Theater in the Now

by Michael Block

I've never really been to Providence, Rhode Island. I've been stuck on an Amtrak train for a few hours right outside the station after striking an Amtrak worker. Not really a great moment. So I've been to Providence, but not really. The kids of Nightdrive are going to tell you about their version of said titular city-town in Providence, RI. As part of the The Tank's Flint and Tinder series, Providence, RI is an ode to the place that many visit and others call home.
Written by Skylar Fox and Simon Henriques, Providence, RI tries to paint the New England hamlet as an "everytown" through playful vignettes that eventually tie together. Whether you know the place by heart, the energetic five-piece ensemble builds a world with boundaries. Though those walls get shattered, especially that fourth wall. Playing an assortment of denizens, and creatures, the cast takes the audience on a tour of the town after spike taping it on the floor of the theater. From there, the play, broken into three "parts", a generous term for acts, feels like a whirlwind. Though the titular location is the loose thread, the overwhelmingly larger event is the town's celebration of the Dog Park Massacre one hundred years ago. It's also jokingly referred to as the 50 After 50. Without a doubt, this piece desperately needs to be edited down with more cohesion and clarity. There are moments and beats that are interesting as a singular vignette but in the big picture, there are hordes of questions that arise. From the family role swapping to the extravaganza that was the third part, what made sense to the creators didn't always shine through for the audience. Fox and Henriques have a unique voice together. Their ability to incorporate humor and poetry kept the piece afloat. It's playful dialogue yet tragically full of itself. As fun and cute as pancakes, lollipops, and making the audience play along in the game on stage, when the show creeps close to a third hour, the message that is trying to shine through gets lost in the clouds.

photo by Christopher Annas-Lee

One of the scribes, Skylar Fox, took on the directorial role. His vision was ambitious to say the least. When it came to staging, it was busy and chaotic, often upstaging itself. Whether it was lost in translation or another body was needed, the boldest and most cumbersome moment was the audience becoming family bit. Late in Part III, we watch the long lost siblings reunite and bring their family along for the ride. With only five performers, the audience took on the role of the family and were brought on stage. The idea was clear yet the execution was fatal. By the third go around, it was obvious the game bring played but the amount of time it took to bring rows and rows of people on stage sucked out all the momentum that was previously established. If you're familiar with The Tank, you know it's a glorious black box space. Fox's transformation of the space was brilliant. The wood paneling on the walls brought a new spirit to the space. What it was supposed to evoke is debatable but nevertheless it brought vivacity before the play began. At first glance everything points to something set in the 70s but the costumes from Corina Chase look like a haggle of hipsters hijacked The Tank. But I suppose it's true, fashion comes and goes and comes back again.
There was immense trust and compatibility in the five piece ensemble. But as a whole, the quintet provided some presentational performances, especially at the start. Imagine a sing-songy Our Town and that's how the show began. Once this conceit was abandoned, each actor brought their A game. Far and away, Zina Ellis was the strongest most well-rounded performers. Ellis’ grounded presence captivated, bringing an allure to her storytelling. Co-scribe Simon Henriques served as the lone male on stage but it was his portrayal as an existential squirrel stopped the show.
There's great promise in this piece. It just needs fresh guidance from a new source that can truly capture the message Nightdrive is trying to convey. Skylar Fox and Simon Henriques were too close to truly bring Providence, RI to all its glory.

Name: Sean Dunnington

Hometown: Waimea, Hawaii

Education: Currently a sophomore studying Visual and Dramatic Narrative at University of Redlands in the Johnson Center for Integrative Studies

Favorite Credits: Rodger in Grease (Kahilu Theatre), Mr. Mushink in Little Shop of Horrors (University of Redlands), George Gibbs in Our Town (Dramatiques).

Why theater?: Creating living and breathing substance—something that can be examined, questioned, loved, and forever lasting… that is what theatre is to me.

Tell us about Flat Fish: When Willy goes missing, his older sister Jill goes on a quest to bring him home. By reading the journal he left behind, Jill comes to understand her brother's misguided search for love--and, ultimately, uncovers not only the answers that Willy has been looking for, but makes unprecedented discoveries about herself. Through witnessing the complicated and unpredictable past of Willy, as Jill unfolds her disregarded issues, Flat Fish tells a haunting story of family, connection, and love.

What inspired you to write Flat Fish?: In a short story that my dear friend wrote, she said that when she lost her mother, she lost her soulmate. Something about that line stuck with me, uncomfortably. Her concept of a soulmate did not fit in with what I have always known and wanted it to be. As the famous saying goes: write what you know -- but if you only do that, then you’ll never learn. So I decided to write a story about what made me uncomfortable.

What kind of theater speaks to you? What or who inspires you as an artist?: Any theatre that addresses connection speaks to me. I think connection is the most beautiful part of existence, and I think every form of theatre intentionally and unintentionally explores it. William Shakespeare. He has written thirty-seven plays. Thirty-seven, all of which get performed. If he taught me anything, it’s to just keep writing, writing, writing.

If you could work with anyone you’ve yet to work with, who would it be?: My sister. I think the way siblings connect is so odd and particular that I want to see how it affects the breath and life of a show.

What show have you recommended to your friends?:Company.

Who would play you in a movie about yourself and what would it be called?: Jennifer Aniston stars in "Wait, what?"

If you could go back in time and see any play or musical you missed, what would it be?: Sam Shepard’s Fool for Love. I want to see the original blend of realism and fantasy, and especially the audience’s reactions to the deep, real, and incestuous love that is right in front of them.

What’s your biggest guilty pleasure?: Board games. I own too many. When packing for college I dedicated one suitcase for clothes and the other for games. I regret that.

If you weren’t working in theater, you would be _____?: Political activism.

What’s up next?: This upcoming spring, I will be performing as Horatio in my university’s production of Big Brother Hamlet, an adaptation of Shakespeare’s Hamlet. The cast will also be traveling to the Edinburgh Festival Fringe in Scotland to perform in theSpace venue!

For more on Flat Fish, visit http://www.blackcoffeeproductions.org/flat-fish

By Michael Block

Jason O’Connell has one true love. Batman. As the singular constant in his life, O’Connell tells the story of his life as it paralleled the Batman movie franchise. From Keaton to Affleck, The Dork Knight chronicles his highs and lows using the movie series as benchmarks.
Kicking off the new year, Abington Theatre Company production is the story of an average guy's hero journey through love, loss, and Batman. As a man who lives and breathes Batman, Jason O’Connell didn't define himself by the bat but he sure played a role in his life. He shares a narrative of finding solace in a fictional character when loves came and went, a father disappeared as a new father figure took on the role, and the acting gigs just weren't coming. The Dork Knight pays homage to the DC comic character while showcasing O’Connell's intimate storytelling skills and his prowess for impeccable characterizations. Know him or not, O’Connell opened his heart and let the audience into his world without ever begging for emotion. O’Connell's approach to storytelling is reminiscent of a stand up comedian, something he’s no stranger to. This set is just missing the microphone and stand. Though there may be a stretch or two in the parallels, he keeps his personal journey consistent. Like a true superhero, O’Connell introduces a conflict to overcome through the adversary of the villain within. Keeping the Batman lore accessible for the casual fans provided O’Connell to tell his story without having to play teacher. And even if you have a loyalty to Marvel Comics over DC Comics, it’s the geek within that you fell in love with. Between his strong writing style and his hypnotizing charisma, O’Connell found a way to stage his greatest assets. O’Connell’s impressions are comedy gold. Whether you’ve seen the movie franchise or not, his take on Michael Keaton’s Batman, Jack Nicholson’s Joker, Jim Carrey’s Riddler, and Arnold Schwarzenegger’s Mr. Freeze brought the house down. As the night moved along, the anticipation of the impressions to come kept the crowd on edge.

photo Ben Strothmann

Director Tony Speciale had great trust in Jason O’Connell and his performance. So much so that he allowed O’Connell to virtually stay put. With a three-quarter thrust configuration, if you weren’t sitting in the center section, you likely didn’t receive the full show. Not to say the sides missed out, it never quite felt inclusive. Speciale took O’Connell’s story and hit the notes of comedy and tragedy. By keeping O’Connell standing for the majority of the piece, the moments Speciale asked him to sit, you knew there was much weight about to come. The scenic design by Jerry Marsini featured a stunning black chair you’d expect straight out of the Batcave. The lighting design by Zach Blane explored colors when O’Connell broke into his characters. Each color and look was reminiscent of a certain character. Though yellow is not the most pleasant color on stage, including it in the preshow look was the right choice. Costume designer Hunter Kaczorowski dressed O’Connell is layers. Layers upon layers. For a piece like this, the only logical reason to put the solo artist in a non-stop piece in layers is there would be some reveal. Perhaps a Batman t-shirt. This was not the case. And it was a gigantic missed opportunity. Even if O’Connell didn’t quite move about the stage, his attire felt cumbersome.
The Dork Knight is one of those rare solo plays that has the power to engage an audience from start to finish. It won’t change the word but Jason O’Connell’s story reminds you to never give up on your dreams and if you love something so much, it doesn’t matter what others think about it.

photo by Svetlana Lasky

Name: Jason Lasky

Hometown: I’ve got two of them: Sleepy Hollow, NY and Monroe, NY. The first one’s high school mascot was the Headless Horseman (yes, that Headless Horseman), and the second one was the Crusader. The fact that both of these images featured men who lopped heads off of people they didn’t like only dawned on me while answering this question. That’s violent imagery for ya.

Education: I graduated magna kum laude with an All University Honors BS in Anthropology with a Biology minor from Binghamton University; I am an alumnus of The Actors Studio Drama School’s MFA Playwriting program (non-degree); I’m four semesters and a perfect GPA into my Masters in Education / IB Teacher Award Certification. I also just became a licensed theatre teacher.

Favorite Credits: Acting: The Homecoming (Lenny), Birdbath (Frankie), Edgar Allen Poe’s The Black Cat (The Husband), The Zoo Story (Jerry), As You Like It (Touchstone). Playwriting: They’re all my favorite, but I’m really proud of a few: Rendezvous: A Tragicomedy (co-written with my wife Svetlana and co-produced with Shanghai LGBT for their 6th Pride in 2014); Mend the Envelope; Fanta Non Verba; 40 Days of Night (in progress); The Lifeguard; Last Exit Before You’re Off The Grid.

Why theater?: Unlike identifying bodies, murder weapons, blood spatter patterns and the like (see below answer about not working in theatre), the theatre is the most alive experience you can have next to living, no matter the capacity you find yourself in when it’s Lights Up.

Tell us about Last Exit Before You’re Off The Grid: I’ll copy and paste what I sent to my father: The play is about where America - or any other country with shaky politics- is headed. I've shown it to a playwright in Kenya and an actor in Ghana, and they both think the play speaks to their countries given some reference changes. If Hillary had won I'd have peppered the play with references to her, but instead Trump's stench is present. It's also about people needing to have contact with other people while wanting to maintain a certain distance. It may also be about the need for us to collect and organize things/possessions. Lastly, I think it has a touch of female empowerment.

What inspired you to write/direct Last Exit Before You’re Off The Grid?: The good old US of A influenced the writing, for all its posturing like it was a bird of paradise putting on a show for the rest of the world (thanks Attenborough), in reality it’s a place where people think they stand a better chance than the rest of those non-American folk around the globe, which only inflates its ego that much more. That’s not to say it’s all bad, but the bad s**t is pretty f**king bad sometimes. This is actually what I’ll deem the third play in a series about modern America. The first one I wrote was about the Wikileaks scandal that began a few years ago when infamous computer hacker Adrian Lamo called the FBI after chatting with Chelsea Manning who made public classified US government information. I was trying to figure out what was going on in Obama’s America, and I made a parallel to Nixon’s in the playbill’s notes. I called it Sons of Liberty, and I staged a reading of it in 2012 in Shanghai, China. I donated a portion of the proceeds to a local food kitchen. These volunteers went out once a week around 7 pm to deliver food to the homeless living across one of Asia’s most expensive cities. My outing touched me, which is probably what influenced the second work in the series: a collection of monologues based on the pleads and rantings of homeless New York City dwellers compared to a collection of the pleads and rantings of a strange generation. This second collection was originally written for a certain cohort at ASDS over the summer I decided to go on a leave of absence from the program and get married and start a family. Can I mention my daughter is made in China? My son is, too, but he came out of his factory box in Russia. … Anyway, the US is a most fascinating place to observe and make conclusions about, and forget about our politics, because those are probably in the Top Ten of God’s punchlines.

What kind of theater speaks to you? What or who inspires you as an artist?: I enjoy something that takes my breath away in a corporal, emotional and spiritual sense. I mean, all three together. It’s rare that it happens, though, which is why when it does happen it really hits me. What inspires me is trying to get someone in the audience to connect to their life or to feel some kind of care about mine in the world of the stage, and if that happens even once then I’ve succeeded in breaking through the fourth wall (and not in the ‘merc with the mouth’ sense). In my published play Mend the Envelope one of the characters his paralyzed from his C5 vertebra down after a horrible hot air balloon accident. The play ran in two festivals in NYC while I was living in Shanghai, and one of the audience comments passed onto me was that the wife of a guy who is stuck in a wheelchair understood the characters of my play and really thought I got him right. That’s the most gut-wrenching yet pleasing thing someone could say after seeing something I dreamed up in my head and working out in Final Draft. If I can keep finding exciting ways to dream and mine for gold, then I’ll live a satisfied creative life.

If you could work with anyone you’ve yet to work with, who would it be?: In no particular order: Victor Almanzar. Kim Rios Lin. Neil Patrick Harris. Cate Blanchet.

What show have you recommended to your friends?: I got to meet Stephen Adly Guirgis after a showing of Between Riverside and Crazy after it transferred and ask him about his ending and why he changed it from something dark to something lighter. I later wrote him a fan/I’m a playwright, too letters, but he still hasn’t responded. I recommend that one if it’s playing in a city near you. Besides that, all the shows I’ve ever been in because the odds are it’s been a lot easier to get my friends to see my work than strangers. When I started not to suck as much they started bringing dates. But when I come to think about it, the brutal truth is that I don’t have many friends state-side. I haven’t lived full-time in the country since August 2006, and it’s true that once you leave whatever country you call home and stay away for awhile, some things change, and some things don’t.

Who would play you in a movie about yourself and what would it be called?: Slava Polunin. "The Epic Nose"

If you could go back in time and see any play or musical you missed, what would it be?:The Who’s Tommy. The first rock opera is the greatest of them all, in whatever form it takes. I’d love to have seen Birdbath and anything else by Melfi when they prepared.

What’s your biggest guilty pleasure?: My vices are of no consequence.

If you weren’t working in theater, you would be _____?: A forensic anthropologist. I went on the FBI tour one summer and got turned onto the idea of being that kind of scientist. I got so close to actually seeing an autopsy while I was in Binghamton. At the end of the day, I don't think I could have really stomached that sort of thing as a career.

What’s up next?: Who’s to say? We’ve been living in Nairobi, Kenya since this past August, and it’s been a bit of a bumpy ride; I’d been appointed Head of Drama at an international school, but the school couldn’t get a work permit for me, which left us scratching our heads and trying to figure out what exactly is next. We’re a hardworking bunch, though, so I’m not worried. We’ve got a few new play ideas we’d like to work on jointly that will keep J. Lasky Production busy for a while. We’re finishing up 40 Days of Night and plan to have that up and running in Russia within the next several months, I’m talking with International Theatre Institute’s Zimbabwe coordinator about leading some movement training, I may end up in Spain this summer at ITI’s World Congress to create some original work, my wife’s got a bilingual (Russian and Chinese) children’s book coming out soon, I’m writing an article for Malini Singh McDonald’s website, a movie I acted in called "Train Station" by Collabfeature is coming out on Amazon and iTunes soon, and we’re thanking the Universe for keeping the adventure rolling along and letting us have an Awesome life together.

For more on Jason, visit www.jasonlasky.com. For more on Last Exit Before You're Off the Grid, visit http://www.wbisgroveproductions.com/

In today's episode of Block Talk, we sit down with Matt Mastromatteo as we dive into the world of balancing life, grad school, and producing a FringeNYC play!

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

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Name: Danny K Bernstein

Hometown: Hartsdale, NY

Education: Cornell University, Class of 2014

Favorite Credits: Far From Canterbury (Winner - Outstanding Overall Musical, FringeNYC 2015)

Why theater?: I grew up on musicals. They honestly just make me really, really happy, and despite originally selecting a school for its psych and neuroscience programs, found I couldn’t really escape what I was passionate about. Also, psych and neuroscience is really hard.

Tell us about The Bishops:The Bishops is an original musical about two fathers and their two kids who are thrown into the national spotlight when a video on their younger son detailing their unconventional family history goes viral.

What inspired you to write The Bishops?: A few things. In the age of Next to Normal and Fun Home, I really wanted to see a different-looking family musical, and one where the stakes weren’t confined to the house they lived in. The idea of a family conflict having national implications seemed like an interesting idea to explore. Thus, The Bishops was born.

What kind of theater speaks to you? What or who inspires you as an artist?: Oh, gosh, I don’t know; it’s constantly changing. My favorite musicals are Into The Woods, Company and Urinetown. I love smart, witty comedy, I love music that really digs into how characters are feeling, or what they’re trying to do, I love lyrics that are honest, and truthful. I guess I probably look up to Sondheim, Schwartz, Flaherty and Ahrens, Jason Robert Brown, and William Finn.

If you could work with anyone you’ve yet to work with, who would it be?: Katya Zamolodchikova. Or Ben Platt.

What show have you recommended to your friends?: Dear Evan Hansen, Natasha, Pierre and the Great Comet of 1812

Who would play you in a movie about yourself and what would it be called?: "Danny, Did You Write it Yet?" starring Sutton Foster as Danny K Bernstein.

If you could go back in time and see any play or musical you missed, what would it be?: Original Broadway production of Ragtime.

What’s your biggest guilty pleasure?: Sporcle quizzes. I”m not really guilty about doing them, but the amount of time I spend on that website is alarming and embarrassing.

If you weren’t working in theater, you would be _____?: Psychiatric research, or some form of engineering, and I’d probably be terrible at it.

What’s up next?: I’m having another show at Feinstein’s/54 Below this February! Stay tuned for more details!

For more Danny, visit dannykbernstein.com

By Kaila M. Stokes

Fringe of Humanity produced by Primitive Grace Theater Ensemble and written by Paul Calderon is a stressful tale of chaos chalk-full of characters that are mentally unstable. The concept is that a movie is being produced and readings for this movie are taking place in a hotel room. As each character enters it disrupts the balance in the room, until finally chaos fully ignites the hotel and the characters.
The director of the film, Nick played by Paul Calderon, is the only character trying to keep some sanity in the room. He is an ex-drug addict that is trying to just mend his ways and make some money, but these people are not making it easy. His partner in crime is Ken, played by William Rothlein, a veteran of some war with a grumpy disposition. Nick is just trying to make his producer happy. His producer is Ross Gausmann, played by David Zayaz. He is a sleazy guy clearly with an addiction to blow and his own ego. The other cast of characters literally make up the cast of the movie; Ryan is trying secure his part in the play (played by Alex Emanuel), Pierce wants to learn Spanish for his character which does not make sense for the script (played by Luke Smith), Chrissy and Vicky are slightly more than hookers looking for their big break (played by Feliz Ramirez & Jessica Damouni), and Steve started out sane but slowly lets his own ego take over causing even more insanity (played by Jakob Von Eichel). The most interesting, yet less flushed out of a character was Liz Gausmann (played by Rebecca Nyahay), Ron’s wife who is ultimately the cause of the volcanic eruption at the end.

photo by David Zayas Jr.

The play started out with high tensions and a lot of swearing and yelling. From there, the yelling really never stopped. The actors had nowhere to go because they started at a place of unrealistic tension. The audience had no idea why everyone was so upset off the bat. The play tried to explain it throughout, but the first half hour consisted of the audience wondering why everyone was so angry. The story is very interesting and the ending was meaningful, but it was hard to care after the first thirty minutes due to the yelling. In this case, the actors seemed to have a nice grasp on their characters and their back stories. Certainly each actor performed honestly, but the direction given to them seemed like it did not have enough faith in the writing. Instead of relying on this interesting story and the words/circumstances on the page, it was directed as though the audience would not understand these “complex plots” unless they were being yelled to them. Trust your audience.
The premise of Fringe of Humanity is very interesting and has many great things happening in it. If it could just find a way to ease into the crazy, it would be even more compelling to watch. The audience would get drawn into the crazy with the characters instead of having everything shoved in their face. It would be worth it to see this again in its next draft or production to see the changes made and problems flushed out a bit more.

Name: James Edward Becton  

Hometown: Youngstown, NY by way of Buffalo, NY  

Education: BFA from Niagara University.

Favorite Credits: Some of my favorite and most memorable credits include Have Mercy by Mac Rogers where I played the role of Professor Hubbens. This was the very last production of the now defunct Manhattan Theatre Source! "The Source" was a true home away from home which is sorely missed. Another was Macbeth (Of the Oppressed) produced by Fab Marquee where I dropped into the role of Witch Two. I was honored to embody the role of Edmund in King Lear starring Trazana Beverley, and Jake Worthington in the production of The Importance of Being Earnest which took place in 1920's Harlem. Both productions were produced by Take Wing and Soar. Most recently I closed an enlightening production of Erik Ehn's Clover produced by Planet Connections and La MaMa ETC, where I breathed life into Louis, the father of Emmett Till. That was in particular an eye-opening experience where I gained a new family of over thirty people. Speaking of eye-opening experiences, I've literally just closed a resurrected WWII variety show called The Blueprint Specials which was graciously presented to the public courtesy of Waterwell Productions and The Public Theater. The show was presented on the U.S.S. Intrepid which was an experience that I'll not soon forget not only as a performance artist, but as a U.S. Veteran.   

Why theater?: Theater truly saved my life. I know that's a severe statement, but it's a true one that'll take more time and space to express than this interview allows. But I can say that had it not been for theater arts, I would not be the man that I am today. Theater gave me a voice and a true purpose in life as a human being. Much like getting The Call to serve The Church, I was called to be an actor. I live for it. I love it.

Who do you play in Cardiff?: I play nine various roles/voices.

Tell us about Cardiff: Cardiff is the performance piece based on a transcript from interviews held around a piece of art in the early seventies in Cardiff, South Wales.  

What is it like being part of Cardiff?:Cardiff is exactly art imitating life, and it's beautiful. We are embodying real people with real voices who had real opinions. What I find so fascinating is that the opinions expressed from 1972 echo voices that you would certainly hear today. It is a slice of REAL LIFE, albeit from the '70's. It is still timeless.  

What kind of theater speaks to you? What or who inspires you as an artist?: The type of theater that appeals to me the most is any that takes the audience on a real thought-provoking journey. Something that makes them think about LIFE and how very REAL it is. Theater is one of those art forms that is expressed for purposes of making people look at the world objectively. As an actor, I consider myself to be a mirror of society and have an honored responsibility to present real life situations in a created environment. If an audience member leaves the space with new thoughts, then my job has been done. What inspires me are the playwrights/screenwriters who have the gift of putting life onto paper for voices to express them. When there is TRUTH expressed in the form of a script, that's invigorating to say nothing of it being fulfilling! I love being a body for never-before-seen or heard realities. The people who inspire me the most are Samuel L. Jackson and Morgan Freeman. They are two artists who have built solid and honest careers that stand the test of time! Anthony Hopkins, Gary Oldman and Denzel Washington! Their abilities to transform into truths that aren't necessarily their own is awe-inspiring. Issa Rae and Donald Glover for giving a voice and perspective of a people that deserve to be seen as human.

Any roles you're dying to play?: This is easy. Tom Collins in Rent! I was called back fourteen times for that role in the late '90's. But after having a candid conversation with Bernard Telsey, I realized I was not ready as a human being. I am now! As an actor, I'm not so sure that my role has come about just yet. My range is broad and I've been told by many casting people that they just don't know what to do with me. I am not a "type" and in this industry, people find it far easier if you are a type. To that end, I'm patiently working towards having the role created for me!

What’s your favorite show tune?: My favorite show tune? I don't have a singular favorite one. But there are three that come to mind: "Heaven on Their Minds" from Jesus Christ Superstar. "I Need to Know" from Jekyll and Hyde, and "Wait for It" from Hamilton.

If you could work with anyone you’ve yet to work with, who would it be?: The Dirden Brothers. Kevin Spacey. Viola Davis. Issa Rae. Donald Glover. Denzel Washington. Morgan Freeman. Meryl Streep. Helen Mirren. The list can go on, and on, and on.  

What show have you recommended to your friends?: As a "working actor" in the city, I can say that I've not been so privileged to see a lot of theater. If It's not because I'm in the middle of a project myself, or that I'm just not fiscally able to see things. That said, there's not been a lot for me to recommend, other than the pieces that I am in. But I've heard Hamilton is really worth seeing. *wink

If you could go back in time and see any play or musical you missed, what would it be?: I would love to go back in time and see the productions at the Globe and experience Shakespeare's genius up close and personal. Also, I would thoroughly enjoy seeing the original Broadway production of Hair!

What’s your biggest guilty pleasure?: NAPS!!! Taking naps are my biggest guilty pleasure!

If you weren’t working in theater, you would be _____?: I would be a psychologist. The human condition is always of interest to me. I think that it is my love and interest in people that drew me to theater in the first place. To be able to step into the psyche of another human being is one of the finest ways of getting to know myself and others and for that, I am grateful.

By Michael Block

When it comes to relationships and romance, just because you love someone doesn't mean you have to be intimate with them. Such is very much the case in Stuart Fail's Consider the Lilies. A long-standing partnership between artist and agent begins to shake up as both parties have new ideas in regards to the definition of their bond.
Set in Paris and New York over a few months, Consider the Lilies is a long story about nonsexual soul mates. Paul and David have a dangerously complicated relationship. Paul is a rapidly aging and slowly decaying artist. David is his younger, do-anything agent. While in Paris, Paul isn't getting the recognition, and income, he's used to. David is considering going back to New York to his girlfriend. This idea shatters Paul so he reluctantly follows David back home. What keeps these two together? Love. But their contrasting definitions of love cause a severe strain in their bond. Paul and David have a great need and dependency for one another yet they both feel alone. The narrative of a sexually fluid artist and an actor turned agent with deep admiration for this man is perfectly intriguing. It's a story that is, for better or worse, deeply relatable. Yet despite a great concept, the execution was anything but. Consider the Lilies desperately needs to be edited down as there are an extraordinary amount of repetitious facts and ideas that overshadow the meat of the play. Fail needs to have a bit more trust in his audience that they can follow along with the narrative. Trimming the fat is essential for Consider the Lilies to truly be successful. For example, the robbery scene didn't have the impact it needed. If it's important for David and Paul's arc as a pair, David needs to tend and care for him with deeper stakes. Yet eliminating the scene altogether is perfectly ok. By Act II, things start to go off the rails as plots get more complicated. Introducing Paul having a child is unnecessary. The parallel is so minimal in the grand scheme of the piece. Additionally, the whole conceit of having Paul learn of David’s demise via telegram is so farfetched. If you want something with weight, have Angela introduce the information to him. The potential for drama is great.

photo by Talya Charef

With Fail planting writer and director, he ran into some issues. There were some writer choices that director Fail didn't seem to take into consideration. In no way, shape, or form should Zach have been present for David's breakdown as it was an intimate moment for the pair. As a whole, the pacing was excruciatingly slow highlighting that the play was far too long. When it came to taking care of the characters, Fail truly focused on ensuring the believability of the relationships. And in that respect, it paid off. This was the pulse of the play. And once the piece becomes less muddy, the beauty and power can shine. The scenic design from S. Watson was pretty neutral, both purposefully and aesthetically. It served its purpose but certain scenic element placement were traps for Fail's staging. Getting caught behind the Act I couch was troublesome. The unimposing score from Andy Evan Cohen was just right for this world.
Dominating this narrative was Austin Pendleton as Paul and Eric Joshua Davis as David. They had a strong bond as actors that carried through from start to finish. That being said, there was something a tad off about it, caused by their individual performances. Pendleton used the drunken nature of Paul as a crutch, and it actually worked to fool the crowd. Davis played up the cock tease card far too early. While playful, it was infuriating to say the least. As the pompous millennial artist Zack, Peter Collier managed to show the stark difference between artist and old and new media. As the cartoonish Francois, Joseph Hamel gave up power by sitting. It didn't help that his character's presence was not essential.
Consider the Lilies has a promising premise that had a lot going against it. After carefully examining the text with a dramaturg, Consider the Lilies will be a story worthwhile.

Name: Holly Payne-Strange

Hometown: London, UK

Education: Aberystwyth University, Harvard extension

Favorite Credits: Five Flights at the Davenport Theater, for the amazing, dedicated and talented cast and crew. In only two weeks we threw together an incredibly good show, which I'm still immensely proud of. The time constraint could have made this production stressful, but it didn't really. It pushed us forward and we had full immersion in one play- a rare opportunity. Cafe Playa Moon a performance/documentary. A strange one to pick as my favorite perhaps, as I only had four days for this. But it helped me grow in unexpected ways. I was able to play, not only as a director, but as a producer. I worked with a wonderful company called World Ocean Arts, but as they are not based in NYC I was allowed full creative reign.

Why theater?: Theater takes real issues and gives them a space. It examines them and relates to them, giving us a shared experience. And I don't just mean the thorny political issues, I mean the personal, profound ones too. Even things as small as “will they ask me out?” Theater brings us together. A director has a curious position, at once in charge and dependent upon the rest of the cast and crew. Theater is born from interaction with others, without that there would be no performance and no story.

Tell us about I,con: The question at the heart of this play is: “how much should we tolerate intolerance? Where does standing up for what we believe end, and bigotry begin?” And that's incredibly personal to me. In these changing times I'm working hard not to become so entrenched in my views that I can't see the other side. It's very difficult.

What inspired you to write I,con: This play is a blend of fact and fiction. All of the basic ideas and plot points have some basis in truth, but I've manipulated and exaggerated them to bring a strong narrative into focus. I was inspired to write a lot of this because of my conversations with a friend who is in supermax prison, and the reaction that those around have me had to that relationship. Though he is not directly portrayed on stage, the debates I've had with him have heavily influenced my art. As for my direction, I was helped enormously by my collaboration with David Beris, our choreographer. Through movement he's been able to bring a very different side of this production alive and for that I've very grateful.

What kind of theater speaks to you? What or who inspires you as an artist?: Anything. At the moment, I'm very drawn to scripts that relate to justice, both the justice system and the bigger idea of personal ethics. I like heartwarming stories of people rising above a bad situation, or terrible ones of villains getting away with it! For me there's a central issue at the center of every story, and as long as I relate to that, I love it.

If you could work with anyone you’ve yet to work with, who would it be?: Oh man there are so many options! But if I had to pick one, I'd have to say Vivian Westwood. She has such an amazing body of work and has been able to truly marry art, fashion and politics together. She's doing a lot of good in his world.

What show have you recommended to your friends?: Ghost Stories which ran in London. One of the only shows that truly terrified me. I saw it three times and there still a section I haven't seen because I kept flinching.

Who would play you in a movie about yourself and what would it be called?: Nicole Kidman and it would be called “Relentless”

If you could go back in time and see any play or musical you missed, what would it be?: An original Shakespeare production! Any, really, but ideally The Tempest. I would love to see the choices they made and experience the shock of a crowd seeing the play for the first time.

What’s your biggest guilty pleasure?: Dipping cookies in water- it's surprisingly good! Try it.

If you weren’t working in theater, you would be _____?: A marine biologist!

What’s up next?: I actually have various funding and grants and with them I hope to move I, Con forward, but of course, nothing's happened until it's happened! Apart form that, the next concrete thing is called “ A Circle of Voices” a poetry recording. I'm very excited about this, as it's another one that I will also be producing. However, since it's a recording and not a live performance, I will be able to take my time with it and perfect it- a rare gift!

For more on I,Con, visit http://newyorktheaterfestival.com/icon/ and https://m.facebook.com/playingcompany/ For more on Holly, visit http://hollypstrange.wixsite.com/mysite

By Michael Block

Whether we like it or not, we live in a lovely bubble here in America. We take for granted the journey of the products we use. Though we may read a story or two, until you see the other side, it's hard to truly understand. Created by Wakka Wakka and written by Gwendolyn Warnock and Kirjan Waage with help from the ensemble, Made in China is a political satire like nothing you've seen before.
A fantastical twisted whimsy is on the slate at Made in China. Like a mix of Pee Wee Herman and Seth MacFarlane, Made in China is a puppet extravaganza about a Caucasian woman and her Chinese neighbor who get transported to China after being sucked through her toilet. Going on a journey after they receive a mysterious SOS letter, Mary and Eddie see firsthand the hardships of the workers in China. Told almost entirely through rude and crude song and puppetry, Made in China is a cartoonish romp that packs a feisty punch. The humor Warnock and Waage infuses is colorfully ominous, helping to ensure the message is heard loud and clear. With the puppet nature of the narrative, when the story goes off the rails, it is forgiven. In a way. Using puppetry as the means to tell the story allowed the absurdity that usually appears on screen to resonate on stage.

photo by Heidi Bohnenkamp

Made in China either lives or dies through the puppets. The entire ensemble, decked out in black, transformed the materials into living, breathing souls. Created by Kirjan Waage, there was something endearing about the intentionally sloppy style of the puppet craft. At first it was jarring but it captured the essence of the tone Wakka Wakka was offering in the text. Once you warned up to the characterization, this world came to life. Physicality aside, the vocal abilities of the company was spot on. Peter Russo and Ariel Estrada found a real voice for Mary and Eddie respectively. The played off one another quite well. The other strong showing came from utility player Andy Manjuck, taking on some of the most comical personas.
Directors Gwendolyn Warnock and Kirjan Waage maintained a consistent tone that carried through the themes. Even when dipped into reality, they allowed the humor to seep in. Though we didn't get to see it in all it's glory, the bamboo proscenium forest designed by Warnock, Waage, and Yu-Ting Lin added a bit of mystery while allowing a jungle gym to be formed. Warnock and Waage's staging was sharp and intricate. Playing mostly in the dark, the company needed to hit their marks precisely or Alex Goldberg's lights would be off. By being so specific, Goldberg helped keep the momentum up.
If logic and politically correct theater is more your speed, Made in China is absolutely not for you. But if you like boundaries being challenged, Wakka Wakka has done so. It's not perfect but it's perfectly refreshing. And the panda puppet at the top? Worth it just for that.

In today's Blog Hijack, Sheri Sanders takes over to talk about Rock the Audition which will launch at Broadwaycon!

Hey there! It's me, Sheri Sanders!

You may or may not have heard of me, but I’m the Rock Chick. The girl who teaches people how to sing Pop/Rock music. The go-to-girl for Rock Auditions. I am hijacking this blog to talk about Auditioning for Rock Musicals and give you a few tips on picking the right song to sing for all the different styles of Pop/Rock Musicals that are out there!

Here are a few important things for you to know!

1. One pop/rock song does not fit all styles.

Hairspray is different than Hair, which is different than Sister Act which is different than American Idiot, Hamilton, and Amelie!

2. There are technically 8 styles of popular music currently represented on Broadway.
•Motown
•70s Folk/Rock
•Disco
•80s Pop/Rock
•Contemporary Rock/Punk
•Pop/Rock, R&B and Hip Hop
•Country
•Faeries (Regina Spektor, Rufus Wainwright)
3. You don’t need eight songs. You need four.

That's right. You should have four pop/rock songs in your book that cover ALL the styles. What do I mean? Check out this video of Pretty Girl Rock by Kerry Hilson. One song where she tipped her hat to EVERYONE in every era.

Since there aren’t a lot of songs that do this in EVERY era represented on Broadway, let me share a few, and show you where to find them.

4. These are songs that I call “bendies”: songs that live in a few styles of popular music and could be “bent” to fit many styles.

•Love On Top by Beyoncé (Motown, Disco, Contemporary Pop)
•Maybe by Janis Joplin (50s and 60s, 70s Folk/Rock, Country, Gospel, Blues.
•Paradise by the Dashboard Light by Meatloaf (Motown, 70s, 80s, Contemporary Pop/Rock
Curious about identifying others? I created a sheet music site where I made a deal wit Hal Leonard to cut and arrange thousands of popular tunes in all styles currently represented on Broadway.
Here's what you do:

•Go to: www.rocktheperformance.com
•Click on “SHEET MUSIC”

Now I scrolled down to Love on Top so you can see how I organized it. It tells you EXACTLY what time periods this song could be used for!

If you don’t want to look for a specific song that have a lot of bendable qualities and you are looking for a great tune, period, all you have to do is go through our filter system for incredible tunes, cut and arranged for pop/rock auditions! For the same price as Musicnotes.com

You will find great songs, I have AWESOME taste. And if you wanna play with me, and learn HOW to bend your songs so they feel authentic in every era, go to www.rock-the-audition.com. There's tons of different ways to play with me no matter where you are on the planet!

About Sheri:

Sheri Sanders, celebrated performance coach, will be launching her new Rock the Audition - Pre-Professional Rock Musical Training Program, a collaboration with theatrical Buzzfeed phenom Theatre Nerds, at BroadwayCon on Saturday, January 28th at 3:00 PM. Sheri is a professional actor who in 2004, noticed that popular music was changing the landscape of musical theatre and created Rock The Audition: a master class in auditioning for rock musicals. The class became a hit in New York City and Sheri quickly became an international, preeminent popular music repertoire coach. Since 2011, Sheri became the first author to publish a book on the new relationship between popular music and musical theatre: Rock The Audition: How to Prepare for and Get Cast in Musicals. Together the book and master class have brought Sheri to 59 musical theatre programs in four and a half years. Sheri leads by example as a diversified performer as well, as Lourds Lane, the creator of the recent Off-Broadway hit Rock musical, Chix6, called her “the secret weapon” of the production, as Sheri successfully covered the entire company of rock singers - women AND men.

For more on Sheri, visit www.sheri-sanders.com

By Michael Block

We all strive to write the next great American play. But what is the great American play exactly? Ask ten different people and you'll receive ten different answers. The Great American Drama, created by Connor Sampson and presented by The New York Neo-Futurists, Drama, christening the brand new Jeffrey and Paula Gural Theatre, sets out to create this great play after polling a plethora of people, both civilians and theater artists alike. What is presented is ambitious to say the least. Have you ever seen the Saturday Night Live sketch with the high school kids putting on a show? The Great American Drama is the real life version. Only with a little more substance.
Four ensemble members of the Neo-Futurists, along with the live music from Lijie, take the stage to give the audience what they want, what they really, really want. To expose the difficulties of pleasing the masses, Connor Sampson and co offer vignettes from the requests projected on the back wall. And they range from magic to "great" acting to Hamilton. And they'll do all they can to provide! That is as long as they won't be arrested or sued. On the surface, The Great American Drama looks messy but the inherently thrown together feel is overcome with passion and heart. In a piece where everyone's a critic, The Great American Drama literally allows you to vote if the show was successful or not via text at the conclusion of the show. The Great American Drama is anything but conventional. It's bound to be polarizing for the risks it takes. It's experimental simply for the fact that it is a big old experiment. And its payoff will be personal. The thesis of discovering what makes a show, and America, great is truly an impossible feat to find a solution. Audiences, and Americans, want everything, but different everythings, so they try to provide everything to prove their point. But even before the night begins, you know what the outcome will be. Even the unpredictability is a bit predictable.

photo by Hunter Canning

It’s likely the version of The Great American Drama that I witnessed will be different than the version another audience will see. There are clear beats that Sampson and the company explore in the structure. Yet there is something unfinished about the product. Co-directors Sampson and Greg Taubman needed to figure out a way to tighten each moment so any flaw or flub that arose felt deliberate. Sure, the audience is along for the ride but when you feel uncomfortable for the performers, you’re taken out of the moment. Once polished, the joy and excitement that Sampson and Taubman infused will break through. And there is a ton of fun to be had. The immersive elements allow the piece to have the communal feel they long for. But having a backup plan should a rogue audience member become frightened off by the unknown is necessary. With virtually a blank space to work off of, it was the quartet, a few chairs, and the projections from Ross Jernigan. In an ideal world, the projections would fill the giant scrim a bit more but the design itself, from colors to font to borders, was on point. It had a modern feel while still maintaining a classic, presentational essence. Again, in the world of tightness, the lighting from Justin Cornell could have been just that. The Great American Drama didn’t long for anything too crazy, just a bit more specificity.
It’s evident that The Great American Drama is a work of passion. The performers serve as writers but it’s Connor Sampson who stands out the most. Sampson bears his soul, shedding all fears for an extreme amount of honesty and vulnerability. Sampson’s vivacity is slightly subdued but it’s charming. When he does break free and light up, The Great American Drama comes to life. The remainder of the merry band of performers, Daniel McCoy, Katy-May Hudson, and Nicole Hill, do more than fill a niche. Their menu of talents is giant.
The Great American Drama is unlike anything you’ve seen before. And yet it’s exactly like everything you’ve seen before. It’s an ambitious undertaking that I’m certain, by the final performance, will find it’s footing. There’s an exciting exploration that draws you in but as a final product, it’s not quite there. Yet.

Name: Mary Catherine Burke

Hometown: Fairfield, CT

Education: Southern Methodist University in Dallas, Texas

Favorite Credits: I always love working at Mile Square Theatre! I’ve directed 4 stretch shows and It’s a Wonderful Life.

Why theater?: Great story telling reminds us to have empathy and listen while being entertained and inspired. I think right now, that’s more important than ever.

Tell us about You’re a Good Man Charlie Brown:You’re A Good Man Charlie Brown is an incredible family show! It has great music. It’s based on the characters we all know and love, and parents will find it as funny as their kids. At one point in the show Linus, as he struggles to give up his blanket, he enters, sucking his thumb, and distraughtly says, “I think I am losing my flavor.” It is a wonderfully quirky moment. You’re A Good Man Charlie celebrates the freedom of childhood in a refreshing way.

What inspired you to direct You’re a Good Man Charlie Brown?: Chris O’Connor, Artistic Director of Mile Square Theatre contacted me and asked me if I’d be interested in directing this show. It is very faithful to the characters from the comic strip and has a delightful score. There are a lot of short scenes which will keep a young audience engaged. It also reflects how kids see the world in a way that adults will find touching and funny.

What kind of theater speaks to you? What or who inspires you as an artist?: I like to work on material that reminds people to have empathy, integrity and listen to each other. It is good to remember that getting a head isn’t worth it if you don’t enjoy the journey.

If you could work with anyone you’ve yet to work with, who would it be?: I’d really love to work with Dan Fogelman. He’s the writer of the film "Crazy, Stupid, Love" and currently "This is Us." He has an amazing ability to mine such emotional depth out of every day conflicts and make you appreciate the value of small moments.

What show have you recommended to your friends?: Dear Evan Hansen is one of my favorite shows in New York right now. It is so complicated and exceptional.

Who would play you in a movie about yourself and what would it be called?: Oh man, it would most definitely be Tina Fey. And it would probably be called "Tragedy + Time= Comedy."

If you could go back in time and see any play or musical you missed, what would it be?: I’m very sorry I missed Act One at Lincoln Center. Moss Hart’s biography is a life changer and an anthem in self-belief and determination.

What’s your biggest guilty pleasure?: Hip Hop at Alvin Ailey. It isn’t pretty. But it is fun!

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

What’s up next?: I’m directing a new play called The Trap by a British writer Kieran Lynn at Amphibian Stage Productions in Ft. Worth, Texas. I have also been developing a gritty modern country musical called Music City with music by JT Harding, who has written hits for Keith Urban, Kenny Chesney, Blake Shelton and the Grammy nominated Its Different for Girls. I’m also working on an original musical called Chick Flick the Musical, about a group of 4 women who learn to view themselves the way their friends do, to make real life better than the movies!

For more on Mary Catherine, visit www.marykateburke.com. For more on Mile Square Theatre, visit www.milesquaretheatre.org/

Name: Gracie Gardner

Why theater?: It's a living, breathing animal.

Tell us about Pussy Sludge: I always know my clinical depression is back when the thought "humor isn't funny" occurs to me. This show is about everything that happens before that thought. It's about a woman who gets stuck in a swamp.

What inspired you to write Pussy Sludge?: I went to sleep on election night after the returns had come in and had this dream that crude oil was gushing out of me. Then I wrote the play. It’s a love letter to a nightmare. It’s about overcoming shame, the freedom of isolation, and asking for pleasure without knowing what that looks like.

What kind of theater speaks to you? What or who inspires you as an artist?: Theater that changes my mind or gives me a new thought or makes me feel something. It usually involves leaving a dark theater nauseated, overwhelmed, and crying. John by Annie Baker did all those things for me. The subway ride home after that show was embarrassing. Disturbing images that won’t go away usually fuel writing for me. I’m in awe of artists like Banana Yoshimoto, Vera Chytilova, Leonora Carrington, Kate Tempest, Zadie Smith, Pipilotti Rist, and Isabel Allende. I’m fortified by my friends who are making ruthless, social theater. Right now I’m inspired by Skylar, the director of Pussy Sludge, who is challenging me to be kinder to myself, my work, and others.

If you could work with anyone you've yet to work with, who would it be?: I'm lucky enough to live down the street from my role model, Isabel. She's my best friend, and I’m always trying to get her to work with me. In essence, she is the ideal human being, and there are things about her that I aspire to, like taking exercise class and finishing books in a timely way, and things I know I never will be able to come near, like her matchless power of word choice and uncanny foresight. But at the end of the day, it's her combination of kindness and brain power that makes her the person I most often look up to. I think when you start from a place of compassion and understanding, everything becomes more honest, more humorous, and more intelligent, so I think she’d be a great collaborator. She's the first person I text when I don't know what to do. We’ve done short things together, but maybe one day I will convince her to make a show with me.

What shows have you recommended to your friends?:Three Bitches by Lauren Mui, Reluctant to Burn by Korde Tuttle, and A Slow Boil by Tanya Everett.

Who would play you in a movie about yourself and what would it be called?: Larry Pine would play me, and it would be called "Dangerously Polite."

If you could go back in time and see any play or musical you missed, what would it be?: I missed my friend Beth Hyland's senior thesis because I had a ruptured ovary. I would go back and see that.

What's your biggest guilty pleasure?: Criticizing things I love.

If you weren't working in theater, what would you be _____?: Going home after my day job and eating sandwiches and watching movies and writing.

What's up next?: Making a play about where radio lives and another about falling in love with a sarcastic dog.

By Michael Block

Henrik Ibsen wrote an epic play in five acts that has often scared audiences and artists away while others affectionately embraced it. So when someone tries to tackle Peer Gynt, there's a bit of fanfare for us Peer Gynt aficionados. Ma-Yi Theater Company brings an ambitiously rockin' adaptation of the Ibsen classic in Peer Gynt and the Norwegian Hapa Band where the titular character rocks and roll through the world without consequence or care. Set to a rock and more score, Michi Barall's adaptation, with music by Paule Lieber and Matt Park, is daring but quite scattered.
In Peer Gynt and the Norwegian Hapa Band, Peer is a selfish man-child that's hard to care for as he tries to find his purpose in the world on his journey for self. With a backdrop of live rock, if you have an appreciation for the source material, Peer Gynt and the Norwegian Hapa Band is extraordinarily exciting but if you don't know the story, you're likely lost. Michi Barall layers the lyrics with integral information that, at times, is lost in the muddled sound. If you're looking for some really great music, Lieber and Park have provided. The story of Peer Gynt is an epic odyssey that is relatable when you do a deep dive. Each beat of Ibsen's text is telling, some just take a bit more excavating. But you have to wonder if Barall was just as lost as Peer at times. This was ever-present in the infamous Troll King scene. If you worry that the audience will not comprehend the material, when in doubt, use another language! The scene is important to Peer’s arc, but the scene is generally loaded. Barall playfully has the Trolls speak in foreign tongue and only hit the highlights in English as a means to assistant the audience. It’s an unfortunate lapse in story. And there are a few similar moments of manipulation. On his conquest, the music often keeps the beat of the evening. Much praise should be given to orchestrator Chad Raines for capturing Lieber and Park’s score. It’s overall pretty smart as the variety of styles seems to tie together. Though some numbers, like “I Top From the Bottom” out of context cause some giggles, intentional or not. But if you know your Peer Gynt, the music team gives you a beautiful Easer egg in the troll scene with an ode to “In the Hall of the Mountain King.”

photo by Hunter Canning

The overall vision that director Jack Tamburri infused was reminiscent of an 80s rock and roll party band bringing the story to life. It’s reflected in the scenic design by Meredith Reis with that tinsel curtains and string lights. But then things get a little weird with the Norwegian hieroglyphics on the base and the floor. While interesting, it didn’t seem to live in the same world. And that is a reflection of Tamburri’s staging. The scenes went all over the place. The usage of microphone lacked consistency. Sure, with an array of characters to portray, Tamburri didn’t give his company much fluidity and definition in the various worlds. Asta Hostetter’s costume design matched the loud world Barall, Lieber, and Park devised. But with so much going on throughout the production, excessive patterns were merely a distraction.
Any Peer Gynt will live or die through the actor portraying its titular character. He is the reason we watch the journey. Matt Park didn’t quite take command as Peer. He allowed the world to control him. Peer is an easy person to dislike and Park ran with it, providing no depth in his arc. Park was picked up by his supporting cast, namely Angel Desai, who frequented Peer’s women, Mia Katigbak, playing Peer’s mom, and Titus Tompkins, who banged on the drums while portraying Peer’s rival. Desai had a innate skill to portray the women scorned. She eased into the sultriness of the characters, tempting him throughout. Park was strongest in his scenes with Katigbak’s Ose as they were the most natural and Ibsen-like. Their dynamic was pure and fun. Tompkins stole the show with his vast character skills as well as his boisterous skill on the drums and mandolin.
Ambition took center stage at Peer Gynt and the Norwegian Hapa Band. In the note from the creative team, they seem ashamed that they slimmed the playing time and yet it still felt excessive. I can guarantee this story can be perfectly told in ninety minutes. Perhaps with proper trimming and cohesion in the book and score, Peer Gynt and the Norwegian Hapa Band could be something cool.

Name: Dan Dinero

Hometown: Rochester, NY

Education: BA from Yale University, MA and PhD in Performance Studies from NYU/Tisch

Favorite Credits: I’m still really fond of one of the first shows I directed, way back in my undergrad days - Rupert Holmes’ Accomplice. SUCH fun.

Why theater?: I’m as guilty as the next person of spending too much time on my various devices. But as life gets more and more digitized, theater feels like one of the few reliable respites. It demands that we turn off our phones and really look at each other, in person. It forces us to be present, all together, in the same space at the same time. Where else does this consistently happen? People have been fretting (for decades now) that theater is becoming obsolete. I actually think live theatre is becoming more and more relevant.

Tell us about Boys of a Certain Age: It’s a play about four gay men who, because of generational and political differences, all look at life differently. And it is set in the immediate present- in February 2017.

What inspired you to direct Boys of a Certain Age?: Even though inter-generational relationships are such a significant aspect of the lives of many queer folks, it’s rare to see different generations of gay characters in the same play (unless you count the “cute young thing” character that comes up a lot). It’s also refreshing that the characters in Boys of A Certain Age are not constantly fretting about gay marriage and having kids. But as a director, I love that this play is really open to creative staging and allows me to exercise my directing muscles. I was really proud of what we all did in a festival setting back in July, yet I also love getting the chance to revisit, and completely re-stage, this work with the same great cast.

What kind of theater speaks to you? What or who inspires you as an artist?: I get excited about work that is diverse (however you want to define that) and work that embraces theatricality. I’m inspired by intelligent actors, innovative directors and designers, and playwrights who tell stories I haven’t heard before. Best of all is when the different members of the creative team are clearly inspiring each other - when the idea of a designer affects a line change, or when an actor discovers something in rehearsal that shifts the staging. I think the best theatre is that which is truly collaborative.

If you could work with anyone you’ve yet to work with, who would it be?: I would love to work on an Annie Baker play that’s being directed by Sam Gold. Or whatever Jeanine Tesori or Lin-Manuel Miranda are doing next. But more in the realm of probability, while I worked with J. Stephen Brantley as an actor ages ago (he played a maid), I haven’t yet had the chance to direct one of his plays. We keep saying it’s going to happen.

What show have you recommended to your friends?: Last fall I was telling everyone to see A Life at Playwrights Horizons because David Hyde Pierce was EVERYTHING in that show. Right now I’m recommending Natasha, Pierre, and the Great Comet of 1812, both for its amazingly diverse cast and its brilliant design and staging. And then this spring I will be telling people to see A Doll’s House, Part Two - Lucas Hnath is a longtime friend and his work (The Christians, Red Speedo) is consistently fresh and exciting.

Who would play you in a movie about yourself and what would it be called?: Ryan Gosling in "How To Be Gay" (props to David Halperin for the title)

If you could go back in time and see any play or musical you missed, what would it be?: First would be the legendary 3,389th performance of A Chorus Line, which Michael Bennett completely restaged to celebrate the record-breaking performance. While time-traveling I would also try to catch the original productions of Dreamgirls, Follies, and Henry, Sweet Henry, because Michael Bennett was a genius.

What’s your biggest guilty pleasure?: I am OBSESSED with Project Runway Junior (although I don’t really feel guilty about it)

If you weren’t working in theater, you would be _____?: Far more financially secure. Oh you mean what would I be doing? I’d probably be a lawyer. I’ve always thought I would enjoy law school. Maybe not being the lawyer part, but the law school part for sure.

What’s up next?: I’m directing three pieces in The Refugee Plays, going up at the FRIGID Festival in February and March. And I’m really looking forward to working on Charlie Gershman's The Waiting Game, which we are taking to the Edinburgh Fringe this summer.

By Michael Block

The journey to Broadway was not nearly as long as Leo Tolstoy’s novel but there's a grand coronation for the arrival of Dave Malloy's astonishing Natasha, Pierre, and the Great Comet of 1812. From beautifully ambitious production at Ars Nova to the Great White Way, Natasha, Pierre, and the Great Comet of 1812 is continuing to change the mold of what can be done on Broadway.

Inspired by part of Tolstoy's “War and Peace,” Natasha, Pierre, and the Great Comet of 1812 is an electropop extravaganza you never knew you needed. If you're curious as to what an electropop opera, “The Duel is your answer. Dave Malloy creates a classical sound with a hint of electronic music blended together to please the ear in ways you never imagined. With a sweeping score, enthralling players, and the closest thing to immersive theater you'll get on Broadway, Natasha, Pierre, and the Great Comet of 1812 is an inescapable theatrical experience of wonderment that is nothing short of an extraordinary feat. The story of love, lust, and betrayal with the backdrop of war, Malloy's musical has all the ingredients for a romantic Broadway classic, only its execution is reinventing the landscape of theater. But Malloy isn't alone in constructing this exceptional production. Director Rachel Chavkin's visionary exploration of the material elevates it to heights unknown. Whether you know the journey or not, Great Comet, for short, had a triumphant run at Ars Nova with stops Off Broadway in a tent in the Meatpacking District and literally right next door to the Imperial before heading to A.R.T. in Cambridge. For those familiar with the original concept, Great Comet was full-steamed immersive dinner theater event. To prepare it for a commercial run, things needed to be changed. Biggest of all, it's no longer a dinner theater extravaganza with borscht shots and players dancing on the table. The participatory feel is still present as Chavkin has her company fully engulfed in the audience but that is if you're close enough to the aisle. But that sacrifice, in the grand scheme of the production, is minor. Disappointing, but minor. For those new to the production, you get a fresh experience where music fills the theater completely from every direction. If you're worried about not understanding the plot due to the sung-through style of the score, there's a cheat sheet in your Playbill and the company spells out everything you need to know in its entirety in the exceptionally brilliant opening. From there, Malloy employs tight harmonies, haunting dissonance, and musical styles galore to bring the epic to life.
Rachel Chavkin's reimagining for a bigger stage captured the heart of the show while still maintaining the integrity of the immersive spirit. It's inevitable that you will miss something or someone at some point. But you have to forgive that due to the nature of the endeavor. Even some of those prime seats on stage have some sight line issues. But Chavkin ensures that there is always something to look at constantly. The theater is completely transformed, bringing a playground of stairs, ramps, and railings for the giant company to explore. Mimi Lien's transformation of the Imperial Theatre isn't the first talking point the audience has. It's the makeover of the lobby that should get special recognition. With the potential of a guest looking at every tiny detail inside and out, Lien brought great care and consideration to every wall, seating unit, and fabric. The lighting from Bradley King is top notch. King's visual manipulation through lights was riveting to say the least. Forgive King for blinding you because the payoff is warranted. If strobe lights are a worry, be warned, King has introduced the club world into the Imperial. Often times, you can look away from a strobe effect for solace, but there is absolutely nowhere that’s not filled with strobes. It’s truly a stimulating moment. Marrying period attire with a modern fit, there was sheer brilliance in Paloma Young's costume design. Each character had a striking personality through texture, fit, and color. Whether it be the form fitting glamour for Anatole to the baggy, lazily clad Pierre to the elegance and purity for Natasha, Young’s execution was exquisite. Nicholas Pope proved the importance of sound design and engineering. To fully engulf the room with sound Pope went beyond the call of duty. The pulsating beats and eardrum-bursting flares captured the essence of the experience.

This show lives and dies through its ensemble. From top to bottom, Natasha, Pierre, and the Great Comet of 1812 has one of the fiercest companies on Broadway. There is nothing easy about this production. Just look toward those actors carrying their instruments as they race around the theater. When it comes to the characters though, the women dominated. As Natasha, Denee Benton makes a celebratory Broadway debut. Benton has a stunningly pure vocal with a glorious pop. Mixing innocence and elegance, she crafted a Natasha that floated with naivety and grace. Don’t be surprised if Denee Benton picks up some hardware this award season. With an array of musical stylings, the supporting women delivered. The gruff growl of Grace McLean as Marya satisfied her confidence and poise. The sultry vocals of Amber Gray as the charmingly slutty seductress Helene brought out the fun of the night. Gray has a knack for characters of this nature. Brittain Ashford as Sonya brought a natural folk sound to the piece. The specificity of her tone and the brilliance of Malloy’s writing allowed “Sonya Alone” to be a standout number of the production. When you have one of the world' greatest vocalists, you let him soar. And Josh Groban soars. Those used to Malloy in the titular part should expect something completely different and equally rewarding. Groban brings buoyancy as the drunken Pierre. Lucas Steele peacocked his way through the theater as Anatole. His strut and demeanor as the overly confident soldier matched his frequent entrancing entry drums.
If you asked me when I first saw Natasha, Pierre, and the Great Comet of 1812 if it was a show that should be on Broadway, I would have said absolutely not. It had its place in the tent. It was perfect in that world. I’m glad I was proven wrong. Dave Malloy’s score may be the polarizing element of the production but no matter how you slice it, this is an experience that many will try to emulate. And rightly so.

Name: Anna Tempte 

Hometown: Vipperoed, Denmark 

Education: Lee Strasberg Film & Theatre Institute New York

Select Credits: I loved playing Masha in Chekov’s Three Sisters. The cast and crew were absolutely outstanding. It was produced by The Brooklyn Repertory Theatre who is lead by some fierce women. This rendition of the play was set in modern day New York City and featured an ethnically diverse cast, which is more representative of the world we live in today.

Why theatre?: The theatre is a unique and magical place for me. Theatre goers walk into a dark theatre and get transported to another place. There is no other art form where the material is alive and we witness people living in the moment in a non real environment. Theatre is to re live. There is no other art form like it. A painter has a canvas, brushes, etc. A musician has an instrument. Actors are their own instrument. We are a living breathing "canvas".

Who do you play in A History of Servitude?: I play Pedrolino, a shy simpleton man, and Colombia, the sassy servant.

Tell us about A History of Servitude:A History of Servitude is a wacky and wild Commedia dell’Arte performance that is part parody and part improv comedy. A History of Servitude is a comic survey of world history, from the dawn of man to the present. The play examines and celebrates the eternal struggle of the underdog. History remembers men (and to a much lesser extent women, which we point out as well) of greatness, who through conquest, innovation and accomplishment have left an indelible mark on the story of man. But what about the servants of these giants? Using the boldly physical slapstick comedy of Commedia dell’Arte, we bring attention to the contributions of the working class to history, which all too often goes unnoticed. The Great Pyramids of Egypt were built by slaves, but it’s the pharaohs whose names live on. A History of Servitude posits a a comic reminder that the 'little people' are the ones on whose back much of history rests, despite the fact that the masters get all the credit.

What is it like being a part of A History of Servitude?: There is something about working in mask. Much of our personality we define via our face and it's absolutely freeing to “loose” your face and inhabit another. You never know what will happen at rehearsals. What I love about commedia dell’Arte is that a lot of it is improvised. We play these stock characters from the renaissance that we have spiced up to suite modern day. I often leave rehearsal with my stomach hurting from all the laughing!

What kind of theater speaks to you? What or who inspires you as an artist?: Commedia is a rare and unique art form. It's basically street theatre from the renaissance period. Commedia is browdy, zany and wild. There is no “fourth wall" therefore the audience is incorporated into our performances. I believe that artists have been given a gift, we need to use that to better the world. We have a platform where we can be heard and like many before us. Renaissance theatre used comedy and masks to question the authority and speak to the “common” man. I believe that is the longstanding hallmark of good theatre. You leave the theatre or movies with more empathy or rethinking some of your own life.

Any roles you’re dying to play?: Lady Macbeth (Shakespeare), Nora (Ibsen) and Bridget Jones (Anybody who knows me will laugh, it’s so me.)

What’s your favorite showtune?: "Pretty Funny" from the musical Dogfight.

If you could work with anyone you’ve yet to work with, who would it be?: I would love to work with Viola Davis, Jessica Lange, John Leguizamo, and Max Von Sydow (My grandmother did theatre with him).

Who would play you in a movie about yourself and what would it be called?: Renee Zellweger and the movie would probably be called “What Were You Thinking?"

If you could go back in time and see any play or musical you missed, what would it be?: The Group Theatres production of Waiting for Lefty

What show have you recommended to your friends?: Fringe of Humanity at the Access Theatre

What’s your biggest guilty pleasure?: City Bakery’s chocolate chip cookies

What’s up next?: We have the months long run now at the Peoples Improv Theatre. After that we are looking to do a traditional 16th century play

For more on Anna, visit www.annatempte.com. For more on A History of Servitude, visit https://departmentoffools.wordpress.com 

By Michael Block

The year is 1599. It's the year that may have been William Shakespeare's greatest year of writing. In that year, he wrote Henry V, Julius Caesar, As You Like It, and Hamlet. No small feat! But was their anything that lead to this? Did the outside world play a factor on Shakespeare, his writing process, and his inspiration? And are there any dramatic through lines in this quartet of plays? In the extraordinarily impressive 1599 Project, Irondale Ensemble gives you four condensed Shakespeare plays in four and a half hours. The only problem is, what happens when the concept and the execution don’t really add up?
Billed as an evening that explores the year that Shakespeare wrote four of his epic accomplishments, 1599 transports the audience into each play, whether they are entirely familiar or not. The pitch that director Jim Niesen conceived is that together, the four plays form a narrative about one mythic hero from youthful idealist to madman. The concept is spellbinding. Could these four drastically different yet eerily similar narratives relate to one another? First and foremost, what was presented was no small feat. It was an endeavor of grandeur. But the presentation and the synopsis don’t necessarily go hand in hand as a little more care and attention was needed. And it all comes down to this. If the thesis is that one mythic hero lives in Henry V, Julius Caesar, As You Like It, and Hamlet, in order for the audience to track this journey and explored properly, one actor needed to portray all four of individuals in each piece. Granted, it’s nice to share the wealth of material amongst the company, and it’s clear that’s what happened, but when you set out to achieve a theory, the execution needs to support it. And one singular actor needed to play Henry, Brutus, Rosalind, and Hamlet. Similarly, the advisories in each needed to be played by one singular actor. The romantic interested needed to be played by one singular actor. And it goes on and on. Instead, what’s presented is a four-play cycle of plays about betrayal and revenge. It’s an intimate exploration of the texts that, the more you know, the better you can capture the cuts and trims. But it does not mirror the objective. Not knowing the objective you’ll certainly have a great appreciation for the project. This is an ensemble well versed in Shakespearean tongue that bares their heart and soul for the Bard. In the world of consistency, it lacked greatly in the overall conceptual costume design. Rather than keep the company in suits or modern, casual dress, they floundered from piece to piece, continuing the muddy the conceit.

photo by Nat Nichols

Putting all that aside for a moment, Niesen and his company should be applauded for the achievement. Doing one Shakespeare is hard. Four? That sounds like acting torture. The truncated experiences of each represent the works well, though some liberties are taken. Well, many for Hamlet. In Henry V, Niesen keeps the piece mostly contained within a box on the stage floor. It’s swiftly told in a manner that keeps the stakes eminent and the danger present. As the audience moved up to the top tier of Irondale, Julius Caesar came to life through a strange seating configuration. No matter where you sat, your neck was reeling from straining. The story of betrayal and the infamous Ides of March didn’t quite have the peril of consequence it desired. After a brief picnic, the audience was moved back downstairs for a jovial rendition of As You Like It. The story of love and deceit was a perfect post-meal treat that kept the audience engaged and excited, though some of the doubling was troublesome. And then we came to Hamlet. Quite possibly the most intimate of all the plays, this was not one to fool around with as the audience is likely going to be most familiar with the plot. And yet, this Hamlet was plunged into extended madness. Gender bending was present in the other three plays of the evening and yet we said good bye to Polonius in favor of Polonia, the mom. New takes on the text were taken. Modern references were integrated. And suddenly, Hamlet didn’t seem to match the rest of the evening, causing it to drag on. It’s certainly not due to fatigue. It felt too dissimilar that it caused frustration.
The cast of six brought variety to the stage, but their camaraderie was apparent. No matter the play, Katie Wieland was the stand out. She brought arrogance as Caesar, innocence to Katharine, and grace to Gertrude. But it was her Rosalind that was the role to remember. Wieland captivated the audience and Orlando alike. Wieland’s effervescent approach had a hint of subtlety that was engaging. She certainly left you wanting more. As the other lady in the company, Alex Spieth’s strongest showing was that of Henry V. Her vocal inflection took some time but her luster in the infamous monologue set the tone for the night. Spieth and Wieland had great chemistry, mostly showcased in As You Like It. Next up in the leading character role, Michael-David Gordon’s Brutus was a bit lackluster, seeming to lack intentions. Though it could be in part due to the staging. Gordon made up for his Brutus as the hilarious Touchstone. His physical comedy was remarkable. Even if the luggage got caught on the fabric drop, Gordon didn’t lose a beat. Rounding out the big four leads, Joey Collins’s Hamlet was something unlike anything you’ve ever seen before. Collin’s Hamlet was drenched in extreme lunacy. It started off so extreme that it never really went anywhere, causing Hamlet’s decent into madness to be completely off. That being said, with the concept of the four plays forming one, this may have been a directorial decision. It’s a shame that Collins would be remembered for his portrayal as Hamlet as his roles in As You Like It were sublime. In a world where each play created one arc, Terry Greiss seemed to capitalize on this best, simply due to his casting. Playing many of the older characters, Greiss played with consistency. It wasn’t really until Orland that Sam Metzger got to shine. His bright-eyed lover was charming.
Creating four distinct playing spaces in the giant room, Ken Rothchild’s use of rustic scenic elements, fabrics drapes, and throws to give each world a personality. Lighting designer Shannon White’s ability to bring evocative feeling to each piece was inspiring. With so many potential hurdles, White never once faltered or experienced a hiccup.
As a complete night of four individual performances of Shakespeare, 1599 was something you’ll likely never see again. And in that regard, it’s something to shout from the rooftops. But it tried to be something that was not presented.

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