Saturday, July 30, 2011

Weekend Read: Sophistry

In honor of my reading this evening, I wanted to share a little of how I came to write The Last Year. I read Jonathan Marc Sherman's Sophistry and loved it. I thought the characters were real and the story was true. Yet, it was stuck in the 90s. Sure I could mount a production of the play but some of the discussions including the big deal a new ATM machine are dated, making it a period piece. So I set out to create "The Great American College Play." And Sophistry was my inspiration for the piece. The play follows a group of students as they react to the accusations of sexual harassment by a gay teacher on his male student. Similar to my play, Sophistry includes the "stock" stereotypes that we all know and, occasionally, love. There's the stoner and the smart girl and the jock. And of course, the closeted gay student. The original production premiered in 1993 with Sherman and some young actors including Anthony Rapp, Ethan Hawke, and Steve Zahn.

Thursday, July 28, 2011

Spotlight On...Rachel Buethe


Name: Rachel Buethe

Hometown: Milwaukee, WI

Education: Fordham University – I just graduated in May!

Select Credits: As an actor: Richard 3 (Elizabeth, FringeNYC '10), Schmoozy Togetherness (Ensemble, Williamstown Free Theatre), Laughing Pictures: A Hollywood Odyssey, Tales of the Lost Formicans, Poodle With Guitar and Dark Glasses, The Good Person of Szechwan, Hamlet, The Tempest, Careless Love, Gertrude: The Cry (Fordham University). As a director: Cowboy Mouth (Fordham University).

Why theatre? I think that my favorite thing about theatre (and about working with a company, for that matter) is how team-based it is. You absolutely cannot do it alone. I love working with a lively, opinionated, creative group of artists, and theatre is the perfect medium for just that. It’s an inherently collaborative form; that’s what’s so great about it. I can’t imagine myself doing anything else or being a part of any other community of people.

Tell us about Little Town Blues: Little Town Blues is a new play currently being produced by my company, Less Than Rent Theatre, that runs until August 7 at the Wild Project. It’s a modern adaptation of Chekhov’s Three Sisters that I co-wrote with James Presson, one of the other Co-Artistic directors of Less Than Rent. Set at a boarding school in the middle of Iowa, it follows three high school girls and their friends at a neighboring military school over the course of the 2010-2011 school year. The play is about the simultaneous joy and pain of growing up in a time where anything and everything seems possible. It’s got a kick-ass, fast-talking ensemble of 13 actors, many action packed musical numbers, and lots of heart.

What is it like to write and act in your own piece?:
I feel incredibly lucky because I’m working along side a group of actors who I think are the most talented people in the world. Not only are they fun to share the stage with, but it has been nothing but pure joy for me to get to watch them flesh out the characters that I spent so much time with as I wrote the play with James. There was one thing that was a little tricky about the rehearsal process… I had this idea in my head that because I wrote the play, I’d magically have all my lines memorized! For some reason, it didn’t work that way! In all seriousness though, the rehearsal process was actually incredibly similar to if I was working on a play that wasn’t my own. Now that we’re in production though, it’s a blast to get to live out a play that I wrote each night. It’s the most fun I’ve ever had onstage.

What kind of theatre speaks to you?: When I watch theatre, I’m looking to have a strong gut reaction. I want to go to the theatre and be moved. I love plays that are smart and funny, and I definitely appreciate witty, fast paced dialogue… but at the end of the day, if I don’t feel something, if I’m not viscerally affected by a piece, I feel unsatisfied. My company and I are trying to create theatre that couldn’t be anything but. I’m sick and tired of seeing plays that would make better movies! I love plays that embrace their theatricality and unapologetically use bold, theatrical devices to tell a story.

What’s up next?: Less Than Rent is producing an incredible new play in the New York International Fringe Festival called Cow Play starting August 13th. We had a great time at the Fringe last year, and we’re thrilled to be doing another show there this year. Check out lessthanrent.org, like us on Facebook, and follow us on Twitter to get all the details!

Review: Jerusalem, the Experience

Review: Jerusalem, the Experience

Every once in a while, there comes a script that defines theater for a certain generation. Modern drama had Who’s Afraid of Virginia Woolf. Contemporary drama had Angels in America. And up until last year, this generation was defined by August: Osage County. That is until Jez Butterworth wrote Jerusalem. For an American audience, certain references within the script lack the emphasis that it would normally have for a British audience. Yet from minute one to minute one-hundred eighty, the Broadway company of Jerusalem rocked and amazed. Led by Tony winner Mark Rylance, Butterworth’s tale of Johnny “Rooster” Byron on the eve of his eviction discusses the meaning of self and commodity when “shit is about to hit the fan.” While critics and audiences alike continue to praise Rylance’s tour de force performance as Rooster, up until Act III, the play is a genuine ensemble piece. Sure Rooster is at the center of the motley crew, it’s the secondary characters that define the actions Rooster ultimately makes. From Mackenzie Crook’s Ginger to the tag team of Molly Ranson and Charlotte Mills’s Pea and Tanya to the understated Danny Kirrane as Davey, their characters’ devotion played through scene to scene. Jay Sullivan as Lee was brilliant, yet he seemed too pretty compared to the characters beside him. One of the best theatrical moments I have ever witness was going from the opening scene into the official start of the play. Never has a “scene shift” had more of a laugh. This was led by the brilliant direction of Ian Rickson. His staging throughout the play was magnificent and understandable.

After speaking to a British colleague of mine who attended the same performance as me, she informed me of the importance of the William Blake hymn “Jerusalem.” She told me that it has more of a meaning to Brits than the National Anthem and the fact that this may not resonate with an American audience and they still are impacted by the play speaks wonders to the production. And I happen to agree. Sure, I did not walk out pondering life, I did feel changed. It was like an experience I’ve never had at the theater.

And now to the part where I bet I will be ridiculed and told I’m wrong. I was very fortunate to see the two lead contenders for the Best Actor in a Play, Mark Rylance and Joe Mantello. And I still firmly believe Mantello deserved it. Yes, Rylance’s final scene in Jerusalem was stellar and unmatched. Yes, he will always be the quintessential Rooster. But it was Mantello and The Normal Heart that left me utterly numb.

If you missed the Broadway incarnation of Butterworth’s masterpiece, you should be kicking yourself. As I did with August: Osage County, it’s one of those experiences that will never happen again. This play ranks up with the bests and I’m honored to say I was able to see it.

Wednesday, July 27, 2011

Shameless Plug: The Last Year by Michael Bradley


If you're free this Saturday night at 10:00pm, please join us in the premiere reading of my play The Last Year. The free reading, sponsored by PTP/NYC, will take place at the Atlantic Stage 2 on 16th Street in New York. Directed by Sean Bohan, The Last Year examines 9 classmates as they are about to embark on post collegiate life while still facing the pressures and demands of higher education. One night, one mistake, a different future. The play features an All-Star cast including Shannon Garland, Gina Marie Jamieson, Michael Kessler, Rachel Lambert, Michaela Lieberman, Preston Maguire, Alex Mandell, Collin Meath, and Laura Princiotta. Believe me, it's not to be missed, not just because I wrote it! I hope to see you there!

Tuesday, July 26, 2011

WTF and Middlebury Alum Joins PH Premiere

The amazingly talented Lucas Kavner, of the original incarnation of After the Revolution fame, has joined the Playwrights Horizons premiere of Itamar Moses play Completeness directed by Pam MacKinnon.

This play has turned into an even bigger must see! Congrats to Lucas!

Monday, July 25, 2011

Puppet Equality

Yesterday was a historic day for all New Yorkers. Puppets included.
With many gay couples finally being allowed to marry in New York, many couples took to the altar to exchange their vows. Including Rod and Ricky from the hit musical Avenue Q. We here at Theater in the Now wish Rod and Ricky a long and prosperous marriage!

Sunday, July 24, 2011

Weekend Read: Psycho Beach Party

If you like campy theater, look no further than the Queer writing god, Charles Busch. Possibly one of his best works is the Gidget inspired comedy, Psycho Beach Party. The play follows Chicklet, usually played by a man in drag, as she experiences random blackouts and multiple personalities, fearing she is responsible for the mysterious deaths in the beach town. The play is filled with satire and Hollywood chiches, but it will not keep you disappointed. It is a riot-fest of fun. Busch is a legend of drag theater, both as a writer and a performer. Busch performed as Chicklet in the original production in 1987 and wrote the screenplay for the 2000 film of the same name. This is one of two plays that I would die to direct.

Friday, July 22, 2011

Rent Revival Pictures Surface

Well, it's nice that the iconic scarf and sweater Mark Cohen is famous for has disappeared, but Benny still has that hideous jacket and Collins has his brown trench coat. Nevertheless, Broadwayworld.com has debuted some pictures from the revival. What do we think? Professional? Amateur? Still Wish it didn't happen?

A Gleek on Broadway?

There are reports that when Daniel "Harry Potter" Radcliffe takes off on a three week stint in January, heartthrob Darren Criss of Glee fame will replace him in the hit musical. Incentive for me to finally see the show? YES!
If a deal happens, Criss will appear in How to Succeed in Business Without Really Trying this January. Excited? I am!

Thursday, July 21, 2011

New Ladies in the Desert

Other Desert Cities will welcome two new veterans to their cast this fall. Joining the company will be Rachel Griffiths and Judith Light replacing Elizabeth Marvell and Linda Lavin respectively.

Wednesday, July 20, 2011

Next Lot of Revivals

MTC has announced that Cynthia Nixon will in the Broadway premiere of the hit Off-Broadway play Wit. MTC artistic director Lynne Meadows will direct. Other news coming from the Great White Waycomes in the form of another upcoming reading. This time it's the William Inge boring hit Bus Stop. The reading will be directed by Scott Ellis and star Benjamin Walker, Amanda Seyfried, and Shuler Hensley. Again, not a single new play. Revival, revival, revival.

Tuesday, July 19, 2011

Spotlight On...Christo Grabowski


Name: Christo Grabowski

Hometown: Maputo, Mozambique

Education: Waterford Kamhlaba, UWCSA (United World College of Southern Africa); Middlebury College

Select Credits: Victory (Ball), 27 Wagons Full of Cotton (Jake), Hecuba (Polymestor), The Good Woman of Setzuan (Yang Sun), Jekyll (Jekyll/Hyde), I Hate Hamlet (Barrymore), Road (Brink/Ensemble), Metamorphoses (Ensemble), One For the Road (Nicolas)

Why theatre? I’ve had a passion for theatre ever since a very young age, and while it wasn’t until Sophomore year of college that I convinced myself I wanted to pursue it for a living, I probably should have seen it coming from a long ways. I suppose I could turn to the deeper meaning and contributions of theatre in society as motivation, but in all honesty, I want to pursue a career in acting because it makes me happy on a very basic level. From the great people you get to meet and work with, to the exhausting experience of tech week, to the thrill of putting yourself out on stage in front of a packed audience, there’s nothing quite as exhilarating and satisfying as being involved in a theatre production, and I simply can’t imagine doing anything else.

Tell us about Spatter Pattern: Spatter Pattern, or How I Got Away With It, seems at first glance to revolve around a college professor by the name of Marcus Tate who is accused of murdering one of his students. It borrows many elements of the noir genre, and can easily trick you into focusing solely on this aspect of the plot. However, as it turns out, the play is really centered on the theme of coping with grief and guilt. The protagonist is a writer trying to deal with the loss of his lifetime partner, who ends up becoming embroiled in Tate’s story. It’s full of twists and turns, and while I don’t want to give too much away, I can say that it’s a play in which you can’t take everything for granted as being real. For this particular production, we’ve gone with a minimalist approach, with a barebones set that allows us to fluidly move in and out of scenes, creating a sort of “stream-of-consciousness” feel to the piece.

What is it like to be a part of Spatter Pattern?: It’s been an incredible experience overall. This is my first time acting alongside professionals, and my first show in NY, so it’s all very new and exciting. One aspect of acting in college which is something of a mixed blessing is the fact that you work with the same directors and actors over and over for four years, which allows you to build a great rapport with them all, but also leads you into a comfort zone with each other that can lead to laziness and falling into predictable patterns. Getting to meet and work with an entirely new cast and crew has been truly refreshing. As far as the play itself goes, my character actually consists of six smaller roles all portrayed (by design) by the same actor, which is a great opportunity to explore a huge variety of accents, postures, mannerisms, etc.
What kind of theatre speaks to you? I’m generally very open-minded, and tend not to disregard any particular style or genre out of hand. However, by nature I’m more drawn to material that is edgy and dark. I’ve recently become a huge fan of the work of Sarah Kane, and had very seriously considered putting on a production of Blasted as my senior thesis. While I don’t approve of gratuitous violence and sexuality on stage which is only present for the shock value, I do think that theatre provides us with a unique opportunity to explore the more disturbed, depraved aspects of our human natures, the parts of ourselves that we repress and revile.

Any role you’re dying to play?: Last semester I took a class on modern British playwrights, and was introduced to Peter Barnes’ satirical The Ruling Class, which was adapted into a movie featuring Peter O’Toole. The play as a whole is dark and witty, and I was very drawn to its protagonist, Jack Gurney, a paranoid schizophrenic British nobleman who inherits his father’s title as an Earl. The role is fascinating to me because the character goes from being a self-professed “God of Love” to becoming a psychopathic incarnation of Jack the Ripper. It’s just so full of potential to explore a dynamic range while still maintaining the arc of a single character.

What show have you recommended to friends? Last Fall I took part in a student production which contained a scene from Andre Gregory’s Alice in Wonderland (the tea party scene). It was undoubtedly one of the most entertaining pieces of theatre I’ve had the opportunity to work on, and seemed to get a consistently positive reaction from the audience. I also think it was a wonderful learning experience that taught me to embrace making bold decisions and trying out new things. A great deal of credit goes to the director of that show, Becca Wear, but there’s also no denying that the play lends itself to experimentation and playfulness.

What’s up next?: I’ll be returning to school in September, and already have two shows lined up for next semester: Nick Dear’s Art of Success, and a student production consisting of a collection of scenes which has been endearingly nicknamed Frank. Aside from that, I’ve got my senior work to consider. At the moment, I’m collaborating with a colleague to write an adaptation of Prometheus Bound. If all goes well, we should have an acceptable first draft by the end of this summer, and continue to work on it until the production goes up next spring.

Check out Christo in Spatter Pattern at the Atlantic Stage 2 until July 31!

Monday, July 18, 2011

Prop 8 Play Gets Reading

Dustin Lance Black, screenwriter of Milk, and director Joe Mantello, most recently robbed of a Tony for The Normal Heart, will be collaborating on Black's new play 8 chronicling the reversal of the Prop 8 decision. The reading of the new play will premiere as a one night only event at the Eugene O'Neill Theater on September 19. Though no casting has been announced, I'm sure we're bound to have a plethora of celebrities join.

Sunday, July 17, 2011

Shameless Plug: PTP/NYC Acting Showcase

I was fortunate to see a preview of the PTP/NYC Acting Showcase a few weeks back, and let me tell you, there is some talent on that stage!
A select group of Middlebury alum and students put a night of theater together, by themselves, in hopes of jump starting their careers in New York. Ambitious, yet brave. The most important qualities to have in this business. With a variety of scenes, some of the highlights of the night come from the likes of the immensely talented Christo Grabowski, Cori Hundt, Michael Kessler, Michaela Lieberman, and Lilli Stein. I guarantee you at least one of those names will be a household name very soon! If you’re looking to see fresh new talent, I urge you to attend this free event this Tuesday and Wednesday at 4:00pm. Please RSVP at ptpshowcase@gmail.com

Saturday, July 16, 2011

Tales of the City on CD?

Although no announcements of a Broadway transfer, the much hyped Tales of the City (not to be confused with the disastrous A Tale of Two Cities) may be going into the studio to record a soundtrack. Featuring music by the legendary musical genius Jake Shears of Scissor Sister fame and John "JJ" Garden, the musical features a cast including Wesley Taylor, Betsy Wolfe, Mary Birdsong and Manoel Felciano.
I will say, I cannot wait for this to move to NYC, but until then, a soundtrack will suffice. Anything by Jakes Sheers is brilliant.

Friday, July 15, 2011

Weekend Read: The Four of Us

Writing a two person play can be difficult. Unless you're the amazingly talented Itamar Moses. The Four of Us is a discontinuous journey of two friends, David and Benjamin, both of whom are writers, who test the strengths of friendship as one career flourishes, and the other just remains. Moses's use of telling the story not chronologically is one of the best part of the piece. He crafts the play with hints of the future, and some instances, the past that when we reach that moment in time, we fully grasp the impact of that moment. Throughout the play, we are shown the journey of David and Benjamin as individuals, and how that change effects the other. I'm certain that anyone reading the play can relate to one character or the other. They have been "that" friend. The most crushing, yet perfectly crafted, last scene. Without giving too much away, you're not sure if what we're watching is reality or not. Whatever your interpretation is, it's certainly a fitting ending of this journey. It's one of the only plays I've read that makes me cry while reading.

Review: Hair Continues to Live High

Hair is a musical that defined a generation; both in terms of America and in musical theater. Yet how many years later, the musical is still fresh and relevant than ever. Despite closing last year, the touring production is back on Broadway for their self proclaimed "Summer of Love 2011." I was fortunate to sit front row center. I was up-close and personal with that sexy haggle of hippi. A few of the original cast members from earlier incarnations of the Diane Paulus helmed production remain in the cast, though in new roles. From the second the moon-projected scrim drops to the last "Hair" during the audience filled stage curtain call, Hair rocks, engaging every person sitting in the theater. Whatever your association with the subject of the piece, some sort of visceral memory forms, causing a true theatrical moment.
It's important to note how remarkable this cast is. There are productions currently on Broadway that have an ensemble of tired, bored castmembers (take a trip over to the Ambassador Theater), but not once did this group of young, energetic "kids" look like they didn't want to be on stage. I'm sure for some, they're living there dream, so why not love and make the best of every second you feet touch the stage. The only negative I found with this cast was the still oddly cast Caren Lyn Tackett. She seems out of place and sticks out next to the much younger hippies. It makes me miss the concert days of Karen Olivo belting out "I Believe in Love," but that was something only very few were able to catch.

If you're looking for a night of love, go see Hair before it disappears again. A must see. Peace now, freedom now.

Thursday, July 14, 2011

Rent Redux

After closing a long time ago (aka 3 years ago), Rent the iconic musical of the 90s has returned. Staffed with a "fresh" batch of faces (including Adam Chanler-Berat and Annaleigh Ashford) and helmed by its original director Michael Greif, Rent now playing Off-Broadway, is sure to be a hit for all those insanely obsessed Rentheads that made the show tick before.
I'm excited to see it (at some point) as a lot of friends are a part of it, but it's suffering from Les Mis syndrome...it came back too soon. Let it breath!

Tuesday, July 12, 2011

Groff is Back!

MCC announced casting for their upcoming production of Jeff Talbott's The Submission. Fan favorite, Jonathan Groff will play a gay playwright who uses a female pen name and gains acclaim for a play about an African American family. For any playwright, this sounds like a very intriguing piece. And for me, I'll be there to see my buddy!

Sunday, July 10, 2011

Spotlight On...Steven Dykes


Name: Steven Dykes

Hometown: London, England

Education: Trained at Goldsmiths College, University of London

Select Credits (Show, Role, Theater): Playwright- Homestead (Courtyard Theatre), Kolonists (Bridge Lane, Pelican Studio), The Happiness Compartment (Soho Rep, Greenwich Playhouse), The Swing Left (Unlimited Theatre), English translations of Cold Come, Cranes Gone (Bridge Lane, Traverse Theatre) and La Boheme (ENO)

Why theater?: My father was in the Royal Navy so we moved around a lot when I was growing up. He instilled in me (and my brothers) a military sense of team spirit and self-discipline, so I've always enjoyed travelling, meeting new people and working in a tight unit to take on a challenge (though without the danger of being shot at, of course!). But I guess the main reason I ended up in theatre was that, although I was pretty ok at sports at school, I knew that even the best guys on our team would never make it professionally. Happily, I seemed to be able to read plays and understand how they worked on stage like athletes "read plays" and execute or intercept them on the field. I was never going to be a successful football (soccer) player, but I had a decent shot at making a competent actor ... And while the best moments of a playing career in sports are over in a few years, acting is something you can get better and better at as you age, so I guess things worked out.

Tell us about Territories? Two plays - written ten years apart, brought together very wittily by the director-producer, Cheryl Faraone. I wrote The Spoils with the terrific composer, Paul Englishby, and I would urge people to attend just to hear his wonderfully edgy score. Your interview with Cori Hundt contains quite a detailed analysis of the play's themes (just don't expect a drama set in Iraq!). I would just add that the music is absolutely integral to the plot and that the male character's struggle to 'explain' the composer's intentions is as doomed as his attempts to effectively interrogate and 'save' his female prisoners.

A light gathering of dust is another short one act, this one a 'memory play' about a love triangle revisited. Again it has an implicit political setting, but the main attraction, I think, is the very human interplay between the flawed characters.

I'm told the TERRORITIES double bill is quite a challenging evening, but I'm always amused that audiences will sit in the cinema and comfortably watch something as structurally demanding as INCEPTION or MOMENTO and yet be apparently flummoxed by relatively simple non-chronological story-telling in the theatre. What I admire about PTP/NYC is their determination not to give their audiences an easy ride. Isn't that much more fun for all concerned?

What is it like to be pulling double duty as playwright and actor in Victory?: Great, because I have something else to do rather than drive everyone crazy by hanging around rehearsals of my own plays. They should really speak for themselves, so I don't need to be there and it's wonderful to be able to engage with the genius of Howard Barker, knowing that across the hall my work is being treated with equal respect. That's incredibly humbling. I still think of myself as an actor first (although nowadays I spend more time writing), so I'm a kid in a candy store right now, indulging myself rotten! And VICTORY is a masterpiece, with rewarding roles for all twelve members of the company. Audiences have a treat in store.

Which do you prefer doing more, acting or writing?: Acting is a social activity. You can not do it alone. To be in rehearsal with the impressive cast Richard Romagnoli has assembled for VICTORY is stimulating, exhausting and never dull. What better way to spend the summer? But there's another side of me that loves to be alone. Hours fly by like seconds when writing alone and it would appear I (selfishly) need that level of intense self-absorption at regular intervals. I enjoy directing my own work too. The only thing I don't really relish is "being the playwright", because once the play is written you are simply not essential to the fun, collaborative process in which the director, cast and design team are engaged.

What kind of theater speaks to you?: Anything that is not televisual. I have little interest in realism, introspection or domestic drama that can be better served on the small screen. I want to hear robust, lyrical, visceral language that unashamedly draws attention to the perverse ways in which we communicate (or fail to) with each other. And for me, nothing beats the simple but exquisite visual images that can be created by picking out the the human form in light on a dark stage. I have never lost the thrill of sitting in a hushed theatre as the lights go down and giving myself over to a few hours of collective concentration and suspension of disbelief with my fellow theatre-goers.

What or who inspires you as an artist?: Inspiration for most playwrights (whether we know it or not) begins with Ibsen. To anyone who wants to write a play, my advice would be: start with him. It's ALL in there in his work. Others who have inspired me would be: Mamet and Pinter for their sheer craft; Martin Crimp for taking on and innovating their legacy in the last decade or so; and Debbie Tucker Green, whose 'Stoning Mary' is for my money the best play of the last ten years (though I haven't seen JERUSALEM yet). Towering over all these are, of course, Caryl Churchill and Howard Barker. Both combine a prolific output with an awesome refusal to compromise. As actor or director, they won't let you cheat. They keep us theatre practitioners honest, don't you think?

What show have you recommended to your friends?: Anyone in New York should try and get along to punchdrunk's Sleep No More. I have seen most of this extraordinary company's work in London and I promise you that nothing can prepare you for the experience. And to prove that I am not limited to an appreciation of all things British, my favourite recent production was ONE FLEA SPARE by the superb Kentucky-born playwright NOAMI WALLACE. I'd have given anything to have written her wonderful play, SLAUGHTER CITY.

What’s up next?: After a marvellous time with PTP, back to London. I have a curious little piece, BLUE ON BLUE, which had a beautiful first production by the director, Nesta Jones, a few years ago - but a very short run, sadly. I'm hoping to revive it with a group of amazing actor-musicians I had the pleasure to work with recently. As someone of no musical talent myself (certainly not when it comes to an instrument), I find working with musicians and composers genuinely thrilling.

Saturday, July 9, 2011

Weekend Read: columbinus

If you enjoy the docudrama genre, columbinus by Stephen Karam and PJ Paparelli is a sure hit. Inspired by the true events of the Columbine High School massacre, columbinus follows the lives of stereotypical high school students' daily lives, mixed in with real accounts of Eric Harris and Dylan Klebold. The first act of the play allows the audience into the world of Columbine without ever once glorifying the event. This allows us to see the students as individuals. As act two roles around, the actors playing Harris and Klebold transform into those characters, bringing the story to the dark. Karam, now one of the premiere young writers in America, uses language beautifully, never elevating the characters, transforming them into real people. The play is relatible on all levels, mostly because we all remember the tragic events.

Friday, July 8, 2011

Academy Gets New Life

York Theatre Company's Developmental Series will offer a new reading of Academy with music and lyrics by John Mercurio, conceived and developed by Andrew Kato. The reading will feature past cast members Corey Boardman, Andy Mientus, and the one and only, Alex Wyse.

Review: Self-Taut is HOT

The world of the solo show, it’s a whole ‘nother beast. The other night I took the plunge into a double billing of solo at Dixon Place’s HOT Festival. The HOT Festival, in its 20th Season, showcases the best of Queer performance. My evening featured two drastically different pieces, one by Josh Rowe and the other by Chris Tyler.

First up was Josh Rowe. hard wear soft drive, the multi-media piece, melded with Rowe’s choreography, offered the audience the unique experience of trying to figure out what was more interesting and important to tune into: Rowe or Rowe’s projections on the back screen. The performance art based piece was a battle of identity with Rowe putting on heels and dancing and discovering the blurred line and balance between masculine and feminine. Rowe, a wonderful dancer, moved beautifully in his own world, but it was often difficult to enter his world with him as you often didn’t catch the important parts of the work.

In contrast, the evening ended with one of the best solo pieces I’ve been privileged to witness. Self-Taut, the neat play on words, written and performed by the magnificent Chris Tyler, was Tyler’s stylish retelling of current life was a self-proclaimed “gay slut” contrasted with his life and times at Suffern High. The tale of self-awareness, friendship, love, and the apprehension of intimacy was a monologue filled with emotion and delight. The piece began with Tyler’s live Skype sex gone horribly wrong and ended with the live-written e-mail he wished he sent a former love. Tyler is a brilliant performer; witty and sentimental at the right moments. Not once did he cross the line of self-indulgence. Tyler could stand in a spotlight and read the phone book and it would be a fantastic performance.

Thursday, July 7, 2011

Suri Makes Her Big Screen Debut

Somehow, some moron decided it would be a brilliant idea that the Daddy-Daughter team of Tom and Suri should appear on screen together. Details are unconfirmed what her cameo will be, but reports are revealing that Suri appear in the movie version of Rock of Ages. I guess Tom and Katie are already forcing the kid into the biz.

Wednesday, July 6, 2011

Spotlight On...Cori Hundt


Name: Cori Hundt

Hometown: Warren, NJ

Education: Middlebury College

Select Credits: Vanya, Hecuba, Voices of the Class, The Good Woman of Setzuan, Lovesong of the Electric Bear, The Europeans, Uncommon Women and Others, The Vagina Monologues, Severed Headshots and The 24-Hour Play Festival (Middlebury College); The Arsonists and The Relapse (British American Drama Academy). Williamstown Theater Festival

Why theatre? Why not? Okay just kidding, but really, I'm a firm believer that if you have the opportunity to do so, you should always do what you love. Have a back-up plan of course, but do what you have a passion for and see where it leads. While this is an almost disgustingly cliche thing to say, I sometimes wonder how different the world would be if people were not afraid to whole-heartedly pursue what they love. If it doesn't work out, then it doesn't work out, but you should always give it a try first. As for the art of theatre itself, I believe in the power of words and the amazing way in which they can be combined with live performance to connect with another human being. The feeling you get when that happens is utterly addicting to me. I started by acting in school plays when I was little and, well, just never stopped.

Tell us About Territories: The Spoils: Territories is the umbrella title of a double billing of The Spoils and A Light Gathering of Dust written by British playwright Steven Dykes. I am in the first play of the double billing, The Spoils, which is based on the Ba'ath Party in Iraq in which Saddam Hussein emerged as a leader, eventually pushing the head of the party (Ahmad Hasan al-Bakr) aside and ruling the Iraq government until it was taken down by the US in 2003. Dykes has abstracted the Ba'ath Party in this work creating a play that revolves around four secretaries from this political party who are imprisoned, interviewed and attempted to be "rehabilitated" by an interpreter. The interpreter belongs to the party that has taken over the Ba'ath Party and is on a quest to use a new and "more humane" type of rehabilitation based on the folk music of the captured party which ends up falling at odds with the prisoners. What I really like about the play is that it is not about sending a message, but rather raising questions, there is no clear answer as to which side is right or wrong. It is also abstracted so that it is not an in-your-face metaphor for certain situations in today's politics.

What is it like to be a part of Territories: The Spoils?: Working on Territories has proven to be an invaluable experience at this point in my life. PTP/NYC (the theatre company the show is a part of) serves as a wonderful transition from college theatre to the professional acting world and is truly unique in that it is one of the only theatre companies associated with a small liberal arts schools in the country that performs in NYC and fills the non-equity company entirely from current students or recent alumni. I started the process during our January Term at Middlebury where I served as dramaturg for both shows and acted in the stage reading of The Spoils. I was then cast in The Spoils for the summer season in New York. Having the opportunity to work with both equity actors in addition to my fellow peers who I have gotten to know very well over the years, has been an amazingly helpful and educational experience. Additionally, since the playwright himself is acting in another show that is in rep with the company (Howard Barker's Victory), having him as a resource throughout the process is truly a insightful experience.

What kind of theater speaks to you?: I really enjoy a wide range of theatre because I'm a firm believer that different types of theatre serve different purposes, none of which are necessarily more or less important than another. For a senior seminar I took in college we had to write a "Theatre Manifesto" in order to outline our personal artistic aesthetic and I entitled mine "Theatre of Purpose", because to me it's the passion and truth behind a piece that is important, not about pigeon holing myself to a specific type of theatre. I enjoy a good drama just as much as a good comedy and whether a show be about social awareness, entertainment or, dare I say, religious glorification, if the talent and passion behind a piece is there then I am open to it.

What or who inspires you as an artist?:
This is a tough question. I have a classic case of "liberal arts syndrome" where although acting is my first love and what I want to do with my life, I also enjoy other things like literature, writing, traveling and athletics and honestly feel that being a good actor requires knowing what is going on around you in the world and having that feed your work. After all acting is imitating life, so I find that inspiration really lies everywhere.

What are your favorite audition pieces?: I've been working on a few new audition pieces of late. Roxanne from Theresa Rebeck's The Understudy, Nadia from Elizabeth Merriweather's I Bought a Bunker Bitch: A Bad Break Up and Sonya from Chekhov's Uncle Vanya.

Any role you’re dying to play?: One day I would absolutely love to play Vivian Bearing in Margaret Edson's W;t. However, I have to wait a good 30 years to be the right age for the part...

What show have you recommended to your friends?: When I was studying in London in the Fall of 2009 I saw a show at a tiny black box theatre called The Gate Theatre and it was a modern adaptation of Chekhov's Uncle Vanya entitled Vanya by Sam Holcroft. At first I was wary of an adaptation of something from the Chekhov cannon but I quickly fell in love with the show and brought it back to Middlebury. I ended up working on it as my senior thesis work alongside my peers Michael Kessler and Mindy Marquis. It's not running in the states and has only been performed here twice that I know of (at Middlebury and Vassar) but I would completely recommend it!

What’s up next?: Besides working on Territories: The Spoils a group of other Midd Alums (mainly from the PTP/NYC company) and I are going to be having a showcase at the Atlantic Stage 2 on July 19th & 20th at 4pm. Also, on July 25th I'm going to be part of a reading of a new play entitled Brakeman's Light also at the Atlantic Stage 2. And then after all that finishes, I'm moving to NYC! Right now I'm subletting a place with another PTP/NYC actor until the run is over but afterwards I'm planning on moving permanently into the city with a friend of mine who I studied with at the British American Drama Academy and doing the New York actor deal. Eventually I'm planning to go to grad school for an MFA in acting but I want to get my feet wet in the professional acting world first.

For more information on Cori, visit her website and her blog!

Tuesday, July 5, 2011

PTP/NYC Starts Season 25

Tonight marks the start of the 25th season for PTP/NYC!

Playing at their home at Atlantic Theater Company's Stage 2, PTP/NYC will offer a repertory season that includes Neal Bell's Spatter Pattern, Steven Dyke's Territories, and Howard Barker's Victory starring 4 time Tony nominee Jan Maxwell. To purchase tickets, check out TicketCentral. If you see Spatter Patter, look up in the booth, you'll see me!

Monday, July 4, 2011

Review: Catch Me, I Got Scammed

I spent the evening before my ten out of twelve at the Neil Simon theater. I decided it was finally time to see Catch Me If You Can. For what seems like the first year in ages, I didn't catch the season's Tony nominees before the awards so I needed to do some make up work. Hence my attendance. The Tony Awards were slaughtered by the behemoth that is The Book of Mormon, but Norbert Leo Butz stole a Tony Award away from both Mormon boys, and the well deserving Tony Sheldon. The hype for his win was there, so I was expecting this brilliant show stealing performance. And boy was I in for a shock! Not only did Butz steal the David Hyde Pierce Award (a reference to David Hyde Pierce's win for Curtains over the much acclaimed Raul Esparza in Company), but his character is nowhere near a lead compared to the brilliant performance by Aaron Tveit. Not only should Tveit have been nominated, he would have given Tony Sheldon a run for his money. Tveit is the new Broadway golden boy. A triple threat to say the least. He was charming and sexy in all the right places. And his voice can hit the notes the average man should not with perfection. I wanted Tveit's Frank Abagnale Jr. to beat Butz's Carl Hanratty, but since it's based on a real story, we all know that's not the case.
As far as the production goes as a whole, it's not the best. The conceit to turn Abagnale's story into a "TV Special" for the audience seemed odd. The opening number "Live in Living Color" and Tveit's 11 o'clock stopping "Goodbye" were both crowd-pleasing hits, but they may have been better suited for a different musical. The female chorus, lead by my favorite ensemble dancer on Broadway Rachelle Rak, were long-legged goddesses who danced up a storm and used their sex appeal to distract us away from the meat of the story. The story is really about the cat and mouse chase between Abagnale and Hanratty, and keeping with the TV show theme of the show, with supporting characters who popped in along the way. With barely a handful of scenes among them, Tom Wopat, Kerry Butler, and the scene stealing Linda Hart seemed like they were just plucked off the street and asked to come on stage to make the audience clap. They are lost and forgotten in the Tveit and Butz vehicle. And I will say, the production could have saved a ton of money if the band platform remained stationary. It was a gimmick of "oh look what we can do" that was beyond unnecessary. So how did I feel after leaving the theater? The music is catchy and the dancing is top notch, but in the age of movies being turned into musicals, I've seen better.

Friday, July 1, 2011

Weekend Read: The Altruists

Nicky Silver is by far my favorite playwright. He's unique, innovative, and wild. He's characters, though sometimes larger than life, evoke a level of likeability that bring the audience into his world. My favorite of his plays is The Altruists. Sure it's hard to pick a favorite, but The Altruists has one of the funniest monologues I've ever read. Sydney has a six or so page monologue, broken up by scenelets, where she rants and raves to a body in a bed.

I would love to see someone recite the monologue without interruption. This play has some great characters and is truly the most realistic of his absurdist and satirical works.