Theater in the Now

Name: Mariah Freda

Hometown: Sea Isle City, New Jersey (The Jersey Shore!)

Education: BA in Anthropology from Boston University and an MFA from The New School for Drama

Why theater?: I love the theater. I love that each moment only exists in the present. You can rewind it or play it back. I love that the audience becomes a character in the room and the energy that they send out finds me and I give it right back to them. There’s nothing quite like it. I also feel like when I’m in a rehearsal room, or on stage I become the most me version of me!

Who do you play in No Man's Land?: Georgia

Tell us about No Man's Land:No Man’s Land is inspired by Jeremiah Heaton, a dad from Virginia who flew to Africa, stuck a flag in the ground, claimed it as his kingdom and thus made his daughter a princess. That’s all I want to tell you, but I promise there will be more.

What is it like being a part of No Man's Land?: I’ve had the pleasure of being a part of this project from its inception. We got in the room to start figuring out how to make this show and we immediately started falling into all of the pitfalls one trips over when telling a story like that of Jeremiah Heaton. When it dawned on us that we could actually put that struggle right into the script, the whole process became an incredibly exciting investigation on what it means to carry the awesome responsibility of an artist.

What kind of theater speaks to you? What or who inspires you as an artist?: If I can tell the artistic team put the work in, I enjoy the show. When I sit in that audience seat, I am a child ready to be entertained...bonus points if someone is singing at me.

Any roles you’re dying to play?: 99.9 percent of the time I would rather work on a new show on a character that doesn’t exist yet. The one exception would be if I could play Catherine in A View From The Bridge.

What’s your favorite showtune?: I don’t think I have one, however, much like the rest of the world, I listen to the Hamilton soundtrack on a loop. Currently, I play “Take a Break” on repeat.

Who would play you in a movie about yourself and what would it be called?: Neve Campbell (circa late 90s) would play me in the movie, "Exit 17."

If you could go back in time and see any play or musical you missed, what would it be?: The Broadway run of August Osage County.

What show have you recommended to your friends?: I tried to convince people to see Rocky when it was on Broadway. It was the most fun I’ve ever had in the theater.

What’s your biggest guilty pleasure?: Teenage Drama TV

What’s up next?: I’m starting development on a new show. Details are still in the works, but let me tell you, it’s going to be great.

By Michael Block

There are certain mediums for certain stories. Be it novel, play, or screen, each format provides something unique to its storytelling. In the world of stage and screen, there are limitations to both but extraordinary possibilities in each. You can certainly "do more" on film, especially when a piece is multi-locational. Unless you infuse theatricality into the storytelling, if you have a journey story, it's better off on film. Such is the case in Neil Haven's Come Back. The Theatre 68 production is a dark comedy about grief, loss, and acceptance that is meant to be a movie, as this production has a great disconnect.
Playing the Arthur Seelen Theatre at the Drama Book Shop, Come Back follows Sky as she goes on a wild goose chase across America to find the final destination for the ashes of her recently deceased friend after he leaves her mission in his will. With a car filled with an urn, parrot, and her friend's desperate dad, Sky comes to discover the tribulations of losing a dear friend. Playing into the themes of grief, Neil Haven has written a dark comedy with great potential. If it wants to be a movie. There is a lot of fun to be had but Come Back is meant for the screen. Come Back can certainly be a play but it requires stronger direction. But more on that later. Haven’s plot is one of convenience. The exposition he offers needs further exploration and some broader stakes. As it stands now, everything seems too easy for Sky. But then the rules of the game Haven has Sky play are a bit whacky. Regardless of the rules of the world, Haven has some character woes. On the whole, it was very difficult to find empathy for these characters. The clarity of Sky's pain is a large factor of the success of this piece. To go along with Sky on her journey, you must empathize with her. But her pain is largely internalized. What is relayed feels more like this trip Aaron has forced her on is a burden. That tone is painted at the start. Adjusting her emotions during the reveal of her mission will set the proper tone for the story that comes. We learn of the quirky nature of Aaron yet that's not entirely how he was presented. We see him as a dark and twisted brooding person who's fun comes at others' expense. With a bit of disconnect between how we hear and how we see Aaron, a stronger choice may be to not even see him at all. There is power in crafting your own persona for the unseen character.

Sky's journey is a difficult one to take and Morgan Hammel did all she could to make it worth while. Hammel's approach was one filled with sadness. Rarely did we see joy and excitement. Sure, the situation is dreary but with the quirkiness surrounding, she could have played into the humor of the joke more. Michael DeBartolo's Aaron was dark, though he looked for the light in his character's situation. When it comes to unlikeable characters, daddy Val takes the cake. Whether it was the text or how Aaron Braunstein gave Val a selfish one-track mind. In this sense, Val was more than the antagonist of the play. He was a downright villain. The variety from Kaitlyn Biancaniello and Megan Magee as the various vendors was effortlessly hilarious. It brought out the quirkiness of Haven's text and his best writing. Joe Blute played double duty as Sky’s straight-laced pal Mel as well as hillbilly vendor Nevada Ned. Blute has range in characterization but lacked control as a performer. Kathryn Loggins found fun in the tough-as-nails lawyer Marty.
There’s no one way to tackle a script. That’s the beauty of theater. It’s all in the interpretation. But not every road is a successful one. Director Mariel Matero had much difficulty in the driver’s seat. As an overall product, the direction was weak. Matero approached the play from a place of realism, mostly. There were moments that strayed from realism and that is when Come Back took off. She needed to keep the piece moving with a theatrical undercurrent. There should never be a blackout. The world greatly desired moving around Sky. Just because the lights go down and the other actors appear in black to perform a scene shift doesn’t mean we don’t know they’re there. It’s just the opposite. Had Matero embraced the theatricality, Come Back would have resonated differently. The production elements, as a whole, felt thrown together and shoddy. When “practical” sound is important to the storytelling, there’s no excuse for an echo to exist.
Come Back had some significant woes that hindered the production from becoming something magical. But it can be. Discovering where it wants to live and what it wants to be is crucial.

Name: Byron Loyd

Hometown: Chattanooga, Tennessee

Education: Undergrad: Southwestern at Memphis, MFA and Phil in Theater from Columbia (ABD)

Favorite Credits: Acting--Sandy Tyrell in Hay Fever, Joe in The Time Of Your Life, Cliff Lewis in Look Back In Anger. Off-Broadway: Bobbi Boland

Why theater?: I couldn't catch the ball or throw the ball but I could do spot-on imitations. I went to a boarding school where we all had to stand up and give what was called a declamation to the entire student body. I used my skills as a mimic on that occasion and, to my delight, got lots of laughs and a rousing ovation. From that moment on I've been an addict.

Tell us about Rebel Boy Fireworks: One night an actor friend and I were having dinner before going to a play. We were trying to figure out how to jump start our careers. She urged me to tell some of my outlandish stories about my family's fireworks business and told me that Gretchen Cryer would be the ideal mentor for such a one-man show. Well, that night at the theater guess who was sitting next to us? Gretchen Cryer! My friend introduced us and I knew I had to follow up on the lead. Through Gretchen's guidance I wrote one of Miss Esther's rants. It was the first patch in this crazy quilt. Meanwhile, I had the inspiration to team up with Susan Morse, another escapee from the Deep South and the funniest lady on two legs.

What kind of theater speaks to you? What or who inspires you as an artist?: I think I love anything that has humor and kicks deep. In that regard I've always loved Tennessee Williams. I continue to mourn Charles Ludlam. His performance as Maria Callas in Galas, A Modern Tragedy was diamond brilliant.

If you could work with anyone you've yet to work with, who would it be?: Well, there are some folk at TOSOS I admire greatly. Christoper Borg is so versatile and committed. Of course like everyone else I'd give anything to watch Meryl Streep prepare for a performance. She always brings such love to her work and is never less than astonishing.

What show have you recommended to your friends?:The Front Page--I love a stage full of actors.

Who would play you in a movie about yourself and what would it be called?: I could see Jack Lemon or James Cordon playing me. I guess you could call it: "Byron Loyd Keeps the Faith".

If you could go back in time and see any play or musical you missed, what would it be?: Any Shakespeare play at the Globe, Eleanora Duse in Ghosts, Laurette Taylor in The Glass Menagerie, Mary Martin in South Pacific, Ethel Merman in Gypsy.

What’s your biggest guilty pleasure?: The coconut cake in Good Enough to Eat--and no, I wasn't paid for the endorsement.

If you weren’t working in theater, you would be _____?: I love the ritual of selling and, not to brag, I'm the fastest typist this side of the Mississippi.

What next?: Susan and I are marketing the multi-character version of Rebel Boy Fireworks and we are starting to collaborate on another comedy. As an actor I'm co-starring with a friend in a gay version of Prisoner On Second Avenue. We plan to do a reading in February.

by Kaila M. Stokes

Hypokrit Theatre Company and Junoon Performing Arts presents Devdas and Chokher Bali running in rep through November 20th at Theater for the New City. Devdas is a dance piece that takes a classic Indian love story usually told from the man’s perspective and instead tells the woman’s side of things. In the description in the program Hypokrit Theatre says “We bring to the stage the oldest Indian love story, as it’s never been seen before –where women rule, and love and loss is just a transaction.” This was particularly thrilling to read and raised the bar before the show even began. As the show began it was your typical story of boy meets girl and they fall in love. The girl and boy both love to dance and soon enter a dancing competition, similar to “So You Think You Can Dance.” Through dance the girl and boy are pulled apart; jealously, seduction, and distrust ensue.

The director, Arpita Mukherjee, did a nice job telling the story. The emotions that they were battling were clear through their movement of dance. The choreographer, Swarali Karulkar, undoubtedly has a vast knowledge of dance, but the dancers were not as skilled in making her movements come to life. While the movements did help tell the story, it was distracting at times when the dancers hesitated in their drops/spins/jumps. If the choreography level was dropped down by a peg or two it would have helped the dancers feel more confident on stage. If the dancers are confident, then the audience trusts them, and their actions on stage aren’t questioned. Perhaps more rehearsal time was needed for this as well. The performers did make it fun for the audience and had energy even on a night that was sparse due to the election. The dancers were undoubtedly dedicated to this project that much was evident. The music, composed by Aalap Desai, was beautiful. It flowed nicely from scene to scene and complimented the emotions felt in this story. The rhythms connected each scene and provided for fluent changes in location and time. Overall, the story-telling, the music and the passion of the performers was very much appreciated by the audience. Hypokrit Theatre Company is doing a very unique thing and it should be applauded.
The second piece was Chokher Bali. This tale is adapted by Dr. Partho Chatterjee from a legendary novel about female desire in the domestic sphere. This piece had many actors, most of which were unnecessary in the telling of the story. It was a story within a story so you had your townspeople who are then telling the tale of Ashalata and Mahendra. Mahendra is a rich boy studying to be a doctor that seems to be a forever bachelor until he meets Ashalata. Ashalata and him wed and are madly feverishly in love until Mahendra’s eyes wonder. Mahendra is an Icarus and he has flown to close to the sun when he meets Binodini. Binodini is not necessarily in love with him, but he shows her affection so she goes along with it. She is actually in love with his friend Bihari. Without giving away the ending most people are sad or die.

The trouble with this story is that it has been done a million times in every culture. The director and actors had an impossible task at setting themselves apart. First of all there were too many actors with nothing to do on stage; there was a guitar player and beautiful singer, four more actors hanging out occasionally speaking or singing, then you had your main cast of five people. The guitar player and singer should have been the only extra people – they should have been the story tellers and broken the fourth wall telling the story to the audience. Throughout the piece contemporary songs were song to enhance the emotions in the piece. All this did was distract from the actual story at hand and allowed the actors to avoid any real decisions these characters had to make. There was not enough weight given to any choice made by the actors, nothing surprised their character. There was a disconnect between everyone on stage which made the audience feel a restless. Overall the singer’s voices were beautiful and the guitar added a nice transition from scene to scene, but the characters were two dimensional at best.

Name: Brian Demar Jones

Hometown: Rochester, NY

Education: BA from SUNY Binghamton and MFA from University of Washington

Select Credits:Batboy, Billy Crocker in Anything Goes, Les Miserables, A Midsummer Night's Dream

Why theater?: I want to tell the stories that need to be told. It's extremely challenging. There are no boundaries in theatre.

Who do you play in No Man's Land?: Reggie

What is it like being a part of No Man's Land?: Its a process that makes me want to get up and work. The discussions of the issues present in NML, is the kind of discussions I am hoping to evoke in our audience.

What kind of theater speaks to you? What or who inspires you as an artist?: Theatre that has a purpose beyond simple entertainment.

Any roles you’re dying to play?: Hamlet, Sweeney Todd, Lady M

What’s your favorite showtune?: Currently? "Rainbow High" from Evita...I'm old school.

If you could work with anyone you’ve yet to work with, who would it be?: Patti Lupone...I think she'd eat me.

Who would play you in a movie about yourself and what would it be called?: Tyler James Williams

If you could go back in time and see any play or musical you missed, what would it be?: the original Phantom of the Opera....it was the first musical I ever listened to. I sang like Michael Crawford for months, and it's definitely NOT the highlight of my career.

What’s your biggest guilty pleasure?: Twizzlers

What’s up next?: Hopefully managing a Think Coffee

By Ed Malin

I very much enjoyed the United Solo Festival extended run of HEDY – The Life & Inventions of Hedy Lamarr. Heather Massie plays this remarkable star of the silver screen. In this piece, Hedy tells us about her film career in Europe and the US from the 1920s onward, and her inventions that saved the country from invasion and inspired cell phone technology. Amazing words indeed come from the mouth of this glittery performer (costumed by Cat Fisher) with the striking eyebrows. She starts with the secret of being beautiful on film: stand there quietly and look stupid. Yet, Hedy, born Jewish in Austria, knew how to hide who she was and to make the Hollywood studios give her what she wanted. Director Joan Kane keeps Hedy cool under fire while she tells a string of amazing stories from her long life.
Hedy’s performing arts career began in Berlin with her introduction to director Max Reinhardt. Soon, she had a small but powerful role in Gustav Machatý’s 1933 film “Ecstasy”, where she is seen swimming nude and, in a closeup showing only her face, has the privilege of acting the first female orgasm in a legitimate film. Hedy’s friends and family are scandalized, but not long afterwards the 18 year-old married munitions manufacturer Friedrich Mandl. The marriage was a great opportunity for Hedy to learn about technology, but eventually she fled to Paris, where she adopted the name Lamarr.

photo by Al Foote III

There is so much to say about Hedy’s life, which included six husbands and one rejected fiancé who committed suicide. In Paris, she gained the attention of MGM’s Louis Mayer, who brought her to Hollywood. She eventually got her family out of an increasingly fascist Europe. Hedy starred opposite Spencer Tracy, Clark Gable, Lana Turner, Judy Garland and many more famous actors of the day. Pressured by the film industry to consider enlarging her breasts, she found herself asking leading endocrinologist and composer George Antheil for advice. However, both Hedy and George were more interested in torpedoes (which her first husband had manufactured) and the math behind frequency hopping, which would prevent a radio-controlled projectile from being jammed. They patented their idea, and by the time of the Cuban Missile Crisis, this technology helped the US prevail.
Down through her role in the film “Samson and Delilah”, Hedy was unflappable. Even being a mother and a film star under contract was something she managed to negotiate. She lived into the twenty-first century and received accolades for her inventions. What’s really remarkable to me is how her mathematical skills have given us Bluetooth and multichannel cell phone technology, which she developed when she was only “supposed” to be a wife (to a husband who had Hitler over for dinner parties!) or a starlet (where brains were not as valuable as bust). She and George had many interests, which they worked on passionately, no matter what was expected of them. Despite the many ways the system tried to relegate Hedy, she won. I congratulate chameleon Heather Massie for condensing Hedy’s achievements into a very potent hour. Hedy will receive an additional performance on November 15th at 9pm.

Name: Patricia Black

Hometown: Presently, Brooklyn Heights

Education: Life.

Select Credits: Mme. Violet Krap in an adapted version of Beckett's Eleutheria, Mrs. Carol Winters in Guilt by Association by Thomas Love, Sick Bitch in The Bitch Play by Datra Martindale

Why theater?: It's terrifying.

Who do you play in Coriolanus: From Man to Dragon?: Volumnia

Tell us about Coriolanus: From Man to Dragon: It's about how the strength of a man's pride and his inability to distinguish it from duty and honor, and the resulting costs to him, family and country.

What is it like being a part of Coriolanus: From Man to Dragon?: I have loved every moment. This is my first Shakespeare play and the opportunity to play one of Shakespeare's most powerful women is certainly the highlight of my brief acting career. Omri Kadim's adaptation with our director Yuriy Pavlish's clear vision guided me to discover the force of nature they envisioned Volumnia. The cast was most generous, inspiring and collaborative. I look forward to working with the Combative Theatre Company in future productions.

What kind of theater speaks to you? What or who inspires you as an artist?: The kind that serves as a mirror reflecting the good, the bad, and the ugly. The Berliner Ensemble Theatre Co., The Maly Theatre Co.

Any roles you’re dying to play?: Martha in Edward Albee's Who's Afraid of Virginia Woolf, Lady Bracknell in Oscar Wilde's The Importance of Being Earnest, Queen Margaret in Shakespeare's Henry VI, Arkadina in Checkov's The Seagull

What’s your favorite showtune?: Anything Sondheim

If you could work with anyone you’ve yet to work with, who would it be?: Directors Ivo Van Hoeve, Sam Gold and David Cromer

If you could go back in time and see any play or musical you missed, what would it be?: Geraldine Page in Sweet Bird of Youth

What show have you recommended to your friends?: Coriolanus: From Man to Dragon

What’s up next?: Awake at 3 Productions ‪Romeo and Juliet‬ opening in January

By Michael Block

The Cherry Orchard is back. But why? Sure, thematically The Cherry Orchard resonates but why not produce a new work with the same message? Nevertheless, the Roundabout revival of the Anton Chekhov classic gets a new staging through the voice of the fruitfully blossoming Stephen Karam, yet this orchard is severely lacking.
More than a story of downsizing and class, The Cherry Orchard is not a radical reimagining. Instead, the Simon Godwin-helmed piece is lacking guidance. With a hint of modern sensibility, the story revolves around the decay of Ranevskaya and her family purse as the threat of selling the estate, and the subsequent orchard, loom emphatically. Despite heeding the warnings, Ranevskaya remains frivolous, surprising reality for a sense of hope. Tackling the text, Karam teeters between honoring the original scribe and bringing in his own brilliant voice. The problem is they never connected and united. Those lines where they hear people off stage or call out a person arriving were just as uncomfortable as the actors’ reciting them. Similarly, the inconsistency in style was seen fervently in the direction. Simon Godwin tried to infuse so much into so little. The debate on what is comedic about Chekhov will never cease. The humor that Godwin sprinkled in had shades of physical comedy that can only be related to what a sad Russian sitcom may be. Regardless, the humor was forced and never yearned. The comedy comes through the misfortunate of the characters’ circumstance. Yet we laughed at them, continuing the theme of major disconnect. As a whole, the stakes never seemed genuine. It’s quite hard to even care about these individuals and their given situation. Godwin started the play by asking his company to tap into exaggerated jubilation as a façade for reality. It just didn’t resonate. It created caricatures. And those characters who lived in despair remained there, never straying.

photo by Joan Marcus

Without any nuances, Godwin’s production fell into a pit of monotony. To try to make up for it, the production value was amplified. Yet, Scott Pask’s scenic design lacked the beauty of the orchard. Those metallic branches sadly didn’t cut it. What was a wonderful touch was the tree trunk floor. Blending a simple modern feel with a splash of panache, Godwin’s navigation of the world was muddled. With no architecture to define space, Godwin haphazardly had his characters come and go from room to room. For a text grounded in realism, Godwin defied it. The costume design from Michael Krass seemed to explore a plethora of styles, confusing time. Touching briefly on the live music, while pleasant to the ear, the choice of inclusion never paid off. Yes, they were incorporated into the piece in Act II, but it continued the theme of disconnect.
Thankfully, this production accumulated a stage full of talent. Unfortunately, talent didn’t actually save the day. Diane Lane is effortless as Ranevskaya. Even in her character’s denial, Lane managed to make it seem genuine. Sympathy was earned. Harold Perrineau’s Lopakhin was a strong presence, even in those green pants. But Perrineau seemed to frequently forget to breath in between lines, never quite clocking in the important beats. Kyle Betran is a beacon of hope as Trofimov. Beltran’s connection to the character was sincere. It also showcased Karam’s best work in the play. As adopted daughter Varya, Celia Keenan-Bolger explored angst from top to bottom. Blame it on the character, but it woefully forced her to become unlikeable. Tavi Gevinson was a ball of energy as Anya. Her child-like approach never quite matched the intelligence she infused into Anya. Firs is unfaltering loyal to Ranevskaya, her family, and her estate. Joel Grey captured this well. But he also gave his back to the audience far too many times to be forgiven. Between the moustache and the characterization, John Glover’s Gaev was a cartoon. Even in the moments of sentimentality, Glover and Lane lacked a sibling bond. When it came to the sitcom physical comedy, Susannah Flood was a highlight. Yet Flood was simultaneously lost as Dunyasha.
The Cherry Orchard is a play of comedic misfortune. This production sadly was a laundry list of misfortune. With the amount of disconnect within, this revival never truly blossomed.

Name: Zac Moon

Hometown: Richmond, VA

Education: BA University of North Carolina at Chapel Hill

Select Credits: Women (the PIT), The Mysteries, Restoration Comedy (The Flea), Rubber Ducks and Sunsets (Ground UP); Film: “Imperium" (with Daniel Radcliffe)

Why theater?: I was doomed from an early age because my dad was an actor and a director. So I grew up seeing shows and going backstage which I thought was just magical. But I think live theater is important these days because you leave your couch, go share an experience with a whole group of people. An experience that can never be replicated exactly in the same way. It would be sad to me if we lost that part of our humanity.

Who do you play in Puffs, or: Seven Increasingly Eventful Years at a Certain School of Magic & Magic?: I play Wayne Hopkins. An orphaned boy wizard with grand dreams about being a hero.

Tell us about Puffs: Where to even start! Well, yes, it is certainly easiest to say it's a parody of one of the most beloved book/movie series having to do with wizards. But beyond that I think it's a really endearing story of what it's like to grow up with dreams and ambitions when you're not necessarily destined for conventional greatness. And how to live life to the fullest exactly as you are and with what's really important to you. Also wizard jokes. Lots and lots and lots of wizard jokes. If you happened to live under a rock and missed all 7 books/8 movies though, don't worry, Matt, Kristin and team have worked really hard to make it accessible and entertaining whether you're a die hard fan or not.

What is it like being a part of Puffs?: Honestly it's been one of the best theater experiences of my career. We all play so well together and push each other to be sharper, funnier, more specific and more real every show. And to keep making new discoveries constantly. Also it's just the most fun I could imagine having in 90 minutes. And beyond all that, the response from HP fans has just been so overwhelming. People who have seen the shows multiple times already and just embraced us with open arms into the fandom, it's really special for us.

Any roles you’re dying to play?: Well the one I'll never get cast in, but always secretly wanted to do is Seymour from Little Shop. I just think it would be such a fun part.

What’s your favorite showtune?: What's a showtune?

If you could work with anyone you’ve yet to work with, who would it be?: Oh there are so many writers out there I admire. Top of the list is probably Will Eno, Sarah Ruhl, Annie Baker and if Lin Manuel Miranda wanted to write me a comedy rap, I'd be down.

Who would play you in a movie about yourself and what would it be called?: In my dreams Chris Pratt would play me but he would have to start as "Parks and Rec" Pratt and get to “Guardians" Pratt over the course of the movie. And assuming that Matt Cox writes it, I imagine it'll be called "Hugs and Beards: The Zac Moon Story."

What show have you recommended to your friends?: Well, Agnes by Catya McMullen just played for a weekend at Rattlestick and you better be keeping your eye out for when that show gets a full run. And Where Did We Sit On The Bus is Brian Quijadas one man show running at EST.

What’s your biggest guilty pleasure?: Oh man sleeping in is my crack. It's so bad but if I ever have a day I don't have to set an alarm, forget about it, I'm sleeping so hard.

What’s up next?: Well we are just getting started!! Very excited to be on this journey with Puffs and seeing how the next few months (or longer!) go.

For more on Zac, visit www.zacmoon.com. For more on Puffs, visit www.puffstheplay.com.

Name: Andrew Orsie

Hometown: Summit Point, WV

Education: BA in Theatre from Juniata College

Select Credits:The Imbible: Rum Drinks… and Pirates! (Tenor), The 25th Annual Putnam County Spelling Bee (Chip Tolentino), Angels in America (Louis), Diamond Dogs (Sonata), Unturning (Damon Wildeve), Dirty Rotten Scoundrels (Music Director)

Why theater?: What a large and good-looking question. Theatre wasn’t actually the original plan. When I was applying to colleges, I was planning on majoring in vocal music. But I had started doing theatre in my senior year and I had an interest in it, so when the school I ended up choosing to attend didn’t have a music major, theatre became my fallback option. I changed majors about thirty times in college. But somehow I kept coming back to theatre. Even when I switched to a totally different major, I would find ways to sneak into the theatre classes and get cast in the shows. So eventually I gave in; I said to myself that there had to be some reason that I was so drawn to it. I then did a summer acting apprenticeship at the Berkshire Theatre Festival to see if this was actually a career path I could see myself on. And I came away from that summer with a ton of experience and a newfound conviction that theatre was what I wanted to do, for better or worse. It explores humanity, and the many layers of people, and the multitude of ways in which people can connect with each other. Art in general tends to do that, but I find that for me, theatre does it in a specifically profound way that is utterly fascinating. And once I had a taste of an art form that can help me delve into both myself and humanity in a larger sense in such a deep way, I simply got hooked. And so here I am, almost five years out of college, still going as strong as one can in this big old city.

Who do you play in The Imbible: Christmas Carol Cocktails?: Ebenezer Scrooge

Tell us about The Imbible: Christmas Carol Cocktails: Christmas Carol Cocktails is a sequel to A Christmas Carol in which Scrooge returns home after his visit with the spirits with a newfound respect for Christmas. He realizes he needs to organize a Christmas party before it’s too late, but having been such a…well, a Scrooge, for so many years, he has no idea how to throw a party properly. So he calls upon the spirits one more time before the night’s end to teach him about holiday-themed cocktails he can serve at his party. They step up to the plate and take both Scrooge and the audience through a second journey, slightly boozier than the first, to learn about the ways in which he can share holiday cheer in liquid form. Will his party be a success? You’ll have to come see the show, try the drinks, and judge for yourself. With three drinks included in the price of your ticket, this is one Christmas gathering you won’t want to miss.

What is it like being a part of The Imbible: Christmas Carol Cocktails?: This will be the fourth show run I’ve performed in with Broadway Theatre Studio (counting last year when I first performed this Christmas show), and I’ve really been so honored to be able to work with such an amazing group of people. If there’s one great thing I can say about Anthony and Nicole and this company (and trust me, there’s far more than one great thing I can say, but that would take PAGES to get through), it’s that they have a phenomenal instinct with casting and adding people to the company. Every single person who I’ve worked with in any of the various Imbibles has been amazingly talented and has helped me grow as a person through what they are able to give as an artist. This year and a half with the company has been a wonderful whirlwind of magnificent people and artists, and I’m truly humbled and honored that they continue to ask me back and allow me to work with them. This is a hilarious, amazing, talented cast and the fact that I will get to share a stage with them for the rest of this year is so exciting to me!

What kind of theater speaks to you? What or who inspires you as an artist?: I don’t think there’s one particular type that speaks to me more than another. I’m simply drawn to pieces that don’t try to be what they aren’t. If they’re a poignant drama, I generally prefer the ones that don’t try to play that aspect up. I want the language and the writing to speak for themselves, without a need for spectacle or extra heightening. It’s hard to describe exactly what I’m drawn to, it’s sort of an intangible vulnerability to a dramatic piece, a fragility that acknowledges that maybe no one piece can answer every question about humanity because the species is ever-changing, and that’s simply the nature of things. And if it’s a comedy, it can’t take itself too seriously. You’re a comedy, be fun, be funny, and recognize that when it comes down to it, we’re a bunch of professionals who are (hopefully) getting paid to literally play pretend on a stage in front of people every day. And we’re all really good at it.

Any roles you’re dying to play?: I’ve wanted to play Jamie in The Last Five Years ever since I first heard the soundtrack, but I’ll never be Jewish-looking enough.

What’s your favorite showtune?: I generally can’t stand showtunes, but I’ve always been really partial to “The Bells of Notre Dame” from The Hunchback of Notre Dame. Does that count?

If you could work with anyone you’ve yet to work with, who would it be?: I don’t often debate who I’d love to work with, because the honor of working with the greats is hardly something I expect to be bestowed upon me. But if there’s one person I would love to have had the opportunity to work with, it’s actually Marcel Marceau. I’ve been trained in corporeal mime work for quite a number of years by a phenomenal mentor and friend who was one of his students, Rick Wamer, and to study under the master of the art would have been absolutely thrilling and humbling.

Who would play you in a movie about yourself and what would it be called?: I’m pretty sure my life’s never been interesting enough to get made into a movie, but if it ever did, I would hope and expect that it would be called "Utter Confusion" and it would feature Neil Patrick Harris as me, except he’s drunk every day of filming. And it’s a rom com where the plot twist is that there’s actually never a real romance. Just a sequence of steadily more disappointing date scenes culminating in a magical almost-kiss scene that’s cut short by a very angry sparrow with a vendetta against blond hair attacking my head. Classic.

If you could go back in time and see any play or musical you missed, what would it be?:Sweeney Todd. Original Broadway production, just for Angela Lansbury.

What show have you recommended to your friends?: The Curious Incident of the Dog in the Night-Time. For me, at least half (if not more) of the strength in the writing of a piece lies in the piece’s ability to fully immerse the audience in the story through perspective, and yet proper use of perspective is such a nuanced challenge. Curious Incident achieved this in a way very few pieces I’ve seen have ever been able to do.

What’s your biggest guilty pleasure?: I would never feel guilty about my pleasures. But I am a massive video game nerd.

What’s up next?: I don’t actually know. If you do, please fill me in! But really, gosh, this show will take me through the end of the year. I’ve made some pretty big strides in my life this year and ideally, whatever my next project may be, theatre or otherwise, I’d hope it continues that forward momentum for me.

For more on The Imbible: Christmas Carol Cocktails, visit http://imbible.org/

Name: Brian Merriman

Hometown: Born in Dublin, raised in Wexford and Waterford, back in Dublin since college.

Education: Master’s Degree in Equality Studies, Certificate in professional Journalism, vocal studies College of Music,

Favorite Credits: Artistic Director/Founder International Dublin Gay Theatre Festival.

Why theater?: Theatre is a safe space to think, create, analyze, reflect and persuade, that is way ahead of sound bites or the modern pressure of being first with the news, be it accurate or not. It allows me and challenges me to engage rather than preach knowing the audience is free to accept or reject the concepts presented.

Tell us about Eirebrushed?: Eirebrushed is a play about identity. It challenges all lgbt people to reject the negative definitions imposed on them which they have and do accept. It's about the concepts that every human being is entitled to realise freedom, equality and respect. It calls out the political and conscience oppressors of political and religious life. Eire is the Irish language word for Ireland - Eirebrushed happens when your own identity is erased because you do not conform to the values of a republic of equals you fought to create and realise. It is a timely reminder that the political bully will never win out as long as you continue to stand up after every blow. The four heroes of this play did that 100 years ago and Eirebrushed is when they return today to compete the story that would not be listened to a century ago.

What inspired you to write Eirebrushed:?: Women did. The lgbt rights owe so much to the women's movement. It taught us how to inequality was constructed and how to confront discrimination and injustice based on an imposed unequal status. Nurse Elizabeth O Farrell was airbrushed out of the 1916 Rising surrender photograph and with that act so was the vital contribution of all the revolutionary women who were fighting not just for freedom but to be free. I wanted to put that story on the record and those of some of the gay heroes of 1916 in this centenary year. It is wonderful that Culture Ireland has included this lgbt play in its international 2016 commemorative arts programme - another revolution for Irish lgbt identity.

What kind of theater speaks to you? What or who inspires you as an artist?: I don't value "coming out" stories much. I ask what did you come out to do or who did you come out to be? I am also deeply conscious of the shoulders we stand upon and I have hunted back through history looking for the slightest hint of identity and I try to liberate lgbt stories of the past in modern theatre. Good theatre inspires and thrills me and I don't care whether I like the person who creates it or not. Good theatre benefits all in the sector and none of us has the monopoly on that - in truth we struggle with each piece we do or create to honour and reach that benchmark. I am inspired by those who work hard and who tell their stories even in a hostile environment - silence is the greatest accomplice of discrimination and oppression.

If you could work with anyone you’ve yet to work with, who would it be?: I have had the privilege to work with fine actors - some of whom are famous! But that fame is not what impresses me - there are real artists who remain "undiscovered" and that does not diminish their artistic merit. I love identifying new talent and if I can to assist that on its way, I do! The fact is that with fame can come amnesia about how they started - doesn't bother me. I would not like to be the person who saw the talent and didn't contribute a cup of water to its growth, whether that's acknowledged or not. Theatre must have room for talent and we must all move over a bit to let it shine. We betray the art form and the opportunity we have had if we don't do that and sadly many see their role solely as protecting their own turf and not sharing it or passing opportunity or resources on to ensure a future for theatre.

What show have you recommended to your friends?: I unashamedly recommend the International Dublin Gay Theatre Festival - a fortnight of Irish and International lgbt theatre which I curate in Dublin each year. We have made the birthplace of Oscar Wilde the home of this unique festival and I hope people will vacation with us www.gaytheatre.ie - it's fun, friendly, radical and inclusive and you are welcome! There's a different programme of theatre each week but the same warm welcome for audience and artist alike!

Who would play you in a movie about yourself and what would it be called?: I think I'm still writing that role by living my life, overcoming the needless obstacles put in my way, being open to love, creating some art and hopefully sharing the benefits of the lessons I've learned on the way.

If you could go back in time and see any play or musical you missed, what would it be?: It's about time I answered a question posed! Much of my life was in musical theatre and I really would love to have seen the epic originals, especially the golden age of Broadway and the movie musical. Fred and Ginger, Gene Kelly and yes, here comes the stereotypes Judy and Barbra, Bernadette Peters, Barbara Cook, Angela Lansbury, Liza and any Sondheim work.

What’s your biggest guilty pleasure?: Red wine, dark chocolate and a torch song!

If you weren’t working in theater, you would be _____?: I think I am doing it as I have two elements to my career - theatre and egalitarian- but I wish I had the time and the talent to make a lasting impact in even one of those!

What’s up next?: A reading of my full length play Wretched Little Brat based on actual testimony, retells the Oscar Wilde story from the perspective of his lovers Lord Alfred Douglas and Robbie Ross and traces the impact of those lives on all of us up to 1945. It reveals and challenges the gay stereotypes that all can trace their origin to this story of excess. It's in Downtown Art at 3pm this Sunday and will be staged again at the Gay Theatre Festival in Dublin and hopefully Provincetown next year.

By Michael Block

There are a plethora of stories that rarely get a platform to be heard. Ma-Yi Theater Company is a organization that strongly champions important stories and voices. And they have done it again with Hansol Jung's brilliant Among the Dead, playing HERE Arts Center. With surrealistic undertones, Among the Dead follows Ana Woods as she learns the truth of her parents through the horrors of war. This play may bring war to the forefront, but Jung's drama is an exceptional family saga.
Hansol Jung offers a unique brand of storytelling. Set in three distinct times and places, it's easiest to describe Among the Dead as magical memory. In 1975 Seoul, Ana learns the truth of her lineage when she receives a journal from her recently deceased father, Luke Woods. Anna is the daughter of a “comfort woman” and an American GI. When Luke's entries begin to come to life, Ana is thrust directly into the past as Luke and “Number Four” meet in the jungles of Myitkyina, Myanmar in 1944. And in 1950, Number Four finds herself on the Hangang Bridge on the verge of the bridge’s bombing. Jung shares the story by shifting time and narrative but things get funky when Ana takes the identity of her mother. Yes, theatrically speaking it's a fascinating device but we have to talk about THAT moment. As Ana begins to shift into the entries, Jung invites us to see the moment of intimacy. This means visually, Luke is forcing himself on Ana, his daughter, as Number Four. Intended or not, it came off as incest, pulling complete focus. It begs the question of the importance of the moment. It certainly did not detract from the overall perception of the play but it called attention to the narrative and storytelling. We had previously learned the truth so it wasn't as if this was new information. Sadly, this moment begs the question of necessity or shock value. Thankfully, Jung quickly recovered thanks to her powerful and fervent writing. One of the most appreciated elements of Jung's script is that while a strong commentary on war is presented, its hidden within a captivating relationship play and the journey of finding the answers of the past. She keeps the audience on their toes as the mystery unfolds, though subtlety and vagueness do play a slight role. For example, why is Ana in Seoul? The answer is briefly touched on as Luke had agreed to be buried, or in this case scattered, in Number Four's homeland. But missing that key part influences the comprehension of the story.

photo by Hunter Canning

Among the Dead is a play of great complexity and intricate layers. The four piece acting company accepted the challenge of navigating time and space. Along with director Ralph B. Pena, the success of this play depending greatly on clarity. As a whole, they did a mighty fine job. Among the Dead was, primarily, Ana's journey through the past. Julienne Hanzelka Kim took her character through the emotion motions, checking into an array of feelings. And they were often quite heightened. As Luke, Mickey Theis played the monotony of war but when he freed up, he came to life. Theis pulled out the All-American charm despite the unsettling conditions. Will Dagger brought a welcomed lightness and humor to, well, Jesus. That being said, there was a slight lack of stability in his performance. Dagger's presence needed to be more grounded to truly grasp the significance of the character. Diana Oh as Number Four offered a heartbreaking performance. Oh naturally tapped into the horrors of war to pull out a strong character.
Among the Dead required a heightened sense of storytelling that demanded perfection and intricacy. One tiny flaw could derail the entire production. Luckily, director Ralph B. Pena’s strong focus on story, which extended into the overall design, propelled this play to the top. Scenic designer Reid Thompson created a magical world of wonders. At first glance, we see a 70’s inspired hotel room that filled the entire space. But the reality of war found its way in. With the jungle surrounding, Thompson and lighting designer Oliver Wason created theatrical magic. Between the world beyond the wallpaper and the hidden traps, Pena’s staging allowed you to wonder what other tricks were up his sleeves. But for those few who don’t like surprises, Thompson didn’t always hide the magic so well, exposing the flaws of the design. Kenneth Goodwin’s extraordinary sound design captured the essence of Jung’s world. With the ambiance of war and the importance of the radio, Goodwin played into the necessity of reality. And it worked. Perfectly.
Among the Dead is bound to draw some criticism with some of the content but regardless, Hansol Jung’s play is a winner for Ma-Yi.

by Kaila M. Stokes

Are you ready for a hilarious existential experience? Then go see My Name is Gideon, I’m probably Going to Die Eventually. This long-winded title of a show will catch you off guard in more ways than one. It is exactly what New Yorkers need right now…laughter. My Name is Gideon is playing at The Rattlestick Playwrights Theater. This intimate space which houses many noteworthy productions is the key to making this production a success.
When you walk in the theater, you are greeted with warm lighting strung with Christmas lights all around the room. The stage is set up like an apartment, but not just any apartment. This apartment is eclectic, funky, creative, and maybe even a little bit mysterious. It will definitely give you some decorating ideas. The coolest thing about the set is it’s functionality. Throughout the show everything you see has a purpose. Nothing is placed on that stage that isn’t used in some way shape or form. The stage manager (Rebecca Guskin) has a heck of job because by the time the show is over the entire apartment setting is in chaos.

Without giving too much way, My Name is Gideon is about Gideon. That’s right. A one man show about the man in the show. Gideon is a musician, a performer, an artist, a traveler, and a renaissance man if nothing else. Gideon was speaking to audience members before the show started and he seemed reserved, but the cloak came off when the lights went down. It was clear this man is comfortable onstage and in front of crowds. He usually does shows in people’s homes around the world, so when something extra happened or a mishap occurred his ease inspired the audience to participate throughout and embrace the unexpected. Gideon’s performance was inspiring. He is a master of instruments and a passionate singer/songwriter. He really leaves it all on the stage and bares his soul, which is difficult to do.
Audience participation was a huge part of the show, and it was done right. It was a safe space for Gideon and audience members to share in laughter, tears, memories, and personal connections. The direction, by Ewen Wright, was organic and stayed in line with who Gideon is. Mr. Wright never lost sight of the type of performer he had in front of him - he let the performer inspire his direction it seemed. The partnership between director, performer, lighting designer, props master, set designer, and costume designer all seemed to marry together to form an ocean of creativity the audience could enjoy. There was never a dull moment.
My Name is Gideon, I’m Probably Going to Die Eventually is a must see. Don’t rely on this post to tell you what happened, because you need to see it to believe it. All you need to know is go in with a clear head, a full heart, and a great laugh. This show is funny. This show is clever. This show is thought-provoking. This show will make your week.

Name: John Marshall

Hometown: St. Johnsbury, Vermont

Education: AMDA NYC

Select Credits: The Mirror Rep's Carousel (Billy Bigelow), Hamlet (Laertes), and ArtisTree's Fiddler On The Roof (Fyedka), among others in the New England regional scene.

Why theater?: When asked, I usually joke, "If it rewards my neuroses and makes people happy, let's go with that." I perform because I can't help it. There's a fire inside, a joy, and when released, it moves people.

Who do you play in The Imbible: Christmas Carol Cocktails?: I play Barley, the Christmas Spirit. My real name is Jacob Marley, Scrooge's late friend and business partner, now turned New York actor and bar-tender. When Scrooge needs a second visitation on the value of holiday "spirits", back I come.

Tell us about The Imbible: Christmas Carol Cocktails: What a show. It's basically A Christmas Carol, Part II: Musical Booze Edition. Scrooge wakes up and wants to throw a Christmas party, now having a taste for the holiday spirit. Summoning Marley and the other Christmas Spirits, he receives a thorough lesson on festal drink, as does the audience, while we sing a barrel of carols, and serve a few holiday drinks to boot.

What is it like being a part of The Imbible: Christmas Carol Cocktails?: I laugh a lot. This cast is a lively one. We're all very comical, and that is put to good use in this show.

What kind of theater speaks to you? What or who inspires you as an artist?: Everyday life is the best teacher. If I simply look and listen, I find countless stories unfolding all around. Doing the same on stage or camera makes the story come to life; it allows the mundane to surprise us. That's what I work for as an artist.

Any roles you’re dying to play?: I sure wouldn't mind being Elder Price in The Book of Mormon!

What’s your favorite showtune?:"Ya Got Trouble", from Meredith Willson's The Music Man. I still have the whole thing memorized from a production years ago.

If you could work with anyone you’ve yet to work with, who would it be?: Denzel Washington. I admire his work, and I would learn a lot from him.

Who would play you in a movie about yourself and what would it be called?: Perhaps Jennifer Lawrence if she were a man? And it would be called, "Off the Walls, or How I Learned to Stop Worrying and Love Walks". She would go on lots of walks.

If you could go back in time and see any play or musical you missed, what would it be?: The Original West End production of Chess. I like the concept album.

What show have you recommended to your friends?: This one.

What’s your biggest guilty pleasure?: Nutella on Biscoff cookies.

What’s up next?: Who's hiring?

For more on John, visit https://www.facebook.com/JohnJosephMarshall/

By Michael Block

In a landscape of heavy, thought-provoking theater, sometimes all we need is theater that will entertain. The recipe to make an audience smile is a sprinkling of well-known standards, a dash of musical comedy, and a heavy layer of flashy dancing. The Roundabout Theater Company production of Holiday Inn, inspired by the film of the same name, is an instant classic. If you're expecting perfection, this is not your show. Holiday Inn is all about the fun.

photo by Joan Marcus

Written by Gordon Greenberg and Chad Hodge with music by Irving Berlin, Holiday Inn is a story about Jim Hardy, an entertainer who seeks a simple life away from the stage by trading the stage for a Green Acres life after buying a farm in Connecticut. While his best friend, Ted Hanover, and fiancé Lila Dixon take their act on the road for a life of fame and new romances, Jim becomes smitten with the daughter of the former owner, Linda Mason. With iconic numbers including, “Blue Skies,” “Easter Parade”, and “White Christmas,” Holiday Inn is classic musical comedy romance that brings two acts of cheer. Even as a formulaic musical comedy, Holiday Inn fulfills the smile quota. No doubt about it, Holiday Inn is a flashy Broadway musical. Every element Gordon Greenberg and company threw in fit the necessities of big budget musical. There was nothing simple about it. The rural farm life extended beyond the proscenium, into the house as the boxes were lined with lattice and lanterns. As big and bold the set from Anna Louizos was, a giant dramaturgical question arose. A main part of the plot featured Jim trying to save Mason Farm by opening the house up to guests on the holidays. Needless to say, Jim didn't have much of any money. Yet the decor that they use likely cost a pretty penny. Pretty to look at? Yes. Logical? Not at all. Alejo Vietti's costumes glistened and glittered. The choreography from Denis Jones was sugary goodness. With a plethora of tap-filled show stoppers, Jones’ numbers continued to top the previous. If your heart wasn't full and your eyes widen, you're clearly not in the holiday spirit.
Taking on the Bing Crosby role, Bryce Pinkham is a magnificent leading man. Pinkham’s charisma carried the show. Opposite Pinkham, Lora Lee Gayer is delightful. She brought a modern comedic sensibility to Linda Mason that was nothing short of refreshing. As the loyal and faithful mistress of the farm Louise, Megan Lawrence and her one-liners filled the room with laughter. But no one brought the house down quite down the littlest scene-stealer Morgan Gao. As Charlie Winslow, Gao was a natural.
Broadway always needs a show that will do nothing short of entertain. Holiday Inn is that show this season. If you need an escape from the world, check into Holiday Inn.

By Ed Malin

In 1906, Strindberg wrote a humorous fable, in uncounted iambic verse, appropriate for children. Leave it to Strindberg Rep to present Abu Casem’s Slippers as part of their ongoing mission to produce all of the Number One Swede’s theatrical legacy. Janet Bentley directs an ensemble of eight, who tackle fifteen roles in the busy world of Baghdad under Caliph Haroun al-Rashid (see: The Arabian Nights, 401-402). Anne-Charlotte Hanes Harvey’s modern translation is delightful. Strindberg, who may have been falling in love at the time he wrote this piece, delivers a charming, colorful story about human kindness, in which he weaves extensions from French fairy tales into the world of Baghdad, then the largest city in the world, a metropolis with a Persian name, run by an Arabian dynasty.

photo by Jonathan Slaff

Abu Casem (Mary Tierney) is a wealthy, stingy merchant who apparently loves nothing but money and beards. The glorious Caliph Haroun al-Rashid himself (Pooya Mohseni) decides to test Abu Casem’s true character by leaving an old pair of slippers in the marketplace, which Abu Casem finds and is pleased to wear. Abu Casem spends his days price-gouging, causing the ruin of merchant Ahmed (Oliver Conant), who bids adieu to his son Solimon (John Cencio Burgos) and leaves to make his way in the world. Meanwhile, Abu Casem rejoices in his fortune by going to the bath, at which point a cheeky Monkey (Laksh Midha) swaps his old-new slippers with those of the Cadi, a.k.a the grand poo-bah of the constabulary (Oliver Conant). Abu Casem rejoices at his even newer slippers, but is later accused of theft and suffers. He then tries to throw the accursed footwear into the water, bury them, etc. but each time the old slippers come back to him and he is punished. Abu Casem has a beautiful daughter, Suleika (Jaya Tripathi) who has sworn off marriage. She is loved from afar by Prince Guri (Marcos Sotomayor), whose waist is narrow as the almond branch, his eyes limpid as a young gazelle’s. However, Suleika’s angelic sleep has been defiled by dreams of treacherous lovers. Prince Guri pines in a pavilion, but soon he is wining and dining Suleika thanks to a clever ruse from Solimon (who sings the blues), kindly shoemaker Hassan (Kevin Vavasseur), the Nurse (Pooya Mohseni), and of course that slipper-struck simian. Speaking of watching from afar, Caliph Haroun al-Rashid, paragon of whom we are all unworthy, is also watching the action and is ready to administer justice. Why is the entire cast including merchant Ahmed dancing at the end? You will have to ask choreographer Kate Ostrowski, or just come to this fine spectacle.
What a joy has been brought to us from Baghdad via Stockholm. You-Shin Chen’s sets pitch us headlong onto the banks of the Tigris, into a fabulous forest, and into pleasurable places where fountains can be found. Jessa-Raye Court’s costumes are a sumptuous rainbow of tall hats, crazy kaftans and delightful monkey faces. I should also mention the beards which female cast members wear so well that my seven year-old daughter was fooled. Like a lucky drachma, you will find Lucky Pearto’s lighting and rejoice. Andy Evan Cohen brings dumbek, oud and other trancey instruments together to create one heck of a hammam soundtrack. Janet Bentley keeps this pageant moving as fast as the arrow of love flies and the monkey dances, which is to say very nicely indeed.

By Ed Malin

Renowned playwright Israel Horovitz has a new play at LaMaMa. Barefoot Theatre Company and Compagnia Horovitz-Paciotto present Gloucester Stage Company’s production of Man In Snow. The author directs this moving work, which has been adapted from his radio play for BBC 4.

David (Will Lyman) is back in Alaska to lead a group of amorous young Japanese couples who want to climb in Denali National Park. Folklore has it that a child conceived next to the highest peak in North America, under the Northern Lights, will grow up to be vigorous. While David doubts this story, he and his wife Franny (Sandra Shipley) have been to Denali before and he has returned several times. So has Mr. Takayama (Ron Nakahara), very sprightly for 89 years old, who admits that many of his twelve children were conceived at Denali. David frequently speaks on the phone with Franny, and they appear very much in love after more than forty years of marriage. David’s friend Connie (Paul O’Brien), who is also climbing in Denali, tells David that Mr. Takayama and his recently deceased wife spent a great deal of time there. David, whose son Joey died in a motorcycle accident a few years previously, connects with Mr. Takayama and they simultaneously grieve and appreciate their lives. It is almost as though the time spent in nature is their real existence, and the intervening time disappears. The gentlemen may seem a bit self-absorbed, but indeed David talks to an apparition of his son Joey (Francisco Solorzano) and Mr. Takayama scatters his wife’s ashes on the slopes. Perhaps the separation from urban life was necessary for everyone to be at peace. Flashbacks show the devastating effect of Joey’s death on his family, including Franny’s emotional withdrawal and David’s finding comfort with another woman. However, as David calls his daughter Emily (Ashley Risteen) on the night before her birthday, father and daughter finally become close. Could it be that no one could come between David and Joey, and that the younger, more accomplished daughter was disrespected? This play contains much introspection. Even when an act of nature isolates David from the rest of his group, he calls Franny and talks sweetly to her through the night.
Jenna McFarland Lord’s set is a beautiful stark white, to which Niluka Hotaling’s lighting adds the brilliant Aurora Borealis. The non-linear storytelling is very interesting and I got the impression that the characters who were not in a particular scene were observing and listening to the action. Franny, who like Emily works in publishing, is always reading stories and even has dreams about them. This play also connects the world of the living and the world of the dead, despite the opinion of Connie that you only get one shot at life. Those who are looking for a testament to lifelong monogamous love will certainly appreciate this show and the emotionally conversant characters. Mr. Takayama’s endorsement of the old-fashioned Japanese extended family living arrangement is also beautiful.

By Michael Block

Even in November, we're getting in the holiday spirit. From the folks who brought you the hit drinking show The Imbible, comes the Christmas spin-off The Imbible: Christmas Carol Cocktails. Drink the night away with holiday merriment but if you're expecting any semblance of theatrical content, you'll surely be disappointed. But those drinks, they’re divine.
Billed as a sequel, of sorts, to Charles Dickens’ “A Christmas Carol,” the spirited Scrooge wants to throw a Christmas party but doesn't know how. He calls upon the spirits, or ghosts of Christmas Past, Present, and Future, for some help. Throw in some trippy time travel and fourth-wall location-bending, The Imbible: Christmas Carol Cocktails takes Scrooge through a brief history of holiday drinks. To put it bluntly, this is a confused concept. Anthony Caporale's writing is littered with unfunny recurring jokes that lean into moans by the end. For the theater person attending, the content can be frustrating. It's a dramaturgical nightmare. But the reality is the audience attending is present for the drinks. Accompanied by a history of holiday libations, the spin-off is, compared to the original, is formulaic. And that's fine. It's what the audience desires. That being said, The Imbible: Christmas Carol Cocktails could be immensely stronger had the writing been better. The first twenty minutes are spent as a giant set-up for the conceit that feels more like filler than necessity. If the “A Christmas Carol” parallels are important, creating a straight-up adaptation rather than a mixed sequel would have been best. If you look at character arc, Scrooge goes from happy to confused to happy. It's not that interesting. Had it been bah humbug Scrooge who goes on a similar journey to the source material but rather than see the various Christmases the spirits hammer in the teaching of drinks past, present, and future, the night would have made more sense. Simplicity is key when the night is about the booze. Less is more. And in the world of sequel, inserting quotes from the source material doesn't quite work. Musically, there were Christmas tunes a-plenty. Thematically, the music Caporale infuses don't always match the previous or upcoming action causing the wonderful songs to be transparent time-fillers for drink concocting or costume changes. The songs of the season occasionally featured some bizarre parody. No matter what, the arrangements from Josh Ehrlich are quite fun. Though a little more variety would have been exciting. Caporale may not be a storyteller but he certainly knows everything there is to know about alcohol. When it came to the history and science of the drinks, they showcased the strongest moments of writing. Paired with strong performers who bring excitement into those narratives, this is why The Imbible: Christmas Carol Cocktails exists.

It's rare that a writer-director combo successfully pans out. When it comes to comedy, the director tends to be the necessary litmus test to determine if the material is funny. But when the roles are combined, there's no voice of reason. When the improvised bits garner larger laughs than the scripted material, you know you're in trouble. The quartet of Kate Hoover, John Marshall, Andrew Orsie, and Morgan Troia not only have beautiful voices, they know how to find humor in weak material. They worked well off of one another, bringing cohesion to the stage and filling gaps when things inevitably went awry. As Scrooge, Andrew Orsie brought an adorable dopiness to the newfound fan of Christmas. Caporale continually had Scrooge lament that he was confused or didn’t know what was happening with the twisted plot. Orise managed to sell it. Jacob Marley, due to a Equity rules and a half-hearted joke, has to change his name to Barley. Taking on the tour guide of the night, John Marshall has impeccable timing. Marshall simply walks on stage and garners the easy laugh through expression and pose. Similarly, Kate Hoover is effortless in her approach. Morgan Troia had another difficult character to capture. Her arc was iffy but Troia shined in her vocals.
The Imbible: Christmas Carol Cocktails is a festive night with drinks that were fun and fabulous. It’s fast-paced cheriness that kicks off the season. If you can put aside the text, you’re bound to enjoy yourself. The drinks are worth the price of admission. And as an added bonus, your program features the recipes!

Name: Kathleen O'Neill

Hometown: Small town in Wisconsin

Education: MFA from Boston University in Directing

Select Credits: I seem to be doing a number of originating roles - Annie Jump Cannon in Insignificant, Blue Heron in Dark Waters, Nana in Sweet Sweet Spirit, Older in Over the River and Through the Woods, Lyubov in The Cherry Orchard

Why theater?: I get to tell a story every performance. There is a creative team process that is invigorating and challenging. Then the audience is added and magic happens. It is never the same story twice.

Who do you play in Clover?: Landlady, Helgeland and Old Mrs. Cronin

Tell us about Clover: An old man, formerly a police officer is dying of brain cancer and reviews his life through a series of bizarre dreams based in the story of Emmet Till and his own experience with murder. It is not linear.

What is it like being a part of Clover?: Stimulating and fun and challenging and energizing. Because it is based in Innovative theatre the process is different and flexes different acting muscles.

What kind of theater speaks to you? What or who inspires you as an artist?: It isn't a "kind of theatre, it is good story telling, good writing and an exploration of being human.

Any roles you’re dying to play?: MANY! - Eleanor of Aquitaine in The Lion in Winter, Margaret in Richard III and her whole Shakespeare history, Amanda in The Glass Menagerie, The Madwoman of Chaillot, anything O'Neill or Williams.

What’s your favorite showtune?:"Bring Him Home" from Les Miserables and "Somewhere" from West Side Story.

If you could work with anyone you’ve yet to work with, who would it be?: I currently have the list for women at 30 and or men still working - there is SOOOOO much talent - Kate Winslet, Judy Dench, Susan Sarandon, Bernadette Peters, Cate Blanchette, Natalie Portman and on and on and on!

Who would play you in a movie about yourself, and what would it be called?: It would be called “But First I had to...” and I would be played by Emma Stone or Kate Winslet? or.....

If you could go back in time and see any play or musical you missed, what would it be?: Original Tennessee Williams

What show have you recommended to your friends?: The Lion King, Jersey Boys, Something Rotten, and more

What’s your biggest guilty pleasure?: Binging on crummy TV.

What’s up next?: More more and more - 2 projects in the works. Hoping 2 of the other projects I have done will continue. Travel and writing and movies and friends and work with a company in an entirely different field - conflict resolution.

For more on Clover, visit http://lamama.org/clover/

By Michael Block

Primary Stages brings Horton Foote back to New York in a spirited revival of The Roads to Home. Comprised of three connected pieces, A Nightingale, The Dearest of Friends and Spring Dance, Foote transports the audience to Texas for a slice of life in the 1920s. Directed by long-time Foote collaborator Michael Wilson, The Roads to Home is a simply stated production.

photo by James Leynse

In the first act, neighbors Mabel and Vonnie sit in Mabel’s kitchen for a little talk and peep session. With stirrings surrounding Vonnie’s marriage as the central topic, the gossip and rumors take a turn toward Annie Long, a young woman who has found herself transplanted into a new life. Even with a loving husband and children, Annie has not recovered from her father’s murder. When Annie pays a visit, Mabel and Vonnie subdue the situation, playing off of Annie’s mental state. Six months later, Vonnie is still married to the man who is cheating on her, yearning for answers. She pays another visit to Mabel’s where Jack, who knows the situation, sleeps in his chair, listening to the women grapple with morality. A Nightingale and The Dearest of Friends are a thoughtful examination on perception in a time that seems to distant to our present. Vonnie will not divorce her husband despite his actions simply due to how others would perceive her. Today, Vonnie would not only shove divorce papers in her husbands face, she’d make a spectacle out of it. When it comes to Annie, Foote looks at how people of that time treated mental illness. Until she virtually breaks down, everyone makes excuses for Annie. They say she’s dealing with something. It’s a temporary thing. But the reality is that it’s much severe than that. Which brings us to Spring Dancing. This act focuses on Annie and her fellow patients at a mental institution in Austin during their spring dance. Annie, now four years in treatment, reads hers, as well as her friends, letters for him as a way to connect to home. The information she learns stirs her up a bit yet she keeps a sunny disposition. Foote’s language normalizes the characters in their dire situation. Without the context clues, perhaps you wouldn’t know where Annie and friends are.

photo by James Leynse

Foote’s story is very old-fashioned. It’s naturalism at it’s finest. And Michael Wilson plays into that. These are tales that look into tiny moments of individuals discussing the past. Yet nothing truly happens. And that’s ok. That’s what this play is. An examination. To alleviate monotony, Wilson heightened the comedy, as best he could. At least in the first act. The pacing left much to be desired though it helped tap into the honesty of Foote’s characters. The most theatrical element of the production happened to be Jeff Cowie’s scenic design. To portray the multi-room Votaugh household on the tiny stage of the Cherry Lane, Cowie offered a turn-table to divide kitchen from living room. Even with the tightness of necessary furniture, Wilson kept the movement alive. By the second act, the set was transformed into the outside of an auditorium. The vastness was alarming juxtaposed to the intimacy of the conversation. With the style that Foote writes in, life occurs throughout these conversations. Meaning the inclusion of ambiance is integral. If you didn’t notice John Gromada’s soundscape, that’s ok. It was perfectly present and effortlessly real.
No offense to the men who did a fine job, The Roads to Home is all about the ladies. Bringing these women to life seemed old hat to this company. Hallie Foote as Mabel was equal parts sincere and amusing. She was a great ear to the always hilarious Harriet Harris as Vonnie. Even in her hysterics, Harris knows how to land a joke. Taking on the difficult role of Annie, Rebecca Brooksher waltzed through the play. There was something ethereal to her character that purposefully never balanced out.
The Roads to Home is all about perception and longing for home. Foote’s play has found a nice home with Primary Stages. But it’s perception is bound to be split. To some, it will be charming and resonate. To others, it will feel slow and dated. And that’s just how it is. The Roads to Home is what it is.

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