Theater in the Now

Name: Jordan Bean and Patrick Taylor

Hometown:
JB: Huntington, West Virginia
PT: Jacksonville, Florida

Education:
JB: B.A. Public Relations, Marshall University, 2013
PT: B.F.A. Theatre Performance, Marshall University, 2013

Select Credits:
JB: Van’s Sister in Dog Sees God, Sunny in The Last Night of Ballyhoo
PT: Mr. Renfield in The Passion of Dracula, Hal in Proof, O’Shaunessy in Is He Dead?

Why theater?:
JB: It’s honest, and there is something really special about the amount of time, money and energy that so many people are constantly willing to sacrifice in order to make it happen.
PT: Theatre is such an intriguing device for story telling. It brings people of all backgrounds into the same space to experience something cathartic enough to make them think.

Who do you play in Pretty Theft?:
JB: No one! I’m the Assistant Director and Producer.
PT: I play Joe, an autistic savant who lives in a group home.

Tell us about Pretty Theft:
JB:Pretty Theft is the first show by Dark Matter Productions! It’s a dark but very sweet show, we really liked it because it focused on a character with a neurological disorder and features lots of ladies.
PT:Pretty Theft is my favorite type of show. It touches on important themes that are close to me, moves along quickly with numerous short scenes, and has quite a twist at the end.

What is it like being a part of Pretty Theft?:
JB: I’m enjoying it. We have a great group of people, all of whom are really enthusiastic and committed to the show. I’m amazed and grateful that they all decided to trust us as a new company and jump right in.
PT: It has been such an exciting and learning experience. As the Co-Producing Artistic Director along with acting in it I have my hands full but I am enjoying every minute of it!

What kind of theater speaks to you? What or who inspires you as an artist?:
JB: Authentic stories about human interaction. Anything that forces you to look at the world as it actually is.
PT: Same. I love watching raw emotion right in front of me. I love straight plays that are dark and smart. Theatre that really makes me think is what inspires me to do more of it.

Any roles you’re dying to play?:
JB: Harper in Angels In America, Van’s Sister on the DSG National Tour
PT: I would really love to play Tom in The Glass Menagerie.

What’s your favorite show tune?:
JB: At this moment, all of Aaron Burr’s songs in Hamilton. Also “Breathe” and “When You’re Home” from In The Heights. Definitely on a Lin-Manuel Miranda kick.
PT: I have literally not stopped listening to the Hamilton soundtrack since it was released a month ago.

If you could work with anyone you’ve yet to work with, who would it be?:
JB: There are so many people I’ve yet to work with, I don’t know if I have a good answer for that yet.

Who would play you in a movie about yourself and what would it be called?:
JB: Ideally Beyoncé but realistically Ellen Page in "I’d Rather Not".
PT: Michael C. Hall in "I Can’t Sit Still…"

If you could go back in time and see any play or musical you missed, what would it be?:
JB: I missed The Cripple of Inishmaan last season and will never forgive myself for it.
PT: I would have loved to have seen Little Shop of Horrors with Ellen Greene.

What show have you recommended to your friends?:
JB: Hamilton, Sleep No More.
PT:Hamilton, duh. But also Buzzer at the Public Theater. Actually, everything at The Public. It’s my favorite theatre, can you tell?

What’s your biggest guilty pleasure?:
JB: Carly Rae Jepson.
PT: An entire case of Oreos and a gallon of milk.

What’s up next?:
JB & PT: A reading series inspired by Queen Bey!

For more on Dark Matter Productions and Pretty Theft, visit darkmatternyc.org

Taking classic texts and reinventing them into a musical form is old hat. From Kiss Me, Kate to West Side Story, works like these have stood the test of time. But one fellow who’s plays haven’t really had any musical reinventions is Anton Chekhov. His work is lauded and praised but not many have dared put music to his stories. In Songbird, Michael Kimmel and Lauren Pritchard ambitiously take Chekhov’s The Seagull and give it the musical treatment. Or is Songbird just a play with music? And that’s where the trouble begins.

Written by Michael Kimmel with music and lyrics by Lauren Pritchard, the action from The Seagull is transported to present day Nashville where a country diva returns home as her songwriter son is about to debut a new song. When the diva ruins her sons performance, her trip of nostalgia is rerouted as the tortured writer tries to take his own life. Throw in an assortment of subplots and you get The Musical Seagull called Songbird. The trouble is, without previous knowledge of the source material, you’d be scratching your head trying to piece together a plot. Kimmel hits the beats of Chekhov’s story. He introduces the infamous moments. Dean, the Konstantin character, kills a bird, a bluebird here. Dean fails at suicide by hanging himself. Missy (the childhood best friend) loves Dean who loves Mia (the muse) who loves Beck (the famous songwriter) who loves Tammy Trip (the country diva and Dean’s momma). The spirit of Antony Chekhov is alive and well but when those beats aren’t present, all the characters do is talk about music and sing. The struggle of deciding whether this is a musical or a play with music defines how the songs play a part in the work. For the most part the show goes “I wrote a song, no one’s heard it, but I’m going to sing it right now for you.” Thematically the songs fit the mood of the Chekhovian moment but they do not propel the story. The characters don’t sing because they can no longer speak. They sing because they’re in Music City and country music is apparently the only pastime. Aside from drinking. Songbird feels very much as if Chekhov wrote an episode of “Nashville.” Don’t get me wrong, the series has been an ABC hit since 2012 but the parallels are uncanny. Though Tammy Trip, Beck, and Mia all talk about how Los Angeles is the music mecca, which seems strange since the country mecca, the Grand Ole Opry is just in town. It’s a shame that the structure of the text prevents Songbird from soaring because Lauren Pritchard’s music is something special. Pritchard is an incredible songwriter. Many of her songs could easily be played on contemporary country radio today. But when the music seems to have no correlation to the story, you have to wonder why not just listen to this all star cast in a concert? From the stunning ballads like “Cry Me a River” and “Again” to the power anthems like “Country Road”, Pritchard’s country score is the heart and soul of Songbird.
Material aside, Songbird is stacked with talent. Every single cast member can not only sing, they can sing country music. Kate Baldwin epitomized diva as Tammy Trip. Baldwin had a pep in her two step. Trip struggled with doing what was right, staying with her son or going back to Los Angeles, and Baldwin’s battle is touching. Erin Dilly as the scene-stealing comic relief Pauline is quintessential Southern mamma. Dilly’s antics may read as campy in the scope of the play but it’s much desired. Dilly and Baldwin have wonderful chemistry, as if they never lost a beat. You almost wish Baldwin and Dilly’s Tammy and Pauline had a prequel completely unrelated to The Seagull. When it came to immense talent with nothing to do on stage, Kacie Sheik made her presence worth it. The characters seemed surprised at how well Sheik’s Missy could sing. Sheik’ soared with “Cry Me a River.” If Kimmel ever explores revisiting the piece and straying a little further from the source material, Missy’s arc could easily be expanded. As tortured soul Dean, Adam Cochran brooded from start to finish. Sure, it’s the character that Kimmel and Chekhov crafted but there was little variety. Except when he rocked out in Act II. The true songbird of the show was Ephie Aardema. As Mia, Aardema brought great range to the only character that seemed to have a full arc. Aardema’s vocals were something simply stunning.
Finding the middle ground between Chekhovian humor and the musical theater approach seemed to be director JV Mercanti’s downfall. With the piece not knowing where it wanted to live, Mercanti could only do so much. There are natural tense and dramatic moments built in but the way Mercanti and his cast played it offered laughs in all the wrong ways. And it starts and ends with the bluebird. With no lead-up, Dean walks on stage with a wrapped bluebird. He and Mia have a brief chat and then he tosses it on the ground. And it stays there. For at least two songs. Sure, the tension is cut with the proclamation of inhibition but in the world of this play, it’s the excuse for everything. When it comes to compiling a design team to create a cohesive and beautiful design, Mercanti succeeded. The set by Jason Sherwood was evocative of a country western bar with rustic wood finishes and the tops of walls lined with empty beer and alcohol bottles. With the show transporting to various locations, Sherwood and lighting designer Aaron Porter transformed the space with ease. Though consistently looking at the string instruments hung on the wall knowing it’s only for easy actor access to randomly break out into song was a let down. The costumes by Mark Koss set the mood and represented the characters wonderfully. From the purity of Mia’s flowing garments to the dark tones of sad face Missy to the country diva leather of Tammy, Koss captured the essence.
Not everything wants to be a musical and Songbird is proof of that. Kimmel and Pritchard’s ambitious piece is lost in the unknown. Once the team decides whether it’s a play with music or a musical, going back to the drawing board will allow the show to fly.

Simplicity. Sometimes it's all you need to tell a story. In an age of an overabundant amout of Shakespeare companies, sticking out can be hard. But when the focus is on the text rather than the reimagining, that may be all you need to stick out. In Hamlet Isn't Dead's stripped down production of Richard II, the focus is on the language and the struggles of power.
Given a modern look with a gender, age, and ethnicity fluid lens, this Richard II is an examination of character. The first in Shakespeare's “Henriad”, the history chronicles King Richard II in his final years as he loses the thrown from a rebellion led by the banished Bolingbroke after proving his lack of ability. Directed by Emily C.A. Snyder, Snyder takes the game of power to the ultimate. With the focus on the characters rather than a fully realized concept, the text was the prime focused. This commitment had both its pros and cons. On the bright side, with the focus on the text, a captivating character study came to life. With a story that relies on significant character relationships, keying into the alliances allowed the richness to come to life. There was something striking about the straightforwardness in Snyder’s approach. That being said, the lack of cohesiveness in regards to where and when was a bit disappointing. With costumes as the only telling element, Shaina Kosloff’s modern approach felt more thrown together rather than unified.

The company as a whole proved their Shakespearean prowess. Led by Morgan Hooper and Robin Rightmyer as Richard II and Bolingbroke respectively, the battle was a glorious one to witness. Hooper exudes a nonchalant demeanor as Richard. Hooper brings an entertaining charm at the start but when his actions get the best of him, it’s his turn after his defeat that Hooper truly wins. Rightmyer’s Bolingbroke was a wonderful villain you loved to hate. Rightmyer has a knack for the words. Rightmyer created a character that transcended the text. The remainder of the company played an assortment of roles, jumping from character to character but there was one member of the cast that proved her ability not only to tackle the Bard’s words with ease but create a memorable character with each turn. Kineta Kunutu was astonishing and believable. With a range of roles from John of Gaunt to the Duchess of York, Kunutu never faltered. Other strong utility players included the strong willed Alice Qin and the captivating Nathan Luttrull.
When it comes to staging Richard II, Emily C.A. Snyder relied on fluidity. With only a gold painted chair to represent a throne and a coffin serving as everything from its original use to a platform to vaunt, Snyder subscribed to rarely moving them around. With the space having limited options of where to enter and exit, Snyder tried her best to slam into each scene with little space in between. But when there was air, it proved the need for some sort of transition sound. That being said, the preshow music, which featured hits like Hamilton’s “You’ll Be Back” and Muse’s “Uprising, that created the ambiance was on point and perfect.
The Shakespeare histories may not be as loved as some of the big hits of the canon but when there’s an opportunity to hear it for what it is, Richard II is more than just the set up play. Hamlet Isn’t Dead’s production has its ups and downs but as a whole it is a prized production.

A Clockwork Orange is a cautionary tale. Even within the story, the meta moment warned our narrator of the future to come. In a time of glorifying violence through the ease of technology, A Clockwork Orange seems to be a prevalent story to share. In Hubris Theatre Company's production of the play written by the novelist himself, the stage adaptation of Anthony Burgess' dystopian thriller is a haunting violence-laden drama about the minds of the future and the corruption of changing their ways.
Like the novel, Burgess uses Alex DeLarge to narrate his own story. Alex is a leader of a trio of droogs who spend their nights engaging in acts of ultra-violence that terrorizes anyone in their path. When a mutiny forms due to Alex's manner, he is set up for a crime that leads him to be imprisoned. While detained, Alex is used as a Ludovico aversion therapy test suspect that hopes to reform the minds of the corrupt youth. But when the project is completed and Alex begins to have adverse reactions to violence, the question of government corruption is called into play. The film version of A Clockwork Orange is a well-revered classic so putting a unique spin on a stage adaptation while still paying homage to the audience favorite is crucial. Director John Bateman surely has a fondness to Burgess’ story. And it's quite an ambitious undertaking to bring this piece to life. But from a theatrical standpoint, Bateman ran into many problems that altered the storytelling. A Clockwork Orange starts off with a bang. A very brief introduction leads to the first display of ultra violence. The structure of the text overlaps the violence with some crucial bit of text. Unfortunately, Bateman seemed to focus his attention on the fight work pulling the audience away from the dialogue. There's no denying that the choreography by Frank Alfano Jr. is quite impressive but shock value should not trump content. And sadly, this was foreshadow of what was to come. Bateman's production had so much going on that some intent was lost. Incorporating modern touches helped bring the story into this generation. In an age where technological advances have been incorporated into theater, it's natural to want to utilize them if you have the resources. Bateman utilized two televisions that played a loop during Alex's aversion therapy. The trouble was they did not line up to Dr. Brodsky's dialogue thus losing the impact. It's more striking to have Dr. Brodsky paint a vivid picture that the audience has to visually create as opposed to incorporating attention-stealing shock value.

To take in such an iconic role as Alex DeLarge is no easy task. And without a doubt, you have to give Alex Tissiere immense credit for diving into the complexities of this person. But Tissiere's characterization ultimately hurt his performance. Between intricate nuances in diction and a British accent, Tissiere's clarity suffered. And it's a shame because there was vast potential in his portrayal. While it was hard to hear the change, you could see a switch in character through his journey. Another with diction issues was Sam Finn Cutler as Dim. Most of his dialogue was incomprehensible. Rounding out the droog, Steven Bono Jr. and Luke Wehner as George and Pete were some of the strongest all-around actors on stage. Both Bono and Wehner had strong journeys and created good oppositions for Alex by the end. Though in the scope of the three-hour epic her presence was limited, Kate Parker’s Dr. Brodsky was dominant and compelling. The way she controlled the Ludovico scenes was some of the strongest of the piece. Donal Brophy as F. Alexander brought much humanity following his welcoming of Alex in Act II. His struggle though was playing the reveal too soon.
Roy Arias Stage 7 Sage Theater is a very specific space and scenic designer Scott Tedmon-Jones expertly transforming the stage into Burgess’ world. Utilizing a blended feel of metal and wood and marrying the architecture of the theater, Tedmon-Jones created a brilliant concept for Bateman. That being said, the moving parts that Bateman had caused some transition blunders. Lighting designer Sarah Huyck utilized Tedmon-Jones’ design wonderfully. Going beyond warm and cool, Huyck’s use of and lack of color had a direct effect on the mood of the play. Though orange may have been an on-point color for the play, it was impactful. The soundtrack that accompanied many of the brutal scenes helped add a juxtaposition in this world but the sound levels may have needed a little bit of assistance and it was too loud the majority of the piece.
Hubris Theatre Company’s production of A Clockwork Orange was nothing short of ambitious. And you must commend them for that. Despite a recognizable story, clarity is key and the storytelling in this production was unclear.

Name: Gavin Broady

Hometown: Portland, Oregon

Education: Kenyon College (Fiction, Theater and Classics)

Favorite Credits: The Oath (Weston Playhouse). The Summoners (Hook & Eye Theater Co.)

Why theater?: I’ll answer that question in the form of Tom Hanks movie references: Writing fiction is like "Castaway", where your problem-solving involves isolation, demented muttering and infrequent bathing. Writing theater is more like "Apollo 13", where you’re trapped in a very small room but have a team of passionate, generally attractive people who are working collaboratively to solve your problems with you. There’s a higher likelihood of tension and conflict in that process - but the celebrations afterward are much more satisfying than just sadly high-fiving your imaginary volleyball friend. (If you’re wondering: composing music is "Big", and writing poetry is "Road to Perdition".)

Tell us about God is a Verb: The play’s inspiration, utopian design scientist Buckminster Fuller, was a sort of technocratic Don Quixote who thought he could change the world by altering people’s perceptions of it. He understood that history, when viewed from afar, can be tremendously inspirational: the arc of human progress inarguably trends upward, and our ingenuity and creativity often appear boundless. But he also understood that, viewed from up close, much of that inspiring human progress has been driven by a series of cold, ugly machines that eat poor people as a means of sustaining the comfort of a very small group of pale, oblivious people. Fuller fervently believed that in order to change history and ultimately reduce world suffering, all he had to do was build a better machine. The play is about the ways in which he was both utterly right, and hopelessly wrong.

What inspired you to write God is a Verb?: The artistic directors of our theater company approached me after our last show and explained that they were interested in a character named Buckminster Fuller. My knowledge of him was sketchy at best, but a few weeks later I was having dinner with my girlfriend and her family when I mentioned the project. Her father responded: “Oh! I know Bucky.” It turns out Bob was a participant in one of Fuller’s original “World Game” experiments in New York during the summer of 1969. The fascinating material and firsthand anecdotes Bob provided about the man sparked a months-long dive into the mountain of written text and archival material Fuller left behind. During that time I became fascinated not only by the World Games he actually conducted, but also the fantastical end goal he had for the World Game project: he dreamed that one day world leaders would play the World Game on a digital game board the size of a football field, and it would all be broadcast live around the world, and that this would replace all warfare. The clash of pragmatism and absurdity suggested a play that would be more than a biopic or a history play, and would instead grapple with the friction between fantasy and reality that I believe rages inside all idealists.

What kind of theater speaks to you? What or who inspires you as an artist?: I’m drawn to plays that are unafraid to live in their own world and to operate by their own reality. Better still if the playwright understands that operating in a heightened or skewed reality does not free one of the obligation to create characters that feel logical and real within the confines of that reality. The most meaningful experiences for me have all involved leaving the theater feeling as though I’d just spent two hours witnessing a vividly strange new elaboration on the human creature. As an artist, I also take a lot of my inspiration from reading poetry. At it’s best, poetry accomplishes the excruciatingly difficult balance of sensory richness, density of meaning and precision of language - which is, of course, equally true for theater.

If you could work with anyone you’ve yet to work with, who would it be?: I wouldn’t mind sort of sitting quietly in the back of the rehearsal room and watching how Richard Maxwell makes a play.

What show have you recommended to your friends?: I saw Natasha, Pierre... during its first week at Ars Nova, and I’m very fond of telling people I saw Natasha, Pierre... during its first week at Ars Nova. It’s been a while since I’ve seriously lobbied on behalf of a show that I had no personal or social connection with, but I remember telling people they had to go see Neva at the Public and Samuel Hunter’s The Whale at Playwright’s Horizons.

Who would play you in a movie about yourself and what would it be called?: I would be played by an adorable puppy, and the movie would be called “A Writer’s Life Is Profoundly Boring, So Instead Here’s Two Hours of An Adorable Puppy.”

If you could go back in time and see any play or musical you missed, what would it be?: I’d like to participate in the riots that followed the 1896 opening of Ubu Roi.

What’s your biggest guilty pleasure?: I spend a lot of time and money composing and recording music, despite not being a particularly gifted or interesting musician. I justify it as a form of therapy.

If you weren’t working in theater, you would be _____?: A more attentive boyfriend and dog parent.

What’s up next?: The play opens on Nov. 4th. After that? Catching up on sleep.

To say that nothing happened in Because Me would be a little harsh. But finding all the checkpoints of the dramatic structure within the text is quite difficult. Written and directed by Max Baker, Because Me, presented by Stable Cable Lab Co, is an examination of the life of a twenty something struggling artist.
Because Me follows Else, a white girl, as she moves into a decaying apartment building where she becomes a minority. Through a series of scenes that chronicle her nine months in the apartment, we see her and her pals interact despite feeling alone, depressed, and struggling with life. With six supporting characters that add little to a story, Because Me struggles to find itself, much like the focal character. There surely is a point to Baker's story. But it takes an architectural dig to find it. In every scene, we watch Else battle life as her companions seem to have other cares. So is the thesis that we live in a world where we can't focus on ourselves because we tend to worry about others first? Maybe. Or is it that we're all so wrapped up in ourselves that we can't see the pain in others? Perhaps. But dramatically, it was horribly uninteresting to watch. Baker's script is filled with so much lack of explanation. From Else randomly appearing wearing a neck brace to the kleptomaniac neighbor Kyle to really who these characters are. It's as if you're watching "Lost". All set up, no answers. The big question you must ask is what do all these moments have to do with the overall arc of the play and Else's character. The most climatic moment came when Else's computer is stolen. How this isn't the end of the world for Else is quite shocking. Between it first being gone, an enormous expense to be paid, and the fact that someone broke into the apartment and stole it, the way the character handled the situation was simply unbelievable. Structurally, many of the scenes felt incomplete, leaving on awkward buttons. As far as the timeline of the piece is concerned, we're told it is a span of nine months but Baker says Else is 28 early on only to have her say it's a week before she turns 30 at the end. It's a simple switch but it's these moments that prove that with Baker playing writer and director, there are immense problems.

Playing depressed and dejected is not an active action to play on stage. Alice Johnson as Else was set up to fail. Due to the nature of the character there was no way to give Else life. You could see Johnson wanting to do something but it would stray from Baker's intent and text. With nothing interesting to play, appearing committed to the story was hard. There is a character study to be explored but perhaps the stage is not the place for it. Roman is a lively, energetic character but his dialogue is so soap boxy. Thankfully, Arthur Kriklivy's high energy sold it. Sadly, spewing personal opinions seemed to be his only purpose in this piece. As self-centered sister Celia, Samantha Strelitz created a character that was beyond recognizable. Though she only seemed to care about herself in the moment, the scene between Celia and Else post potential breakup was the strongest of the entire play. There was actual substance within. Keeping with the self-centered characters Even Marie Mugar's Mimi is the millennial we all hate. She created her with great ease. She got under your skin with every ignorant comment and ability to use anyone in her path. So she was successful in that regard. Neighbor Kyle was by far the most interesting element that Baker needed to explore. Emmanuel Elpenord offered all he could to leave you wanting more. But with that crucial character moment that never gets explained, you're left wondering why he's really necessary.
It was clear that Because Me made sense to Baker and only Baker. By directing his own work, what was on the page did not translate to the stage. Baker was in desperate need of a collaborator to fix the problems. With the play exploring a nine-month time frame, scenic designer Doss Freel created an apartment in transition. Freel's mishmash of items seemed to fit Else's style though not seeming like it was actually suitable for living. Though there were discrepancies between text and design, it didn't cause much issue. The way Freel and Baker laid out the space was very much in line with the square of the stage with the sole exception of the angled table. Being the singular item that was not in grid formation threw it all off.
Because Me was problematic from start to finish. It's possible that Because Me was not ready for this level of production.

Name: Anna Bridgforth

Hometown: Vienna, VA

Education: A little of this, a little of that, a lot of hard knocks

Select Credits: A healthy dose of indie horror movies, "We Call Her Benny" and "Bite" with JMTC, Lots of other off broadway work and endless cabaret and burlesque shows.

Why theater?: Instant gratification

Who do you play in The Good Adoptee?: I play Suzanne Bachner, the writer and director of the piece, along with several other characters that were integral to this particular story, including her social worker, her mom and dad, her adoption searcher, and other special guests.

Tell us about The Good Adoptee: This is the story of a woman who was adopted as an infant into a loving home, who as an adult decided to look into her background and search for her origins by trying to find out who her birth parents are, and the many hoops she had to jump through in order to do that.

What is it like being a part of The Good Adoptee?: A joy and a pleasure as always to work with Suzanne who knows me and how to talk to me. A complete and utter challenge that I am relishing.

What kind of theater speaks to you? What or who inspires you as an artist?: My favorite kind of theater is the kind that speaks directly to me and lets me recognize myself in the characters, no matter how different they are from me. I'm inspired by the performers who are able to take me out of the theater and into the world of the story without me even noticing it. Also flashy, shiny, sparkly song and dance stuff.

Any roles you’re dying to play?: Sally Bowles, Katherine Hepburn when someone writes a play about her, anything on American Horror Story.

What’s your favorite show tune?: The soliloquy from Carousel. The entire Into The Woods score.

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

Who would play you in a movie about yourself and what would it be called?: Hellen Mirren. "Dogged Determination"

If you could go back in time and see any play or musical you missed, what would it be?: The premiere of Rent

What show have you recommended to your friends?:The Book of Mormon

What’s your biggest guilty pleasure?: Bourbon

What’s up next?: Circle with JMTC. My own short film. More hosting. More performance art. The World.

We all want to fit in one way or another. Finding that place to do it is the trick. But what if when you find that safe zone, you still feel out of place? Created by performer Gardiner Comfort and director Kel Haney, The Elephant in Every Room I Enter is inspired by Comfort's journey at a Tourette's conference in DC where.

photo by Jenny Anderson

Chronicling Comfort's experience at the Tourette’s Syndrome Association National Conference, Comfort shares what life is like with Tourette's Syndrome and how a week in DC changed his views on himself and life. Living life in New York, Comfort is forced to answer for his tick. From every subway rider offering a lozenge, he experiences a day-to-day routine that is foreign to many of us. When he's asked to attend Tourette’s Syndrome Association National Conference as a representative for his local chapter, Comfort enters a world where he's not alone. Between meeting rising star teen actors, networking with entertainment bigwigs, and meeting children with an abundance of strength, Comfort finds himself in a place of ease and ease. The Elephant in Every Room I Enter goes beyond the standard solo show. Comfort and Haney make it an experience. With a beautifully cohesive design, a stunning element is added to keep the audience engaged. But it also manages to cover up performance flaws. For the most part, the piece is an extended monologue. Comfort does break into slight vocal characters but it's primarily all Comfort. He has great confidence in his demeanor. And at times, it comes off as a tad abrasive. Whether it was over rehearsed or just his stage character, Comfort almost begged for pity by the end, which I'm confident was not the intent. At the base of the story, Comfort felt he stuck out in the real world but felt the same at the conference when he was asked by a girl where his tick was. Personal solo shows are a difficult beast to capture. On one hand, an audience may be filled with loving and familiar faces. But when there are those strangers, you must be able to be congenial. There's no time to get to meet the artist. The story is our way into the world. Thankfully the story Comfort has to share is filled with great potential.
Director Kel Haney went above the call of duty to create an engaging production. Not only did Haney use the entirety of the blank stage, it was gloriously filled. The projection design by Caite Hevner Kemp and Lianne Arnold was nothing short of sensational. The vibrations that Kemp and Arnold used were quite fitting. Even the use of color that was thrown onto the brick gave the 1st Floor Theatre at LaMaMa new life.
Gardiner Comfort has natural jokes in the piece but for outsiders into his story, laughing due to the subject material feels taboo. If Haney and Comfort find a way to invite the audience to laugh, it may give the evening a new experience. The Elephant in Every Room I Enter is on its way to something great, but it needs another polish.

Name: Josh Lanzet

Hometown: Westchester, NY

Education: Washington University in St. Louis (Undergrad)

Favorite Credits:Dating: Adults Embracing Failure (co-writer/co-star), Do You Want a Sandwich: The Romantic Missteps of Josh Lanzet (one-man show), Cupid Has a Heart On (featured player)

Why theater?:The exhilaration that you get from performing for a live audience and seeing them connect with what you're doing is hard to find anywhere outside of a theater. I think that there's also a camaraderie that comes with the rehearsal and performance process that really bonds people together. Those things create this force that pulls me to theater in a powerful way.

Tell us about Dating: Adults Embracing Failure: Dating: Adults Embracing Failure is a show that looks at the first dates and break-ups of 8 couples to see if there is a recipe for a successful relationship. Outside of its core description, the show is a funny, honest, and not-always-flattering look at the different variations love and romance can take when experienced by different pairs of people.

What inspired you to write Dating: Adults Embracing Failure?: We wanted to be able to create experiences that were honest and funny but that didn’t shy away from pain or discomfort. I always found the idea of art showing love and dating as a clean and linear experience to be disingenuous. This show was our attempt to make a mess of dating and love because that’s what we have both experienced.

What kind of theater speaks to you? What or who inspires you as an artist?: I have always gravitated toward theater that can make me laugh one minute and make me cry the next. That always rings more true to me than performances that make the worlds of comedy and tragedy so black and white. When it comes to my artistic choices, I'm most inspired by my friends and family because those are the stories I get the opportunity to be intimately familiar with. Through this group of people I've experienced the pain of losing a parent, the joy of having a child, and everything in between. There's a well of experience and emotion in the small group of friends and family I hold dear, and that well is more than enough to serve as a source of inspiration for decades.

If you could work with anyone you’ve yet to work with, who would it be?:Donald Glover. He's a gifted writer, actor, and musician who isn't afraid to take risks. Any time I want to give myself a break, I remind myself of the stuff he has accomplished and get back to work.

What show have you recommended to your friends?: My childhood changed after I saw a live performance of 1776, so I regularly suggest that to people. Even the movie version is good (how can you not like William Daniels?). More recently, I was regularly recommending people go see the show Once. I really hadn't seen anything like it up to that point, and I thought that the mix of emotion, staging, and story was wonderful.

Who would play you in a movie about yourself and what would it be called?: Jason Segel or Anton Yelchin, and the movie would be called "Lovably Difficult."

If you could go back in time and see any play or musical you missed, what would it be?: This is an answer that probably doesn't properly honor the heavy hitters of theater history, but my favorite theater soundtrack is The Last 5 Years and I would have loved to have caught it with Sherie Rene Scott and Norbert Leo Butz on stage with Jason Robert Brown at the piano.

What’s your biggest guilty pleasure?: I want to tell you that I feel guilty listening to Usher while playing Canasta on my phone, but I've moved from a place of shame to a place of pride.

If you weren’t working in theater, you would be _____?: Writing screenplays or running a tea cafe somewhere on a remote island.

What’s up next?: We have been consistently writing new material that is taking shape as the weeks pass. We're not attaching the ideas to any specific avenue yet, but I'll say that we have a bunch of irons in the fire and we're excited to share new material with all of you wonderful folks as soon as it's ready!

Name: Brianna Seagraves

Hometown: Silver Spring, MD

Education: Temple University

Select Credits: Stella in "Domesticated" (web series); Aliyah in A Train; Michelle Obama in "Michelle Responds" (web short)

Why theater?: My parents are theater vets and have been working in the arts for many, many years. I started watching old episodes of “I Love Lucy” which led me to the theatrics of old Hollywood movies, and eventually I began doing shows at my house for my parents and wanting to do theater.

Who do you play in The Bellagio Fountain Has Been Known to Make Me Cry?: The Water

What is it like being a part of The Bellagio Fountain Has Been Known to Make Me Cry?: It's always great to do theater and be in a show that is original and fresh. I really like that Renee has written a play with female leads who contemplate all of life's shifts and changes as their current environment is changing around them.

What kind of theater speaks to you? What or who inspires you as an artist?: I love musicals for the fanfare and the "all together" numbers that the casts brings, but I got my start doing straight shows and most were comedies. Shows like Noises Off and Rumors are what I gravitate to. New spins on musicals and history like Hamilton are incredible and fresh. I want to see more shows go this route.

Any roles you’re dying to play?: Because my parents were a part of the original Broadway run of The Wiz, I would love to do any role as homage to them and their endless support of my career.

What’s your favorite showtune?:"That's Life". I like the Sinatra version but also love the newer version by the Smash cast. The song says it all about how life is in New York and what it is like to be an actor trying to live the dream.

If you could work with anyone you’ve yet to work with, who would it be?: I would want to work with James Earl Jones and Patti Lupone because they are theater legends. If I could work with Oprah or Shonda Rhimes on something that would be a true dream come true.

Who would play you in a movie about yourself and what would it be called?: I'd have Keke Palmer for my young years, Taraji P. Henson for my 30s-50s and then Diahann Carroll for my later fabulous life story. The movies would be called "I'm Just Here for the Shows".

If you could go back in time and see any play or musical you missed, what would it be?: Hello Dolly and Kiss of the Spider Woman

What show have you recommended to your friends?: Aladdin, Hamilton, Fela, Streetcar Named Desire

What’s your biggest guilty pleasure?: Shoe shopping and sweet treats!

What’s up next?: I'm writing the second season to my web series that I wrote and submitted for competition this year. I'm also working on developing a bi-weekly show online.

For more on Brianna, visit Briannaseagraves.com

There seems to be quintessential decades that directors drop their Shakespearean iterations into. It’s inevitable to see some Shakespeare play set in the 50s, 60s, or 70s at least once in your yearly Shakespeare viewing. In Frog and Peach Theatre Company’s production of Much Ado About Nothing, the comedy is dropped into the post-Vietnam era to tell the story of romantic trickery.
Regarded as a fan favorite, Much Ado About Nothing follows the feuding Beatrice and Benedick who are tricked to confess their love while Claudio rejects Hero at the altar after being tricked into believing she is unfaithful. Directed by Lynnea Benson, the soldiers at the start of the play are presumably returning home from Vietnam. Through costuming clues and the 60s and 70s infused soundtrack, Benson places the action in a world of bell-bottoms and velvet. When you pick a concept, it should be fully realized. For the most part, Benson did just that. But there’s that moment of contention that threw the conceit slightly off kilter. Part of the Vietnam War history in America centered around the draft and the hippies being forced to serve in the military. By going to war, it meant stripping away the hippie within, notably the hair. While there may not have been any steadfast rule about soldier hair in the Vietnam era, thanks to that little musical Hair, Claude appearing without his long locks served as a symbol and has been engraved in our theatrical memories. By having a Benedick with long hair, it personally threw the period off a bit. Though this may be slight in the grand scheme of the production, it forces you to look at all the other tiny choices in the production. With a plot that seems to borrow ideas from Taming of the Shrew and Romeo and Juliet, Much Ado About Nothing is a mashup of comedy, love, and drama. This production certainly leaned on the latter two. When it came to the comedy, Benson’s players didn’t quite earn many laughs. With some awkward physical comedy thrown into the mix in hopes to bring the funny, Much Ado About Nothing was sadly anything but. And much of that is due to the way the company approached the script.

The ensemble was certainly filled with actors that have played with the Shakespeare canon before, but as a whole, they didn’t quite sell the material. Amy Frances Quint was overly affected as Beatrice. While she looked divine in her velvet 70s jumper, Quint tried to sell the language rather than let it speak for itself. Quint placed a physicality into every single world she spoke. It was a bit distracting. As Benedick, Lenny Ciotti was like a weird mix of Jack Black and Horatio Sanz. There was little endearing in his comedy but when he bears his heart, that’s when Ciotti was strongest. Ilaria Amadasi as Hero was a bit hard to understand, even when she slowed down her diction. Sadly, she was outperformed on stage by her love interest. Marcus Watson as Claudio was one of the only believable actors on stage. The other strong players included Samuel Douglas Clark as Borachio and Liz Tancredi as Margaret. Onstage unity is important for an ensemble to be cohesive. There was one actor who stuck out like a sore thumb simply due to, what can hopefully be assumed as, his character choice. Jonathan Reed Wexler clearly nailed down the villainous aspect of Don John but the volume and tone at which he recited his lines was quite harsh. For those who know "Saturday Night Live", the best way to describe Wexler is by comparing him to Jacob Silj, Will Farrell’s character that suffered from Voice Immodulation Syndrome. You could almost imagine him saying “I’m not screaming!” during rehearsals. Every line was delivered the same at a volume much higher than any other person on stage.
From a design aspect, Much Ado About Nothing was a tad mixed. The soundtrack certainly evoked the era and Nina Vartanian’s costume design, for the most part, paid homage to the 70s fashion. But the set by Ashley Cusack was whimsically in a world of its own. Cusack’s fabric dropped walls and cone-like trees were nice to look at but they didn’t add anything for this particular concept. It felt closer to what you would imagine for a production of A Midsummer Night’s Dream.
Frog and Peach’s production of Much Ado About Nothing was nothing to write home about. Aside from the tiniest of conceptual details, there was just something lacking from setting this production apart.

Name: Katie Braden

Hometown: Glidden, Iowa

Education: B.A. in Theatre Arts from Simpson College, Indianola, Iowa, and Gregory Abels Training Ensemble (GATE), NYC

Select Credits: New York Theatre: Ivy Theatre Company – Mill Fire (Marlene), Black Ice (Polly), Like Poetry (Mom), The Perfect Wife (Sarah), Incongruence (Ensemble); The Secret Theatre – A Midsummer Night’s Dream (Helena), The Taming of the Shrew (Katherine), The Tempest (Ariel), et.al.; The Chain Theatre, WorkShop Theater Company, and many more!

Why theater?: One of my favorite parts of creating a character is experiencing their emotions as you see their story unfold. I love how in live theatre both the actors and audience go through the whole journey together. Feeling the energy of the audience during a live theatre experience is an incredible rush!

Who do you play in Reach?: Leila

Tell us about Reach: Reach is set in New Orleans in 2006. It is one year after Hurricane Katrina, and Leila has stayed in the city during the aftermath of the storm. Her old friend Jordan makes a surprise visit to check in on her, and sparks fly…you’ll have to come to see what happens from there!

What is it like being a part of Reach?: Being involved in Reach has been a very rewarding experience. Ryan Sprague (playwright) has given us a fantastic story and rich characters to works with, so each rehearsal is both a challenge and a joy! Our director, Andrew Block, has really pushed us to take the piece to the next level and Christopher Lee (Jordan) is an amazing scene partner who I am thrilled to work with every day. Both Andrew and Chris lived in New Orleans and have helped me so much with understanding what it was like in the city after Katrina, and we’re really enjoying playing with these characters and this story.

What kind of theater speaks to you? What or who inspires you as an artist?: I am really inspired by my friends who continue to produce shows in NYC even through all of the challenges. It is a difficult process to get a show up and running (financially, artistically, organizationally) and the companies who have been around for many years are incredibly inspirational. In my time with WorkShop Theater, The Secret Theatre, and The Chain Theatre, I continue to be impressed by the dedication and hard work of the individuals who give incredible amounts of time and energy to collaboration!

Any roles you’re dying to play?: Lady Macbeth, any of the Tennessee Williams leading ladies

What’s your favorite showtune?: The first musical I was in in high school was Kiss Me, Kate and I've since been a fan of Lois's songs "Why Can't You Behave" and "Always True to You In My Fashion"...I'd love to play her (if only I could tap!)

If you could work with anyone you’ve yet to work with, who would it be?: I would love to work with the team at LCT3. They've been doing some really interesting shows and their focus to produce work by new artists aligns with Ivy's mission of telling the stories of underrepresented voices.

Who would play you in a movie about yourself and what would it be called?: I think my story is still "untitled", but if "future me" were a character, I'd want Diane Keaton to play her.

If you could go back in time and see any play or musical you missed, what would it be?: I would go back and see the original cast of Rent on Broadway...I listened to that soundtrack over and over in high school and it captured my imagination about New York. When I saw the national tour in Des Moines, it was one of my first huge theatrical experiences and I fell in love with the show!

What show have you recommended to your friends?:Fun Home - I took my mom to see it when she was visiting NYC, and we absolutely loved it! It is an incredibly moving and unexpected show.

What’s your biggest guilty pleasure?: maybe that I still watch cheesy shows on ABC Family? That and eating massive quantities of nachos, but I don't usually feel too guilty about that.

What’s up next?: I’ve been auditioning for a bunch of commercials…and hoping to book some of those soon! Really just looking forward to the holiday season and being able to go home to Iowa to see my family.

For more on Katie, visit www.katiebraden.com. For more on Ivy Theatre Company, visit www.ivytheatre.com

Name: Lindy Voeltner

Hometown: Watertown, WI

Education: University of Minnesota Twin Cities

Favorite Credits:Dating: Adults Embracing Failure (co-writer/co-star), Period Piece: The Musical (Lead), Twisty and Infinite Sundaes - Second City House Team's

Why theater?: There is nothing like the intimacy of a live audience. The audience and performer live the experience together, the mistakes, the brilliant moments. It is polished and yet unpredictable. Similar to sporting events, it means more and is a better story when you were there, not just watching it on TV. Also, there is instant feedback, you know when a joke worked and when it didn't.

Tell us about Dating: Adults Embracing Failure:Dating: Adults Embracing Failure looks at the first dates and break-ups of 8 couples to see if there is a recipe for a successful relationship. The show is a honest, funny and sometimes an unflattering look at the different experiences love and romance can take.

What inspired you to write Dating: Adults Embracing Failure?: I always thought that there was a secret to relationships, that if you could do everything “right” you could avoid pain. The older I have gotten, the less black and white the world has become. “Dating” was our expression of the humor in the pain. To express that while it feels hopeless it is worth the giant risks, just to be able to find someone you want to hold hands with, and the joy that brings.

What kind of theater speaks to you? What or who inspires you as an artist?: Theater that reflects life in its simplicity and its difficulty. I love when there is a bittersweet take away. There is power in making people think because you made them feel. Artistically I am inspired by human interactions. Interactions with each other, nature, pets, and bugs. There is a lot of complexity in relationships. The dynamics of a family are intricate and tumultuous but are rarely truly broken. I love it. My family and friends are a constant source of inspiration as well. Most of my characters are someone I know. I just hope they don’t know! I don’t need to look very far to find tragedy or comedy. We all live here, we get it.

If you could work with anyone you’ve yet to work with, who would it be?: Frances McDormand and Julianne Moore. They pick great roles where the women are strong and real. I think I could learn a lot from them. They have emotions without being crazy, and motivate without having to kick down a door in stilettos. Plus I think we would have a blast getting coffee.

What show have you recommended to your friends?: Pocket Universe. It is an unknown play written by an LA playwright. I wept, in an ugly way. It was beautiful and emotional and I walked away looking at life under a different lens.

Who would play you in a movie about yourself and what would it be called?: Catherine O'Hara or Bonnie Hunt, "How the Midwest Was Won" or "Don't Listen to my Mom, I'm Fine!"

If you could go back in time and see any play or musical you missed, what would it be?: I would have loved to see Gilda Radner: Live from New York and The Goodbye Girl with Martin Short and Bernadette Peters

What’s your biggest guilty pleasure?: Puzzles. They waste so much time, but I love them.

If you weren’t working in theater, you would be _____?: Writing children's books or a Psychologist

What’s up next?: We are always writing new material. We don't have anything specific yet, but that is when we create our best work. We have a lot of pots on the stove and are excited to share them as soon as they are ready!

We all love to play the “what if” game. And when it comes to the “what if” game in Britain, Mike Bartlett plays an epic version. In King Charles III, a royal fan fiction, Bartlett writes a future history play that landscapes an England after the longest reigning monarch dies.

photo by Joan Marcus

On September 15th, 2015, Queen Elizabeth II became the longest reigning British monarch. King Charles III chronicles life in the hands of Charles, Prince of Wales after taking the throne following the fictional death of his mother. After disagreeing with the passing of a bill about privacy, King Charles impulsively dissolves Parliament, sending the UK in a tailspin. Playing like a 21st Century Shakespeare with all the elements that make a dramatic history great, King Charles III is a royal thriller of epic proportions. From betrayal, greed, power, love, and familiar woes, Bartlett covers it all. And in stunning fashion. The way Bartlett crafts his piece, he fills it with pentameter and soliloquies yet the language is accessible in a perfectly heightened manner. It’s an ambitious endeavor in which he undoubtedly succeeds. But language aside, the characters that Bartlett molds are fascinating. In comparing to Shakespeare, there are clear comparisons to many of the infamous archetypes, yet Bartlett styles these real life characters into richly deep people with genuine flaws and desires. Charles is an intently loving father who is hesitant in his role yet wants to do right for his family and his people. Harry is a boy born into a world of privilege but is willing to give it all away for a life of normalcy. William and Kate are a power-thirsty duo eager to ascend to glory. And the list goes on and on. The people Bartlett writes about are recognizable but by giving them humanity and humility, we are able to see them through a different lens that goes beyond the circus the Royal Family has become. Bartlett maintains extraordinary high stakes that keeps the audience on the edge of their seat. And just when you thought the story couldn’t get better, Bartlett offers even more. To pin point the best scene of the play would be unfair but the scene that highlights the balance of royalty and family is the late Act II scene that pits Charles vs. William. After his wife nudges William to convince the King, his father, to step aside and let the Duke and Duchess take over the monarchy to bring order to the state, we witness the battle of politics and family. Seeing the struggle of both men trying to put aside their blood for the sake of government was heartbreaking. It’s moments like this that define the greatness of Bartlett’s story. And to truly pay homage to Shakespeare, Bartlett couldn’t help but integrate a prophetic ghost in the form of Princess Diana. It could have totally came off as hokey but Bartlett and director Rupert Goold managed to make her looming dramatic.
The company of King Charles III is comprised of many who took the leap across the pond from the West End production. And they are well-versed in Bartlett's text. Taking on the titular role, Tim Pigott-Smith was divine. The range Pigott-Smith brought to the King was effortless. From meekly taking power to firmly abusing power to defiantly relinquishing power, Pigot-Smith ran the gamut. Taking on The Sun’s favorite Ginger, Richard Goudling as Harry was one of the most dynamic people in the piece. Goudling’s performance was brilliant, bringing a different side to the notoriously bad prince. He shed new light on a young man in constant turmoil. As Britain’s Barbie and Ken, Oliver Chris and Lydia Wilson as William and Kate not only looked the part, they captured the essence of royalty. Without saying a world, the way Chris and Wilson entered the play immediately identified their characters, garnering a mighty laugh. It took some time to warm up to Chris’s William but once he came to blows with his father, Chris illuminated. Wilson’s Kate was reminiscent of Lady Macbeth. You loved watching her calculated moves that ultimately led to capturing the one thing she desired: the crown. Since this is truly a family drama, you can’t count out Margot Leicester’s Camilla. As the downgrade from Diana, Leicester’s Camilla wanted desperately to be the glue that kept the family together but was usually relegated to the jester without a clue to truth. Her descend was almost as tragic as Charles’.

photo by Joan Marcus

The tone of this play was important to how it would be received. Director Rupert Goold not only managed to capture the essence of Bartlett’s vision, he did it with the greatest of ease. Goold’s approach was precise and intricate, never exposing a single crack. The majority of the staging was placed on the carpeted tiered platform in the center of Tom Scutt’s enormous brick set and yet the simplicity of Goold’s staging rarely felt repetitive. The lighting by Jon Clark was simple and effective. There were moments that actors were slightly in shadow on certain tiers of the set, but Clark’s flashy display at the top of Act I and Act II were mesmerizing that you can forgive those awkward moments. For those who are unsure what sound design is and why it is important in theater, reference King Charles III. Sound designer Paul Arditti and composer Jocelyn Pook not only set the mood of the play, the way it was integrated surely altered the action. Between the moments when the live music creeps in, yes there are two live musicians positioned in one of the boxes, to the tone of the transitions, this Arditti and Pook design propelled King Charles III. Schutt, who took on the role of costume designer as well, kept the ensemble in character perfect blacks to allow the regality to shine. The moment Charles appears in his royal costume was a showstopper.
Like Cock, Mike Bartlett knows how to write a relationship play well. Bartlett’s views of British politics are certainly present but by masking it in a well-rounded character driven drama, Bartlett allows them to come naturally. King Charles III may appear daunting but it is a must see for theater lovers and theater goers alike. It would be a shame if the Bartlett’s future history doesn’t get recognized come Tony season.

There are moments in history that seem to go unnoticed or wash away over time. The Spanish Flu epidemic of 1918 was deadly. In Aleks Merilo’s The Widow of Tom’s Hill, Merilo uses the history as a backdrop for a play about two young people and the dangers of getting too close when lives are on the line.
Presented at 59e59, The Widow of Tom’s Hill follows a young woman named Aideen, the small Pacific town’s representative, who fosters a bond with a young Navy sailor, the voice box to warn Aideen and Tom’s Hill of the necessary quarantine due to the epidemic. Despite the serenity of the crashing waves, the outlook on the shores of Tom's Hill is bleak. As the sickness begins to overrun the coast, Aideen and the Sailor develop a relationship that goes from platonic to something more, but how much truth is found in their words is the real test. Merilo’s story is fascinating. The historic backdrop that Merilo uses is captivating on its own, but what sets The Widow of Tom’s Hill apart are the characters that Merilo crafts. Aideen and the Sailor are young people thrust into a situation no one their age should be forced to take part in. Yet the way they handle themselves proves their resiliency. When it comes to the romantic component of the play, Merilo’s star-crossed lover plot is only a small element of their dynamic. It fulfills the romance quota that all stories seem to desire. But the way Merilo utilizes it is from a character necessity. Aideen has calculated the Sailor and knew that she could use herself as a ploy to win him. Between playing with his heart and capably bringing the disease to the ship, Aideen is a brilliant yet deceitful woman. And despite that, you can’t help but want her to succeed. And though his emotions are exposed and he is easily doped, you equally want the Sailor to succeed in his own right. The language that Merilo writes in is quite poetic. The text is filled with metaphor after metaphor that creates a heightened dialogue, yet it works for this piece.

photo by Carol Rosegg

To care about both characters proportionately is a testament to Merilo, director Rachel Black Spaulding and the two exceptional actors. Lucy Lavely and Derek Grabner as Aideen and the Sailor have incredible chemistry on stage. Lavely has immense force. The determination and fervor Lavely gave to Aideen was lovely to watch. There was true grit in her voice that filled the room. Playing opposite her, Derek Grabner was a star. Despite being the bearer of constant bad news, Grabner’s Sailor was hopelessly optimistic, offering light to the darkness. The Sailor may not have been the dominating force of the duo yet Grabner was more than Aideen’s plaything. Watching the Sailor and Grabner grow within the eighty minute play was something mesmerizing.
Rachel Black Spaulding had many elements to fight in The Widow of Tom’s Hill. Between a dramatic two-hander, a theater in the round set up, and a line literally dividing her actors, Spaulding managed to do the unthinkable. Spaulding created a world that was stimulating and captivating. Scenic designer Miguel Urbino’s dock was visually beautiful but in the round could have caused Spaulding a giant headache, yet Spaulding figured out a way to make each characters’ side much larger than it was. Spaulding’s staging was static yet mobile. Spaulding used angles to her advantage. With Aideen being the only one with height on their respective side, her moments on the upper level of the dock was deliberate. With the sound of Jordan Pankin’s waves crashing against the sand, the ambiance was less than tranquil in this world. And it was a wonderful juxtaposition. With the addition of the soundtrack from T.O. Sterrett, the musical transitions were more than just filler.
The Widow of Tom’s Hill may not be a show on your radar but it should be. Aleks Merilo’s script goes beyond the surface of a history play. It’s rich in imagery with a brilliant study of character and mortality.

Name: Arthur Elbakyan

Hometown: Currently in the City of Angels. Although sometimes it seems that I live in all of my favorite cities at the same time. To live somewhere is a state of mind. One can live in New York but feel as if they are in Paris. Having lived in various cities around the world, I have realized that to live somewhere is your physical presence, you live where your soul and mind are, where you can find yourself, fulfill your potential, and where your soul is tranquil.

Education: I graduated from Yerevan State Institute of Fine Arts and Theatre. I am very lucky with the career path I have chosen. My mentors were the great master of stage Khoren Abrahamyan and professor Rafael Jrbashyan. They didn’t teach me. They gave me the experience which they had gained in life and theatre. And I am grateful to them for this. You can’t study our profession. All the -isms and teachings are simply a theory. In our profession you need to observe, accumulate and if you are blessed with the talent of self-expression, communicate your experience from the stage to your audience.

Favorite Credits: Probably the latest credit as it is the newest and you are new in it. Past credits are in the past. Only from time to time I recall them with a smile. I don't even remember how I performed. Yes, people discussed those credits and papers published reviews but those are all in the past. May be I am playing one big part and the other parts were just stages and a continuation of one bigger part. I don't know… The best is yet to come and the best credit is still out there for me.

Why theater?: Theatre for me is a means of self-expression and communication. Theatre for me is a place for a meeting, a place for a date which I arrange to talk to the audience. Where else would you be able to gather so many people who will come to listen to you, to watch you, empathize with you, live with you and your thoughts in that duration of time.

Tell us about My Insane Shakespeare: My Insane Shakespeare is a play which makes you reflect on life. It’s a reflection on where the line between the sane and insane lies. May be the world we live is indeed a madhouse. Who do we call insane? Have we ever pondered who lives in those insane asylums and how they ended up there?

What inspired you to write My Insane Shakespeare?: My inspiration is an accumulation of 20 years. I haven't been on the stage for 20 years. It was a conscious decision. The theater I had envisioned didn’t exist in the environment I lived in, and the society didn’t need a theatre. I turned away and lived in my own world. I have been searching, reflecting, collecting, writing, accumulating and patiently waiting for the time of my return. And the time came. I wrote and directed a play, My Insane Shakespeare and decided to stage it at the world's largest solo theatre festival in New York. I also performed in my play. The world premiere took place in New York City, and United Solo became a place for me where I want to return.

What kind of theater speaks to you? What or who inspires you as an artist?: The theatre which doesn't give compliments. The theatre which doesn’t lie. The theatre which is intriguing. For me personally, there are two types of theatre – interesting and uninteresting. Life itself inspires me in any of its forms or manifestations.

If you could work with anyone you’ve yet to work with, who would it be?: There are many but I will try to narrow the list down - Al Pacino, Kevin Spacey, Meryl Streep, Jack Nicholson, Robert De Niro, Dustin Hoffman, and Nicole Kidman. I have something to offer them, especially in theatre, and I think the audience would see them in a different light. I would also make a movie with all film directors as actors in it, for instance, Francis Ford Coppola, Martin Scorsese, and Woody Allen. And fortunately, I have the movie script.

What show have you recommended to your friends?:My Insane Shakespeare by Arthur Elbakyan. It's an interesting one.

Who would play you in a movie about yourself and what would it be called?: I think Woody Allen. I'd name the movie “The Eccentric” or “The Eccentric Who Gives Happiness”.

If you could go back in time and see any play or musical you missed, what would it be?: I think it would be the first stage production of West Side Story.

What’s your biggest guilty pleasure?: Cigars and secret late night visits to the fridge.

If you weren’t working in theater, you would be _____?: It's a tough question. I’d probably choose a profession where I would be able to express myself – a writer, an artist. Creating and bringing things to life is my passion. I could probably also be a good gardener. I'd grow flowers and give them to people.

What’s up next?: They say if you want to make God laugh tell him your plans. May be I will make a movie and will receive an Oscar for it or will write a book and receive a Nobel Prize. Everything is possible. The most important thing for me is to know myself, why I am in this world. And that's what I am busy doing now.

For more on My Insane Shakespeare, visit www.MyInsaneShakespeare.com

Name: Jonathan Kruk

Hometown: Cold Spring on Hudson,NY

Education: B.A. English Holy Cross College, M.A.Educational Theater New York University

Favorite Credits: My solo shows of The Legend of Sleepy Hollow and A Christmas Carol

Why theater?: Storytelling, the source of all arts and especially theater, needs to make an encore.

Tell us about The Legend of Sleepy Hollow: Washington Irving wrote this tale in 1819, creating the first nerd and a headless galloping goblin still haunting us today. The story gave us the first nerd in Ichabod Crane and a galloping headless goblin still haunting today. This performance delivers the wit, whim and romance of the original, in an animated theatrical style. It is concise, yet with 19th century flair.

What inspired you to perform The Legend of Sleepy Hollow?: Popular demand! Twenty years ago, I began telling a very short version for Historic Hudson Valley during their Halloween weekend. People clamored to know the headless horseman's tale. When we created a show in the story's setting, the Old Dutch Church in Sleepy Hollow, forty shows sold out before the run began. People love the story! Continued keen interest in the galloping goblin and Ichabod Crane inspired this performance.

What kind of theater speaks to you? What or who inspires you as an artist?: I love strong dramas from Shakespeare to Tennessee Williams. True stage actors like Ian McKellan, and Jason Robards. I loved seeing Swoozie Kurtz in Fifth of July. Shows by Lily Tomlin, Alec McCowen, and Patrick Stewart demonstrated the power of the solitary actor on a stage.

If you could work with anyone you’ve yet to work with, who would it be?: Joseph Chaikin, Peter Brooks, Howard Davies.

What show have you recommended to your friends?: Recently, Hand to God and Hamilton

Who would play you in a movie about yourself and what would it be called?: The late Robin Williams in "The Faerie Taler"

If you could go back in time and see any play or musical you missed, what would it be?: Robert Preston in the Music Man. Joseph Jefferson, the first actor listed in the IMDB as Rip Vn Winkle, Fanny Kemble playing Shakespeare's women in the early 19th century.

What’s your biggest guilty pleasure?: Listening to baseball on the radio.

If you weren’t working in theater, you would be ______?: A botanical artist

What’s up next?: A Christmas Carol my solo show in an old church in Tarrytown. Then my quest for a new story classic to retell.

“Men Are From Mars, Women Are From Venus”, the best selling relationship book by John Gray is now a stage show and it's a two-hour laugh fest. Led by Peter Story, Men Are From Mars, Women Are From Venus Live takes the teachings of Dr. Gray and relates them to every day situations.
After touring the country for about two years, Peter Story gives relationship advice to those couples desperately needing it at New World Stages in New York City. Story has a great rapport with the audience. The way he shares his personal anecdotes and circles them into making them feel directed toward each individual is what sells the show as a success. The tales happen to be universal and garner a round of laughs. But most of those laughs are geared for those straight married couples in the crowd. For those who may not be in one of those coveted relationships, the material is certainly funny but they don't resonate as strong. Sure, the show is meant for a certain demographic but you can’t help but enjoy Story’s stage prescience. No pun intended, Story is a storyteller. He knows how to not only work an audience but also paint a picture through story. You never saw a single picture nor met her, after the night is over, you knew exactly who Peter Story’s wife Megan was. And good on her for allowing her personal life become the butt of oh so many jokes.

Director Mindy Cooper guides Story through Gray and adaptor Eric Coble’s piece. Cooper and her creative team smartly allowed Story be the star, though the videos by Bazillion Productions featuring Dr. Gray and those amazing animated characters certainly had their shining moments. The only odd choice Cooper brought to the stage were those comfy couches. While they were likely present to evoke a psychologist’s office, Story rarely used them and weirdly, you were waiting for them to be occupied.
New World Stages may seem as an unlikely home for Men are From Mars, Women are from Venus Live, but Peter Story owns the place. For those needing a little help in the relationship department, this show is a great date night. For all those single ladies and gentlemen, there will certainly be something to appreciate, but you may not feel completely welcome to the party. And that’s all due to the shameless inclusion every moment Story references the couples, and the single people, in the crowd.

It’s our favorite time of year at Sanguine! Deadline for submissions is SUNDAY, NOV 15th, so act now!

From September 15 through November 15, Sanguine Theatre Company will accept submissions for its annual Project Playwright Competition. The winner of the competition receives a fully-produced world premiere of their play in New York City as a part of Sanguine’s 2016 season.

From the hundreds of annual submissions, Sanguine’s literary team determines 3-7 finalists, announced in December. In January, Sanguine Theatre Company will produce a festival evening of staged readings in New York City with excerpts of the finalists’ scripts. Each excerpt is assigned a director and team of actors, and the audience votes on the winning script. This grand-prize winner is announced at the end of the festival evening, and his or her play will receive its world premiere in New York City as a part of Sanguine’s 2016 season.

Before submitting, each playwright is asked to read the guidelines and agreements, which can be found on Sanguine’s website under “Project Playwright” (direct link: http://www.sanguinenyc.com/#!project-playwright-application/c76t). The entry fee for the competition is $5.00, also processed through the website via PayPal. Questions can be directed to Sanguine’s literary team at: info@sanguinenyc.com.

Previous winners include: the lighthouse invites the storm by Josh Drimmer (2015), Flamingo by Alex Trow (2014), EXIT 27 by Aleks Merilo (2013), Bees and Lions by Sarah M. Duncan (2012), and Cary’s Chain Store Massacre by W.M. Akers (2011). Now in its 6th year, the competition has already showcased 22 finalist playwrights, over 20 emerging directors, and dozens of talented New York City actors through the annual festival evenings.

Bees and Lions- Festival Excerpt

Bees and Lions at The Drilling Co. (2012)

EXIT 27- Festival Excerpt

EXIT 27 at Medicine Show Theater (2013)

Flamingo- Festival Excerpt

Flamingo at IRT Theater (2014)

the lighthouse invites the storm- Festival Excerpt

the festival invites the storm at The Chain Theater (2015)

Name: Lisa Kitchens

Hometown: Leesburg, GA

Education: MFA in Acting from the American Conservatory Theater; BFA in Theatre Performance from University of Evansville

Select Credits:Everything You Touch (Rattlestick Playwrights Theater at The Cherry Lane); Napoli! (A.C.T.); A Christmas Carol (A.C.T.); House of Bernarda Alba (Moscow Art Theatre); Henry IV, Part II (Shakespeare Santa Cruz); Man in the Iron Mask (Shakespeare Santa Cruz); Raft (Edinburgh Fringe); Circus Circus (New York Fringe)

Why theater?: I love storytelling, and I love live human interactions happening on stage.

Who do you play in The Bellagio Fountain Has Been Known to Make Me Cry?: I play Dixie’s daughter, Maria.

Tell us about The Bellagio Fountain Has Been Known to Make Me Cry: It’s a beautiful story of a mother and a daughter and a man on their individual journeys to find happiness. It’s about love and loss and moving on and the natural ebb and flow of life. What makes it really unique is that the set also tells a story of its own paralleling the action on stage.

What is it like being a part of The Bellagio Fountain Has Been Known to Make Me Cry?: It’s wonderful. Everyone involved is so open and curious and genuinely after creating an experience for the audience that will be moving and surprising and beautiful. Everyone is always checking in with each other and asking questions and having fun doing the work. That is the best kind of process to be a part of.

What kind of theater speaks to you? What or who inspires you as an artist?: For me, theatre inspires me most when I am watching something wildly creative and imaginative. The story is being told with such authenticity that I am totally transported to the world I am experiencing on stage. It can happen for me with any kind of work, from classical to new work. Plays that come to mind that have done this are Branden Jacobs-Jenkins’ An Octoroon, and a play I recently saw at the Edinburgh Fringe Festival called 64 Squares by Rhum and Clay Theatre Company, London.

Any roles you’re dying to play?: I would really like to play Sonya from Uncle Vanya before I get too old. I love her.

What’s your favorite showtune?:“Alone in the Universe” from Seussical. It was one of the first musicals I was ever in, and I will occasionally blast it when I am needing a lift.

If you could work with anyone you’ve yet to work with, who would it be?: There are too many! But recently, I have been into a lot of multimedia companies, like Manual Cinema. I would love to work with them.

Who would play you in a movie about yourself and what would it be called?: Oh gosh. Hmm. If a movie is being made about me, I sure hope they would cast me in it. And if I wasn’t available, maybe they could get Jennifer Lawrence. Ha! And my sister suggested the title, "Fitting Out". I think it could work.

If you could go back in time and see any play or musical you missed, what would it be?: I think I would go back to the late 1940s, early 50s. I’d love to see some of the original productions of Tennessee Williams plays: Streetcar with Brando and Cat on a Hot Tin Roof with Burl Ives. Really, any of them!

What show have you recommended to your friends?: I just saw Futurity, and I’ve been telling everyone I know to go see it.

What’s your biggest guilty pleasure?: Currently, it is pie. I live close to an amazing pie place. They serve a Black Bottom Oat pie--yep, always feel guilty after eating that one.

What’s up next?: Headed to Georgia for the holidays and then coming back to New York for the new year with a clean slate. Hopefully, another fulfilling project will find me or I’ll find it.

For more on The Bellagio Fountain Has Been Known to Make Me Cry, visit http://ConcreteTempleTheatre.com

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Blog Hijack: Sanguine Theatre Company's Project Playwright Competition

Spotlight On...Lisa Kitchens