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Spotlight On...Nikita Tewani

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Name: Nikita Tewani

Hometown: Westchester, New York

Education: BFA in Drama from NYU Tisch School of the Arts

Select Credits: Spots on TV shows The Affair (Showtime), Falling Water (USA)

Why theater?: Theatre teaches me presence. I have always been the type of person who spends much of the day in her head, anxiously planning or worrying. Theatre has taught me to live in the moment, to listen and to get out of my own way. If I can influence even just one audience member to do the same, then I feel like I've succeeded.

Who do you play in The Fall?: I play a young Pakistani-American woman named Nasrin. Her father was killed on September 11th; he worked in one of the towers. The play brilliantly addresses Islamophobia via Nasrin's character. Her perspective is from the hundreds of families who suffered loss and had to deal with ignorance and racism on top of it. Nasrin is a leader; she wants to be the change, not just see it. That's what makes her so inspiring to me.

Tell us about The Fall: The Fall centers around a group of young women who lost their fathers in the attacks on the World Trade Center on 9/11. It is set fifteen years after the attacks. It explores the ways in which we grieve, cope, recover, love, and find hope, all through the personal recollections of these young women. It does not dwell on the horrors of the attacks. It is about the journey these women take to find that glimmer of strength and joy, which we all have within us. Lilia, our incredible writer, has tapped into these universal human experiences which can be easily related to what is simply going on in the world right now. She originally conceived the play in 2011 with a smaller cast, which I was a part of. Now, it is a larger, ensemble-driven piece. We will be performing less than a month before the fifteen-year anniversary of 9/11.

What's it like being a part of The Fall?: It's been one of the best theatre experiences I've ever had. I am in awe every single day of this company. Our writer, Lilia Rubin, and our director, Jane Arnfield, have created a stunningly female-empowering piece. We laugh, we cry, we do tai-chi. They've created an unforgettable experience for me and for audiences everywhere. It's also been really fun to reprise the role of Nasrin 5 years later, 5 years older.

What kind of theatre speaks to you? Who or what inspires you as an artist?: I'm inspired by anything that touches upon what we as humans deal with every single day. Love, friendship, sexuality, racism, loss, religion, the duality of life, etc. The rawness of a story is what speaks to me. Less is more. I am also inspired by artists like Lin Manuel Miranda who make an effort to bring more diversity into all forms of entertainment.

Any roles you're dying to play?: Marvel's Jessica Jones. Female Sherlock Holmes. I've also always wanted to be Viola in Twelfth Night.

What's your favorite showtune?: I have the Hamilton playlist on repeat.

If you could work with anyone you've yet to work with, who would it be?: Viola Davis

Who would play you in a movie about yourself and what would it be called?:"How to be an aspiring artist and simultaneously have a Type A Personality." Claire Danes!

If you could go back in time and see one play or musical what would it be?: I heard Disgraced on Broadway was really good.

What show have you recommended to your friends?: There is a ton of quality theatre outside the realm of Broadway. Each and every show at the Fringe Festival is unique and entertaining. On TV, however, it would be Sherlock, Breaking Bad, Narcos, Orange is the New Black & anything Shona Rhimes.

What's your biggest guilty  pleasure?: Pretty Little Liars and gluten free pizza. If you catch me eating and watching at the same time, I've probably never been happier.

What's up next?: I'm starting rehearsals for a play on Monday called A Muslim In The Midst, by Anand Rao. It premieres at the Hudson Guild Theatre on September 12. I play a woman named Priya. This play deals with the immediate aftermath of 9/11 as seen through the eyes of ordinary people outside the United States.

Review: I Needed a Brandy After A Brandy Before Dying

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by Kaila M. Stokes

A Brandy Before Dying was like a bad car crash that you walked away from knowing there were no survivors. It was a poor travesty of an attempt at both British comedy and old-school murder mystery. A Brandy Before Dying begins with Clarissa Lawncock (played by Penny Balfour) and Mr. Lawncock (played by Sean Gavigan) on stage in a living room bantering on and on as man and wife deciding whether or not to travel to a friend’s fourth wedding. The play didn’t make sense from the beginning. One can only assume that they were going for a farcical comedy, but the problem was, they didn’t go for it. It fell short in every category, so as an audience member it was like watching an up-in-coming gymnast miss the uneven bars every time.
The play’s inciting incident is when hooker Jennine Fra’Diavlo, played by Brandi Nicole Wilson, is mysteriously stabbed in the back in Roger’s home. Clarissa Lawncock was perfectly fine with her husband messing around since she was sleeping with his brother who was also her ex-husband, Roger (played by Dough Rossi). Then Gwen Fra’Diavlo shows up who is the hooker’s alleged sister, played by the same actress, but she isn’t. She is working with Roger – the ex-husband, brother and lover! But wait that is not all…Gwen is actually working with her other lover Sean! As you can see, madness! The order of events was actually the least of the problems. The execution of things was poor; the gunshot wound with no blood and being able to see her unwounded hand was silly (at least hide it), the knife in the back of the robe that the audience saw before they should have and the miming of everything. They kept “pouring brandy,” but without actually pouring anything. Every time the doorbell rang, they pretended to open a fake door instead of walking a foot offstage. These are just some of the things that were amateur to see and could have been easily fixed.
The director missed opportunities to go big. Since the plot and characters were ridiculous the entire show should have been over the top directorially as well. The directors choices were all based in reality when the characters weren’t. The actors were then not reacting to one another, but only to the obscure navigation of a crazy plot mixed with sane stage directions. The actors seemed as confused as the audience was. The one good note is that the director clearly has a sense of humor. That provided a good reprieve when the audience was able to laugh at the stupidity or clever comment. With that being said, clearly there is potential, but more work is needed for sure.
The lighting did not help solve anything either, it only confused. The blackouts did not make sense; sometimes there was a black out while characters were still speaking or they would just happen in an abrupt manner.  If the lighting had been used more creatively so many blackouts would not have been needed. Blackouts only take the audience out of the theatrical experience and should be used a little as possible. Since the lights were a general wash of light, spotlights could have been used to indicate change of place, character or activity.
The space was limiting, but people have done better with less. Overall A Brandy Before Dying was a bit half assed. They sprang for a fake full body skeleton, but not fake blood for the gunshot wound? The plot sounds interesting, but is really just a clotted mess of ideas. The ideas are there, but organization is needed.

Spotlight On...Brendan Leonard

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Name: Brendan Leonard

Hometown: Rowley, MA

Education: B.A. in Theater & Dance and English from Colby College

Select Credits: NYC debut!

Why theater?: My first role was as Daddy Warbucks in Annie in the 4th grade. I came out on stage, a chubby 9-year-old in a tuxedo and a bald cap, and from my first entrance, audiences were laughing and clapping. I knew then I’d be at this for a long time.

Who do you play in That’s MISS FITS, to You!?: Young Miss Service Wo-man. She had a tough childhood and received a dishonorable discharge from the army, but through it all she is bright, enthusiastic, and funny. I think she provides a sense of order to the rest of girls without being overbearing.

What is it like being a part of That’s MISS FITS, to You!?: I’m new to the city and have learned so much from this supportive, warm, and legendary group of performers.

What kind of theater speaks to you? What or who inspires you as an artist?: I tend toward the queer, devised, and experimental and work that blends of genres of performance. This piece says and is so many things – a musical, a drag show, a celebration – and very much fits with the kind of work I want to continue making as an actor, director, and writer.

Any roles you’re dying to play?: Tom in The Glass Menagerie.

What’s your favorite showtune?:"‘Til There Was You,” from The Music Man

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

Who would play you in a movie about yourself and what would it be called?: Angela Lansbury in "What’s Going On?"

If you could go back in time and see any play or musical you missed, what would it be?: I would see Meryl Streep, Kevin Kline, Phillip Seymour Hoffman, and Natalie Portman do The Seagull at Shakespeare in the Park.

What show have you recommended to your friends?: Check out anything at JACK in Brooklyn.

What’s your biggest guilty pleasure?: Georgetown cupcakes.

What’s up next?: My improvisatory performance duo, vic + renda, will be performing at the Sans Limites Dance 2nd Annual Community Garden Dance Festival on August 13th  and Waxworks at Triskelion Arts on August 14th (the same weekend at Miss Fit, but different times).

Review: It's the End of the World As We Know It

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By Michael Block

There is family friendly musical theater and then there is Tribulation: the Musical. Written by Molly Miller and Brad Kemp, the end of times is here and Genevieve and her pals must find a way to stop the prince of darkness. This religious satire is a smart comedy that doesn't take itself too seriously. Set in the very near future of 2021, happiness goes away as tribulation has arrived. Recent Harvard grad Genevieve now finds herself selling ironic life insurance for a company now run by a devilish man named Dameon Goodman. When Genevieve gets an offer to attend her dream school, named after Sylvia Plath, she ditches her friends and sell their souls into slavery. But when she meets Jesus Christ himself, it's possible the world can be saved! Tribulation is brazenly outrageous, unafraid to offend. The story isn't exactly unique or fleshed out, opting for the absurdity of the situation. The adult humor doesn't quite reach The Book of Mormon proportions but it sure can! If offending the crowd is already on the docket, you might as well pull out all the stops. Crude humor is welcome! Finding a way to bring out the unpredictability will be in Miller's best interest. That may mean some plot restructuring. But the comedic foundation is present. The music from Kemp is that sugary Broadway pop. It sticks in your head for the moment but doesn't quite last when the show concludes. Except that one song that seems to borrow a melody line from Kelly Clarkson's "Since U Been Gone."
photo by Oopey Mason
There seemed to be a certain style of comedy coming from this ensemble. They all seemed fond of the pregnant pause before a punchline. Regardless, the standout of the show happened to be the lead Sarah Hoffman. As Genevieve, Hoffman was a genuine star. She has a sweet demeanor with a voice to match. There were no surprises when it came to the identity of Nick Shine's Dameon. Shine had a dark side but it was his humor that saved him. As Lilly and Nathan, the duo of Erin Rein and Seth Wanta played well off of one another. Playing the innocent card, Wanta was a softy. Rein had some of the greatest lines as the sex-crazed Lilly, nailing each and every one.
In a festival setting, less is more. Tyler Samples directed with that theory in mind. Samples highlighted the comedy of Miller's script. The choreography from Lauren Lopez was showy, playing into a parody of Broadway dance moves.
Where does Tribulation go from here? Molly Miller and Brad Kemp's show is one that works well for comedy outlets. As a full-fledged stage musical? It's a harder sell. But there is potential deep within.

Spotlight On...Sid Ross

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Name: Sid Ross

Hometown: Philadelphia, PA

Education: I studied acting for a semester at NYU, then transferred into the English dept. and focused on writing, which meant (for some reason) I read a lot of Chaucer.

Favorite Credits: Writer: A Feeling of Family (Lanyard Theater, Bath, ME); Collisionville (78th Street Theater Lab, New York, NY); Kangaroo Days (Grove Street Playhouse, New York, NY); White Crimes (Reading, MCC Theater, New York, NY); An Affair of the Mind (New York University). Actor: Lucky in Lucky in Life, 78th Street Theatre Lab. This was a mad, chaotic workshop written by the brilliant Karl Greenberg, who helped me distinguish between Elephantiasis and Proteus Syndrome for my Fringe show, Becoming OCD.

Why theater?: My show Becoming OCD is a combination of theater and performance art. Its natural home is a live, community space.  In fact, I’m seated at a table most of the time – if the other diners stayed quiet long enough, I probably could do my piece at the dinner table, too. Either way, I am trying to deconstruct the art of storytelling.

Tell us about Becoming OCD: It’s about a middle-aged man – that would be me – finally coming to grips with his life-long obsessive-compulsive disorder. But this OCD is more than, say, checking the stove before leaving the house. This OCD is about missing subway lights, glass bottles in the street, and a fictional case of Proteus Syndrome, which was the disease John Derrick, the Elephant Man, had.

What inspired you to write Becoming OCD?: I always wanted to write about my obsessive-compulsive disorder. But first it had to be diagnosed. Then I needed the right combination of anti-depressant medication and cognitive-based therapy – all that took years, decades, to get right. In short, I needed to become well enough to write about unwell I’ve been.

What kind of theater speaks to you? What or who inspires you as an artist?: Becoming OCD owes its genesis to Spalding Gray, primarily. But I’m old enough to have seen one of the very last original Arthur Miller plays produced (at the Signature), and I grew up dissecting his work. Also the work of Tennessee Williams. But wait: there’s also Paula Vogel, Caryl Churchill, August Wilson, Lanford Wilson and Tony Kushner.

If you could work with anyone you’ve yet to work with, who would it be?: Dylan Baker – I’d like to write a role for him in something. Anything.

What show have you recommended to your friends?: The recent production of Peer Gynt at the CSC. Michael: you and I discussed this show in line at one of the early Fringe events, and you said you saw it and didn’t like it. I loved it – I went back and saw it twice! I even met Dylan Baker, who is one of my very favorite actors (see above).

Who would play you in a movie about yourself and what would it be called?: Baker. He would be in the movie with the wonderful Becky Ann Baker (his wife) and it would be about my marriage and my wife, and it would be called The Theoretical Driver.

If you could go back in time and see any play or musical you missed, what would it be?: The original Streetcar. Hands down. I also want to go back to the 60’s and hear Dylan’s Like a Rolling Stone for the first time on the radio.

What’s your biggest guilty pleasure?: Watching “The Night Of” on demand when I should be promoting my Fringe show.

If you weren’t working in theater, you would be ____?: In the movies and/or writing them. I have (of course) an unproduced screen play. And teleplay.

What’s up next?: Chris Clavelli (Becoming OCD’s director) and I are thinking about expanding the current show from 55 to 70 minutes.

Review: Where Everybody Knows You're Proud

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By Michael Block

Not everyone can find that place where you can be yourself. But when you do, it can be a safe haven. In Sean Chandler and David Leeper's At the Flash, a comprehensive history of a gay bar is illuminated as the hits of LGBTQ history are mirrored in this striking solo work. Bookended in the present, The Flash is reopening as a restaurant and club. Through a nonlinear storytelling structure, At the Flash spans decades as a series of characters experience snapshots of life at this getaway. Though some of the character arcs go on a scene or two too long, Chandler and Leeper offer some stunningly fabulous quotes.
As strong as the writing is, At the Flash celebrates an extraordinary performer. David Leeper provided a seamless character exploration. Jumping time and character, Leeper's characterization was near flawless. It was a very lived in performance. Director David Zak opted for storytelling through dialogue. Through Pantomimed props and no costume changes, this allowed for the momentum to be maintained.
Even if you don't identify as LGBTQ, there is something in this story for everyone to identify with. Sean Chandler and David Leeper have written a beautifully rich story that will go down in history.

Spotlight On...Dillon Heape

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Name: Dillon Heape

Hometown: DuQuoin, Illinois

Education: University of Evansville (BFA), American Conservatory Theater (MFA)

Select Credits: New York: Tartuffe! (Three Day Hangover), Molly Murphy and Neil deGrasse Tyson On Our Last Day on Earth (NYMF). Regional: 1776 (dir. Frank Galati), Napoli!, A Christmas Carol (American Conservatory Theater), Avenue Q (Santa Rosa Summer Rep). And that GoDaddy commercial with all the chubby, hip-thrusting redheads.

Why theater?: I’ve been performing since I was a little kid...and nobody’s stopped me! As I’ve begun my professional journey in NYC, I find more and more each day that the theater is where I learn about myself and my place in the world. I value the entertainment aspects of theater, but it’s the social dialogue and the capacity to contribute positively to the world that keeps me around. And the free champagne and nibbles at opening night parties.

Who do you play in Reconciling?: I play Charlie, a happy-go-lucky, slightly faltering college kid who is now dealing with the consequences of his absence during his father’s recent illness.

Tell us about Reconciling: It’s a super-smart, unique (and short!) play. I fell in love with it because of its structure on the page. Jenny King wrote this play about three different couples experiencing points of contention in their relationships -- all independently of one another -- but we see all three stories play out simultaneously in the same space, with words, phrases, and sometimes complete thoughts from different stories colliding, often in very different contexts.

What is it like being a part of Reconciling?: I’m in love with The Barrington Collective -- the new company making its NYC debut with this play! They’re a wonderful and very talented group. On top of that, performing this play is super demanding technically, which is so exciting to me. For instance, when I’m talking to my scene partner, there are two other stories happening around me at the same time, and my cue to speak might be a line from a conversation I theoretically “can’t hear”. It’s a huge challenge and I love it.

What kind of theater speaks to you? What or who inspires you as an artist?: I’m inspired by really innovative storytelling. I love when form changes unexpectedly, or when casting defies the “norm”, or when a world I’ve been taken to turns out to be completely different than I’d anticipated. And I love the ensemble-driven work from directors like Emma Rice, John Doyle, Diane Paulus...

Any roles you’re dying to play?: King George III in Hamilton, Albin in La Cage aux Folles, Elder Cunningham in The Book of Mormon, The Nurse in Romeo and Juliet

What’s your favorite showtune?:“For Now” from Avenue Q...but only for now.

If you could work with anyone you’ve yet to work with, who would it be?: I would sever a limb to work with Stephen Sondheim!

Who would play you in a movie about yourself and what would it be called?: A wigged Colin Firth in "Fresh Ginger"

If you could go back in time and see any play or musical you missed, what would it be?:Parade at Lincoln Center Theater

What show have you recommended to your friends?: I’ve told everyone who will tolerate my misty-eyed gushing that the current revival of The Color Purple is the most profoundly beautiful thing I’ve ever seen.

What’s your biggest guilty pleasure?: Donuts!

What’s up next?: I’m doing a world-premiere play in NYC this fall. I can’t say what it is yet, but it’s a project I’m very proud of and excited by, and I’m thrilled it’s receiving a production. Stay tuned!

For more about Reconciling, visit www.barringtoncollective.com. For more about Dillon, visit www.dillonheape.com.

Spotlight On...Tiffany Barton

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Name: Tiffany Barton

Hometown: Fremantle, West Australia

Education: A BA in Creative Writing from Curtin University, Perth. ( And the award for outstanding creative writing student in that year.)

Why theater?: I try to leave theatre because the pay is lousy but it keeps calling me back! I love the immediacy of theatre – the fact that it’s right there in front of you. You can smell it, feel it and taste it. I have more license to be poetic and experimental with theatre, which is why I particularily love Fringe theatre – because it gives me license to say whatever I want, to explore taboos, to be weird and wild and wonderful.

Favorite Credits: Do you mean accomplishments? Winning awards for DIVA and being nominated for the International Women’s Playwrights Award (The Guilder/Coigney Award) were pretty special

Tell us about DIVA: DIVA is a play about an aging and eccentric New York opera singer. She’s holed up in her apartment with her booze, pills and dead stuffed cat Eugene, and unable to leave. As the play progresses we unpack the complex reasons for why she’s found herself in this predicament. DIVA is a play about art, love and loss.

What inspired you to write DIVA?: DIVA is inspired by a real life New York character and friend of my mothers. They met in New York in the 60s when they were both working for Avon. I met her in a Russian bar on a Monday night when I was visiting here in 2012. We threw back vodkas and she regaled me with stories about her career in opera and her rich and varied love life. To me she was a quintessential New York character – bold, brassy, beautiful, outspoken, uncompromising, tough, charismatic and hilarious. When she found out I was a playwright she said “Tiffany, I want you to write me a one woman show about the divas of Puccini.” I just happened to have my trusty writer’s notebook on me that night, so I began to take notes and DIVA was born.

What kind of theatre speaks to you? What or who inspires you as an artist?: I really love Fringe theatre because it’s often very brave, bold and visceral. I like theatre that’s honest, stripped back and raw. I’m not into fabulous sets and big chorus line numbers. I like simple, minimal theatre, where the onus is on the performer and the writer to tell a powerful story. I love theatre that takes risks – where the performers are vulnerable and open and you feel invited into a very intimate world. I was very drawn to Sarah Kane and In Your Face theatre when I was studying at University. I love that kind of theatre because it’s gritty, provocative and confronting. I love the artists who are bold, brave and operate on the fringes of society – the rebels, the radicals and the subversives. Artists like Kerouac, Ginsberg, Burroughs, Annie Sprinkle, Kathy Acker, Brett Easton Ellis, Tom Waits, David Lynch, Robert Wilson, Madonna, Diamanda Galas, Lou Reed, Warhol, Basquiat, Toni Morrison, Jeanette Winterson, Anais Nin and Henry Miller.

What show would you recommend to your friends?: Sleep No More. Oh My God! Amaaaaaazing! I saw it last time I was in New York and it blew my mind!

If you could work with anyone who would it be?: I’d love to work with Steppenwolf Theatre Company in Chicago. I’ve heard great things about their work and would love to immerse myself in their theatre practice.

Who would play you in a movie about yourself and what would it be called?: It would be Jennifer Jason Leigh and it would be called "Midnight Kiss"

If you could go back in time and see any play or musical you missed what would it be?: I’d love to go back to the 80s in New York and see a performance of The Rocky Horror Picture Show.

What’s your biggest guilty pleasure?: Hamburgers!!

What’s up next?: I’m working on a saucy, camp musical about a gender bending, bisexual, polyamorous housewife with a different lover for every day of the week. It’s called Handyman.

For more on Tiffany, visit www.tiffanybarton.com. For more on DIVA, visit facebook.com/creativecollaborations1


Review: The Nightmare Bachelor Party

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by Michael Block

If the title scares you and you get easily offended, then stay away. Stay far, far away. If you can handle it, then Sam Gooley's Steve Got Raped, presented by The New Collectives, is an entertaining dark comedy. It's the night of Steve's bachelor party. Steve and Katie are about to be married. And have a baby. The morning after the bachelor party, Steve realizes that perhaps the events of the night led him to be raped by the hired stripper. So what does Steve do? And who will believe him? Steve Got Raped is an edgy piece that is equal parts funny and provocative. The story captures a discussion on rape from a different perspective, through the eyes of gender. The "role reversal" creates a challenging commentary on what it means to believe someone. This ideas in this play could never be done as a comedy should it have been a woman. And that's fascinating in itself. Gooley's dialogue is sharp and quick. The characters he creates are basic archetypes, just with a little more depth. It's a satisfying story. Except for the ending. Whether it was the timeline of events or the facts we learn, the final scene between Steve and Derrick didn't seem to wrap up this story best. There are consequences for every action but the fact that two weeks have gone by and Steve has virtually lost everything and everyone made the other people in his life seem more villainous than they are.
photo by Aaron Kisner
Steve Got Raped exemplified the beauty of a connected ensemble. James E. Smith as Steve was a brilliant lead. Smith exudes charm. And in a play about being believed, Smith had immense conviction. As foul-mouthed Katie, Sarah Moore was terrific. Her growth from goofy girl to serious siren, Moore's journey was genuine. If ever there was a scene-stealer, it's. Dan Morrison. He is a strong comedic sidekick who knows when to take the stage or fade to the back. Though only present for one scene, Mara Gannon as stripper Ariel gave all the tools to question the actions of the night. Though the bleed of the various worlds was a bit of a factor in the staging, director Melissa Firlit kept this play moving. With limited lighting looks to start, Elaine Wong still seemed to find variety on the vast stage.
Steve Got Raped is not for everyone. If you're willing to be challenged, it's worth a visit.

Spotlight On...Jennifer Little

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Name: Jennifer Little

Hometown: Okemos, Michigan (nope - no one's ever heard of it!)

Education: Masters in Applied Theatre from City University of New York; Bachelors in Music from San Jose State University

Favorite Credits: Performing? Johanna in Sweeney Todd; Emma in Emma; Carlotta in Phantom of the Opera. Directing? Financial Slavery, Project Katrina, Glennsdale

Why theater?: Wow. How much space do we have? I am in theatre because it is home. I love the inclusivity of it. I love the fact that it is about the craft and not the politics (usually). I love love love the process of digging inside stories and then figuring how to tell them in meaningful ways. I love the fact that theatre is us. Our society, our stories, good, bad, pretty, ugly, heroic and cowardly. It helps us to have hope and critically analyze what we can do better.

Tell us about Financial Slavery: The College Debt Sentence: This show came from the hearts of our artists. All of them are young (18-25) and have either recently graduated college or are in college. We started with a spoken word piece, entitled Financial Slavery by Alyea Pierce, our amazing playwright. It was so powerful, that it compelled us to talk more about what student loan debt FEELS like. What it LOOKS like. The stories that came pouring out from our community were devastating. And the language that accompanied those stories - "selling their souls""hopeless""nightmares" inspired us to take this journey. I am of a different generation and was ignorant of just how difficult the country has made the American Dream of college and a better future. We started doing research and some fundraising to create the piece and once that happened, stories started pouring in from across the country. Parents wrote us, grandparents, and of course students. So the piece follows three fictional students inspired by real stories. We watch them struggle with the college dream and different paths. We also get brief snapshots of stories from around the country. We then invite the audience directly into the storytelling in order to let them have an opportunity to tell their story or voice their opinion or offer their ideas. (Not to worry - no one is compelled to participate). The piece is comprised of spoken word, dance, and story.

What inspired you to direct Financial Slavery: The College Debt Sentence?: I am an adjunct professor at two colleges. Hearing these stories, gaining a better understanding of the challenges our young people face inspires me. These artists are some of the most committed that I have ever had the pleasure to work with. They are talented, passionate and make me better by being part of the collaboration. And it is a collaboration. The piece is collaboratively written and directed. That environment speaks to me.

What kind of theater speaks to you? What or who inspires you as an artist?: I love socially important theatre. Something with a message. I saw Hamilton and was inspired. Not just by the writing, although obviously Lin Manual Miranda is a genius, but by the messages within. The power of immigrants, the question of "who writes our stories"? What is America? What does that mean? This is the type of theatre that speaks to me. Lin Manuel Miranda. Stephen Sondheim. Anna Devereaux.

If you could work with anyone you’ve yet to work with, who would it be?: Lin Manuel Miranda (in a heartbeat).

What show have you recommended to your friends?: At the Fringe - I would recommend Zuccatti Park, a piece about economic disparity. Black and Blue, a play about the black community and police. And Akadina Project, a new reworking of Chekhov's The Seagull. In general, I would recommend Hamilton. I would also say The Humans.

Who would play you in a movie about yourself and what would it be called?: I would probably be played by Meredith Baxter Birney and the movie would be called "Love, Theater and the Search for Peace."

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 Pippin.

What’s your biggest guilty pleasure?: I am a total bookaholic. When I say total - I am crazy, if I didn't own a Kindle, I'd be sleeping on books. My husband says I need a 12 step program for my reading compulsion.

If you weren’t working in theater, you would be _____?: I don't know. I have tried other choices throughout my life. Public Relations - I always return home - to theatre.

What’s up next?: I will be next directing a musical for The College of New Jersey. We are collaborating with the School of Deaf and Hard of Hearing to do a musical with both deaf and hearing performers. We will be utilizing American Sign Language. I am really excited about this, as I have never attempted this collaboration before but as Spring Awakening just showed us, it can work brilliantly. That will play in November in New Jersey.

For more on Financial Slavery: The College Debt Sentence, visit www.strengthoutofshadows.org

Review: Sex, Drugs, and Southern Grit

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By Michael Block

Breaking out from stereotypical social constraints isn't always as easy as it seems. Such is the case for the characters in Britton Buttrill's Scratching. Trying to escape their desolate life, Christian and Brianna are on the way out of their hometown before the past catches up to them, drawing them right back into a life they've looking to run away from. Scratching is a play of cliché vices for the down-and-out. From pushing drugs to a life of stripping, in a sense, their ending is foreseeable. Yet Buttrill tries to conceive an innovative story that gets wrapped up in grit and language. The underdog-type story never quite takes off once the downward spiral begins. And that’s what sets Scratching back. Finding a way to, as they say, flip the script, will make Buttrill’s story worthwhile to tell. It’s a millennial tale with a timeless sensibility. And that’s interesting. But with the characters written as they are, there’s nothing unique about it.
The characters were based in stereotypes so the quartet brought out as much dimensionality as they could. And, at times, it worked. Tyler Gardella had an easy swagger to his character Adrian. But when the character retreated to the dark side, Gardella’s performance turned on a dime. And yet it felt uncharacteristic for Adrian. At least what we knew. The allure melted away to something villainous and unsavory. As the guy looking for an out, Karsten Otto’s Christian had a sense of trepidation that lacked intrigue and color. Andi Morrow was lucky to play Buttrill’s strongest character. As Brianna, Morrow had a great sense of resolve from start to finish. The character of Tracy is essentially the friend that was never really ever invited to the party. Though Alexandria Collins had great strength, the character seemed to just upset the overall arc of the play.
Scratching is an incredibly intimate play that happened to be performed on an unfortunately overbearing stage. Director Miles Mandwelle handled the task well, trying to find flexibility in his staging using just four chairs. He did run into some staging faux pas when it came to the duet scene. With the awkwardness of waiting for the other pair to finish saying lines, there were moments where Mandewelle had actors upstaging one another, creating some irregular stage pictures.
Scratching is a dark, Southern-fried drama. It’s not a play about hope. It’s a play about trying to change your path even when the path is not fordable. It may not seem tangible, but with some reworking, Scratching, unlike its characters, can find a new life.

Trolling Time with...Maddie Sykes

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Name: Maddie Sykes

Hometown: Palo Alto, California

Education: BFA from NYU Tisch

Who do you play in The Illusory Adventures of a DreamerA little bit of everything!

Describe your character(s) in three words: Fearless, Hungry, Desirous

Tell us about The Illusory Adventures of a Dreamer: It's just like your every day existential crisis play but with way more leather.

Describe The Illusory Adventures of a Dreamer in three words: gay, Gay, GAY. Just kidding. Also wild, silly, and unforgiving.

Who is the biggest liar?: On day one I told our choreographer that I could totally learn to drop into the splits by opening night and that was a complete lie. So me. Definitely me.

Who is the biggest troll?: Nick ;)

Who is the sexiest?: Adam's Eyebrows.

Who is the most mischievous?: Eddie, who is single handedly responsible for every time I break/crack up on stage.

Most likely to go on an adventure?: Austin. And it would be fully insane.

Most likely to get caught up in a cult?: Geo. 10000% Geo.

Which bandana best describes you?: I feel like this refers to something I know nothing about so I'll just say red so I can look like Rosie the Riveter?

Favorite (gay) bar in NYC: Haven't been to many. I was just at Hardware though and that was fun!

Fun, laughs, or good time?: Laughs.

Do you talk to yourself in a mirror?: Only every day of my life.

What is your favorite moment in The Illusory Adventures of a DreamerDefinitely the Troll Orgy

What is the most rewarding thing about being a part of the Dreamer team?: Getting to work with so many awesome and creative people.

Why should we come see The Illusory Adventures of a Dreamer?: Come to have fun and embrace your inner troll!

For more on Maddie, visit www.maddiesykes.com

The Illusory Adventures of a Dreamer is part of the 20th Annual New York International Fringe Festival! Performances dates are Saturday, August 13th at 9:30pm, Tuesday, August 16th at 5:00pm, Monday, August 22nd at 4:45pm, Wednesday, August 24th at 7:00pm, and Saturday, August 27th at 1:30pm. All performances will be at Venue #1: Teatro SEA (107 Suffolk Street). For tickets, visit fringenyc.org

For more on The Illusory Adventures of a Dreamer, visit dreamerplay.com. To support and donate to the project, please visit gofundme.com/dreamerplay


Review: An Actor's Life

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By Michael Block

In Daniel Reitz's shock-filled insider comedy Pucker Up and Blow, a young actor gets the opportunity of a lifetime by being cast in a Broadway show. The caveat? He will portray a retarded 16 year old who is sold as a sex slave to a man by his older brother who will use the money to fund a Neo-Nazi movement in a play written by the most inflammatory African-American playwright. But just when David thinks the show is the biggest of his worries, his girlfriend turned cast member begins an affair with their hip hop co-star all while David gets proverbially raped by the business. Pucker Up and Blow is unapologetically risqué. But where does shock value end and message begin? For those in the business, the overblown stereotypes are hilarious. The play within the play is so ridiculous your jaw will drop from laughter. But being as theatrical referential as it is, those not in the know may not grasp the message Reitz is trying to convey. If you start off offended, it's easy to dismay the entirety of Reitz's script. All that being said, this is a proactively daring script about sex, race, aged exploitation. Though the full frontal nudity in Pucker Up and Blow does diminish the message. In the end, this is an underdog story for David. But that underdog story loses credibility by extending beyond the opening night scene. David has received his redemption and validation. The play can end there. By extending it, we watch the sick cycle of fame on the psyche and the vicious person he has turned into. But perhaps that's the whole point.
Director Paul Schnee took the smart comedy and allowed Reitz's comedy to shine through. Schnee assisted the company in finding the conviction within the characters without making them cartoons. Though the staging was occasional flat, there was a good sense of variety in stage pictures. The hip-hop soundtrack of transition music sound designer Emma Wilk provided fit the mood of the play quite well.
When it comes to performances, Will Dagger as David went above and beyond the call of duty in a captivating performance. Dagger's raw emotional journey was one for the ages. As sex choreographer Micah, Shane Allen found the balance of ridiculous and authentic, teetering on the blurred lines if boundaries. The winner of the night was Chandra Thomas. Her small bit role as the deadpan stage manger brought some of the nights best laughs.
In the end, Pucker Up and Blow is an insider play that tackles sex and race within the industry. It’s not for the faint of heart.

Review: Sisters Do As Sisters Should

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By Michael Block

There's nothing like the bond between siblings. Even if something happens, there is an undeniable connection where forgiveness is just a conversation away. Written by Meghan Gambling, Bonnie's Future Sisters is a captivating comedy that showcases the beauty of sisterhood. Bonnie is engaged, and to celebrate the occasion she brings all the sisters, well her sister and her soon-to-be sister-in-laws, together for a getting to know you night. But just as the liquor starts flowing, truths come out and mistakes are made as the true test of family is out to the test. Bonnie's Future Sisters is smart writing. Not only has Gambling penned great characters, she gives them immense depth. she has composed a genuinely great stage play. The situation is fun, the characters are relatable. It's one of those shows you could watch again and again. And what's so great is that Gambling has room to expand and add. We see the dynamics of all the characters but we're left wanting a scene between the "bad girls" of the respective families, Corey and Larissa. Nevertheless, Gambling's ability to bring effortless humor and moments of tenderness in a single moment showcases her talent as a writer. Gambling has a pulse on crafting strong characters.
As good as the writing is, it was elevated by the dynamite chemistry on stage. The skilled company was in-tune with one another, never dropping a beat. The mesmerizing Sascha Alexander encompassed the perky optimism of Bonnie. The self-gratifying Bonnie is intense yet Alexander made her enjoyable. As her sister Corey, Kristen Rozanski brought a dry wit and slight cynicism. Playing polar opposites, Alexander and Rozanski bounced their dialogue right off of one another. Emily Jordan’s youthful Larissa was bratty yet avoided playing the teen angst card. Sarah Greyson captured the go-with-the-flow aura of Kayleigh. She found the fun in playing the tease in the cat and mouse game that was Kayleigh and Corey. With four different spirits and personalities, the quartet exemplified the strength of a united ensemble.
Taking on the role of writer-director can be troublesome. Meghan Gambling seemed, for the most part, able to combat it. Gambling prescribed to the power of stillness, making the action of the evening real. There were no unnecessary crosses to change up the stage picture. It felt right.
Bonnie’s Future Sisters is a well-oiled machine. It moved while moving you. It’s a sweet play written by a promising scribe.

Spotlight On...Paul Adams

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photo by Hershey Miller
Name:  Paul Adams

Hometown: Seneca, Kansas

Education: BFA  - University of Minnesota-Duluth Performance Emphasis

Favorite Credits: Acting - The Cleaning Guy, Directing: Sister's Dance, Real Danger; Producing: every play we have done at Emerging Artists in the last 23 years.

Why theater?: My father wanted me to be lawyer, but I wanted something where I could reach people in a larger and more human way.

Tell us about The Cleaning Guy?: This is one man's journey from a job that started out to pay the bills but evolved into something more where the job became a social involvement to help people get their lives together.

What inspired you to write The Cleaning Guy?: I have been cleaning apartments in New York City for over 25 years and I thought that it would be unique to give an audience a voyeuristic view of what goes on behind people's doors and how significant the job can be to certain people's lives.

What kind of theater speaks to you? What or who inspires you as an artist?:  I love theatre that engages me and takes me on a journey where I forget about the rest of my life and am immersed in new situations that grab my attention and let's me ride it till the end.  I am inspired by the amazing creativity that lies in all artists and how they can bring that to the page to share with an audience.

If you could work with anyone you’ve yet to work with, who would it be?:  Unknown gifted artists

What show have you recommended to your friends?:  I have been so busy working on my own I haven't seen much lately:)

Who would play you in a movie about yourself and what would it be called?:  Don't know and "How Does He Have so Much Energy"

If you could go back in time and see any play or musical you missed, what would it be?: Sweeney Todd with Angela Lansbury

What’s your biggest guilty pleasure?:  Homemade cinnamon rolls

If you weren’t working in theater, you would be _____?: An organic farmer

What’s up next?:  Working on writing a TV series based on The Cleaning Guy

Review: A Couple Who Jokes Together, Stays Together

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By Michael Block

We all love when the title of a show tells us exactly what we’re about to see. Such is the case in My White Wife, or So I Married a Black Man. Written by Vanessa Shealy, the white wife, and Rick Younger, the black man, this comedy is virtually a mash-up of two solo works to make for one funny evening. The comedy chronicles the love and marriage of the real-life couple as they dive into how their relationship opened their eyes to love, race, and the world around. Individually, Shealy provides the storytelling while Younger serves as the stand-up comedian. They are two different performers that mesh well. Thankfully. The structure of the night is an opening where the two set up the show. Then they each get a moment in the spotlight for their stories. But the reason we’re really there is to see the pair together. My White Wife, or So I Married a Black Man is missing more of the fun back and forth banter and chemistry. Even if that means keeping both Younger and Shealy on stage watching as the other is speaking, the reactions is what makes this piece tick. The visual aids that occasionally accompany the stories provide the night’s funniest gimmicks, which is a bit telling of the material. Co-directors Melissa Attebery and Carl Foreman, Jr. help guide the pair through the highs and lows of the comedy and drama, ensuring that the authenticity remains. Though the more somber moments aren’t as polished.
This is a play that will make you laugh. Even if the heat seems to be on in the Huron Club. My White Wife, or So I Married a Black Man is a perfect show for a date night.

Review: Meet the Sutherbys

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By Michael Block

Sometimes all we need is a goofy comedy to wash away the woes of the world. In Kelly Barrett-Gibson’s The Sutherby Triplets, a day in the life of a has-been television star takes center stage as the Sutherby family reunites for a whacky weekend. As a silly inciting incident, mother Anne Sutherby lies to her triplets to get them to spend a weekend home where antics, hijinks, and a lot of overblown situations pervade the air. So why is the family all here? Well, the predictable punch line is Anne is trying to get her family to star on a reality TV program. The comedy of the show is about an overly-affected show biz family. But there’s something missing. And that may be due to the nature of the structure. It’s all about the lead up. Is it possible that perhaps the play is more plausible, and the antics are more rewarding if the play begins with a camera crew following the family where everyone is performing for the camera? As it stands now, the ridiculous factor is off the charts and much of the plot is dismissed. There is no reason for these people to be as outlandish as they are. If there is a reason, it gives more weight. Though it’s minimal, setting the play in 1997 doesn’t quite work as the reality television trend we know now didn’t really start yet. 2000 was the debut of "Survivor". A couple years later "The Osbournes" took over our television screens. There really wasn’t a defining reason for the year so giving it a more modern spin would be more rewarding as a commentary of today. Additionally with so many characters to take care of, it was hard to track individual story arcs and their overall purpose to the story. As it stands now, Tim and part of his arc could be removed and there is still the same outcome.
Taking on the role of director as well, Barrett-Gibson was the sole proprietor of comedy. When some of her jokes didn’t land, the momentum fell flat. With a sitcom sensibility, the overall pacing of the play needed to move much faster. When the jokes are there, they can’t land at the speed at which it’s being played. The colors and props used to create the world of The Sutherby Triplets was bright and child-like. And it worked. The angels at which the set was placed were nice but caused some staging snafus with limited playing space.
To plainly state, The Sutherby Triplets featured some whacky characters that are somehow justified through the nature of the family. Starting with the titular characters, Melissa Patterson, Anna Wallace-Deering, and Rich Wisneski as Sammie, Sally, and Susie respectively played well off of one another. We learned just enough about their rivalry to justify their childish behavior. The most well-rounded, natural actor in the bunch was James Oblak as Tyler, one of the sister’s gay boy toys. Oblak had an ease about him that allowed the comedy to flow smoothly.
The Sutherby Triplets is a fun premise with old-fashioned charm. It fits the nostalgia-seeking demographic. But there is room to improve to make this play feel of the times.

Review: Not Game Over

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By Michael Block

The video game worlds collide in this interactive adventure aptly named The Video Games. Though it may be hard to form a coherent semblance of plot, creators Jared Tyrel Pixler and David Evan Stolworthy mix genres by placing a bunch of your video game favorites in a fight to the death. Call The Video Games"Super Smash Brothers" meets "The Hunger Games." Continuing the surging geek theater trend, The Video Games is an exceptionally smart concept. It is desperately seeking guidance and a strong outside perspective to assist to bring in a stronger plot and character development. A script doctor if you will. This is a work of theater. Audiences need substance. With the crowd-pleasing element of feeling a part of the show, Pixler and Stolworthy put the power in the audiences' hands to chose the outcome.  By putting the outcome in the hands of the audience, the excitement factor is off the charts. That means it needs to feel unpredictable. It's clear that there were certain outcomes that were planned and thusly felt stage. Once the audience catches on, the game is over. Finding a way to combat this is incredibly hard but it is essential for this show to get an extra life.
With multiple tracks to memorize, this giant company was kept on their toes. Whether it was the Fringe experience it just telling of the material, there was an overall sense of discomfort from the cast. The play just needed to be tighter. From an acting standpoint, there were some duds but many standouts. Those who happened to pick up an accent got lost in fiction causing their performances to suffer. The star of this show was Amber Lawson. Lawson's Jigglypuff was a brilliant character execution. She created a unique persona of a well-established creature that you didn't actually hate. Her high-pitched screech stole the show. As Mario, JP Rapozo put a new spin on the little Italian hero. But if it took you a moment to identify who he was supposed to be, you're not alone. Of the competitors, Mega Man, played by Cody Jordan, Chloe Malaise's Yuna and our night's victor Pikachu, performed by Amanda Newman, were some of the highlights.
The Video Games desires a director. Those cues need to be picked up. From a design perspective, we merely saw what a bare bones production. The potential on a big budget is extraordinary. To start, the costumes from Courtney Lucas and Brandon Pugmire must go further. Being reminiscent of the human characters through color is not enough. And sporting brand logos is inexcusable. Where the costumes did succeed was the transformation with characters like Jigglypuff and Donkey Kong. They were perfectly creative. The soundtrack of video game scores, from "Tetris" to "Pacman" was a great touch. For the future, if you're going to go interactive, show it through projections. Let the audience see the live voting. Show us gamer stats. Video games are visual. The show must match.
The Video Games is one of those shows that if the creators were willing to improve on the product and you had the money to invest, you should write a check. There is great room for progress. With mostly fighting characters, maybe reevaluating the players may be useful. Dive into the world of well-known characters through history like Crash Bandicoot. Give more cameos and references. The Video Games deserves an extra life. It's marketable.

Spotlight On...Mark Edward Lang and Alison J. Murphy

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Name:  Mark Edward Lang and Alison J. Murphy

Hometown:
MARK: Manhattan, New York City
ALISON: Cape May Court House, NJ

Education:  
MARK: B.A. Vassar College, Theater major
ALISON: B.A. Ramapo College, major in Literature, minor in Theater

Select Credits:
MARK: 35 states: Touring theater, including Shakespeare, Moliere and new plays; Regional theater, including The Asolo Theater (FL), Open Stage of Harrisburg (PA), Arts Center of Coastal Carolina (SC), the Clinton Presidential Center (AR), The Classic Theatre of San Antonio (TX) and many seasons with The East Lynne Theater Company (NJ).
ALISON: My favorite is the lead in Molnar’s The Guardsman at East Lynne Theater in Cape May, NJ.  Also with East Lynne: George S. Kaufman’s Dulcy and The Butter and Egg Man, The Dictator, The New York Idea, and The Late Christopher Bean.  New York credits include Mary of Shippensburg, The Wound of Love and Why Marry? at The Players Club.

Why theater?:
ALISON: I was always drawn to reading books, watching plays and films; and at some point, knowing I could become those characters.  Acting to me was doing what Joseph Campbell said, “following my bliss.”
MARK:  I started making my own narrative videos (writing, directing, performing, graphics) in high school, but soon fell in love with the organic symbiotic relationship between a performer and a live audience.  Whether it’s getting that comedic bit to work just right (result: a big laugh) or feeling the audience intently listen and feel with your character in a dramatic moment… there’s nothing quite like it.  I love doing film and TV, but playing to a camera-lens and tech crew just isn’t the same.

Who do you play in Lunt And Fontanne: The Celestials of Broadway?:
MARK: I play Alfred Lunt, half of the greatest married theater duo of the 20th Century, as well as additional cameo-characters, which include Noel Coward, Laurence Olivier and Marlon Brando… great fun to play!
ALISON:  I play Lynn Fontanne, one of the most famous leading ladies of the theater in the 20th Century.

Tell us about Lunt And Fontanne: The Celestials of Broadway:
ALISON:  It’s a play about the journey of two married actors: their ups and downs personally and professionally; and also a love letter to relationships and the theater.
MARK: I wrote this piece for my wife Alison J. Murphy and myself, following many years of research (including a trip to Ten Chimneys, the Lunts’ Wisconsin summer home) and re-writes.  A Broadway theater was named after them… a VERY rare honor, but the Lunts made only one film, back in 1931, an adaptation of their stage comedy hit, The Guardsman, and then decided it wasn’t for them.  That decision, in a way, robbed them of their immortality… this play seeks to remedy that by telling their story.  We cover their lives and careers from the 1920s through 1958, in a fun, fast-moving format that will appeal to theater lovers of all ages and interests.

What is it like being a part of Lunt And Fontanne: The Celestials of Broadway?:
MARK: Working with my real-life wife as a historical husband-and-wife team, at all different stages in their lives, is a very rich experience.  We have our history as a couple (fifteen years together), as well as a wonderful regional theater production of the Lunts’ signature play, The Guardsman, a play in which both of the characters are also married actors, so there are a lot of layers there.  We also play short scenes from Lunt productions such as The Guardsman and a fight-filled rehearsal of their Taming of the Shrew, which inspired Cole Porter’s musical Kiss Me Kate.
ALISON: It’s a dream that has become actualized, for me and my husband Mark.  It’s an extraordinary privilege to play this character… an amazing amount of joy.  Being married actors ourselves, it’s both fun and a challenge to portray this married actor couple.

What kind of theater speaks to you? What or who inspires you as an artist?:
ALISON: I love historical dramas, musicals, comedy, Shakespeare… the whole gamut.  I am inspired by observing toddlers and animals, because it’s pure behavior with no filter.
MARK: I always have preferred plays to musicals, as an audience and as a performer (since I have no musical talent).  The energy of being in a big room of people sharing an extraordinary performance… nothing like it.  Historically, I have been inspired by those hybrid actors who also directed, on stage and film: Chaplin, Welles, Olivier.  There are also productions and live performances that I will always remember: James Earl Jones in Fences, the gorgeous original New York production of Les Liaisons Dangereuses, Patrick Stewart as Prospero in The Tempest in Central Park, etc.

Any roles you’re dying to play?:
ALISON: The one that I’m in now; it’s a peach!
MARK:  I’ve done a lot of them, including both leads (Jack and Algernon) in different regional theater productions of The Importance of Being Earnest.  More Shakespeare would be awesome, such as another shot at Prospero in The Tempest or the lead in Macbeth.

What’s your favorite showtune?:
MARK:  I’m not a big musical guy, but “Somewhere Over the Rainbow” in “The Wizard of Oz” is a timeless song (does a film song count?)  Or one of the great tunes in West Side Story, such as “Tonight.”
ALISON:  Anything from Evita or Jesus Christ Superstar.

If you could work with anyone you’ve yet to work with, who would it be?:
ALISON:  Emma Thompson, Mark Rylance and Brian Cranston.
MARK:  I’d love to get into some quality film and TV work.  I respect folks like George Clooney and Tom Hanks, as gifted and versatile performers with integrity who have the great good luck to be able to initiate their own projects.

Who would play you in a movie about yourself and what would it be called?:
MARK:  I’ll be vain and say Matt Damon is the guy… but he’d have to stop pumping up for a year or two.  The title would have to be my assessment as an actor by a casting person at a major network (who shall remain nameless): “Too Off-Beat.”
ALISON: I think it should be an unknown.  The movie would be called, “Alicat: The Musical.”

If you could go back in time and see any play or musical you missed, what would it be?:
ALISON: Seeing The Lunts in the original New York production of The Guardsman in 1924, because my husband and I played those roles together a few years ago.
MARK: I’d love to go way way back and see Shakespeare’s “Hamlet” at the original Globe Theater in London… I’m sure it was a colorful scene, and that the language sounded very different back then, but… as a Shakespeare buff (I did three tours with the National Shakespeare Company back in the day), how could you pass that up?

What show have you recommended to your friends?:
ALISON: The Curious Incident on Broadway.
MARK:  Alison and I recently saw and enjoyed the wacky Shakespearean musical Something Rotten!, which was even more fun to watch since my college friend Rick Louis and I penned (and produced) a wacky Shakepearean comedy called Cuthbert, Prince of Denmark when we were at Vassar College… it had a similar anything goes aesthetic.  Would of course love to see Hamilton, particularly knowing that Lin-Manuel Miranda and I are both proud grads of Hunter College High School in NYC…

What’s your biggest guilty pleasure?:
MARK:  Two words: “Star Trek.”  Original Series preferred, other incarnations welcome.  William Shatner as Kirk impression upon request; yellow shirt optional.
ALISON:  Movie night at the local theater with chocolate and popcorn.

What’s up next?:
ALISON:  Touring our show, like the Lunts did their shows.
MARK:  I have a regional theater gig in the fall.  A play called Biography by S.N. Behrman (a good friend of the Lunts), with a political theme for this election year.  After that, we’re looking for more bookings for our Lunt and Fontanne play, so anyone who’s interested should find out more at www.luntandfontanne.com and then shoot us an email to check our availability!

Review: What We'd Do For Love

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By Michael Block

Written and directed by Ethan Ness, Die For Me is a stylized play of teen angst and the lengths one goes for the one they believe they love. Ness’ material is heavy. Boy and girl fall in love. Boy and girl deal with the stresses of life. Boy and girl make a pact to die for each other and kill themselves. Die For Me is a promising premise that falters when it goes astray. Ness blends a poetic dialogue into a colloquial tale. Rather than making the sole focus on Allie and Reese's romance, we see the stresses of life and how it can take a toll on the human psyche. We watch as Reese handles the rejection after low grades. We watch as Allie deals with a neglectful father. For the most part, Ness incorporates voiceovers to act as occasional scene partners. But there is still one party present. By making Gerald, Allie’s dad, an actual character, the play and the style loses emphasis. Why is Allie's father scene and not Reece's parents? Ness must decide whether this play desires a complete adult presence through voiceover or have an actor or actors represent these voices physically.
Die For Me will also benefit from a fresh collaborator. It's clear that Ness is quite close to his script. An extra set of eyes is always helpful. There were inconsistencies in transition vocabulary. Some would feature a music cue; other transitions were completed in dead silence. And the latter was not ideal. That being said, simplifying the world with two chairs allowed the story to take main focus.
Teenagers make rash decisions. But that is not just what Die For Me is about. This play is about the lengths you go for your love and the bond between two people. The premise may not be fresh, but Ness’ voice sure is.
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