Punk or Provocateur with...Malloree Hill

Name: Malloree Hill

Hometown: San Antonio, TX

Tell us about The Roaring Girl: Well, in a nut shell: Comedy, dirty jokes, love story, sword fights, songs, cross dressing, tobacco, and fancy bowing.

Describe The Roaring Girl in 3 words: Sex, Swords, Laughs

Who do you play in The Roaring Girl?: I play Moll Cutpurse

Describe your character in 3 words: Passionate, Alluring, Bad-ass

Which company member is most likely to be a roaring boy or girl?: Am I allowed to say myself? Is that weird?

Most likely to get in a brawl?: Rebeca. Something about her tells me she could take us all down if she wanted.

Who’s the fanciest?: Jacob. The boy dresses way better than I ever will at rehearsals and brings Roses to people on their birthdays. ROSES.

What is the best thing about being a part of The Roaring Girl?: Working with such a wonderfully playful and supportive cast. And swords.

What is your favorite moment in The Roaring Girl?: Oh I can't pick just one. Please don't make me.

Why The Roaring Girl now?: I mean, why not?

Punk or Provocateur?: Personally?... Punk.

Have you ever performed in rep before? What are the challenges/struggles?: I have performed in Rep before. I think a challenge with rep work is maintaining the show during those periods when you don't have performances. You have to keep the show alive in that downtime so that when you come back everything still runs smoothly.

What are you most excited to see in the other play?: The band! The dynamic of all the instruments and the characters, their relationships to their instruments and each other, I think it's going to make for some really cool theater.

Why should we come see Punks and Provocateurs?: Because theater is an amazing, collaborative, exciting, immersive art, that allows you to experience a story communally and viscerally, something we are loosing in this age of smart phones and tablets. All over New York City there is amazing theater and art happening, Broadway isn't all there is, and these productions are very good and very accessible. Plus, both shows are just plain cool and you will have a great time. There really is no reason not to come.

Review: A Jazzy Miss

Artistic freedom is a beautiful thing. Of course it has its risks. The freedom when adapting or basing new work on established material has challenges of its own. It's quite fitting that the work that Nancy Harrow chooses to write her musical is about artists. Inspired by Nathaniel Hawthorne's “The Marble Faun”, For the Last Time takes the quartet of Hawthorne's gothic novel and transports them to New Orleans in a race-bending jazz musical.
Billed as a new jazz musical with a score that evokes generations of the genre, For the Last Time takes four artists, a writer, a painter, a musician, and a jazz club owner, as they are haunted by love and their pasts. The risks of artistic freedom Harrow encountered were plentiful. Nancy Harrow has a strong sense of musicality but her storytelling is severely lacking. The book is weak and beyond repair. Adapting Nathaniel Hawthorne's "The Marble Faun" requires precision, something that wasn't present. The characters were thin, lost in a dense plot that missed a lot. Harrow and cowriter and director Will Pomerantz skimmed over exposition, causing troubles later on. The plot related problems of the source material are not only highlighted in For the Last Time, but they are even more pronounced. Arbitrarily picking 1950s New Orleans seems more like a desire for the musical style as opposed to a direct link to Hawthorne's piece. While New Orleans is certainly an artists' haven, it just sadly missed the connection. With some sever dramaturgical questions regarding the missing pieces from “The Marble Faun”, there’s only so much Harrow’s score can save. Despite the problems of the libretto, the score Harrow has composed is quite beautiful. For the most part, her songs resonate well for her company, evoking a strong sense of style. The score is infectious and fun. But "Lowest of the Low", a song filled with so much necessary plot gets sucked away by the music. The content wanted to remain as dialogue. But the music can only carry a musical so far. By the middle of Act II, little dialogue existed, launching from song to song feeling more like a song cycle.
The ensemble did a sinfully good job interpreting Harrow’s music. But they too, seemed lost in the lack of dramatic content. Britton Smith and Brittany Campbell were the standouts of the bunch. Smith is stellar as Donatello, proving himself capable and a hopeful household name of the future. Campbell as Miriam has a stunning voice that made up for her harried character. Silky smooth toned Carl Clemons-Hopkins and sweet voiced Anita Welch as Kenyon and Hilda respectively surely got the short end of the character arc stick but both proved their talents through song. Doubling Reggie D. White as Overseer the narrator, and Teacher, an unclear character from Miriam’s past, was a questionable choice dramaturgically speaking. While White’s presence as both characters was wonderful, you’d hope he’d be the Overseer throughout the entire show, a device that Harrow and Pomerantz only touched upon mostly due to White's need to change costumes.

photo courtesy of Russ Rowland

The aura of New Orleans pervades the theater as the audience arrives. The scenic design by John McDermott instantly honors the location. For those who know New Orleans, you can't help but get excited. Sadly, the positives end there. Pomerantz's staging, albeit theatrical, did not work well with the beautiful set, making it appear more as a hindrance. Fluidity was clearly important to Pomerantz but the melding of the multiple locations within the architecture was troublesome. There’s nothing more awkward than watching an unsure actor walk through an invisible door that moves location. The height of the second tier, while casting some stunning stage pictures, caused other site line issues. The fantastic orchestra sits in such a prominent position that eliminated upstage center, a location Pomerantz could have used. The colors that lighting designer Jimmy Lawlor brought to the stage evoked the animation of the French Quarter. The color combinations along the giant plantation window were stunning. But with so much action occurring underneath McDermott’s set, there were some unfortunate shadows and dark patches. The costumes by Whitney Locher, for the most part, were perfect. Each character was represented nicely through color or pattern, with the exception of Miriam. Miriam's bold statement skirts are quite flashy and clashed with the black top, sucking the away the vibrancy.
It is without question Nancy Harrow and Will Pomerantz took an artistic risk with For the Last Time. You have to commend them for that. But with the troubles of the book overshadowing the positives, For the Last Time sadly falls into the miss column.

Punk or Provocateur with...Jacob Owen

Name: Jacob Owen

Hometown: Burlington, NC

Tell us about The Roaring Girl: The Roaring Girl is mainly a story about generalizing a person's traits and spirit by previous conceptions. The main conflict Moll faces is the adversity of breaking the mold of how a "lady" should conduct herself. Our society is in the eye of restructuring a woman's role in the work place, family, and politics. Moll is an embodiment of the struggles that women have faced before the 1500's and leading to our changes today.

Describe The Roaring Girl in 3 words: Witty, profound, and crass.

Who do you play in The Roaring Girl?: Sebastian Wengrave

Describe your character in 3 words: Passionate, Intelligent, Self-righteous

Which company member is most likely to be a roaring boy or girl?: Malloree Hill certainly brings herself to this role and the rehearsal room. It is always invigorating to work with a trained and playful actor like herself. BUT keep your eyes on Erin Beirnard. She's quiet but that volcano is equipped with talent and a radiant kindness, she's certainly a complex lady.

Most likely to get in a brawl?: Jon Meyer by far. Jon possesses a superior depth with stage combat. I have seen him fight crews of lady pirates, Columbia students, and himself. This guy is no joke, even though he is full of them.

Who’s the fanciest?: Sam Ogilvie's hand and wrist are seeping with class, riches, and regalness. But Anais Koivisto naturally exudes fanciness.

What is the best thing about being a part of The Roaring Girl?: The rehearsal room has been a blast. The cast is full of high caliber actors who love to come in focused and make choices. It has been a privilege to work with them and get a chance to collaborate with Anais Koivisto, our director, again.

What is your favorite moment in The Roaring Girl?: I love the moments shared by Moll and the Tailor. Also, I love the character of Gull that Quinn Warren has been developing.

Why The Roaring Girl now?: Everyday Inferno has chosen a story that proposes many points of views from varying classes. I feel like the examination of how strong women are is told frequently and hopefully heard. However, I feel like Middleton and Dekker use the role of Sir Alexander to examine the psyche of misogynistic leaders with the ability to manipulate with their power. The questions that need to be asked are "Why are men so scared of the potential that women possess?" "What will it take to help those change their minds to a more understanding and humane way of caring for the world?"

Punk or Provocateur?: Being a punk would be so much fun. Earrings, Tats, and not caring what anyone thinks. However... I don't I could be that cool. I will identify with Provocateur in terms of my great ability to annoy others.

Have you ever performed in rep before? What are the challenges/struggles?: No I have not, but coming from UNCSA I was able to work with my class of 26 other actors and do multiple stage and self produced shows within the school year. A challenging and intriguing aspect is getting to experience the actors' "habits." It is a constant test of staying true the character and your ever evolving self because you work with the same group of observant and intelligent actors week after week.

What are you most excited to see in the other play?: I am pumped to watch the work of actors I have never seen that are part of same company. Also I feel like Katherine Sommer has had a devilish fun time working on this play and I cannot wait to see what she has come up with.

Why should we come see Punks and Provocateurs?: If I have harped enough on the whole badass women and how misogynists are wrong ordeal... then you should come see it for the terrific work by wonderful NYC actors, kick ass music, incredible booze, and a chance to share in creating a piece of art.

Spotlight On...Brian Rady

Name: Brian Rady

Hometown: Fort Worth, Texas

Education: R. L. Paschal High School/ Northwestern University

Favorite Credits: Singing for Joan LaBarbara (as a purple nun) and Tori Wrånes (whilst bicycling) at Performa 13, performing solo-cabaret style at The Brooklyn Lyceum and around town, and of course, working in many facets for all of the Rady&Bloom projects, most favorites are definitely The Orange Person, The Girl of the Golden West, and, now The Upper Room!

Why theater?: It's all about getting everyone in the same room at the same time. You learn a lot about people's intentions pretty quickly. It's all out in the open, and it's all about people. No lies.

Tell us about The Upper Room: The Upper Room is a new play with original music inspired by the back-to-the-land movement. The tenets of the movement are more relevant than ever today, with rising sea levels in New York City, and the introduction of miles of pipeline beneath our feet. How can we find simple quality food? How can we relate to the earth? How can we react to a rapidly changing ecosystem? Aided by myth and offbeat religious practice, a strange new possibility for sustainability and survival emerges from these questions. Set on an island way off the north coast of Maine, the last participants of a once thriving commune meet the sea. Anxious and restless, the quorum gathers around the table in their upper room to confront the rising water and certain members' curious ailments. A darkly humorous consideration of spirituality and the dangers of our changing environment combines with a live mixed score by the incredible Catherine Brookman.

What inspired you to create The Upper Room?: We knew we wanted to make something with Catherine Brookman's music. And we knew we wanted to make something about these feelings we've been having, building up and accumulating like an avalanche over the last 3 to 4 years: a concern for our health and the integrity of the food we eat and where it comes from, and a concern for the chemicals and the elements we are constantly exposed to with or without our knowledge/ consent. There seems to be a continuous and increasing stream of awareness and information about how rapidly we are degrading our earth. How it is warming, how the sea is rising, the decimation of species, the lack of concern for biodiversity, etc. There are so many things happening and so many things we can be doing. We began to feel that what we might lack most as a society is a sense of spirit, an overall sensitivity for all life forms as we know it. A spirituality. Thus, the themes of The Upper Room: environmentalism meets spiritualism meets the gorgeous music of Catherine Brookman. Other sources that became incredibly important to us were the lives of Helen and Scott Nearing (authors of "The Good Life"), the grandmother/grandfather of the back-to-the-land/ homesteading movement as well as Iris Murdoch's novels "The Bell" and "The Unicorn," by Karen Blixen's short story "Babette's Feast," and by selkie and mermaid legends at large.

What kind of theater speaks to you? What or who inspires you as an artist?: Sandra Bernhard's whole life and life's work is a key key key inspiration! The work of David Neumann is hugely important to me. I think his recent I Understand Everything Better was a masterpiece. I also love the work of Dean Moss, Sarah Michelson, and Martha Clarke. Mary Zimmerman's work has also hugely inspired both me and Jeremy for a long long time.

If you could work with anyone you’ve yet to work with, who would it be?: It'd be awesome to get to be a part of process of Lee Breuer's. Also I think I'd do really well with a devoted pianist/ accompanist/ arranger to take with me wherever I go if anyone is interested.

What show have you recommended to your friends?: I went absolutely cuckoo for Jenny Schwartz's Iowa at Playwright's Horizons. Another amazingly beautiful/ lasting show musically was Liz Swados' La MaMa Canatata.

Who would play you in a movie about yourself and what would it be called?: We want to make a movie version of The Orange Person. I should probably be played by Nick Sutton as he was in Harmony Korine's movie "Gummo".

If you could go back in time and see any play or musical you missed, what would it be?: Maybe the original Chorus Line at the Public.

What’s your biggest guilty pleasure?: "Bob's Burgers".

If you weren’t working in theater, you would be _____?: Tending a farm somewhere by the sea. Or, maybe more realistically, I would be dreaming of tending a farm somewhere by the sea.

What’s up next?: We will begin work on O this summer through the HERE Artists Residency Program (HARP). O is a play with original music and visual art designed and directed by Rady&Bloom, written by the fantastically lovely Alex Borinsky, and composed by our dear frequent collaborator Joe White.

For more on Brian, visit Radyandbloom.com

Review: The Ultimate Couple Test

What happens to us when we die? It’s a question that is bound to cross all of our minds. Where do we go? Do we remember our lives? Who’s there with us? Though the answer may not be known, the guesses are unbound. The end of Shakespeare’s classic love story, Romeo and Juliet, our star-crossed lovers’ ill-fated romance ends in death with the curtain shortly falling. In Erin Breznitsky’s dramedy R+J, Breznitsky conjectures their afterlife as they are reunited in what is certain to be the worst layer of hell.
With a company mission to strip down the play to its bare essentials and tell the story using the power of langue, R+J is an adaptation of the quintessential romance that does just that. Presented by The Rogue and Peasant Players, R+J follows the titular characters of Shakespeare’s familiar work as they test the limits of their love in the afterlife. After discovering that they both needlessly killed themselves in an act of love, R and J get exactly what they wanted, to be together. But as eternity clicks on, they soon realize the honeymoon phase isn’t quite what it’s cracked up to be. Were they truly meant to be together? The couple is forced to watch their lives, or the play, played on continual loop, forcing them to question their actions. Breznitsky’s thesis of a love that shouldn't have been is wonderful. Audiences have always questioned the validity of the young lovers, but Breznitsky gives them the opportunity to discover that answer. While the conceit of the play is exciting, Breznitsky's script could use some dramaturgical assistance. The rules of her world are a bit inconsistent. It is established that in this hell-like afterlife, R and J, who, once dead, speak in a contemporary voice, are haunted by their actions, forced to watch every single scene over and over again, in a Shakespearean voice. R and J are completely unable to communicate with the Bard versions of themselves. They are completely unable to escape them, no matter where they try to run off to. The pair is led to believe that they too, are unable to escape each other. But then Breznitsky and director Kelly Monroe Johnston break these rules by the end. While J's late monologue to R in regards to leaving one another leads to forgetting is simply stunning, it seems to break the rules of never being able to make the play cycle stop, destroying what was previously established. The numbers that R and J throw out on how much time has passed may be arbitrary, when they do part, how can they forget one another if they are forced to watch Romeo and Juliet? Shouldn't there be an inkling of memory? With the device of using Shakespeare’s text as an integral element to the script, Breznitsky layers in way too much of each individual scene. The draw of the play is her language and her exquisite way with words. With nearly a fifty-fifty split of contemporary and Shakespeare text, using so much of the scenes truly detracts from the plot of Breznitsky’s play.

photo courtesy of Alex Erde

The core ensemble was filled with actors who had a wonderful grasp on the Bard. With each actor taking on the star crossed lovers, we were given so many variations of the pair. From the typical perfect casting of Thomas Leverton as Romeo and Dee Dee Popper as Juliet to the gay version with Leverton and Anthony Michael Martinez taking on both Romeo and Juliet. These concept castings are some that would actually be intriguing to see. But the focal point of this play was not the core ensemble but the contemporary spoken R and J played by Tim Dowd and Malka Wallick respectively. Watching Dowd and Wallick portray versions of Romeo and Juliet with a backdrop of other capable options was almost a disservice to the them. It's quite possible this was Breznitsky's intention. Some of the core actors, including the ideal Romeo Leverton, the darling Brenna Yeary, and the diverse Sarah Bonner, were more captivating to watch on stage. While the journey the pair went on was that of any couple, the qualities Dowd and Wallick had to display made the characters unlikeable, by no fault of the actors. Wallick’s J was whiney while Dowd’s R was stubborn. With a happy ending after all, it may be hard for the audience to get on board with R and J ending up together with the lack of cohesion.
Director Kelly Monroe Johnston had virtually a clear slate in which to create. With a white box theater as the blank canvas, the scenic design consisted of brown paper covered panels and a giant pillar, forced by the architecture of the space, that is nothing short of obnoxious. While the paper effect allowed for R to write on, it artistically added nothing to the production. The layout Johnston crafted on stage allowed for some clever theatrical magic to occur. Johnston did his best to keep the action downstage of the pillar of doom, but alas, it got in the way of sight lines at times. Johnston did an exceptional job guiding the core ensemble through the Shakespearean scenes. It was the contemporary scenes that needed more work. While the program note discusses the intent to strip the stage of concept and design, it's quite interesting to see the commentary in regard to the endless concepts Romeo and Juliet has been put through.
Sometimes the idea of less is more in theater is beneficial to a production. Other times, it’s not. While Breznitsky’s script may be simple, it does require a little bit of artistic substance to establish the world in which R and J now live. Perhaps with a more clarity and a bit more work, R+J could be something of note.

Spotlight On...Jason Veasey

Name: Jason Veasey



Hometown: Both my parents were in the Air Force so we moved around a lot!! But we settled in Colorado Springs, CO.



Education: Unviersity of Northern Colorado!!!


Select Credits: The Lion King, The Bomb-itty of Errors, Side Show, Perez Hilton Saves the Universe


Why theater?: Theater is just...everything to me. The tangible energy. The audience. It stays with you like nothing else. It's kinetic really.



Who do you play in For The Last Time?: I play the Overseer's Player. I help to tell the story along with the extremely talented Reggie White and Kim Exum.



Tell us about Another For The Last Time: It's a brand new musical about four friends in New Orleans, love and how they deal with the past, present, and future!! The score is a JAZZ score. Lush and sexy and gorgeous. The cast is the real deal!



What is it like being a part of For The Last Time?: I'm a having a great time! I'm in love with this group of people!! I always get excited to see a cast of faces that you might not be so familiar with. You're about to become well acquainted with one of the most talented casts in NYC. Our director Will Pomerantz leads with such an ease. I think he's great!! We have a lot of...energy as a group and he deals with that well!! Nancy Harrow who wrote the music is the coolest woman!! So enthusiastic and cool. She knows what she wants from us musically and it's so great to watch her watch us.



What kind of theater speaks to you? What or who inspires you as an artist?: Most theater inpsires me. I'm really inspired by performances. There have been many times I dodn't like the whole piece but fell in love with a performance. It's the commitment that just makes me wake up. I guess that's the answer: COMMITMENT



Any roles you’re dying to play?: Oh Yeah! Coalhouse Walker, Jr., Passing Strange (any part, the whole show, like let me do every part), Iago aaaaaaaaannnnnnnnnd something not written yet!



What’s your favorite showtune?: Not fair. Not. Enough. Space. I can't POSSIBLY pick one. But I will say that ONE of them is "Everyday a Little Death".



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



Who would play you in a movie about yourself and what would it be called?: ME!! I am playing me. I would call it "What the #*&@ Are You Doing?!"

If you could go back in time and see any play or musical you missed, what would it be?: I don't care what it was as long as I got to have dinner before or drinks after with Elaine Stritch. I loved her. I LOVE her.  



What show have you recommended to your friends?:  For the Last Time!!



What’s your biggest guilty pleasure?: I have a lot!! But There's this reality show called "The Bad Girls Club" on Oxygen. The worst show ever. But I love it so. It centers me. Oh, and Funyuns!!



What’s up next?: Not sure yet. But Summer is coming and that all I care about!!

Spotlight On...Joyce Miller

Name: Joyce Miller

Hometown: Philadelphia, PA

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

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

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

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

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

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

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

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

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

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

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

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

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

For more on Joyce, visit http://www.joycemiller.tumblr.com and follow her on Twitter @joyfulmilton

Spotlight On...Courtney Jones

Name: Courtney Jones

Hometown: Racine, WI

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Spotlight On...Amber Kelly

Name: Amber Kelly

Hometown: Born in Detroit, grew up in Texas

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Spotlight On...Alison Hixon

Name: Alison Hixon

Hometown: Storm Lake, IA

Education: Stephens College BFA

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

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

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

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

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

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

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

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

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

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

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

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

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

For more on Alison, visit amaehix.blogspot.com, http://shesaidillustrations.weebly.com and SheSaid Illustrations on Facebook.

Spotlight On...Lisa Rothauser

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

Hometown: St. Louis, MO aka “The Lou"

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

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

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

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

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

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

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

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

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

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

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

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

For more, visit http://54below.com/

Review: A New Menagerie

by Michael Block

To kick off Masterworks Theater Company's inaugural season, the company picked a classic from master scribe Tennessee Williams, The Glass Menagerie. Putting their twist on the drama, Masterworks plays with casting.
A multicultural take on the Williams classic is filled with its own risks. Would it resonate? Does it fit the world of the play? Does it weaken the story? Fortunately for Masterworks, and the script, the ethnically diverse casting worked wonders for this new lens into The Glass Menagerie. While the story should need no introduction, to refresh, the play follows Tom Wingfield through his memory as he takes the audience on a journey into his family’s St. Louis dwelling during a pinnacle moment in their history. Amanda, the matriarch, is a former Southern Belle who makes it her mission to find her daughter Laura a gentleman caller who will whisk her away into normalcy. As a whole, the quartet was quite wonderful. Richard Prioleau brings a stunning fresh nuance to Williams language. As the narrator of the memory play, Prioleau's booming vocal is flavorful and rich, wonderfully enunciating and articulating as the narrator. Though his scenes were not as strong, Prioleau’s presence is the backbone of the production. Olivia Washington as delicate Laura is subtle. She starts off meek and a bit staggering but as soon as Jim arrives and the electricity disappears, she finds her stride. As Jim, Doug Harris was absolutely charming. You couldn’t help but fall in love with Harris’ Jim. Harris and Washington brought new life to their scene of doomed romance, serving as the strongest moment in the entire production. The scene is already beautiful and touching, but the chemistry between the pair was exquisite. Saundra Santiago as Amanda, despite struggling for lines, seemed to take a Greek tragedy approach to the role. Everything is heightened beyond belief. Her presentational tactic was not in line with the other three. In Williams’ terms, she may have channeled a little too much Blanche DuBois.

photo courtesy of Russ Rowland

Director Christopher Scott had the challenge of innovation. What could make his approach to The Glass Menagerie stand out? Scott seemed to take great care and consideration in diving into the relationships between the characters. And it certainly shined in the scene between Jim and Laura. From a staging standpoint, Scott made some choices that did not land. It was a very distracting decision to mime the eating with every other prop existing in this world. While it may have been a budgetary thing, fake eating rarely works. The fire escape conceit did not read well. While space on stage was sacred, the strip of light and inconsistent exit caused more problems then not. That being said, the aura of the era is stunningly displayed on stage through simplicity. The scenic design by Campbell Baird was beautifully executed. Thankfully the architecture of the space worked to its advantage. The brick walls looked almost intentional. The lighting by Joyce Liao was simple. While the blackout scenes could have used a little more light at the start since practically speaking there was bound to be light seeping through the window, what Liao did bring to the Jim/Laura scene was striking. Dustin Cross clothed the actors fittingly. They worked in the period and worked for the characters. However, Tom’s opening costume was near identical to the recent revival which has now become iconic through image. Brett Macias, who served as sound designer and composer of original music had quite a presence in the production. Since Williams calls for the occasional incidental music, its placement needed to be specific. Sadly, the underscoring felt sporadic and unintentional. Dramaturgically, instrument choice played a big factor into the world of the play. The occasional electronic music in the transitions was unfortunate. It felt far too modern for the period.
The Glass Menagerie is an American classic. While it may be overdone, a solid production can reignite the beauty of the text. Though it’s not perfect, it has some incredible moments. For a first production, Masterworks has done a pretty solid job.

Spotlight On...Annie Prichard

Name: Annie Prichard

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Review: When the Past Catches Up

The phrase "karma is a bitch" has never been truer than in Paul Grellong's dark and twisty drama Manuscript. In Just Kidding Theatre Company’s revival of Grellong’s script, a trio of rich kids spend a winter evening trying to one up one another in a game of power.
In Manuscript, David and his childhood best friend Chris catch up after a semester at their respective Ivys. On this night, Chris brings along his new girl, Elizabeth, a published writer to meet David. As drinks are had, insults are flung and moments alone reveal histories that are larger than life. Grellong’s script is beautifully dark and magnificently troubling. Watching these three privileged kids manipulate each other in a game of revenge is a great story for the stage, but it greatly relies on intricate direction. Manuscript is one of those rare productions that was a bit of a wreck at the start but the clever and soupy twists by Grellong brought you back into the play. But I don't know if this production was able to redeem itself by then due to the dragging pace at the start. It's a catch 22 when so much information at the beginning is necessary to truly land the end. But by director Paige Fridell playing the action so slowly, it detracted from allowing natural acting from the trio. Additionally, the production was a bit stylistically messy. Without revealing any wonderful spoilers, by playing the characters with an edge of falseness too early, it appears as poor acting rather than deliberate acting. As the play progresses, you learn that David, Chris, and Elizabeth are all performing in one form or another. Cameron Clarke, Matthew Hansen, and Kimberly Nordstrom respectively had to tread that fine line as the audience needs to go on this revelation journey as well. By going over the top too soon, it’s possible to disregard the performances of the characters and question the motives. The trio had some nice moments on stage but overall struggled within the truths and lies presented.

photo courtesy of Just Kidding Theatre Company

From a production standpoint, Manuscript was a bit troubled. The set by Joseph Napolitano was poorly executed. Napolitano’s set relied on precision and clean lines with rope and fabric to create the architecture of the brownstone. One of the “walls” was crinkled to make a brick look but by being the only panel with this effect when others should have received it as well, it appeared as a mistake. The mix of realistic and theatrical scenic pieces did not blend cohesively, specifically the book benches. Chris’s world was dominated by literature and books. Napolitano needed to go all out with the presence of the books rather than throwing them in the corner in odd bench formations or inside a fireplace. The tree created by string is visually pleasing and an awesome idea. The thin fabric panel sadly does not mask the lighting cables which detracts from the magic of the image. While it was nice to have a piece of fabric to represent a rug, it was not secured and frequently caused problems for the actors. The lighting by Cindy Shumsey was a bit odd. Adding color into the realistic setting was a strange choice, especially when the color changed in the middle of scenes. Visually it was nice to see color on stage, but with a realistic script, it did not mesh. Additionally, there were an incredible amount of shadows all over the stage.
Just Kidding Theatre Company’s production of Manuscript was a big undertaking. The overall vision was muddied causing a domino effect of faults. Thankfully, Grellong’s script is exciting and deserving of attention.

Spotlight On...Jessica DiGiovanni

Name: Jessica DiGiovanni

Hometown: Flossmoor, IL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Review: Vengeance is Sweet

Geek theater isn’t a new form but it’s certainly hitting it’s stride. With so many theater artists taking risks in this genre, it’s nothing short of exciting to see the culmination and product of vibrant ideas. In Vampire Cowboy’s latest offering, Six Rounds of Vengeance by Qui Nguyen, a ragtag team of bandits set out to rid the world of evil in a post-apocalyptic Lost Vegas overrun by Long Tooths.
On a mission of vengeance, an unlikely trio of heroes set out to defeat some high-fighting vampires in Qui Nguyen’s sci-fi geek chic dark comedy Six Rounds of Vengeance. Sprinkled with pop culture references, layered with humor within the heart, and filled with top notch sword fights, Six Rounds of Vengeance is one of those theatrical experiences you wanted but didn’t realize you needed. Malcolm, a former cop, and Jess December and Lucky, a pair of bounty hunters, cross paths to discover that they each have a history of loss that need to be avenged. On their journey to exterminate Queen Mad, leader of the Long Tooths, the trio goes on a journey of self-awareness, discovering the truths within themselves and their pasts. Nguyen’s script is witty, gritty, and fun. The characters that Nguyen has fashioned are not cookie cutter sci-fi types. They have depth. Certainly the conceit of the show, a play about vengeance, aids in giving the characters colors. Love, loss, and identity bring these characters to fight to justice. But sometimes when justice is in reach, letting go is the suitable finale. The play moves quickly and has room to build. However the video package at the start and middle of the show are a bit jarring. There certainly could be a stretch to link the videos to the play itself, but it is a stretch.

With unlikely characters taking center stage, an unlikely cast of actors get the privilege to be action stars. What makes Six Rounds of Vengeance special is in the film world, the ensemble likely would not be cast in these roles, yet on stage, they fit wonderfully. Sheldon Best as soft-spoken sassmaster Malcolm had some projection issues but his police turned cowboy demeanor was quite strong. Jamie Dunn and Tom Myers had great chemistry as bounty buddies Jess and Lucky. Dunn’s Jess doesn’t seem like a badass on the surface but she displays some killer moves. Myers’ Lucky has a great story to build on and you love him even when he turns into the Sabretooth like creature. While Jon Hoche and Nicky Schmidlein get the glory of playing an abundance of parts, it’s when they portray their evil alter egos do they truly come alive. Schmidlein, like Dunn, has some incredible fight and sword-wielding skills. Schmidlein’s Queen Mad is a wonderful love-to-hate villain.
Journey plays can always be difficult to portray on stage. On paper, Six Rounds of Vengeance may seem better suited for film, but director Robert Ross Parker does a phenomenal job making it work brilliantly on stage. Through theatrical magic and innovative staging, the piece flowed seamlessly. Parker brought the nuances of Nguyen’s world to life. His vision made this well-rounded production cohesive. Nick Francone played double duty as scenic and lighting designer, two of the strong aspects of the design. Francone’s set lived in sepia glory and brought color via light. The usage of broken billboards were simple enough to evoke the setting. The videos by Matthew Tennie were an incredible addition that assisted in the movement of the world. The costumes by Kristina Makowski were wonderful, blending pre and post apocalypse nicely. The score by Shane Rettig was exactly what the piece needed to reflect the film aspect of the script. Rettig’s music was noticeably subtle in all the right ways. Even the action sound cues were wonderful and appeared in the right places.
Geek chic theater is alive and well. Six Rounds of Vengeance is a high-powered, energy-filled exciting night of theater.

Spotlight On...Aubrie Therrien

Name: Aubrie Therrien

Hometown: Little Ferry, New Jersey

Education: Bachelor of Fine Arts in Theatre, Longwood University (2005); Master of Public Health, New York University (2015).

Favorite Credits: Why We Have a Body (Mary); A Comedy of Errors (Adriana); Importance of Being Earnest (Cecily); Twelfth Night (Viola); What I Did Last Summer (Elsie); Eleemosynary (Echo).

Why theater?: I believe in the power of make believe. Especially when working with people who need to grow in some way; whether it be growing in confidence, community or creativity.  Theatre is a powerful tool for the actor to express themselves in a way that real life typically does not allow and, in turn, for the audience to feel emotions in a way that real life typically does not condone.

Tell us about DreamStreet Theatre Company?: DreamStreet Theatre Company is a 501c-3 non-profit that works to increase socialization, build communities and develop creative confidence in special needs--or differently abled--performers.  We are also working to promote inclusion in the arts through our full-length performances and musical adaptations using professional stagecraft and developed acting/improvisation techniques. Our performers, many with varying levels of health conditions such as Down Syndrome and Autism, continue to illustrate this concept with their stereo-type breaking live performances. We are so proud of all of our cast members and hope to continue to support advocacy and advancement for the communities we serve.

Tell us about A Midsummer Night’s Dreaming?: A Midsummer Night's Dreaming is DreamStreet's (very abridged) adaptation of Shakespeare's classic comedy.  We wanted to do something magical and, at the same time, introduce our actors to a genre they have been previously unfamiliar with.  We work with a cast of differently abled adults who have a passion for performance. Thus, each part in this production was adapted to highlight each of our actor's unique personalities and offer them a creative learning challenge.

What inspired you to direct A Midsummer Night’s Dreaming?: I think Midsummer is the most accessible comedy that Shakespeare wrote. It is relatable, it is funny and the language is engaging. It also offers the perfect teaching opportunity for my actors. Think about it; mainstream actors and audiences often have a problem understanding the classics. It is a challenge. However, my actors are now reciting verse, interpreting difficult language and understanding subtext in better ways than a slew of abled bodied performers I have worked with in the past.  Imagine what this does for their confidence, for their self-esteem, and how this will transfer into their real-life social relationships and communities. It is what we like to call "creative confidence." And we think that is transformative!

What kind of theater speaks to you? What or who inspires you as an artist?: Theatre that gets rid of all the kitschy tricks and flashing lights to focus on base, human relationships and all their intricacies. Theatre that makes me laugh; that makes a comment on life. The people I work with inspire me; the actors and my teaching artists.  It's very invigorating working on something surrounded by people who are equally as passionate and ambitious as you are.

If you could work with anyone you’ve yet to work with, who would it be?: I am so grateful to be working with the current cast of characters and artists and hope to add more like-minded people to that mix very soon.

What show have you recommended to your friends?: A Curious Incident of the Dog in the Night Time; excellent book.

Who would play you in a movie about yourself and what would it be called?: Anna Kendrick to star in the movie-musical "The Science of Make Believe." Written and directed by Aubrie Therrien and George Clooney; music and lyrics by Jason Robert Brown and Cyndi Lauper.

If you could go back in time and see any play or musical you missed, what would it be?: The Last Five Years and A Long Days Journey Into Night

What’s your biggest guilty pleasure?: Sandwiches, specifically the Italian Combo from Court Street Grocers.  And Karaoke.

If you weren’t working in theater, you would be _____?: A Doctor or a Vet; depending on whether I liked people or animals more that day.

What’s up next?: DreamStreet is hosting our first summer series with workshops for differently abled persons in improvisation technique, movement and musical theatre.  In the fall we will be gearing up for our annual fundraiser and musical review and in the spring we hope to develop an original musical adaptation of the beloved children's classic, Charlotte's Web. And, of course, we are always looking for creative collaborators to hop on board and help us do some good.

Review: This One Time At Smart Camp

When people or events of the past haunt your present, you can't help but wonder what could have been. And rarely do you get to reopen the book to rewrite that chapter. In Josh Drimmer's drama the lighthouse invites the storm, sixteen years pass as a man decides to reacquaint himself with the one who, presumably, got away.
Produced by Sanguine Theatre Company and presented at the Queen’s diamond in the rough, The Chain Theatre, the lighthouse invites the storm follows Quinn as a sixteen year old and a 32 year old as he learns from his regrets after a seemingly not-so-innocent summer educational camp experience with bad girl Irene. A month of lust turns into teenage love that reopens after a long-awaited rekindled night of adulthood. The way Drimmer structures his play is through two distinct acts separated by time. Act 1 focuses on the youthful years, or the hour long set up of what would normally be exposition. By the end of the evening, it's evident that this story is about Quinn and Irene. It's their journey through time and regret. Drimmer's script relies greatly on the action from the first act to inform the second thus making Act I drag greatly. With the set up as is, cutting too much within Quinn and Irene's saga isn't quite possible. That being said, attempting to win the audience back for act II takes a great deal. With so much time taken up by smarty camp best friend Jay and bad older boyfriend Greg, inviting them into the present is nice, however their presence is lackluster and minimally important that their current status could easily be set up in a few lines leading straight into the reunion of Quinn and Irene. The meat of Act II falls on Quinn and Irene, but by taking a long time to get there, the impact and beauty falters. Additionally, Act 2 seems heavily contrived. Why would these people who merely spent a month together rekindle and reminisce? From what we saw in Act I, Irene’s impact on Quinn seemed quite minor. Just a blip in adolescence. But the characters certainly have a great memory for events sixteen years earlier. It seemed hard to find elements of either main character that were redeeming, especially by Act II. Why cheer on this romance when you know that they’re probably not meant for one another anyway.

photo courtesy of Derek Miller

It all comes down to casting. A great cast can aid in bringing a script to life. Sadly, the casting didn't quite seem to work. With the lack of cohesion in the ensemble, the quintet as a whole seemed lost. There were some beautiful and strong moments though they did come very few and far between. Overall, the acting in the first act was greatly inconsistent. With Debargo Sanyal as Jay and Alli Trussell as Nicole having the freedom to play as the comic support, the Vermont scenes left a lot to be desired when it came to Liba Vaynberg’s Irene and Curry Whitmire’s Quinn. Recalling the teenage years may have been a struggle. Vaynberg as Irene is a bit rough around the edges. The bad girl façade was problematic as it gave the character little personality. Whitmire captured the hopeless romantic essence nicely but it came off a tad one note. When we jumped ahead sixteen years, Irene and Quinn found new identities that seemed to be such a big departure from everything previously established.
Director Logan Reed made the most of Drimmer's thin script. It was evident Reed was trying to find the potential within the script but many elements restricted that. One being the set by Brandon Cheney. Aesthetically, it makes complete sense to create a surrounding to eliminate the black box feel of the space. But the set looked a tad amateurish with the paper effect and seemingly untreated wood. While it allowed for some stunning lighting moments, it didn't really add much for Act 1, in fact it detracted from the imagery of summer in Vermont. Many of the furniture pieces doubled as items and aided in the derailment of environment. Lighting designer Derek Miller seemed limited with his lighting capabilities. By isolating many scenic elements to various parts of the stage, lighting the specific scene while minimizing the leak to the other worlds was difficult in the small space. Sure theatrical disbelief should come into play but the scenes upstage were the most troubling with space.
the lighthouse invites the storm is a work very much in progress. With some plot tweaking in the hotel room scene, it’s possible that the scene could stand alone as its own piece, eliminating everything before it. And that is not necessarily a good thing. When the curtain drops and the characters go back to their lives, that was the sole moment that felt real. And perhaps that was the point. Life isn’t truly a romcom.

Spotlight On...Ricardo Rust

Name: Ricardo Rust

Hometown: Pretoria, South Africa - currently residing in Manhattan.

Education: New World School of the Arts - Musical Theatre Conservatory (BFA)

Favorite Credits: Forever Plaid (Director-Choreographer); Somewhere With You (Music Supervisor/Choreographer - NYMF premiere); The Whaleship Essex (Movement Director - NY Premiere); Sweeney Todd (Director-Choreographer); Evil Dead: The Musical (Choreographer - West Coast Premiere); RENT: School Edition (Choreographer - National Premiere).

Why theater?: We spend so much of our days focusing on the future.  I find it imperative to engage in playtime, which grounds us in the present.  George Bernard Shaw proclaimed, "We don't stop playing because we grow old; we grow old because we stop playing."  I'm game for a little playtime and will gladly assume the role of Storyteller.

Tell us about The Butter and Egg Man: Honestly, Heather nails it in our press description, The Butter and Egg man follows our hero, Peter Jones, a likable Mid-Westerner, as he navigates the sometimes exasperating and always exciting world of Broadway. Written in 1925, it is a hilarious satire about a seemingly simple country boy who comes to New York to break in to theatrical producing under the misguided idea that he will double his money. But the young man may be smarter than he seems – will he be able to turn a “flop” in to a “wow”?"  Anything more I might add will give something away.

What inspired you to direct The Butter and Egg Man?: Slightly impossible to answer without launching into a lengthy diatribe, but the short answer is: I fell in love with the wrong character.  I find that when I connect with a character that's not intended to be our focus on a first read, it's usually a sign that the script resonates with me.

What kind of theater speaks to you? What or who inspires you as an artist?: The kind of theater that transports me to a different world; the kind that evokes emotions far more powerful than any defining moment in reality.  The list of inspiration is long - George Balanchine, Bob Fosse, Nell Carter, Gene Kelly, Harpo Marx, Bessie Smith...the kid at the corner Deli who convinced her mother to let her wear her make-shift tutu in 3-degree weather on their quick run to purchase rice-a-roni... Passion, vulnerability and presence inspire me.

If you could work with anyone you’ve yet to work with, who would it be?: Oh, boy...Brian D'Arcy James, Audra McDonald, Dawn French, David Tenant...  If I had to pick just one, I'd say an evening of jazzy duets with Aretha Franklin.

What show have you recommended to your friends?: Hands down, I recommend Hand To God.  It's sheer brilliance in every aspect!

Who would play you in a movie about yourself and what would it be called?: Most would argue Jim Parsons should play me, however, as much as I agree, I prefer Edward Norton.  As for the title, "the boy who waited..."  

If you could go back in time and see any play or musical you missed, what would it be?: I wouldn't.  Imagination feeds the soul and so much of what makes theater gems brilliant are the heartaches and joys the folks of that particular time period lived through.  I believe that's why revivals are important, so that we can cherish what we know and share the nuance in how the piece transcends through time.  Although...the Moulin Rouge would be tempting.

What’s your biggest guilty pleasure?: The original Smurf cartoons in Afrikaans.

If you weren’t working in theater, you would be _____?: ...a Child Psychologist

What’s up next?: Scotland - even storytellers need a vacation.

Spotlight On...Alisha Spielmann

Name: Alisha Spielmann

Hometown: Minneapolis MN

Education: St. Olaf College, Northfield MN

Select Credits: Jane in Jane the Plain by August Schulenburg; Tracy in Sans Merci by Johnna Adams, Clem in Blast Radius by Mac Rogers, Ruth in Dear Ruth by Norman Krasna, Janis in Native Speech by Erik Overmyer, Rebecca in Producing Juliet by Tina Cesa Ward.

Why theater?: Two quotes come to mind: one by Oscar Wilde: “I regard the theatre as...the most immediate way in which a human being can share with another the sense of what it is to be a human being.” And the other by Stella Adler: "The word theatre comes from the Greeks. It means the seeing place. It is the place people come to see the truth about life and the social situation."

Who do you play in The Butter and Egg Man?: I play Jane Weston, described by George Kaufman the heroine of the story who works as a stenographer and "office girl" at Lehmac Productions Inc. in New York City.

Tell us about The Butter and Egg Man?: As Retro Productions describe it: "The Butter and Egg Man follows our hero, Peter Jones, a likable Mid-Western boy, as he navigates the sometimes exasperating and always exciting world of Broadway.  Written in 1925, it is a hilarious satire about a seemingly simple country boy who comes to New York to break in to theatrical producing under the misguided idea that he will double his money.  But the young man may be smarter than he seems – will he be able to turn a “flop” in to a “wow”?"  (And as I like to describe it, it's like the musical The Producers, but the straight play version of it and written before the musical version.)

What is it like being a part of The Butter and Egg Man?: It's like getting to have playtime and hangtime with some of the funniest and talented people I know.  I'm pretty sure I haven't been to a rehearsal yet where I haven't cracked up laughing at something someone did. Usually Brian Silliman.

What kind of theater speaks to you? What or who inspires you as an artist?: Theatre that is present. Theatre that is sexy. Theatre that is bold. Theatre that challenges "the norm". Theatre that is surprising and magical.  Theatre that takes me to another time and place and I can still connect with what it is trying to say about now. Theatre that even after months from now I still think about and want to talk about. Theatre that tells the stories that need to be told today. I'm inspired by artistic risk takers.

Any roles you’re dying to play?: Always the next one... ;)

What’s your favorite show tune?: "Finishing The Hat" & "Summertime"

If you could work with anyone you’ve yet to work with, who would it be?: I wish I had a chance to work with Philip Seymour Hoffman.

Who would play you in a movie about yourself and what would it be called?: ...Wait, so you're saying I can't play myself??? ;) Probably Reese Witherspoon, though more than likely we wouldn't be able to get her, so I guess I'd probably have to go with Nat Cassidy in the made for TV movie "#Spielwinning"?

If you could go back in time and see any play or musical you missed, what would it be?: Definitely the premieres of A Streetcar Named Desire & The Glass Menagerie; and basically anything happening in downtown NYC theatre world between the 50's & '60's.

What show have you recommended to your friends?: Salvage by August Schulenburg (though unfortunately by the time this gets out it will be closed), Hamilton (though I have yet to see it myself, so if anyone wants to take me that would be great, thanks!)

What’s your biggest guilty pleasure?: Cheeseburgers, doughnuts, and technology.

What’s up next?: I'l be working on a film with Inappropriate Films called "The Moose Head Over the Mantle" as well as developing and workshopping new plays with Flux Theatre Ensemble on our annual Retreat! ...And that's all I'm allowed to publicly say at this point… ;)

Spotlight On...Tana Sirois and Maria Swisher

Name: Tana Sirois and Maria Swisher

Hometown: 
TS: Portsmouth, New Hampshire,
MS: Marshall, MO

Education: We both graduated from the Liverpool Institute For Performing Arts with a BA (Hons) in Acting

Select Credits: 
TS: Blackbird (Froggy), Seascape With Sharks and Dancer (Tracy), Equus (Jill), Romeo and Juliet (Juliet), The Hobbit (Gollum)
MS: Dangerous Corner (Freda Caplan), Sweeney Todd (Mrs. Lovett), When the Rain Stops Falling (Elizabeth), Dante's Inferno: A Modern Telling (Beatrice), Orpheus Descending (Lady)
 
Why theater?: 
TS: Theatre forces me to be present in life more than any other art form.
MS: Theatre is dangerous. It's ephemeral and unreplicable. In good theatre audiences have to (or get to) play along for it to function.


Who do you play in Easy Laughter?: 
TS: Judy
MS: Patsy
                                   
Tell us about Easy Laughter: Easy Laughter is a twisted satire that explores the darkness we humans are capable of, while daring us to laugh the whole way through. It is dark comedy at its best.

What is it like being a part of Easy Laughter?: This process has been so much fun from the very beginning. We feel very lucky to be working with such a talented team of actors and creatives in relaunching our company in New York and we're absolutely ecstatic to have the opportunity to welcome playwright Robert Shearman on board this crazy ship!

What kind of theater speaks to you? What or who inspires you as an artist?:
TS: I always gravitate towards some type of dark comedy or absurdism that holds truth at its core.
MS: I like absurdism, physical theatre, sci-fi, and theatre that is innovative and challenging.
TS: I'm always incredibly inspired by new work.
MS: Ditto. I'm a huge fan of Headlong's work right now.

Any roles you’re dying to play?: 
MS: Miss Julie, Peggy Lee and/or Lucille Ball in their unwritten bio plays
TS: I have lots of ideas for shows I would like to create, but no roles I feel I'm dying to play at the moment.

What’s your favorite showtune?: 
MS: The Ballad of Sweeney Todd
TS: Yes. Everything from Sweeney is spectacular.

If you could work with anyone you’ve yet to work with, who would it be?:
TS: In a perfect world? Robin Williams
MS: Patrick Stewart

Who would play you in a movie about yourself and what would it be called?: 
TS: Alison Pill would star in "But Are You Positive The Stove Is Off?!"
MS: The love child of Amy Adams and Steve Buscemi in David Cronenberg's "The Rat"

If you could go back in time and see any play or musical you missed, what would it be?:
TS: Actually, I would love to see the original production of Easy Laughter.
MS: I'd really love to have seen the original production of Einstein on the Beach. More recently, I really kicked myself for missing Waiting for Godot with Patrick Stewart and Ian McKellen

What show have you recommended to your friends?: 
TS: I recently told all my friends to go see The Woodsman.
MS: I couldn't stop talking about The Nether at The Royal Court in London and at MCC

What’s your biggest guilty pleasure?:
MS: Nothing gets me out of a deep dark depression like "The Golden Girls" (I'm not that guilty though.)
TS: Yes! We watched "The Golden Girls" box set over and over while at University.

What’s up next?: Dirt [contained] is in the beginning stages of devising a two person show about the lack of resources on our planet forcing us to move farther from nature, and closer towards the science of invention. In this play, two girls will leave the planet earth on a generation ship- a ship that will being them on a quest to create a second earth.

For more on Easy Laughter, visit www.dirtcontained.com