Theater in the Now

Name: Connor Wright

Hometown: Doylestown, PA

Education: NYU, BFA Dramatic Writing (2016)

Favorite Credits: I once played Javert in my high-school production of Les Mis. I was a very noodly Javert.

Why theater?: I wrote a lot of TV pilots in college, but every scene has to be three minutes tops and can be super constricting. I can write dialogue for hours and theater lets you do that. I like the idea that you in the audience could spend ten-minutes feeling like you’re there in the room, watching TV with people that don’t exist.

Tell us about Our Dead Friend’s Porn: It’s a play about three friends who break into childhood bedroom of their friend who died in high-school, so they can destroy the massive porn collection he left behind. In the magazines they find his old journal, which spurs on a series of flashbacks, forcing them to decide what really happened the night he died and whether or not they caused it.

What inspired you to write Our Dead Friend’s Porn?: I read a story online about someone doing this exact thing. Then I started talking to a lot of guys who were like “Oh yeah all of my friends have a pact to throw my laptop in the river if I ever die.” That whole situation is so dark, and weird and kind of cute. I liked imagining how people would handle that awkwardness. Joel Kirk, the director, read the first draft and thought we could really make something out of it so we just kept making it more and more awkward.

What kind of theater speaks to you? What or who inspires you as an artist?: Kenneth Lonergan really picks up on the rhythm of way people talk. His movie "Margaret" has one of the best mother-daughter fights scenes. The ending of This Is Our Youth inspired a lot of this play. I’ve learned a lot from the way he does dialogue.

If you could work with anyone you’ve yet to work with, who would it be?: One day, if Kathryn Hahn ever reads a word of my dialogue, I will shit myself.

What show have you recommended to your friends?:The Wolves– does more than most plays in 80 minutes. It made me cry. It’s the most I’ve ever cared about soccer.

Who would play you in a movie about yourself and what would it be called?: Judi Dench, Notes on a Scandal

If you could go back in time and see any play or musical you missed, what would it be?:Spring Awakening. Which I honestly have no excuse for – I just forgot to buy tickets both times.

What’s your biggest guilty pleasure?: I buy lots and lots of cheese and make fancy platters out of them at cocktail parties. It’s a surprisingly expensive and embarrassing hobby.

If you weren’t working in theater, you would be _____?: A lawyer. I like arguing. I’d also like not being poor.

What’s up next?: Back to writing -- I’m working on a play about assistants at a talent agency. Hopefully my coworkers don’t read this. I also have a two-man show about relationships that I want to act in. Overall, work with more good people. Putting this show together was so fun because of the people.

For more on My Dead Friend's Porn, visit https://www.facebook.com/events/1058739920921986/

By Michael Block

The image of the modern family is ever changing. They come in every shape and size. From two dads or two moms, families with adopted children, blended families, you name it, they're present. What ties them all together is love. But what is love and who does your love belong to? In David Harms’ audaciously predictable drama What We Wanted, the family at the focus is one of polyamory. Julian and Agnes have invited Sally, and thusly her daughter Reggie, into their home many years ago. Their tight-knit family starts to unravel as the individual hearts long for something different and new.
What We Wanted is a play that gets on the theatrical radar for exploring what it means to have a polyamorous romance. To some, it’s taboo. Others, it’s love. Nevertheless, it’s a subject that hasn’t quite found a theatrical platform. David Harms has attempted to do so. Unfortunately, the execution was calamitous. Julian, Agnes, and Sally have a lovey, touchy-feely romance. Living under the same roof for years, their romance begins to unravel as Julian professes his heart has opened to other women, Agnes has a job opportunity in New York City, and Sally has accidentally engaged in flirtmance with her daughter’s boyfriend. When the truth comes to the surface, the happy throuple must decide is their situation working any longer. The way Harms allows his story to unfold is melodramatic with a soapy undertone. The baffling plot is expectable, many twists projected scenes ahead. Harms’ characters are well-educated and express it at every moment possible. Harms introduces a highfalutin language for the characters that detracts from the authenticity of the characters, often teetering on the border of caricature. What We Wanted tried greatly to be an ensemble piece but giving Sally superfluous monologues caused grand confusion. Making Sally a narrator, Harms intentionally, or unintentionally, places her as the centerpiece.

photo by Jacob J. Goldberg

The play explores these characters in the privacy of their own home. We watch the trio through their hippy dippy sentimentality and their new age fluidity but you have to wonder what their professionals act like in public. It cannot be what was portrayed in the comfort of their love nest. No matter what, Amy Bodnar as Sally, Steven Hauck as Julian, and Elizabeth Rich as Agnes did all they could with their characters. Of the three, Rich found a beautiful resolve in Agnes that broke free from the constraints of the world. As the two youngsters, Kerry Warren as Reggie and Brandon Espinoza as Dale showed promise until their story took a drastic turn. Once Dale lusted after Reggie’s mom and Reggie sought revenge, nothing felt realistic. Though if that was the dialogue Harms was going for, he knows how to win over a soap opera crowd.
You have to wonder if the hope of distraction from the text was introduced in the form of spectacle. Entering the theater you immediately are struck by Deb O’s scenic design. The walls and the floor are covered in aged papers. It was eerily reminiscent of the design for Eurydice. But it’s a troubling when you can’t decipher whether the break in consistently lined paper that trails off toward the top was a design choice or because there was no more time or paper. The furniture that she choose was a nice marriage of vintage and modern, indicative of the conversation of the relationship in question. Drew Foster’s rules of directions were a bit wonky, especially when it came to the source of music during the dance bits. Being a theatrical device is one thing but it is not earned with the rules previously established. Lighting designers Paul Miller and Joe Beumer had their work cut out for the them with the stark walls but they managed to make it work.
What We Wanted is not necessarily daring in normal theatrical standards, as it is a self-explanatory living room drama. What makes it daring is the topic that playwright David Harms explores. What We Wanted is very much a play in progress that shot for the stars and missed in this big production. Harms has a lot of fleshing out to do before the next iteration.

Name: Matthew Hazen

Hometown: Miami, Florida

Education: New World School of the Arts High School, Musical Theatre Concentration
Syracuse University, B.F.A. in Musical Theatre

Select Credits: RENT (Restaurant Man/Paul, Syracuse Stage); I Love You Because (Austin, Syracuse Mainstage); Hello, Dolly (Cornelius, Granbury Opera House); Pippi Longstocking (Officer Klang, Actor’s Playhouse); A New Brain (Roger, Syracuse Mainstage); Web Series: "3rd Wheel" (Dustin), "Datebook" (Willy)

Why theater?: While I love both the theatre and film/tv, there’s nothing that beats the raw and vulnerable feeling that theatre provides. While film captures close-up, perfected moments, theatre is about the rehearsal and the work. When you see a live performance, there’s something new, spontaneous, and in the moment happening before you, end yet that performance has been crafted through weeks (and sometimes months) of intricate work in rehearsals. Theatre is all about presenting a finished piece that is alive and changes. You can see one show dozens of times, and though the actors will be speaking the same text and moving on the same cues, each performance will feel special and unique.

Who do you play in Dragon Slayer?: I play Lenny, an unintentionally self-absorbed writer in NYC. He desperately wants his show to be a hit, and see his name in lights.

Tell us about Dragon Slayer: Dragon Slayer is the story of a waiter named Lenny, attempting to write the next great Broadway musical (aptly titled “Dragon Slayer”)… but while his lousy show takes priority in his life, he loses his grip on the things that matter.

What is it like being a part of Dragon Slayer?: This is my first experience originating a role in a new musical. It has been an exciting and creatively fulfilling adventure helping craft this piece, and being a part of bringing this fun story to life.

What kind of theater speaks to you? What or who inspires you as an artist?: I’m a big fan of musical comedies with a firm center in real emotional life. I love a show that revels in the silliness of characters breaking into song, but honors the real feelings of those characters. I’m inspired by artists who can tell captivating stories. I’m particularly enthralled by long form story-telling, as has especially become popular with serialized tv dramas with thrilling cliff-hangers and plot twists. I’m a sucker for an adventure.

Any roles you’re dying to play?: I’d be thrilled to some day play Seymour in Little Shop of Horrors. I’m a huge fan of that show’s dark comedy.

What’s your favorite showtune?: Oof, that’s tough one. I have like 100. But I’ve found myself lately listening to “For Now” from Avenue Q quite a lot.

If you could work with anyone you’ve yet to work with, who would it be?: I would have to say Ilana Glazer and Abbi Jacobson - their show "Broad City" is one of the funniest things I have ever seen. I would love to get to know how their brains work.

Who would play you in a movie about yourself and what would it be called?: I think maybe Justin Long. The movie would be called “I Dunno, What Do You Feel Like Eating?”

If you could go back in time and see any play or musical you missed, what would it be?: I would kill to see the ’92 revival of Guys and Dolls with Faith Prince and Nathan Lane.

What show have you recommended to your friends?: I INSIST every single person I know see Book of Mormon. I’ve seen it three times.

What’s your biggest guilty pleasure?: I love binge watching a good suspenseful dramatic tv show. I love losing myself in a story that keeps on going, or that reveals itself to have deeper meaning as the series continues… Some of my absolute favorites include: “LOST,” “Breaking Bad,” “Battlestar Gallactica,” “House of Cards,” “24,” “Game of Thrones…” the list continues from there to get embarrassingly long.

What’s up next?: I’ll be releasing my new 12-episode web series, “3rd Wheel,” this February! It’s something I wrote, produced, and acted in, and have been working on for 2 years. I’m thrilled to share it with the world, and hopefully make many people laugh with it! You can catch all the episodes on our website, www.3rdWheelSeries.com, or follow us on Facebook at facebook.com/3rdWheelSeries.

Name: Stuart Fail

Hometown: McHenry, IL.

Education: MFA in Writing for Theatre, Film and Television from UCLA.

Favorite Credits: As a director: Orphans, Hurlyburly, A Life in the Theatre, The Artificial Jungle, Independence, Twelfth Night, Fiddler on the Roof, Burn This, Keely and Du

Why theater?: It's an immediate art form for the audience and artists. The visceral experience in theatre is powerful as it delivers the story via a conduit that connects the audience with the emotional action on stage.

Tell us about Consider the Lilies: Paul is an aging, alcoholic artist who engages in reckless behavior much to the disappointment of his agent, David. As David tries to return Paul to his former glory, Paul spends most of his time trying to get David to fall in love with him. David loves Angela, who has become pregnant from another man. The volatile relationships lead to a tragic ending.

What inspired you to write and direct Consider the Lilies?: It is somewhat autobiographical, and when the friend passed away, I felt inspired to write the play. I embellished to create a fictional piece. But I also wanted to show real people who live real lives who often are marginalized in society. I wanted to direct it to explore the characters with actors to see the growth of the play firsthand. I am directing as well as writing in general, as I love to do both, and have MFA's in both directing and writing for Theatre, Film and Television.

What kind of theater speaks to you? What or who inspires you as an artist?: Any kind where the playwright writes inspired stories and actors can involve me to the point of a cathartic experience. Writers who love and care about what they do, because it shows in their work.

If you could work with anyone you’ve yet to work with, who would it be?: Other playwrights I respect so I could learn from them. Unfortunately, many of them have passed away. As a director, I'd love to direct many different actors and playwrights--the list is long.

What show have you recommended to your friends?: Too many good ones.

Who would play you in a movie about yourself and what would it be called?: Austin Pendleton.

If you could go back in time and see any play or musical you missed, what would it be?:A Streetcar Named Desire.

What’s your biggest guilty pleasure?: I'm a foodie. Italian and Japanese primarily.

If you weren’t working in theater, you would be?: A chef.

What’s up next?: My play The Book of James will be at Manhattan Repertory Theatre January 31st and February 5th.

For more on Consider the Lilies, visit www.houseredtheatre.com

By Michael Block

Sometimes others' actions can take great toll on an individual. In Holden, J.D. Salinger can't quite seem to follow up the success of "The Catcher in the Rye" after he's haunted by the actions of some infamous assassins. Written and directed by Anisa George, George & Co's production is a surrealist fever dream to say the least.
The play begins with a trio of men in a rustic cabin preparing for another to awake and write. The stakes are high as the man needs to write a follow up to his greatest success. That success just happens to be "The Catcher in the Rye." Chapman, Hinckley, and Zev rally Salinger around his typewriter but can't get him to finish his follow up. The catch is this trio isn’t really there. Salinger is haunted by the spirits of assassins who obsessed over "The Catcher in the Rye", two of whom possessed it after they shot John Lennon and Ronald Reagan. Holden is a fantastically dark exploration of the internal search for self through the lens of violence. Using notable names, George and her company have allowed an instant way in for the audience. The extension thankfully never feels gimmicky when identities are revealed. Whether you know the complete history of the individuals or not, knowing just the big highlights, such as who killed, or tried to kill, who crafts a direct narrative that prevents George from needing to include extensive exposition. But it's the pair of characters that do not have a notable identity that are the big mysteries of Holden. And in turn, they are intriguing. Who is this Zev of the future and why is this little girl meandering around Salinger's cabin? We get a grand reveal at the end with the girl but Zev's identity is a little more uncertain. Zev represents a person and idea of what has yet to come. Someone who will be. But at the start, Mark David Chapman and John Hinckley ask how he got there and finally learn why he is there. But is Zev's presence consistent with the rules of the world? Is it a stronger choice to have Zev go on the journey to find himself and realize who he is by giving him a specific horrific act? No matter what, George and her company have set up a bold new world that is just mystifying as it is terrifying.

photo courtesy of plate3.com

With Anisa George serving as the creator and director, Holden was a mark of a singular vision. For the most part, her consistency in creating her world followed through but there were moments you wished a trimming or two would occur. Despite a brisk running time, Holden does not move along swiftly. Holden lived heavily in silence. It was mostly earned and can be completely earned should the trimming occur. As it stands now, the balance is off kilter causing the piece to be unintentionally slow moving, even during those bursts of excitement. George created a world that was physically intricate and strongly developed. The characters were well lived in. They moved independently of one another yet had a cohesive bond. To create Salinger’s hideaway writing bunker, scenic designer Nick Benacerraf used logs to create walls with just the essentials in the way of furniture. It had an earthy, rustic feel that brought out a particular eeriness. Lighting designer Seth Reiser’s mesmerizing design was evocative. Through the use of vibrant color and darkness, the uneasy mood raised the stakes through its intensity as was matched with Alex Bechtel’s sound design. The costumes from Rebecca Kanach rightly kept the time and place in question. Each outfit was reminiscent of their counterpart yet still had individuality. Though, if being hyper critical, putting Zev in jean shorts seemed a bit strange.
It takes immense talent and skill to bring humanity into two people deemed as monsters by society. Jaime Maseda and Scott R. Sheppard as Chapman and Hinckley painted the pair with such a firm stroke that empathy for their situation was immediate. A sense of understanding resonated. Matteo Scammell as Zev threw himself about with the greatest of ease. Scammell gave Zev a resounding egotism that helped to bring out the kinder sides of Chapman and Hinckley.
Whether Anisa George and her ensemble shattered your thoughts or you had to dig a bit deeper for it, the message within is unquestionable. Holden’s disturbing venture through violence is an ambitious conceit. “The Catcher in the Rye” doesn’t directly lead to violence but the discussion on what the character has done to people’s psyche is the draw of Holden.

Name: Austin Pendleton

Hometown: Warren, OH

Education: Yale School of Drama

Select Credits: Broadway in the revival of The Diary of Anne Frank and Off-Broadway in the title roles of Hamlet, Richard III and Richard II. Film: "A Beautiful Mind"

Why theater?: I love working in the theater.

Who do you play in Consider the Lilies?: Paul, a painter.

Tell us about Consider the Lilies: it's about a relationship between the painter Paul and his young agent, David. Paul and David are very close. David wants to be close to Paul in one way. Paul wants to be close in another way. This keeps them bound together and then tears them apart in the worst possible way. There are vividly drawn other characters as well, all of them in one way or another drawn into the whirlpool of what's going on between Paul and David.

What is it like being a part of Consider the Lilies?: It's exciting It's a complex, rich, beautifully dramatized play.

What kind of theater speaks to you? What or who inspires you as an artist?: Just about any kind of theater that is realized in any way on the page speaks to me. What or who inspires me as an artist? Anybody who's good and who really cares about the work. I mean, the list? I could go on for hours.

Any roles you’re dying to play?: When I was quite young I lost a part I desperately wanted and was sure I was going to get. When I didn't get I realized I couldn't pursue this line of work if I ever let myself want a specific part that much again. I nearly swayed from that twice, with parts I got close to getting (Mozart in Amadeus, Ned Weeks in The Normal Heart, in their original New York productions) but I managed to steady the ship and avoided that, you know, actor despair, and those experiences only strengthened the resolve I'd made never to get into that kind of thinking again. So what I do is take a part that's offered me and try to invest it with that kind of passion.

What’s your favorite show tune?: I love, like, a lot of Rodgers and Hammerstein. Or Bernstein. Or Sondheim. Or Bernstein and Sondheim. Or Harnick and Bock. Or Cryer and Ford. I better stop now. I'll keep you up all night.

If you could work with anyone you’ve yet to work with, who would it be?: Again, I don't want to get into that. I want to get really into whoever I'm asked to work with.

Who would play you in a movie about yourself, and what would it be called?: I think it would be a silly idea to make a fictional movie about me, so I've never thought about that. (There is a 20-minute documentary about me that just came out recently. I stayed out of that, because I felt any suggestions I made would be appalling corrupt, so my only contribution to it is to be interviewed. They got wonderful interviews from wonderful people in that: those people talked not only about me (thank God) but about what it's like to be in this business, what it costs, and the glory of it nonetheless.

If you could go back in time and see any play or musical you missed, what would it be?: This answer is by no means particular to me but: Laurette Taylor in The Glass Menagerie.

What show have you recommended to your friends?:The Band's Visit, and (if it were still playing) The Gabriels.

What’s your biggest guilty pleasure?: Please!

What’s up next?: King Lear (the title role) at the Secret Theatre. This proves that I am crazy.

By Michael Block

Some people have skeletons in their closet. Others have porn. In Our Dead Friend's Porn by Connor Wright, Nate's porn stash reveal a wealth of secrets that aid in finding closure for three friends following Nate's death three years earlier.
Our Dead Friend's Porn is a boisterous comedy about the bonds of friendship as Lee, Woods, and Gracie must clean out the porn from Nate's room, a request he had on his death bed, prior to his family selling the house. As the porn stash grows, so do the truths about the trio and their fallen friend. Connor Wright has written an engaging script that's equal parts funny and sentimental. The characters instantly mesh with the quick dialogue. The accessibility of the language brings the comedy out in a manner that is authentic. But rather than keep the action passive, Wright introduces a plot device of the flashback. As important as the scenes and exposition is, Nate's entrance somehow let the air out of the momentum. Each character got their moment with Nate but there's a beauty in creating our own Nate in our minds. Certainly the device can remain but further exploration in tightening it can be helpful. Device aside, one of the boldest beats came in the last scene where we watch the Nate and Lee flashback, this time with a twist. Was this scene a do over for Lee or the reality that he didn't tell Gracie and Woods. Leaving it up to interpretation greatly alters the narration. Device aside, Wright ran into one plot hole that affected the inciting incident of the play. We learn that Lee lures Gracie and Woods as a means to discover the truth of Nate's death. We also learn that Nate asked Lee to clean out his porn on his death bed. If he was so concerned about Nate, why not ask him in that moment in the hospital? As minor of a plot hole it is, it is one nevertheless.

The main trio of Alex Curran as Gracie, David Merten as Woods, and Graham Techler as Lee brought the essence of friendship with ease. They picked up on one another wonderfully. The standout of the bunch though was David Merten. Merten brought an offbeat goofiness that was endearing. It was a captivating charm that allowed you to dismiss some of the nasty things Woods spewed. Merten had already stolen your heart. Curran as Gracie gave an earnest performance finding a mellow sturdiness to the girl looking for companionship. Individually, Techler and Griffin Carpenter as Nate created strong characters. Carpenter's Nate, though a bit erratic, was filled with mystery and intrigue. Techler had a firmness. While we know that there is a bit of a wall between the two friends, Carpenter and Techler didn't quite have the chemistry they had with everyone else. Something was missing. Unfortunately, not believing in this friendship deters the overall arc.
Director Joel Kirk made the best of the festival and created a ninety minute world that was full of life. Kirk assisted his company to find the weight within the humor. Wright's story is deep and it's easy to only explore the funny. But that's boring. Kirk dove deep and pulled everything up to the surface. By simply playing with boxes and some furniture, Nate's bedroom was perfectly created. Whether it was staging prior to moving into the space or fear of the architecture, not using the door on stage was a big mistake. Whether it was the entrance into the room or the door to the closet, Kirk needed to use it. Additionally, the blackout that precedes the actual ending caused an audience applause as it could have been a viable ending. With a theatrical vocabulary previously established, Patrick Korkuch could have simply faded Nate away as the lights transitioned to reality avoiding the black out altogether. The final applause never reached the peak it did with the real ending.
Our Dead Friend's Porn is a comedy to keep on your radar. That is if you can get past crude bro humor. Connor Wright has a natural comedic voice that was propelled by a strong vision by director Joel Kirk.

Name: Eric Joshua Davis

Hometown: Ashland, KY

Education: B.A Dramatic Arts from Centre College. Rose Bruford College in UK

Select Credits: Stanley in Brighton Beach Memoirs and Richard in The Rise and Rise of Daniel Rocket. Recent film and television credits include “Sleepy Hollow,” “Nashville,” and “Pacific Edge” with Ed Asner which won the Los Angeles Independent Film Festival.

Why theater?: Theatre is the temple of humanity. The offering the audience gives the temple is their complacency, their familiarity with the status quo of their current worldview. The theatre practicioner, in turn, gives them back a resonating catharsis, a catalyst which enables the audience to see the world with fresh eyes and feel with purged hearts.

Who do you play in Consider the Lilies?: I play the character David, the art agent of the aging, alcoholic painter Paul.

Tell us about Consider the Lilies: Set in Paris and New York, Consider the Lilies is a play about an aging, alcoholic painter who feels that he has lost his way, and his relationship with his art agent and best friend, David Phillips. David and Paul have a love affair with the soul of the other. David is torn throughout the play between bonds of friendship, family and his romantic relationship with his girlfriend, Angela. David and Paul both feed from each other and take from each other in a very meaningful, yet tenuous friendship - maybe something even greater. Their need for artistic and personal inspiration draws the two together and apart throughout the play.

What is it like being a part of Consider the Lilies?: Being a part of this production, with the amazing Austin Pendleton, has been a stage career highlight for me thus far. The explorative rehearsals are truly a joy and rarely have I felt such a freedom to try new and different takes on scenes, justifications and character motivations.

What kind of theater speaks to you? What or who inspires you as an artist?: I am able to find just about any type of theatre that speaks to me. There is almost always something that can be mined from a production that enables the practitioner or audience member to understand more about the human condition: its frailties, strengths, passion and indifference. I would be hard-pressed to pinpoint a particular person that inspires me as an artist, but I can pinpoint a particular archetype - the under dog, passionate person who hails from obscure environs. That same person who at times possesses only her own belief in herself and her talents. She both suffers the slings and arrows of outrageous fortune and she takes up arms against a sea of troubles. In essence - a David who must face his Goliath.

Any roles you’re dying to play?: I would love one day to play King Lear and Stanley Kowalski.

What’s your favorite show tune?: Just about anything from Sweeney Todd

If you could work with anyone you’ve yet to work with, who would it be?: At the top of my current list is Laura Linney and Michael Shannon

If you could go back in time and see any play or musical you missed, what would it be?: Despite the fears and pitfalls of screwing with the timeline I believe I would have to go back to see Our American Cousin and save President Lincoln in 1865.

What’s up next?: Next in February I am in an original work, entitled The Book of James, at the Manhattan Repertory Theatre near Times Square - playing the titular role.

For more on Consider the Lilies, visit http://www.houseredtheatre.com/

By Michael Block

All Mariah MacCarthy wanted to do was give her child to gay people. And spoiler alert, she did. But even with the conclusion spoiled in the title, Baby Mama: One Woman’s Quest to Give Her Child to Gay People is a story about a journey had by one strong woman. Written and performed by MacCarthy, the Caps Lock Theatre production tugs at your heart as the illustrious scribe shares an intimate and personal story with no fear at all.
Sharing the story of the nine months and some she carried her son, Baby Mama is the raw and real tale of the most adult decision of Mariah MacCarthy’s entire life. With a strong narrative style, MacCarthy wistfully takes her audience through almost every thought and choice she made after becoming pregnant. MacCarthy’s writing style is accessible and poignant. She doesn’t littler her script in metaphors, she is concise and lets the story speak for itself. Keeping the tale in chronological order allowed the rhythm of the event to unfold naturally. The anticipation was maintained even when she humorously spoiled the outcome as she did find ways to potentially fool you. MacCarthy brought immense heart and soul that effortlessly leaped from page to stage. From a performance vantage, it took some time to warm up to MacCarthy on stage. There was a bit of discomfort to start but once she began to live in her story once again, MacCarthy beamed with passion.

photo by Kacey Stamats

To help navigate MacCarthy through her story, director Sara Lyons helped to bring out the humor of the situation while balancing the gravitas MacCarthy infused. With a very to-the-point text, Lyons captured the sincerity and wit of MacCarthy’s textual roadmap. Highlighting the humor through the asides engaged the audience into the intimacy, making the audience feel as if they were another friend gifted this story. MacCarthy’s script has clear cut beats and chapters, per se. And in those moments, she would take a breath and a sip of water. Lyons and her design team needed to find something to cover the break beats. Whether it was sound or allowing MacCarthy to incorporate the water bottle into her act, the silence was sadly uncomfortable. That being said, the simply stated design was perfect for this production. MacCarthy was radiant as the lady in red, dressed by costume designer Stirling Allred. The purple dusting treatment on the wall and floor from Nick Francone gave the space just the pop it needed. Francone, who also served as lighting designer, brought some more color into the space that didn’t necessarily alter the mood but give a little more pizzazz to the story. There’s something about the string lights that managed to evoke an intimate classy bar feel where MacCarthy felt safe to share.
To share the story she did, Mariah MacCarthy found a safe space with an audience willing to go on the journey with her. And she earned it. Baby Mama is a courageous story. There’s nothing political to be had. She never preaches or asks for sympathy. MacCarthy tells a story. Plain and simple. And that’s what made Baby Mama so powerful.

Name: Jeremy Williams

Hometown: North Little Rock, Arkansas.

Education: BA in Artistic Leadership/Liberal Studies from University of Louisville; MFA Theatre: Contemporary Performance from Naropa University.

Favorite Credits: West Side Story (dir/choreo) from Arkansas Shakespeare Theatre, Murrow (director) for Phoenix Theatre Ensemble, A Mexican Affair & The Woman Who Was ME with CTC. Handler for Dragonfly Arts.

Why theater?: I love the intimacy of theatre. I love that it brings people together to have a shared experience. I think theatre is a great way to express empathy and teach us how to be more empathetic. I think that's something we need right now. To be able to see and experience someone else's point of view, the desire to communicate, to connect, to find our community.

Tell us about Babel: Babel is a story about the origin of language. And we are telling it without words! We're using bodies to tell the story of towers built, falling, and the creation of different languages. It's a combination of acrobatics, dance, and physical acting to create a new form of storytelling: acrobatic-dance-theatre. We've been working for three years to explore and create language through physicality and can't wait to share it with our audiences at the 14th St Y! Not only is Babel the story of language, it's also the story of human ambition, striving to work together to build something great. It is the story of us.

What inspired you to co-create and direct Babel?: WT McRae came to me with this idea about exploring the story of Babel through physical storytelling. He challenged me with the question "How can we build a tower out of bodies so high that it would offend God?". I had no idea how to do this so we jumped into the studio. Along the way we have changed our questions but the core of physical storytelling remains. We're inspired by our work in circus, dance, acrobatics, and physical acting to create a piece that really explores the human condition. Much physical performance is based on the value of virtuosity. We want to use acrobatics to reveal vulnerability and the joy of trying something new, something a little scary.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theatre that has some sort of transformative experience. I go to the theatre to be inspired, to become aware of the world in a different way. I'm inspired by people's stories, especially stories and voices that have been historically silenced or hidden. I'm also incredibly inspired by natural beauty, the imperfections and constant change that is taking place in and around us. I'm also inspired by great entertainment.

If you could work with anyone you’ve yet to work with, who would it be?: There are a ton of collaborators. I'd love to work with author Audrey Niffenegger to adapt a graphic story for a theatrical piece. I'd also love to work with artistic directors Oskar Eustis and Diane Paulus, as well as producer Ken Davenport.

What show have you recommended to your friends?: Most recently Party People by Universes at the Public Theatre, and The Color Purple on Broadway. Othello: Remix is incredible.

If you could go back in time and see any play or musical you missed, what would it be?: There are so many...even just this year! Starlight Express always comes to mind because I'd love to see the engineering and how they used the space to tell that story.

What’s your biggest guilty pleasure?: Binge watching Netflix shows, guacamole, and sour patch kids :-)

If you weren’t working in theater, you would be _____?: HA! I daydream about this from time to time. I've tried to escape the theatre but always get pulled back in. I love to learn, and theatre offers a way to continually be learning. Other jobs I daydream about include physical therapy or maybe contemporary art or craft museum curator. I have a lot of interests.

For more on Babel, visit http://www.convergencescollective.org/babel.html

By Michael Block

Marie-Aude Murail wrote an original story about a young gay man who finds himself as the legal guardian of half siblings he never knew he had. A narrative of sensitive subjects, this story has leapt from novel to extraordinary solo stage spectacular. The New Victory Theatre presents Theatre du Phare’s production of Oh Boy!, adapted by Catherine Verlaguet and translated by Nicholas Elliott.
In this whimsical world of wonder, Oh Boy! follows party boy Balthazar Killchicken, an immature 26 year old irresponsible man, as he begins a new story as the guardian of his newfound half siblings Simeon, Morgan, and Venice. As the only full blood Killchicken, it’s up to Balthazar to keep the kids together. Will he give up the love and life he knows for three strangers? Oh Boy! takes Murail’s original story and shares it through the eyes of Balthazar. Verlaguet’s adaptation is an impressively lively exploration of difficult topics, navigated expertly in a way that was accessible and honest. Despite being billed as a piece for children and young adults, Oh Boy! has the ability to reach to the adults out of that demographic. And it will resonate in different ways depending on your age. Verlaguet has captured the thematic circumstances in a manner that is not too harsh yet not too soft. Tackling illness, adoption, suicide, and homosexuality in a kids’ piece is no easy feat. Yet Oh Boy! manages to do so with precision and grace. Though, the script may have been a bit too subtle at times but that's the trouble when trying to marry the text for kids and adults. That being said, Verlaguet has crafted a poignant and touching story for the stage.

photo by Christophe Raynaud de Lage

Solo shows of this nature are truly only successful if it's lead by a perfectly rounded performer. It requires someone to throw themselves about while steering the ship through the treacherous voyage of emotion. Oh Boy! is filled with promise and hope, embodied by the exceptional performance of Matthew Brown. Playing Balthazar, Brown’s emotional journey was performed with immense bravery and exuberance. Building an extraordinary physical vocabulary in a piece that never stops moving, you can imagine Oh Boy! being an animated feature. And Brown, with his cartoonish clowning and carefree charm, makes the story come to life. Having a playful, large-than-life personality, Brown caught the attention of the entire crowd, reeling them into his command. This is a role that you must go big or go home. And Brown went big! From expressions to characterization, Brown embodied this world effortlessly. It felt old hat. Brown allowed Balthazar to go from careless play boy to responsible adult thanks to his consideration of the arc. You know it’s an efficacious performance when a young girl can’t keep her eyes away from amazement while her mother sniffles from the sentiment. Matthew Brown will make you laugh, cry, and love with all your heart. This is a bound to be an iconic performance.
Director Olivier Letellier kept Oh Boy! moving, allowing every beat to matter. Letellier invited a precise and pristine choreography into his piece that was fluid. With virtually only one set piece, Letellier and Brown needed to ensure variety was had. And oh boy did they succeed. This was a world where one mistake, one wrong placement, one missed cue will force the show to halt. The lighting and sound design was near perfection. The lighting was sharp and exhilarating. The score was suggestive. Rather than varying up songs, a consistent melody was introduced for certain moments. And chosing Mika’s “Love Today” for Balthazar’s theme was flawless. Letellier ensured that every moment mattered. Even when it came to the activities pre show. The Oh Boy! team invited their young audience to explore activities that allowed the kids to learn about the themes prior to the show, including feelings, decisions, and responsibilities. And if some of those activities hit home with the adults, it was certainly deliberate.
In a time of change, this story is important for young audiences for an array of reasons. But perhaps there is one that rings the strongest. For a young audience to watch, learn, and relate to a gay character is incredible progress. This is because Matthew Brown’s Balthazar is significant. This is a person you deeply, truly care for and want to watch succeed. Oh Boy! is a family friendly show that is a must see. If you're lucky, Oh Boy! will be a road show for people of all ages to see.

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Name: George Simon

Hometown: Peekskill, NY

Education: Muhlenberg College, B.A. in Theatre and Religion Studies

Favorite Credits: Company Manager of Dust Can't Kill Me, Forest Boy, Newton's Cradle, and Tink! in the 2016 New York Musical Festival, Producing Intern on The Color Purple with Just for Laughs Theatricals.

Why theater?: There is no other experience like telling a story to a live audience. I also love the community and the collaborative nature of theater.

Tell us about The Fresh Grind Festival: The Fresh Grind Festival is a new developmental reading series featuring ten original plays and musicals taking place at Theaterlab in Midtown Manhattan. The pieces were selected from over eighty submissions and are receiving public staged readings. It's a chance to connect with other artists, work closely with new material, and showcase up-and-coming theatre artists in New York.

What inspired you to create The Fresh Grind Festival?: I wanted to give theatre artists a chance to work on new and original work in an age where revivals and spin-offs dominate the Broadway stage. I don't think there's anything wrong with revivals or spin-offs, but new stories are necessary in our changing world.

What kind of theater speaks to you? What or who inspires you as an artist?: My favorite theatre always features realistic, messy human-beings. A musical that achieves this is Falsettos. The characters are deeply flawed but also so lovable! I've seen the revival six times. William Finn is a musical hero.

If you could work with anyone you’ve yet to work with, who would it be?: I would have loved to have worked with Elizabeth Swados -she made such interesting theatre! Otherwise, I would love to collaborate with other trans and non-binary theatre artists.

What show have you recommended to your friends?: It's no longer on, but the revival of A View From the Bridge last year was breathtaking.

Who would play you in a movie about yourself and what would it be called?: I feel like Ellen Page could play me, but I'd probably prefer a non-binary actor. It would be called "Unabashedly George"

If you could go back in time and see any play or musical you missed, what would it be?: I'd probably want to see Ethel Merman in Gypsy. Maybe Patti LuPone in Evita. I love my Broadway divas!

What’s your biggest guilty pleasure?: Splurging on Broadway tickets.

If you weren’t working in theater, you would be _____?: A journalist.

What’s up next?: Continued development of new works under Black Coffee Productions

For more on the Fresh Grind Festival, visit www.blackcoffeeproductions.org and www.facebook.com/blackcoffeeprod

By Kaila M. Stokes

Dragon Slayer, presented by Scialli Productions and written by Tony Scialli, is not quite what you’d expect from the title. This original musical is funny, ridiculous, and entirely clever. The plot surrounds Lenny, played by Matthew Hazen, a wide-eyed self-absorbed writer who is new to NYC. The musical that he writes is called, Dragon Slayer, and he is sure that it is a hit….spoiler….it’s not. What is clever about this show is the nuances it makes towards Broadway and how artists are in New York. The opening number alone is a play-off of “New York, New York,” but instead of the exact melody and words it is poking fun at all of the diverse factions of people in this crazy town.
As the show progresses the audience constantly delves in and out of reality. The out-of-reality portion takes place in Lenny’s imagination. There we meet Genevieve, played by Courtney Dahl. She is the heroine of Lenny’s musical, except she is a bit feistier than he was expecting. He created her to be the perfect woman, you know; someone who is quiet, petite, and a fair-maiden. Genevieve is basically the one who tells him how stuck up he is and if he wants to be happy than he needs to take his own head out of his…well you get it. All while this is happening, there is a love story. How could there not be? Lenore, played by Veronica Kelly, is in love with Lenny. Lenny of course messes it up and then has to fix it by the end of the show.

photo by Russ Rowland

The best part of the entire show was Veronica Kelly’s voice. It was absolutely beautiful and compelling, not unlike Jessie Mueller’s voice. The second best thing about Dragon Slayer, was the choreography. Liz Piccoli did a fabulous job at utilizing her actor’s talents. The dancing never felt like too much or too staged – it felt like a Broadway show – choreography was there when needed. The three men in the show (Mark Curtis Ferrando, Constantine Pappas, and Miguel Angel Vasquez) that played multiple roles were hilarious and definitely the comic relief as well as excellent supporting dancers.
Dragon Slayer while entertaining did have many ideas swirling in the writing, too many ideas at times. It was trying to be its own show, while referencing other shows, and then being a show within a show. It was a lot. It could be simplified just a tad with the show references. The jokes were funny the first and maybe second time, but after that it became repetitive. The other thing to look at is how many songs or ballad type songs there were. There is a lot of music and little dialogue comparatively so the ballad songs needed to be more diverse, by the last one it was not engaging anymore.
Overall the show was fun and silly, I recommend it if you are looking for a show about theater and want to support a group of talented artists. The casting is absolutely fabulous, no complaints about a single member. Each actor held their own and engaged the audience with the material they had. Dragon Slayer may not have any dragons in it, but it is a good time had by all.

Name: Lawrence Dial

Hometown: Newburgh (Evansville), Indiana

Education: The Evansville Mafia (University of Evansville)

Favorite Credits: In the Room, produced by Slant Theatre Project, Kelli Giddish, in Association with Wheelhouse Theater Company

Why theater?: Why not? No one can tell you not to do theater; all you need is a writer and some actors, and it can better than anything on TV or in the cinemas.

Tell us about DANNYKRISDONNAVERONICA: DKDV is a play I wrote after my second daughter’s birth, entirely during nap-times, in daily 60 minute increments. It’s about two couples, both with two children each; two of the spouses embark of the beginnings of new friendship, an emotional affair. The play is about where that friendship leads, and the ephemeral qualities of life we all need that can’t always be given to us by our spouses.

What inspired you to write DANNYKRISDONNAVERONICA?: I was curious to explore the conflicting feelings I was having at the time; the beauty of parenthood, and the emotional struggle of the stay-at-home spouse, who in many ways is forced to dramatically abandon the life they previously lived in favor of their new responsibilities. The working spouse has his/her own struggle with the time they’re allotted to bond and connect with their children, while also taking on the emotional stress of being the family bread-winner. Parenthood is tough, but also the most rewarding I’ve ever done…by a long shot. When you give up pursuing your personal (possibly farfetched) dreams and devote yourself to caring for another individual, what’s left of your own personality? Who are you? DKDV explores these questions…

What kind of theater speaks to you? What or who inspires you as an artist?: For the most part it can be anything. When the lights go down, no matter the production or playwright, big or small, I’m always rooting for you with a smile on my face. It’s hard for me to dislike a piece of theater. Don’t we realize it’s all just opinion and personal taste and perspective? I always see the creators’ hopes and dreams in their plays. I wouldn’t look you in the eye and tell you that’s bullshit. Anyone pursing theater, especially after a sustained amount of years, inspires me. Theatre is an awful, awful, deeply rewarding profession… If you’re lucky enough. I’m beyond thinking it’s about talent anymore, because talent is everywhere I look, and I suspect that behind every successful artist there’s a moment of nepotism that propelled that artist’s talent. You gotta be lucky…

If you could work with anyone you’ve yet to work with, who would it be?: I still have friends I want to work with! Let alone theater celebrities (who I don’t care too much about). To be honest, once a certain level of success reaches an artist, and some of their struggle to be recognized lifts, the ego that follows is almost universal. (Because!) once we achieve that success we want to believe it’s based on talent and perseverance, and it is, but it’s also based on unforeseen circumstances as well. Strange Alchemy. Luck. So I think the ego happens because no one who’s successful likes to admit that without that one lucky thing that happened that one lucky time, they might still be struggling today or have given up long ago. For this reason, successful artist are often the ones who believe the most in talent. So while there are great big theater celebrities I’d love to be in collaboration with, they’re not necessarily creating better Art than my friends, especially considering the money, time, and resources they’ve been given. I’ll take my friends…

What show have you recommended to your friends?: My own! DKDV! Everyone’s busy, come see my work, and then we’ll talk about all the other good stuff we’ve seen!

Who would play you in a movie about yourself and what would it be called?: Paul Rudd, the Paul Rudd story, by Lawrence Dial.

If you could go back in time and see any play or musical you missed, what would it be?: Any August Wilson play; any Sam Shepard play from the 80’s—not picky. So much great theater. In fact, I wouldn’t be opposed to seeing that U of E production of Norman’s Getting Out from way back in 96 that originally got me into theater.

What’s your biggest guilty pleasure?: Late night munchies with my wife on the couch, rubbing her feet, watching who-cares-what on the couch… Or just playing with my kids and not doing the chores.

If you weren’t working in theater, you would be?: Right now, I think I’d live somewhere outside of New York, I’d open a climbing wall/gym, and exercise and climb and run that business every day.

What’s up next?: Rest sleep. Sex at Dawn…

Block Talk is BACK! In this episode, Michael Block talks with Exquisite Corpse Company's Tess Howsam and Blaire O'Leary about everything ECC including Corpse Revival Series: Like Clockwork at Dixon Place January 24th-26th.

To listen to Block Talk, visit us on SoundCloud or iTunes!

By Michael Block

Married life can be bliss. And then a baby enters the equation. In Lawrence Dial's DANNYKRISDONNAVERONICA, two city-dwelling couples are each two kids deep, each with their own set of marital woes. When a playground accident causes a broken limb, the individuals are equally shaken and begin to question everything about their spouse and themselves.
Virtually reminiscent of a mild version of God of Carnage, DANNYKRISDONNAVERONICA by Lawrence Dial is a play about thirtysomethings in crisis. Danny and Kris are in a play date. Well, their kids are on a play date. As their children run around, they give each other their own personal run around, spilling some intimate details of their lives. Back at home, Danny's wife Donna is on the verge of a big promotion that will keep Danny in the stay at home role while Kris' wife Veronica is having issue upon issue at her inherited pizza shop. After Danny and Donna's oldest daughter breaks her arm after falling out of a tree, personal crisis ensues. Dial's script explores a narrative that is poignant. Even if you're not in that stage of life, there's something of substance within the narrative. The characters that Dial has written are clear and the relationships are honest. But in world of caring about these individuals, it's quite difficult. There were certainly redeeming qualities in each but they lived so deep within their own bubbles that their conversations come off as whiny.

photo by Steve Fallon

What makes DANNYKRISDONNAVERONICA interesting to the eye is the exploratory staging by Jeff Wise. Marrying a realistic style with a heightened theatricality, Wise's vision brought variety but lacked consistency. Bouncing in and out caused clarity and importance to falter. With the way Dial crafted his piece, Wise was given the gift of challenges but without a consistent vocabulary in staging, the message was muddled. Wise needed to either allow the dual scenes to be staged around one another or go full Cock and play theatrical games in every single scene. No matter the direction, the tempo needed to be notched up significantly. Using the two-sided seating arrangement in a proscenium house was a strong choice. It gave a black box feel without being in an actual black box. That being said, the intimacy was lost. The simplicity of the set from Brittany Vasta allowed the story to take shape. The strong linear feel played a part in every aspect. From the large plush ottoman to the basement of the benches, the rectangular playing space captured the predictability of life. When chaos in the form of toys were thrown into the mix, that's when the characters' lives began to unravel. If you're not one to look up, you missed the best part of Vasta's set. The branch and lantern installation on the ceiling tied the great outdoors into every element of their lives. The lighting design from Drew Florida was sharp but with Wise's staging, some side lighting turned blinding for the crowd. The rain metaphor played heavy in Dial's text. Justin Propper honored this though it was not as atmospheric as it should have been.
By far, Kris was the most complex character in Lawrence Dial's story. With a rich backstory, Kris was the character that you wanted to see shine and overcome her personal adversity. Suzy Jane Hunt took the complexity and found gold. Ben Mehl's Danny was a bit more man child than dad with a plan. Mehl made his Danny feel like he'd fit right in on a live audience sitcom. Kudos should be given for his incredible beat boxing on "Sweet Dreams." As Donna, Rachel Mewbron had a strong, domineering presence despite the character needing a bit more textual support. Liz Wisan was a bit aggressive as Veronica. Wisan tapped into the heart of the dialect which gave her a gruffness and prickly exterior. Veronica is a hardworking woman but Wisan didn't necessarily give us something to grasp onto.
The title is certainly a captivating way to draw an audience. But the reality of this piece is these four individuals are not as slammed together as it seems. It's really all about Danny and Kris and their relationships. "Play Date" may have been a little more apropos. No matter what, DANNYKRISDONNAVERONICA got a little too big for its britches. There's substance within but the execution was all about trying to be grandiose.

Name: Liarra Michelle

Hometown: Denver, Colorado

Select Credits: The Public Theatre's Twelfth Night. Also, Captive Audience, The Signal Season of Dummy Hoy, Smoke on the Mountain, and Inherit the Wind. She is an active member of New York Deaf Theatre and The Shelter NYC.

Why theater?: That's not an easy question to answer. Theatre, for me, is basically like water. I could technically live without it, but the quality of life would be greatly diminished. As an actor, there is something beautiful in taking the words someone has written, creating a character and - alongside the director and creative team - finding the best way to present the story intended. We get to take the audience on a journey, away from whatever good or bad they have in their real life and escape to experience another world. The audience is as much a part of theatre as what is going on stage. It's magical to feel both their presence and their connection.

Who do you play in Consider the Lilies?: My character is Angela, who is also David's girlfriend.

Tell us about Consider the Lilies: For me, this play is about identity. How do we define ourselves and how much do we allow other people or situations to affect those definitions.

What is it like being a part of Consider the Lilies?: It has been a wonderful journey! I already knew a few people involved, so I looked forward to working with them, and it is always exciting to have the opportunity to work with new artists! Also, I have admired Austin's work for some time, and it is wonderful to watch him and to act with him. My scenes consist of myself with one other actor, and both of them (Austin and Josh) are talented, kind and generous partners. Everyone--actors, creative team and stage management--has been very kind and open and it's been a lovely experience of making art with them.

What kind of theater speaks to you? What or who inspires you as an artist?: I love new work, interesting relationships, theatre which challenges a perception or "truth", and anything that seems challenging for me as an actor. While that might seem to cover every play in existence, trust me...it doesn't. :) What inspires me? Truth. I know that's vague, but truth in art is invaluable and magical. When someone writes truthful words that draw me into a story, move me, and make me want to be a part of that art, it is exciting and beautiful. The same goes for other actors. When I see someone give an honest and raw performance, it takes my breath away.

Any roles you’re dying to play?: Too many! I'm really drawn to intelligent and well-spoken characters. It's exciting to see more and more playwrights include these (intelligent female characters) in their stories!

What’s your favorite show tune?: It depends on my mood at the time.

If you could work with anyone you’ve yet to work with, who would it be?: Are people actually able to answer this? My goodness...there are so many! Zachary Levy, Cynthia Erivo, Kelly McAndrew, Laura Benanti, Audra McDonald...I'd love to be directed by Joe Mantello...and I haven't even started in the Off- and Off-Off-Broadway circles... I really could just go on forever.

Who would play you in a movie about yourself, and what would it be called?: Anne Hathaway in "Who Needs Sleep When You Have Coffee?"

If you could go back in time and see any play or musical you missed, what would it be?: Most recently, I missed both Fun Home and Gin Game, which is a shame, and I would love to have seen anything with Julie Andrews in it.

What show have you recommended to your friends?: Something Rotten! before it closes. It's well done and a really fun musical!

What’s your biggest guilty pleasure?: Not sure if this counts, but I love Sci-Fi.

What’s up next?: Nothing I can announce at the moment, but you'll be seeing me around. :)

Name: Kristin Heckler

Hometown: Sellersville, PA

Education: Duke University, BA in Women's Studies & Spanish. The New School for Drama, MFA in Theatre Directing

Favorite Credits:How I Learned to Drive by Paula Vogel, Stop Kiss by Diana Son, Or by Liz Duffy Adams

Why theater?: When I was about 12 I wrote a poem about how a theatre (or rehearsal room) was the only place I could truly be myself: goofy, intellectual, sappy, a bit anal retentive and full of laughs.

Tell us about Exposed: This play is the origin story of a young and intelligent porn star. We watch her evolve from nerdy high school girl who hides her masturbating in her room to a woman who defends her sexuality on national television. People all over the world attacked her on social media because she was a sexual woman who wasn't afraid to stand up for it. Exposed exposes what happened behind the screens. We wrote the play collaboratively from a combination of found text from articles/interviews and then improved the rest and slowly worked it into script form. It's taken two years!

What inspired you to write/direct Exposed?: I graduated from Duke and we never seem to go more than a few years without a national sex scandal. I was in my first year of grad school when the story of the Duke Porn Star broke and I was obsessed. My first reaction was intrigue with a side of disdain. Just like everyone else, I thought, if she is that smart: why did she have to do porn? And why BDSM porn? Then I read her articles and watched her interviews and I felt ashamed. I felt ashamed for judging this girl who was forced to make adult decisions because American universities (especially my own) have made it impossible to get a college degree without student loans. Presenting this play is my way of confronting that little slut-shaming voice we all have in the back of our heads.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theatre which deals with gender and sexuality. At this point in my life, I am most interested in how our society undervalues any feminine traits, whether it is displayed in a man or a woman. Why can't men wear dresses? I think they'd love them. Why do we think it isn't work to keep a home in working order? I also especially love when a play has an LGBT character without BEING about being LGBT. The Humans by Stephen Karam is a mainstream play which does that beautifully. The sister's homosexuality plays little to no bearing on the main themes of the play, it just is. My favorite playwright is Paula Vogel and I have definitely borrowed the structure of How I Learned to Drive while developing Exposed.

If you could work with anyone you’ve yet to work with, who would it be?: Well I already blew up my spot but Paula Vogel obviously. Or Sarah Treem! The How and The Why, go read it now.

What show have you recommended to your friends?:Indecent by Paula Vogel directed by Rebecca Taichman. I saw the first production at Yale Rep by recommendation (and obsession with Paula) and sobbed through the curtain call because I was so proud of the artists who created it. And it's coming to Broadway in April! Sometimes Broadway does in fact get the good stuff, PLEASE see it! www.indecentbroadway.com

Who would play you in a movie about yourself and what would it be called?: Well I get Natalie Portman more than anyone else and to get a celeb doppleganger who is actually brilliant is rare so I'll take it ;-). It would be called Singular or I just want to know

If you could go back in time and see any play or musical you missed, what would it be?: Hedwig with NPH.

What’s your biggest guilty pleasure?: SVU and network TV in general

If you weren’t working in theater, you would be _____?: A midwife.

What’s up next?: I'm working on a play called Newsflashing with one of my fellow New School grads, Lorne Svarc. The protagonist is a conservative news show host, Nora, who hosts a sex guru on her TV show. The sex guru has started a movement for female ritualized masturbation to reduce stress and relax women. Nora originally scoffs at the idea but is secretly drawn to it. She enters the movement as an "undercover investigative journalist" or maybe just as herself in denial.

For more on Exposed, visit http://www.recognizetheatre.org/

Name: Jenna Spiwack

Hometown: Brewster, NY.

Education: Muhlenberg College in Allentown, PA.

Why theater?: Three things come to mind: 1. Because of the sound of an audience watching something exciting, moving, shocking, or inspiring. 2. Because of the people I’ve met, the people I hope to meet, and the stories I want to tell and help tell. 3. Because of the stories that are brought to life in a way that cannot be reproduced anywhere but the stage. There are so many reasons and yet it may be one of the hardest questions to answer.

Tell us about Flat Fish and Big Stuff: Flat Fish is a story about love, family, and finding yourself. The main characters are on a journey to understand each other as they speak across time and distance in a desire to connect and better understand one another. Big Stuff is a story about a moment in a couple’s relationship where they check in about having different long-term goals. My hope is that the play takes the everyday experiences of dating and getting to know new people and looks at the complex nuances of the communication that entails. It asks the question “How do we strike the balance between living in the moment together and planning for the future?”

What inspired you to write/direct Big Stuff/Flat Fish: Both Big Stuff and Flat Fish navigate through themes of love, communication and understanding. When I read Flat Fish I was immediately drawn to the main character’s search for love and how it existed in tandem with the journeys for all characters in the piece to self-acceptance and accepting love in many forms. Big Stuff was inspired by having conversations with my peers and others about wants and needs as a young adult in the world as well as some of my own experiences. Figuring out what you want from your relationships as well as the way to communicate that when aspects of your life may be in flux can be very tricky. These conversations fascinate me as I move through the world, which has led me to write about them.

What kind of theater speaks to you? What or who inspires you as an artist?: I most often find myself coming back to plays about relationships and the complex nuances of communication. I am most intrigued when a play truly surprises me, moves me, and/or when it finds a method to hit close to home in a way I didn’t expect.

If you could work with anyone you’ve yet to work with, who would it be?: There are too many talented people in this business to pick! I feel lucky that I have been able to work with such kind and generous people so far, so more people like that I would say.

What show have you recommended to your friends?: In 2016 I kept coming back to Men on Boats, Party People, and Small Mouth Sounds.

Who would play you in a movie about yourself and what would it be called?: I polled my friends and Jenny Slate was the top choice. The title? Maybe “90% Extrovert” or “I Have That Kinda Face: A Face Where People Just Tell Me Stuff”

If you could go back in time and see any play or musical you missed, what would it be?: Maybe an old musical with a big full orchestra.

What’s your biggest guilty pleasure?: Old musicals with small plots and big full orchestras.

If you weren’t working in theater, you would be _____?: My first instinct is to say a photographer, though I’m trying to picture a universe where I’m not in the arts…but maybe I just can’t stay away!

What’s up next?: Sitting down with a gluten free bagel and finishing my next play.

Spotlight On...Connor Wright

Review: The New Rules of Love

Spotlight On...Matthew Hazen

Spotlight On...Stuart Fail

Review: The Holden Inside

Spotlight On...Austin Pendleton

Review: Porn in the Closet

Spotlight On...Eric Joshua Davis

Review: One Strong Mama

Spotlight On...Jeremy Williams

Review: #Adulting

Become a Theater in the Now Patron!

Spotlight On...George Simon

Review: Dragon Slayer: A Love Story?

Spotlight On...Lawrence Dial

Block Talk Episode 3- Tess Howsam and Blaire O'Leary

Review: Crisis in Parenthood

Spotlight On...Liarra Michelle

Spotlight On...Kristin Heckler

Spotlight On...Jenna Spiwack