Saturday, May 23, 2015

Spotlight On...Joyce Miller

Name: Joyce Miller

Hometown: Philadelphia, PA

Education: Settlement Music School from age 3-17. I studied classical piano and that taught me a lot about creative discipline. PA Governors School of the Arts. NYU's Tisch School of the Arts, where I trained at the Atlantic Theater Company Acting School plus a semester at Stonestreet Film and Television Studio. Williamstown Theater Festival Apprentice Program

Favorite Credits: Elizabeth Proctor in The Crucible directed by Kristi Gunther; Elizabeth Morden in Our Country's Good & various ensemble roles in Caucasian Chalk Circle, both directed by Anya Saffir; Antony in Julius Caesar directed by Brendan McCall; Naomi in Naomi in the Living Room directed by Anna Kerrigan; An evangelist in Hellhouse directed by Alex Timbers

Why theater?: I was applying to visual arts and theater schools at the end of high school, but the application process is so intensive that you can't physically go to the acting school auditions and the in person visual arts portfolio reviews in the same year, I found out. I tend to love working long hours alone in a studio. I thought theater would be more against my nature because I can be shy and depressive. The ensemble nature challenges my ego, ability to listen and communicate, as well as cultivate independent thinking, trust, and honesty in a group setting.

Tell us about The Upper Room: The Upper Room is about a handful of people on a remote island called Maco who live practically and productively, with as little consumerism as possible. They grow their own food, they live "outside of money", to quote the play, they follow a spiritual and biblical element of prayer, while being individual truth seekers. The audience encounters them at a point when environmental pressures and personal loss overwhelm the group into a state of disorder, exposing and intensifying key personal differences. Some consider leaving, some seek relief in irrational devotion, and everyone questions each other and themselves. Ultimately, they must put aside their humanness in the face of a greater, unanticipated change. All woven into an incredible musical landscape with song and dance!

What do you do in The Upper Room?: I play Philipa Nearing, who leads the group along with sisters Marta (Dana Kaplan-Angle) and Hannah (Catherine Brookman). Hannah has gone missing right at the beginning of the play, when Philipa and Marta find her shoes washed up on the shore. From there, Philipa struggles to hold things together and finds herself losing touch with the group, most painfully when her sister Marta develops a romance with ambiguous new recruit named Albert (Robert Lavenstein).

What kind of theater speaks to you? What or who inspires you as an artist?: I dream of theater that is urgent, affordable, cathartic, widely accessible . Theater that finds innovative venues and business models in order to reach audiences and be created by artists who represent real communities, and not just make a product. I admire the writing of Martin McDonagh and Sarah Kane. John Leguizamo. Edgar Oliver, who Jeremy turned me on to. I love Working with Anya Saffir. I love working with Rady&Bloom because they establish a from scratch aesthetic that takes courage, and they cast more unconventional actors for their individual traits as artists and work from there. Jeremy valued odd traits I have as an artist before I recognized them as being positive. I feel most inspired by the artists I am surrounded by personally and watching them have breakthroughs and achieve their goals because of their own courage is one of the biggest inspirations.

If you could work with anyone you’ve yet to work with, who would it be?: Townes Van Zandt

What show have you recommended to your friends?: I was inspired by Brickman Brando Bubble Boom at Under the Radar this year. Also I'm Gonna Pray for you So Hard at Atlantic recently.

Who would play you in a movie about yourself and what would it be called?: "24/7 Facebook Lurk: Portrait of the Artist as a Young Creep" ideally John Leguizamo would play me, if he still has an interest in coming-of-age stories.

If you could go back in time and see any play or musical you missed, what would it be?: The first fart joke ever told by a cave-person.

What’s your biggest guilty pleasure?: The Internet. All of it. I read a lot of Yahoo Message Boards about other peoples lives and problems. I also watch Make-Up Tutorials and super cheesy lifestyle vlogs on youtube. And, I am into wierd twitter. I like to tweet about my love of root vegetables.

If you weren’t working in theater, you would be _____?: I have always wanted to play the fiddle.

What’s up next?: Directing, writing, and producing a short film with my friend. I am actually pretty multi-hyphenate. I sometimes write internet satire on McSweeney's and am working on a novel but sometimes I get nervous about that "jack-of-all-trades" stereotype.

For more on Joyce, visit and follow her on Twitter @joyfulmilton

Spotlight On...Courtney Jones

Name: Courtney Jones

Hometown: Racine, WI

Education: BFA in Musical Theater, University of Wisconsin- Stevens Point

Select Credits: Viola in Twelfth Night (Montana Shakespeare in the Parks)

Why theater?: It's an adventure. Not only do you get to tell stories, you get to live a million lives in one lifetime. You get to do it all.

Who do you play in Another Kind Of Love: Tanya Singer

Tell us about Another Kind Of Love: For me, it's been about all the things you do for love: love of family, love of art, love of self, and finding a balance.

What is it like being a part of Another Kind Of Love?: It's like going into battle. The show hits the ground running and doesn't really stop for anyone. We are all pushed, and end the show kind of staggering and breathing heavy.

What kind of theater speaks to you? What or who inspires you as an artist?: I'm always a big fan of language plays, and music in plays. But what most inspires me is innovation and creativity: things like Pigpen's Old Man in the Old Moon.

Any roles you’re dying to play?: Beatrice in Much Ado, Polly in Crazy for You. Lizzy in Pride and Prejudice.

What’s your favorite showtune?: "Someone to Watch Over Me". Although the score I default to most often is Chess.

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

Who would play you in a movie about yourself and what would it be called?: The title would probably be, "yes, I'm 90" and I would play the quirky woman who runs the kitchen at the rural cottage our lead ends up at where she knits and bakes bread and makes her own clothes.... yes, I am 90.

If you could go back in time and see any play or musical you missed, what would it be?: Any Shakespeare, in their original productions.

What’s your biggest guilty pleasure?: Period dramas. I watch way too many movies with corsets and pretty dresses.

What’s up next?: The Consultant at Signal Ensemble Theater. It's a comedy and I get to play the quirky one, so it will be a welcome change of pace!

Thursday, May 21, 2015

Spotlight On...Amber Kelly

Name: Amber Kelly

Hometown: Born in Detroit, grew up in Texas

Education: BA in Theater from Texas Wesleyan University, studied with Austin Pendleton at HB Studios in NYC, trained at Atlantic Theater Company School

Select Credits: Nominated for Best Lead Actress this past season for the role of Cate in Sarah Kane’s Blasted (one of the least produced, most talked about plays) Wilbury Group, Providence Rhode Island. Tour the world with several projects offered by Catharsis Productions. Rosannah DeLuce in Brilliant Traces, off-off Broadway. Puck in Midsummer Night’s Dream, Garland Shakespeare in the Park. Voiced several young boys on the Cartoon Network show "DragonBallZ"

Why theater?: Theatrics preceded language.  Tribes would gather around the campfire to perform the hunt and adventures of the day.  This is storytelling.  This is how we commune.  This is what makes us human.  And sure we exaggerate, and highlight the best parts, and that is how we are happy, and sad, and all of the more complex emotions we are capable of.  When we share them, we understand that we are not alone.

Who do you play in Another Kind of Love?: Collin, the youngest sister/drummer

Tell us about Another Kind of Love: Another Kind of Love is a mash-up of band drama and family drama, as well as projecting emotion in the different art forms of theater and music.  It is largely the coming of age story of Max, the daughter.  I recall connecting all of my emotion and confusion to rock music when I was figuring out who I was.  I would play songs for my parents with hope, only to be dashed that they truly just don’t understand.  There is a connection to music, passion and family as we peek inside the home of some of the most famous rock personas of our youth.

What is it like being a part of Another Kind of Love?: This show has been one of the biggest challenges of my career.  When I played Cate in Sarah Kane’s Blasted, it was the largest challenge I could imagine.  Little did I know that this project would confront me only a year later.  Jefferey Thomas is a hero for taking us group of rag tag actresses with some experience on our respective instruments and creating a famously loved band, The Dark Hearts.  Beyond building a band, we have been building a play.  This is the world premier of Another Kind of Love, so there has been a lot of communication back and forth between the productions company, InFusion, here in Chicago and the creators, Crystal Skillman and Heidi Rodewald back in NYC.  The play, the songs, the music has been in flux as we work together to find the perfect chemistry to tell this story.

What kind of theater speaks to you? What or who inspires you as an artist?: I believe that American theater today has earned a reputation as a diversion, or worse a dreaded responsibility to go see your friend, niece, fellow theater professional in a show.  I seek out theater that is different and engaging and challenges what it means to “go to a play.”  I seek to bring excitement back to the theater and seek opportunities that represent an event for the audience.

Any roles you’re dying to play?: All of the good ones!

What’s your favorite showtune?: I’m not a big fan of musicals, actually.  I have a hard time explaining that this show is not a music, but a play about musicians with music in it.

If you could work with anyone you’ve yet to work with, who would it be?: I would love to work with Michael Shannon.  I maintain it’s a possibility.  He glared at me once when I got a little close to him with my motorcycle while he was crossing the street.  It’s a start.

Who would play you in a movie about yourself and what would it be called?: Kate Winslet?  I don’t know, I’d rather play Kate Winslet.  Can the movie just be called “?”  Prince could get away with that.  I still have so much life left to live I can’t imagine putting a title on it just yet.

What show have you recommended to your friends?: I’ve recommended Sleep No More as something incredibly different.  Calling it a play is a little bit of a stretch, but I like that.

What’s your biggest guilty pleasure?: Bathing.  I take at least one a day.  I believe in pleasure.  No need for guilt here.

What’s up next?: I head to Alaska for some shows with Catharsis Productions directly following the closing of Another Kind of Love.  I am currently writing a “choose your own adventure” play about the Dyatlov Pass Incident called, An Unknown Compelling Force for my theater company, Theater of Thought.  There will be several branches to the story, so the show will be different every performance.  I’m looking forward to being on the other side of a world premiere as the writer. Another Kind of Love on Broadway?

Tuesday, May 19, 2015

Spotlight On...Alison Hixon

Name: Alison Hixon

Hometown: Storm Lake, IA

Education: Stephens College BFA

Select Credits: Lauren in Circle Mirror Transformation by Annie Baker, Girl in Autobahn by Neil LaBute. Filmography: Jesse in "Mercy's Girl" directed by Emily Lape, Lillian in "Requiem" directed by Michael Burgner.

Why theater?: It's challenging, and it continues to build me into a better person.

Who do you play in Another Kind of Love?: I play fifteen year old Max.

Tell us about Another Kind of Love: This production is extremely intimate and raw. It deals with family relationships and finding happiness within yourself.

What is it like being a part of Another Kind of Love?: It's truly an honor. Like, I can't even believe I get to incorporate and use so many skills I've worked towards. I secretly was in love with Crystal Skillman before I even found out she was premiering this new play here in Chicago so when I saw she created this play that included punk rock music (which I love) with a female heavy cast I had to be in this. This play is really something special and everyone has been working their asses off.

What kind of theater speaks to you? What or who inspires you as an artist?: I like to see theatre that makes me jealous I wasn't a part of it. My closest friends and family inspire me the most. I've got 2 kick ass sisters who have fueled my creativity my whole life. Music has also influenced every creative dynamic in myself whether it be painting, illustrating, acting, or playing music.

Any roles you’re dying to play?: Don't get me started! I've got LISTS, man, LISTS. I really want to play Rose in Annie Baker's The Flick someday. I read it this past year and it's probably one of my favorite plays I've read in a long time. I'm getting more and more interested in film as well so there are tons of roles living up in my head.

What’s your favorite showtune?: Umm, "Fugazi"?

If you could work with anyone you’ve yet to work with, who would it be?: I'm going to stick with some Chicagoans and go ahead and say Joe Swanberg,  Dexter Ballard, Profiles Theatre.... maybe Danny Devito, Jennifer Lawrence, and Debbie Harry.

Who would play you in a movie about yourself and what would it be called?: Hmm, I'm going to go ahead and say Queen Latifah and it'd be called Weekend at Al's

What show have you recommended to your friends?: Another Kind of LOVEEEEE!!!!

What’s your biggest guilty pleasure?: I ....I keep up with the kardashians......(bows head-single tear)

What’s up next?: I'm involved with shooting for a new independent feature this summer. I've also recently just put up all of my artwork up at Dollop Coffee located on Clarendon. Go and check it out!

For more on Alison, visit, and SheSaid Illustrations on Facebook.

Monday, May 18, 2015

Spotlight On...Lisa Rothauser

Name: Lisa Marie Rothauser (yes…I was named after Lisa Marie Presley. No foolin’)

Hometown: St. Louis, MO aka “The Lou"

Education: I received my Bachelor of Music from the “Harvard of the midwest” coined by the locals, but the rest of the world would know it as Truman State University. I inched my way closer to NYC by pit-stopping at Boston University School for the Arts for a couple years to pick up a Master of Music degree with an Opera Performance concentration.

Favorite Credits: Playing Hold Me Touch Me and Lick Me Bite Me in The Producers on Broadway were two of my favorite credits. There is nothing more magical than creating a world and singing your tits off on a real Broadway stage. Playing Sharon Graham opposite Lucie Arnaz’ Maria Callas in Masterclass straight out of college was also a highlight. But nothing could compare to taking credit for the role I play everyday as a mom of two boys. That pretty much trumps everything.

Why theater?: I feel that theatre isn’t something you choose, rather, something that chooses you. It has a heavy pull and no matter how hard you try to get out…it’s always there…silently pulling you back in and you must. You must listen and take the next ride because there is an energy to be shared and a story to be told and no one can tell it the same way you can. It might be the most frustrating and most rewarding career in existence.

What inspired you to write Life.WTF?: It was originally conceived as a series called Men.WTF? a few years back when I was still married and trying to justify how men behave and how the women who love them could learn how to accept their animalistic behavior and live with it. When I was explaining it to my gynecologist (as one does!) he said, “Man, you got stories girl!”, I found that broadening it to “life” was the way to go. In dealing with my personal dramas such as divorce and being a mom of two young boys, trying to raise up from the dust like a phoenix was the story I wanted to tell. So I found myself picking material that made my heart sing, cry, and laugh with a sense of heroic triumph.

What kind of theatre speaks to you? What or who inspires you as an artist?: Honestly, give me a main character with heart that moves from point A to point B with committed choices and I’m IN! Frank Sinatra inspires me. Patti Lupone inspires me. Elaine Stritch inspires me. They were/are artists who knew themselves and marched to their own drum without apologizing for it.

If you could work with anyone you’ve yet to work with, who would it be?: I am going with people who are alive now so: Carol Burnett cause she is the ultimate. Others: Kristin Wiig, Christopher Guest, Catherine O’Hara, Melissa McCarthy, Harry Connick Jr., Patti Lupone, Julie Taymor, Alex Timbers, and the eclectic list goes on and on.

What show have you recommended to your friends?: Hand to God. I believe it is quite possibly the greatest new american play/playwright (Robert Askins) to emerge in the last decade. It’s raw, it’s hilarious, Steven Boyer and Geneva Carr KILL their roles. The stakes are high and the train is running with perfect speed. I hope it wins all the Tonys. GO SEE IT!

Who would play you in a movie about yourself and what would it be called?: It would be called Life.WTF? and Meryl Streep would play me. Of course.

If you could go back in time and see any play or musical you missed, what would it be?: Opening night of Funny Girl with Barbra Streisand. It is said it was the most moving and powerful performance ever to hit a Broadway stage.

What’s your biggest guilty pleasure?: "Shark Tank". Seen ‘em all.

If you weren’t working in theatre you would be_____?: I would be a professional Ukulele player. I learned the Uke for this show and I am OBSESSED. I call it my boyfriend. If I could sleep with it and not break it, I would.

What’s up next?: My writing partner, Tor Hyams, and I are developing three new musicals at the moment. Stealing Time, which premiered at The New York Musical Theatre Festival in 2012 as a song cycle and has now been turned into a full-length musical, Auburn, The Musical which we began writing this January as writers at The Johnny Mercer Writer’s Colony in association with Goodspeed Opera House, and most recently optioned a book called "The Complete Manual of Things That Might Kill You" and turning that into a hypochondriac’s musical romp.

For more, visit

Review: A New Menagerie

by Michael Block

To kick off Masterworks Theater Company's inaugural season, the company picked a classic from master scribe Tennessee Williams, The Glass Menagerie. Putting their twist on the drama, Masterworks plays with casting.
A multicultural take on the Williams classic is filled with its own risks. Would it resonate? Does it fit the world of the play? Does it weaken the story? Fortunately for Masterworks, and the script, the ethnically diverse casting worked wonders for this new lens into The Glass Menagerie. While the story should need no introduction, to refresh, the play follows Tom Wingfield through his memory as he takes the audience on a journey into his family’s St. Louis dwelling during a pinnacle moment in their history. Amanda, the matriarch, is a former Southern Belle who makes it her mission to find her daughter Laura a gentleman caller who will whisk her away into normalcy. As a whole, the quartet was quite wonderful. Richard Prioleau brings a stunning fresh nuance to Williams language. As the narrator of the memory play, Prioleau's booming vocal is flavorful and rich, wonderfully enunciating and articulating as the narrator. Though his scenes were not as strong, Prioleau’s presence is the backbone of the production. Olivia Washington as delicate Laura is subtle. She starts off meek and a bit staggering but as soon as Jim arrives and the electricity disappears, she finds her stride. As Jim, Doug Harris was absolutely charming. You couldn’t help but fall in love with Harris’ Jim. Harris and Washington brought new life to their scene of doomed romance, serving as the strongest moment in the entire production. The scene is already beautiful and touching, but the chemistry between the pair was exquisite. Saundra Santiago as Amanda, despite struggling for lines, seemed to take a Greek tragedy approach to the role. Everything is heightened beyond belief. Her presentational tactic was not in line with the other three. In Williams’ terms, she may have channeled a little too much Blanche DuBois.
photo courtesy of Russ Rowland
Director Christopher Scott had the challenge of innovation. What could make his approach to The Glass Menagerie stand out? Scott seemed to take great care and consideration in diving into the relationships between the characters. And it certainly shined in the scene between Jim and Laura. From a staging standpoint, Scott made some choices that did not land. It was a very distracting decision to mime the eating with every other prop existing in this world. While it may have been a budgetary thing, fake eating rarely works. The fire escape conceit did not read well. While space on stage was sacred, the strip of light and inconsistent exit caused more problems then not. That being said, the aura of the era is stunningly displayed on stage through simplicity. The scenic design by Campbell Baird was beautifully executed. Thankfully the architecture of the space worked to its advantage. The brick walls looked almost intentional. The lighting by Joyce Liao was simple. While the blackout scenes could have used a little more light at the start since practically speaking there was bound to be light seeping through the window, what Liao did bring to the Jim/Laura scene was striking. Dustin Cross clothed the actors fittingly. They worked in the period and worked for the characters. However, Tom’s opening costume was near identical to the recent revival which has now become iconic through image. Brett Macias, who served as sound designer and composer of original music had quite a presence in the production. Since Williams calls for the occasional incidental music, its placement needed to be specific. Sadly, the underscoring felt sporadic and unintentional. Dramaturgically, instrument choice played a big factor into the world of the play. The occasional electronic music in the transitions was unfortunate. It felt far too modern for the period.
The Glass Menagerie is an American classic. While it may be overdone, a solid production can reignite the beauty of the text. Though it’s not perfect, it has some incredible moments. For a first production, Masterworks has done a pretty solid job.

Sunday, May 17, 2015

Spotlight On...Annie Prichard

Name: Annie Prichard

Hometown: Ventura, CA. Living and working in Chicago.

Education: MFA in Acting from The Theatre School at DePaul.

Select Credits: Another Bone (Redtwist Theatre) A Day in the Death of Joe Egg (Stage Left), Crime Scene (Collaboration),  Complicated (Three Oaks Theatre Festival), Counterfeiters (Dog & Pony), The Altruists, Pleasant Dreams (Two Lights Theatre Company)

Why theater?: Because theatre happens right in front of you.

Who do you play in Another Kind of Love?: Kit Singer.

Tell us about Another Kind of Love: To me, Another Kind of Love is a play about falling apart. And then remembering the one thing that might save you. And going to get it.

What is it like being a part of Another Kind of Love?: This cast is really incredible. And playing music with these ladies has been some of the most fun I’ve had in a long time.

What kind of theater speaks to you? What or who inspires you as an artist?: The honest kind. I’m inspired by the thing that is created in the room. I bring all of me, you bring all of you. And we’ll see what happens when we throw it all together. I think theatre at its best is really good at nurturing that creativity and using it to deepen the honesty and specificity of the work.

Any roles you’re dying to play?: Romeo.

What’s your favorite showtune?: "Cabaret".

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

Who would play you in a movie about yourself and what would it be called?: I would play me and it would be called “Last Night’s Eyeliner”.

If you could go back in time and see any play or musical you missed, what would it be?: The Hypocrites' Our Town. Chicago still hasn’t stopped talking about it.

What show have you recommended to your friends?: I highly recommend The Grown-Up over at Shattered Globe, directed by Krissy Vanderwarker. Couple weeks left, don’t miss it!

What’s your biggest guilty pleasure?: Arizona iced tea.

What’s up next?: Up next I’ll be joining Dog & Pony for their remount of The Whole World is Watching, a play with music about the Chicago ’68 DNC.

Saturday, May 16, 2015

Review: When the Past Catches Up

The phrase "karma is a bitch" has never been truer than in Paul Grellong's dark and twisty drama Manuscript. In Just Kidding Theatre Company’s revival of Grellong’s script, a trio of rich kids spend a winter evening trying to one up one another in a game of power.
In Manuscript, David and his childhood best friend Chris catch up after a semester at their respective Ivys. On this night, Chris brings along his new girl, Elizabeth, a published writer to meet David. As drinks are had, insults are flung and moments alone reveal histories that are larger than life. Grellong’s script is beautifully dark and magnificently troubling. Watching these three privileged kids manipulate each other in a game of revenge is a great story for the stage, but it greatly relies on intricate direction. Manuscript is one of those rare productions that was a bit of a wreck at the start but the clever and soupy twists by Grellong brought you back into the play. But I don't know if this production was able to redeem itself by then due to the dragging pace at the start. It's a catch 22 when so much information at the beginning is necessary to truly land the end. But by director Paige Fridell playing the action so slowly, it detracted from allowing natural acting from the trio. Additionally, the production was a bit stylistically messy. Without revealing any wonderful spoilers, by playing the characters with an edge of falseness too early, it appears as poor acting rather than deliberate acting. As the play progresses, you learn that David, Chris, and Elizabeth are all performing in one form or another. Cameron Clarke, Matthew Hansen, and Kimberly Nordstrom respectively had to tread that fine line as the audience needs to go on this revelation journey as well. By going over the top too soon, it’s possible to disregard the performances of the characters and question the motives. The trio had some nice moments on stage but overall struggled within the truths and lies presented.
photo courtesy of Just Kidding Theatre Company
From a production standpoint, Manuscript was a bit troubled. The set by Joseph Napolitano was poorly executed. Napolitano’s set relied on precision and clean lines with rope and fabric to create the architecture of the brownstone. One of the “walls” was crinkled to make a brick look but by being the only panel with this effect when others should have received it as well, it appeared as a mistake. The mix of realistic and theatrical scenic pieces did not blend cohesively, specifically the book benches. Chris’s world was dominated by literature and books. Napolitano needed to go all out with the presence of the books rather than throwing them in the corner in odd bench formations or inside a fireplace. The tree created by string is visually pleasing and an awesome idea. The thin fabric panel sadly does not mask the lighting cables which detracts from the magic of the image. While it was nice to have a piece of fabric to represent a rug, it was not secured and frequently caused problems for the actors. The lighting by Cindy Shumsey was a bit odd. Adding color into the realistic setting was a strange choice, especially when the color changed in the middle of scenes. Visually it was nice to see color on stage, but with a realistic script, it did not mesh. Additionally, there were an incredible amount of shadows all over the stage.
Just Kidding Theatre Company’s production of Manuscript was a big undertaking. The overall vision was muddied causing a domino effect of faults. Thankfully, Grellong’s script is exciting and deserving of attention.

Spotlight On...Jessica DiGiovanni

Name: Jessica DiGiovanni

Hometown: Flossmoor, IL

Education: Fordham University Lincoln Center, LAMDA, Moscow Art Theatre (MXAT)

Select Credits: Bike America (Ma-Yi Theatre Co.- NY Premiere, Alliance Theatre - World Premiere), Close Up Space (MTC – World Premiere, O'Neill Theatre Center, MTC’s 7@7), Training Wisteria (Cherry Lane Theatre), Marion Bridge (Director's Co.), Fool for Love (Under St. Marks) and more. Film & TV: "Forever", "The Nearest Human Being", "Killer Set", "Delusions of Guinevere", "What Would You Do?", "Celebrity Ghost Stories", "A Crime to Remember" and more. Also starred in the award winning Music Video for Alt-J, entitled “Breezeblocks”

Why theater?: It's the actors medium. I love the rehearsal process, especially for new plays. The energy in the room is electric. There’s a feeling, more than with already produced plays, of "we are all in this together".  Embarking on a journey with endless possibilities and  creative freedom and expression. Working with the playwright in the room, being able to ask questions directly to the source is invaluable. We all help to mold and shape the piece and breathe life into it for the first time, together.  It's absolutely thrilling.

Who do you play in Melissa’s Choice?: Melissa Golden, a 28 year-old lawyer, women’s rights activist and environmentalist.

What is it like being a part of Melissa’s Choice?: It's been such a privilege working with this cast! We are having a blast! There is always something fresh and exciting they bring to the scenes. I trust them implicitly. We are definitely playing in every sense of the word. I am proud to be a part of a play that spurs conversation about such an important and controversial issue. It's one of the reasons I am an actor, to make people question and think, reevaluate, reflect and to open up a dialogue.

What kind of theater speaks to you? What or who inspires you as an artist?: I love to be surprised. I like to go in blind. I find that my experiences are ten times more rich and fulfilling without expectations.  I also love when my expectations are completely shattered, I forget that I am in a theatre, experiencing a performance and I am transported. One such experience I had was at Sleep No More. Also, Fuerza Bruta. When you become part of the storytelling and the experience. There is a give and take, a dialogue between the audience and the actors. I felt so alive and inspired coming out of both of those shows.

Any roles you’re dying to play?: Vanda in Venus in Fur. It's such a deliciously layered script to work on. It's the perfect blend of physical comedy and sexual deviance mixed with dramatic intensity. Dream role. Strong Female leads with room for physical comedy are my jam.

What’s your favorite showtune?: "All That Jazz" from Chicago or "Maybe This Time" from Cabaret

If you could work with anyone you’ve yet to work with, who would it be?: Living and Dead....Directors: Sam Gold, Mike Nichols, Julie Taymor...I could go on.   Actors: Mark Rylance, Sam Rockwell, Elizabeth Marvel, Kevin Spacey, Billy Crudup, Judith Light...I could go on.  Gutsy and fearless actors always inspire me.

Who would play you in a movie about yourself and what would it be called?: A dark comedy. If Amy Poehler, Sandra Bullock and Amanda Peet had a baby...That Baby would play me. It would be called...A Girl Can Dream: A Story of a Girl and Her Pursuit of the Fantastical.

If you could go back in time and see any play or musical you missed, what would it be?: Wow. This is hard. I don't really know. Off the top of my head it would have to be the Chicago with Bebe Neuwirth and Anne Reinking. I love me some Fosse.

What show have you recommended to your friends?: Hand to God, Sleep No More, Fuerza Bruta, The Woodsman.

What’s your biggest guilty pleasure?: Bulliet Bourbon. Neat.

What’s up next?: That's up to the Universe...but hopefully much more storytelling with wonderfully inspiring creative people