Theater in the Now

Name: Jessica Crouch

Hometown: Sacramento California

Education: NYU

Select Credits: Tour: We Will Rock You (Killer Queen and Oz u/s), All Shook Up (u/s Miss Sandra); Regional: Legally Blonde (Elle)

Why theater?: Why the hell NOT theatre? Human beings are naturally artists, just observe young children. Before we learn to read or write, we sing the alphabet, we dance around the living room, we use our imaginations and pretend to be a T-Rex or princess....or even a princess T-Rex!!! Theatre is a part of our lives before we even fully realize it, I'm just one of those individuals who happened to never stop. I believe the true reason is because I am fascinated by the human experience and the power that theatre can have on its audience....to connect one's life to another. As human beings, when we grow up and become more self-realized, we naturally start separating ourselves from those who are different than us and who live in different situations. Theatre has the ability to break down that barrier of separation. It allows us to see and experience the life of another person while still somehow connecting it to our own. It allows us to experience, understand, and question, both emotionally and intellectually, how our world connects to another's world. Thats some pretty powerful stuff... So yea, that's why I do theatre, plus Laurence Olivier's "look at me" answer ain't too far off either. If you don't know what I'm talking about....google it.

Who do you play in Napoleon?: Therese Tallien "Highly influential and worth a fortune" She's got some smirk in her step, and a secret or two.

Tell us about Napoleon: Well first, this is not be confused with "Napoleon Dynamite". I've had to explain this to friends several times...perhaps that speaks more into the kind of work I do? Napoleon is the story of Napoleon Bonaparte told through the eyes of Talleyrand. But to its core the story is about the only two things in life that people ever really fight for: Love and Power.

What is it like being a part of Napoleon?:Napoleon is a part of the NYMF Festival, so it's a crazy whirlwind contending with all kinds of constraints. But it is all about your outlook. Constraints allow for more imagination, forward thinking, and real team work in order to create the story you want to tell. We've got a group of some really talented people here that I enjoy playing with every day.

What kind of theater speaks to you? What or who inspires you as an artist?: I love my good old classical musical theatre, but I am really fascinated by the new, edgy, complex pieces of work that make you think outside the box of what theatre can and should be. Sadly those works rarely get produced and they don't get the audiences they deserve.

Any roles you’re dying to play?: I mean there's the typical (Eva Peron), but I am not too worried about that cause they will either come when I'm older (Witch in Into the Woods) or they won't at all cause I'm too old (any of the kids in Matilda), or totally miscast (Aida). I am more interested in new works and creating characters these days. Wait I just remembered....can I change my answer to Nomi in Showgirls?

What’s your favorite showtune?: That's just an unfair question. Probably "I Got Lost in His Arms" Simple and perfect.

If you could work with anyone you’ve yet to work with, who would it be?: Are we dreaming big here? Sir Ian Mckellen and Sir Patrick Stewart, not singularly...only as a duo. I wanna be a part of that party.

Who would play you in a movie about yourself and what would it be called: I had a joke about this years ago. I would want my movie to be a god awful D-list movie starring Coco Austin (Ice-T's wife) No title yet, but I have cabaret show idea floating in my head, and the title seems somewhat appropriate for this... "Jessica Crouch: A series of awkward and humiliating moments separated by snacks".

If you could go back in time and see any musical or play you missed what would it be?: Another mean question. I probably would want to see Chita play Anita. But if we talking time travel here, can we fast forward to Hamilton? I want a ticket to that.

What show have you recommended to your friends: The one right now? Hand To God

What’s your biggest guilty pleasure?: A friend of mine made me my own personal "cone of shame"... So perhaps I should feel guilty about how much I enjoy wearing it. But in all seriousness, I despise how attached people (including me) are to their phones. I hate when I catch myself hanging with group of friends and there is that moment where we are silent cause we are all collectively engrossed in our phones.

What’s up next:Hair at Music Circus

For more on Jessica, visit www.jessica-crouch.com. For more on Napoleon, visit nymf.org

Being proud of who you are is something very prevalent today. No matter where you come from, identity is what defines you. In The Calico Buffalo, a musical adaptation of the same name, EJ Stapleton and Peter Stopschinski tell us to be proud and loud and don't hide in the most glorious fashion.
In this family friendly musical, young buffalo Bora-Boh is born looking like a calico cat due to his parentage. His parents try to hide the truth as the rest of the Buffaloes may not accept his look. As Bora-Boh grows up and learns the truth, he meets Bittle, a toad, who just like him, isn't like the rest. When Thorn, Bora-Boh's jealous uncle catches wind of his true appearance, he vows to share the truth allowing him chief. As his plan backfires, family comes together defining the power of love. The Calico Buffalo is an adorable story. The beloved book is destined for the stage. Stopschinski and Stapleton's score is fun and catchy and perhaps a bit reminiscent of Stephen Schwartz. “Day of All Days”, the opening number was a wonderful kickoff to the show. While none of the other numbers quite reached “Day of All Days”, the numbers were catchy, fun, and kid friendly. They incorporated the style of the region in a whimsical way. The morality that Stapleton imposes is accessible for all audiences. It's not overly obvious or simply subliminal. Stapleton easily offers a strong story that gets audiences of all ages engaged. While the true test of success is how an audience of children react, it was quite something to watch an audience of adults respond. In the climatic moment with Sih-Kuk and the wolves, it was like watching everyone in the room relive the mother moment from “Bambi.” Gasps a-plenty!

photo by Shira Friedman

It’s important to use your imagination in this kind of world but director Craig J. George and his design team made it even easier. The stagecraft that George employed was extraordinarily beautiful. The set by Robert Mark Morgan married nature with imagination. The bridge was simple yet lovely. The trees, which were clearly repurposed umbrellas, allowed the an element of fun into the buffalos’ world. The costumes by Claire Aquila were innovative and ingenious. Aquila too married imagination with everyday items. From camper hats to suit jackets, Aquila’s additions made the characters have brilliant personalities. While her looks had shades of Tarzan in it, they still were unique to this production. Giving humans the ability to move like animals is integral. Choreographer Billy Sprague Jr. found a way to make the buffalo the most agile mammal on the plains. Sprague Jr. mix of styles blended harmoniously. From flashy Broadway style moves to hoof pounding escapades, Sprague Jr.’s numbers were one of the many highlights of the production. As far as George’s staging goes, he made a bold choice that paid off astronomically. George played up the idea of storytelling by keeping his ensemble present and transforming from animal to animal on the sides of the stage. The modest choice added an exorbitant amount of animation but also reminded us all, that in the end, it’s all pretend.
The entire ensemble did an incredible job transforming, finding their inner beast. As the titular character, Zachary Infante was nothing short of adorable. Infante found Bora-Boh with ease, transforming into what is destined to be a fan favorite character. As his bff, Brooke Shapiro’s Bittle was high-octane and a bouncing ball of energy. And only in a kids show is that allowed. As The Chief and Willa-Mah, Rhys Gilyeat and Rachel Rhodes-Devey had great chemistry, sounding quite heavenly together. Gilyeat, a standout dancer as well, appeared to be having the most fun off anyone on stage. As scene stealing Thorn, Max Wilcox adopted characteristics from an assortment of kid-friendly villains, combined them all together, and created an amusing bad buffalo that was reminiscent of JCS’ Herod. You certainly knew he was up to no good but you couldn’t help but want to see more. Rachel Coloff as Sih-Kuk was sturdy as the veteran of the bunch. Coloff earned the boisterous reaction as she is truly one of the most loveable actors on stage.
Make no mistake, The Calico Buffalo’s intended demographic is children. But this is certainly a musical for families. And adults. With an incomparable vision and a vibrant story, The Calico Buffalo is on its way to a long and prosperous theatrical life. Just ask the ancients, I bet they’d agree.

Sometimes the simplest of concepts make for the most glorious productions. Glitz and glamour, flash and pizzazz are not always necessary in musical theater. And it’s certainly proven in the picturesque Spot On the Wall by Kevin Jaeger and Alex Mitchell.
A story about a young photographer and dealing with loss, Spot On the Wall follows Paul Hunter as he is about to have a gallery opening of his work celebrating the final moments of his mother. But before the glorious evening can commence, secrets are revealed, fears are rectified, and three men grieve and celebrate a woman they all loved in such different ways. With book and lyrics by Jaeger and music by Mitchell, Spot On the Wall is the sleeper hit of NYMF 2015. Spot On the Wall is a celebration of love and life and the thread that brings it all together. The book by Jaeger offers clear and consistent characters. We see an ambitious young man looking for closure, an ambitious young woman who’s eager to start a new chapter of her life and career, and two jaded men who will always be bound together despite their jealousy for one another. When they’re all brought together, they work so harmoniously to tell the story. On paper, the story sounds dull but Jaeger paints a picture through his words that makes the piece captivating. Jaeger layers the reveals in a dazzling manner that the potentially over-the-top plotlines seem natural. With a pretty solid book, Spot On the Wall, has a score that is vital and exquisite. Jaeger’s lyrics are wonderful but take them away and simply listen to Alex Mitchell’s music, you have songs that can soar on their own. Mitchell’s sweeping score is breathtaking. Without a flashy “up-tempo” number, Mitchell still manages to captivate the audience. As a team Jaeger and Mitchell are a dynamic duo and have a lasting theatrical relationship but don’t be surprised to find Mitchell high in demand!

photo by Jenny Anderson

It’s quite possible that a mediocre cast would have sounded incredible with the material Jaeger and Mitchell provided but thankfully, Jaeger and Mitchell found a top notch cast to breathe life into their work. As Paul, Robert Hager is a star. Hager was resilient and charming. His character was accessible. Even when he wasn’t present, you yearned for him. Vocally, Hager’s prowess sat perfectly in Mitchell’s score. Madison Stratton as Laurel is illuminating. Stratton dominated the stage, contributing a gamut of strength. Stratton has impeccable comedic timing as well as knowing when to turn up the sentimentality. Stratton is a star in the making. Neal Mayer and Charles West as rivals Father and Curator respectively gave strong performances. Mayer, for the most part, was stern, but when he opened up, it was glorious. West took a more neurotic route for his character. While it came off a bit hokey at first, he grew into it as time passed on. Lisa Kuhnen and Michael Warrell dazzled. Kuhnen and Warrell were more than just talented dancers, they epitomized what this piece celebrates.
Director Devin Dunne Cannon had all the right parts working for her. With an exceptional piece and an accomplished company, Cannon managed to bring it all together in a wonderful way. At first, having her company participate on stage as the audience entered and as the neverending preshow announcement boasted on, you had to wonder why. Was this a sign of poor decisions to come. With minor staging exceptions, we got anything but. Cannon guided her actors through the emotions of life, love, and loss through the museum of memory. She was aided by the flawless choreography by Allicia Lawson. Lawson worked Kuhnen and Warrell tirelessly and it paid off. Lawson’s choreography prevented Kuhnen and Warrell from becoming just a device. Spot On the Wall also did something incredibly unique that worked wonders. Mitchell and music director Mike Rosengarten did not use a piano once in the score. And it was absolutely stunning. The orchestrations, left solely to guitar, violin, and bass, gave the production something special. We’re so used to hearing the plunk of a piano or keyboard in musical theater. To be free from it for once was mesmerizing.
Art is forever. That’s one of the many messages Spot On the Wall offers. Art, in it’s many forms, is a way to remember the memories we hold so close. There is a spot in the future of musical theater for Jaeger and Mitchell and this piece. Spot On the Wall is an intimate piece and can only survive in an intimate space. Finding the right place to hang it in next will be the key.

The Hamptons have a reputation. It’s where the elite reside. Well, at least part of the time. The Hamptons usually house the “second home.” Of course not all Hamptonites are the same. There are some less superficial people in the sea of hoity-toity, but they’re not meant for the theatrics. In 210 Amlent Avenue, a fading Broadway star turned Hamptons socialite has a well-timed party where a guest includes a young man from her past who holds a life-shattering secret in his hands.
With a book by Becky Goldberg and music and lyrics by Karl Hinze, 210 Amlent Avenue is inspired by the storytelling of the classics where drama is no stranger. Close your eyes and you’ll think you’re listening to the sweeping score of Adam Guettel’s The Light in the Piazza. Open them back up again, you’ll find everyone sitting around the table eager to play a game of “Full Disclosure” from The Addams Family. While the music may be pretty, it’s the story that pulls 210 down. Rather than reading like a high-stakes drama, 210 Amlent Avenue plays like a trashy soup where everyone’s secret comes out in the most over-the-top fashion all because these elitists can do whatever they want. The trajectory of the piece stays very flat, matching the sound of the score. Sure, there are heightened moments where Mrs. Jordan, the host of the dinner party, discovers that the secret she had squashed for oh so long is mere moments from resurfacing. And the way it resurfaces is through a bland device that is more laughable than dramatic. What Goldberg does well though is she is very self-aware with the material, throwing in jokes and jabs to alleviate the monotony. She also creates a great character that, placed in a different medium, could be extraordinary. Mrs. Jordan is a deep character. She's been lost in secrets and self-hating and uses the deaths to finally move on to the life she misses. It’s dark. It’s rich. You love to hate her but can’t wait to see she does next. Until she does it. And you can’t help but laugh at the ridiculousness of the situation. I suppose her mother never warned her about the dangers of playing with fire. Story aside, the music that Hinze provides has some beautiful moments. But they all seem to live in the same tone that none stick out. His artistry plays a grand part at times in numbers like “Nowhere Like”.

photo by Michael Kushner

With a story filled with some despicable and unlikeable characters, performances suffered. The best of the bunch was Steven Hauck as Murphy, Mrs. Jordan’s neighbor. Hauck is wonderful as the tension-cutting comic relief. But that’s about all he’s there for. Robin Skye plays right into the role of Mrs. Jordan. She knows how to sell her well, discovering the pain inside. But as likeable as Skye is, her character is anything but. Jen Brissman as Leslie is darling. Her strong showing does prove the need to beef up her character. There is an understated performance by Zal Owen. He lacks the power of the leading man, something Judah required.
Director Samantha Saltzman took this piece and played it like the pieces it was inspired by. And sadly, it caused monotonous pacing issues. The set by Christopher and Justin Swader featured large scenic pieces that limited Saltzman’s staging ability. With little room to play, Saltzman’s characters are stuck in space with no architecture to aid. Discoll Otto’s beautiful lighting utilized the colors of the Hamptons’ beaches on the scrim but did not help on the stage defining space. As nitpicky as it can be, one of the most unfortunate decisions Saltzman made, though it could easily be in favor for a smooth upcoming transition, was having Leslie bus the post-lunch table and pour the unfinished lemonade back into the pitcher. It gave her an action during her dialogue with Judah but it was slightly unsophisticated and something the character would not do.
210 Amlent Avenue suffers from the style it tried to evoke. We have an affection for the Ibsens and Chekovs but that doesn’t necessarily mean they work in musical form. Musicals automatically become heightened due to theatricality and with the plot so over-the-top, 210 Amlent Avenue didn’t really offer anything new.

Name: Jason Edward Cook

Hometown: Pittsfield, Maine

Education: Bachelors of Music: Musical Theatre from the University of Southern Maine

Select Credits:The Grinch (Young Max, The Old Globe), Big River (Huck, Playmakers Rep), The Underclassman (Clive, Off Bway), Drop Dead Perfect (Vivien, Off Bway), With Glee (Kip, Off Bway/Prospect Theatre Co)

Why theater?: Attention.

Who do you play in Pope! An Epic Musical?: Duncan. The outsider Cardinal with a love for all things geek.

Tell us about Pope! An Epic Musical: First of all, it's hilarious. Like uncomfortably hilarious. The first time I read the script I was like... Oh NYMF, you don't even know what's about to hit you! Secondly, the music is infectious - you know - the good kind. Good luck trying to get these tunes out of your dreams after you see this one!

What is it like being a part of Pope! An Epic Musical?: This team is ridiculous. Not only is everyone crazy talented and funny - they're also just CRAZY. The same KIND of crazy. It makes going to rehearsals the highlight of our days.

What kind of theater speaks to you? What or who inspires you as an artist?: I've always been drawn to the dark side. I'm far more interested in the story behind the story.

Any roles you’re dying to play?: I'd love to get my hands on Toby in Sweeney Todd.

What’s your favorite showtune?: I'm gonna have to go with... Dun dun dunnnnn! "See I'm Smiling" from The Last Five Years. It's so vulnerable and true and crazy. I envy every Cathy, because that song is a GIFT. OH! ...and duh... "Meadowlark".

If you could work with anyone you’ve yet to work with, who would it be?: I mean, isn't time that Bernadette and I share the stage!? ...but seriously.

Who would play you in a movie about yourself and what would it be called?: Sydney Lucas in "It's SIR. Not Ma'am"

If you could go back in time and see any play or musical you missed, what would it be?: Most definitely the original production of Into The Woods. I've worn out my DVD. I went to the cast reunion a few weeks ago and blew through a few hundred boxes of tissues.

What show have you recommended to your friends?: I was really moved by Curious Incident. They are telling a beautiful story in such an innovative way.

What’s your biggest guilty pleasure?: Anime. Yep, I said it. Anime.

What’s up next?: In August, I start rehearsals for a remount of an Off Broadway show I did last summer called "Drop Dead Perfect". I play a girl and I slide down a staircase. CAN'T WAIT.And My little dog Penelope has been in critical care at Blue Pearl for the past week. She's finally recovering after what we thought was the end and we've started a go fund me account for her outrageous vet bills. http://www.gofundme.com/pennies4pen

For more on Pope! An Epic Musical, visit popethemusical.com or nymf.org

Since their introduction, video games have played an integral role in popular culture. Through the decades, there have been iconic characters that have changed the face of the world. One of those is Super Plumber Mario. He and his gang have been spun off into an entire video game empire. It's not a secret Claudio Quest is a direct rip off of “Mario”. It's a lovely homage and a super fun musical.
With music, book, and lyrics by Drew Fornarola and Marshall Pailet, Claudio Quest is an 8 bit adventure as Claudio and Luis, his brother and number 2, try to rescue Princess Poinsettia from the fire-breathing platypus Bruiser. But on this specific journey, Claudio has a crisis, leaving him in a place he’s never been, forcing Luis to become the hero. What Fornarola and Pailet have done was create something that is icon and exciting. They use their source material as a jumping off point, allowing those in the know to laugh and smile at the inside jokes and references. They don’t shy away from giving loving nods to their musical influences. There are a plentiful amount of cheap laughs. And the characters happen to be strong and well-rounded because they are greatly parallel to already well-rounded characters. There is no question Claudio Quest is destined for extra lives. As it stands now, audiences will continue to play along. But to make it even stronger, the book could be finessed and polished, patching up the holes only the dramaturgical nerds would pester with. First and foremost, why now are the characters having their existential crises? And are they aware they are a part of a video game? And if the rules of video games say that a player controls the characters moves, why are these players doing what they’re doing? Could it be perhaps the player or players are having their own sibling rivalry? Or are we watching video game "Toy Story"? In a campy musical, audiences tend to forgive the big questions but the rules of the Claudio Quest world are too vague to go unnoticed. But book problems aside, what Fornarola and Pailet have going for them is an incredible score. The lyrics are fun, the music is catchy, and the Broadway pop style fits the piece wonderfully. From top to bottom the numbers are brilliant. It’s doubtful you’d skip a single one if you were listening to the album. Even days later, "Claudio Saved the Day" is earworm worthy. And if you were listening closely, Fornarola and Pailet even borrowed the melody from the “Mario Theme Song" in a few numbers.

photo by Jeremy Daniel

It’s important to have an ensemble that is eager and loves the material. It’s clear that the entire ensemble was having a blast. As the titular Claudio, CJ Eldred is a superstar in the making. Eldred owns his charming demeanor, flashing the million-dollar smile on cue. Eldred also happens to have an incredible voice. If ever there was a perfect role, Claudio is tailor-made for Eldred. Though Claudio may be the title character, it’s Ethan Slater’s Luis who is the breakout star. Slater does a superb job transitioning from player number 2 to player number 1. Standing next to his costar, Eldred gets the attention, but it’s Slater who steals hearts. In this version, there are two princesses. The primary princess who always gets captured and the one who’s stuck at home, also as the other sibling. As Princess Poinsettia and Princess Fish, Lesley McKinnell and Lindsey Brett Carothers are perfect. McKinnell is the epitome of princess. Her operatic soprano is gorgeous. But while she may appear to be prim and proper on the outside, McKinnell happens to be the best comedic actor on stage. McKinnell’s timing and comedic choices are spot on. “SNL” worthy if I do say so myself. Carothers’ played the adventurous tom boy princess with ease. Carothers had wonderful chemistry with Slater. While McKinnell and Carothers may not have had the most stage time together, when they did, they stole the show. “More Than One Way” may be the highlight of the score. But if we’re talking musical number highlights, the winner goes immediately to “The Platypus Song” and the sensational Andre Ward. Ward, a musical theater veteran, gets to shine bright as the evil Bruiser. The six member ensemble had the privilege to not only to put on silly costumes and offer silly voices, they served as the heart of the show. Katie Lee Hill as Bruiser’s deadpan psychologist was a hoot. Alex Goley as the Eggplant who gets no respect was an absolute scene-stealer.
To guide the adventure, puppet master John Tartaglia did a fantastic job. Tartaglia ensured that high-energy and entertainment was at the center of the show while still maintaining the heart and integrity of the characters. Tartaglia did run into some troubles with a few things. The 8-bit world was brought into a colorful three dimensional visual explosion. But then we are introduced to the blandly named and even more visually boring Yoshi-inspired character, Y. Though the running joke Fornarola and Pailet incorporated with the thing was such a waste, the flat papier-mâchéd dino was lost next to the sensational puppets designed by Michael Schupbach and the Puppet Kitchen. Y looked like a rejected mockup from the Triassic Parq garbage bin. The costumes by Leon Dobkowski were vibrant and brilliant. They are a true selling point of the show. But in a world of color, Bruiser’s brown was deadening. Even his inspiration Bowser is a little more colorful.
Claudio Quest will be played over and over again. There is something greatly special about this show. But it’s not perfect. There are too many band aids distracting from the problems. While you can only hope that the book gets fixed before the next stop on the quest for theater domination, it’s inevitable that Claudio and friends are here to stay.

Moving on after a traumatic event may not be easy. For some, the pain lives with you forever. For others, a simple distraction can help it go away. And even when times are tough and the pain still lingers, the bonds are friendship can alleviate the pain. In The Cobalteans, a group of friends reunite a year after the death of one of their own. With wounds still fresh, moving on and staying together is the key to closure.
With book and lyrics by Yianni Papadimos, music by Ben Chavez, and additional music by Andrew Bridges and Papadimos, The Cobalteans is an indie musical about friendship and growing up. A year after Gabe’s death, Davey, Gabe’s brother, reunites his brother’s friends to celebrate his brother’s life. As everyone arrives, truths are revealed, sores are reopened, and memories are brought back. The Cobalteans is a derivative musical with a story that is overdone. The piece begins with a prologue of sorts that is reminiscent of Spring Awakening with a driving contemporary song set to modern lyrical choreography. The song, which on its own is beautiful, sets the mood of the piece rather than progress it any way. And that is just a preview of what is to come. Papadimos’ book is a structural nightmare. The action Papadimos sets is extremely passive. He has characters recall events of the past involving their fallen friend that lead to flashbacks. These flashbacks don’t lead to any new revelations in the advancing scenes nor do they assist in character arcs. Believability is essential for strong characters. Papadimos employs a very heightened and intellectual way of speech for these frat boys, something that doesn't quite resinate. The other disappointing aspect The Cobalteans throws into the mix is the “Gabe Device.” Like an extremely successful NYMF show of yore that went on to win a Pulitzer Prize, ironically or not using the same character name, ghostly Gabe was extremely hokey rather than sentimental. Gabe seems to meander around on stage rather than affect the living. He appears to be present more for seamless flashback transitions. Water seems to be a very important part of the script and mean something to Gabe. Poetically, had the death involved the water, it would have tied the entire piece together. With all the problems of the book, The Cobalteans does have something extremely strong going for it. And that’s the music by Ben Chavez, with a little help from his friends. A concert or an album of the show’s music would be satisfying. The music is sensational, with a captivating score and smart lyrics. Even though it tried so hard to be the next Spring Awakening, The Cobalteans had some winning numbers including the powerful “When I Scream.”

photo by Jackie Abbott

The youthful cast of The Cobalteans had such enjoyment on stage. The quintet brought life in a musical about death. The strongest and sincerest performance came from Nicholas McGovern. As the most pained Mike, McGovern’s breakdown was raw. As devastating as it was, it was a vibrant moment. As little bro Davey, PJ Adzima was the glue of the piece. Andrew Bridges had a sensational voice, a tone that fit greatly in the score. Aleks Knezevich as preppy Chris was grounded, something the others didn’t quite have. Alex Walton, perhaps due to his character, seemed to coast through his performance. The confidence was high but the chemistry was minimal.
Finding a way to activate the passive book was essential. Sadly, director Paul Stancato could not do this. Stancato’s vision was confused. His staging was static and over-calculated. Christopher Ash, who served as scenic, lighting, and projection designer seemed to have his hands full. Scenically, Ash placed posts around the stage that blended into the wings. While he offered some beautiful lighting moments, the projections were purposeless and hokey.
The Cobalteans has a score that gives the piece great hope. But a dramaturg or script doctor are in order to give the book a much needed overhaul so the music can continue to fly.

Name: Dylan Frederick

Hometown: Minneapolis, MN

Education: University of Evansville and Yale School of Drama

Select Credits: I've been making plays since I was a little guy. The first play I acted in was a very cool version of Three Billy Goats Gruff. With sweet music by Shirley Mier. The last play I acted in was Emily Zemba's LOL Deer and The Lovers.

Why theater?: I think it's a nice listening opportunity. For all involved. And it can be seriously fun.

Who do you play in Summer Valley Fair?: A really fantastic sixteen year old who works at a cotton candy stand!

Tell us about Summer Valley Fair: I wrote an album of summer songs from the perspective of a sixteen year old girl. I love albums. I love hearing them all the way through. Solving their mysteries. And I wanted to play that game with some of my own tunes. So I spent a few months composing and building a story album. And now it's going live, baby!

What is it like being a part of Summer Valley Fair?: Wild! I wrote the thing as a private little treat for myself. And then I was like "it could be a musical". And then I was like "I have to act in it". Yikes.

What kind of theater speaks to you? What or who inspires you as an artist?: Theatre 4 all ages. I love a family trip to the theatre!!

Any roles you’re dying to play?: Danny Zuko

What’s your favorite showtune today?:"Little Lamb"

If you could work with anyone you’ve yet to work with, who would it be?: Nancy Meyers!!!

Who would play you in a movie about yourself and what would it be called?: It's gotta be Hathaway.

If you could go back in time and see any play or musical you missed, what would it be?:Caroline, or Change OBC.

What show have you recommended to your friends?: Oh, Fun Home DUH

What’s your biggest guilty pleasure?: Acting

What’s up next?: More school! Two more years!

For more on Summer Valley Fair, visit summervalleyfair.com or nymf.org

Grieving is never easy. We all grieve in our own way. Family and friends are usually a safe place to turn to help through the dark time. Unless you’re a twentysomething and drugs and sex are truly your only friends. Such is the case in Riley Thomas’ Wearing Black.
After the death of his twin brother, Evan falls deep into a dark pit of despair and even those closest to him can’t help him out. Wearing Black is, at the root, a play about grieving. There is substance to it inside. But what Thomas offers is a musical so fantastical that it’s too hard to believe. Wearing Black follows the theory of “when it rains, it pours.” After laying his brother to rest, Evan watches his one true love, and former flame of his brother, continue to use after it resulted in his brothers death. To cope and get his aggression out, they end up having sex in a hazy stupor. Evan’s father, a respect demander, is a closed-minded drunk that blames the problems of the world on everyone but himself, causing an already large riff between father and son to become bigger than the Rocky Mountains. And then there is the childhood friend who is willing to destroy an apparent “loveless” relationship just to have that one moment of intimacy with Evan. With four out of five characters being so unsympathetic and irresponsible, Wearing Black is a difficult piece to engage with. By the time there are any shreds of redemption for these characters, it’s too late. The dialogue Thomas uses is tired and monotonous. Thomas introduces many plot points that either go unresolved or completely passed over without another mention. With an atrocious book holding back the rock infused score, Wearing Black plays the tonality of a bleak love child of Next to Normal and Rent. The music Thomas provides is good. There is promise in the score.

As Evan, Devin Ilaw played one solitary action throughout. Anger. Evan may have touched upon the stages of grief throughout the musical, but he was angry at every step. Ilaw’s voice is gritty, something that worked to his and Thomas’ advantage. But at times the grit was replaced by screaming. Though he had difficulty staying in key, BJ Gruber as Nate was a loveable bumbling buddy. As the only character that you could possibly cheer for, you felt sympathetic toward him after continually being, pardon the language, shit on. Gruber has potential in him. When things were in a “happier” place, Gruber and Hayley Anna Norris’ Alyssa had one of the standout moments with “I’ll Learn From You.” And then Alyssa, out of nowhere, had instant love for Evan and she become a hated character. Norris has a beautiful voice. It was sweet and matched what the character was supposed to be. But after watching Alyssa be the catalyst for what she knows is just a one-night stand, Norris was lost. As Kristin, Erin Maya, like Ilaw, was stuck in the rut of anger and inebriation. While she played both well, it was boring. Sadly, it was not a shock to see her overdose. Perhaps it spared Maya from being a broken record if the character hadn’t passed. Mark Coffin as drunk dad had what may be the hardest role in the entire show. From his first moment on stage, you hated him. And as much as you wanted to believe he had changed at the end, it was not genuine.
Director Jeremy Scott Lapp had a tremendous task in finding something to win the audience over. Lapp highlighted Thomas’ score. And in doing so, there was much action within the music. In musical theater, unless a scene slams in following a song, it is inevitable that the audience will clap. And there is nothing more awkward than applause for a song where the song ends with sex. While it could have been completely out of Lapp’s control due to the material he had to work with, the audience was never more uncomfortable. And thus, was lost from that moment on. Lapp’s musical staging was repetitive due to David Goldstein’s set. The platform idea provided levels but it caused issues toward the wings.
Wearing Black is an abundance of ideas loosely strung together that when combined, causes a problematic musical. While there may be some wonderful songs in the production, finding an audience willing to endure this story will be essential. That is if things remain the same.

Name: Melissa Gordon

Hometown: Long Island/Queens, NY

Education: Bachelor of Arts in Drama-Ithaca College, National Theatre Institute

Favorite Credits: Recently, I got to sing all of the Phoebe songs at the Friends 20th Anniversary Central Perk Pop Up Shop downtown. That was really fun.

Why theater?: I love theatre because of the unpredictability. Every performance of a show is it's own little world due to the different factors coming into play each night. Nothing beats performing on stage underneath hot lights and making people laugh. Or cry. Or anything at all!

Tell us about Fresh:Fresh is a five character solo show about freshmen at a liberal arts college. It's loosely based on Ithaca College, where I went to school.

What inspired you to create Fresh?: Well, college is just a ridiculous time that has built in "funny" potential. I like to think about environment a lot and what sorts of people can exist there, so the first character I wrote is an RA named Stacey. Then the other characters kind of just naturally found themselves; either based on people I knew in school or different versions of my college self--there were a few!

What kind of theater speaks to you? What or who inspires you as an artist?: Bold, unapologetic, funny, and specific pieces. If a story is well told, then the battle has been won. I've definitely been inspired by a lot of solo performers like Tracey Ullman and Chris Lilley, but also by countless movies, shows, plays, and music. Other than that, I'd say the everyday experiences and places we all share. For me, it's always changing.

If you could work with anyone you’ve yet to work with, who would it be?: Right now, I'd say Kristen Schaal. She is hilarious and seems like a ton of fun to collaborate with.

What show have you recommended to your friends?: I see a lot of comedy but the last play I saw was The Heidi Chronicles, which was excellent all around.

Who would play you in a movie about yourself and what would it be called?: This question is amazing. I think...Bette Midler in "Tri State Neuroses." I credit my friend David for that title!

If you could go back in time and see any play or musical you missed, what would it be?: I'd love to have seen the original production of A Chorus Line. Sigh, I love that show. Plenty of other musicals too. Also, The Search for Signs of Intelligent Life in the Universe.

What’s your biggest guilty pleasure?: Eating candy like a child who just found out what candy is.

If you weren’t working in theater, you would be _____?: Probably making more money? Just kidding! I'd be running some artsy cafe/animal sanctuary/bed and breakfast/concert space in the mountains.

What’s up next?: I have a few projects on the horizon, but right now, I'm just doing shows, writing, and enjoying summer, but I'm very much looking forward to what the rest of 2015 will bring!

Name: Ethan Andersen

Hometown: New Orleans, Louisiana

Education: I received a BFA in Music Theatre from Elon University in North Carolina.

Favorite Credits: I got to play some pretty fun roles in school (like Burrs in The Wild Party and Woof in Hair) and I loved doing L.M. in Pump Boys… (because I got to play the piano too), but this production of HeadVoice at NYMF is by far the most artistically-fulfilling project I’ve been able to work on.

Why theater?: I love that you can create whatever world you want in theater. The possibilities are pretty limitless. At the same time, there are very real limitations: you have to stay in the same room and replicate it every night. That combination of physical limits but no artistic limits makes it very exciting and unlike any other art form.

Tell us about HeadVoice: HeadVoice is all about how one person deals and copes with his life through art. Eric has experienced some pretty intense events (find out what those are when you see the show!), and to cope with them, he retreats into his head and does the one thing he knows how to do: write a musical about it! Except he’s using the voices in his head to play all of the roles. The HeadVoices bring his story to life in that wonderful way musical theatre does with song and dance. Throughout the show, Eric fights having to tell his true story and dealing with what has happened to him.

What inspired you to write HeadVoice?: HeadVoice is a semi-autobiographical piece. As I began growing up and experiencing big events in my life, I started noticing how I’d use writing music as a way to deal with and understand what had happened. And I thought that there was a story in that. Every single person has his/her own way to digest the things life throws at him/her. For those of the artistic-persuasion, many times it is with our art. That’s how Eric came about. And I thought personifying the voices in his head as the Id, Ego, and Super Ego would be a perfect way to define those individual personalities.

What kind of theater speaks to you? What or who inspires you as an artist?: Any kind of theatre that tells a great story! It can be big, intimate, whatever. If it’s telling a strong story in an original way, I’m in. I’m especially inspired by writers and creators who are continuously pushing and expanding what theatre can do with musical style, content, etc. It’s so brave to say, “Okay, this is what theatre is now. What if we do this instead?”, but I have such a great respect for those creators who are keeping theatre alive and fresh.

If you could work with anyone you’ve yet to work with, who would it be?: I mean…Meryl Streep…that’s a no brainer.

What show have you recommended to your friends?: There’s so much great theatre happening right now! The best thing I’ve seen recently, though, was Fun Home. An amazing story told in a complex yet very simple way. And everything in that show serves the story. Talk about moving theatre forward!

Who would play you in a movie about yourself and what would it be called?: I’m tempted to say Meryl Streep because, well, she can play anything. But maybe a nerdy Nicholas Hoult? Or I’ve been told a young Mickey Rooney? And I think it’d be called “E.T.(han)”.

If you could go back in time and see any play or musical you missed, what would it be?: So many! But to see the original productions of West Side Story, Gypsy, or Sweeney Todd would be pretty amazing.

What’s your biggest guilty pleasure?: Swedish Fish. I don’t know why, but once I start, I just can’t stop. I just can’t quit you, Swedish Fish.

If you weren’t working in theater, you would be _____?: I’ve always wanted to teach, and I hope I will someday. But I’ve always been fascinated with graphic design. I don’t know much about it all, but I love to doodle and it seems like it would still be a very artistically fulfilling job. Or a Swedish Fish taste-tester.

What’s up next?: I’m excited to start working on some new projects! I’ve been writing HeadVoice for the last 5-ish years, so I’m ready to open my list of musical ideas and dive-in to the next. I also work as an accompanist and music director in the city, so I have a few concerts in the fall that I’ll be playing for as well. The plan is to stay busy!

For more on Ethan and HeadVoice, visit http://www.ethan-andersen.com/

Getting men to see theater is hard. Strike that, let me rephrase. Getting married straight men to see musical theater is hard unless they are dragged by their wife. It’s a joke that’s been made for ages. And in Real Men, a musical for guys and the women who put up with them, those men get the spotlight.

In this cabaret style piece, Real Men documents the jokes and running gags of life as an aging straight man. From women to beer to marriage to beer to getting old to beer. Real Men, written by Paul Louis and Nick Santa Maria, is a laugh heavy fun time where stereotypes get lampooned. Louis and Santa Maria structure their piece in sections that document everything from dating to the pains of old age. Real Men is not a book musical but a cabaret with musical sketches and bits. And puppets. There are lots of puppets. What Louis and Santa Maria do is create something they know is super fun. And super fun for them to be a part of. They know their demographic is an older crowd and they play into their hand. But at 90 minutes, Real Men drags on with the same recycled jokes. Cut out thirty minutes and Real Men would be perfect. And there are certainly a couple numbers ripe for the trimming. The music Louis and Santa Maria uses ranges from classic Broadway style to country western to waltz-infused numbers. The majority of the numbers are toe-tappers and head-nodders. Louis and Santa Maria place themselves in their piece along with Stephen G. Anthony. The trio are all suitable vocalists as well as comedians. Anthony, for the most part, takes on the “straight man” role of the sketches leaving Louis and Santa Maria to have the goofy faces and silly voices. The range of characters that the trio takes on is fun to watch. But with one small exception, not one dons drag. The lady parts are left to the puppets. I suppose real men don’t want to see a drag show. The use of puppets is a clever touch for the cabaret atmosphere. While they look like Avenue Q knockoffs, the puppet work is quite good.
Director David Arisco knows how to win the audience over. And that’s with cheap laughs. Arisco and his actors play into visual gags in the majority of their bits. From the “Book of More Men” to a giant penis costume to tiny people on the ledge, the visual humor is never dry. Abundant, but hilarious. With only three men to tackle an assortment of roles, Arisco keeps things moving. With nearly thirty numbers and costume changes between each, Arisco was forced to keep the transitions quick otherwise of the natives would have gotten restless.
Real Men is meant for a cabaret space, not an actual theater as some of the jokes will drive you to drink. This show is destined for a regional tour and dinner theaters across the country. While Louis and Santa Maria were brilliant, they truly wrote a piece that could be passed off to other actors.

Thornton Wilder once wrote a play called Our Town about the fictional American town of Grover’s Corner, New Hampshire and the inhabitants of this small town. Broken down into three acts, Our Town, led by a narrator called the Stage Manager, follows the lives of the Webbs and the Gibbs over a period of years. This play is an American classic. The slice of life look at Everytown, USA has a special place in our hearts. In Kaela Mei-Shing Garvin’s Corners Grove, Garvin transports the Webbs and Gibbs and friends to a fictional Bay Area town to peek into the struggles of home and the loss of Whitney Houston.
In Corners Grove, Garvin pays homage to Wilder while simultaneously throwing away the heart and beauty of the classic. Written in three long acts, a narrator takes the audience on a journey through the recent past where townies struggle to grow up, get out, and find happiness. The Webbs and Gibbs are still neighbors but their identities are new. George Gibb is the friend-zoned pal of Emily Webb. Emily’s brother Wally is closeted and rearing to escape. Rebecca Gibb is the town slut and faghag of Wally. The core four have an abundance of classmates and pals including cousin Julia, her best friend lesbian Melissa, her ex and Stanford genius Stacy, and town bad boys Howie and Joe. With so many characters on hand, Garvin tries to give them each their moment to shine and intertwine, but there’s only so much you can jam pack in an endless two-hour intermissionless play. With the appeal and intrigue of Our Town, Garvin explores the accessible theme of home and what it means to our generation. Though the sentiment is there, the clarity is not. Blending parody with heart blurred the intentions of the piece, losing the credibility of the source material. Regardless of style, Garvin ran into problems structurally and with character arcs. The majority of the characters had stand out moments but none were fully fleshed out. Elements and traits were touched upon but were pushed to the backburner to make way for the next round of characters. Corner’s Grove felt closer to highlights of a first season of a television series than a fully realized piece of theater. It appeared as if the core four were to be the most fleshed out but that was soon abandoned.

The one character though that did have the most dynamic journey and fullest story was Wally. This was proven in the strong performance by Adin Lenahan. Lenahan was sassy and fun to start but when he had his Prior Walter moment in Act III, that’s when he broke out, offering an emotive performance. While she was primarily subjected to the background until the third act, Stephanie Malove was delightful as Julia. Malove has a strong onstage presence and a charming disposition. The highlight scene of the play was the proposal between Julia and Par Juneja’s Luke. Malove and Juneja provided rapid-fire dialogue that culminated in a beautifully tender moment. Equally sequestered to the minor role was the majorly capable Kelly Colburn as Melissa. Colburn was able to find dimensionality in Melissa, bringing subtle nuances to the role. Max Carpenter as Joe broed out wonderfully and Gabriel Carli-Jones find hope as Manny when they were on stage, making the audience to beg for more to their stories. Beyond that, there were many disconnected performances. There was such hope in Brittany K. Allen’s Emily but was sadly held back by Michael Greehan’s George. Greehan seemed to be living in his own play, lacking chemistry with Allen. Scribe Kaela Mei-Shing Garvin as the poorly titled Stage Bitch looked lost, fumbling over her own words. Garvin looked frazzled and unsure as the narrator, though she was captivating in her moments of stillness watching the action she created.
To bring Corner’s Grove to life, director Gemma Kaneko took the stripped down approach, a staple to Our Town. Using this device was fine but the scenic elements were a complete travesty and sadly altered the experience. The set by Carolyn Emery seemed more like a pull from the Paradise Factory storage room rather than a cohesive design. Emery and Kaneko used stacks of audience chairs, two ratty folding tables, and two ladders to tell the story. While the concept was keen, it seemed as if the company forgot to bring their scenic elements to work. In the tight space, Kaneko brought little variety to her staging. Additionally, Kaneko had her company mime props until some props randomly appeared. The inconsistency drew focus from the moment, trying to discover why some props were more important than others. The lighting design by Caroline Faustine was modest, bringing some wonderful color to some of the monologue moments.
Kaela Mei-Shing Garvin and dramaturg A.P. Andrews should continue to bring their strengths together to shrink the show and discover the direction Corner’s Grove ultimately wants to go in. The piece has the power to hit home but as it stands now, there’s a lot of fluff that diminishes the quality. With inspiration stemming from a beloved play, there’s a lot going for Garvin and her work.

Name: Sam Bolen

Hometown: Duluth, MN

Education: Yale University

Select Credits:Irma La Douce, Gentlemen Prefer Blondes, It's...Superman! (Encores!); Twelfth Night, Hamlet (Old Hat Theatre Co.); Meryl Streep as Suzanne Vale in Streepshow! (Ars Nova, Dixon Place) 

Why theater?: Adrenaline.

Who do you play in Pope! An Epic Musical?: Pope!

Tell us about Pope! an Epic Musical: In a world where evil roams the Vatican City streets, the true pope must face his inner demons and a dastardly Archbishop to restore peace. It's a film noir crossed with a comic book and set to rock music!

What is it like being a part of Pope! An Epic Musical?: It's a blasphemous amount of fun. I am no good at keeping a straight face and this cast is doing an excellent job of reminding me of that.

What kind of theater speaks to you? What or who inspires you as an artist?: New stories told in classic ways and the reverse. But it's always about story. People who work hard. Always.

Any roles you’re dying to play?: I'm too young yet, but Harold Hill in The Music Man. Or Leo Bloom in The Producers.

What’s your favorite showtune?: Today it might be "Changing My Major" from Fun Home, but usually it's either "Sue Me" from Guys and Dolls or "Hello, Young Lovers" from The King and I.

If you could work with anyone you’ve yet to work with, who would it be?: Mark Rylance and Kelli O'Hara.

Who would play you in a movie about yourself and what would it be called?: Rob Lowe in
"Minnesota Nice". He'd do a lot of rapid monologuing.

If you could go back in time and see any play or musical you missed, what would it be?: The original Sweeney Todd or the early 90s revival of Guys & Dolls.

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

What’s your biggest guilty pleasure?: Chips and Salsa.

What’s up next?: I'm playing Meryl Streep as Suzanne Vale from Postcards from the Edge opposite eight other Streeps in Streepshow: Episode Two at Dixon Place in July. It is completely outrageous.  

For more on Sam, visit www.sambolen.com. For more on Pope! An Epic Musical, visit popethemusical.com or nymf.org

Art allows the artist freedom of expression. Through their medium, an artist has the unique ability to evoke emotions through their masterpieces. But sometimes, expression is too much and art is censored. Whether it be from fear or power or whatever, censorship and art have a storied past. In Howard Barker’s masterpiece, Scenes from an Execution, an artist is commissioned to create a victory mural but when her truthful depiction strays from expectations, the powers that be strike her masterpiece down.
In PTP/NYC’s staging of the Barker piece, Galactia, a painter, is hired by Urgentino, the Doge of Venice, to paint a giant victory portrait reflecting the Venetians’ latest triumph at sea, in which his brother the admiral shall be represented. The sharp-tongued Galactia is at odds with the Doge from the start, but hits its peak when Galactia’s graphic painting is more of a realistic depiction of death than gallant victory homage of war. Scenes of an Execution is Barker at his finest. The narrative is clear. The story is sensational. And no matter when it’s presented, Scenes from an Execution is wonderfully relevant. Director Richard Romagnoli tells the story simply and allows Barker’s stimulating language take center stage. Though a few stray chairs thrown to the side distracted the action, Romagnoli kept the action moving and the stakes high. There may be elements of character amplification in Barker’s script but Romagnoli and his exquisite company kept them genuine and honest, allowing for them to resonate.

photo by Stan Barouh

This is a play about passion and fervor. Jan Maxwell has both. As Galactia, the centerpiece of the script and production, offered an astounding performances. She was captivating from start to finish, even when the stage was plunged into darkness. Maxwell delivered a performance to be remembered. The ensemble surrounding Maxwell gave some remarkable performances as well. As the Admiral with a hand obsession, Bill Army brought a spectacular hilarity to the character. Suffici’s ego reign provided much amusement that you hoped for a temper tantrum upon seeing the portrait. David Barlow played up the constant pity party of embarrassment in Carpeta. It’s no wonder others mocked Carpeta’s relationship with Galactia and his one-note paintings. Alex Draper as the Doge brought a similar demeanor to his character that has been seen in some previous PTP/NYC production but his scenes with Maxwell offered some stunning power play moments. Lana Meyer and Melissa MacDonald as Galactia’s daughters Supporta and Dementia respectively didn’t quite find the strength Barker gave them as these women, like their mother, were ahead of their time.
To bring this production of Scenes from an Execution to life, the creative team united modern and period as one. The scenic elements by Hallie Zieselman were sleek and mobile, allowing the multi-location piece to strive. Though it is disappointing that Romagnoli didn’t utilize the structure in the back more often. Lighting designer Mark Evancho played heavily with the idea of light, or lack there of, to provide for some fascinating looks. Layering in a bit more color in a seemingly grey-scale world about art could have been nice. The costumes by Jule Emerson with Mira Veikley kept with the marriage of styles and played with the form-fitting items for the wealthy and well-to-do and the flowing garments for those below. The ease of Cormac Bluestone’s sound design was faultless. Bluestone's work with space was dynamic, allowing you to feel as if Galactia were actually in a giant room. It was a welcome touch.
Howard Barker may not always be the most accessible playwright but Scenes from an Execution certainly is. And with recent wor;d events, Scenes from an Execution is poignant as ever. And if this is in fact Jan Maxwell’s theatrical farewell, this role is a perfect one to go out on top with.

Name: Mary Catherine Donnelly

Hometown: Philadelphia, PA

Education: Lecoq-based physical theatre training at Helikos: Scuola Internazionale di Creazione Teatrale in Florence, Italy.

Favorite Credits: I really enjoyed working on Brenda Cullerton’s JayZ&Me and Ingrid Griffith’s Demerara Gold. They are very different shows but they both gave me the opportunity to work extensively with each of these writer/performers to create defined supporting characters within a narrative format. They are both collaborative artists and open to experimentation and they worked really hard to find the specific physical characteristics in each of their characters. It is more work than people think usually I have found if this is the first time they have used movement and gesture to create worlds without many props. Ingrid’s and Brenda’s commitment and trust in me made it really fun to support their stories in this way.

Why theater?: Quite simply the connection with the audience. There is nothing like the feeling of being in flow with them. Also, the magic is created right in front of you, on the spot. Once the ride starts you don’t get off. There is no stopping, editing, adjusting to fix anything. You just have to try again. I am always touched by the vulnerability of people on stage, especially solo artists asking us to witness them alone, risking failure or success, judgment or praise. Also, because theatre is 3 dimensional and live it lends so much possibility to play with form.

Tell us about The Rise of the Usher: It is a story of one young woman’s desire to advance her career and love life as a theatre usher. Jessica’s play takes us into the world of what goes on behind the scenes and during intermission playing various characters the (at first shy) young woman encounters along the way to the top.

What inspired you to direct The Rise of the Usher?: I am drawn to people and characters that are sometimes treated as invisible to people who, in fact they are in direct contact with. I was also very curious about the subculture, various personalities, desires and treatment by the public and co-workers in the world of professional ushers. Public personas vs. individual personalities are always fun to play with in character development.

What kind of theater speaks to you? What or who inspires you as an artist?: Theater that speaks to me is any form of theatrical experience where I feel I have tapped into something bigger than myself. For me that could feel like “the universal mind” and the sense that the audience and actor(s) are suspended in a moment in time together with not much separation between the audience and the action on stage. That is really amazing when that happens! This is why I enjoy physical theatre so much because it uses the body to create a wider state of consciousness. I enjoy watching and working in this way because it invokes the imagination of the audience to participate in the illusion and creation of an imaginary world, yet seems very, very real. There are shows I have seen by physical theatre and Lecoq trained performers where I remember being in all these environments and various characters so vividly but it was all in the performer’s ability to include my imagination because there were no props or costume changes. This made the experience a part of my own personal memory, something we both created and shared together. I am inspired by nature and studying people and animals in their natural states and rhythms in life as a means to better understand movement and form. I have had a lot of inspiration from so many talents: I love the storytelling and physical energy of John Leguizamo, the shapeshifting of Jefferson Mays and Sarah Jones, the theatrical magic of many circus troupes and acrobats, Bill Bowers’ use of mime and story, Christopher Durang was a very early comedic influence, Tony Kushner, the poetry of Rumi and the style of comedic storytelling by Louis C.K. and Ricky Gervais.

If you could work with anyone or genre you’ve yet to work with, what or who would it be?: I’ve been very curious about PUSH Physical Theatre lately and would like to learn from them. John Leguizamo was a very early influence on me as a solo performer and his work really touched me on a very personal level. I also want to incorporate shadow theatre and puppetry into solo shows so excited about learning more about these forms of storytelling.

What show have you recommended to your friends?: Most recently I recommended WhiteRabbit, Red Rabbit by Nassim Soleimanpour that was recommended to me when I was in Edinburgh last summer.

If you could go back in time and see any play or musical you missed, what would it be?: I wish I would have seen Angels in America and August: Osage County on Broadway. I have yet to see Chinese Acrobatics live and I would really like that!

What’s your biggest guilty pleasure?: Bourbon on vanilla ice cream. My grandmother got me into it.

If you weren’t working in theater you would be _______?: Asomatic experiencing therapist working with artists to remove creative blocks.

What’s up next?: Jasmine Pittenger’s My Ass (In The World): A True Story Of Love, War, Taliban… And Dirty Lambada-Dancing (The 2015 New York International Fringe Festival) and Mia Smith’s I am Hope (2015 United Solo).

Name:  Jesse Freedman

Hometown: Stamford, CT

Education: BA Eugene Lang College, New School University, MFA in Theater from Sarah Lawrence College

Favorite Credits:  I just directed a Gertrude Stein play called Paisieu through the Target Margin Labs.   It is the hardest language I’ve ever encountered and the most fun I have ever had directing a play.

Why theater?:  Because Dionysus demand it of us.

Tell us about Karaoke Bacchae:  Karaoke Bacchae is an adaptation of a Greek Tragedy, set in Sports Bar, on Karaoke Night, during the World Cup. Karaoke night has been cancelled to watch the game, so the god Dionysus comes to the bar in the body of Iggy Pop with a bunch of drunken sorority girls and takes over. There is a lot of dancing. Its fun weird and raunchy.

What inspired you to create Karaoke Bacchae?: I was at this Sports bar on karaoke night and though to myself, instead of doing karaoke, I should go up there and do the Bacchae. That would be fun, or piss people off.   There is a great interview with Iggy Pop from the Tom Snyder show in the 70’s. Iggy tells to Tom that his performance is “Dionysic” and explains the difference between Dionysian and Apollonian art.   That was probably been floating around in my skull.

What kind of theater speaks to you? What or who inspires you as an artist?:  I like Contemporary dance and dance theater. Artists with a strong choreographic and visual sensibility combined with a poetic sensibility, and a twisted sense of humor.

If you could work with anyone you’ve yet to work with, who would it be?: Big Dance Theater, Jay Scheib, Dan Safar/Witness Relocation

What show have you recommended to your friends?:  The first SITI Company show I saw, bobrauschenbergamerica, at the Rich Forum in Stamford, CT. I saw that show, went back the next night and brought 3 friends.

Who would play you in a movie about yourself and what would it be called?: Wallace Shaw, and it would be called “My Seder With Andre’”

If you could go back in time and see any play or musical you missed, what would it be?:
The 1957 broadway production of Shinbone Alley with Eddie Bracken and Eartha Kitt.  Or something from Grotowski’s early work.  Or the Theater for a New Audiences 2007 production of The Jew of Malta.  Or the Wooster Groups production of Shaker Spirituals from a few months ago. I’m pissed I missed that.

What’s your biggest guilty pleasure?: Dollar Pizza.

If you weren’t working in theater, you would be _____?: A carpenter or something in the hudson valley.

What’s up next?:  Karaoke Bacchae at the New Ohio Theater. Part of Ice Factory 2015. I’m developing a project exploring the creation of the Talmud through the lens of Kung Fu Movies.

For more on Karaoke Bacchae, visit http://www.meta-physed.com

PTP/NYC is known for presenting strong productions of their favorite playwrights. With so many rich scripts in the repertoire, it’s hard to choose which plays to produce. So why not bring a double bill! In a night of high-intensity drama, PTP/NYC brings you Judith by Howard Barker and Vinegar Tom by Caryl Churchill. At first glance you may not see a correlation between their pairing but these are two plays that, among other things, contain strong females characters. Very strong.
First up is Barker’s Judith. A retelling of the Book of Apocryphya’s heroine Judith and her physical sacrifice to general Holofernes, Barker presents his version where he suggests a struggle where Judith loves with the enemy. Barker’s piece is intense and provocative to say the least. The struggle for power and the immense sexual tension of the play furtheres the action until madness ensues. Director Richard Romagnoli takes the intimacy of the piece and glorifies it in all the right ways. Romagnoli finds the edge and grit of Baker’s script and manages to excite and arouse. The cat and mouse game between Pamela J. Gray’s Judith and Alex Draper’s Holofernes was thrillingly wonderful. With clear objectives to start, watching Gray and Draper become flippant as the situation transformed kept the audience attentive. While the battle between Judith and Holofernes may have been the meat of the piece, it was Patricia Buckley who stole the show. Buckley is nothing short of phenomenal as The Servant. Buckley balanced immense humor and wit with impeccable timing to make the third wheel of the piece the star.

photo by Stan Barouh

It’s unfortunate that this prominently intimate piece was stuck upon the giant stage. With the confines of a double billing, Romagnoli and scenic designer Hallie Zieselman kept the space open despite using only half of the stage. Had there been a way to confine the space, the dangers of the piece would have grown vastly. The chairs and bed that Zieselman used for Holofernes tent were absolutely beautiful. The modern pieces were added a richness to the world. It’s unfortunate that the oriental throw rugs clashed with the modernity of these stunning pieces.
In Vinegar Tom, Churchill writes about gender and oppression through the lens of the witch hunt in England. When Alice and her mother are accused of witchcraft by their neighbors, the village explodes with accusations as mishaps occur all throughout town. Director Cheryl Faraone takes the biting play and ensures that the message is clear. Churchill’s approach is not subtle and neither is Faraone’s. She keeps things active and makes the mystery of the truth unfold in a careful manner. Her staging involved many meandering bodies around the space, peering into the action. It’s possible it was calculated but there were moments that the specific bodies felt arbitrary. While Alice may have been the focal drive of the play, it was Bill Army’s Jack and Kathleen Wise’ Margery that were simply astounding. Army and Wise had immense chemistry drawing the most sympathy for their story. Both Army and Wise brought an array of emotion, but it was Wise who pulled on the heart strings. Nesba Crenshaw as Joan, the mother of Alice and accused witch, found ways to make you believe that perhaps she does know a thing or two about witchcraft. The verbal battles between the characters within the acting company is striking to watch. Even the physical altercations are forcefully real. The only issue that arises is the plethora of dialects on stage. It’s a bit unclear as to the exact location due to the inconsistency.

photo by Stan Barouh

Part of the intrigue of Vinegar Tom is the juxtaposition of song to story. Churchill writes some sharp lyrics to display the universality of the story. Faraone and composer Carol Christensen take the modern approach with the music. Stylistically the music works well. Christensen employs a hauntingly harmonious doo wop feel in the songs. Even the "Witchy Three Singers" played by Caitlin Rose Duffy, Joelle Mendoza, and Liana Barron bring extra life to the piece, though it’s Duffy who’s the Beyonce of the trio. And whenever you hear three singing witches and flashy lights, you can’t help but think of some ladies from a campy movie called “Hocus Pocus.” And the audience loved these three. But as jarring as the music is supposed to be, there was something off about it. And it came from their costumes. Costume designer Annie Ulrich did a stunning job clothing the townspeople of Vinegar Tom. But with Duffy, Mendoza, and Barron, it felt as if they walked into the theater and onto the stage in their street clothes. Perhaps if they blended into the world of the play, breaking out in “character”, there would have been a cleaner cohesiveness. Aside from this, the design of the piece is spectacular. The structure gets utilized in a wondrous way, storing the props yet giving glimpse of what is to come.
The Judith and Vinegar Tom double feature is a night of high drama. It’s best to prepare yourself before taking your seat. But once you do, you’ll be glued to the action and storytelling that PTP/NYC is known for. Just another wonderful showcase for two strong theatrical voices.

Name: Oliver Houser

Hometown: Upper West Side of Manhattan.

Education: I got my BA in Music last month from the Macaulay Honors Program at Hunter College in New York.

Favorite Credits: Lola, from Damn Yankees, at my parents’ dinner party when I was five. I sang “Whatever Lola Wants.” I think it was a big hit. I also got to play Melchior in Spring Awakening at Virginia Rep a few years ago. It was very exciting to show my butt onstage.

Why theater?: Moss Hart has this idea that everyone in the theater is there because they’re trying to mend psychological damage from their childhood, and that they are all overly desperate for love. I think I had a pretty great childhood, but there’s definitely an element of truth to that. It’s also just plain fun. We’re dressing up and making music and, if it’s good, we’re making people laugh and cry and reflect on the human condition.

Tell us about Held Momentarily: It’s a funny, poignant musical about strangers coming together to help a woman give birth on a subway car. More than that, it’s about the alienation with which we move through the world these days, but our capacity for connection and love when we become mindful of our surroundings and find beauty in the everyday things. It so often is something like the funny look we share with a stranger on the subway that puts the joy and spice in our lives.

What inspired you to write Held Momentarily: I’m a tried-and-true New Yorker, and I initially wanted to create an ensemble piece to showcase the individual talents of some of my immensely talented friends from my alma mater, LaGuardia High School for the Performing Arts (including India Carney, who just made it to the top 5 of this season of NBC’s The Voice). So the subway felt like the right setting. The show has since developed into an entity with the previously mentioned themes, which speak to me personally in a big way. I am too often focused solely on the destination rather than the fun of getting there, and exploring that idea in this show in a whimsical, zany way has been cathartic for me.

What kind of theater speaks to you? What or who inspires you as an artist?: Anything that captures what it fundamentally means to be human. Good theater and good music inspire me most. When I walk out of a great production, the rest of that day is often when I’m at my most fertile. I just saw Lincoln Center’s King and I and a really cool idea for a song in Held Momentarily kissed me on the bike ride home.

If you could work with anyone you’ve yet to work with, who would it be?: I am obsessed with both Bedlam Theatre Company and Fiasco Theatre Company. Our paths may not cross professionally because we do very different things, but I’d love to sit down with the members of each sometime and pick their brains. Actually, I should get on that.

What show have you recommended to your friends?: The most exciting pieces I’ve seen in the past couple months were Jenny Schwartz and Todd Almond’s Iowa at Playwrights Horizons and Fiasco Theatre’s production of Two Gentlemen of Verona at Theatre for a New Audience. Both were incredibly inventive, fresh and fun.

Who would play you in a movie about yourself and what would it be called?: I think Sandra Bullock would do well. How about: “When Are You Going to Do The Dishes.”

If you could go back in time and see any play or musical you missed, what would it be?: I actually like to go back in time a lot and do this at the Performing Arts Library’s Theater on Film and Tape Archive, which has recorded most Broadway productions since 1970. I recently saw Meryl Streep in the Public Theater’s 2006 production of Mother Courage, which was a total knockout. But if I could go back even further, wouldn’t it be cool to see the first-ever production of As You Like It?

What’s your biggest guilty pleasure?: A massage every now and then at Sang Yuan Body Works, a little hole in the wall a few blocks from where I live in Yorkville. The woman who works on me, Lee, is very powerful. It usually ends in tears (literally), but I feel great afterwards.

If you weren’t working in theater, you would be _____?: Sad!

What’s up next?: I jumped right out of my college graduation into this NYMF production, so I haven’t had a second yet to catch my breath. I’m excited to go into my second year of the BMI Musical Theater Workshop and will be developing a new piece with the Musical Theater Factory, a super exciting up-and-coming nonprofit. But right now it’s all things Held Momentarily!

For more on Held Momentarily, visit heldmomentarilythemusical.com or nymf.org

Every so often something fresh comes across the stage that revitalizes theatrical trends. Whether it be a new sound or style of voice, this new “thing” excites audiences in ways “traditional” pieces no longer do. One such piece is Summer Valley Fair written by Dylan Frederick. Blending electronic sounds, spoken word, and lyrical storytelling, Summer Valley Fair is theater ahead of its time.
Summer Valley Fair follows “the girl” on her journey through first loves, finding herself, and the sad truths of growing up. While these themes are nothing new, the way it’s presented is. Summer Valley Fair is not a typical book musical. It’s closer to a concept album that is fully realized. Dylan Frederick, who stars as the girl as well as the solo scribe, breaks the mold of what musical theater can be. Frederick offers a beginning, middle, and end. He presents a struggle. He gives characters, though youthful, that have depth. But the style in which Summer Valley Fair comes to life sets it apart. Frederick is a lyrical wizard. His poetry paints a vivid story that resonates. Part song, part spoken word, Frederick drops a pop-infused beat into the words that stylistically fits. It also happens to be a three piece musical. The three actors take on the role of “musician” as well, using just their voices and the items surrounding the stage to aid in the prerecorded beats. With effortless harmonies, the music is a delight to listen to.

Performing in your own musical is a giant risk. Part of the danger is discovering if the work can survive without you. There are many writer-performers who have successfully done it without it feeling self-indulgent. The role of the girl is a very specific part. It requires a certain actor to capture the gender-bending qualities that make it so rich. Dylan Frederick is simply wonderful as the focal character. He is believable as a 16 year-old girl. It will be insanely difficult for Frederick to find another person who can fill his shoes. Summer Valley Fair could not strive without the brilliant support of Oriana Lada and Barrett Riggins. Lada and Riggins play the various supporting roles with ease. As polarizing first loves, Lada and Riggins bring honesty and sensational voices to the stage. They blend well with Frederick making his decent voice sound powerful. Without the power of Lada and Riggins, Summer Valley Fair may not be as strong as it is.
It’s very easy for a great script to be phoned in by a director. But fortunately for Summer Valley Fair, not only did Taylor Norton have an incredible vision, she took thoughtful and intricate care of Frederick’s masterpiece. From first sight, the found object inspired set with plastic bins, ladders, and an assortment of props looks unpromising. But Norton took Ashlee Springer’s attic inspired set and transformed it into a visually stunning world. Norton took the simplest of staging and created glorious stage pictures, though she was gratefully aided by Joseph Thompson’s beautiful lighting looks. From the rollercoaster created through the bins to the glow on the girl by the keyboard, the entire design was cohesive and stunning.
It’s hard to truly describe the experience of Summer Valley Fair because it is something extraordinary. It’s something I won’t forget. Dylan Frederick has created something worth remembering. Frederick and Summer Valley Fair have their pulse on the future. And if this is the sign of what’s to come, it’s exciting.

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