Theater in the Now

Name: John Racioppo

Hometown: Toronto, Ontario, Canada

Education: Brown University & London Academy of Dramatic Art

Select Credits: New York: Breathing Time (Fault Line Theatre), She Stoops to Conquer (Hudson Warehouse), Untameable (The Unsoft War/Highly Impractical Theatre), Bronx Bombers (Cover for roles, Primary Stages), The Tie That Binds (The Gallery Players). Regional: Fracture/Mechanics (Brown/Trinity Playwrights Rep), Freshwater Road (Rites and Reason), One More Room (Williamstown Theatre Festival Workshop); The Last Days of Judas Iscariot (Brown University).

Why theater?: I think we better understand ourselves and others through storytelling. I think theatre, and live performance in general, allows us to practice group empathy. It’s one of the only opportunities in our society to gather with a group of people and learn about ourselves and others, not just through intellect, but through emotional catharsis. I think it has the potential to remind us that we’re a part this amazing shared human experience, not just a singular individual on a rock in space. It can be comforting. It can be terrifying. It can be tragic. But for the duration of the performance, the audience, the artists, the theatre staff are all in it together, for better or for worse.

Who do you play in In the Event of My Death?: I play Peter, the guy who never left the small town he grew up in.

Tell us about In the Event of My Death: Literally, In the Event of My Death is about a group of childhood friends who come together to mourn the passing of a friend who committed suicide. More abstractly, I think it’s about how we change, how we stay the same, and how we reconcile the fact that the idea of ourselves might not be who we actually are.

What is it like being a part of Stable Cable Lab Co.?: I’m fairly new to Stable Cable Lab Co. having only joined around a year ago, though thus far I’ve loved the experience. Personally, it’s been extremely motivating to surround myself with this troupe of talented young actors, writers, and directors. It prevents me from becoming stagnant and pushes me to be better. I think Stable Cable Lab Co.’s strength is that by having a multi-talented and wide reaching network, they are able to connect artists to incubate new plays and collaborate in a trustworthy environment.

What kind of theater speaks to you? What or who inspires you as an artist?: My taste varies drastically. There’s not really one thing that I look for in a show. I think anything that displays clear storytelling and aims to engage and challenge the audience has the potential to be exciting. I’m not really interested in art created to bolster the ego of the artists. As for inspiration, my goal is always to be pulling from a wide array of sources. I’m at my best when I’m constantly watching theatre, listening to music, screening movies, and extending myself as a person. I think there’s as much to be learned watching Chekhov as there is to be learned over a good bourbon and conversation.

Any roles you’re dying to play?: In the immediate future? Biff Loman in Death of a Salesman might be at the top of that list… That or a Marvel s uperhero. Saving the world would be pretty fun.

What’s your favorite showtune?: I quite literally can’t listen to " Wait For It " (from Hamilton) without getting all misty eyed.

If you could work with anyone you’ve yet to work with, who would it be?: That list is very very long and it ranges from Academy Award winners to close friends I’ve always wanted to collaborate with. As a side note, that’s my favorite thing about being in New York City: the seemingly endless pool of remarkable talent. It seems like every day there’s always a slew of new plays, new films, and new pilots by new artists that excite and inspire me. So that very very long list grows longer nearly every day.

Who would play you in a movie about yourself and what would it be called?: I don’t know what it would be called, but it would definitely be stop motion and I’d want to be voiced by Michael Caine.

If you could go back in time and see any play or musical you missed, what would it be?: Does Nirvana on the Nevermind Tour in ’91 count? That feels like cheating. So I’ll go with the first ever performance of Romeo & Juliet just because I’d want to see what an audience’s reaction would be if they didn’t know what was coming when things start to go south in Act III.

What show have you recommended to your friends?: I mean, Hamilton is really, really good, but I feel bad recommending something that’s impossible to get access to. Normally I catch 3 or 4 shows a week, but because we’ve been in rehearsal almost every night, I honestly haven’t had the chance to see much theatre recently. So I’ll just say that I make a point of seeing everything St. Ann’s Warehouse produces. Its far and away my favorite venue to see theatre in the city.

What’s your biggest guilty pleasure?:…The Bachelorette. I’m so so sorry.

What’s up next?: I just shot a monologue with Eric Bogosian for his 100 Monologues project which should be coming out online sometime soon. Meanwhile, my production company Good Baby Films has several projects in various stages of production while my theatre company Fault Line Theatre is reading tons of plays as we finalize our plans for next season.

By Michael Block

Unless you've been hiding under a rock, you’ve likely heard of the family that has not only broken the internet but destroyed television as we know it. The family with no talent, the Kardashians, have found a home in Times Square in a parody musical that has started a firestorm of controversy. But we'll get to that later. From the team that brought you the occasionally mildly funny Bayside the Musical and Full House the Musical bring you Katdashians: Break the Musical. The parody illogically combines the reality moguls with Andrew Lloyd Weber's Cats. Why? Probably because you can replace the r with a t to make Kat.
With book and lyrics, and some music, written by Bob and Tobly McSmith, Katdashians is a musical romp inspired by America’s least favorite family, the Kardashians. Only they are portrayed as anthropomorphic cats. Loosely paralleling the story of Cats, Katdashians follows Kim Kat, Khloe Kat, Kourtney Kat, Kris Kat, Kylie Kat, Kendall Kat, oh and Bruce/Catlyn Jenner as they try to selfie their way to the top. Sound absolutely ridiculous? It is. Those voices. The painfully drawn out words. The obsession with fame, selfies, and themselves. The Kardashians are given the parody treatment to call attention to just how asinine the Kardashian empire truly is. So why does Katdashians work? It's because the Kardashians are already a walking parody. All Bob and Tobly McSmith had to do was insert the absurdity that is the lexicon of the family and it's ridiculously stupid funny. And by borrowing the plot of Andrew Lloyd Weber's musical allows them a structure to finally work off of. Yes, Cats is not the most successful book musical but it sure beats the other attempts of plot in the parody musicals from the duo. The jokes write themselves. Literally. Many of the lines they implement are words that actually came out of these people’s mouths. Kudos to dramaturg and Kardashian expert Wesley Flash for helping to capture the essence of these pop culuture figures. As far as the musical material goes, the best moments come when borrowing others music. From Sir ALW to Hamilton to Mariah to Madonna to The Book of Mormon to Destiny's Child, the McSmiths took and tweaked a lot. Did they have a through line to work in tandem? Not really. But when the audience can recognize the tune and hear the parody, the laughs come naturally. The completely originally numbers? They lack that spark.

There's absolutely no denying this is most talented company and strongest spoof material the McSmiths have assembled. There was not a single weak cat in the litter. The Kardashians in reality have a leader. And that leader is Miss Kim. As Kim, Carmen Mendoza played up the beauty and the vapid brain the real life Kim has. Between changing her look to her obsession with fame, Mendoza found funny in the bland persona. As the Kelly and Michelle to her Beyonce, Elliott Brooks as Khloe and Bridget Kennedy as Kourtney often stole the show. Brooks dominated when she would do anything to be noticed. Brooks took those one-liners and gave them life. Kennedy may be one of the best dead-pan comedians out there. Being able to literally not bring expression with the whacky material takes great skill. As the momager Kris, Bailey Nolan didn’t have the best material comparatively, forcing her to the back. As the baby Kats, Viva Soudan and Ariel Ash as the indistinguishable Kylie and Kendall respectively were a perfect tandem. And mirroring Mungojerrie and Rumpleteazer was epic. But the real star of the show was the incomparable Peter Smith as Bruce/Catlyn. If there’s a performer who needs to be a household name, it’s Peter Smith. Smith not only has impeccable comic timing, the character study was spot on, bringing infinite heart, compassion, and joy. “Meowmory” was a stunning eleven o’clock number.
Director John Duff was granted a gift with this parody. Duff guided his company and creative team to find the humor and deliver. The homework was done and it was done well. The choreography from Viva Soudan provided all the twerk you could handle in one night. She knew that the most important asset was the “kat ass” and showcased it whenever possible. Mimicking some Cats choreography while blending it with grinding realness, Soudan’s choreography was energetic. The costumes are literally the best. Designed by Baily Nolan, the costumes blended the character with cat seamlessly. This was the easiest set to create with trash and it actually looked good. All you need is trash! And whoever thought up the light-up iPhone cases gets infinite Twitter likes.
I will admit, I was skeptical when this project was announced. It sounded like a disaster waiting to happen. But that’s who these people are. They are ripe for the parody. Bob and Tobly McSmith figured out what makes a parody work. Katdashians: Break the Musical works. Let’s just hope they’re allowed to keep everything they put in. Simply by the nature of the project, the McSmiths and company may be able to borrow another thing from Cats. Katdashians will be here, "now and forever".

Name: MJ Rodriguez

Hometown: Newark, New Jersey

Education: Berklee College of music (some)

Select Credits: RENT 2011 Revival, "Nurse Jackie", "The Carrie Diaries", and "Luke Cage".

Why theater?: I have always thought of theater as a place where I can spill my soul on stage and completely express myself like how I want to be seen.

Who do you play in The Last Word?: I play the transgender character Carlies, who is very rambunctious has just the right amount of sass, and very grounded in who she is.

What is it like being a part of The Last Word?: I'm truly and completely enjoying the process. It's extremely fun and very invigorating!

What kind of theater speaks to you? What or who inspires you as an artist?: All types of theater really speak to me but what mostly intrigues me is the new pop Theater scene. I would have to say the person who was and always has been, is my mother.

Any roles you’re dying to play?: I am completely dying to play Peggy in Hamilton the Musical. That's my next dream role.

What’s your favorite show tune?:"Seasons of Love"

If you could work with anyone you’ve yet to work with, who would it be?: Oh, I would have to say my girl Lavern Cox. I feel like we would make some magic together, whether it be on sets or onstage.

Who would play you in a movie about yourself and what would it be called?: Oh my I hope this doesn't sound selfish but I would like to play myself in my own movie (haha) and it will be called "T Rated" or "Rated T"

If you could go back in time and see any play or musical you missed, what would it be?: So, I missed the chance of getting the see Little Shop of Horrors, so that would be the one I jump in my time machine and go back and check out.

What show have you recommended to your friends?: HAMILTON!!!!!

What’s your biggest guilty pleasure?: So there are these wonderful cake pops that I get at Starbucks and they have different flavors and I just can't get enough of the pink cake pop, that's literally my guilty pleasure!

What’s up next?: A lot is happening for me right now,some things that I can't really speak about, but I definitely assure you that they are good and I'm excited to be working on them!

Name: Trent Saunders

Hometown: Kirkland, WA

Education: Bachelor of Music, University of Miami

Select Credits:American Idiot (St. Jimmy), Aladdin the Musical (Ensemble, u/s Aladdin/Babkak)

Why theater?: I find theatre to be a space to explore the sensitivities and diversities found in people. Personally I was originally drawn to it as a means to safely and creatively explore myself through the stories of others. These days, I find myself drawn to the community, and the incredible people that this business surrounds me with.

Who do you play in Newton’s Cradle?: I play Michael, brother of Evan, son of Audrey and Nate.

Tell us about Newton’s Cradle: Newton’s Cradle is a unique exploration into the life and upbringing of Evan, a boy diagnosed with autism, and those most effected by his diagnosis.

What is it like being a part of Newton’s Cradle?:Newton’s Cradle is a show that explores a topic that I think is so prevalent in today’s society, where the labels we place on people seem to define so much. I love the character of Michael, and find his perspective to be challenging to make clear. I like challenges. I also can’t say enough about the incredible group of people that I get to tell this story with. Rose Hemingway is beautiful and an immense talent. And Victoria Clark is a dream.

What kind of theater speaks to you? What or who inspires you as an artist?: I have a great appreciation for theatre that makes me feel strongly about something. It could be a positive or a negative feeling. I just want to be moved, to leave the theatre different from when I entered. That, or I just want to have the time of my life. Fun is good too ☺ As far as inspiration, I find unique storytelling inspiring. Steven Hoggett’s movement in American Idiot was an incredible thing to experience, and watching it in applied Once had me stifling tears.

Any roles you’re dying to play?: I would love to play Fiyero in Wicked. Simba would be a blast too!

What’s your favorite showtune?:"If I Loved You". Hate the show, love the song.

If you could work with anyone you’ve yet to work with, who would it be?: Bartlett Sher, Audra McDonald, Dwayne Johnson, Denzel Washington, Stephen Hoggett

Who would play you in a movie about yourself and what would it be called?: Dwayne Johnson. Yes, I love Dwayne Johnson.

If you could go back in time and see any play or musical you missed, what would it be?: Most recently I wish that I had seen American Psycho.

What show have you recommended to your friends?: Fiddler on the Roof was an incredible revival of a spectacular show.

What’s your biggest guilty pleasure?: Ice Cream. Lots of ice cream.

What’s up next?: Lets just wait and see ☺

By Michael Block

If you're looking for a little salvation, take a little trip to Nashville, Tennessee and The First Church of Mary, the Repentant Prostitute. But this is unlike any non-denominational church you've ever seen. The First Church of Mary, the Repentant Prostitute may be lead by Satan herself. The First Church of Mary, the Repentant Prostitute’s Fifth Annual Benefit Concert, Revival, and Pot Luck Dinner, written by Geoff Davin, with additional music and lyrics from Nicole Boggs, KelleyAnn Hocter, and David Mescon, can easily be described as a completely misunderstood play with music that rides high in campy nature and sexual innuendo.
As part of NYMF's 2016 festival, The First Church of Mary, the Repentant Prostitute’s Fifth Annual Benefit Concert, Revival, and Pot Luck Dinner, from here on out being referred to in shortened form, is a brand of comedy that seems to have been lost but now happily found. Though the definition of musical can be debated here, The First Church of Mary, the Repentant Prostitute... takes place in a zany non-denominational church where Adamenses Huckster leads her congregation during the fifth annual benefit concert and pot luck dinner. So who is this benefit benefitting? Why Adamenses herself! If she gets the support of the church-goers, she’s going to Honolulu to save the Honoluluians with her boy toy Dirk! With a strong commentary on belief, faith, and the power of persuasion, if the action is truly inspired by true events as Geoff Davin states in the program note, we should be very afraid. The camp is alive and well. It harkens back to a time where Charles Busch and Charles Ludlam dominated. The inspiration is clear. But the execution may not be. Davin has created a vehicle for himself but he could benefit greatly from taking off the heels and watching from the writer's perspective to see just how the other characters' arcs need some shaping. Adamenses' intent is clear. She is a well-crafted woman. But the characters surrounding her pale in comparison. Unless you can catch the subtleties, often happening out of focus from Adamenses herself, the action and development of the plot occurs much too late. And that intermission? It's got to go. It sucks the momentum out of the event. Continuity is key. Especially how things pick up. There was a strong sense of style in Davin's rockin' southern soul score. With the voices on stage and the exceptional bags, it really is the saving grace if The First Church of Mary, the Repentant Prostitute...

photo by M. Chris Pennell

There is no doubt that this is Geoff Davin's show. He makes Adamenses, the role he plays, Satan in wig and heels. There is little decency in this character and that's what makes you love to hate her. But the hero of this saga is Megan Murphy Chambers as the pissant Charlotte. Chambers is mighty fine. Relegated to the background, when Charlotte is allowed to break out and have a voice, the gates of heaven open wide. "Soldier On" was a definite magical moment. There was a certain urge to give a mid-show standing ovation. As the background singers, Jennifer Whitcomb-Oliva and Brooke Leigh Davis as sisters Ruwanda and Luwanda respectively had sensational voices. Their sound filled the room. But it was little scene-stealer Rosemary Fossee as convict Shelly Braithwaite who stole the focus. The little Sara Bareilles look alike had pipes that blended and matched Whitcomb-Oliva and Davis.
Even though the June Havoc Theatre may be a limiting space, there is an expectancy of grandeur when it comes to the realization of the show. The First Church of Mary, the Repentant Prostitute…looked basic. And it didn’t quite match the fabulousness of Adamenses. This is a woman who looks fierce, glittering and shining everywhere she goes. Her church would likely match her personality. The barebones basic set of folding chairs, tables, and plastic tablecloths didn’t do the show justice. Whatever the limitations may be, director Martha Wilkinson needed to realize this world further. Wilkinson did a fine job lifting the comedy from Davin’s text. She punched what needed to be punched while allowing the little laughs land naturally. With the campy nature at the forefront, Wilkinson focused on finding the reality within the absurdity. That is the origin of the comedy. These people believed every word they spoke and Wilkinson made sure of that.
If you’re expecting a musical where the music helps further the plot, stay away from Geoff Davin’s piece. If you’re looking for some southern soul and good laugh then take a trip to The First Church of Mary, the Repentant Prostitute’s Fifth Annual Benefit Concert, Revival, and Pot Luck. It may have the longest title but don’t let it scare you. Where this play with music will go next? That’s the tough part. Some finessing and fine-tuning and you can see a daring company take a risk with it.

Name: Lizzie Klemperer

Hometown: Syracuse NY

Education: University of Michigan Musical Theater Program

Select Credits:Bright Star (Broadway), The Addams Family, A Christmas Story (tour), Marian in The Music Man, Eponine in Les Mis

Why theater?: My parents are both professional musicians. My dad plays the violin and mom is an operatic soprano. Both perform and teach in Syracuse New York. I was completely surrounded by classical music growing up and around age 8 joined the children's chorusin Syracuse and soon started doing community theater. Music has always been the way I was able to express a little bit of my soul.

Who do you play in Lisa and Leonardo?: I play Lisa del Giocondo, the woman who inspired Leonardo Divinci to create The Mona Lisa.

Tell us about Lisa and Leonardo?: The backdrop of this musical is incredibly interesting and dynamic. We are in the middle of a war and at the same time there is an artistic Renaissance happening. The show takes a bit of history and unpacks what the individuals involved may have been thinking/feeling.

What is it like being a part of Lisa and Leonardo?: As an actor, It is such a treat to work on new material. We are in the room with the writers and they have been so generous with improving the material continually to make sure the story is clear and concise and each character's journey makes sense.

What kind of theater speaks to you? What or who inspires you as an artist?: Every day life! I go to the theater to feel things. I like any theater that is honest and depicts what it is to be human.

Any roles you’re dying to play?: Louise in Gypsy, Dot in Sunday in the Park, Eliza Dolittle in My Fair Lady

What’s your favorite show tune?:"What's the Use of Wondrin" from Carousel

If you could work with anyone you’ve yet to work with, who would it be?: Tough question! Maybe Carol Burnett. I have always loved her.

Who would play you in a movie about yourself and what would it be called?: Vanessa Hudgens (because it's a musical, duh) and it's called "Resting Bitch Face" or the PG option... "Girl Uninterrupted"

If you could go back in time and see any play or musical you missed, what would it be?: The original A Chorus Line

What show have you recommended to your friends?: I have a lot of shows I still need to see but this season I did see She Loves Me and The Humans and loved both

What’s your biggest guilty pleasure?: The Bachlorette 😳

What’s up next?: Planning a wedding and then getting married! I just got engaged 3 weeks ago!

By Michael Block

Identifying yourself is something we've all done at some point in our life. Sometimes it takes one occurrence to spark that search. In Aya Aziz's Eh Dah?: Questions for My Father, Aziz takes the audience on an extraordinary journey to find her cultural identity.
Written and performed by Aya Aziz, Eh Dah? is a greatly ambitious undertaking. Aziz tackles more than a dozen characters from her life to tell the story of finding just exactly who she is in this world and in her cultures. It’s a solo musical but in its current state, it’s more of a play with musical interludes. The content of Aziz's story is what makes Eh Dah?. Sadly, the structure of a one woman musical is simply not serving her best. Aziz is not a dominating character actress. Many of her characters shared physical and vocal similarities that even when trying to match positions on stage, it was difficult to differentiate. But with the story being the focal point through narration, Eh Dah? may be best discovered as a cabaret of story and song where Aziz parks herself behind a microphone and piano and shares. Aziz’s demeanor is naturally laid back. Due to this, Eh Dah? needed a spark of life to get the emerging surging. If this was Aziz at an energy level of five, imagine what ten would look like. When she was animated, that’s when she found lfie. But that was seldom. With the book and structure not serving the story the best, it was her music that stood out. The score Aziz crafted featured beautiful cultural influences. And this music fit her voice well. Her voice may not be powerful but it sure is flavorful. Aziz could easily record a demo that would inspire. But in terms of musical theater, Eh Dah? didn’t quite fit the mold consistently.

photo by Shivani Badgi

Perhaps it was due to the libretto but there was some sloppy direction filled with holes. Director Corinne Proctor tried real hard to help Aziz move from character to character but there was such a long lag, it felt amateurish. The overall tempo needed to picked up. Even at ninety minutes, Aziz could shave off some time in her storytelling simply by making this piece more intimate. For whatever the reason, the production design by Arpita Mukherjee and Kyle Rosenberg felt undeveloped. It’s a shame those generic chairs were used. The table with the drawers worked well with Proctor’s staging but the fabric on top added nothing. When it came to lighting, there were nice bursts of colors to help signify mood but if there was ever something that can take you out of the moment, it’s having to hear the color scrollers in the lighting units.
Eh Dah?: Questions for My Father felt out of the element at NYMF. With the right guidance, Aya Aziz can have a future with this piece. In this current state, she needs something more. It needs to be fleshed out. Aziz has an important message to share. It’s there. A new theatrical angle may be what she needs.

Name: Heath Saunders

Hometown: Kirkland, WA

Education: Bachelor of Music, University of Miami.

Select Credits:Natasha, Pierre, and the Great Comet of 1812 (ART and upcoming Broadway)

Why theater?: Collaboration is the name of the game, and I think real genius happens in groups.

Who do you play in Newton’s Cradle?: I play Evan, and also the role of “composer/lyricist.”

Tell us about Newton’s Cradle:Newton’s Cradle is an original musical examining the effect a young man’s diagnosis of autism has on his family.

What is it like being a part of Newton’s Cradle?: There’s nothing quite like watching something that’s been inside your head for years unfold in front of you with real, talented, beautiful artists, a couple of whom are your real life family members. Being able to be part of it onstage is an epic bonus.

What kind of theater speaks to you? What or who inspires you as an artist?: I respond most strongly to theater that has a strong perspective that is commits to, wholly and completely, and that looks to affect hearts and minds. I want theater that looks to the future with a critical eye, rather than lovingly at the past.“Finding” inspiration is hard for me; it seems like inspiration is usually the one who finds me! But there are definitely things – I just saw Hadestown at New York Theater Workshop and found it profoundly moving, and Rachel Chavkin continues to blow my mind. This one album I’ve been grooving to, The Human Condition by Jon Bellion, is really delicious. My friends are always doing things that impress and inspire me. My family. Stories about space. Perspective. Parents.

Any roles you’re dying to play?: Many, but I think it’s bad form to put it into the universe this way. ;)

What’s your favorite showtune?: This is bizarre, but probably “Many a New Day” from Oklahoma.

If you could work with anyone you’ve yet to work with, who would it be?: Marianne Elliott, Lin Manuel Miranda, Mimi Lien, Audra McDonald, John Lasseter.

Who would play you in a movie about yourself and what would it be called?: Hopefully Lucy Liu.

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

What show have you recommended to your friends?: I was super into Hadestown.

What’s your biggest guilty pleasure?: I feel guilty about none of my pleasures, and openly and unironically adore anime.

What’s up next?:Natasha, Pierre, and the Great Comet of 1812 on Broadway. Previews begin in October!

For more on Heath, visit heathcliffsaunders.com

Name: Tim Spears

Hometown: San Antonio, Texas

Education: BFA Acting, Boston University / MFA Directing, Boston University

Select Credits: The Elephant Man (John Merrick, New Rep Theatre) ; Amadeus (Amadeus, New Rep Theatre);  A Question of Mercy (Anthony, Boston Center for American Performance); Monster (Clerval/Walton, Boston Center for American Performance); Clybourne Park (Jim/Tom, Speakeasy Stage Company) ; House (Victor, Boston Center for American Performance)

Why theater?: I’ve always been amazed at what you can learn from putting human beings on stage, reflecting one’s own humanity back at an audience. I think it can cause change in a person in a beautiful, slow, unconscious way.

Who do you play in Good?: Maurice, John Halder’s best friend.

Tell us about Good: To me, Good is about the selfishness that exists in any of us, which causes us to make choices that are purely in our own interest and ignoring the community and people around us: the banality of evil.

What is it like being a part of Good?: This has been a very special process with a really amazing group of people. Some of us worked on this show together about five years ago and getting to come back to it, especially in a social and political climate that is as sensitive as the current times are, has been a real gift. It ties into a lot of conversations our audience members are having out on in the streets and that’s palpable during the performances.

What kind of theater speaks to you? What or who inspires you as an artist?: Oh lots. I think I’m particularly fond of satire. There’s something amazing about the way people will digest the truth if they’re laughing.

Any roles you’re dying to play?: Nothing specifically comes to mind. Perhaps in many years, George from Who’s Afraid of Virginia Woolf. I recently directed a Pinter play and I think it would be great fun to act in one of his plays.

What’s your favorite showtune?: Let’s go with, just about anything from The Music Man.

If you could work with anyone you’ve yet to work with, who would it be?: I had the chance to watch Bill Irwin perform once I’d like to get in the ring with him. A true master of the craft.

Who would play you in a movie about yourself and what would it be called?: I suppose I’d have to do something first that warranted a movie, but let’s say Steve Buscemi and call it “All Roads Lead to Pizza”.

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

What show have you recommended to your friends?: The Wire. Is there a musical version of that?

What’s your biggest guilty pleasure?: Pizza.

What’s up next?: Good, this fall in Boston at New Rep Theatre

For more on Tim, visit www.timothyspears.com

Name: Kim Saunders

Hometown: Seattle

Education: University of Virginia, B.A. English & Music

Favorite Credits: Musical Director of Peter Pan in local community theater with all five of my kids ages 10-15 in the show (Blake=Smee, Heath=Peter, Trent=John, Alanna=Twin 1, Claire=Twin 2)

Why theater?: Musical theater is the most alive and dynamic art form that I know, and the most collaborative.

Tell us about Newton’s Cradle: Beyond our synopsis, Newton’s Cradle is a drama about how a family system can both build strengths and reinforce weaknesses in family members. This specific Newton family system is dealing with an autism diagnosis, and through the show Evan (who carries that label) comes to terms with the challenges his unique brain poses to his life, primary relationships, and sense of self. As he peels back the layers of experience and expectation, he uncovers new insight about his identity and the label that has been a part of its formation.

What inspired you to write Newton’s Cradle?: The question of when and how a label helps form identity, and when it hurts that process, is what sparked the development of Newton’s Cradle. Several years ago Heath and I worked with Evan, a college-age reed player, in an orchestra pit for a musical. He was kind of quirky but very much a comfortable part of the orchestra pit. One day we needed a viola player, and his (younger) sister joined us in the pit. Evan suddenly began behaving very differently, and it was obvious enough that we asked the director of the show what might be going on (she knew the family). It turns out that Evan had been diagnosed at a young age on the autism spectrum. This fact, and what we knew about how functional Evan was as a young adult, raised the specific question of what it meant for Evan to have an autism diagnosis. What kind of experiences in his family bound him to the diagnosis, and what experiences might have in some sense ‘freed’ him from the diagnosis? This question fascinated both Heath and I. Independently we each started working on the story – Heath wrote a song and I started a novel – before we sat together and decided that this would be a great seed of a musical.

What kind of theater speaks to you? What or who inspires you as an artist?: I love music, and I love music in the context of a theatrical event. Music is such a powerful storytelling tool, whether used in theater or dance or simply in a concert. I am inspired by musicals that address important issues to us as human beings. I am particularly drawn to work that grapples with issues that divide us from each other, and open up the possibility of change for us individually and collectively.

If you could work with anyone you’ve yet to work with, who would it be?: I think Quincy Jones has been a key influencer on multiple generations of musicians, and I would love to work with him. In theater, I think Diane Paulus is amazing and I would be honored to have a chance to work with her.

What show have you recommended to your friends?: Recently, I have recommended Fun Home. Just this week I saw Hadestown at NYTW and thought it was amazing.

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 the original cast of Rent. That seemed to be such a unique moment for the individual young artists involved in the piece, and for the theater community as a whole.

What’s your biggest guilty pleasure?: I read voraciously, which isn’t really a guilty pleasure. But part of what I enjoy are romance and romantic suspense, which I do consider a bit of a guilty pleasure.

If you weren’t working in theater, you would be _____?: I have spent 25+ years working in high tech product development and marketing. While I worked as a musician in my 20’s (including keyboards/backup singer for Stacy Lattisaw), and had an active avocation musical directing in community theater while my kids were growing up, writing this musical is a career changing step for me.

What’s up next?: Heath and I have begun work on a new musical. So very exciting! ☺

For more on Newton's Cradle, visit www.newtonscradlemusical.com and https://www.facebook.com/newtonscradlemusical/

By Michael Block

Edgar Allan Poe is synonymous with mystery and thrill. But musical theater? How would Poe's tales live in a musical world? Find a pair of pieces that already live in a land of satire. Inspired by companion short stories "How to Write a Blackwood Article" and "A Predicament", Alan Harris and Mark Alan Swanson's A Scythe of Time is a gothic thriller with a tinge of humor.
With a book by Alan Harris and music and lyrics by Mark Alan Swanson, A Scythe of Time follows magazine editor Blackwood as he has garnered attention through his Blackwood Articles where writers share their experiences with death. Meanwhile rival editor Signora Psyche Zenobia must find a way to prevent her paper from going under. Her solution? A Blackwood Article! A Scythe of Time is virtually "Penny Dreadful" meets Sweeney Todd after drowning in the river of laughs. It also happens to be a rare circumstance of needing a second act. Harris had source material to work with and intertwine to create a full story. It's virtually dueling narratives that need to be adjusted in the timeline of the story though. Jumping back and forth from Blackwood to Zenobia hurts the momentum as, by the end, the focus is primarily on Zenobia. Her narrative is clear, his not so much. It might be a stronger decision to make Zenobia the focal point with Blackwood as the supporting character. It would also explain the little backstory for Blackwood's minion Malachi. As it stands now, Malachi's disappearance feels insanely unsatisfactory. He's a fascinating foil for Blackwood that a single line summation to his demise is unfortunate. There is an element of comedy automatically added when this style is put into musical form. And when you have a brilliant comedic actress, the humor spills out. Embrace the style and go bigger! There's a natural darkness and amplifying the comedy can help highlight this. The themes of infamy and death are dark but the situation is a perfect place for this discussion. Swanson's gothic rock score drives the story well. There are some great musical moments but nothing that really will be memorable. Swanson is missing that big moment. But maybe it's because the libretto doesn't have that part yet. The only place Swanson seems to falter is through the lyrics of the more presentational songs. They're just so silly.

photo by Russ Rowland

When you have two leads that are not only talented but embody the characters, you can't quite imagine anyone else ever playing the parts. If you didn't already know it, Lesli Margherita is a star. Her voice is pristine, her choices are bold, and her comedy is sublime. Margherita rightly stole the show as Zenobia. She lifted the character from page to stage with ease. It takes immense talent to be brilliant as a disembodied head. As Blackwood the proprietor of death, P.J. Griffith rocks and rolls. He is perfectly sinister, finding intrigue in the character. His swagger could be bigger to match the grandness of his paper rival. With the littlest of roles, Matt Dengler showcased his sweet tone as Malachi. Dengler left you wanting more. Like another scene before he goes "up." If you're aware of Poe's original then you know that Pompey, Zenobia's man servant, was written as a 3 foot tall black man who helped boost Zenobia into the hole of the clock tower. In this version, the team went in a different direction and made Pompey a short white man deeply and madly with Zenobia. Danny Rutigliano does a fantastic job waiting for his moment of glory. Because when he gets his time, he's brilliant. It's helpful that Rutigliano and Margherita have lovely chemistry. There may have been only four named people but Diana the poodle was a scene-stealer.
Director David Alpert made great use of the June Havoc stage, opting for a simplistic and clean presentation. With the balance of thriller and camp slightly out of whack, Alpert did a nice job marrying the two. The stage magic that was integral for the production was realized pretty well for this type of budget. Sure, you could see the holes, literally, but it worked. Starlet Jacobs’ set was effective for the space. The addition of the projections from Dan Scully was smart. And thankfully, the design was brilliant and polished. As was the period dress from Lindsay McWilliams. The dark, gothic elements made the characters come to life. And Zenobia's garb? Stunning. Sound designer David Margolin Lawson reminds just how important sound design is, especially in a musical.
A Scythe of Time looks dark on the outside. With a Poe draw, a mysterious title, and a story of death, the comedy is a bit unexpected. But it's what's desired. Alan Harris and Mark Alan Swanson's musical shows much promise.

Name: Markus McClain

Hometown: New Orleans, LA

Education: BFA in Musical Theatre from Indiana University

Select Credits: Mark in The Secret Theatre's A Chorus Line, To Dance! The Musical at NYC Int'l Fringe Festival, Bigfork Summer Playhouse, and Williamstown Theatre Festival

Why theater?: I love telling stories through dialogue, song, and dance. There's nothing like a live audience and having the opportunity to open their hearts and minds, or even just to provide them some good entertainment.

Who do you play in Tink?: Nibs, the Lost Boy.

Tell us about Tink: Tink is a new family-friendly musical that's a bit of a prequel to the Peter Pan story and told through Tinkerbell's eyes.

What is it like being a part of Tink?: It's been a magical process with a group of really fun people. It's been wonderful to feel like a kid again and to play pretend in Neverland!

What kind of theater speaks to you? What or who inspires you as an artist?: Generally speaking, I love any kind of theatre that leaves you feeling intellectually stimulated.

Any roles you’re dying to play?: Finch in How to Succeed!

What’s your favorite showtune?:"What I Did for Love" from A Chorus Line is pretty classic, right!?

If you could work with anyone you’ve yet to work with, who would it be?: In the Broadway circle, I'm particularly inspired by women like Kelli O'Hara and Laura Benanti. Maybe I can play their son!?

Who would play you in a movie about yourself and what would it be called?: Sometimes people say I look like Andrew Garfield, so maybe him? At the current time, I would definitely call the movie of my life "Quarter Life Crisis".

If you could go back in time and see any play or musical you missed, what would it be?: I've heard that one of the most amazing performances in American theatre history was Laurette Taylor's Amanda Wingfield in the original Broadway production of The Glass Menagerie.

What show have you recommended to your friends?: I would've said Bright Star, but it recently closed so I'd have to go with last year's Best Musical Tony winner Fun Home. I've also heard The Color Purple is amazing but I haven't gotten the chance to see it yet.

What’s your biggest guilty pleasure?: Justin Bieber's most recent album for sure. That and Ben and Jerry's Chocolate Fudge Brownie.

What’s up next?: I'm going on a trip to Europe sometime this fall, so that's pretty exciting!

For more on Markus, visit www.MarkusMcClain.com

By Michael Block

Leonardo Di Vinci's Mona Lisa is one of the greatest works of art. There is no doubt about it. So what is the story between artist and subject? Is there a tale of love and lust? Are there other players that thwarted the duo? What IS the story of Lisa and Leonardo? With music by Donya Lane, lyrics by Ed McNamee, and a book by McNamee, Lane, and Michael Unger, a version of the origin of the masterpiece is given the musical treatment. Yet Lisa and Leonardo is simply inexplicable but I'm sure going to try to explain it!
To put it bluntly, the book abysmal. With the book and structure being so out of whack, the rest of the musical nose-dives. If the story follows the exact timeline of researched facts, perhaps it is time to adjust the story so theatrical tension and genuine stakes can exist. As it stands now, there is a baffling progression of time that can only be explained by trying to jam so much in. Based on context clues, years can go by between scenes. And by omitting the action within those years, there is little relationship shown. Everything is forced. We want to see the chemistry! At the beginning, we see the introduction between Lisa and Leonardo. We see that Lisa is involved in a loveless marriage. We see that Leonardo is engaged in an affair with his male pupil, but more on that later. We watch them as they debate the nature of their project and then BAM! Five years have passed and the painting, or at least a good chunk of it, is done. We don't get to see Leonardo's reaction to the first time he starts his masterpiece. We don't get to see Lisa sit as she is studied. That's the intrigue. That's why we're here. Show him paint her! If the excuse is the lack of intrigue of watching an artist paint, just go back to John Logan's Red where we not only watched a canvas get primed and painted, we literally watched paint dry. There is a story without words that could easily have been told. So if Leonardo painting Mona Lisa isn't the subject of the musical, what are we watching? The trio of writers introduce a cavalcade of characters that play a role in destroying any prospect of love including the gay lover, the primadonna lusting to be painted, the jilted husband, oh and Machiavelli. It's likely if you tracked these characters presence in comparison to the titular characters, it may out weigh them. Even if every single thing was fabricated, this story is just not interesting. And if that is why the other characters have such a large presence then the story of Lisa and Leonardo should likely not be told. The other blaring problem that this musical encountered was where does it live on the spectrum of style? Is it epic theater like Les Miserables or campy like Something Rotten? There were some musical moments that lived in a world of Gilbert and Sullivan musical comedy, some that were so overly dramatic, and then characters that were so big and caricature you wondered if years of ideas on paper got mixed up to create one giant conglomeration. Director Michelle Tattenbaum seemed to honor the creators’ wishes by not defining one style for the entirety. It's ok to have comedic moments in epic theater. Just look at Thenardier and "Master of the House." But it has to live in the same consistent world. These songs and characters absolutely do not. There were just far too many inconsistencies in Lisa and Leonardo. As far as characters are concerned, they were quite one-dimensional due to the fact that individual journeys were virtually non-existent thanks to the drastic timeline of events. It’s very likely that the writers were oh so close to the material to see that this was a problem. The style of music from Donya Lane was varying. There was rock. There was musical comedy. There was opera. Lane gave us everything. Were they happily married? Like Lisa and her Francesco, not even close. There were certainly some colorful numbers. Some stunning solos. Consistency was sadly just not in the cards.

photo by Matt Montath

Enough about the material, shall we move to the production? Helmed by Michelle Tattenbaum, Lisa and Leonardo had far too many moving parts. Literally. The scenic design from Reid Thompson featured Di Vinci influences where sketches and models were attached to a pulley-like system. It helped shape the world but with little to no wing space, they were never truly off stage so Tattenbaum and Thompson might as well have deliberately kept them on the outskirts of the stage. And let’s talk about the humor of the red carpet treatment for Isabella D’Este. The idea was cute but the execution was harsh. Nothing is more uncomfortable than watching an actress try to hit her mark in a song while futzing around with a scenic element that just won’t work. And the flats with the cityscape? They just took up too much valuable playing space. From costume to score, there were so many modern influences. The silhouettes in Michael Bevins’ outfits had a modern flare to them. And it was a nice touch.
The company was committed to bringing their best to the stage. And that is greatly commendable. As Leonardo, Timothy John Smith has a booming vocal. But who was Leonardo? Smith couldn’t quite wrap his head around it. The stoic look in the Mona Lisa's face in the painting is matched by the lack of personality in the script. Lizzie Klemperer did everything in her power to make Lisa interesting. There was nothing left for her to do. But she did receive a fantastic eleven-o’clock number. The mean girl quartet led by Marissa M. Miller as Isabella D’Este absolutely brought the fun. They found a way to infuse modern style into classic characters. And then there’s the tale of the little devil himself, Salai. Ravi Roth is a strong actor but his characterization was not of this world. Whether it was his choice or his director, this version of Salai was overly flamboyant to where it just was not believable.
With the quality of credits attached to the company, it's mesmerizing that this is what was turned out. So what happens next with Lisa and Leonardo? It may be time to go back to the sketchbook and try something new or scrap it altogether.

By Michael Block

In order to move forward we have to remember the past. Our memories are with us forever, no matter how good or bad they were. In Jaime Lozano and Lauren Epsenhart's Children of Salt, a man returns to his home twenty years later to visit his grandmother. But before that can happen, he must come face to face with the past.
Inspired by a play by Hernan Galindo called Los Ninos de Sal, Children of Salt is a musical about memory. With music by Jaime Lozano and book and lyrics by Lauren Epsenhart, Raul comes to the beaches of Mexico after twenty years to visit his grandmother whose memory is decaying. The delayed visitation hits more roadblocks as he encounters people from his past. The plot very much makes Children of Salt a soap opera musicale. It's heightened drama. But book writer Epsenhart uses the memory device to tell Raul's story. Shifting from past to present, each encounter leads to an experience that changed the person Raul is. From his past love, Coral, to his best friend Jonas, Raul must face the past to accept the future. It’s a thin narrative but what keeps Children of Salt intriguing is the brilliant score by Lozano. It’s infectious. And the orchestrations are equally sensational, capturing the Latin flare. With a plethora of musical options, where Children of Salt needs some examining is through the book. Firstly, not every moment needed a song. It was exhausting and eliminated any element of surprise. Even though it’s based on a play, Epsenhart has room to explore.

photo by Russ Rowland

Character relationships could use a little more clarity, especially with Jonas, Coral, and Marina. To help that, perhaps cutting Camaron and his sister will make room for cleaner character building in other places. While they both are interesting stories, they don’t inform Raul's journey as much as the others do.
There’s no doubt that Mauricio Martinez is a superstar. Why he’s not an international household name is surprising. Martinez carried the show on his shoulders as Raul. He was a heartthrob with tenacity. Barrie Linberg as Coral has a dazzling voice and a stunning presence. Who the character was? Linberg tried to find something beyond the romantic interest. When we did see Martinez and Linberg together, there was innate chemistry. Relegated to backdrop plot, April Ortiz as Marina didn’t get to much opportunity to showcase her powerhouse vocals. But when she did, Children of Salt lived. As Angel, Joshua Cruz walked out on stage in a cowboy hat and managed to not break character. He was the antagonist of the story and a walking stereotype for bad ideas. His presence was strong but the character needed even more of charisma in the memory world.
Jose Zayas did a phenomenal job realizing his ideas. The concept was consistent. Was it the strongest for this story? Likely not. But when gifted a story that jumps in time, insisting that a vocabulary is constant is crucial for the audience. You just wish it was a bit cleaner. Scenic designer Arnulfo Maldonado allowed the audience to imagine the white sandy beaches of Mexico by simply dropping a carpet resembling sand, some rocks, and a long dock, on the Pearl Theatre stage and calling it enough. And it was enough. Lighting designer Zach Blane cleverly allowed the warm colors to play a dominating role in his design. Raul Ozuna dressed his company in linens and khakis and light colors that was evocative of the locale. Even though there was no wind, you could imagine the wind blowing through the fabrics. Where Ozuna and Zayas did struggle was finding a way to help the buddy quartet believably play kids. While the conceit would be different, maybe it would have been smarter to have four kids for the first few scenes. Some of those outfits were so ill-fitting that it was laughable, ruining the mood. The true hero of the creative team was choreographer Stephanie Klemons. Talk about utilizing the space! Klemons allowed her actors to move naturally while incorporating cultural dance styles. It lifted the music from good to great.
Children of Salt may not be an entirely original story but it’s one that shows much promise. Allowing it to stand on its own will be of great aid to Lauren Epsenhart and Jaime Lozano.

Grace McLean, Travis Kent, Luke Marinkovich & More Set for One-Night Only Concert CHASING FEAR: The Music of Trevor Bachman at Rockwood Music Hall

Trevor Bachman debuts new musical Chasing Fear on July 25th at Rockwood Music Hall, Stage 2. Chasing Fear is a carnival concert by composer/performer Trevor Bachman, that gleefully spins Turkish folklore into a macabre pop-up book of songs. A scintillating selection of Grimm’s fairy tales are sung in English and Turkish, through a fusion of rock, gospel, and folk music. Playful and Burton-esque, Chasing Fear is a ghostly thriller that makes for a diverse, delicious, and sonically satisfying evening.

The concert features performances by Grace McLean (Great Comet), Travis Kent (Disaster! – On Broadway), Luke Marinkovich (The Bridges of Madison County), Stevi Incremona, Teri Madonna, Andrew Martin, Josephine Spada, Elijah Caldwell, and Trevor Bachman. Produced by Brídín Clements & Zachary Infante.

Grace McLean is New York's premier up-and coming talent hailed by Lincoln Center's American Songbook series for her "electrifying" presence (Huff Post). She can be seen this season reviving her role in the Broadway bound production of Natasha Pierre and the Great Comet of 1812.

Trevor Bachman is a New York City based composer, musical director, and vocalist. Best known for his use of the human voice’s extremes, his pieces fuse classic traditions of opera with storytelling practices of the modern theatre.

He has written and developed countless scores for original musicals, including PYRE CANTATA (HERE Arts Center) a rock opera based on the Antigone story, In Real Life: A Slenderman Musical (Theatre For A NewAudience), The Lobotomist (Ars Nova), and Piano Bar (Joe’s Pub), co-written with the late director, composer and theatre visionary, Elizabeth Swados.

Bachman has arranged, orchestrated, and musically directed world premieres of The Nomad (The Flea), A Fable (Cherry Lane Theatre), Times Square (The Public Theatre), Playing Hot (Pipeline), and the music of acclaimed Grammy-winning songwriter Diane Warren.

His concert and theatre pieces have been performed internationally in Abu Dhabi, London, and Tokyo. Trevor is an alumnus of NYU’s Tisch School of the Arts.

For more info on Chasing Fear, please visit www.trevorbachman.com. The concert will take place at Rockwood Music Hall Stage 2 (196 Allen St.) on 7/25/16 at 8:30pm. Tickets are $10 and can be purchased at the door or online at www.ticketfly.com/event/1160231

Name: Kurt Hellerich

Hometown: St. Joseph, Missouri

Education: BFA Webster Conservatory

Select Credits: Theory of Relativity at Goodspeed; Lion in Winter and Comedy of Errors at The St. Louis Rep; Lord of the Flies at The Denver Center; Peter Pan at Rocky Mountain Rep

Why theater?: If I had an answer to that question, it would probably save my family a lot of headaches.

Who do you play in TINK?: I play a little character called Peter Pan. Ever heard of him?

Tell us about TINK: Tink is a coming-of-age story about a beloved character that, until now, has gotten very little attention. It's full of love, danger, charm, mystery...

What is it like being a part of TINK?: It's a red letter day when you get to collaborate on new material. I am over-the-moon to be doing what I love in this city, and I am wholly grateful to the creative team for this opportunity.

What kind of theater speaks to you? What or who inspires you as an artist?: I think the seed of inspiration comes from mindfulness. I'm inspired when I'm paying attention.

Any roles you’re dying to play?: All of the roles I dream of playing are a couple of decades yet out of reach.

What’s your favorite showtune?: That is a good question!

If you could work with anyone you’ve yet to work with, who would it be?: Oh, boy. Just one?! That list is interminable. Daniel Sullivan, for starters...

Who would play you in a movie about yourself and what would it be called?: I haven't the vaguest idea who would play me, but the powers-that-be who name this film would probably do well to call it "Lost Boy".

If you could go back in time and see any play or musical you missed, what would it be?: Again, just one?! The first thing that comes to mind is Brando's performance in Streetcar.

What show have you recommended to your friends?: Well, it's closed now, but Gregory S. Moss'Indian Summer at Playwrights' Horizons was flooring.

What’s your biggest guilty pleasure?: Whatever it is, it's definitely not equivocating during interviews...

What’s up next?: The Tempest Project with The Upstream Artists' Collective

By Michael Block

The portrayal of LGBTQ characters in mainstream media is pretty consistent. They are either over sexualized, littered in stereotypes, or face dark plot lines. But why? In Jamie Jarrett's new musical Normativity, Jarrett tries to break the norm and rewrite our story.
As part of the 2016 New York Musical Festival, Normativity, with book and score by Jamie Jarrett, Charlie is trying to finish his latest novel. But when he is about to kill off his queer character Emily, she comes to life in hopes of changing the narrative. Now in the real world, Emily is forced into living life as a real person and finds herself falling for a young girl named Taylor. Meanwhile Charlie has a relationship on the rocks with his lover slash editor Anne, proving you should never mix work with pleasure. Normativity deserves praise thanks to Jarrett's passion to give inclusion and visibility to a community that deserves a place on stage. Jarrett has composed a solid modern pop rock score. But where Normativity needs some growth is through the book. Jarrett has set a strong goal with hopes of changing the narrative but the plot is slightly convoluted and needs to find a way to break free from the preachy tendencies. There's nothing audiences hate more than being told how to think. That being said, Jarrett has a solid foundation to work from. The book needs work. Whether it's by bringing a new book writer in, changing the plot, or working with a dramaturg, once Normativity gets a facelift, it will be something noteworthy. As it stands now, the text is like watching a Freeform (formally ABC Family) or MTV scripted series geared toward teens. If that's not the target demographic, the dialogue needs to shift away from clichés. The other journey Jarrett could take is deciding who the central character or prime plot line is. In its current form it shifts often. If it's Charlie the writer, his arc needs to have more cultural conflict. If it's Emily the character, she needs to see how this world she's unfamiliar is functions. If it's Taylor, which is likely the right choice, then the others need to alter her journey even more.

photo by Steve Riskind

The Normativity company is filled with vivacity and youthful tenacity. Leading the bunch is the remarkable Izzy Castaldi as Taylor. Her voice is uniquely perky that matches the character. She made what could have been a throwaway song in "Whatever" a moment, highlighting Jarrett's songwriting skill. Mitchell Winter lived in constant turmoil as Charlie. But that's how Charlie is written. There was very little time to see in process his choices forcing Winter to play the woeful card. Madline Wolf as Emily explores what it is to be young and naive. And it forced a scattered character, wavering from thought to thought. Vocally, she and Castaldi blended well.
Even with a giant playing space at the Pearl, Normativity looked sleek and purposeful. The floor treatment and subsequent locker piece from scenic designer Kristen Robinson were fascinating to the eye. It looked like it was inspired by Gotye's "Somebody I Used to Know" music video. With direction by Mia Walker, bold choices were made but some had lingering affects. The metaphor of ripping up the paper was smart. The remains of the paper from that part forward? Not so smart. Even with potential slips to be considered, it sadly just didn't look pleasing. Lighting designer Zach Blane proved his love of color, blasting the cyc with a different color all the time. I'm sure there was a method to his madness but it unfortunately felt arbitrary.
Normativity is an important idea that deserves a platform. Jamie Jarrett has some work cut out before it can be the musical with a lasting legacy. But it can certainly happen. And that's what's most exciting.

Name: Amy Steinberg

Hometown: Charlotte, NC

Education: Studied at Boston Conservatory, American Musical and Dramatic Academy, and Marymount Manhattan

Favorite Credits: Oh My God Don't Stop, one woman show, European Tour of Hair

Why theater?: I'm a drama queen! It is my nature. The human experience is fascinating, and I love creating art that uplifts and inspires from an authentic place.

Tell us about Breaking the Moon: Breaking the Moon is amazing! The show is like a shot of emotional adrenaline in the best way. The premise is rather dim, 7 teenagers in treatment for suicide, but the ultimate truth of the show is how human connection saves us and how important it is to come out, be real, seek and speak truth. This is how we heal and shine our light.

What inspired you to write Breaking the Moon?: My teens years were heavy and hard and I know that teens today have it much harder with the pressures of life. I wanted to write something for my inner teen and for the teens today.

What kind of theater speaks to you? What or who inspires you as an artist?: Raw, movement-based, inspiring theatre. Hope for a more awakened future. Spirituality, philosophy, human behaviors.

If you could work with anyone you’ve yet to work with, who would it be?: I don't have that kind of dream. I would love to collaborate with loads of people!

What show have you recommended to your friends?: I recommend that people go see live theatre in general. It's a special world to enter and important for our social evolution.

Who would play you in a movie about yourself and what would it be called?: Oh Lord. I would play my theatre teacher. The movie would be called - “A Creative Light.”

If you could go back in time and see any play or musical you missed, what would it be?: Would love to see the original A Chorus Line again. I saw it when I was very young and it is everything.

What’s your biggest guilty pleasure?: Television

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

What’s up next?: Hopefully Breaking the Moon moves forward in a big way. I am a singer songwriter so there's always another collection of songs to be released. I've been very interested in writing a musical version of The Shack. I prefer writing original pieces, so I'm sure I'll be writing something fabulous!

For more on Breaking the Moon, visit nymf.org

By Kaila M. Stokes

Sometimes you have to ponder things you see before you can express what exactly happened to you that night. In a lot of ways when a play hits you so hard, it is just as hard to articulate just how amazing the show was. The Annotated History of the American Muskrat written by John Kuntz definitely makes you think, and think and think some more. It starts out simple enough. When you enter the theater all of the actors are on stage, eight of them asleep in their beds and 2 masked figures lurking around them and staring at you. Immediately the 4th wall is broken. Is the audience part of the show? You sit there for an uncomfortable amount of time before the show actually begins; this must be to set the mood of how out of sorts this show is going to make you. Bravely directed by Skylar Fox, this show is a huge undertaking. There are guns, music and sound transitions out the wazoo, the destruction of the set on multiple occasions and eight talented actors playing several roles each.
The premise is simple, but not simple. There are eight subjects allegedly being tested while they are asleep. In their dreams is where this play goes crazy! The audience is forced to question, America, gun control, race, religion, the past, the present and the audience member next to him even. The subjects begin their story by informing the audience about muskrats and throughout keep relating everything back to muskrats; muskrat love, muskrat movies, muskrat historical figures and so on. As the story continues each character not only plays themselves but goes through a series of characters throughout history that ultimately is dealing with similar issues as we are today.
A memorable scene was when a character was a radicalistic and watched her story unfold to the point where she issued an attack armed with machine guns for her cause. The director, Skylar Fox, did this beautifully. She had her up on the set in slow motion with strobe lights beating, music booming and feathers being fanned into the audience creating a psychedelic moment that broke the fourth wall. The audience felt on the actors side even though her actions were extreme, it united everyone in way society is unable to when someone does something terrible. Another memorable moment was actually done in black face by a black man. After discovering that he may be living in a false reality, one of the masked figures comes out and shoots him most likely for discovering this. As he laid there dying he muttered, “I can’t breathe.” This was spine-shuttering due to all of the controversy in the country currently. There were many references that seemed a direct result of what is in the news even though this piece was written two years ago. Throughout the piece, each character at one point either says or is told that they can leave at any time. This eerie sentence resonated with the audience as Americans. Americans can leave, but choose to stay in this broken society and too often do nothing out of the fear of the unknown just like these eight test subjects clamoring to feel important and not helpless. Are they really test subjects?

photo by Cheno Pinter

The ensemble (Sam Bell-Gurwitz, Jared Bellot, Madeline Boles, Chris Fitzsimmons, Simon Henriques, Molly Jones, Anna Nemetz and Justin Phillips) was phenomenal. The sheer physical and mental exhaustion these actors went through was impressive. Each actor was fighting for the same or similar goal, which is different from the format of most theater. Their internal struggle did not necessarily lie with one another, but themselves and the world. It is clear from their bios that they come from established acting backgrounds and all have a promising future. No one actor was the star, which was both the message and the beauty of this unique twisted play.
Amidst all of the serious analogies and plot angles, one thing was clear, both the writer and director have a sense of humor. In a three-hour show like this with the heavy topics that it portrays, that was very much needed. So throw in a lip-synced song, a slow motion pillow fight, a guitar solo by a heart-throb – do it – make your audience laugh and cry! The set designer, Adam Wyron, is the real hero. The Annotated History of the American Muskrat has many places, spaces and eras that need to be represented. Adam Wyrion designed eight moveable beds that started out on stage. Throughout the show, those beds became desks, cars, doors, caskets, bars and more. They literally transformed the stage for every scene; it was part of the magic. The other hero is lighting designer, Christopher Annas-Lee. The lighting was so important in the transitions. First of all, there was never a full blackout except for intermissions and the ending, which keeps the audience attached to the piece. BRAVO! The lighting also brought the audience in and out of reality, whatever reality means for this show. But it did let everyone know whether you were in the test lab, in a side scene, in the present, past. Etc. The marriage between the lights and sound was well timed. Sound cues were just as important, there was almost always an overlay of music. The sound cues and lighting actually contributed to some of the humor of the show. It felt smooth and effortless to the audience, just like tech elements should be.
Overall, what is there is say about a nearly perfect production? The one thing that could be perfected is the fact that it was unclear if the characters knew each other in reality or just in their subconscious. But then again, that may have been the point.

By Michael Block

We all have an inner geek. Comic books are one of the ways we let our geek flag fly. But how the characters and stories are portrayed on the page, and on the screen, is ever changing. Perhaps that was part of the thesis of Ultimate Man. Instead, what appeared on stage was a dated musical with weak material, and 28 songs and reprises with only a handful being salvageable.

So what is Ultimate Man about? A third generation cartoonist must get with the times and make his super hero, Ultimate Man, relevant for a 2016 audience. Life imitate art? When Ultimate Man and the citizens of Ultimate City catch wind that change is a-coming and one of their own is about to be killed off, Ultimate Man goes on a mission to the real world to meet his creator and change his story. The plot is overdone. In fact, there's a musical in this year's festival that does it better. So why Ultimate Man now? It's a musical that seems to be lost in nostalgia. The way writers Paul Gambaccini, Alastair William King, Jane Edith Wilson and director Charles Abbott, who also snags a book writing credit, approach the material is through a lens that is not contemporary. In turn, it makes the show mediocre at best. It's like watching the old guy at the party trying to be young and hip. As a whole, the score has an ancient feel. There are far too many songs. But when something works, it really really works. Just look toward "I Want My World Back" and "I’m in Love and I Want You to Know". They're incredible numbers. "Be a Hero" is up there too. The thing with these three is the have a sound that marries the old fashioned feel but lives in today. If that's the overall theme the Ultimate Man team is going for then they need to infuse that into the rest of the score. But so many of the other songs have such agonizing lyrics that it may be best to go back to the drawing board. It’s very likely that the biggest problem of Ultimate Man is the fact that there are far too many cooks in the kitchen on this writing team. While we don’t know the origin of the musical and who specifically is credited to what, it’s clear that the spattering of ideas is what is aiding to the faltering musical. From a book perspective, the rules of the world are plainly out of whack. There are inconsistencies from scene to scene and you have to wonder if the characters in the comic are as dumb as they are portrayed. The other big blaring woe are the far too forced political references. They pop in for laughs that just don’t come because, well, they’re not funny. They’re a complete reach for the plot and sadly don’t add anything. Discovering who the audience is for this musical is also a crucial. Right now, it’s teetering on target audiences. Even with the woes throughout, the end of act one and act two were so close yet so far. “I Want My World Back” is a great number and is the perfect way to end the first act. As nice as it would be to have a full company end, “Ultimately” was such a downer of a number that it defeated the point of “I Want My World Back.” And then on the other end, Act II has a great number in “Be a Hero.” The comedy of the show is weak to begin with so trying to infuse it in the finale is a poor choice. The show must end on a positive note so eliminating the villain verses will give the song a more complete feel.
With only six actors, many doubled up on roles, causing a frenetic atmosphere. Sometimes it’s ok to have an ensemble to be, well, an ensemble. Sometimes casting can be hard but when you find a real-life, all-American Superhero, you have to cast him. Michael Glavan is the hero that saves the show from being a total disaster. Glavan has enough charm to smile away the bad guys. Joyah Love Spangler is an unsung hero. Not only is she a dead ringer for Kelly Clarkson, she has a vocal to match. She gets one of the smallest yet intriguing roles in tech wiz Beth.
Charles Abbott’s direction was weak to say the least. No matter how much of a contribution Abbott had to the book, Ultimate Man lacked excitement. It was drab. The comic world should lead to a plethora of potential. Instead, it was just a series of missed opportunities. The scenic design from Diggle lived in this in between of comically amateur and clean and sleek. Costume designer Travis Chinick had some strong ideas but some severe misses. Multi-track role can limit potential options but jeans in the comic world is an ultimate no no. When everything else is virtually flat, jeans throw everything off. And then there was Ultimate Man’s costume. It's clear where Chinick wanted the audience to look on Ultimate Man. But maybe that was the joke.
It’s hard to say what is the right way to fix Ultimate Man. Adding another opinion at this point is almost futile. When the audience is lukewarm to the material, you have to wonder if it's worth continuing.

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