Name: Sean Bell
Hometown: Red Bank, New Jersey
Education: The American Musical and Dramatic Academy (AMDA)
Select Credits: Madame X (Ensemble, NYMF); Deathtrap (Clifford Anderson, The Fulton Opera House); The Radio City Christmas Spectacular (Vocalist, National Tour)
Why theater?: There’s never really been any other choice for me, really. I had a lot of interests growing up but theatre has always been my passion.
Tell us about Madame X: It’s basically a send-up of 1960s melodrama. It’s written by the creator of Forbidden Broadway, Gerard Alessandrini, so you know it’s bound to be hilarious. Our cast is amazingly versatile and talented and the material is just so witty. Expect a lot of plot, a lot of over-the-top drama and some really moving moments as well.
What is it like to be a part of Madame X?: It’s been a whirlwind. We’ve had a very short rehearsal period and it’s a new show, so almost everyone involved started from square one. It’s been wonderful to be part of the process though. Being involved with new work is the most exciting thing an actor can do, I think.
What kind of theater speaks to you? What or who inspires you as artists?: I like so many different forms of theatre, from light musicals to serious drama. I favor the latter, usually, but I love anything that leaves me moved and pushes the boundaries of the art form. As for inspiration? My friends. I have such incredibly talented friends and they really inspire me to keep working and to keep improving myself as a performer. Also: Sondheim, LaChiusa, Guettel, Shakespeare, Martin McDonough, Gene Kelly, Danny Kaye and Meryl Streep. Always Meryl Streep.
Any roles you’re dying to play?: Plenty! Mordred in Camelot, Septimus in Arcadia, Ken in Red, Bobby in A Chorus Line. And I’d gladly play a doormat in anything by Sondheim. I tend to gravitate towards acting-heavy roles and I have extremely eclectic tastes.
What’s your favorite show tune?: Oh, hell. I have so many. “Sunday” from Sunday in the Park… makes me sob like a small child. The most played song on my iPod is “Back to Paradise” from Marie Christine. The overture of Gypsy ranks pretty high. So does “Moments in the Woods.” I could write a dissertation on show tunes I love.
If you could work with anyone you’ve yet to work with, who would it be?: Oooooh. Hmmm. I mean, if we’re talking ANYONE? Meryl Streep, please.
Who would play you in a movie about yourself and what would it be called?: I would want Jake Gyllenhaal to play me, because he is both prettier than I could ever be and…well, what other reason do you need? As for a title, I really want to come up with something witty but it’s almost midnight and I’m losing steam. My apologies, dear reader.
What show have you recommended to your friends?: Follies. Though I’ve also been recommending Sleep No More to friends even though I haven’t seen it yet. It just sounds so incredible! I can’t wait to see it.
What’s up next?: I start rehearsals for All American with Musicals Tonight! as soon as Madame X closes. I’ll be playing Edwin Bricker. It’s a really fun show and a wonderful company to work for. Come check it out!
Friday, September 30, 2011
Thursday, September 29, 2011
Spotlight On...Gregory Maheu
Name: Gregory Maheu
Hometown: Mount Vernon, VA
Education: BFA Music Theatre, Elon University
Select Credits: Jane Austen's Pride and Prejudice, a Musical (Mr. Wickham, NYMF); Hair (Claude, Hangar Theatre); Sweeney Todd (Anthony, Signature Theatre); Ragtime (Ensemble, Younger Brother Cover, Kennedy Center)
Why Theatre?: The answer in regards to myself is purely selfish. I'm addicted to the feeling of power that goes along with guiding an emotional journey for an audience, and the feeling of complete connection that a good performance gives you to with a group of other humans. I also love exploring facets of myself through the mask of a character. Theatre is an art that forces you to examine yourself and others and to grow and learn constantly. You fail if you don't.
Tell me about Jane Austen's Pride and Prejudice: The musical is a fresh take on an old story. It's actually more about Jane Austen's experience revisiting the first draft of the novel, titled (at the time) First Impressions. Since writing the first draft, she has had a number of dramatically life and perspective altering experiences, including a tryst that nearly led to an elopement and subsequent disinheritance. The show begins with her musing over her writings, from which the characters begin to come alive for her. She is soon swept into the drama herself, and quickly loses control over the situation. Through various re-writes to the draft, she finally comes to the version of P&P that we are all familiar with today, and has several cathartic discoveries about her own life on the way.
What is it like to be a part of Jane Austen's Pride and Prejudice?: Working on new works is always a joy, and this is no exception. I think we have been given particularly singular gifts in both the program (New York Musical Theatre Festival), and our director (Igor Goldin). Walking into rehearsals, feeling such a positive energy and being allowed the creative license to try, to fail, and to explore all the way up until opening and beyond is not always something one gets to experience in an industry that unfortunately lives and dies by the box office. I think the whole cast is grateful for it, and none of us are taking for granted the wonderful and rare opportunity we have been given.
What kind of theatre speaks to you? What or who inspires you as artists?: Theatre that explores the eternal conflict between personal need, desire and societal expectation is incredibly interesting to me. The struggle is so universal. Everyone has felt disconnected, everyone wants to be included, or to be loved, and yet so many of us as individuals have an impossible time finding one's own path or place. Shows like Sunday in the Park..., Next to Normal, and Eugene Ionesco's Rhinoceros are shows I find both fascinating and inspirational.
Any roles that you are dying to play?: Unfortunately (or fortunately, depending on your perspective), most of the roles I am dying to play I am still too young for. Floyd Collins in Floyd Collins, Billy Bigelow in Carousel, and Jerry Lukowski in The Full Monty are all on my list. You could also throw either Prince (as long as I get to play the Wolf as well) in Into the Woods and Burrs in Lippa's The Wild Party on there as well.
What's your favorite show tune?: Hmm. What a question. Truthfully, I don't like to listen to songs from musicals independently. I love to follow the whole arc of the show from beginning to end. But if I had to pick, I might choose 'The Streets of Dublin' from A Man of No Importance. I love the melody, I love the powerful yet sensitively nostalgic lyric, and I love singing it every opportunity I have.
If you could work with anyone you've yet to work with, who would it be?: There are a number of composers I would love to work with-- Chris Miller of Burnt Part Boys fame, Adam Guettel, and Adam Gwon, who wrote The Boy Detective Fails and Ordinary Days. I also desperately would like to be in a show directed by Joe Calarco.
Who would play you in a movie about yourself and what would it be called?: That's an easy one. My celebrity doppelganger, Jude Law. Titles I am terrible with. Everything I have thought of sounds trite and wrong, so I just won't give you one.
What show have you recommended to your friends?: Honestly, the things I am most excited about are out of town in Washington D.C. right now. I am telling everyone I see to go see Parade at Ford's Theatre, and The Boy Detective Fails at the Signature Theatre. Go see them both. Seriously.
What's up next?: After Pride and Prejudice I head back down to D.C. for the holiday season to be a part of the incredibly beautiful A Christmas Carol at Ford's Theatre. After that is yet to be discovered.
For more information on Jane Austen's Pride and Prejudice, visit http://www.nymf.org/janeaustensprideandprejudice
Hometown: Mount Vernon, VA
Education: BFA Music Theatre, Elon University
Select Credits: Jane Austen's Pride and Prejudice, a Musical (Mr. Wickham, NYMF); Hair (Claude, Hangar Theatre); Sweeney Todd (Anthony, Signature Theatre); Ragtime (Ensemble, Younger Brother Cover, Kennedy Center)
Why Theatre?: The answer in regards to myself is purely selfish. I'm addicted to the feeling of power that goes along with guiding an emotional journey for an audience, and the feeling of complete connection that a good performance gives you to with a group of other humans. I also love exploring facets of myself through the mask of a character. Theatre is an art that forces you to examine yourself and others and to grow and learn constantly. You fail if you don't.
Tell me about Jane Austen's Pride and Prejudice: The musical is a fresh take on an old story. It's actually more about Jane Austen's experience revisiting the first draft of the novel, titled (at the time) First Impressions. Since writing the first draft, she has had a number of dramatically life and perspective altering experiences, including a tryst that nearly led to an elopement and subsequent disinheritance. The show begins with her musing over her writings, from which the characters begin to come alive for her. She is soon swept into the drama herself, and quickly loses control over the situation. Through various re-writes to the draft, she finally comes to the version of P&P that we are all familiar with today, and has several cathartic discoveries about her own life on the way.
What is it like to be a part of Jane Austen's Pride and Prejudice?: Working on new works is always a joy, and this is no exception. I think we have been given particularly singular gifts in both the program (New York Musical Theatre Festival), and our director (Igor Goldin). Walking into rehearsals, feeling such a positive energy and being allowed the creative license to try, to fail, and to explore all the way up until opening and beyond is not always something one gets to experience in an industry that unfortunately lives and dies by the box office. I think the whole cast is grateful for it, and none of us are taking for granted the wonderful and rare opportunity we have been given.
What kind of theatre speaks to you? What or who inspires you as artists?: Theatre that explores the eternal conflict between personal need, desire and societal expectation is incredibly interesting to me. The struggle is so universal. Everyone has felt disconnected, everyone wants to be included, or to be loved, and yet so many of us as individuals have an impossible time finding one's own path or place. Shows like Sunday in the Park..., Next to Normal, and Eugene Ionesco's Rhinoceros are shows I find both fascinating and inspirational.
Any roles that you are dying to play?: Unfortunately (or fortunately, depending on your perspective), most of the roles I am dying to play I am still too young for. Floyd Collins in Floyd Collins, Billy Bigelow in Carousel, and Jerry Lukowski in The Full Monty are all on my list. You could also throw either Prince (as long as I get to play the Wolf as well) in Into the Woods and Burrs in Lippa's The Wild Party on there as well.
What's your favorite show tune?: Hmm. What a question. Truthfully, I don't like to listen to songs from musicals independently. I love to follow the whole arc of the show from beginning to end. But if I had to pick, I might choose 'The Streets of Dublin' from A Man of No Importance. I love the melody, I love the powerful yet sensitively nostalgic lyric, and I love singing it every opportunity I have.
If you could work with anyone you've yet to work with, who would it be?: There are a number of composers I would love to work with-- Chris Miller of Burnt Part Boys fame, Adam Guettel, and Adam Gwon, who wrote The Boy Detective Fails and Ordinary Days. I also desperately would like to be in a show directed by Joe Calarco.
Who would play you in a movie about yourself and what would it be called?: That's an easy one. My celebrity doppelganger, Jude Law. Titles I am terrible with. Everything I have thought of sounds trite and wrong, so I just won't give you one.
What show have you recommended to your friends?: Honestly, the things I am most excited about are out of town in Washington D.C. right now. I am telling everyone I see to go see Parade at Ford's Theatre, and The Boy Detective Fails at the Signature Theatre. Go see them both. Seriously.
What's up next?: After Pride and Prejudice I head back down to D.C. for the holiday season to be a part of the incredibly beautiful A Christmas Carol at Ford's Theatre. After that is yet to be discovered.
For more information on Jane Austen's Pride and Prejudice, visit http://www.nymf.org/janeaustensprideandprejudice
Shameless Plug...Lake Water
If you have free time in the next few days, go head over to the IRT and see one of the most beautiful plays, written by an incredible writer and great friend, Troy Deutsch! Lake Water will definitely not disappoint. For more tickets, visit http://www.brownpapertickets.com/event/194814
Wednesday, September 28, 2011
Spotlight On...F. Michael Haynie
Name: F. Michael Haynie
Hometown: Macon, GA
Education: NYU
Select Credits: Band Geeks (Spitz, Goodspeed); We the People (Adams, Lortel, TWUSA); The Twylight Zones (The Bloat, Paramount Pictures); Rocket Science (Heston, Playwrights Horizons); 35mm (Man 3, Urban Stages); Readings Workshops Etc. Fun things with fun people!
Why theater?: Honestly it kinda happened later for me than a lot of my actor friends. I'd done theatre all my life, my whole family did it and supported it, but I never thought about a career in it. I was a musician. I played in the band and wanted to go to school for brass performance. Then, my sophomore year, I did the show "Pippin" and discovered that theatre wasn't just singing songs and moving furniture (though at times it can be). There was this new world of characters, connection, living breathing people on a stage that told me in my heart, "this was what you need to do." So I applied to a couple of schools and was accepted to NYU where I attended the Lee Strasberg studio for 3 years. So now "why theatre" has a short answer: I can be anyone I want to be and play with some of the coolest people in the world.
Tell us about Fucking Hipsters: Fucking Hipsters is a brand-spanking-new musical about a band from Williamsburg. It follows the story of Mark Twain's Moustache, an up-and-coming hipster band and closenit family of friends. Then a girl named Josie comes into their lives and Lars, the lead singer, falls in love with this beautiful hipster girl: antics ensue. The cast is filled with amazing actor/musicians and we're gettin ready to get crunchy and ironic starting September 27th.
What is it like to be a part of Fucking Hipsters?: Working on new works is my JAM! I've been so fortunate to work on a lot of new shows in the last few years and I have loved every second of it. There's just something about creating a new character because, until you. He/she/it only existed on a piece of paper or a laptop harddrive. You don't have to stare down the barrel of the ORIGINAL performer or the "WAY this part is SUPPOSED to be done." No one'll say, "Ewwww, he didn't do it the way Ben Vereen did!" (though he is undeniably phenomenal... not the point.) New work is an opportunity to mold a piece WITH the authors. From "fancy" 29 Hour Readings and Broaway Workshops, to sitting with a bottle of bourbon at a friends apartment and sleepover work sessions in Philly, it's about the work. And Fucking Hipsters is providing a place where we can create new people and play instruments and invent a new world. Its a play, and we are!
What kind of theater speaks to you? What or who inspires you as artists?: I want to see everything. I want to see things I love. I want t see things I hate. It really frustrates me when people "hate" things they haven't seen. Example: Spider-Man. For people who just blindly HATE it, I have a question: did you miss the part where there is an amazingly talented cast and crew and design team working their asses off? No? Then you didn't see the show. Now hate the script or the music and I'm gonna fight less with you, but I can have a real opinion cause I've seen it. This year I have seen some amazing work! Don't get me wrong I've seen some shows that should get the Old Yeller treatment, but even in clunkers there are gems to be found. There are some actors I would watch read the phone book. As far as "who inspires me as an artist"... I have my celebrity list of folks like Gary Oldman and Brendan Gleeson (and if you say "they're both in Harry Potter"... I'll punch you in the face...). But the people that inspire me the most are the amazing artists I get to work with every day. Now I feel weird saying this, cause it sounds a bit douchy, but I worked on a show called 35mm written by Ryan Scott Oliver. In the cast with me was Alex Brightman, Jay Armstrong Johnson, Lindsay Mendez, and Carrie Manolakos. These are all friends of mine, and they are my inspiration. I learn from watching and listening. You can learn from anyone. I am even inspired by the actors who come in for non-equity calls for TheatreWorks USA when I'm reading for them.
Any roles you’re dying to play?: I don't know. Like I said before originating things is so much fun that maybe that's my answer. I'm dying to play the roles that haven't been written yet.
What’s your favorite show tune?: Ok... Now there are LOTS of awesome songs, but "One Day More" from Les Miserables is so well constructed that literally every time I hear it I get chills. (though the parody of that in "South Park: Bigger, Longer, & Uncut" has a similar quality.)
If you could work with anyone you’ve yet to work with, who would it be?: Robin Williams. I feel like working with him would teach me so much about life. He is a stunning performer and has a brilliant mind. I watch his films and all I want to do is probe his mind. What must working with him, playing off him, acting with him be like? We see so many "comedians" who make "funny" movies, but watch "Good Morning Vietnam" and see an amazing actor, who also HAPPENS to be a ridiculously funny comedian, give an beautiful performance.
Who would play you in a movie about yourself and what would it be called?: The movie about my life would be called "Songs in the Key of F" and would star Ryan Gosling cause in my movie I'm gonna have abs and look smokin hot. And I'd also rewrite the movie where I'm rich and have a cool car! Everything else would be the same though.
What show have you recommended to your friends?: I would say The Book of Mormon, but they don't need the press from me (it is one of the best shows I have ever seen in my life, End Of Story.) and their ticket sales aren't waiting with baited breath for me to endorse them. So in lieu of gratuitously praising that marvelous show, I will suggest this: go see something at NYMF. There are a couple shows that I know about but there are many to choose from. 1) Fuckin Hipsters- yea... The one I talked about earlier. 2) Outlaws- Great production staff and amazing cast. I mean, a Billy the Kid musical with Corey Boardman's rockin as B the K himself... Come on! 3) Crazy Just Like Me- written by the multitalented Drew Gasparini and starring many amazing actors including Andrew Kober, And Mientus, and Lexi Papedo singing their faces off! And that's just 3 of the many NEW shows you could see in the next month.
What’s up next?: Well a few things. First I'll be doing a reading of the new musical of Ever After being directed by Kathleen Marshall. And then I'll be starting the rebirth of Carrie the musical off-broadway at the Lortel Theatre. First preview is on January 31st, and get excited because this ain't your Mama's Carrie. This is a revamped, scary, sexy, killer musical. We are all very excited. And next fall my first feature film comes out. The working title is The Twylight Zones and it was directed by Soprano's creator David Chase. It will come out some time next year. I couldn't be more excited. Aside from that, I'm working on my own music and playing around the city. To hear my stuff please visit my YouTube page at YouTube.com/SongsintheKeyofF. To keep current follow me on twitter @fmichaelhaynie or just stalk me. Cause who doesn't love a good stalker?
Hometown: Macon, GA
Education: NYU
Select Credits: Band Geeks (Spitz, Goodspeed); We the People (Adams, Lortel, TWUSA); The Twylight Zones (The Bloat, Paramount Pictures); Rocket Science (Heston, Playwrights Horizons); 35mm (Man 3, Urban Stages); Readings Workshops Etc. Fun things with fun people!
Why theater?: Honestly it kinda happened later for me than a lot of my actor friends. I'd done theatre all my life, my whole family did it and supported it, but I never thought about a career in it. I was a musician. I played in the band and wanted to go to school for brass performance. Then, my sophomore year, I did the show "Pippin" and discovered that theatre wasn't just singing songs and moving furniture (though at times it can be). There was this new world of characters, connection, living breathing people on a stage that told me in my heart, "this was what you need to do." So I applied to a couple of schools and was accepted to NYU where I attended the Lee Strasberg studio for 3 years. So now "why theatre" has a short answer: I can be anyone I want to be and play with some of the coolest people in the world.
Tell us about Fucking Hipsters: Fucking Hipsters is a brand-spanking-new musical about a band from Williamsburg. It follows the story of Mark Twain's Moustache, an up-and-coming hipster band and closenit family of friends. Then a girl named Josie comes into their lives and Lars, the lead singer, falls in love with this beautiful hipster girl: antics ensue. The cast is filled with amazing actor/musicians and we're gettin ready to get crunchy and ironic starting September 27th.
What is it like to be a part of Fucking Hipsters?: Working on new works is my JAM! I've been so fortunate to work on a lot of new shows in the last few years and I have loved every second of it. There's just something about creating a new character because, until you. He/she/it only existed on a piece of paper or a laptop harddrive. You don't have to stare down the barrel of the ORIGINAL performer or the "WAY this part is SUPPOSED to be done." No one'll say, "Ewwww, he didn't do it the way Ben Vereen did!" (though he is undeniably phenomenal... not the point.) New work is an opportunity to mold a piece WITH the authors. From "fancy" 29 Hour Readings and Broaway Workshops, to sitting with a bottle of bourbon at a friends apartment and sleepover work sessions in Philly, it's about the work. And Fucking Hipsters is providing a place where we can create new people and play instruments and invent a new world. Its a play, and we are!
What kind of theater speaks to you? What or who inspires you as artists?: I want to see everything. I want to see things I love. I want t see things I hate. It really frustrates me when people "hate" things they haven't seen. Example: Spider-Man. For people who just blindly HATE it, I have a question: did you miss the part where there is an amazingly talented cast and crew and design team working their asses off? No? Then you didn't see the show. Now hate the script or the music and I'm gonna fight less with you, but I can have a real opinion cause I've seen it. This year I have seen some amazing work! Don't get me wrong I've seen some shows that should get the Old Yeller treatment, but even in clunkers there are gems to be found. There are some actors I would watch read the phone book. As far as "who inspires me as an artist"... I have my celebrity list of folks like Gary Oldman and Brendan Gleeson (and if you say "they're both in Harry Potter"... I'll punch you in the face...). But the people that inspire me the most are the amazing artists I get to work with every day. Now I feel weird saying this, cause it sounds a bit douchy, but I worked on a show called 35mm written by Ryan Scott Oliver. In the cast with me was Alex Brightman, Jay Armstrong Johnson, Lindsay Mendez, and Carrie Manolakos. These are all friends of mine, and they are my inspiration. I learn from watching and listening. You can learn from anyone. I am even inspired by the actors who come in for non-equity calls for TheatreWorks USA when I'm reading for them.
Any roles you’re dying to play?: I don't know. Like I said before originating things is so much fun that maybe that's my answer. I'm dying to play the roles that haven't been written yet.
What’s your favorite show tune?: Ok... Now there are LOTS of awesome songs, but "One Day More" from Les Miserables is so well constructed that literally every time I hear it I get chills. (though the parody of that in "South Park: Bigger, Longer, & Uncut" has a similar quality.)
If you could work with anyone you’ve yet to work with, who would it be?: Robin Williams. I feel like working with him would teach me so much about life. He is a stunning performer and has a brilliant mind. I watch his films and all I want to do is probe his mind. What must working with him, playing off him, acting with him be like? We see so many "comedians" who make "funny" movies, but watch "Good Morning Vietnam" and see an amazing actor, who also HAPPENS to be a ridiculously funny comedian, give an beautiful performance.
Who would play you in a movie about yourself and what would it be called?: The movie about my life would be called "Songs in the Key of F" and would star Ryan Gosling cause in my movie I'm gonna have abs and look smokin hot. And I'd also rewrite the movie where I'm rich and have a cool car! Everything else would be the same though.
What show have you recommended to your friends?: I would say The Book of Mormon, but they don't need the press from me (it is one of the best shows I have ever seen in my life, End Of Story.) and their ticket sales aren't waiting with baited breath for me to endorse them. So in lieu of gratuitously praising that marvelous show, I will suggest this: go see something at NYMF. There are a couple shows that I know about but there are many to choose from. 1) Fuckin Hipsters- yea... The one I talked about earlier. 2) Outlaws- Great production staff and amazing cast. I mean, a Billy the Kid musical with Corey Boardman's rockin as B the K himself... Come on! 3) Crazy Just Like Me- written by the multitalented Drew Gasparini and starring many amazing actors including Andrew Kober, And Mientus, and Lexi Papedo singing their faces off! And that's just 3 of the many NEW shows you could see in the next month.
What’s up next?: Well a few things. First I'll be doing a reading of the new musical of Ever After being directed by Kathleen Marshall. And then I'll be starting the rebirth of Carrie the musical off-broadway at the Lortel Theatre. First preview is on January 31st, and get excited because this ain't your Mama's Carrie. This is a revamped, scary, sexy, killer musical. We are all very excited. And next fall my first feature film comes out. The working title is The Twylight Zones and it was directed by Soprano's creator David Chase. It will come out some time next year. I couldn't be more excited. Aside from that, I'm working on my own music and playing around the city. To hear my stuff please visit my YouTube page at YouTube.com/SongsintheKeyofF. To keep current follow me on twitter @fmichaelhaynie or just stalk me. Cause who doesn't love a good stalker?
Tuesday, September 27, 2011
Spotlight On...Matt Leisy
Name: Matt Leisy
Hometown: Kansas City by way of England
Education: Northwestern University
Select Credits: The Fantasticks (Matt, Off Broadway); The History Boys (Scripps, St Louis Rep; Arden Theatre- Barrymore Nomination); Ghostlight (Jack Pickford, NYMF)
Why theater?: Theater just kind of happened for me in college. I was studying opera and seeing a lot of plays and musicals at Northwestern. I was curious and started to study acting. I discovered that what excited me about performing was not the singing, but the acting, when I allowed myself to be vulnerable and present. I then got cast as Eugene Marchbanks in the theatre department’s production of Candida and it was all downhill from there. I was hooked.
Tell us about Ghostlight: Ghostlight is a new musical, in the New York Musical Theatre Festival (NYMF) by Matthew Martin and Tim Realbuto, based on the true story of Olive Thomas, a former Ziegfeld Follies girl whose ghost still haunts the New Amsterdam Theatre. Ghostlight follows Olive’s story as she stumbles into a secret affair, an unfulfilling Hollywood marriage, and a downward spiral into drugs and alcohol. It’s a great new musical that really captures Broadway's Golden Age and provides a backstage view of the life of a Broadway and screen star.
What is it like to be a part of Ghostlight?: Ghostlight has been a great experience for me so far. Since I am currently in a long run with The Fantasticks, I haven’t experienced the rehearsal process for a long time, starting from scratch with no established staging. It has been liberating to have the freedom to really create. I play Jack Pickford, Hollywood’s golden boy of the 1920s, who married Olive Thomas. The musical captures the highs and lows of their relationship and Jack’s continued devotion, despite their problems. I enjoy getting to expose their strengths and flaws.
What kind of theater speaks to you? What or who inspires you as artists?: Theatre that makes me feel something. I hate to leave the theatre feeling ambivalent. I want to be moved. I want to be inspired. Frustrate me. Challenge me. Trigger an emotion inside me, maybe uncover a feeling I didn’t know even existed. That is good theatre. I often find inspiration from nature, especially when I’m feeling creatively stuck. Taking a walk in the park or along the river usually does the trick. I’m inspired by my Fantasticks cast and their consistently fresh performances. There is always a sense of play and freedom within the confines of our production. I’m also inspired by the creativity of the actors in Ghostlight. There are so many actors and people who inspire me.
Any roles you’re dying to play?: I love creating roles. I look forward to playing the characters that are being written right now. I would love to do War Horse and Red. Candide has always been a dream role of mine. And Sweeney Todd is my favorite musical. Are you listening, universe?
What’s your favorite show tune?: I have lots. "Being Alive" (Company), "The Light in the Piazza" (The Light in the Piazza), "Somewhere" (West Side Story).
If you could work with anyone you’ve yet to work with, who would it be?: I would love to work with people I can learn from. They say you get better playing with better players. I could learn a lot from these women: Mary Louise Parker, Brenda Blethyn, Laura Linney and, of course, Meryl Streep.
Who would play you in a movie about yourself and what would it be called?: The autobiographical comedy would be called MATTY CHICKEN PATTY and would star Michael Cera. The indie drama would be called TRY, TRY AGAIN and star James McAvoy.
What show have you recommended to your friends?: War Horse, The Fantasticks, Ghostlight, The Book of Mormon, Follies
What’s up next?: Very good question. More Fantasticks and then who knows…
For more information on Matt, please visit http://www.mattleisy.com/
Hometown: Kansas City by way of England
Education: Northwestern University
Select Credits: The Fantasticks (Matt, Off Broadway); The History Boys (Scripps, St Louis Rep; Arden Theatre- Barrymore Nomination); Ghostlight (Jack Pickford, NYMF)
Why theater?: Theater just kind of happened for me in college. I was studying opera and seeing a lot of plays and musicals at Northwestern. I was curious and started to study acting. I discovered that what excited me about performing was not the singing, but the acting, when I allowed myself to be vulnerable and present. I then got cast as Eugene Marchbanks in the theatre department’s production of Candida and it was all downhill from there. I was hooked.
Tell us about Ghostlight: Ghostlight is a new musical, in the New York Musical Theatre Festival (NYMF) by Matthew Martin and Tim Realbuto, based on the true story of Olive Thomas, a former Ziegfeld Follies girl whose ghost still haunts the New Amsterdam Theatre. Ghostlight follows Olive’s story as she stumbles into a secret affair, an unfulfilling Hollywood marriage, and a downward spiral into drugs and alcohol. It’s a great new musical that really captures Broadway's Golden Age and provides a backstage view of the life of a Broadway and screen star.
What is it like to be a part of Ghostlight?: Ghostlight has been a great experience for me so far. Since I am currently in a long run with The Fantasticks, I haven’t experienced the rehearsal process for a long time, starting from scratch with no established staging. It has been liberating to have the freedom to really create. I play Jack Pickford, Hollywood’s golden boy of the 1920s, who married Olive Thomas. The musical captures the highs and lows of their relationship and Jack’s continued devotion, despite their problems. I enjoy getting to expose their strengths and flaws.
What kind of theater speaks to you? What or who inspires you as artists?: Theatre that makes me feel something. I hate to leave the theatre feeling ambivalent. I want to be moved. I want to be inspired. Frustrate me. Challenge me. Trigger an emotion inside me, maybe uncover a feeling I didn’t know even existed. That is good theatre. I often find inspiration from nature, especially when I’m feeling creatively stuck. Taking a walk in the park or along the river usually does the trick. I’m inspired by my Fantasticks cast and their consistently fresh performances. There is always a sense of play and freedom within the confines of our production. I’m also inspired by the creativity of the actors in Ghostlight. There are so many actors and people who inspire me.
Any roles you’re dying to play?: I love creating roles. I look forward to playing the characters that are being written right now. I would love to do War Horse and Red. Candide has always been a dream role of mine. And Sweeney Todd is my favorite musical. Are you listening, universe?
What’s your favorite show tune?: I have lots. "Being Alive" (Company), "The Light in the Piazza" (The Light in the Piazza), "Somewhere" (West Side Story).
If you could work with anyone you’ve yet to work with, who would it be?: I would love to work with people I can learn from. They say you get better playing with better players. I could learn a lot from these women: Mary Louise Parker, Brenda Blethyn, Laura Linney and, of course, Meryl Streep.
Who would play you in a movie about yourself and what would it be called?: The autobiographical comedy would be called MATTY CHICKEN PATTY and would star Michael Cera. The indie drama would be called TRY, TRY AGAIN and star James McAvoy.
What show have you recommended to your friends?: War Horse, The Fantasticks, Ghostlight, The Book of Mormon, Follies
What’s up next?: Very good question. More Fantasticks and then who knows…
For more information on Matt, please visit http://www.mattleisy.com/
Monday, September 26, 2011
Spotlight On...Desiree Rodriguez
Name: Desiree Rodriguez
Hometown: Paterson, NJ
Education: BFA in Acting from Montclair State University
Select Credits: The Devil Taught Me (Elizabeth, Minetta Lane Theatre); Barrio Grrl! (Ana, Kennedy Center National Tour); This One Girl's Story (Lourdes, Abingdon Theatre); Tres Vidas (Frida Kahlo, Rufina Amaya and Alfonsina Storni, Core Ensemble); Kingdom (Marisa, ReVision Theatre)
Why theater?: Why NOT?? :) I feel like that we as artists are the only people in the world who get to play pretend for a living! Honestly, to me, there is no other medium like it. You may be doing the same material and storyline, but every night, it's a new performance. You get to play and discover something different each time and your audience experiences it with you and lets you know if they love and appreciate what you're doing for them.
Tell us about This One Girl’s Story: This One Girl's Story is about four young girls who have gone out for a night on the town to leave behind the drama of life for a little bit. We're ready to dance and maybe even find romance with someone special. The night is filled with high ups and low downs, and an incident that follows that leaves us questioning things about ourselves and life. But ultimately it's a beautiful love story about finding one's voice and having the courage to tell your story to whoever will listen.
What is it like to be a part of This One Girl’s Story?: I. Love. This. Show. I really do! I got to play Lourdes in the workshop version of it last year for Gayfest, and to have the privilege to do it again is awesome. I've gotten to see this piece grow and develop into a show that truly touches people from all walks of life. And I cannot praise our music enough, there is a style in it for everybody: R&B, gospel, musical theatre, salsa, the WORKS. You WILL leave the theatre humming.
What kind of theater speaks to you? What or who inspires you as artists?: Theatre that comes from an honest and soulful place but at the same time takes me away to another kind of reality is what speaks to me. It will make me laugh one minute, cry the next, and ache to be up there doing it with them. I find inspiration from a myriad of places: a song on the radio, books that I read, real people in my life.
Any roles you’re dying to play?: Elphaba in Wicked, Nina in In the Heights, Wednesday in The Addams Family
What’s your favorite show tune?: Gaaah! So many..."Mama Will Provide" "Let It Sing" "Pulled" "Breathe"
If you could work with anyone you’ve yet to work with, who would it be?: In a dream world, Meryl Streep and Seth Macfarlane. In the real world, anyone willing to hire me!
Who would play you in a movie about yourself and what would it be called?: Hmm in a movie about me...I'd say...ME? And it'd be called something corny and catchy like, "Corny AND Catchy: A Desireably Desiree Story" Yeah, I know, it still needs work.
What show have you recommended to your friends?: The Book of Mormon, Memphis, and This One Girl's Story while we're playing at NYMF!
What’s up next?: This One Girl's Story is playing till Oct. 9th and after that sky's the limit. Maybe some much needed R&R, if not, bring on the work!
Hometown: Paterson, NJ
Education: BFA in Acting from Montclair State University
Select Credits: The Devil Taught Me (Elizabeth, Minetta Lane Theatre); Barrio Grrl! (Ana, Kennedy Center National Tour); This One Girl's Story (Lourdes, Abingdon Theatre); Tres Vidas (Frida Kahlo, Rufina Amaya and Alfonsina Storni, Core Ensemble); Kingdom (Marisa, ReVision Theatre)
Why theater?: Why NOT?? :) I feel like that we as artists are the only people in the world who get to play pretend for a living! Honestly, to me, there is no other medium like it. You may be doing the same material and storyline, but every night, it's a new performance. You get to play and discover something different each time and your audience experiences it with you and lets you know if they love and appreciate what you're doing for them.
Tell us about This One Girl’s Story: This One Girl's Story is about four young girls who have gone out for a night on the town to leave behind the drama of life for a little bit. We're ready to dance and maybe even find romance with someone special. The night is filled with high ups and low downs, and an incident that follows that leaves us questioning things about ourselves and life. But ultimately it's a beautiful love story about finding one's voice and having the courage to tell your story to whoever will listen.
What is it like to be a part of This One Girl’s Story?: I. Love. This. Show. I really do! I got to play Lourdes in the workshop version of it last year for Gayfest, and to have the privilege to do it again is awesome. I've gotten to see this piece grow and develop into a show that truly touches people from all walks of life. And I cannot praise our music enough, there is a style in it for everybody: R&B, gospel, musical theatre, salsa, the WORKS. You WILL leave the theatre humming.
What kind of theater speaks to you? What or who inspires you as artists?: Theatre that comes from an honest and soulful place but at the same time takes me away to another kind of reality is what speaks to me. It will make me laugh one minute, cry the next, and ache to be up there doing it with them. I find inspiration from a myriad of places: a song on the radio, books that I read, real people in my life.
Any roles you’re dying to play?: Elphaba in Wicked, Nina in In the Heights, Wednesday in The Addams Family
What’s your favorite show tune?: Gaaah! So many..."Mama Will Provide" "Let It Sing" "Pulled" "Breathe"
If you could work with anyone you’ve yet to work with, who would it be?: In a dream world, Meryl Streep and Seth Macfarlane. In the real world, anyone willing to hire me!
Who would play you in a movie about yourself and what would it be called?: Hmm in a movie about me...I'd say...ME? And it'd be called something corny and catchy like, "Corny AND Catchy: A Desireably Desiree Story" Yeah, I know, it still needs work.
What show have you recommended to your friends?: The Book of Mormon, Memphis, and This One Girl's Story while we're playing at NYMF!
What’s up next?: This One Girl's Story is playing till Oct. 9th and after that sky's the limit. Maybe some much needed R&R, if not, bring on the work!
Sunday, September 25, 2011
Review: Lake Water Makes Waves
To have a visceral experience while attending theater usually means a successful script and production. I had that while watching Lake Water. Troy Deutsch’s striking play is insightful, captivating, and powerful. Lake Water watches two high school students, James, played by Deutsch, and Iris, portrayed stunningly by Samantha Soule, as they meet on the dock of a lake, after Iris receives a frantic voicemail from James. Without giving too much away, James and Iris try to find light and amusement in a dark situation following the recent suicide of a mutual friend. Unfortunately, as they sit on the dock, the past is exposed and the blame game is in full effect. What is so enthralling about Deutsch’s script is he takes a far too prevalent topic in today’s society and finds a slightly different angle. He brings his characters to life, allowing the audience to instantly relate to either of the characters or the situation at large. James manages to touch all the stages of grief in a span of eighty minutes. James is the epitome of what seems to be happening in America today. He’s a character screaming for help when no one seems to be listening. Deutsch’s James is heartbreaking. He offers the perfect amount of pain and sorry without becoming a martyr. Samantha Soule’s Iris is riveting. Though there were moments you wanted to hate her character for her actions and verbal daggers, you were still sympathetic with her in her unlucky situation.
Lake Water is a play about discovery. It’s a play about grief. It’s a play about reconciliation. It’s a play about escaping the mundane. It’s a play about letting go. And Daniel Talbott successfully finds a perfect balance of allowing it all shine through. His direction is top-notch and quite striking. He helped Deutsch and Soule find the beauty in silence, which were some of the most poignant moments. Despite the lack of dialogue, simply sitting in silence spoke wonders.
The design of the show, as a whole, was phenomenal. Walking into the IRT theater, you’re instantly brought to the lake. Eugenia Furneaux-Arends’s set is inviting, yet perfectly mysterious. Brad Peterson’s lights told a story of time and played perfectly on the dock. The consistent nature soundscape designed stylishly by Janie Bullard was fulfilling and never distracting. Being able to listen to the sounds of nature when the actors had nothing to say was comforting and much needed. The contrast of Iris’s bright and bubbly dress to James’s dark and drab hoodie spoke to who the characters were in the moment of the play. Tristan Scott Barton Raines found a way to costume the actors without making it feel it was pulled out of their closet. The overall design was remarkable, especially for the capabilities of the theater.
America today is filled with fear of the unknown. Many pieces of theater nowadays that have touched upon suicide in small towns fail to compare to the powerful of Lake Water. Troy Deutsch has a remarkable voice as a playwright. I truly hope there is a future for this play. It’s a story that needs to be heard, immediately.
photo by Hunter Canning |
Lake Water is a play about discovery. It’s a play about grief. It’s a play about reconciliation. It’s a play about escaping the mundane. It’s a play about letting go. And Daniel Talbott successfully finds a perfect balance of allowing it all shine through. His direction is top-notch and quite striking. He helped Deutsch and Soule find the beauty in silence, which were some of the most poignant moments. Despite the lack of dialogue, simply sitting in silence spoke wonders.
The design of the show, as a whole, was phenomenal. Walking into the IRT theater, you’re instantly brought to the lake. Eugenia Furneaux-Arends’s set is inviting, yet perfectly mysterious. Brad Peterson’s lights told a story of time and played perfectly on the dock. The consistent nature soundscape designed stylishly by Janie Bullard was fulfilling and never distracting. Being able to listen to the sounds of nature when the actors had nothing to say was comforting and much needed. The contrast of Iris’s bright and bubbly dress to James’s dark and drab hoodie spoke to who the characters were in the moment of the play. Tristan Scott Barton Raines found a way to costume the actors without making it feel it was pulled out of their closet. The overall design was remarkable, especially for the capabilities of the theater.
America today is filled with fear of the unknown. Many pieces of theater nowadays that have touched upon suicide in small towns fail to compare to the powerful of Lake Water. Troy Deutsch has a remarkable voice as a playwright. I truly hope there is a future for this play. It’s a story that needs to be heard, immediately.
Labels:
Lake Water,
Review
Spotlight On...Corey Boardman
Name: Corey Boardman
Hometown: Milwaukee, WI
Education: Actually, I went right into working after high school.
Select Credits: Off Bway: Amory in Academy, Gabe/Henry US in Next to Normal, Matthew in Altar Boyz
Why theater?: I love how theatre is able to captivate people and help them escape reality for a couple hours and maybe change the way they think about something. We make people happy.
Tell us about Outlaws: Outlaws is the untold story of Billy the Kid and how his actual life may not have been what was portrayed by the papers and dime novels of the day. Sounds familiar with what celebs go through today, right? I feel like it's just about kids navigating into adulthood and all the different life experiences that includes - sex, drugs, violence, responsibility, power - It's a rock show, and that's the perfect music for those sorts of things.
What is it like to be a part of Outlaws?: It has been awesome. There's nothing like helping to originate a role with a show and everyone involved is so talented and giving. I've been really lucky with that sort of thing with shows so far.
What kind of theater speaks to you? What or who inspires you as artists?: Sometimes I'm surprised by the shows I connect with but I respect talent along with hard work and creativity a great deal, so that usually has a lot to do with me enjoying something. I'm a big people watcher/observer and this is a great city for that. I also watch a ton of movies. Also, I'm inspired by other established actors, writers, directors, etc. It's so important to learn from others you respect, and since I didn't go to college - learning on the job has been a huge thing for me.
Any roles you’re dying to play?: Houdini. I know there is already some theatre, tv, and film stuff all in development at the moment, but he is someone who I've always connected with. Also, if Ben Folds ever gets his ass around to writing a show - anything in that.
What’s your favorite show tune?: At this point - prolly "I am the One" from N2N. That 10 or 15 minutes of that show I think is some of the tightest theatre ever devised. I was very lucky to work on that show.
If you could work with anyone you’ve yet to work with, who would it be?: Hugh Jackman. Even though he'd tower over me - I've heard he's nice as can be and I really respect his career path.
Who would play you in a movie about yourself and what would it be called?: Hopefully Shia Lebeouf would do it, cause with his track record you know that thing'll make some cash money. As far as what it would be called... I don't know - I'm just an actor. I think you may be asking too much of me to come up with the perfect movie title... alright, fine - "Star Wars" - That's never been the name of a movie, right?
What show have you recommended to your friends?: Jersey Boys - I have seen it more than anything else, I have a bunch of friends in it, everybody loves it, and I hear they're hurting for an audience soooo... perfect choice.
What’s up next?: After I finish up with Outlaws at NYMF, I have a month off and then I start rehearsals for Carrie at the Lortel Theatre for it's much awaited Off Bway run. I'm telling you, by the sound and looks of the stuff I've done in the readings so far - this show is gonna be stunning.
Hometown: Milwaukee, WI
Education: Actually, I went right into working after high school.
Select Credits: Off Bway: Amory in Academy, Gabe/Henry US in Next to Normal, Matthew in Altar Boyz
Why theater?: I love how theatre is able to captivate people and help them escape reality for a couple hours and maybe change the way they think about something. We make people happy.
Tell us about Outlaws: Outlaws is the untold story of Billy the Kid and how his actual life may not have been what was portrayed by the papers and dime novels of the day. Sounds familiar with what celebs go through today, right? I feel like it's just about kids navigating into adulthood and all the different life experiences that includes - sex, drugs, violence, responsibility, power - It's a rock show, and that's the perfect music for those sorts of things.
What is it like to be a part of Outlaws?: It has been awesome. There's nothing like helping to originate a role with a show and everyone involved is so talented and giving. I've been really lucky with that sort of thing with shows so far.
What kind of theater speaks to you? What or who inspires you as artists?: Sometimes I'm surprised by the shows I connect with but I respect talent along with hard work and creativity a great deal, so that usually has a lot to do with me enjoying something. I'm a big people watcher/observer and this is a great city for that. I also watch a ton of movies. Also, I'm inspired by other established actors, writers, directors, etc. It's so important to learn from others you respect, and since I didn't go to college - learning on the job has been a huge thing for me.
Any roles you’re dying to play?: Houdini. I know there is already some theatre, tv, and film stuff all in development at the moment, but he is someone who I've always connected with. Also, if Ben Folds ever gets his ass around to writing a show - anything in that.
What’s your favorite show tune?: At this point - prolly "I am the One" from N2N. That 10 or 15 minutes of that show I think is some of the tightest theatre ever devised. I was very lucky to work on that show.
If you could work with anyone you’ve yet to work with, who would it be?: Hugh Jackman. Even though he'd tower over me - I've heard he's nice as can be and I really respect his career path.
Who would play you in a movie about yourself and what would it be called?: Hopefully Shia Lebeouf would do it, cause with his track record you know that thing'll make some cash money. As far as what it would be called... I don't know - I'm just an actor. I think you may be asking too much of me to come up with the perfect movie title... alright, fine - "Star Wars" - That's never been the name of a movie, right?
What show have you recommended to your friends?: Jersey Boys - I have seen it more than anything else, I have a bunch of friends in it, everybody loves it, and I hear they're hurting for an audience soooo... perfect choice.
What’s up next?: After I finish up with Outlaws at NYMF, I have a month off and then I start rehearsals for Carrie at the Lortel Theatre for it's much awaited Off Bway run. I'm telling you, by the sound and looks of the stuff I've done in the readings so far - this show is gonna be stunning.
Saturday, September 24, 2011
Spotlight On...Chas LiBretto

Hometown: Glen Rock, NJ
Education: BA in Drama, Creative Writing – Washington College; Atlantic Theatre Company Conservatory
Select Credits: Cyclops: A Rock Opera (Odysseus, Psittacus Productions - LA); I Shall Comply With Your Desire (Ensemble, Beyond the Usual Prod - LA); A Tale Told By An Idiot (Banquo, Psittacus Productions – LA)
Why theater?: I wrote something long-winded about immediacy, and danger and truth, but really I just like being in a room with a lot of people telling stories.
Tell us about Cyclops: A Rock Opera: Cyclops: A Rock Opera is a new, original rock n’ roll musical based on the only existing Ancient Greek Satyr Play, set to open at the New York Musical Theatre Festival (NYMF) on September 29th. Borrowing its plot from the Cyclops episode of the Odyssey, it features an on-stage rock band, The Satyrs, acting as an anarchic chorus as war-weary veteran Odysseus finds himself captive of the Solipsistic cannibal Polyphemus. The LA Times called it “a thrilling freak show…a musical for people too cool for musicals” and “a proud cousin to Rocky Horror and Hedwig” by Bitter Lemons (an online theater review aggregator created and hosted by John Cameron “Hedwig” Mitchell’s brother!
What is it like to write and perform in Cyclops: A Rock Opera?: A blast! I get to live out a rock n’ roll fantasy, while also attempting to understand what makes Odysseus, one of the oldest characters in all of literature, tick. The process of writing the show (with Jayson Landon Marcus, responsible for the show’s score and lyrics, Ben Sherman responsible for much of the show’s ‘sound,’ and Louis Butelli, who staged the whole damn thing) has certainly been a learning experience. The project started by putting Percy Bysshe’s Shelley’s verse translation of Euripides’ Satyr Play to music, and mutated into a very different project. Our musical veers into territory barely even hinted at in the original play, exploring Polyphemus’ backstory, the tragedy of PTSD through Odysseus, and even brings in elements of another Satyr Play fragment (Sophocles’ “Tracking Satyrs”). All the while, it shifts musical genre from calypso, to Glam to Doom, to Punk, to Metal, to Folk.
What kind of theater speaks to you? What or who inspires you as artists?: Psittacus Productions, the company I co-founded with Louis Butelli, explores the intersections of the classical with the modern and vice-versa. While that’s a pretty broad spectrum, it basically means theater that explores how where we’ve come from informs where we’re going. I shy away from self-indulgent one-man autobiographical shows, and the “theater of the ironic.” I’m very fond of the political “idea” playwrights Britain produced in the late ‘60s and early ‘70s –Edward Bond, David Hare, and Howard Brenton etc.
Any roles you’re dying to play?: I’d literally do anything that allowed me to have a Capuchin Monkey for a sidekick.
What’s your favorite show tune?: Can it be from my own show? There isn’t a song in Cyclops that doesn’t stick in my head – I think audiences are going to go nuts for “Love Potion.” “Sing Muse” is pretty devastating, “I’m a Cyclops” gives me chills, and “Sodomy,” and “More for the Whore” are two of the catchiest songs you’ll ever avoid singing at work.
If you could work with anyone you’ve yet to work with, who would it be?: I’d be delighted to work with anyone out there who wants to plop Cyclops into a theater, and allow it to happen 8 times a week.
Who would play you in a movie about yourself and what would it be called?: Oh, I’m so bad at answering these sorts of questions. One always comes off as conceited or with a bloated sense of themselves. I’d love a ridiculous action movie about the work involved in starting Psittacus Production, though in the film Dolph Lundgren would play me, Psittacus Productions would be a benevolent Utopia of the future, and the dreaded Form 990 would be a horde of space ninjas.
Maybe I can get away with playing myself and we could call it “How to Convince People You Know What You’re Doing While Making it Up on the Go.” We wouldn’t even need a screenplay with a title like that.
What show have you recommended to your friends?: I wouldn’t shut up about Jerusalem for months.
What’s up next?: I’m really hoping to get through NYMF alive. There are tentative plans to produce a “classically inspired” retelling of a myth at the Getty Villa in Malibu, but its far too early for me to be able to say anything concrete about the playwright, or really anything of substance.
To get a sneak peak of Cyclops: A Rock Opera, take a look at http://www.youtube.com/watch?v=2IwVmMyySUk. For tickets, visit http://www.nymf.org/cyclops For more information on Psittacus Production, visit http://www.psittacusproductions.org/
Friday, September 23, 2011
Spotlight On...Jed Resnick
Name: Jed Resnick
Hometown: New York City (Roosevelt Island)
Education: Brown University, BA in Theater and Classics
Select Credits: Avenue Q (Princeton/Rod u/s, Broadway); Rent (Mark, National Tour); Little Women (Laurie, Peterborough Players); The Morning After the Night Before (Todd, FringeNYC)
Why theater?: I've always loved the sense of community that surrounds theater. Some of my best friends today are the ones I did theater with when I was younger (Stagedoor Manor, Main Street Theater on Roosevelt Island, Applause NYC, Stages in the Hamptons). They have always been the most creative and interesting and adventurous people I've known. That's what drew me to the theater at a young age. Today, theater-folk remain among the most passionate and intelligent people you could surround yourself with. But beyond that, I've always loved the communal feeling that arises from going to the theater. Not just with the audience, but with the performers on stage. There is a shared joy in watching and performing that's like nothing else. Also, you can't really go to the stage door of a movie and meet the stars. Hooray for live performance!
Tell us about Les Enfants de Paris: It's a really moving new musical that draws its inspiration from Victor Hugo's "Hunchback of Notre Dame." The story follows the interweaving love stories of several young artists, activists and soldiers in Paris, 1958. I play Pierre Frollo, a composer and pianist who falls madly in love with an Algerian refugee, Esme (an updated version of Hugo's Gypsy Esmerelda). Unfortunately, a few other guys are in love with her too, so lots of crazy shit goes down. The score is gorgeous and lush -- some good old musical theater with Brel-esque and Arab influences. It's about love and the insane things we do just to try to get closer to another person, so it's a really sexy show. And we have a sexy cast to boot, which makes things exciting.
What is it like to be a part of Les Enfants de Paris?: It's exactly the kind of process I always hope to be a part of. We have a fantastic group of actors - professional, playful, committed. Our director, Donna Drake, has been working with the writers Stacey Weingarten and David Levinson, for a couple years now. They are extremely passionate about the piece, which is what you always want from anyone leading a project. They have put an enormous amount of work into creating a very clear world for the audience and the actors. Because there is such a strong framework in place, we have a lot more freedom to explore and live in the world of these characters. It's a play about relationships, very tangled and complex ones. We are using our rehearsal period to really explore how this ensemble interacts with one another - the nuances and specifics allow for the most vivid relationships. It's also exciting to be a part of an important piece of theater that really speaks to our current social climate. Even though the action takes place fifty years ago in Paris, the story explores the very contemporary issues of Islamophobia and xenophobia, that arise when a young man, whose brother is a Catholic priest, falls in love with a Muslim refugee.
What kind of theater speaks to you? What or who inspires you as artists?: I like theater that shows us not necessarily the world as it is, but as it might be. That's partly why I've always loved musicals. They are so heightened and extra-real. I don't go to the theater to see things I see every day. I want to see things that are extraordinary - people bursting into song and dance, scenes transforming before your eyes, time shifting between past and present. You hear the term "magical realism" a bunch, and that's always something that excites me, speaks to me. Some of my favorite play-makers in the past couple years have been Sarah Ruehl, David Greenspan, Steven Levenson, and Bruce Norris. I think one thing they all have in common is the way they heighten the everyday to something special, slightly magical, transformative.
Any roles you’re dying to play?: The roles I'm dying to play don't exist yet, they're the ones I get to help create. That's my priority right now, and why I'm loving being a part of Les Enfants. But in terms of roles in the current canon of musicals, I'd love to bite into Charley from Merrily We Roll Along, or one of those funny Mormons.
What’s your favorite show tune?: That would be "A Little Priest" from Sweeney Todd. My best friend and I sing it in the car on road trips sometimes. He always plays Mrs. Lovett, but one of these days I'm gonna make him switch with me.
If you could work with anyone you’ve yet to work with, who would it be?: Someone should write a musical where I play a teacher who falls for his co-teacher, Raul Esparza, gets his heart broken, and is consoled by his boss and best friend, Jennifer Ehle. She sets me up with her brother, Ryan Gosling. And we live happily ever after, in an apartment next door to Bernadette Peters. The end.
Who would play you in a movie about yourself and what would it be called?: A romantic comedy called "Now What?" starring Zach Braff in the Jed Resnick role.
What show have you recommended to your friends?: Fiasco's Cymbeline. I saw it at the New Victory last year and it now has an open-run at Barrow Street Theater. It's magical and accessible and surprisingly touching. I'm also really looking forward to Clybourne Park's return to New York.
What’s up next?: I'm proud to be in Avenue Q at New World Stages. I think it remains the funniest and smartest musical in New York right now! I'll be sticking with it until someone writes one of the above-mentioned plays for me, or something else. Until then, you can follow me on twitter - twitter.com/jedres
Hometown: New York City (Roosevelt Island)
Education: Brown University, BA in Theater and Classics
Select Credits: Avenue Q (Princeton/Rod u/s, Broadway); Rent (Mark, National Tour); Little Women (Laurie, Peterborough Players); The Morning After the Night Before (Todd, FringeNYC)
Why theater?: I've always loved the sense of community that surrounds theater. Some of my best friends today are the ones I did theater with when I was younger (Stagedoor Manor, Main Street Theater on Roosevelt Island, Applause NYC, Stages in the Hamptons). They have always been the most creative and interesting and adventurous people I've known. That's what drew me to the theater at a young age. Today, theater-folk remain among the most passionate and intelligent people you could surround yourself with. But beyond that, I've always loved the communal feeling that arises from going to the theater. Not just with the audience, but with the performers on stage. There is a shared joy in watching and performing that's like nothing else. Also, you can't really go to the stage door of a movie and meet the stars. Hooray for live performance!
Tell us about Les Enfants de Paris: It's a really moving new musical that draws its inspiration from Victor Hugo's "Hunchback of Notre Dame." The story follows the interweaving love stories of several young artists, activists and soldiers in Paris, 1958. I play Pierre Frollo, a composer and pianist who falls madly in love with an Algerian refugee, Esme (an updated version of Hugo's Gypsy Esmerelda). Unfortunately, a few other guys are in love with her too, so lots of crazy shit goes down. The score is gorgeous and lush -- some good old musical theater with Brel-esque and Arab influences. It's about love and the insane things we do just to try to get closer to another person, so it's a really sexy show. And we have a sexy cast to boot, which makes things exciting.
What is it like to be a part of Les Enfants de Paris?: It's exactly the kind of process I always hope to be a part of. We have a fantastic group of actors - professional, playful, committed. Our director, Donna Drake, has been working with the writers Stacey Weingarten and David Levinson, for a couple years now. They are extremely passionate about the piece, which is what you always want from anyone leading a project. They have put an enormous amount of work into creating a very clear world for the audience and the actors. Because there is such a strong framework in place, we have a lot more freedom to explore and live in the world of these characters. It's a play about relationships, very tangled and complex ones. We are using our rehearsal period to really explore how this ensemble interacts with one another - the nuances and specifics allow for the most vivid relationships. It's also exciting to be a part of an important piece of theater that really speaks to our current social climate. Even though the action takes place fifty years ago in Paris, the story explores the very contemporary issues of Islamophobia and xenophobia, that arise when a young man, whose brother is a Catholic priest, falls in love with a Muslim refugee.
What kind of theater speaks to you? What or who inspires you as artists?: I like theater that shows us not necessarily the world as it is, but as it might be. That's partly why I've always loved musicals. They are so heightened and extra-real. I don't go to the theater to see things I see every day. I want to see things that are extraordinary - people bursting into song and dance, scenes transforming before your eyes, time shifting between past and present. You hear the term "magical realism" a bunch, and that's always something that excites me, speaks to me. Some of my favorite play-makers in the past couple years have been Sarah Ruehl, David Greenspan, Steven Levenson, and Bruce Norris. I think one thing they all have in common is the way they heighten the everyday to something special, slightly magical, transformative.
Any roles you’re dying to play?: The roles I'm dying to play don't exist yet, they're the ones I get to help create. That's my priority right now, and why I'm loving being a part of Les Enfants. But in terms of roles in the current canon of musicals, I'd love to bite into Charley from Merrily We Roll Along, or one of those funny Mormons.
What’s your favorite show tune?: That would be "A Little Priest" from Sweeney Todd. My best friend and I sing it in the car on road trips sometimes. He always plays Mrs. Lovett, but one of these days I'm gonna make him switch with me.
If you could work with anyone you’ve yet to work with, who would it be?: Someone should write a musical where I play a teacher who falls for his co-teacher, Raul Esparza, gets his heart broken, and is consoled by his boss and best friend, Jennifer Ehle. She sets me up with her brother, Ryan Gosling. And we live happily ever after, in an apartment next door to Bernadette Peters. The end.
Who would play you in a movie about yourself and what would it be called?: A romantic comedy called "Now What?" starring Zach Braff in the Jed Resnick role.
What show have you recommended to your friends?: Fiasco's Cymbeline. I saw it at the New Victory last year and it now has an open-run at Barrow Street Theater. It's magical and accessible and surprisingly touching. I'm also really looking forward to Clybourne Park's return to New York.
What’s up next?: I'm proud to be in Avenue Q at New World Stages. I think it remains the funniest and smartest musical in New York right now! I'll be sticking with it until someone writes one of the above-mentioned plays for me, or something else. Until then, you can follow me on twitter - twitter.com/jedres
Thursday, September 22, 2011
Shameless Plug: FAB Festival
Looking for some wonderful entertainment this Saturday? Then head on over to La Mama for FAB Fest! At 3:30pm, check out some great works including Gone Batty by Casey Hayward and an excerpt of one of my favorite pieces, Self Taut by Chris Tyler. If that's not incentive enough, it's free! For more information, visit http://www.fabnyc.org/fabfestival.php. Tell them I sent you!
Wednesday, September 21, 2011
Review: Not Quite a Dream Cruise
I think it’s fairly safe to say that in the canon that is “classic musical theater performed at high schools across America”, Anything Goes is quite possibly near the top. Whatever version of the script you’ve performed, it’s the music that is beloved. Cole Porter’s score is arguably one of the strongest, most recognizable in theater history. Yet Roundabout put out yet another subpar revival of a wonderful musical. How it garnered all the success it has this year is simply because the competition was drab, similarly to the “boat” the cast danced on.
I think the one word that can describe the production, as a whole is airy. Sure, the book, poorly updated by Timothy Crouse and John Weidman, has pockets of dry moments, but you’d think the direction, choreography, and design could make up for it. Unfortunately, this was not the case. Kathleen Marshall, who oddly won the Tony Award for choreography, pulled out her big guns with a cast that should have done no wrong, but even they couldn’t help move the play along. Clocking in at a whopping time of over two and a half hours, there was a lot of tightness that a show running for almost a year should have trimmed. The fact that the character of Reno Sweeney stood still for a millisecond during any of the big dance numbers is unforgivable. Whether she was intimidated by the legend that is Joel Grey or she simply didn’t know how to help the character, a good five minutes where added on by the setup/delivery of any of Moonface’s jokes. I would also love to know who came up with the fourth wall-breaking, poorly contrived rendition of “Friendship.” The classic song just seemed lost, especially with the majority of it being spoken, and the neverending joke of never ending the number. For me, the biggest disaster of the piece was the cast to set ratio. Now you’re probably saying, what difference does that make? You’re on a large boat designed by Derek McLane, which seemed to only be blande white to make use of Peter Kaczorowski’s erratic lights, so you’d think the ensemble would be just as big. I wished there were at least four more sailors and a handful more passengers on board. When we got to the should have been show stopping Act I finale “Anything Goes,” there seemed to be too much empty space. It’s always nice to streamline a production, but for once, this one wanted more.
With all the air on board, there were some highlights. When the set finally transformed into the boat, with the company singing “There’s No Cure Like Travel,” I couldn’t help but smile. Sure it brought back memories of high school, but it also defined why classic musicals still exist. Within the company, it’s pretty safe to say that Colin Donnell’s studly Billy Crocker and Jessica Stone’s high octane highlarity as Erma, were the stand outs. Donnell is the epitome of leading man. He was charming and made sure it was his story we were watching. Stone knows how to do comedy. Though her stage time was limited, she never wasted a moment. Overall, the casting for the play as a whole was just as bad as previous Roundabout productions of musical revivals (Bye Bye Birdie anyone?). Sure, it’s a thrill having Joel Grey and John McMartin in your company, but their performances were lackluster at best. John McMartin did not portray drunk, he was just old. Joel Grey was not the Joel Grey of yore. He played his gimmicks to the max, they just didn’t work. His rendition of “Be Like the Bluebird” was tired. The use of the blue spotlight was cute for the first second until it went on too long. If you know me, then you’d know my hatred of the casting of Sutton Foster of Reno Sweeney. I’ve always dreamed of a sexy, sultry, leggy Reno. Like Mara Davi. Perhaps Leslie Kritzer. Foster is goofy, quirky, and leggy. Fortunately for me, I attended a night when Foster was out and Tari Kelly was on. And boy was I impressed. She was closer to the Reno I always envisioned. Though she didn’t quite command the stage as Foster usually would, she brought Reno some feistiness. Adam Godley as Lord Evelyn Oakleigh grew on me. Especially with his geeky and fun performance of “Gypsy in Me.”
What should be the best part of Anything Goes is the music. They are iconic. When you have iconic songs, there’s an expectancy to be memorable and near perfect. Marshall’s Anything Goes was everything but. I will say, the Tony Awards performance was not a good representation of the positive within the show. An abbreviated version of “Anything Goes” is quite difficult to do. I personally would have picked “Blow Gabriel Blow.” But why showcase your best number when you know you’ll still sell tickets? “Friendship” was a train wreck. “The Crew Song” was a joke. “Anything Goes” lacked the oomph the music provides. It’s pretty sad when the secondary characters’ songs are the best.
As mentioned before, I wish the set hit an iceburg and we got a second opinion. The majority of the time, there was never set dressing so there was a lot of empty space which looked very empty, especially during the duets. The color was killer. It was white. All white. A simple baby blue trim would have been pleasing. And whoever made the decision to have STUFFED ANIMAL DOGS perform as, well as whatever they were supposed to be, should reconsider their decisions in theater. Unless you gave me the option to purchase them after the show, they really took me out of the show.
Did I go into the show with high expectations? Of course. Anything Goes is one of my favorite shows. Do I regret seeing the show? Not at all. The production may not have been perfect, but the experience of hearing Cole Porter’s music on Broadway brought back some fond memories.
I think the one word that can describe the production, as a whole is airy. Sure, the book, poorly updated by Timothy Crouse and John Weidman, has pockets of dry moments, but you’d think the direction, choreography, and design could make up for it. Unfortunately, this was not the case. Kathleen Marshall, who oddly won the Tony Award for choreography, pulled out her big guns with a cast that should have done no wrong, but even they couldn’t help move the play along. Clocking in at a whopping time of over two and a half hours, there was a lot of tightness that a show running for almost a year should have trimmed. The fact that the character of Reno Sweeney stood still for a millisecond during any of the big dance numbers is unforgivable. Whether she was intimidated by the legend that is Joel Grey or she simply didn’t know how to help the character, a good five minutes where added on by the setup/delivery of any of Moonface’s jokes. I would also love to know who came up with the fourth wall-breaking, poorly contrived rendition of “Friendship.” The classic song just seemed lost, especially with the majority of it being spoken, and the neverending joke of never ending the number. For me, the biggest disaster of the piece was the cast to set ratio. Now you’re probably saying, what difference does that make? You’re on a large boat designed by Derek McLane, which seemed to only be blande white to make use of Peter Kaczorowski’s erratic lights, so you’d think the ensemble would be just as big. I wished there were at least four more sailors and a handful more passengers on board. When we got to the should have been show stopping Act I finale “Anything Goes,” there seemed to be too much empty space. It’s always nice to streamline a production, but for once, this one wanted more.
With all the air on board, there were some highlights. When the set finally transformed into the boat, with the company singing “There’s No Cure Like Travel,” I couldn’t help but smile. Sure it brought back memories of high school, but it also defined why classic musicals still exist. Within the company, it’s pretty safe to say that Colin Donnell’s studly Billy Crocker and Jessica Stone’s high octane highlarity as Erma, were the stand outs. Donnell is the epitome of leading man. He was charming and made sure it was his story we were watching. Stone knows how to do comedy. Though her stage time was limited, she never wasted a moment. Overall, the casting for the play as a whole was just as bad as previous Roundabout productions of musical revivals (Bye Bye Birdie anyone?). Sure, it’s a thrill having Joel Grey and John McMartin in your company, but their performances were lackluster at best. John McMartin did not portray drunk, he was just old. Joel Grey was not the Joel Grey of yore. He played his gimmicks to the max, they just didn’t work. His rendition of “Be Like the Bluebird” was tired. The use of the blue spotlight was cute for the first second until it went on too long. If you know me, then you’d know my hatred of the casting of Sutton Foster of Reno Sweeney. I’ve always dreamed of a sexy, sultry, leggy Reno. Like Mara Davi. Perhaps Leslie Kritzer. Foster is goofy, quirky, and leggy. Fortunately for me, I attended a night when Foster was out and Tari Kelly was on. And boy was I impressed. She was closer to the Reno I always envisioned. Though she didn’t quite command the stage as Foster usually would, she brought Reno some feistiness. Adam Godley as Lord Evelyn Oakleigh grew on me. Especially with his geeky and fun performance of “Gypsy in Me.”
What should be the best part of Anything Goes is the music. They are iconic. When you have iconic songs, there’s an expectancy to be memorable and near perfect. Marshall’s Anything Goes was everything but. I will say, the Tony Awards performance was not a good representation of the positive within the show. An abbreviated version of “Anything Goes” is quite difficult to do. I personally would have picked “Blow Gabriel Blow.” But why showcase your best number when you know you’ll still sell tickets? “Friendship” was a train wreck. “The Crew Song” was a joke. “Anything Goes” lacked the oomph the music provides. It’s pretty sad when the secondary characters’ songs are the best.
As mentioned before, I wish the set hit an iceburg and we got a second opinion. The majority of the time, there was never set dressing so there was a lot of empty space which looked very empty, especially during the duets. The color was killer. It was white. All white. A simple baby blue trim would have been pleasing. And whoever made the decision to have STUFFED ANIMAL DOGS perform as, well as whatever they were supposed to be, should reconsider their decisions in theater. Unless you gave me the option to purchase them after the show, they really took me out of the show.
Did I go into the show with high expectations? Of course. Anything Goes is one of my favorite shows. Do I regret seeing the show? Not at all. The production may not have been perfect, but the experience of hearing Cole Porter’s music on Broadway brought back some fond memories.
Monday, September 19, 2011
8 Makes Premiere
Friday, September 16, 2011
Spotlight On...Travis Ferguson
Name: Travis Ferguson
Hometown: Portland, Oregon
Education: NYU Tisch School of the Arts, BA in Cinema Studies
Select Credits: Ummm in High School I played Edmund in The Lion, Witch and Wardrobe
Why theater?: Because had I written a screenplay I wouldn't know one thing to do with it. But if I'd written a play, I would know at least 10 things I could do to get it produced or performed.
Tell us about The Legend of Julie Taymor: It's a crazy rock musical about archetypes everyone knows and loves. An egotist director, a clueless rockstar, scheming producers. Spider-Man is just a gimmick, the musical is very strong standalone, with great narrative arcs and a stunning score.
What inspired you to write The Legend of Julie Taymor?: Well during the time when Spider-Man was on haitus, I read this New York magazine cover that depicted Julie, Bono, and Michael Riedel as comic book characters. I thought, "That would be an interesting comic book!" but I quickly imagined it would be an amazing musical, much better than the actual Spider-Man. I read the article and it was all about the financial problems (the show had not began performing on Broadway) I thought the show could be just like the producers, only the producers are more ego-maniacs.
How does it feel poking fun at one of the most topical stories in theater?: Well, it's fun and exciting that the show has been so popular, I'm grateful for the success we've had. I never felt threatened by parodying powerful figures in Broadway. In fact, most of the producers of Spider-Man bought tickets to our show. I've been in talks with Michael Riedel and he is very supportive, and even wanted to participate with us.
What kind of theater speaks to you? What or who inspires you as an artist?: I like theatre that really, truly takes the audience to another world entirely. I think those are the most effective shows, and often the most successful. Using Phantom of the Opera as an example, the score and every aspect of the physical production is entirely transportive. You forget where and when you are. Sweeney is like that, my favorite musical.
Who would play you in a movie about yourself and what would it be called?: Oh golly. I don't know. Let's say Alan Rickman playing a 24 year old mumbling under his breath and speaking in nothing but sarcasm. The film would be called, "Gola presents: Travis Super Confetti Sparkle Magical Shark Adventure Picture Show."
What’s your biggest guilty pleasure?: Ask anyone who knows me. Milkshakes. Milkshakes from Shake Shack or Lucky's are my fave, although The Burger Joint, and Wendy's Frostee's are good too.
If you could work with anyone you’ve yet to work with, who would it be?: I want to work with Sutton Foster. Who doesn't? The question should be, "Who will you have to work with before you can feel like your life is complete?" Of course this is all contingent on whether she can still do the splits in the future.
What show have you recommended to your friends?: The Toxic Avenger, so glad it's coming to Broadway. I also recommended The Scottsboro Boys, which should have won the Tony for Best Musical over The Book of Mormon. How can anyone argue the The Book of Mormon score is better than Scottsboro? What emotions does the Book of Mormon score evoke but one?
What’s up next?: Well, believe it or not, I'm beginning a few projects that are much more serious and personal than Legend of Julie. I actually prefer to write more serious pieces, but I wrote Legend so as to just get a lot of press and publicity very quickly and kickstart my career. Now I'm taking that momentum and turning it into what really matters to me, my next projects. Can't reveal much, but you can be assured I like black comedies, and modern day tragedies of Greek proportions.
Hometown: Portland, Oregon
Education: NYU Tisch School of the Arts, BA in Cinema Studies
Select Credits: Ummm in High School I played Edmund in The Lion, Witch and Wardrobe
Why theater?: Because had I written a screenplay I wouldn't know one thing to do with it. But if I'd written a play, I would know at least 10 things I could do to get it produced or performed.
Tell us about The Legend of Julie Taymor: It's a crazy rock musical about archetypes everyone knows and loves. An egotist director, a clueless rockstar, scheming producers. Spider-Man is just a gimmick, the musical is very strong standalone, with great narrative arcs and a stunning score.
What inspired you to write The Legend of Julie Taymor?: Well during the time when Spider-Man was on haitus, I read this New York magazine cover that depicted Julie, Bono, and Michael Riedel as comic book characters. I thought, "That would be an interesting comic book!" but I quickly imagined it would be an amazing musical, much better than the actual Spider-Man. I read the article and it was all about the financial problems (the show had not began performing on Broadway) I thought the show could be just like the producers, only the producers are more ego-maniacs.
How does it feel poking fun at one of the most topical stories in theater?: Well, it's fun and exciting that the show has been so popular, I'm grateful for the success we've had. I never felt threatened by parodying powerful figures in Broadway. In fact, most of the producers of Spider-Man bought tickets to our show. I've been in talks with Michael Riedel and he is very supportive, and even wanted to participate with us.
What kind of theater speaks to you? What or who inspires you as an artist?: I like theatre that really, truly takes the audience to another world entirely. I think those are the most effective shows, and often the most successful. Using Phantom of the Opera as an example, the score and every aspect of the physical production is entirely transportive. You forget where and when you are. Sweeney is like that, my favorite musical.
Who would play you in a movie about yourself and what would it be called?: Oh golly. I don't know. Let's say Alan Rickman playing a 24 year old mumbling under his breath and speaking in nothing but sarcasm. The film would be called, "Gola presents: Travis Super Confetti Sparkle Magical Shark Adventure Picture Show."
What’s your biggest guilty pleasure?: Ask anyone who knows me. Milkshakes. Milkshakes from Shake Shack or Lucky's are my fave, although The Burger Joint, and Wendy's Frostee's are good too.
If you could work with anyone you’ve yet to work with, who would it be?: I want to work with Sutton Foster. Who doesn't? The question should be, "Who will you have to work with before you can feel like your life is complete?" Of course this is all contingent on whether she can still do the splits in the future.
What show have you recommended to your friends?: The Toxic Avenger, so glad it's coming to Broadway. I also recommended The Scottsboro Boys, which should have won the Tony for Best Musical over The Book of Mormon. How can anyone argue the The Book of Mormon score is better than Scottsboro? What emotions does the Book of Mormon score evoke but one?
What’s up next?: Well, believe it or not, I'm beginning a few projects that are much more serious and personal than Legend of Julie. I actually prefer to write more serious pieces, but I wrote Legend so as to just get a lot of press and publicity very quickly and kickstart my career. Now I'm taking that momentum and turning it into what really matters to me, my next projects. Can't reveal much, but you can be assured I like black comedies, and modern day tragedies of Greek proportions.
Tuesday, September 13, 2011
Bobby Cannavale to Be Funny, Girl
Monday, September 12, 2011
Spotlight On...Troy Deutsch
Name: Troy Deutsch
Hometown: New Prague, Minnesota
Education: BFA University of Utah Actor Training Program
Select Credits: Broadway: Standby for Jason in Rabbit Hole (Manhattan Theater Club); Rabbit Hole (The Huntington Theatre, The Cleveland Playhouse).
Why theater?: It’s immediate. I like stories. Telling stories, hearing stories. I like magic and impossible things. I like language. I like ritual. I like being taken away for a little while and I like the feeling after I leave the theater, finding my way down the sidewalk again, back to my life, different and changed, hopefully.
Tell us about Lake Water: I’m from a town with one stoplight. There is a lake outside of town. I wrote a play about two high school seniors, Iris and James, who meet at the lake, out on a dock, surrounded by green water. They are grappling with their friend’s suicide and their own “crappy” lives. There are things floating in the water around them. The play is a little over an hour and takes place in real time as the sun goes down and it slowly gets dark. And it’s funny and hopeful… And dark.
What inspired you to write Lake Water?: I found a poem my little sister wrote for a high school writing assignment about all of the young people dying in our small Minnesota town. She then told me about the suicides of a few local kids. These stories, my sister’s poem, and my own feelings of growing up isolated in a small town, grappling with adulthood and sexuality, led me to start writing the play.
What is it like pulling double duty as actor and writer?: While I was developing Lake Water, I always had other actors read the role of James. It wasn’t until this production came about that I started thinking about playing the role myself. Most of the script work was done before rehearsal and during the first week of rehearsal I wore both hats, as we tightened the script even more. But now that we’re on our feet, the script is pretty set and I can focus on completely diving into the world as James.
What do you enjoy better, acting or writing?: I love them both. I would have said writing, because I can do it anytime and anywhere and I love creating entire tilted worlds and the people who inhabit those worlds, but showing up to rehearsal every day and looking into Samantha Soule’s eyes (who is playing Iris) and playing with her on that dock is utterly joyful and terrifying. She is an incredible actress and makes me want to be better.
What kind of theater speaks to you? What or who inspires you as an artist?: I like when people rip it out. I liked Blasted at Soho Rep, Black Watch, A Normal Heart, God's Ear, Sunday in the Park with George, When the Rain Stops Falling, pretty much everything at The Rattlestick, Cate Blanchett in Streetcar and Uncle Vanya, Viola Davis in Fences, Alfred Molina in Red, Ben Whishaw, Aya Cash, Ellen Burtsyn, Lars Van Trier, Bjork, Alexander McQueen. I love the violent imagery of Enda Walsh and Philip Ridley. Tennessee Williams is my hero. So is Patti Smith. And Sam Shepard. Tony Kushner, Jez Butterworth, Adam Rapp, Lucy Thurber. Genet.
Who would play you in a movie about yourself and what would it be called?: Umm, I’ll be in it. I think it will be called OPEN DIRT. My dad owns a construction company and I grew up with backhoes and bulldozers.
What’s your biggest guilty pleasure?: The Shaggs at Playwrights Horizons was probably my biggest guilty pleasure of the year. I saw it twice and bought the real Shaggs CD and am a little obsessed. Something about those girls singing in the basement with Annie Golden for a mom. “There are many things I wonder/ There are many things I don't/ It seems as though the things I wonder most/ Are the things I never find out.”
What show have you recommended to your friends?: I loved The Tenant. I loved The Select (The Sun Also Rises). And anything and everything directed by Daniel Talbott (right now that is Eightythree Down at Under St. Marks).
What’s up next?: I wrote a feature-film called Nasty (and it is) and I’m shopping it around.
To purchase tickets to Lake Water, please visit http://www.brownpapertickets.com/event/194814
Hometown: New Prague, Minnesota
Education: BFA University of Utah Actor Training Program
Select Credits: Broadway: Standby for Jason in Rabbit Hole (Manhattan Theater Club); Rabbit Hole (The Huntington Theatre, The Cleveland Playhouse).
Why theater?: It’s immediate. I like stories. Telling stories, hearing stories. I like magic and impossible things. I like language. I like ritual. I like being taken away for a little while and I like the feeling after I leave the theater, finding my way down the sidewalk again, back to my life, different and changed, hopefully.
Tell us about Lake Water: I’m from a town with one stoplight. There is a lake outside of town. I wrote a play about two high school seniors, Iris and James, who meet at the lake, out on a dock, surrounded by green water. They are grappling with their friend’s suicide and their own “crappy” lives. There are things floating in the water around them. The play is a little over an hour and takes place in real time as the sun goes down and it slowly gets dark. And it’s funny and hopeful… And dark.
What inspired you to write Lake Water?: I found a poem my little sister wrote for a high school writing assignment about all of the young people dying in our small Minnesota town. She then told me about the suicides of a few local kids. These stories, my sister’s poem, and my own feelings of growing up isolated in a small town, grappling with adulthood and sexuality, led me to start writing the play.
What is it like pulling double duty as actor and writer?: While I was developing Lake Water, I always had other actors read the role of James. It wasn’t until this production came about that I started thinking about playing the role myself. Most of the script work was done before rehearsal and during the first week of rehearsal I wore both hats, as we tightened the script even more. But now that we’re on our feet, the script is pretty set and I can focus on completely diving into the world as James.
What do you enjoy better, acting or writing?: I love them both. I would have said writing, because I can do it anytime and anywhere and I love creating entire tilted worlds and the people who inhabit those worlds, but showing up to rehearsal every day and looking into Samantha Soule’s eyes (who is playing Iris) and playing with her on that dock is utterly joyful and terrifying. She is an incredible actress and makes me want to be better.
What kind of theater speaks to you? What or who inspires you as an artist?: I like when people rip it out. I liked Blasted at Soho Rep, Black Watch, A Normal Heart, God's Ear, Sunday in the Park with George, When the Rain Stops Falling, pretty much everything at The Rattlestick, Cate Blanchett in Streetcar and Uncle Vanya, Viola Davis in Fences, Alfred Molina in Red, Ben Whishaw, Aya Cash, Ellen Burtsyn, Lars Van Trier, Bjork, Alexander McQueen. I love the violent imagery of Enda Walsh and Philip Ridley. Tennessee Williams is my hero. So is Patti Smith. And Sam Shepard. Tony Kushner, Jez Butterworth, Adam Rapp, Lucy Thurber. Genet.
Who would play you in a movie about yourself and what would it be called?: Umm, I’ll be in it. I think it will be called OPEN DIRT. My dad owns a construction company and I grew up with backhoes and bulldozers.
What’s your biggest guilty pleasure?: The Shaggs at Playwrights Horizons was probably my biggest guilty pleasure of the year. I saw it twice and bought the real Shaggs CD and am a little obsessed. Something about those girls singing in the basement with Annie Golden for a mom. “There are many things I wonder/ There are many things I don't/ It seems as though the things I wonder most/ Are the things I never find out.”
What show have you recommended to your friends?: I loved The Tenant. I loved The Select (The Sun Also Rises). And anything and everything directed by Daniel Talbott (right now that is Eightythree Down at Under St. Marks).
What’s up next?: I wrote a feature-film called Nasty (and it is) and I’m shopping it around.
To purchase tickets to Lake Water, please visit http://www.brownpapertickets.com/event/194814
Saturday, September 10, 2011
Jackman vs. Crowe
Hugh Jackman will faceoff against Russel Crowe in an epic battle in Revolutionary France in a new musical called Les Miserables. Wait? Not new? Oh. Sorry. Old and tired? Right. The epic musical will make it's musical debut on the big screen with Jackman as Jean Valjean and Crowe as Javert. Rumors have been swirling that Anne Hathaway will appear as Fantine. Will you see this movie because I won't.
Friday, September 9, 2011
Spotlight On...Adriana DeGirolami

Hometown: Chicago
Education: NYU Tisch School of the Arts (Atlantic Theater School, Stonestreet Studios)
Select Credits: May 21st - Judgment Day (The Kraine); Ephemerama (Gene Frankel Theatre - Planet Connections Theatre Festivity); The Murder Party (Manhattan Repertory Theatre)
Why theater?: Solidarity. Despite our growing compulsion to assert our differences, ultimately we are all human beings with a vast understanding and ability to appreciate one another's experiences, even if they are not our own. In the theater you can find some of the greatest artistic expressions of this truth. To empathize with the characters on stage is thrilling for me, both as an actor and audience member.
Tell us about The More Loving One: On the surface, it appears to be a story about "relationships"; one straight, one gay and the challenges therein. But as you dig deeper you realize it's actually a story about the experience of being in a relationship. By which I mean it's about the most vulnerable, unspoken truth about the interaction between two people who are intimately intertwined with one another. All set against the backdrop of society's preconceived judgments and interpretations of love, lust and marriage. I can best describe the writing by saying it's as if Edward Albee and Woody Allen had a baby and named it Aaron Sorkin. Yes, it's that good. And Cory Conely proves to be that promising. Overall, I think the most unique thing about this comic drama is its ability to keep you on the verge of laughter and even tears at any given moment, both for the performers as well as the audience. I think that's a testament to how accurately it depicts the experience of being in a relationship with someone you love as deeply as these characters love each other.
What is it like to be a part of The More Loving One?: Nothing short of a blessing. I knew from the very first rehearsal that we had an exceptionally ambitious and passionate group of people who were all equally excited to bring this particular story to life. And I think the audience can feel that throughout each performance. We have employed a tremendous amount of care into the development of our characters and the bonds between them. Our director, Craig Baldwin, has been instrumental in helping us meticulously shape their specific relationships. The authenticity and candor is found in the specificity of their interactions, without which you are in danger of an overly cliched depiction of this play that the audience wouldn't have been able to relate to.
What kind of theater speaks to you? What or who inspires you as artists?: When you are watching theater you are experiencing someone, right in front of you, go through something that you may or may not personally identify with. What speaks to me the loudest, I suppose, is theater that I can very much identify with personally, that makes me feel - for a moment or for a couple of hours - that I am connected to a person or the people on stage and I understand them. I see myself in them and them in me. Because they are right there. What is happening is real, I can see it. And feel it. And I love that. Everyone enjoys being entertained. What speaks to me most is that which also moves me to think about my own life, my own thoughts and feelings and experiences. It reminds me that we're all a lot more alike than we are different. And I can't think of anything more inspiring than that delicate thread that ties us all on a fundamentally human level.
Any roles you’re dying to play?: I would happily play Tracy Lord (or C.K Dexter Haven) in The Philadelphia Story. Carol in Oleanna. Anyone in anything Neil LaBute. In about a solid decade I'll play Belle in Rocket to the Moon and May in Fool for Love. And one day either Guillermo Del Toro or Christopher Nolan is going to make a gritty version of Aladdin and I am going to play Jasmine. And it's going to be amazing.
If you could work with anyone you’ve yet to work with, who would it be?: I think this is a question better posed to people like, say, Meryl Streep or Kevin Bacon who may or may not have someone they still have "yet to work with." Needless to say, the list is extensive and I look forward to watching it shrink.
Who would play you in a movie about yourself and what would it be called?: Depends on the genre..
Comedy: Mila Kunis in "How do you pronounce your name?"
Rom-Com: Minka Kelly in "Don't be that girl".
Drama: Emmanuelle Chriqui in "I have lived for a while" (starring Alfred Molina as my father).
Action: Jordana Brewster in "Chi-Town, NY".
Foreign: Paz Vega in "Los plebes" (starring Ana Claudia Talancon as my sister).
Sci-Fi: Sigourney Weaver in "Aliens". Wait…
What show have you recommended to your friends?: One of the best shows I've seen in a long time closed right before previews were over. It was called Jump. It was a martial arts-meets-clowning Korean extravaganza. It was incredible. And it was gone in the blink of an eye. Alas…
What’s up next?: Working with The Shelby Company in their monthly sketch theater series, Ephemerama.
For more information on Adriana, The More Loving One, and the Shelby Company, please visit, http://www.adrianadegirolami.com/, http://www.themorelovingone.com/, and http://www.shelbycompany.org/
Thursday, September 8, 2011
Clybourne Park to Broadway
The 2011 Pulitzer Prize winning Drama Clybourne Park by Bruce Norris will move to Broadway this Spring. The Center Theater Group/Mark Taper Forum production will open in Los Angeles and move to the Great White Way. Once again, the production will be directed by the outstanding Pam MacKinnon.
This was the second show I worked on at Playwrights Horizons and it was a life changing experience. Hopefully the brilliant original cast will be a part of it!
This was the second show I worked on at Playwrights Horizons and it was a life changing experience. Hopefully the brilliant original cast will be a part of it!
Wednesday, September 7, 2011
Stick Fly Gets Its Fam!
Initial casting has been reported for the very much anticipated Broadway debut of Lydia R. Diamond's Stick Fly! The LaVay family will be made up of Ruben Santiago-Hudson, Dule Hill, Mekhi Phifer, Tracie Thoms, and Condol Rashad. The Alicia Keys' produced play will hit Broadway this fall! You know I'll be there supporting a wonderful playwright!
How to Succeed in Stunt Casting Without Really Trying
It's official. Daniel Radcliffe will be succeeded by Darren Criss who will be succeeded by...Nick Jonas. The youngest of the Jonas clan will play Finch and will ensure that swarming tweens will take over the Al Hirschfeld Theater. After hearing Jonas play Link Larkin, he's got the pipes to sing, but can he keep up with the much harder choreography. We shall see...if there's a ticket that the little girls haven't already bought.
Porgy and Bess Not Coming?
There are have been reports, mostly by the queen of theater gossip (not me, Michael Riedel), that the Broadway leg of the very much talked about production of Porgy and Bess will not happen. Receiving mostly negative reviews in Boston by Ben Brantley and a very public bashing by Stephen Sondheim, the risk of bringing it to New York may not end up being worth it. I will say that researching this story has been fun. Especially the article posted on Broadwayworld.com. And I quote: "The show's scribes, Ira Gershwin, George Gershwin, DuBose and Dorothy Heyward have reportedly not weighed in on the potential Broadway transfer." Well, duh! I hope not! THEY'RE ALL DEAD! If you're referring to the estates of the Gershwins and Heywards, well then that makes more sense. So, ya think the show will go on?
Tuesday, September 6, 2011
Adam Pascal Back on Broadway
Adam Pascal will return to Broadway on October 25th in the 2010 Tony Winning musical Memphis as Huey Calhoun. He will join Montego Glover and replaces Chad Kimball, who's been with the production from the start. Now the two burning questions I have: will he do eight shows a week and will he also have a funny voice. Thoughts?
Friday, September 2, 2011
Hot Toxic Amazing!
While nothing is official and casting notices tend to lie sometimes, the upcoming production of The Toxic Avenger at Houston's Alley Theater says that their production will be jumping to Broadway in late winter of 2012. If this is true, I'll be there in a heartbeat! The smash musical played New World Stages for over 300 performances in 2009-2010. The campy lovefest to the cult classic film is a brilliant comedy that should be well received if it finally transfers to the Great White Way! Stay tuned for more information!
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