Theater in the Now

Name: Riley Thomas

Hometown: River Forest, IL

Education: Real Life University

Why theater?: Art is the only thing in the world capable of effectively placing a new thought into someone's head. The immeasurable power music has over emotions and the irrefutable power of a live energy exchange between actors and audience makes theater an unparalleled medium of influence. I want to use that power to help heal minds and souls.

Tell us about Wearing Black:Wearing Black is a dark, gritty, visceral, deeply emotional show about a young man's struggle to deal with the death of his twin brother. As audiences watch the main character struggle with his spiral of self-destruction, they're pulled into a riveting journey all about love, communication, and all the different ways people grieve. It's an intense show, but it isn't a total downer. The essence of the piece is hope and the show never wallows in itself - there's plenty of humor and plenty of sex. Don't bring your kids! I'd say it's in the vein of Fun Home, Next to Normal and Rent.

What inspired you to write Wearing Black?: I'm one of those writers who is constantly working on several projects at once, putting my efforts into whichever one causes the muse to whisper in my ear. Several years ago, among other things, I was working on three plays. Each of them were very autobiographical - writer's therapy. I hate self-aggrandizing masturbatory autobiographical therapy theater and knew that none of these plays would ever work on their own, but I realized if I combined elements from each play it would make for an incredibly compelling musical. Wearing Black is the musical culmination of those three plays. In order to best serve the piece, the autobiographical elements have been distorted to the point where they don't directly correlate to my actual experiences, but I still have such personal emotional investment in these characters. They're as real to me as anyone else in my life. The themes that anchor Wearing Black - how we accept and reject love from ourselves and others; how we grieve; the "right" way to handle difficult situations like loss, addiction, personal growth and communication - are all themes that are incredibly important to me, and things that I wish to share with the world. I hope Wearing Black helps people connect with themselves and others.

What kind of theater speaks to you? What or who inspires you as an artist?: I love any theater that does not sacrifice substance for spectacle. I can be moved by just about anything as an artist... people, places, things... but it's usually the intangible ideas that do it for me. Human nature, the essence of good/evil/emotion, whether reality is absolute or subjective, whether people are born or made, bias, prejudice, love, loss, ambition... anything that can't be quantified, that's what interests and inspires me as an artist.

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

What show have you recommended to your friends?: On the Town is a really solid revival, an excellent demonstration of the classical Broadway musical. The Curious Incident of the Dog in the Nighttime is one of the best adaptations I've ever seen, and there are some truly remarkable moments, as well as some really intelligent design elements.

Who would play you in a movie about yourself and what would it be called?:"Shocked but not Surprised" starring one of the lesser known Muppets.

If you could go back in time and see any play or musical you missed, what would it be?: The original Antigone by Sophocles. To be able to experience one of the first master playwrights' works in its original form would be an unbelievable honor.

What’s your biggest guilty pleasure?: Chicken parmesan. I could eat it every day.

If you weren’t working in theater, you would be _____?: hopelessly lost.

What’s up next?: Beyond Wearing Black at NYMF 2015 is the release of the film version of my musical Stuck, and its subsequent transfer back to the stage!

For more on Wearing Black, visit nymf.org

When you think of Samuel Beckett, you instantly think of Waiting for Godot. But the avant-garde writer’s repertoire is much deeper. Like Godot, Happy Days is another rich language play about “nothing.” In The Flea presentation of The Theatre @ Boston Court’s production of Happy Days, Winnie is buried deep in the ground and her husband Willie is lost behind her. The Beckett two-hander follows the daily routine of two people in a play that is certainly an acting masterclass.
Happy Days by Samuel Beckett is certainly absurd. It’s long and runs on about nothing. Yet there are some exquisite intricacies in nothing. The play begins with Winnie buried waist-deep in the ground as she goes about her day, pulling items from her bag, calling out for her husband, and longing for a happy day. We don’t know the circumstances as to why she’s in this predicament but Beckett makes us not care. As time creeps by, we see glimpses of her husband Willie as she reminiscences about the past. With a play so rich in implication, Happy Days is a play about the monotony of the mundane during a time of decay. This piece is certainly not for everyone. With two acts and much repetition, it’s quite possible to zone out before you enter Act II and Winnie is buried up to her neck. But if you made it through the whole piece, you can’t help but appreciate the stellar performance by Brooke Adams and the transformative Tony Shalhoub. Adams and Shalhoub, who was a wonderful support, are veterans and certainly knew how to captivate a willing audience. Adams take on the behemoth part was simply breathtaking. Adams and director Andrei Belgrader clearly took the time to map out the beats to give each moment life. Adams brought sentimentality to Winnie that made you feel for her and her situation. She made stillness vibrant. Truly a mark of a brilliant performer. While Shalhoub may be the household name draw to the piece, he brought something fantastic to the stage. The way he threw himself around and communicated through sound cannot be compared. It’s quick to say that Shalhoub had the “easy job” in this one but he was able to find ways to worth in the small part.

photo courtesy of Joan Marcus

Director Andrei Belgrader had the task of focusing on language and timing. Belgrader eased into this world, breathing life onto the stage. Happy Days doesn’t have to be completely about sorrow and Belgrader gave Winnie a truly happy day. The set by Takeshi Kata looked like a set. The mound was a theatrical mound. The backdrop was a theatrical painting. It fit the absurdist world but didn’t seem to match the vitality of Adams and Shalhoub. Yes, putting a real mound of dirt on stage isn’t quite an option but there was something off and disappointing. Robert Oriol’s sound design was like the third character of the piece. When the alarm sounded, it meant alertness for both Winnie and any potential audience member. The tone that Oriol used was absurd and fitting. Prop designer Madison Rhoades had the unique task of making the items timeless yet significant to Winnie. With a play where there is little to no action, the audience is bound to focus on the little things. And the little things of this piece are the props. Rhoades did a phenomenal job selecting and purposing the right pieces. When Winnie is examining her items, so are we.
Happy Days is a play for the absurdist fan. If that’s not your cup of tea, Happy Days is a great nap. But if you’re looking for a performance that will blow you away, look no further than Brooke Adams. She is the heart and soul of this production.

Name: Rhys Gilyeat

Hometown: Gilbert, AZ

Education: Private Study

Select Credits: Tarzan (MUNY), December '63, Four Seasons Tribute (Frankie), All Shook Up (Arizona Broadway).

Why theater?: I was fortunate enough to have been raised in theater, so for me it's as natural as breathing. As an adult I now appreciate it as the beautiful craft that it is, and not just a compulsion.

Who do you play in The Calico Buffalo?: The Chief of the buffalo tribe.

Tell us about The Calico Buffalo:TCB is a really beautiful modern fairy tale that reminds us of the importance of social inclusion and looking beyond the surface. It takes a sophisticated and universal topic and makes it accessible to everyone, reminding us quite simply that all of us are beautiful.

What is it like being a part of The Calico Buffalo?: It's been a wonderful experience, the producers have gathered a fantastic team and the cast bonded immediately from day one. Creativity is flowing rampantly in the rehearsal rooms.

What kind of theater speaks to you? What or who inspires you as an artist?: New musicals have always been my passion. I love being involved in new shows, getting to participate in the original creative process, from the ground up. I'm inspired constantly by my colleagues and fellow NYC performers. External inspiration comes from my constant travels and from a great love of literature.

Any roles you’re dying to play?: I'm dying to originate a role in a new show.

What’s your favorite showtune?: This is incredibly difficult. But Yazbek and Sheik are two composers that consistently resonate with me.

If you could work with anyone you’ve yet to work with, who would it be?: Susan Stroman, David Yazbek.

If you could go back in time and see any play or musical you missed, what would it be?: This may be a cliche, but I'd probably choose the original cast of RENT, or the original Ragtime. They were both very significant parts of my teenage years.

What show have you recommended to your friends?:Curious Incident of the Dog in the Nighttime. A stunning piece of theater.

What’s your biggest guilty pleasure?: Books, In N Out Burger, the Astoria-Ditmars Taco Truck.

What’s up next?: I am constantly touring with my Frankie Valli and the Four Seasons Tribute DECEMBER '63 where I perform as the lead, and I am currently at work on a YouTube series that features myself and the works of new composers. Look for it in August. #OptionUp

For more on The Calico Buffalo, visit facebook.com/calicobuffalomusical or nymf.org

Name: CJ Eldred

Hometown: Seattle, WA

Education: BFA University of Michigan

Select Credits:The Book Of Mormon (Elder Price)

Why theater?: Well, when I was trying to chose between pre med, banking and music theatre I thought the most stable career would most likely be theatre. And it's definitely the most fun of the three.

Who do you play in Claudio Quest?: I play the perpetual hero Claudio!

Tell us about Claudio Quest: The show lies in the pixilated world of vintage 90's video games and follows the hero Claudio, his not so super brother Luis, and the butt kicking Princess Fish on their quest to save Princess Poinsettia from a homicidal platypus.

What is it like being a part of Claudio Quest?: It's honestly the most fun I've had doing anything in a long time. The show lives in such a hilarious but honest world that every rehearsal is a perfect mix of play and hard work. I found I was instantly friends with the whole cast and John (director) and Shannon (choreographer) are such joys to work with! I might cry when it's all over.

What kind of theater speaks to you? What or who inspires you as an artist?: Anything that's genuine speaks to me. It could be anything from Shakespeare to a video game musical, as long as the content and performances are honest I love it. I find artistic fulfillment any chance I get to be truly vulnerable and expose something within myself that scares me. It sounds weird, I know. And my friends, they inspire me as an artist constantly.

Any roles you’re dying to play?: James Bond. I wish I was British everyday just so I could be James Bond. Also Hercules in the musical version (wink wink Disney theatrics) or Westley in "Princess Bride". That would be a dream come true.

What’s your favorite showtune?:“Always Look On The Bright Side Of Life” from Spamalot. God, I love that song.

If you could work with anyone you’ve yet to work with, who would it be?: Lin Manuel Miranda. I mainly just want to be his friend but working with him would be great too.

Who would play you in a movie about yourself and what would it be called?: hahaha, I hope some unknown actor would play me and get his big break doing it. It would be called, “Goofy Movie 2”

If you could go back in time and see any play or musical you missed, what would it be?: Definitely the original Guys And Dolls

What show have you recommended to your friends?:Hand To God. Go see it now.

What’s your biggest guilty pleasure?: I love watching stupid cartoon shows like "Adventure Time" or "Rick and Morty". Definitely made for kids but I don't care. Well, "Rick and Morty" isn't for kids but "Adventure Time" definitely is.

What’s up next?: The unknown haha.

For more on Claudio Quest, visit nymf.org

Returning home doesn't always result in the cheery homecoming you dream of. The return may not be by choice but necessity. In Tim Errickson's The Firebird, Danny returns to the mean streets of Brooklyn after escaping and bettering his life in hopes of saving the lives of those he once loved.
The Firebird is a homecoming story of dramatic proportions. Playing like a Scorsese drama, The Firebird follows Danny as he returns to Brooklyn after his second mother Irene suspects some shady business from her son and husband. What’s uncovered are secrets that could break apart a family as Ricky tries to be the hero in a world he can’t save. Errickson’s piece is a gritty family drama that tackles familiar themes. Errickson does a phenomenal job structuring his play. The order of flashbacks informs the action. The way he layers clues and subtle jabs at the future are smart. Though the play suffers from some repetition that easily be eliminated, the drama plays well. As far as the plot is concerned, the characters have strong objectives. The only character that comes off as selfish and ill intended is, shockingly, mamma Irene. Irene calls upon Danny to help get Ricky out of the gutter and save the family. But when the plot takes a turn for the worst, Irene instantly blames Danny, who’s been gone for years, for the demise of her child. Though he respects and cares about her regardless, you wish he would retort with a “it all comes from parenting, Irene!” Sometimes starting toward the end and jumping back in time allows intrigue and great anticipation. The play begins with a sound prologue. It seems ambiguous to the audience but it's a clue to what is to come. We learn that at some point there is a fight that causes the first scene. Had this sound cue not played, the mystery of Errickson's script would have been heightened greatly. This cue set the tone of the play and it may have hurt it more than helped.

photo courtesy of David Anthony

Leading The Firebird ensemble is Gabriel Wright as Danny. Though his delivery was occasionally forced, Wright brought great determination and soul to the role. Wright’s Danny genuinely cared about the people he was there to save, regardless of how they now felt about him. Michael Romeo Ruocco and Andrea Cordaro as Ricky and Marci get lost in characterization. They're portrayal of the Brooklyn Italians appear better suited in a sitcom world than a deep drama. They are over-the-top and lack believability. Sadly, this hurt the dramatic depth Ricky required.
Director Brian Gillespie did a wonderful job at keeping the stakes high and the action moving. Gillespie ensured that the beats were hit and the necessary plot points were highlighted. The set by Jak Prince remained on stage throughout. It allowed the many scene changes to be quick. While Prince, who also served as lighting designer, couldn’t isolate the areas of the stage, some of the actors leaned on, physically and metaphorically, items that did not live in the specific scene. With a nonlinear structure, storytelling is key. Finding ways to aid in the time jumps are crucial. Costume wise, Oona Tibbetts did nothing. No adding or subtracting items. Had some sort of costume exploration been done, it would have been beneficial to the production. The final flashback that concluded the show featured Danny in a shirt and tie. As this is not a memory play, this costume in that moment did not work. Sound designer Ian Wehrle incorporated an interesting array of hip hop music for the scene shifts. His standout moment was the climatic sound cue that appeared multiple times. The essence and drama of the clip was lost as it sounded like a built cue rather than a moment in time.
The Firebird is an interesting piece of drama. Errickson’s script keeps the audience on the edge of their seats and may long to be preserved in film form. Though there are elements that could use some reworking, The Firebird is in a good place.

Name: Robin Skye 

Hometown: Chicago 

Education: North Shore Country Day (High School), Vassar (College)

Select Credits: This is my 5th NYMF Show, Parade, Cyrano The Musical, Les Miz, Sunset Blvd, The Tony's, The Wizard Of OZ at Avery Fisher Hall

Why theater?: It's what I always wanted to do, except for that year in 7th grade when I wanted to be a Marine Biologist

Who do you play in 210 Amlent Avenue?: Mrs. Jordan

Tell us about 210 Amlent Avenue?:210 Amlent Avenue is about what happens when we look beyond the the illusion of happiness that is wealth and success, to find that sometimes what we want most, may ultimately lead to our downfall.

What is it like being a part of 210 Amlent Avenue?: It's fun, challenging, and a great opportunity to work on a role that is layered and rich. The cast is just fantastic. Sami has done such a terrific job casting such talented, and smart actors. I love working with them. Working with Sami is a joy, and this role has afforded me the opportunity to dig deep to find the many colors of Mrs. Jordon.

What kind of theater speaks to you? What or who inspires you as an artist?: I'm a big fan of those who think outside the box. John Tiffany, Steven Hoggett, Lin-Manuel Miranda,Jeanine Tesori, John Doyle, JRB, the creators of Southern Comfort, James Lescene, and of course, Steven Sondheim and Hal Prince. Those two broke all the rules. Without them, well......

Any roles you’re dying to play?: hmmmm 

What’s your favorite showtune?: Don't have just one

If you could work with anyone you’ve yet to work with, who would it be?: I've had the honor to work with Hal Prince and Jason. I'd love to work with the rest of those on that list.

Who would play you in a movie about yourself and what would it be called?: Parker Posey, and the title hasn't been written yet.

If you could go back in time and see any play or musical you missed, what would it be?: Wow, there are so many. Would have loved to have seen Funny Girl, Merman on stage, Olivier on stage, gosh, so many.

What show have you recommended to your friends?:The Curious Incident Of The Dog, Hamilton, Fun Home, The Audience, The Lion (when it was running), The Absolute Brightness Of Leonard Pelkey

What’s your biggest guilty pleasure?: Can't tell you that. Makes me feel too guilty.

What’s up next?: I'm scheduled to do a six week tour around the country of Broadway-The Big Band Years for CAMI, Keith Levinson conducting.

For more on 210 Amlent Avenue, visit 210amlentavenue.com or nymf.org.

Hot button topics tend to make sensational talking points for theater. Chokehold by Anthony P. Pennino unabashedly goes right into the American race relations and police brutality for a sixty-minute high-octane drama that keeps you interrogative.
Chokehold is a provocative topical piece about racial injustice and the reactionary frame of mind. A group of radicals eager to make a statement “arrest” a young white man in hopes of setting off a firestorm of change in America. Reacting in part of the police brutality and rash of racial injustice continuing to plague the country, these five young activists plan on flipping the roles by filming two African-American “cops” kill a white man. What occurs is a journey of self-reflection and morality as the five and their subject discover just how these situations have altered their minds. Pennino’s script is unafraid of causing a reaction and getting the audience to emote. Pennino right out of the gate drops names and preaches to the audience. But it’s through his subtleties that Chokehold truly lands. Textually, when the five begin to interrogate timid Devon, their dialogue falls into the trap of regurgitated Facebook posts. But when things become personal and the stories and stances are character-driven, that’s when Pennino finds incredible beauty. The characters had depth and stories that were genuine and honest. Pennino allows right and wrong to play out in a fantastically dramatic fashion. The characters believe their actions, killing an innocent person, is justified and you sit in your seat thinking that the situation sounds eerily familiar. This isn’t an arrest. It’s kidnapping. And that’s when Pennino brings you the striking "Isis community college" line, things become authentic. Pennino knows what he’s doing crafting a play that allows you to think. He knows when to introduce humor and allow the audience to lightly laugh. He knows what evokes a certain reaction. But if there is a way to tone down the preachiness in exchange for story, Chokehold will be infinitely stronger.

photo courtesy of Alberto Bonilla

The material is heavy. It’s personal to some. And the ensemble did an astounding job bringing truth to the stage. As the “victim” Devon, Barry Sheppard gave an intricately multi-layered performance. While it may have been easy to go big, Sheppard played it cool. Sheppard brought fear and terror while still maintaining composure. It was raw, gaining incredible sympathy. Sheppard left it all on the stage, which was truly remarkable. As the masterminds behind the operation, Peter Collier and Kara Young as Carter and Dominique were explosive. An unlikely duo to be in control, Collier and Young took command. They were a dynamo. Mle Chester as Tika and Narada Campbell as Andre provided the most emotionally driven performances. Helped by their characters’ backstory, the breakdowns the two captured were stunning. As Jason, Neil Tyrone Pritchard was more than just the menacing force, finding heart within.
The key to success was a strong vision by director Alberto Bonilla. As a production, Chokehold was handsdown a winner. For a festival play, Bonilla and co did everything perfectly. The house went out and a flashlight turned on. And another. And another. And then a camera light. And that was it. Bonilla told the story simply, evoking a strong sense of terror. As if the stakes could have been any higher. Bonilla used the space to his advantage, finding the right moments of movement and stillness. He allowed the beats to be hit and hit hard. There was a great sense of trust between Bonilla and his company as each individual was on the same page.
Winning an audience from start to finish is not always an easy task. I don’t know the last time I sat in a theater and thought solely about the experience. The audience was silent in all the right ways. Chokehold on the surface is a play about race. But it's also a play about reacting in anger. And the final moment proves how anger hurts. Chokehold is destined for a life beyond Planet Connections. It’s a must see.

Name: Nick Santa Maria

Hometown: Massapequa, Long Island, via Flatbush.

Education: Barely got through high school. I didn't like school very much...except as an audience for my humor. I learn best when I'm doing the teaching.

Favorite Credits: Pseudolus in Forum, Max in The Producers, Franz in The Producers, Roger in The Producers, Vince Fontaine in Grease!, Max Prince in Laughter On The 23rd Floor, Richard III in The Lion In Winter.

Why theater?: To be honest, I tried stand up (didn't like the lifestyle), comedy improv (couldn't live on it), and TV and film (not consistent enough). Then one day I got a call from my old improv teacher and friend, Brian Bradley, who was playing Vince Fontaine in Tommy Tune's production of Grease! at the Eugene O'Neill. He wanted to know if I would mind if he recommended me to take over the role in the national tour. Since the character hosted a 45 minute, mostly ad lib pre-show I was eager to take the job. That led to the Broadway production, and ever since then I've been a stage animal. I find amusing that I landed my first Broadway show without an audition. It was all about Brian's recommendation. My theater friends want to strangle me, and I don't blame them.

Tell us about Real Men: It's a thoughtful and wild musical comedy showcasing the highs. lows, and in-betweens of being a guy in our world. We explore things like dating, having kids, getting old, being fat, confronting the influence of our fathers, getting along with our women, and more. There are also some very touching moments to counteract the zaniness. By the way, women have loved this show as much, if not more than the men. We've had an incredible response all the way around.

What inspired you to write Real Men?: Pauly and me have worked together (on and off) for almost 25 years. We worked mostly on children's television utilizing our puppetry skills (although I am not in Pauly's class in the puppetry department. He is a virtuoso. I play by ear). In between set ups on the kid shows we would perform more adult oriented humor using the puppets. We always discussed writing a show together using all of our strengths (Comedy, puppetry. composing tunes, writing lyrics, singing). This is the result of that collaboration. That was our inspiration. Oh, and money.

What kind of theater speaks to you? What or who inspires you as an artist?: My family had absolutely no interest in theater. So, I am more of a film than theater buff. I'm not a big fan of a lot of the musicals on Broadway today. I can't hum the melodies. Too loud. Too crazy. Too atonal. I'm a freak. I watch Turner Classic Movies almost exclusively, and I could actually write the facts you hear during the introductions to the films. I'm a walking encyclopedia of film and vintage show biz. The comedians are my favorites, though and were my teachers: Chaplin, Keaton, Lloyd, Abbott and Costello, The Marx Brothers, W.C. Fields, Laurel and Hardy, Bob Hope, Jack Benny, Fred Allen, etc. I could go on and on. I have a very nice publisher waiting for me to finalize a book I've written (with two collaborators). It's called COMEDY CRAZY...60 Essays About Classic Comedians. Someday...

If you could work with anyone you’ve yet to work with, who would it be?: Sophia Loren. Second choice Sophia Loren.

What show have you recommended to your friends?:Real Men, a musical for guys and the women who put up with them. Also a delightful one act called, Kill A Better Mousetrap, by Scott K. Ratner. It's quite wonderful.

Who would play you in a movie about yourself and what would it be called?: I see George Clooney playing me (hey, it's MY casting office!), and the film would be called, “NICHOLAS, YOU ARE RIDICULOUS” (something I grew up hearing as a child). Second choice of actor: Sophia Loren.

If you could go back in time and see any play or musical you missed, what would it be?: Anything with one of the classic clowns of Broadway's golden age. Musical shows used to be loosely structured for great comedians to run wild in and around. Strike Up The Band (Clark and McCullough), Animal Crackers (The Marx Brothers), Rain Or Shine (Joe Cook), Poppy (W.C. Fields), any of George White's Scandals, or Ziegfeld's Follies and the slew of comedians they hired through the years. I had the privilege of playing the great Willie Howard's role in a very non-PC original version of Gershwin's, Girl Crazy. It was an amazing and wonderful experience. It's built for Howard and his ad libs and impersonations. I had a ball.

What’s your biggest guilty pleasure?: Driving cross country. I like to do it whenever I can. I go alone, too. Complete peace and freedom with a wonderful view. I meet people in places I probably would never had known about, and I listen to great music, and old radio shows. Great stuff.

If you weren’t working in theater, you would be _____?: I'd want to sing with a great jazz band. Old New Orleans jazz. Scat singing, blues, Dixieland, swing...it's where my heart is.

What’s up next?: I'm about to take a shower. But other than that, we are about to do Real Men at NYMF, and we have hopes of an Off-Broadway run and beyond. I have an offer to do Forum (my 4th Pseudolus) in January/February. I also record A LOT of audio books for RadioArchives.com every month.

For more on Real Men, visit realmensingshowtunes.com or nymf.org

Name: Tamilla Woodard

Hometown: Houston, TX

Education: Yale School of Drama

Favorite Credits: Just closed A Midsummer Nights Dream for a new company called MasterWorks, and that was immense fun because we played lots and laughed lots . Also I loved directing La Ruta with Working Theater, an immersive where the audience sat in the back of a trailer as they were being smuggled across the boarder.

Why theater?: Theatre simply is the most potent, most alluring, most fulfilling means I personally have to connect to humanity.

Tell us about Broken City: Harlem:Broken City Harlem is a street immersive for an adventurous audience of 9. There are 5 different tracks all starting in a different location in Harlem, all telling a different story, all in a different way. Of the 5 tracks, four of them are for only one audience member at a time. So one person experiences a Harlem story that may be played by 5 or 6 actors along the way. We have one track for 5 audiences who are made to travel together looking for beauty. Everyone ends up at the park, with a surprise!

What inspired you to create Broken City: Harlem?: This is a concept of Ana Margineanu, Peca Stefan and myself. Along with producer Molly Morris, we are PopUP Theatrics and we always want to put our spectators in a direct relationship to the theatrical experience. With Broken City we had the idea to use the city as our set and create a moving theatrical that followed the particular stories and characters of a neighborhood; that visited the places real people inhabit and excavated the inherent theatricality of everyday life. Harlem is the second neighborhood we’ve made a Broken City. Last summer we were in the Lower East Side. But Harlem is truly a singular place in this metropolis called New York City. It has a very strong identity, pulse and rhythm and the people who call it home are trying with every ounce of their being to hold on to that. There is a lot of inspiration here.

What kind of theater speaks to you? What or who inspires you as an artist?: The theatre that I want, crave, create, cheer for, worship is theatre that makes me feel like I’m there. That doesn’t mean I need to leave my comfortable theatre seat, it just means that it reaches beyond the proscenium emotionally, physiologically, intentionally in some meaningful way. That I feel I’m in the midst of it and that it is for me, with me, because of me being there.

If you could work with anyone you’ve yet to work with, who would it be?: My list is way to big to put here. I love actors, I love collaboration. Each project changes my wish list.

What show have you recommended to your friends?: The last show I recommended as if I had stock in it, hahaha, was Branden Jacobs-Jenkin’s An Octoroon. It was a production of Soho Rep at TFANA, one of my favorite theatre’s in NYC and directed by Sarah Benson, one of my favorite directors anywhere. And well, Brendon, is a writer who could rewrite the phone book into profound theatre. But really, I’ve seen quite a few things lately that have thrilled me, my list is too Big!!!!

Who would play you in a movie about yourself and what would it be called?: Well, I used to act. And still do on occasion. So, maybe I’ll give it a try again if there was a movie about me. I could play me and perhaps rework some of this crazy story.

If you could go back in time and see any play or musical you missed, what would it be?: Peter Brooks A Midsummer Night's Dream.

What’s your biggest guilty pleasure?: Roaming the halls of a museum. Luckily I live near the Brooklyn Museum of Art. It’s a great place to think without thinking and to gather inspiration without looking for it. I feel overstuffed and deeply satisfied when I’ve spent an afternoon in a museum.

If you weren’t working in theater, you would be _____?: Trying to work in theatre.

What’s up next?: I’m the artistic director or an initiative called Five Boroughs/One City for the Working Theater. We are creating a work of theatre for and about a community in each of the five boroughs. I’ll be supporting the work of some fantastic directors, playwrights as we move towards our first production of the initiative.

Name: Jessica Elkin

Hometown: Cleveland, Ohio.

Education: The New Actors Workshop, Empire State College (SUNY), Columbia College Chicago, Marymount Manhattan College, Point Park University.

Select credits: Twenty-four hour play festival at The Kraine Theater.

Why theater?: Theater allows me to utilize all of the various training I have had through out my life and there is nothing like the thrill of immediate feedback from a live audience.

Who do you play in Rise of the Usher?: I play eleven different characters.

Tell us about Rise of the Usher: It is about an attempt to ascend the ranks of the theater support staff hierarchy through any means, once attained the protagonist feels an emptiness, which can only be filled by love.

What inspired you to write Rise of the Usher?: Having worked as an usher, directress, and backup ticket taker at various Broadway theaters.

What is it like being a part of Rise of the Usher?: Being both an actress and writer in a solo show is both liberating and terrifying.

What kind of theater speaks to you? What or who inspires you as an artist?: Good writing and acting, and a minimal set usually. Heather Woodbury, who is a genius!

Any roles you’re dying to play?: Josie in A Moon for the Misbegotten by Eugene O’Neill.

What’s your favorite showtune?: Anything by Sondheim.

If you could work with anyone you’ve yet to work with, who would it be?: Mabou Mines Theater Company.

Who would play you in a movie about yourself and what would it be called?: A younger version of Kitty Winn in "Breaking the Mold".

If you could go back in time and see any play or musical you missed, what would it be?: Cherry Jones in The Heiress.

What show have you recommended to your friends?: Outside Mullingar by John Patrick Shanley.

What’s your biggest guilty pleasure?: Chocolate.

If you weren’t working in theater, you would be ______?: I would ideally be in dance and education.

What’s up next?:Chicken Boy.

Name: Steven Hauck

Hometown: I was born in Princeton, NJ but I grew up in Austin, TX. I still go there for Christmas. It’s usually 70 degrees.

Education: I got a BA in Speech and Theater from Trinity University in San Antonio, TX. I got an MFA from the Classical Theater Training Program at the University of Delaware. So it was mostly plays until I got out into the real world and realized that musicals were a big part of the professional theater. I’m lucky I get to do both.

Select Credits: Broadway plays: The Velocity Of Autumn, Irena’s Vow. Off-Bway includes One Arm, directed by Moises Kaufman for the New Group. I toured Europe with Ken Hill’s The Phantom Of The Opera.

Why theater?: I was drawn to theater as a teenager because I could express things onstage that I couldn't in real life. I decided to be a professional actor after a friend and I put on Edward Albee’s The Zoo Story by ourselves in our senior year of high school. The audience was stunned into silence at the end. I wanted to have that kind of emotional power over people.

Who do you play in 210 Amlent Avenue?: I play Murphy, a real estate developer in the Hamptons. Murphy is madly in love with his wife, Claire, and the two of them enjoy life to the hilt. Very different from the other tortured characters in the show.

Tell us about 210 Amlent Avenue?: Family intrigue, naked ambition, and, yes, love among the moneyed class (and their hangers-on) in the Hamptons.

What is it like being a part of 210 Amlent Avenue?: I love the cast and creative team. Unlike most of the people in the show, we actually get along really well.

What kind of theater speaks to you? What or who inspires you as an artist?: Make me laugh and I will adore you. Make me cry and I’m yours for life. Maggie Smith in Lettice And Lovage (20 years ago) was sublime and indelible. Tyne Daly in Mothers And Sons (last season) tore me to shreds.

Any roles you’re dying to play?: I’m just about ready to tackle George in Who’s Afraid Of Virginia Woolf, with a force-of-nature Martha and a brilliant director. Accepting offers…

What’s your favorite showtune?: Right now I'm obsessed with “When There’s No One” from Carrie. There's a clip of Betty Buckley doing it on youtube. It's the most utterly devastating despair I have ever witnessed anywhere. Like I said, make me cry…

If you could work with anyone you’ve yet to work with, who would it be?: Diane Paulus directing me, Judy Davis, Lin-Manuel Miranda and Emma Stone in a musical version of Who’s Afraid Of Virginia Woolf.

Who would play you in a movie about yourself and what would it be called: Benedict Cumberbatch in “The Quiet Tiger”.

If you could go back in time and see any play or musical you missed, what would it be?:
The original Follies. Dreamgirls. Charles Ludlam. The Lunts, especially with Noel Coward in Design For Living.

What show have you recommended to your friends?:The Twentieth Century Way at Rattlestick Playwrights Theater.

What’s your biggest guilty pleasure?: I’ve been doing some TV binge-watching recently, but who can feel guilty about watching all these amazing show like “Breaking Bad”, “House Of Cards”, “Luther” and so many more?

What’s up next?: I'd love to say a vacation, but probably just more auditions.

For more on 210 Amlent Avenue, visit 210amlentavenue.com or nymf.org

Name: Shakina Nayfack

Hometown: Laguna Beach, California

Education: BA in Community Studies, Minor and Graduate Certificate in Theatre Arts from University of California, Santa Cruz. MFA in Experimental Choreography and PhD in Critical Dance Studies from UC Riverside.

Select Credits: Founding Artistic Director of Musical Theatre Factory, 2015 Lilly Award Winner for Working Miracles, (The Lilly's recognize the remarkable contributions to the American Theatre made my women, I'm also the first Transgender recipient!), One Woman Show, my autobiographical solo piece, which played Joe's Pub, 54 Below, Sophie's, TheatreWorks Palo Alto, and Barrington Stage Company.

Why theater?: Since the beginning of human civilization we have depended on live storytelling to honor the past, understand the present, and make way for the future. There is a sacred component to the work of theatre. We are in the business of creating alternate realities.

Who do you play in Manuel Vs The Statue of Liberty?: The Statue of Liberty (of course!)

Tell us about Manuel Vs The Statue of Liberty: The show is based on the true story of Dan-el Padilla Peralta, a Princeton undergrad who was also an undocumented immigrant. In our show, Dan-el (renamed Manuel) challenges the Statue of Liberty, the personified goddess of US Immigration, in a battle for citizenship. We use the metaphor of a boxing match to bring his struggle to life in a dynamic and irreverent way. There's rapping, belting, stage combat, spanglish, and some fierce dancing, everything you want in a musical!

What is it like being a part of Manuel Vs The Statue of Liberty?: Working on a new musical is always a challenge. You learn more about the piece as you explore it, and that means scenes or songs can change at a moments notice. For me it's particularly exciting because, while I've been working on new musicals as a director and producer for over a decade, this is my first time being involved as an actor. I'm experiencing everything from a whole new perspective, and it's awesome! Also, I came of age as a director and performance artist through the Queer Chicano Theatre of Los Angeles. It feels so great to be contributing to that legacy (albeit on a different coast) with this show.

What kind of theater speaks to you? What or who inspires you as an artist?: I'm excited by performances that move energy, where you feel like you're in the presence of a shaman, like anything Mark Rylance is acting in, Steven Hoggett is choreographing, or Tina Landau is directing. Thematically, I'm moved by stories about coming of age, loss of innocence, strangers in a strange-land, social justice and revolution, and border crossing.

Any roles you’re dying to play?: Um.... Hedwig?

What’s your favorite showtune?: It's not exactly a showtune, but Joe Iconis'"Broadway, Here I Come!" has left an indelible mark on my life.

If you could work with anyone you’ve yet to work with, who would it be?: Joe Mantello, he's kinda my career idol, both as a director and an actor.

Who would play you in a movie about yourself and what would it be called: Well I don't know for movies, but my friend Howard Emanuel and I are working on a TV pilot about my life, also called One Woman Show. I'd hope to play me during the most recent years. The younger, more renegade me would have to be played by someone pretty shameless and brilliant. Or should I say, pretty, shameless, and brilliant? (I love an oxford comma)

If you could go back in time and see any musical or play you missed what would it be?: The Original Broadway Cast of A Chorus Line. I've seen a grainy black and white bootleg, but I wish I could have experienced it live, at the beginning, when it changed everything.

What show have you recommended to your friends: I still have a candle lit for The Bridges Of Madison County. I can't wait for the National Tour.

What’s your biggest guilty pleasure?: Escaping, and not telling anyone where I've gone.

What’s up next: I'm really hopeful for the future of Musical Theatre Factory. We're trying to lay some groundwork so that MTF can be a sustainable home for new musicals for years to come. I'm also really hopeful that One Woman Show gets picked up! As for what I'm working on, there is a new solo project in the works, tentatively titled Post-Op, about my pilgrimage to Thailand, where I went for my gender confirmation surgery last fall.

For more on Manuel vs the Statue of Liberty, visit manuelvsthestatueofliberty.com or nymf.org

Name: Caitlin Zoz

Hometown: Currently living in Inwood. Originally from Glastonbury, Connecticut.

Education: NYU Tisch Experimental Theatre Wing

Select Credits: New York: Dance Dance Revolution (Dir Alex Timbers), PopUp Theatrics- Hotel Project, Broken City LES; Regional: Long Wharf Theatre- Our Town, Ivoryton Playhouse- The Seven Year Itch

Why theater?: There is something about the nature of being in front of a live audience, that is I can't compare to anything else. The immediacy of the theater creates a bond between the performers and audience members, that is truly unique and almost sacred. A kind of communication happens which can transcend that of normal conversation, and really deeply affect and change all parties involved.

Who do you play in Broken City: Harlem?: I play a spiritual healer of sorts.

Tell us about Broken City: Harlem: Broken City Harlem is a live action ride through one of the coolest neighborhoods in manhattan (the world!)

What is it like being a part of Broken City: Harlem?: It's awesome. My experience is a little different then some of the other performers in that I only perform in one place. That being said, after sitting in the same area of the same park for the last few weeks, I've really gotten to know the faces, the people who pass through and in some cases live there. It's the best kind of people watching, I get to see them on every kind of day.

What kind of theater speaks to you? What or who inspires you as an artist?: Any theater that is really saying something inspires me. Too often in main stream theater, it seems to be full of fluff and characters who aren't relatable. Characters, that as an audience member, I don't care about. I am inspired by artists, who are brave enough to create art that is innovative and honest. Art that is full of all the hope and sadness and love and hate and everything in between. It's hard to wear your heart on your sleeve for everyone, but to me the artists who are capable of doing that in their art are the ones who inspire me to attempt the same through my own creations.

Any roles you’re dying to play?: I would love to play Maggie in Cat on a Hot Tin Roof

What’s your favorite showtune?:"Be a Lion" from The Wiz

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

Who would play you in a movie about yourself and what would it be called?: Emilia Clark. "Don't Forget to Look Up"

If you could go back in time and see any play or musical you missed, what would it be?: Bert Lahr in Waiting for Godot

What show have you recommended to your friends?:Hand to God

What’s your biggest guilty pleasure?: Anything sweet

What’s up next?: I'm developing a short film which we will shoot in the fall.

Name: Paul Louis

Hometown: Astoria, Queens, New York

Education: The American Musical and Dramatic Academy

Favorite Credits: Seymour in Little Shop of Horrors, Einstein in Picasso at the Lapin Agile, and Patsy in Spamalot.

Why theater?: Where I'm from, it was either that or joining the Mafia. I chose to slay them in the aisles instead.

Tell us about Real Men:Real Men, a musical for guys and the women who put up with them, is a hilarious, brutally honest musical romp through the ups and downs of manhood.

What inspired you to write Real Men?: I decided to write Real Men because of the fact that I suck at being a man. But so do most men, so I'm in the company of my many brothers. We are all flawed in one way or another, and our show demonstrates and proves this concept. I don't care if you're straight, gay, old, young, single, married, or if you live with a chimp, we men all have a common bond in that we're not perfect.

What kind of theater speaks to you? What or who inspires you as an artist?: I love shows that either depict true life, or shows that bring true life issues to mind. But I also love musicals that poke fun of us as a society. I've always been inspired by any underdog.

If you could work with anyone you’ve yet to work with, who would it be?: Al Pacino, and The Muppets (not necessarily in that order).

What show have you recommended to your friends?: Fun Home, The Book of Mormon, and of course, Real Men, a musical for guys and the women who put up with them.

Who would play you in a movie about yourself and what would it be called?: Ed Norton in "Schmuck".

If you could go back in time and see any play or musical you missed, what would it be?:"Animal Crackers" starring The Marx Brothers.

What’s your biggest guilty pleasure?: Reese's Peanut Butter Cups.

If you weren’t working in theater, you would be _____?: A film director

What’s up next?: An aggressive campaign to get Real Men mounted Off Broadway, published and produced regionally. But first I need to take out the garbage or my wife's gonna kill me.

For more on Real Men, visit realmensingshowtunes.com or nymf.org

Name: Jeremiah Cothren

Hometown: Toledo, OH

Education: BA in Architecture from University of California, Berkeley. Acting training at HB Studio

Select Credits: Rediscovering Kate Carew was an interesting project. Also working on Colma: The Musical was a favorite of mine.

Why theater?: There is something to be said about the incredible transformation of both the actors and audience during a live performance. It’s a unique shared experience I feel.

Who do you play in Broken City: Harlem?: I play Jeremiah, a born and raised Harlemite mourning the death of a childhood friend while grasping with his own identity and coming-of-age tale.

Tell us about Broken City: Harlem: Broken City: Harlem is a snapshot of what makes our lives here in NYC the most enriching, unforgettable and oftentimes questionable. Five stories are combined to create one stage in Harlem where audience members become a part of the story line and furthermore, involve themselves in the fabric and complexities of Harlem.

What is it like being a part of Broken City: Harlem?: Even though I live in Harlem currently, I am discovering new facets about my neighborhood that make it unique. We have spent a lot of time in the area and each day it seems I am able to uncover the gift we as New Yorkers have in uptown Manhattan.

What kind of theater speaks to you? What or who inspires you as an artist?: I am inspired by the nuances of everyday life. We can take any man or woman and have them walk down the same two blocks. Ultimately, we will have a multi-layered story line based on their experience and that’s where the creativity arises. What happens in the streets and the messages and stories we carry are overall what inspire me as an artist.

Any roles you’re dying to play?: It’s hard to narrow it down to a specific role but I would say something that is running in the indie circuit that speaks of identity, journey and migration.

What’s your favorite showtune?: I recently saw On The Town and loved every song! Did I mention I’m a hopeless romantic?

If you could work with anyone you’ve yet to work with, who would it be?: I’m a huge fan of Richard Linklater so I would be honored to collaborate with him

Who would play you in a movie about yourself and what would it be called?: Ha! I’m not sure who would want to play me in my autobiographical film but it would most certainly be called “Unbroken Dream”

If you could go back in time and see any play or musical you missed, what would it be?: I would love to see Ira Aldridge do the classics on the UK scene!

What show have you recommended to your friends?: Absolutely go see Hand to God if you can.

What’s your biggest guilty pleasure?: On Sunday nights, everyone knows not to bother me while I’m watching Downton Abbey. Huge fan!

What’s up next?: Training never stops for the actor so I have some classes and workshops I can finally commit to in the fall coming up.

There are countless tales of survival during the Holocaust. They've provided such rich material for stage, screen, and page. While the facts may be disparaging, it's the sagas that defy the odds that make for beautiful stories. Moses Man, with book and lyrics by Deborah Haber and music by Casey Filiaci, is an incredible true story about an incredibly dark time in history.
Moses Man follows the real life nine-year journey of writer Deborah Haber’s parents on their search for a new home as the Nazis began to control parts of Europe. The story begins in Vienna as the treatment of Jewish people becomes poorer. Avi, an optimistic young man, rallies friends to seek refuge in safer Palestine. With his plan in motion, papers and documents in hand, plans are altered as Nazi occupation forces Avi and his new bride Lia to lands unimaginable. To tell this story, Haber employs the memory play device of Avi, now called Opa, recanting his journey to his grandson Moshe on the night of his grand exhibition. Though Moshe inexplicably hasn't heard this story, the great tale is brought to life before his eyes. The journey Opa tells is a long and epic one. Haber is smart by only giving the audience the important moments and, for the most part, finding optimism within the darkness. It is a very personal play about family. Haber finds ways to allow the audience into her family but at times it felt as if the desire for certain family member's’ stories got in the way causing unneeded material. With the memory device present, the musical is about Avi and his journey. The moments, and songs, he's not present can be reduced or cut to allow for an action-filled 90 minute adventure. With an intermission, the momentum halts, taking some time to regain speed. With that, swapping the arrival of Avi and Lei in Cyprus with the toe-taping “Opa” can aid in this. The score by Casey Filiaci was a sweeping soundscape of regional tones, something that was a brilliant touch. Filiaci paid homage to the sounds of their homeland and the places Avi and friends journeyed to. That being said, when the score had shades of Sondheim, it felt recycled. The majority of the music felt present in the piece with a few unfortunate exceptions, including “And Mama Needs Cherries”.

photo by Russ Rowland

To bring this piece to life, a well-rounded and talented company brought hope to the stage. As Avi, sweet-voiced Oliver Thornton carried the weight of the world, leading and captivating as he did. Thornton, a West End veteran, is a welcome addition to the New York theatrical family. Kevin McGuire as Opa was a wonderful narrator, active and attentive throughout. Zachary Clause and Lisa Rothauser offered sensational solos, giving truth and humanity through their exceptional voices. Sadly, there were two weak performances in integral roles that altered the show. Tess DeFlyer and Evan Daves as Lia and Moshe were not as strong as their counterparts. DeFlyer’s Lia seemed to not quite comprehend the stakes of the circumstances with a thin voice to boot. While the character was young, her portrayal was naïve. Daves on the other hand was overly affected with every story Opa gave. Moshe and Opa needed to blend into the scenery at moments of the piece, allowing the story to take center stage, but Daves become a bit of a distraction at times.
Director Michael Bush brought a keen eye to inventive staging. It was simple yet theatrical, evoking the constant movement of the characters. With a brilliant and cohesive scenic design by Paul dePoo, Bush used the crates, with their location prints, to his advantage, creating stunning stage pictures. Bush did run into some issues with the script. First, the dialects were all over the place, stemming form the Avi and Opa discrepancy. Avi and the Austrians adopted American accents. But Opa kept an Austrian accent. Then any other foreigners maintained their native dialect. When it came to the memory place device, there were some moments that Bush took Opa and Moshe offstage. Regardless of the beautiful ballad, their presence was needed as it was already established. Additionally, having Moshe sing felt dramaturgically incorrect. Moshe is not necessarily a participant, he is an audience member who "knows nothing".
Moses Man is a Holocaust musical of hope. And there is such hope in a life post NYMF. The key is discovering a way to sell this show with the great optimism it contains rather than the history that surrounds it.

Name: Philip Yosowitz

Hometown: Cleveland, OH

Education: B.A. UCLA, M.D. UCLA, General and Plastic Surgery Residency UCLA and Walter Reed Hospitals

Favorite Credits:The Gold is my first completed Musical Theatre work.

Why theater?: As a young boy, my family went to NYC several summers. I distinctly remember seeing Most Happy Fella and Will Success Spoil Rock Hunter? with Jane Mansfield. I was hooked. Music, and musical theater, provided the perfect counterbalance to football and baseball.

Tell us about The Gold: The main protagonist, Joseph Cohen, is a Jewish-German boxer who is intent upon winning the 1936 Berlin Olympics. His dreams are thwarted by the Nazi regime, and his fight for the gold becomes the battle for his family, identity, and country. Left with nothing, Joseph must reinvent himself in a new land. The Gold is a testament to the resilience of the human spirit and the journey of self-discovery that each of us takes as we search for purpose in our lives.

What inspired you to write The Gold?: Two core parts of my childhood intersected to serve as the springboard for The Gold. As a young boy, I was exposed to the events of the Holocaust as my father sponsored surviving family members to come to the US and live with us until they got on their feet. My father himself had been fortunate to have left Czechoslovakia and made his way to the US in the 1930's. Another major part of my childhood was participating in sports. Years later, as I was playing the piano, the Atlanta Olympics were on the TV in the background. The Gold began to emerge.

What kind of theater speaks to you? What or who inspires you as an artist?: Epic, musical theater speaks to me. But I will say that my favorite singer is Karen Carpenter. I guess that dates me. Her voice was perfect and pure.

If you could work with anyone you’ve yet to work with, who would it be?: I've been incredibly fortunate to have worked with my daughter on The Gold.

What show have you recommended to your friends?:Beautiful was poignant; I loved the music and the character.

Who would play you in a movie about yourself and what would it be called?: Denzel Washington in "On the Lam".

If you could go back in time and see any play or musical you missed, what would it be?: The first performance of Porgy and Bess.

What’s your biggest guilty pleasure?: Working in the garden. Though in Houston, it is HOT... And not such a "guilty" pleasure.

If you weren’t working in theater, you would be _____?: A baseball player. I still dream of playing for the Cleveland Indians.

What’s up next?: I've written the music for a show based on Joan of Arc and am now working on the lyrics. I do love epic musicals!

For more on The Gold, visit http://www.thegoldthemusical.com/

Name: Samantha Saltzman

Hometown: Las Vegas, NV

Education: BA in Theater Arts from Brandeis University

Favorite Credits:The Music Man (first show I ever directed, I was still in college and I don't even have it on my resume anymore, but you never get over your first), Production Assistant on Rock of Ages (I know it's not a directing credit, but that show was just so much fun to be a part of and it was my first Broadway credit), Directing Madame Fury's Traveling Show (a great project with great friends), and Directing Assistant on Matilda (I fell in love with the show in London long before I ever had a glimmer of a chance to work on it, and to get to be a part of a show like that, that you truly love, is pretty incredible)

Why theater?: Making the world a more beautiful place is a beautiful thing.

Tell us about 210 Amlent Avenue: 210 is an investigation into the family we make, the family we have, and what keeps us together and tears us apart, with a beautiful score...what more is there to ask for?

What inspired you to direct 210 Amlent Avenue?: I've known Karl and Becky for a while, and was fortunate enough to work with them last year. Continuing on the project has been a joy, and it's even better to work with such wonderful people.

What kind of theater speaks to you? What or who inspires you as an artist?: I'm inspired by other worlds, whether those worlds are familiar or unfamiliar, art that completely immerses you (not necessarily in an "immersive theatre" way, but in a transportive way) and allows us to experience this world for an hour or two. Numerous people and things inspire me, but they all succeed in creating those worlds.

If you could work with anyone you’ve yet to work with, who would it be?: Michael Mayer. He's an expert at creating transportive worlds. I got a chance to work with him and Johanna McKeon (who's also amazing) on a gala, and even in that context, it was inspiring to be a part of something he helped create.

What show have you recommended to your friends?:Hand to God. It's the best play I've seen in YEARS (and I see a lot of plays...). I still can't get over what Steven Boyer was able to do with that puppet. I've never seen anything like it, and I swear that puppet's real.

Who would play you in a movie about yourself and what would it be called?: Julia Roberts. She has a great combination of passion and fun (that I hope is how I come across in real life). It would be called "Broadway Mouse". I've always loved the movies and imagination of Walt Disney (I grew up near Disneyland, so it was a large part of my childhood). My parents actually collected Disney since long before I was born so it was all over our house growing up. I think a childhood love of Disney movies is a large part of what drew me to theater and storytelling in the first place. Who didn't want to be Ariel singing, "Part of Your World"?

If you could go back in time and see any play or musical you missed, what would it be?: The 1992 Guys and Dolls revival. So perfect. I got to see Nathan Lane in the role at Carnegie Hall, but even the YouTube clip gives me chills. Or Ethel Merman performing Rose's Turn in Gypsy...tough call.

What’s your biggest guilty pleasure?: Phineas and Ferb. I seriously think everyone who's serious about musical theatre should watch it. It's also the best written kids' show I've seen since I was a kid. It reminds me of the golden age of the Disney afternoon -- Chip 'n' Dale's Rescue Rangers and Duck Tales (you now have one of those themes in your head. You're welcome.)

If you weren’t working in theater, you would be _____?: I don't think I'd ever not work in theatre, if I stopped DIRECTING, I'd probably go back into Broadway marketing (which I did when I first moved to the city). That way I still feel like a part of creating the thing that I love and I get to expose others to it.

What’s up next?: I'm working on a new musical that's having a workshop in the fall, I get to keep hanging out at the Shubert with the Matilda crew for a little longer, and have a couple other things in the works that I can't talk about yet. Past that? Second star to the right and straight on 'till morning.

For more on 210 Amlent Avenue, visit 210amlentavenue.com or nymf.org

America loves a scandal. When drama hits popular culture, it instantly gets etched into our mental database. And the 90s wre no stranger to drama. In 1994, two American Olympians rose to infamy in a way unimaginable. Their names were Tonya Harding and Nancy Kerrigan. In Tonya & Nancy: the Rock Opera, the dueling ice divas are given the attempted parody treatment like the spectacle it was.
With book and lyrics by Elizabeth Searle and music and additional lyrics by Michael Teoli, Tonya & Nancy charts the rise and fall of the 90s insta-icons. Setting the tone with an instant 90s infused keyboard and costumes sadly reminiscent of the fashion faux pas we used to know, Searle and Teoli get us ready for what should be an evening of nonstop laughter and thrills. Instead, we get material that is clearly much funnier to the creative team than it is to the general audience. The way Searle presented the material was via dual stories about rivals who rarely come toe-pick to toe-pick on stage. It’s factually accurate. The rivalry may have been media coerced, but dramatically it was bland. The situation itself is comedic and destined for a dramatic take off, but Tonya & Nancy: The Rock Opera isn’t much of an opera, more like an operetta. But I suppose Tonya & Nancy: The Rock Operetta doesn’t have the same ring to it. Regardless of the definitions, the dialogue by Searle was a bit drab. She hit the points she needed to but lacked the comedic oomph that could have made this an incredible parody. With some strong actors to lampoon their real life characters, there were shades of larger than life personalities. Tonya was the rough and tough bad girl. Jeff Gillooly was an incredible douchebag. Tonya’s mom got the outspoken country bumpkin while Nancy’s mom got mocked for her blindness. But finding a character trait for Nancy never happened. Nancy was the “straight man” in the comedy sketch and it simply didn’t land. There was nothing funny about her and in a musical where comedy allows the personality to shine, Nancy came across as the secondary character rather than an equal. Fact checking is always crucial when working with real life material. Going into this show, the moment the audience is waiting for is the musicalization of Kerrigan’s infamous post whack “Why”. But Searle and Teoli added another word that was not featured in the Kerrigan videos. “Why” turned into “Why Me?” and somehow, it made the moment, which was just a blip in the show, feel false. The score by Michael Teoli was rock-lite at best. There were certainly some hard-hitting numbers but the rock vibe didn’t always come through. Teoli did, however, cleverly introduce some sounds the styles from the era of the skaters. While the story, nearly 20 years later, is clearly evading time, allowing the period to shine through was a smart touch. There were certain songs that didn’t seem to fit the vocal strengths of his companies. Whether it was a bad key or notes in the rafters,

photo by Robert Puskar

With Tonya getting the bulk of the good material, a star was bolted to the top of the podium. Tracy McDowell was sensational as the bad girl. McDowell discovered a wonderful demeanor that made Tonya a grand character. Nancy Kerrigan may have been America's sweetheart but McDowell's Tonya won hearts of the audience. Liz McCartney as Mom received some of the largest laughs of the night. And deservedly so. McCartney was on point keeping pace with the many character swaps. Jenna Leigh Green had the least material to work with. And it was unfortunate. What Green did have did not showcase her talent whatsoever. With hopes of having an opera vibe, the chorus played a major role in the staging of the show, playing an abundance of parts. Two members of the chorus stood out for their stunning work. Ryan J. MacConnell nailed the comedic aspect of the show and wowed with his beautiful ballet. Heidi Friese not only was a brilliant dancer as well, she was a dead-on wringer for Ukrainian ice princess Oksana Baiul. Almost terrifyingly so. The moment she came out pink outfit, the audience, who remembers the other cog in the drama, knew exactly who she was supposed to be.
Director David Alpert had an extraordinary task in discovering how exactly to play this piece. To get the audience in the 94 Olympic mood, he has international flags for all to wave. He highlights the moments and aura of the decade. But with the material as a possible hindrance, Alpert is stuck in the middle of laugh out loud voices and sight gags a minute comedy and this show is only funny because the situation is ridiculous, thus causing the middle ground to feel confused. When he did hit the laugh out loud moments, like the slow-motion replay, they were the strongest. Having Liz McCartney expertly play both Nancy and Tonya’s mom was hilarious. But the device of one actress-two characters at once has been done before, and done better. Recently, reference The Toxic Avenger and the show stopping Nancy Opel. While it did bring in the laughs during “This Is It”, it was inevitable with Alpert’s staging that it was coming. To bring Tonya and Nancy to stage, finding a movement vocabulary was essential. How do you skate on stage? Choreographer Marc Kimelman did a magnificent job at discovering just how. His use of ballet was simply stunning. As this was intended for comedic purposes, though you have to wonder what the comedic option would have looked like. I’m sure Disney has some leftover heelies from their failed attempt at swimming on stage. Costume Designer Vanessa Leuck’s integral role was to instantly transport the audience back into the moment. Leuck, for the most part, recreated the iconic skating outfits of Harding, Kerrigan, and Co. From Kerrigan’s pure white leotard to Oksana’s pink, it matched. With the joke being Kerrigan’s beautiful designer ware compared to Harding’s junk, Leuck nailed it, with one small exception in Harding’s 1994 Olympics costume. With that moment so engrained in our minds forever, just the color being off was disappointing.
America will never forget Tonya Harding and Nancy Kerrigan. You can thank ESPN’s "30 for 30" for airing their special this year. And that’s why it’s inevitable you’ll be seeing more of Tonya & Nancy: The Rock Opera. But before the next iteration, discovering just exactly this piece wants to be will be essential for success. As it stands now, it may be forgotten, just like you forgot there was a rare Winter Olympics in both 1992 and 1994.

Music is a universal entity that brings people together. We sing to celebrate. To mourn. To rally. Virtually use any verb and music will relate. The human voice is a stunning instrument. The things you can do with it. Especially when it comes to acappella. But in Acappella by Vynnie Meli, and the Acappella Company, it's more of a celebration of the sound rather than a book musical in a musical theater festival.
Acappella, conceived by Greg Cooper, loosely follows Jeremiah as he returns home after hitting the big time, forgetting his gospel roots. And that's virtually all there is to it. Fitting the musical formula doesn't always need to happen but this is not a musical. A concert, maybe. A play with music, perhaps. A musical, by no means. The book by Vynnie Meli was a story that was not very new. The idea of a star returning home to mixed reviews and the past catching up to him has been done to death. Meli didn't offer anything fresh. With a thin book to begin with and some poor lead-in lines, there was an ambulance of cringe-worthy moments. But with an incredibly vibrant sound from the performers, the audience didn't care how bad it was.

photo by John Keon

There is no denying there was immense vocal talent on stage. From the non-handheld mic actors to the vocal band, power was the name of the game. With poor book material, the acting cast did all they could. Tyler Hardwick as Jeremiah had great conviction and defined his pop star status through his voice. As Aunt Leona, Cheryl Freeman had fun and found the most depth of any character. Darilyn Castillo and Anthony Chatmon II as Sarah and Simon struggled with the feebleness of their parts. Chatmon's Simon played angry all the time while Castillo's played decisively indecisive.
The reason audiences may fawn over this show are the arrangements. Music Director and Orchestraor Evan Feist filled the space and used their individual strengths of the company. But strip that away and the flaws of Lee Summers direction are exposed. Summers couldn't lift the material and swept the problems under the sound of the title.
He strings along the few bits of dialogue between songs and rushes us right into the next rousing number. Finding ways to bring something new out of the tired material would have made Acappella more than just a celebration of the sound.
Acappella needs some severe work if you wants to remain a stage piece. You can forgive a dismal book with a strong score but there’s too much missing here.

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