Thursday, March 26, 2015

Spotlight On...Penny Jackson

Name: Penny Jackson

Hometown: New York City

Education: Barnard College, BA English. Columbia University, MA English.

Favorite Credits: I Know What Boys Want (Lions Theater, Theater Row, Ego Actus Producers) Going Up (International Dublin Gay Theater Festival, 91 Central Productions).

Why theater?: Because theater can create social change and make people think. I love that theater is a community with the actors, playwright, director and the audience. Everyone is involved. Films seem not to have that same connection.

What inspired you to write We Were Very Merry: Edna Saint Vincent Millay is one of my favorite poets, and the female poet who won the Pulitzer for her plays as well. She was also a bisexual bohemian: fearless and a truly modern women of the times. I'm very interested in the writing process, so this play is about how she composed one of her most famous poems, "Recurerdo." She also has to juggle two love affairs, one with a man, and another with a woman, and deal with a journalist who believe she, along with Oscar Willde, are decadent criminals. A lot to fit in ten pages, but I have a fantastic actress who plays Edna Mary Monahan, and one of my favorite directors, Glory Chadian

What kind of theater speaks to you? What or who inspires you as an artist?: My director, Joan Kane of Ego Actus inspires me to write every play. She pushes me further and further into what really matters in the world today. The kind of theater that speaks to you is one that is filled with complex characters and compelling stories. I am a little tired of plays about young people living in Brooklyn who can't figure out what to do with their lives. I love plays with passion - A Long Day's Journey Into Night still makes me just dissolve in tears. I also love theater that makes you think. Tom Stoppard assumes his audience is as smart as he is, and creates the most brilliant female characters in theater. Arcadia is still a classic. And of course Lillian Hellman's The Children's Hour about the power of lies.

If you could work with anyone you  have yet to work with, who would it be?: I would do anything to have Mark Rylance, the greatest living stage actor in the world, star in one of my plays.  That is my greatest theater dream.

What show have you recommended to your friends?: The Iceman Cometh which is now at BAM. Wolf Hall because I'm obsessed with the very naughty Henry the 8th and I adore the Hilary Mantel novels.. The Nether now playing at The Lucille Lortel theater. A brilliant and terrifying play of the future by Jennifer Haley.

Who would play you in a movie about yourself and what would it be called?: Although she's British, I love Emma Thompson. She is a brilliant actress who is also a writer. My film, I suppose, because of my name, would be titled "Penny Lane."

If you could go back in time and see any play or musical you missed, what would it be?: The original production of My Fair Lady with Rex Harrison and Julie Andrews.

What 's your biggest guilty pleasure?: Tennis. I love watching Rafa Nadel! I'm also a huge World Cup Fan, and kind of lost contact with friends because I was glued to the t.v. set watching all the matches in Brazil.

If you weren’t working in theater, you would ____?: I love to travel. It's the gypsy in me.

Whats up next?: My new production of I Know What Boys Want, directed by Joan Kane and produced at Ego Actus, July 16th to August 2nd, at The Lion Theater at Theater Row, 410 We 442nd street. This is an exciting restating of an earlier sold-out production, and I'm thrilled that I will have the opportunity for new audiences to see this very timely play about cyber-bullying, privacy, feminism and female empowerment.

Wednesday, March 25, 2015

Review: The Complications of Time Travel

I think we all have a fantasy of traveling through time. To explore a time you wish you lived in. To see the future. To go back to that one moment you want to do over. Whatever it is, it’s a fun concept to explore. In Mim Granahan’s Making History, a scientist restarts a failed time machine project that alters his life when his work is a success.
Mim Granahan's wildly chaotic yet fascinating script Making History follows Patrick Tyler as he develops a time machine that actually works and severely alters the lives all he touches when he gets stuck in the past and amends his future. Patrick, who has a family in the present, ends up starting a family in the past. When he is finally able to return to the present, he discovers that the only way to make his life right is to travel back and forth to the 80s to keep both families. Granahan has a script that is engaging but to put it bluntly, it’s in the wrong medium. Making History is a script that requires attention to detail and a budget that will allow for the nuances to shine. And for that, Making History wants to live on film. Transform it into a screenplay and it becomes endearing and Patrick can jump from world to world with the magic of cinematography. In its current state, the time travel doesn't quite land and comes off as lackluster. Granahan has a brilliant conceit by blending the parallel times, but with the limitations in production, it looks messy. Regardless of the medium, the script needs a little clarity. The timeline was quite complicated and took time to comprehend. The rules of the world seemed ever changing. Perhaps it takes that keen sci-fi mind to quickly grasp, but finding a simple way for the average person to catch on could work in the pieces advantage. The morals that Granahan offers is something that is heart-warming, but with a cheesy execution, it doesn’t quite resonate.
photo courtesy of Cary Davis 
To make history, a large ensemble is necessary to live in the two times. As the link to the worlds, Patrick Tyler needs to be strong. As Patrick, Cory Boughton was out of his element. The role is a mammoth part, spanning an abundance of control even when losing it. Boughton was lost in his own world. Thankfully he had some help to ground him. As usual, leave it to the bumbling sidekicks to steal the spotlight. And Making History brought you two! In the present it was Adam Files as Freddie and in the past it was Rob Brown as Alvin. Files and Brown were radically different types of scientist and yet perfectly acted as a sidekick. Files brought a nerdy cool aura to Freddie. The young gun scientist was one of the strongest in the pack. Brown’s Alvin was that old-school comedic mad scientist that offered some brilliant moments. Though she seemed more 70s than 80s, Melissa Roth as Ione, Patrick’s bride in the 80s, gave a solid performance. Amy Overman was firm in her portrayal as future daughter Harmony. In the present, Mim Granahan and Erik Olson played wife and son Donna and Charlie. Granahan didn’t have much chemistry with Boughton and seemed to have a different acting style compared to the rest of the ensemble. Olson gave a youthful excitement to Charlie. Alexandra Cremer as the mysterious and devious Agent Pullman had a Jane Curtin-esque intrigue, holding back until a big plot twist.
Director Eric Chase took a giant script and did everything possible to simplify it due to limitations. Chase had some brilliant moments in staging where the two time periods existed simultaneously. But due to the limitations of the set and lighting capabilities, all of the pieces lived in all the worlds taking away from the time travel aspect. It was a smart choice to keep the momentum consistent and slamming into each scene, but maybe a slightly mobile set would have been a dynamic addition. The sound design by Justin Plowman fit the world brilliantly. From the soundtrack of the 80s that brings you into the start of the play to the insanely important sound effects with the time machine, Plowman’s work was a huge factor into keeping the piece together.
There’s something special about Making History. With a little bit of tightening and a cleaner vision, Making History could be a fun sci-fi piece. But without the magic of theater, Dysfunctional Theatre Company’s Making History doesn’t quite theatrical make history.

Spotlight On...Lisa Jill Anderson

Name: Lisa Jill Anderson

Hometown: Riverside, CA

Education: BFA in Acting, Brooklyn College

Select Credits: Ken Urban's Nibbler (Stable Cable - directed by Stephen Brackett); Kristoffer Diaz's Julia & Eric  (Rattlestick Theaterjam Festival); Kim Davies' The Love of Richard Nixon; Emily Daly's Barter (Stable Cable/Redrum Theater in DC).

Why theater: Because the people are smart, crazy and fun, and they don’t judge you for having a therapist.

Who do you play in Live From the Surface of the Moon?: I play Holly Phelps, a meek and achingly single young woman who has moved from small-town Ohio to the grand old city of Cleveland for a fresh start. She loves Jim Morrison, admires the poet Thomas Hardy, and when she’s not working as a secretary or part-time babysitter, she enjoys doing some writing of her own. In the course of the play, she happily attends a small party to watch the U.S. moon landing on television where she hopes to make some new friends, but finds herself in a precarious situation.

Tell us about Live From the Surface of the Moon: Live From The Surface Of The Moon, written and directed by the brilliant Max Baker, takes place over the course of two epic nights in 1969 — the night Neil Armstrong became the first man to walk on the moon, and New Year’s Eve. The play is distinctly set in the late sixties, but the gender roles and dynamics between the six characters are dangerously relevant and comparable to our society today.  Expect tears, laughter and ::spoiler alert:: pee.

What is it like being a part of Live From the Surface of the Moon?: The process has been great because the ensemble has had the opportunity to develop the script and characters with Max since September, prior to our intensive rehearsal process leading up to the production at The Wild Project in April. Max guided us through some fantastic exercises (including a 60-minute improv in which he brought in some authentic 1960s board games!!!), and many of the discoveries we made in this portion of the process have influenced the characters’ voices and the shape of the play. Max brings such a generous and collaborative spirit into every rehearsal and leaves so much room for the actors to explore. Now that the script has a pretty definitive shape and we’re gearing up for the production, the work we did in the developmental portion of the process has provided us with such a strong foundation to connect with these characters and each other.

What kind of theater speaks to you?  What or who inspires you as an artist?: Anything that takes risks and bends the rules of what is conventional, safe or expected. Elevator Repair Service. All the companies dedicated to producing new work by playwrights who are breaking conventions and taking risks. Mark Jackson (the theater-maker, not the basketball player, although I’m sure he’s great too).

Any roles you’re dying to play?: Right now, I’d have to say Karla in Halley Feiffer’s A Funny Thing Happened On The Way To The Gynecologic Oncology Unit At Memorial Sloan-Kettering Cancer Center Of New York City is on the top of that list.

What’s your favorite showtune?: I’m not a huge showtunes gal but when I was eight I really liked to sing-a-long to “Easy Street” from Annie.

If you could work with anyone you’ve yet to work with, who would it be?: Mark Jackson. Sheila Callaghan.  Halley Feiffer.  There are too many more to list so I’ll stick with those three for now.

Who would play you in a movie about yourself and what would it be called?: It would be a docudrama that incorporated all of my AOL instant messenger transcripts from my teenage years called “He Dumped Me On Aim”.  My dear friend Collin McConell would play me.

If you could go back in time and see any play or musical you missed, what would it be?: Rattlestick’s production of The Aliens by Annie Baker.

What show have you recommended to your friends?: The Woodsman.

What’s your biggest guilty pleasure?: Hot cheetos and potty humor.

What’s up next?: A reading of Inappropriate Sexual Relations by Ken Urban.

Tuesday, March 24, 2015

The Rise and Fall of...Kelly Klein

Name: Kelly Klein

Hometown: Los Angeles, CA

Education: Bachelor of Liberal Arts, Eugene Lang College, The New School for Liberal Arts

Favorite Credits: Anne Frank in The Diary Of Anne Frank (national tour with Barter Theatre); Maura in “Taking Woodstock” (Dir. Ang Lee); Katy in “Nurse Jackie” (upcoming, Lifetime); Meredith Webster in Let Him Eat Steak (Barrow Group, written by fellow slice Lyndsey Anderson); Sammy in Hooker Raft (Dead Herring, written and directed by fellow slice Ben Lewis).

Tell us about Bread Arts Collective: We are a group of multi-disciplinary and talented individuals who also happen to be long-time collaborators and friends. We wanted to create a collective that fostered each of our creative ambitions while simultaneously building our artistic community. We flirted with the idea of forming for years and finally, with our last production of Lonesome Devil at Cloud City in Brooklyn, we decided it was time.

Tell us about Rise and Fall: The show is a big party and everyone is invited! The story is about a group of criminals on-the-run who decide to stop in their tracks and create a new, perfect society. Thus, paradise is born! But then Jimmy Gallagher and his chorus of Alaskan cowboys roll into town and deconstruct what this utopia is really all about: money. With original tunes by Andrew Lynch and inventive direction by Eric Powell Holm, Rise & Fall is truly a unique evening not-to-be-missed.

Why Rise and Fall now?: I say why not? I was approached about the People Lounge residency by my friend Alyson Viva of Play These Records and I knew right away that Rise & Fall would be a perfect fit. It's immersive, sexy, provoking and, most of all, a raucous good time. BREAD proposed the project to People Lounge owner Heinz Liu, he accepted, and the rest is history. It's like the universe was telling us: OK, you think you're ready for this? Then do it!

What is it like to be a part of Rise and Fall and Bread Arts Collective?: It's a dream come true. To work with my dear friends, to stretch our limits of creativity, and to work out challenges together is a wonderful gift. I love having a community where my ability to act, direct, write, and produce is trusted and encouraged.

Why should we come see Rise and Fall?: You will have a blast! You will leave moved, happy, a bit pensive, and definitely tipsy! And we have a party after. And it's cheap! Actually, there's no reason why you shouldn't come see it.

For more, visit

Spotlight On...Max Baker

Name: Max Baker

Hometown: London

Education: I received grants and scholarships, so I have no student debt

Favorite Credits: I love the credits at the end of "A Clockwork Orange"

Why theater?: My father was an actor. It seems a very natural place for me to be.

Tell us about Live From the Surface of the Moon: It's set in the living room of Don and Carol's blue collar home in Cleveland in July and December of 1969.  It's about people behaving in the ways people do when the biggest event of human history is on TV
and there's meatloaf in the oven.

What inspired you to write and direct Live From the Surface of the Moon?: I'm often inspired by conspiracy theories but I cant say for certain that was the case here. Maybe. Probably.  After all, did we ever really land on the moon? When asked to work with Stable Cable Lab, I asked if I could direct because I've only worked with a handful of directors I trust and they already have jobs.

What kind of theater speaks to you? What or who inspires you as an artist?: The theatre that speaks to me is one that recognizes that each night is it's own event. That the energy of production and audience is unique to each performance. Theatre where the actor is given the chance to harness the collective energy, and the audience feel the night is special. Theatre for me is about time.  Mike Leigh is a huge inspiration. But I can't discount everyone I've met and all the plays I've ever seen.

If you could work with anyone you’ve yet to work with, who would it be?: My ego wants to work with Richard Kind, my super-ego wants to work with Julianne Moore and my id wants be in a Paul Thomas Anderson film.

What show have you recommended to your friends?: I enjoyed Rasheeda Speaking at The New Group very much.

Who would play you in a movie about yourself and what would it be called?: Yesterday it would have been called The Muller,  Today The Talker, tomorrow will be Wednesday.  I think Jena Malone would make a good Max Baker.

If you could go back in time and see any play or musical you missed, what would it be?: A night of vaudeville.

If you weren’t working in theater, you would be _____?: Working in TV or film probably

What’s up next?: Live From the Surface of the Moon runs April 2-11 at The Wild Project

For more on Live From the Surface of the Moon, visit

Monday, March 23, 2015

Blog Hijack- The Influences of Kapow-i GoGo

We let Kapow-i GoGo mastermind Matt Cox take over Theater in the Now to give you a peek inside his mind and the influences the powerpacked Kapow-i GoGo.

A list of the 5 most influential pieces of very nerdy things that lead to the creation of Kapow-i GoGo
by Matt Cox

I have often described Kapow-i GoGo as a play that my 14 year old self would have loved. There’s lots of silly references to all of the things I was a big fan of growing up. During the writing process, I revisited a lot of media from my childhood. From a 26 year old perspective, I was happy to learn that HEY! I had some pretty solid tastes. I also had some very terrible taste, and we won’t talk about those things here. (I’m looking at you "Mac & Me") Many of my favorite things are now considered true classics within their respective genres. ("Mac & Me" is not one of them.)

It also dawned on me that these video games/ television shows/ movies sort of paved the way for the way I write today. So, I thought I would peel back the curtain and let you all take a look back at the particular episodes/ films/ video games that really brought Kapow-i GoGo to life over the years. Or in our current case, her Extra Life!

Honorable Mentions:
Legend of Zelda: Ocarina of Time
Star Wars Episode V: The Empire Strikes Back
Final Fantasy VI, VIII, IX, X & Chrono Trigger
David Gemmel’s Drenai Saga
Pokémon Red/ Blue

Dragon Ball Z: Episode 95 “Transformed at Last”

I think I was 10 the first time I saw this. The story as it stands- Goku, our hero, is fighting against the terrifying Frieza, a galactic conqueror who has done a whole lot of bad things. It’s looking like there’s no way the good guys can win. Then things get worse and Frieza kills everyone’s favorite bald guy, Krillin. This sends Goku over the edge and he transforms. What does he transform into you may ask? A little thing called a Super Saiyan.

Super Saiyans would become a norm on the show as it went on, but man. The first time it ever happened my mind was blown. Stakes were raised. Character designs got cooler. And it gave me a whole bunch of new options for those characters I had been drawing in my little notebook. Upping the ante brings new life. The whole status quo changed and it made the show so much more interesting.

Star Wars: Episode VI “Return of the Jedi”

Listen, I know. We can all agree that Empire is a better movie. I know. But growing up I was all about the then final chapter of Star Wars. Ewoks are cute. I owned stuffed ones that my parents bought me after we rode the MGM studios ride in Orlando. And there’s Admiral Ackbar. He’s great! Whatever he is.

But the thing I loved the most was always the epic Emperor/ Vader/ Luke scenes. They hold up! They really do. Ian Mcdiarmid’s awesome performance as Emperor Palpatine is so great. The final battle is really cool. Force Lightning? Yeah, I enjoy that.

That weird CGI creature added in for the Special Editions who sings a weird song? That, I think we could all do without.

Reboot: Season 3, Episode 4 “Game Over”

I imagine most people don’t remember/ never saw/ will never care about REBOOT. It was this super weird cgi show with a bunch of adventures that took place inside of a computer. It’s very difficult to explain. The early episodes are fun and quirky but nothing too memorable. It was a very kiddy show.

But in the third season, it moved away from it’s network, ABC, and grew up a whole lot in the episodes that followed. The main character, Bob, was betrayed and stranded far away leaving our young hero Enzo in charge of protecting their city, Mainframe. We watched this kid go from spunky child to competent protector over the course of the first few episodes. Then, in the 4th episode, Enzo finds himself in a normal situation. He has to play a computer game against ‘The User.’ If he wins (as they always did) everyone is safe and fine. If he loses (as they never did) he and lots of other people are basically killed. In this episode he ends up in a Mortal Kombat style game.

Long story short, Enzo gets his eye stabbed out and then he loses.

Teenage Matt was super shocked and LOVED EVERY SECOND OF IT. Enzo managed to escape, stranding him far away from his home. The following episodes jumped ahead to Enzo being an adult. The quirky spazzy kid was suddenly this badass renegade named Matrix. EVERYTHING ABOUT THE SHOW WAS DIFFERENT. Thinking about it now, I still love it. This is actually a huge influence on Kapow-i. The jumps in time and the idea of a kids show radically aging up are straight from Reboot.

Dragon Ball Z: Episode 191 “Save The World”

The end of the Cell Games saga. The one where Gohan beats Cell. This was one of the last episodes of Dragonball Z I watched before I grew out of it. (It was a while after before the next arc aired on Toonami.) But man, is it epic.

The spirit of the show, and the reason it’s such a world wide phenomenon, all come together in this episode. They overcome the odds, the former bad guy saves the day learning a valuable lesson about himself, the kid believes in himself, believes in his friends, believes in creating a better world, and the hero makes the greatest sacrifice. The list goes on. It’s all just great. And It’s also all over Kapow-i.

Final Fantasy VII

One summer a family friend of mine introduced me to Final Fantasy VII. I was immediately obsessed. It was one of the first stories I ever really loved. It’s huge. It’s long. It’s epic in every sense of the word. From the incredible soundtrack, to the overly large weaponry, the cast of fascinating characters, and a story that twists and turns and takes you all over the world map, Final Fantasy VII is what lies at the heart of Kapow-i’s inspiration. The show took off in it’s original run at #serials@TheFlea when I realized I could use this play to make some homages to one of my favorite things.

For every 10 people who love it on the internet, there’s another 5 who hate it and will send you death threats for liking it. (Or something like that.) I think that is the general grounds for something being a classic. So if you find yourself with around 70 hours, dust off the old Playstation and give it a spin.

Or you can just watch this video of the whole thing in five minutes:

But don’t worry! Along with all of that silliness, there’s lot’s of other jokes in Kapow-i that don’t require viewings of full series or playthroughs of entire games. I like to think there’s something that will appeal to everyone.

In the end, It’s just my attempt to give everyone a chance to go on an adventure.

Kapow-i GoGo upcoming dates (All at The PIT)
PART ONE: Kapow-i GoGo Gooo!- Tuesday, March 24th 9:30
PART TWO: Kapow-i GoGo Z- Saturday, April 4th 11:00
MARATHON: The entire Kapow-i GoGo Epic in one night- Saturday, April 18th 8:00

Saturday, March 21, 2015

Shameless Plug: HOURS Left to Donate to Rhapsody Collective

Hi friends, family, theater artists, and loyal fans of Theater in the Now!

My theater company, Rhapsody Collective, is merely HOURS away from ending our Indiegogo campaign and we are looking for some heroes! In less than a month, we will be premiering six brand new plays developed and created by the members of Cycle 3. Rhapsody Collective has brought together six directors, six playwrights, two dramaturgs, and a little over thirty actors to bring these amazing new works to life. To make these plays the best that they can be, we are looking for contributions and donations in our final hours. I hope you will consider donating to our campaign and join us for our plays in April. I am extremely proud of the work we have accomplished and I can't wait to share them with the world! The link to donate is below:

thank you for your consideration,

Michael Block

Spotlight On...Rob Lester

Name: Rob Lester.

Hometown: I’m a native New Yorker.

Education: Mostly the School of Hard Knocks and a small college in Little Italy called Whatsamatta U.  Seriously, my college work was in a few stages of fits and starts and stops, some loose ends not tied up when I got tied up in working for a living in my chosen field between semesters and then stopping again and again.  I did take a lot of theatre and music classes in a few different places in New York State. Mostly my education came from work experience.

Favorite Credits: I’m the writer of the story, the script, the lyrics, and the original music for all the shows presented by the theatre company called PLAY NICE! Productions.  I also direct the shows.  We’re finishing up the run of The Half-Ring Circus  March 21 at Room 53 (314 West 53 Street) and March 22 at West End Lounge at 107 Street & West End Avenue in Manhattan with 2:00 matinees. I enjoy working solo, but really love to collaborate, too, especially on songs.  One of my most prestigious partners was a rather famous man whose music I got to write lyrics to.  Unfortunately, he passed away rather young.  His name was Wolfgang Amadeus Mozart.  You see, I was commissioned to write English lyrics based loosely on ideas originally in songs of his first  opera.  It would be intimidating to try to set words to Mozart, but this is a little opera he wrote as an adolescent, and is very lighthearted, so I took the dare.  Nowadays, my most satisfying credits and work are in putting together songs and shows that have some meaning and communicate the positive, inclusive messages that our PLAY NICE! company has as its core and to see people be moved by the work.  But my funnybone is never too much hidden.

Why theater?: What else is there?  I mean, it’s the greatest communicator and can include all the other arts and fosters teamwork and common goals.  And it’s fun.

What inspired you to write and direct The Half-Ring Circus?: Originally, in the previous century, it was just one more job I was asked to do in summer theatre.  A company was doing a one-act opera about a circus and wanted an original one-act musical comedy to fill out the bill.  So, I wrote a pretty cartoony piece about another circus, as requested.  Some directors take direction well.  This new version is expanded and more realistic and has a serious side, without giving up the humor.  I attended a benefit—a variety show-- called Robin’s Nest  to raise money for, a group that gives grants to people of all kinds who want to adopt a child, but have exhausted their other sources and roads, but have been approved in home studies.  The singers told their personal stories about adopting or being adopted.  I was very moved and wanted to make adoption the theme of my next production.  I rewrote the play significantly to make it about not a group of unrelated people who worked at a circus and functioned somewhat like a family or team, but made them literally a family--- blended biological relations and adoptees of a few generations.

What kind of theater speaks to you? What or who inspires you as an artist?: I like all kinds – as long as it isn’t pretentious and pedantic.  My heart will always be with musical theater.  Since theatre company gives 100% of its ticket sales income to charities and our shows all have themes that are life-affirming and are about integrity and kindness, it attracts people who are willing to volunteer to make that happen and have goals outside themselves.  All our company members who care enough to do that and put in the work for this higher goal inspire me every day to keep going.

If you could work with anyone you’ve yet to work with, who would it be?: It’s a long, long list.  There is talent and energy that attract me, and fame is seductive.  But I want to work with anyone who shares our goals, whether that be one of our celebrity guest stars in a show or benefit concert --- we raise money for production expenses that way between shows—or a dedicated raw talent just starting out.

What show have you recommended to your friends?: My other job is being a reviewer, so I am regularly on record recommending shows to friends and strangers, as well as suggesting what to avoid.  It’s a way of life.  Writing to unseen people considering attending shows as if those people were friends is a writing style that can work in my head.  And feel more real than Facebook friends.

Who would play you in a movie about yourself and what would it be called?: I think it would be an animated cartoon and it would be called “The Right Rewrite” because it’s all about revising and learning and finding the ideal blend of elements.

If you could go back in time and see any play or musical you missed, what would it be?: I absolutely love and respect the traditional classic musicals and read about it voraciously and collect every cast album imaginable and unimaginable.  Although I have seen films and revivals of many, I’d love to see the originals with the original casts, like the Rodgers & Hammerstein shows and star-making vehicles, like Ethel Merman stopping the show in her first role in the Gershwins’ Girl Crazy in 1930 and lots of shows there is scant evidence of – no recording, no published songs—associated with later-famous greats.  It would be a long trip in the time machine.

What’s your biggest guilty pleasure?: There is no pun too silly, no novelty song too loopy, no trashy Hollywood movie too campy, and no French fry too crisp.  No ice cream flavor or theatre angel too rich.

If you weren’t working in theater, you would be _____?: I would be unfulfilled with more free time to be filled, and on the outside looking in.  I prefer to be on the inside with things looking up.

What’s up next?:  We’ll do a staged reading of an Easter-related show and then a couple more musicals.  All our shows have intergenerational casts and we are always welcoming new talent.  People who want to know more than that can simply email me at onthejobrob at and we’ll take it from there.  Thanks for asking!

Friday, March 20, 2015

The Rise and Fall of...Andrew Lynch

Name: Andrew Lynch

Hometown: Minneapolis

Education: Beloit College, and the School of Life!

Favorite Credits: Lloyd in "The Disappearing Man" by Jahn Sood, and all things 3 Sticks including; "Vestige," "Paper Plane," and "Le Gourmand or GLUTTONY!"    

Tell us about Bread Arts Collective: Bread is people I love, and that's the secret.    

Tell us about Rise and Fall: Rise and Fall is so fast and fun that you hardly notice the medicine.  But it's in there alright.

Why Rise and Fall now?: Because the rent is too damn high, etc.

What is it like to be a part of Rise and Fall and Bread Arts Collective?: It's like I'm wandering around a dark, desolate wasteland with only a modest torch in my hand.  And I'm all, why am I even holding this modest torch?  In a dark, desolate wasteland of all places?  That's ridiculous.  But then I see like ten other people all wandering around the dark, desolate wasteland holding modest torches in their hands too.  Now we all do it together, and we burn a little brighter.      

Why should we come see Rise and Fall?: I was fortunate to see this show before I was in it, and it's one of my favorite shows.  Some theatre feels like a lazy ride on a merry-go-round, and you're all yawning and shit.  This ain't that.  This is a tight rope, death defying, roller coaster to hell kind of show.  Are you not entertained?