren’t working in theater, you would be _____?:
AM: Music Therapy with children.
KJ: Teaching High School English.

What’s up next?:
AM: We hope for a continued life for Spot on the Wall after our run in the New York Musical Theatre Festival, but we also have a few new shows in the works.
KJ: We have a new piece with the working title Everything No One Should Know that we're excited to develop...plus we have some other ideas we're working on.  We've got a lot of stories and we're so excited to share them.
AM: Plus...there's American Ninja Warrior--
KJ: Of course, can't forget about that.

For more on Spot on the Wall, visit spotonthewall.com and nymf.org.
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Spotlight On...Becky Goldberg

July 1, 2015, 1:31 pm
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Name: Becky Goldberg

Hometown: Farmingville, NY

Education: I got my BA in English from SUNY New Paltz, and my MFA in Dramaturgy from Stony Brook University

Favorite Credits: Directing: Neighborhood 3: Requisition of Doom, Dramaturgy: Rabbit Hole, Pvt. Wars

Why theater?: Theatre practitioners are the best problem solvers. We're clever, resourceful, and innovative, and those are a qualities that I really admire in people. I also love that theatre asks us to look at and watch ourselves (represented by characters, of course!), as we are. There's no other media that requires you to watch a representation of real life that is quite as tangible as theatre, and I think it's really powerful because of that.

Tell us about 210 Amlent Avenue: It's the story of a woman trying to let go of the past and a young man trying to discover and embrace it. It explores family, love, lies, and the things that connect us to the other people around us.

What inspired you to write 210 Amlent Avenue?: Karl, the composer, asked me to come in and write the book for the show. I'm inspired by a lot of the classic story tellers in the theatre world: Ibsen, Chekov, etc, but am also greatly moved by the Americans that are becoming the "new" classics: Letts, Abaire, Albee, etc.

What kind of theater speaks to you? What or who inspires you as an artist?: I'm drawn to art, not just theatre, that makes me think about myself. I love finding things that pop the little bubble that I live in and make me think outside of the world that I live in. In a lot of what I write, I'm inspired by my own grief and trauma, and love using my characters as an outlet for my own demons.

If you could work with anyone you’ve yet to work with, who would it be?: I wake up every day disappointed that I haven't spontaneously morphed into Tina Fey, and I understand how unrealistic that is, so I would settle (ha!) for working with her. What a dream. She's made it okay to be an awkward, geeky, smart, creative chick, and I love her for that.

What show have you recommended to your friends?:August: Osage County, Spring Awakening, Next to Normal, The Curious Incident of the Dog in the Nighttime, and Mabou Mines' production of Peter and Wendy (it was, I think, the most beautiful thing I've ever seen).

Who would play you in a movie about yourself and what would it be called?: Thora Birch (we look alike), and it would be called Cynically Optimistic (also the name of my hypothetical autobiography. Clearly, I've thought about this)

If you could go back in time and see any play or musical you missed, what would it be?: Ohh..... Gosh.  Tyne Daly, Cynthia Nixon, and John Gallagher Jr. in Rabbit Hole. But also Michael C. Hall in Hedwig.

What’s your biggest guilty pleasure?: Sushi isn't really guilty, so that can't count. Noodles are guilty. I love noodles and ramen. And REALLY dirty gin martinis... Probably not at the same time.

If you weren’t working in theater, you would be _____?: Teaching (this is cheating because I already do). If I wasn't in theatre or theatre education, I'd probably be a Funeral Director (morbid, right?). I've always been interested in it as a career, for some of the same reasons I love theatre: you are the human connection for a person in a moment of redefinition and discovery, and something about that really speaks to me.

What’s up next?: I'm teaching a playwriting workshop and dramaturging a show in the fall, directing a play called She Kills Monsters in the spring, and will be working on my next play, a piece entitled Restless.

For more on 210 Amlent Avenue, visit 210amlentavenue.com or nymf.org
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Spotlight On...Neal Mayer

July 2, 2015, 8:41 am
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Name: Neal Mayer

Hometown: Toms River, NJ

Education: B.A. Communications - Susquehanna University.  In New York, I’ve studied acting at the Atlantic and with Wynn Handman and Betty Buckley.

Select Credits: Recently, I was seen as St. Aphrodisius in The Hunchback of Notre Dame at La Jolla Playhouse and Paper Mill Playhouse. I’ve appeared on Broadway in Les Misérables, on tour in Priscilla Queen of the Desert, and off-Broadway in Forbidden Broadway and Bush is Bad.  I’ve also been featured in comedy sketches on "The Tonight Show" and "Late Night With Jimmy Fallon".

Why theater?: There is nothing like the excitement of a live audience.  It really is the essential “other character” in any play. When it all comes together, there is a charge from the audience that is palpable.

Who do you play in Spot on the Wall?: I play Mike Hunter, a wealthy museum patron who is still reeling from the death of his wife.

Tell us about Spot on the Wall: The show centers on a young photographer (played by the wonderful Robert Hager) who is about to open an exhibition of photos chronicling the death of his mom to cancer.  On the day of the opening, the ghosts of the past haunt the living as they try to come to terms with the choices they’ve made in their lives. It has a truly original contemporary score that will be played solely on guitar, bass and violin.

What is it like being a part of Spot on the Wall?: I love working with the creative team. They’re young, dynamic and really excited to present this piece to the world.  Composer Alex Mitchell and Book Writer/Lyricist Kevin Jaeger are so open to actor questions and input, and they are constantly re-writing. You’ll be hearing a lot from them in the future.

What kind of theater speaks to you? What or who inspires you as an artist?: I love plays and musicals that surprise me and transport me. This season, Disgraced and The Curious Incident of the Dog in the Night-Time both did that in completely different ways. You would never have that same experience in another medium.   A few seasons back, One Man, Two Guvnors knocked me out with a first-rate script and hilarious performances. I’m also inspired by Jeanine Tesori’s work and am so excited to be seeing Fun Home next week.

Any roles you’re dying to play?: I love being part of new works so I look forward to something that isn’t even out there yet.  Of the current Broadway musicals, I’d love to play Jefferson Mays’ roles in A Gentleman’s Guide to Love and Murder.

What’s your favorite showtune?:"If I Loved You” from Carousel is the perfect theatre song and makes me tear up every time I hear it.  (But I also love “All That Jazz,” “For Good,” “Unlikely Lovers,” “The Ballad of Sweeney Todd,” “Suddenly, Seymour”…)

If you could work with anyone you’ve yet to work with, who would it be?: Director Marianne Elliott. War Horse and Curious Incident were two of my favorite theatre experiences of the last decade.  Her storytelling and use of theatre craft are pure genius.

Who would play you in a movie about yourself and what would it be called?: Ewww. I’d never want to see a movie about me!  I’d spare the world!

If you could go back in time and see any play or musical you missed, what would it be?: I’d love to have been in the audience for the opening nights of the original Show Boat and Oklahoma! to see how groundbreaking they really were.  And I’m a huge Gypsy fan, so I’d like to catch that original cast as well.

What show have you recommended to your friends?:Curious Incident of the Dog in the Night-Time.

What’s your biggest guilty pleasure?: Eating cereal. All kinds of cereal. There are at least five different boxes of cereal in our pantry at any time. Apple Jacks, Heritage Flakes, Cheerios, Frosted Mini-Wheats, Captain Crunch with Crunch Berries… Don’t judge me!

What’s up next?:  I’m thrilled that we’re going into the studio in August to record Alan Menken and Stephen Schwartz’s gorgeous score from The Hunchback of Notre Dame. That was one of my favorite theatre experiences to date, and I’m so happy that the music and the performances of the Paper Mill cast will be preserved.  I’ll also be working on an exciting new musical by Josh Rosenblum called Mark Felt, Superstar. I play Mark Felt, the FBI man who was Deep Throat, Bob Woodward’s secret source during the Watergate investigation. We did four workshop performances in April, and it looks like we’ll be doing a limited run later this year.  In keeping with the Deep Throat theme, I can’t reveal where until the time is right…”

For more on Spot On the Wall, visit spotonthewall.com and nymf.org.
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Spotlight On...Christopher Geary

July 3, 2015, 11:00 am
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Name: Christopher Geary

Hometown: Natick, MA

Education: Fordham & Yale School of Drama

Select Credits: Morgan Gould’s groundbreaking re-imagining of “Shrek” that we did in that women in the arts festival and the original Losing Tom Pecinka at HERE. Upcoming: These Paper Bullets at The Geffen in LA and The Atlantic in NYC.

Why theater?: Because it rewards and encourages bravery and empathy, which as I’ve gotten older has influenced my everyday life I believe. Also the moments of having audience completely engrossed and on the edge of their seat is amazing, it doesn’t always happen, but when it does it just drives you to go further.

Who do you play in Losing Tom Pecinka?: I play Kai, a young man struggling to accept the loss of his best friend.

Tell us about Losing Tom Pecinka: It’s like no other play I’ve ever seen or worked on in that it dares to go there. Where? Exactly. It has got it all, love, loss, science, sound cues, Amir in a hat, stage pictures.

What is it like being a part of Losing Tom Pecinka?: We have such a great time working together, and I trust Morgan and these actors so much that going to rehearsal is a pleasure every single day. I also love to see how we’ve all grown up a little since the last time we did the show and yet remain completely stupid in all the best ways.

What kind of theater speaks to you? What or who inspires you as an artist?: I suppose I’m a fan of extremes, I either want it really dark or really funny. I want to feel like I’m losing my mind or just have a great time. I think what Branden Jacobs-Jenkins is doing is pretty incredible. There is nothing Steven Skybell cannot do. Also my friends and peers inspire and teach me every time I watch them work or create characters.

Any roles you’re dying to play?: I mean whatever I write here someone will be like “what a boring answer” but fuck them. I would love to play Vanya and Richard II but to be able to create a role that would stand the test of time would be the ultimate dream for me.

What’s your favorite showtune?: Right now “Something Wonderful” from The King and I. It perfectly sums up what a long-term relationships. Also that NY Times video of Ruthie Ann Miles performing it is outstanding.

If you could work with anyone you’ve yet to work with, who would it be?: I would love to be in an Ira Sachs movie or maybe do a production of “The Vortex” with Amy Morton.

Who would play you in a movie about yourself and what would it be called?: Quincy Tyler Bernstein and it would be called “The Irish Whisper”

If you could go back in time and see any play or musical you missed, what would it be?: Janet McTeer in A Doll’s House

What show have you recommended to your friends?: Go see Hand to God so we can have more plays like it in the commercial arena.

What’s your biggest guilty pleasure?: House Hunters International

What’s up next?: These Paper Bullets in LA at The Geffen then in NYC at the Atlantic, a fun take on Much Ado About Nothing with the best cast and creative team.
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Review: A Misguided Musical Satire

July 4, 2015, 10:53 am
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Big corporations are a joke to many. They might mean well but their inner workings and people who run them are destined to be lampooned. Written by Katherine Brann Fredricks and Paul Edward Nelson, Black Hold Wedding is a zany musical comedy about the sinister head honcho of an oil company and the resilient brainiac destined to bring him down.
With shades of Urinetown, Black Hole Wedding is a weaker attempt at satirizing corporate America. With a score reminiscent of standard Broadway pop, Black Hole Wedding evokes a colorful vibe. The music has its catchy moments but gets completely bogged down by the libretto. It's evident that the story makes sense to writer-director Fredericks but she was unable to offer the complete saga without backtracking. Many integral plot points are skipped over at the start, causing severe problems along the way. With great potential in concept, Black Hole Wedding is in desperate need of a new directorial eye and an incredible dramaturg. And possibly a title change. It's not until nearly two-thirds of the way into the musical that any mention of a wedding is introduced. With the exception of the well-rounded Raymond, the remainder of the characters have potential for depth-filled arcs but fall victim to plot. Many crucial check points are rushed or bypassed, especially in Dean. Fredricks gives Dean a sick obsession with golf and rarely strays from the corny analogies. The rivalry between Dean and Raymond is not as strong as it needs to be because their interactions are minimal. If Dean was truly a tyrant with successful scare tactics, face to face threats bring higher stakes than passing off the work to his cronies. Like many other musical comedies, a love story was introduced. It was obvious it would occur but again, its introduction was rushed and unnatural. With so many unclear points within the plot, it’s hard to find what really works.
photo courtesy of Hunter Canning
To bring the piece to life, Fredricks brought a talented cast together to tackle the weak material. With the character so strong already, Aaron Riesebeck was a standout. Riesebeck brought a fun nerdy quality to Raymond that exposed Riesbeck’s ability to the leading man. As a Mr. Dean, Ravi Roth did what he could with the material offering a powerhouse vocal to the stage. Hadley Cronk as company masseur Summer was sweet and endearing. Ashanti J’Aria and David Marmanillo as company cronies Calista and Eugene had the most difficult characters to tackle, stuck in the rut of one-dimensional moments.
With Katherine Brann Fredricks wearing the directorial hat as well, the production wasn’t quite up to the standard it needed to be. There were many moments of confusion that interrupted to flow of the show. With the makeshift as makeshift can be set by Shana McKey Burns, Fredricks ability for smooth transitions was hopeless. That being said, had the set continued with the black and white comic book style of Raymond’ apartment, it’s possible that things could have felt cohesive. The costumes by Anna-Alisa Belous seemed to have been sponsored by Aeropostale with every Dean crony sporting a color polo from the teen-loving shop. With the hopes of a flashy musical, Black Hole Wedding featured many moments of choreography. The stage at the Paradise Factory was small to begin with, feeling stuffed when the entire ensemble was on stage. But the choreography offered was more awkward than comical. The moment that the Macarena was brought onto the stage, all credibility was lost.
Black Hole Wedding is rich in potential but needs a strong vision for a future. But thankfully with a strong and willing cast, the potential can be seen.
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Spotlight On...Andrew Bridges

July 4, 2015, 11:07 am
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Name: Andrew Bridges

Hometown: Exeter, NH

Education: BFA in Theatre from NYU's Tisch School of the Arts

Select Credits:High School Musical (Ogunquit Playhouse), The Full Monty (Seacoast Repertory Theatre),  "NYU Reality Show" (Beacon Theatre and Theatre at MSG). TV: "Public Morals" (TNT dir. Ed Burns)

Why theater?: I spent a lot of time thinking about this in school. I'm still not sure if I have an answer that's 100% clear, but I think it all comes down to being able to affect people. It's that catharsis an audience gets when they watch something. They can experience so much empathetically through the actors onstage, whether it's ridiculous and funny situations or very difficult emotions, it's our job as actors to put ourselves in those situations so an audience can experience them through us, and hopefully come out the other side somehow changed. That change we can give to people, that's what makes it worth it.

Who do you play in The Cobalteans?: I play Gabriel, the "bold leader" of the group of boys, who passed away a year before the play takes place.

Tell us about The Cobalteans: So it's been a year since Gabriel's death. His parents have sold the lake house and he and his 'brothers,' both blood brothers and chosen brothers, grew up spending their summers in. The four remaining boys from the group of friends meet at the lake house for one last night, to memorialize Gabe and say goodbye to the house. Tensions quickly rise as blame is placed for Gabriel's death. Through both humor and intense emotion, taking place in the past and present, the boys attempt to find some peace from the year of grief they've all been drowning in.

What is it like being a part of The Cobalteans?: This show is actually extremely close to me. I've been involved practically since day one, when Yianni came to me and said "I want to write a musical about a group of friends who loses one of their own, and I want to write a part for you in it." Flash forward six months and we were doing our one-night-only, self-directed workshop performance at Dixon Place, which both Yianni and I were in. Since that show the journey has been incredible. Ben has taken a more prominent role in writing the music (the three of us split the duties the first time), and the new songs he's churned out are outstanding. Yianni's lyrics are effortlessly heartbreaking. It's an actor's dream to work on material like this, and it's just an added bonus that it was written by two of my best friends.

What kind of theater speaks to you? What or who inspires you as an artist?: Honestly, I feel like The Cobalteans perfectly exemplifies the kind of theater I love. It's a show about five distinct people and the relationships between them. It's nothing fancy at all. All it does is show a slice of these guys lives, and how a major event affects them.  Raw human behavior and emotions.

Any roles you're dying to play?: Either Gabe or Henry in Next To Normal (which also started at NYMF). When I'm a little older I'd love to play the Man in Once.

What's your favorite showtune?: Anything from In The Heights. I was a big hip hop fan before that show came out. I went to see it in 2008 not knowing anything about it, and absolutely freaked out when they started rapping. Lin Manuel is a hero of mine.

If you could work with anyone you've yet to work with, who would it be?: Lin Manuel-Miranda (see previous answer). Tom Hanks. Bryan Cranston. Vince Gilligan. Christopher Nolan. This list could go on for days. I like to dream pretty big.

Who would play you in a movie about yourself and what would it be called?: I would like to live my entire life, then go back in time and watch Ian Mckellan play me aged exactly as he is right now. I think the title is yet to be determined.

If you could go back in time and see any play or musical you missed, what would it be?: I bet the original A Chorus Line was pretty magical.

What show have you recommended to your friends?: I told everybody to go see Once when it was playing. I saw it twice myself.

What's your biggest guilty pleasure?: Netflix. I can watch an entire TV series with the best of them. I'm currently working on season two of USA's "Graceland".

What's up next?: I'm actually mainly focused on breaking into the world of TV/film.  Nothing ground breaking planned at the moment. Perhaps a west-coast move. Hopefully more Cobalteans. We'll just have to wait and see!

For more on Andrew, visit http://www.bridgesandrew.com/ . For more on The Cobalteans, visit thecobalteans.com or nymf.org.
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Spotlight On...Karl Hinze

July 5, 2015, 1:08 pm
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Name: Karl Hinze

Hometown: Milwaukee, WI

Education: BA Math and Music, College of the Holy Cross, MA in Music Composition from Stony Brook University (currently a PhD candidate there)

Favorite Credits: I had a blast writing music for Are They Edible?, an experimental puppet show by Jeanette Yew, inspired by Homer's epics, that went up at La Mama last year. I also loved getting to write a few songs for Shackled Spirits, a multi-media dance drama by Lynn Kremer that was seen at the 2013 Bali Arts Festival.

Why theater?: Theatre has always felt like home to me—I just love surrounding myself with the high level of artistry and technical skill, the passionate storytelling, and above all, the people. Especially for weird kids with strange, dark stories to tell, theatre is both a haven and a springboard. Also, the very best of theatre makes me feel and think differently, and that's what I've always aimed to do in my own work.

Tell us about 210 Amlent Avenue: This is a show I've been working on with playwright Becky Goldberg for about five years—it's a contemporary drama about searching for family and coming to terms with the past. We've been describing it as August: Osage County meets A Little Night Music.

What inspired you to write 210 Amlent Avenue?: The play started with the image of this big house, and the idea that this house could represent different things to different people—an escape, a prison, a future, a memory—depending on their experiences there. It's a story all about the gray areas, the in-betweens, so it's appropriate that the music and lyrics live in that gray area too: the score is somewhere between musical theatre, classical art song, and pop music; the lyrics, somewhere between everyday speech and heightened poeticism.

What kind of theater speaks to you? What or who inspires you as an artist?: It's very hard to encapsulate all the different types of theater I love... I can have a blast at an intimate family drama the same as I might enjoy a frothy comedy. If the craft is good, I'm there. That being said, the stories that speak to me most directly are the ones about people confronting their demons, both within and without (Ibsen's Ghosts, Hand to God, and my beloved Drowsy Chaperone come to mind). I'm also very inspired by the work of Adam Guettel, William Finn, and Jason Robert Brown (as well as the inimitable Sondheim), each of whom manages to find intensely personal ways for their characters to express themselves through music and lyrics.

If you could work with anyone you’ve yet to work with, who would it be?: This is the hardest question! Off the top of my head, I'd have to say Barbara Whitman. She's been involved with so many shows that I love (Fun Home, Next to Normal, If/Then, Legally Blonde, Spelling Bee) and since I too am a fan (and author) of "dark stories about families," she is for-sure on my "dream collaborator" wish list.

What show have you recommended to your friends?: This season I'm all about Curious Incident and Hand To God. I rarely have two plays on my must-see-list, but they are both unmissable. I've also been encouraging everyone to see Fun Home, though most people don't need my encouragement, haha.

Who would play you in a movie about yourself and what would it be called?: I would vote for John Gallagher Jr. to play me, since he has demonstrated his stage-to-screen talents (Spring Awakening! "The Newsroom"!) and also has a gorgeous voice. I figure since I'm a composer, it would have to be a movie musical, and it would be called something cheesy like "Opening Night" or "Behind the Music".

If you could go back in time and see any play or musical you missed, what would it be?: I would set my time machine to either 1987 to catch the original production of Into the Woods, or to 1996 to see Floyd Collins. Both of those shows are very special to me.

What’s your biggest guilty pleasure?: Home renovation and real estate TV shows. I will talk your ear off about any "Flip or Flop,""Love It or List It,""Rehab Addict," or my newest favorite, "Million Dollar Listing: New York," which is—I'm not joking—basically a "Real Housewives" franchise behind a thin veneer of apartment eye-candy.

If you weren’t working in theater, you would be _____?: I would probably just be doing more of the other things I do now: designing website and teaching music theory/composition.

What’s up next?: I have a new musical adaptation of Monteverdi's Poppea in the works with lyricist Patrick Spencer and bookwriter Susan Murray, which is in the early stages but looks like it'll be a lot of fun (and will double as my doctoral dissertation, so you can finally call me "Dr. Music"). I've also been tossing around ideas for a musical inspired by the "Slender Man" stabbing with Charlie O'Leary. But before any of that, I hope you'll join us for 210 Amlent Avenue July 9–14 at NYMF!

For more on 210 Amlent Avenue, visit 210amlentavenue.com or nymf.org
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Spotlight On...Devin Dunne Cannon

July 5, 2015, 2:36 pm
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Name: Devin Dunne Cannon

Hometown: Rochester, NY

Education: BFA Musical Theatre, New School University

Favorite Credits: Acting credit: Gwen Post in the world premiere of On the Head of a Pin, by a Frank Winters. Directing credit: The Woodsman at 59E59 Theaters.

Why theater?: Why breathe? Live performance is the most unique form of art--where for one brief moment in time, a large group of people experience one singular, living, breathing event. And then it is gone, and the next night a brand new group will experience something entirely different. It's fleeting and fragile and temporary and yet often stays with you forever.

Tell us about Spot on the Wall: This show, in many ways, is everything that I love about theatre in one show. This musical takes place in a museum, and yet the true "art" of the show are the living, breathing characters who exist within it, not what hangs on the walls. This show has modern catchy tunes, Classic Greek mythology, contemporary dance and a story with honesty and heart. It's theatre at its best.

What inspired you to direct Spot on the Wall?: I've been attached to this project for years...ever since the day in 2011 that these boys asked me to come down to the Jersey shore for a weekend and tell them what I thought of their "attempt to write a musical." I've been helping in its development since almost day one.  Alex Mitchell and I went to college together, and when he came to me with this idea, I said, "Write it. And when we get to NYMF, I'll direct it." We were sort of kidding. But the universe wasn't.

What kind of theater speaks to you? What or who inspires you as an artist?: There is no one form of theatre that speaks to me. I love anything from a small black box play in the middle of Queens to a huge Broadway musical with million dollar sets; provided it is honest. Spectacle means nothing to me if the show has no heart. And minimalism means nothing to me if I don't believe it. Tell me a good story. That can be done with zero dollars, no words, and no set…. Just be honest. and I'll follow you anywhere. Who inspires me? If I am sticking with honesty, my friends. A group of my friends got together recently to sit in a room and read The Cherry Orchard, and drink vodka and talk about the play. And there was enough talent and open conversation in that room to last a lifetime. Those who inspire me to create and learn and grow are also those whom I love most.

If you could work with anyone you’ve yet to work with, who would it be?: Cliche? Maybe. But Meryl Streep. She has been a guide in my life for quite some time, and she seems to radiate a humbleness and joy that I imagine would make any room a more pleasant and collaborative one.

What show have you recommended to your friends?:Spot on the Wall.  Tickets are selling fast, you don't want to miss it!

Who would play you in a movie about yourself and what would it be called?: I think I’d play myself, and it would be called "How to Die on Vacation."

If you could go back in time and see any play or musical you missed, what would it be?: I don't need to go back in time, but I've yet to see "Sleep No More," and it is haunting me.

What’s your biggest guilty pleasure?: The ID Network - TV shows about murderers and how/why they did it. I mean, the nitty gritty. That and a disgustingly wonderful bowl of ziti with soy sauce and Parmesan cheese.

If you weren’t working in theater, you would be _____?: A blood splatter expert.

What’s up next?: I've been writing a very personal play for the last couple of years, and will begin workshopping it with my theatre company (Strangemen & co) this fall. But a vacation will take place in between.... In which a hospital visit will inevitably occur.

For more on Spot on the Wall, visit spotonthewall.com or nymf.org
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Review: The Rules of a First Date

July 5, 2015, 4:20 pm
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Ah the first date. The night when two love-hungry people meet and begin what they hope will be the first chapter of their lives together. But that can all be derailed at the end of the evening due to one piece of paper. Scholars have been debating for centuries over the proper protocol when dealing with the check. Yes, that's right. The make or break of a date. In Paul Weissman's romcom Dutch, a young pair have a great first date until they split the bill and it all goes downhill from there.
Marianne and John are on the quintessential first date. They share stories, laugh at jokes, smile, and gaze into each other’s eyes. The gateway toward the future. And then the waiter brings the check over. John hesitates. Marianne waits. And finally asks if he wants to go dutch. John agrees and that’s the beginning of the end. Dutch is a romantic comedy about love and dating in the modern age. Weissman’s play is a cute romantic comedy for the stage that recycles stereotypes of the typical Hollywood romcom. Not that that’s a bad thing. The plot is simple. Dutch follows the pair through a journey of dates, a flurry of bad advice from the best friends, and demise and pining of a lost love. While there may not be anything new to gain from Dutch, Weissman and company certainly bring the entertainment. Weissman’s dialogue is quick and witty, bringing some wonderful one-liners to the stage. His characters fall into the regular romcom categories but they seem to still have their own identity. John is the geeky romantic lead. Marianne is the typical overthinker. And Claire and Ben are the quirky and slacker best friends, respectively. For a play about relationships, Weissman does a fine job at crafting solid relationships between the four. The best bud pairings are rich and relevant. They have their own language that allows for the quick dialogue to come naturally.
photo courtesy of Fred Backus
The quartet of Dutch did a superb job bringing life to their characters. As John, Michael Jayson was a terrific romantic lead. Jayson’s essence on stage was reminiscent of Joseph Gordon-Levitt. He was darling, suave, and simply irresistible. Jayson was smooth with his comedic timing, especially with Joseph Esbenshade’s Ben. Esbenshade played up the loveable goofball with the sentimental side. Thankfully Esbenshade avoided the gross out humor that tends to follow this sort of character. As Marianne’s confidant Claire, Morgan Zipf-Meister offered a dry sense of humor and ridiculously on-point comedic delivery. Zipf-Meister was wonderfully quirky, making the role her own. Of all of Weissman’s characters, the only one to fall into the terrible stereotype trap was Marianne who sadly ended up being the least likeable of the bunch. Lindsey Carter had some sweet moments early on, but as the character began to whine, Carter was forced to follow.
Director Fred Backus did a nice job keeping the story real yet fun. Backus kept things simply moving by mostly avoiding scene changes, slamming right into the next scene. Though there were only four, it would have been cleaner to have the actors do any shifts that were necessary. With a small space to contain three large scenic pieces and up to four actors, Backus did all he could to ensure sight-lines were as clean as possible, though the box formation did repeat itself often.
Dutch is a witty and fun little comedy that the romantic inside is sure to relate to. Sometimes theater doesn’t need to be ground-breaking to be entertaining. Weissman and co set out to make the audience laugh. And they did just that.
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