Review: Bioelectromagnetics As a Metaphor for Unleashing Women's Power

By Ed Malin

This December, Jody Christopherson’s new play AMP is running in repertory with her Greencard Wedding at HERE.  The play is directed by Isaac Byrne. Jody Christopherson, live onstage and in projected videos, portrays several unforgettable, electrifying characters from the 19th and 20th Centuries.
Electricity has an important role in life and death.  Italian scientist Luigi Galvani discovered in 1780 that an electric charge can make dead laboratory animals move their muscles.  He later tried that experiment on the corpse of an executed murderer, which also moved around.  Such discoveries and the political discourse of the Enlightenment fascinated the young Mary Godwin (Christopherson), daughter of author Mary Wollstonecraft and future wife of poet Percy Bysshe Shelley.  In an age where other prominent authors such as Rousseau had voiced their belief in the equal intelligence of the sexes and benefits of educating women, Wollstonecraft published “A Vindication of the Rights of Woman”.  Unfortunately, Wollstonecraft died shortly after the birth of her daughter, who found herself disliked by her new stepmother and challenged to defend her late mother’s work from less enlightened men.
 On the same stage where Mary has shown us some macabre scientific devices, such as shock-proof leather coveralls, operating tables and jars of noxious fluids, larger-than life projections fill in the rest of the story.  We also see a film of a mid-20th Century South Boston woman named Anna (Christopherson) who is trying to explain why she has ended up in a mental institution.  Anna studied cello and continually strove for recognition in a male-dominated field.  She is no delicate flower; in fact, her fisherman father taught her the best way to clean a fish. Even when she auditioned for the Boston Symphony—behind a screen—the judges still found a way to discriminate against her.  We see haunting images of Anna, strangely happy in a dilapidated asylum.   Anna’s unrepressible rage led to her imprisonment and to treatment with electroshock therapy.  Which brings us back to Mary.

photo by Hunter Canning

 In 1816, Mary Godwin, a.k.a Mary Wollstonecraft Shelley, famously finds herself in a villa on the shores of Lake Geneva in the company of her husband, Lord Byron, her step-sister Claire and Byron’s doctor, John Polidori.  The group of creative outsiders decide to write ghost stories.  Mary’s contribution is “Frankenstein”, the story of a monster, a term she explains through its etymology of showing what is inside.  Indeed, what happens when you combine pieces of different creatures and give the result new life?  What is inside of Anna after she receives sock treatment?  If she docile, or furious, or a bit of both?  A beautiful, Romantic cello soundtrack floats through it all, thanks to sound designer (and projection designer and producer) Martha Goode.  The Mary episodes include the vocal talents of J. Stephen Brantley, Chloe Dirksen, Finn Kilgore, Ryan McCurdy and Jonathan West.
This scary and enjoyable piece brings back a sense of wonder about monsters.  In the early 19th Century, Galvanism and other experiments with electricity seemed mystical.  Now, we know (and may have had some relatives who experienced such things firsthand) that electroshock therapy is not the way to treat illness.  How do we strive for equality without continually hurting women?  How hard is it for a progressive idea to flourish in this world?  Jody Christopherson gives us several believable performances.  Anna’s scrappy, South Boston accent is courtesy of dialect coach Chloe Dirksen.  Anna’s earnest longing for success is a fine achievement of director Isaac Byrne.  Stacey Boggs's lighting design sets up ghost stories the way they should be done. The sheer majesty of Mary wearing leather gear and screaming has stayed with me.  The production is enhanced by films shot by Michael Niederman and Erika Phoebus, directed by Isaac Byrne and Jody Christopherson and edited by Christophersen and Martha Goode. The films nicely transition from the long-ago world of 1816 to 1950s world which feels both real and somewhat removed. The establishing shots from a ruined asylum are by all accounts a triumph. So there we stand, looking back at ruinous ideas which ruined lives, and preparing to fight for women’s rights yet again.  I highly recommend AMP and am sure that if you like it you will like Greencard Wedding.

Review: Are We Ready for the Storm?

By Ed Malin

Theatre 167 presents Tina Howe’s new play Singing Beach at HERE.  Ari Laura Kreith directs.  You still have a few more summer days to catch this beach play.
 The residents of Singing Beach on the North Shore of Massachusetts are warned that Hurricane Cassandra will soon be close enough to do damage to their community.  Like the Cassandra of Greek mythology, the storm speaks of an inconvenient truth (in this case, Global Warming).  The question is, who in the world is listening to the warnings and what will they do next?  Residents are advised to evacuate, but we see many people hoarding supplies and preparing to stay in their homes and wait out the storm.  The tension between staying put and going away informs much of the rest of the interesting, dreamlike story.
 Piper (Elodie Lucinda Morss) is a young girl who is first seen at the beach using a video camera.  Her brother, Tyler (Jackson Demott Hill) teases Piper while knowing that Piper’s teacher, Miss Blake, has been making the school aware of climate change and has inspired Piper to think of how she could survive in the desert with the Bedouins.  Their mother, Merrie (Erin Beirnard) and step-father, Owen (John P. Keller) are facing the difficult choice of placing Grandpa (Tuck Milligan) in a nursing home.  Grandpa currently has a live-in caregiver, Bennie (Naren Weiss), but his situation has deteriorated.  Merrie once wrote a novel called “To Let: Narrow Room For Quiet People”.
 When Piper finds out about Grandpa’s upcoming move to the nursing home—which is delayed by the storm—she hides away in her room and uses a knife once given to her by her absentee father to whittle a wooden ocean liner.  Tyler, Merrie and Owen are all dealing with their frustration about Grandpa in different ways; the people most interested in Piper’s feelings are Grandpa (who has lost the ability to communicate verbally but gives good hugs) and Bennie.  Bennie says he is going to perform in a community theater production of Gilbert and Sullivan’s Ruddigore (fans may think of the aria “My Eyes Are Fully Open To My Awful Situation”).

photo by Joel Weber

 As the storm hits, Merrie retreats into her fantasy world of the ocean liner.  The Captain of the vessel looks a lot like Bennie.  Also on board is the charming and powerful teacher, Miss Blake (Erin Beinard), young stowaway Credo (Jackson Demott Hill) and Gabriel (Devin Haqq), the host of Merrie’s favorite TV show, “Mental States”.  Could the biggest celebrity on the fantasy craft be Piper’s father, Sebastian (John P. Keller) who is a renowned artist in London?  It just so happens that Sebastian is transporting 2,000 kilos of nylon tent fabric over to his latest art exhibition. Also to Piper’s delight, Grandpa is on board and he is able to walk and talk.  The Captain catches Credo the stowaway but instead of punishing him gives his own cabin and rewards him for taking the initiative to go and see the world.  Clearly, the path to success in this tale is going away from a rigid, untenable worldview and lifestyle.    As the toy craft goes through its own storm (see: poster for the current production), the passengers use the tent material for shelter and sing a rousing chorus from Gilbert and Sullivan’s H.M.S. Pinafore.  Throughout, Piper finds her voice in a way that she is not allowed to back home.
Finally, the storm is over.  Of the residents who stayed, or couldn’t flee, many have died.  The time has come to take Grandpa to the nursing home.  However, Piper may have other ideas.   Singing Beach itself begins to sing in a joyous, cosmic way.
Jenn Price Fick’s set is a beautiful place to experience this story.  Sections of logs are arranged on several levels and painted white, a convenient setup which transforms into the ocean liner.  White cloth stands in for the sandy beach, and for the tents and sails that come out during the storm. Add Matthew J. Fick’s lighting, and the result can be positively haunting.  As the cast reference some great poems (Miss Blake is several times compared to William Blake’s “The Tyger” and on the ship we hear of the “Rime of the Ancient Mariner” and see Piper ready to transform into a mighty bird) we are reminded of the destructive power of nature but also of humanity’s ability to make a positive impact.  All it takes is a sensitivity to new ways to adapt and survive.  As the world tries to survive the current President of the U.S.A., we should abandon our narrow rooms and ideas and strive for positive change.  Not just those who live by the water, but all of us.  Director Ari Laura Kreith takes the characters on an unexpectedly intricate journey.  Elodie Lucinda Morss, the youngest performer, carries much of the play.  For me, her transformation into a defiant leader is the most striking moment.  Erin Beinard, Jackson Demott Hill, John P. Keller and Naren Weiss show great versatility in their frequent transformations between the world of Massachusetts and the world of the imagination. Tuck Milligan (Grandpa, also known as the “Sleeper”) shows us what we can hear if we truly listen.

Review: A Beautiful 1888 Tale of Women On The Verge

By Ed Malin

Ducdame Ensemble is now presenting The Enchantment at HERE Arts Center. Lucy Jane Atkinson directs Tommy Lexen’s adaptation/ translation of this Swedish play. The author, Victoria Benedictsson, was a major figure in late 19th Century Swedish realism.  Sadly, she killed herself shortly after completing this play in 1888, just prior to and providing an inspiration for other notable works of the time such as Ibsen’s Hedda Gabler and Strindberg’s Miss Julie. She published several proto-feminist works, mostly under the male alias Ernst Ahlgren.

photo by Katrin Talbot

A community of Swedish artists are in Paris (see: Ibsen’s Ghosts for another take on this).  The beautiful Louise (Fiona Mongillo) is convalescing in her step-brother Viggo’s (Paul Herbig) studio where she meets and falls in love with Gustave Alland the sculptor (Matthew DeCapua). Gustave is all about freedom to make art, so the love he wants is free love, love from which he can move on as needed (and indeed we encounter one of his former lovers, Erna).  Gustave says this in a very up-front manner and she says she understands.  As it turns out, she understands that she will eventually not be able to deal with the loss of this man.  Young people will say anything, I suppose, but here we are 130 years later and men and women do not have the same access to education and selfhood. In the world of this play, a woman who is not artist can chase an artist, but she is destined to fail. (Gustave is working on a new group of sculptures entitled “destiny”.) Louise references Scandinavian folklore by implying that troll magic is drawing her closer to Gustave.  Other couples within the circle of artists contrast with Louise’s attitude.   Lilly (Claire Curtis-Ward) loves Viggo and doesn’t know if it will last, but been persuaded to marry him and settle down in Sweden. He will begin a respectable job he hates, and she will be a housewife with few opportunities to express herself. Is this success?  Another couple has been fighting at parties for years.  Bergström (Michael J. Connolly) constantly accuses Erna (Jane May) of not being loving enough. He also curses her, declaring that she should have been a man.  If the author seems to have no faith in socially acceptable relationships, this is probably because she was married off in her teens to a much older man and, at the time of her death, was having an affair with prominent Danish critic Georg Brandes.  The man (such as Brandes) always had the ability to leave a woman and move on, while the woman was mainly raised to support a man. Victoria Benedictsson has structured the heroine’s posturing, suicide and death very similarly to her own.  In 2017, A Doll’s House Part 2 is playing to acclaim on Broadway. Without giving away the plot of that play either, let’s look at an independent woman leaving a man in those days as very theoretical. Madame Rachilde, the scandalously successful Parisian literary personality of the same time period (author of “Why I am not A Feminist”, “Madame de Sade”, etc.), did it all with her husband’s financial backing.  The tension between health and illness, love and loss, life and death for Lousie is palpable.
Fortunately, in this century, a symposium at Columbia University has examined Victoria Benedictsson’s full body of work (including what she wrote under her pen name, Ernst Ahlgren) and refused to see her as merely the unhappy love slave of Georg Brandes.
Adrienne Carlile’s costumes are captivating.  Women have flowy dresses and spend a lot of time pouting in them astride sofas.  One male role,  Lind, is played by a woman (Arianna Karp) who is a pleasantly aggressive and duplicitous colleague of Gustave. I think the point that director is trying to make is that for foreign artists in Paris Art City, male privilege was all they had; but on the other hand, this is not a total denunciation of men or love, but a nuanced tightrope walk.   Mary Hamrick ‘s sets nicely delineate drawing rooms and patios, allowing the audience to observe private conversations. Morgan Zipf-Meister lighting gives us some insight into the hopeful side of art and love and the troll cave of powerlessness.

Spotlight On...Gracie Gardner

Name: Gracie Gardner

Why theater?: It's a living, breathing animal.

Tell us about Pussy Sludge: I always know my clinical depression is back when the thought "humor isn't funny" occurs to me. This show is about everything that happens before that thought. It's about a woman who gets stuck in a swamp.

What inspired you to write Pussy Sludge?:  I went to sleep on election night after the returns had come in and had this dream that crude oil was gushing out of me. Then I wrote the play. It’s a love letter to a nightmare. It’s about overcoming shame, the freedom of isolation, and asking for pleasure without knowing what that looks like.

What kind of theater speaks to you? What or who inspires you as an artist?: Theater that changes my mind or gives me a new thought or makes me feel something. It usually involves leaving a dark theater nauseated, overwhelmed, and crying. John by Annie Baker did all those things for me. The subway ride home after that show was embarrassing. Disturbing images that won’t go away usually fuel writing for me. I’m in awe of artists like Banana Yoshimoto, Vera Chytilova, Leonora Carrington, Kate Tempest, Zadie Smith, Pipilotti Rist, and Isabel Allende. I’m fortified by my friends who are making ruthless, social theater. Right now I’m inspired by Skylar, the director of Pussy Sludge, who is challenging me to be kinder to myself, my work, and others.

If you could work with anyone you've yet to work with, who would it be?: I'm lucky enough to live down the street from my role model, Isabel. She's my best friend, and I’m always trying to get her to work with me. In essence, she is the ideal human being, and there are things about her that I aspire to, like taking exercise class and finishing books in a timely way, and things I know I never will be able to come near, like her matchless power of word choice and uncanny foresight. But at the end of the day, it's her combination of kindness and brain power that makes her the person I most often look up to. I think when you start from a place of compassion and understanding, everything becomes more honest, more humorous, and more intelligent, so I think she’d be a great collaborator. She's the first person I text when I don't know what to do. We’ve done short things together, but maybe one day I will convince her to make a show with me.

What shows have you recommended to your friends?: Three Bitches by Lauren Mui, Reluctant to Burn by Korde Tuttle, and A Slow Boil by Tanya Everett.

Who would play you in a movie about yourself and what would it be called?: Larry Pine would play me, and it would be called "Dangerously Polite."

If you could go back in time and see any play or musical you missed, what would it be?: I missed my friend Beth Hyland's senior thesis because I had a ruptured ovary. I would go back and see that.

What's your biggest guilty pleasure?: Criticizing things I love.

If you weren't working in theater, what would you be _____?:  Going home after my day job and eating sandwiches and watching movies and writing.

What's up next?: Making a play about where radio lives and another about falling in love with a sarcastic dog.

Review: Searching for Truth

By Michael Block 

There are a plethora of stories that rarely get a platform to be heard. Ma-Yi Theater Company is a organization that strongly champions important stories and voices. And they have done it again with Hansol Jung's brilliant Among the Dead, playing HERE Arts Center. With surrealistic undertones, Among the Dead follows Ana Woods as she learns the truth of her parents through the horrors of war. This play may bring war to the forefront, but Jung's drama is an exceptional family saga.
Hansol Jung offers a unique brand of storytelling. Set in three distinct times and places, it's easiest to describe Among the Dead as magical memory. In 1975 Seoul, Ana learns the truth of her lineage when she receives a journal from her recently deceased father, Luke Woods. Anna is the daughter of a “comfort woman” and an American GI. When Luke's entries begin to come to life, Ana is thrust directly into the past as Luke and “Number Four” meet in the jungles of Myitkyina, Myanmar in 1944. And in 1950, Number Four finds herself on the Hangang Bridge on the verge of the bridge’s bombing. Jung shares the story by shifting time and narrative but things get funky when Ana takes the identity of her mother. Yes, theatrically speaking it's a fascinating device but we have to talk about THAT moment. As Ana begins to shift into the entries, Jung invites us to see the moment of intimacy. This means visually, Luke is forcing himself on Ana, his daughter, as Number Four. Intended or not, it came off as incest, pulling complete focus. It begs the question of the importance of the moment. It certainly did not detract from the overall perception of the play but it called attention to the narrative and storytelling. We had previously learned the truth so it wasn't as if this was new information. Sadly, this moment begs the question of necessity or shock value. Thankfully, Jung quickly recovered thanks to her powerful and fervent writing. One of the most appreciated elements of Jung's script is that while a strong commentary on war is presented, its hidden within a captivating relationship play and the journey of finding the answers of the past. She keeps the audience on their toes as the mystery unfolds, though subtlety and vagueness do play a slight role. For example, why is Ana in Seoul? The answer is briefly touched on as Luke had agreed to be buried, or in this case scattered, in Number Four's homeland. But missing that key part influences the comprehension of the story.

photo by Hunter Canning

Among the Dead is a play of great complexity and intricate layers. The four piece acting company accepted the challenge of navigating time and space. Along with director Ralph B. Pena, the success of this play depending greatly on clarity. As a whole, they did a mighty fine job. Among the Dead was, primarily, Ana's journey through the past. Julienne Hanzelka Kim took her character through the emotion motions, checking into an array of feelings. And they were often quite heightened. As Luke, Mickey Theis played the monotony of war but when he freed up, he came to life. Theis pulled out the All-American charm despite the unsettling conditions. Will Dagger brought a welcomed lightness and humor to, well, Jesus. That being said, there was a slight lack of stability in his performance. Dagger's presence needed to be more grounded to truly grasp the significance of the character. Diana Oh as Number Four offered a heartbreaking performance. Oh naturally tapped into the horrors of war to pull out a strong character.
Among the Dead required a heightened sense of storytelling that demanded perfection and intricacy. One tiny flaw could derail the entire production. Luckily, director Ralph B. Pena’s strong focus on story, which extended into the overall design, propelled this play to the top. Scenic designer Reid Thompson created a magical world of wonders. At first glance, we see a 70’s inspired hotel room that filled the entire space. But the reality of war found its way in. With the jungle surrounding, Thompson and lighting designer Oliver Wason created theatrical magic. Between the world beyond the wallpaper and the hidden traps, Pena’s staging allowed you to wonder what other tricks were up his sleeves. But for those few who don’t like surprises, Thompson didn’t always hide the magic so well, exposing the flaws of the design. Kenneth Goodwin’s extraordinary sound design captured the essence of Jung’s world. With the ambiance of war and the importance of the radio, Goodwin played into the necessity of reality. And it worked. Perfectly.
Among the Dead is bound to draw some criticism with some of the content but regardless, Hansol Jung’s play is a winner for Ma-Yi.

Review: The Game of Life and Death

by Michael Block

Rather than opting for a generic family drama, Leegrid Stevens levels up his story by layering in the world of 8-bit gaming in The Dudleys. A cathartic piece about the aftermath following the family patriarch's death, The Dudleys explores human emotion in a nostalgic digital world. Produced by Loading Dock Theatre at HERE Arts Center, The Dudleys is unique in execution but lacks a strong, cohesive story to carry the audience on a two-hour journey.
Told through the unique lens of an 8-bit video game of yore, The Dudleys is a play about loss and grief. A young man returns home to burry his father. He goes into his childhood bedroom and is engulfed by an old Nintendo game that has seemingly come to life. As the gamer plays, the Dudleys, the titular family from the game, engage in the aftermath of the recent tragedy, in classic game form. Between killing zombies to running from the cops, Leegrid Stevens offers a sentimental feel to the story. But there is no mystery or surprise to be had. The moment the gamer walks in and the game comes to life, the big twist becomes instantaneously predictable. While the story ultimately comes together, confusion sets in when the gamer presses start. The biggest roadblock for The Dudleys is the rules of the world. And the rules of this world are integral. Unfortunately, they don’t work. The story is essentially told out of order. The levels, or scenes, are not chronological. But in the world of video games, who is manipulating the level order and why is that allowed. Sure, from a theatrical standpoint, Stevens story order is interesting. But it doesn’t work with the concept he established. Stevens’ mission seemed to be infusing lighthearted humor into the weighty family drama. He found a way to bring that in through the gaming. His characters were defined but the dialogue was often bogged down by metaphor. For a play that relies on relationships, the familiar bond wasn’t as strong as it should have been. While each character had their personal woes and issues, they seemed to live in their own solitary world.

The Dudleys is an ensemble effort yet it was all about the individuals. The standout of the bunch was Erik Kochenberger as Vic. Kochenberger has remarkable presence on stage. He has a command that is effortless, with an ease to crafting a relatable character. Kochenberger has a cinematic charm to his performance. Marlowe Holden had a complex character with Sylvia yet Holden had the sensibility to find the positivity through darkness of Sylvia’s situation. Amy Bizjak’s eccentric Meg was a brilliant antagonist despite the confusing arc her character experienced. Erin Treadway was able to find humor within the death-hungry widow Clara. Despite the outrageous world of the play, Treadway found reality in her character.
The draw of this play is the unique visuals created by the skilled creative team. The set created by Jonathan Cottle was virtually just a canvas for video designer Reid Farrington. Farrington, along with animators David Bengali, David Mauro, Angela “Overkill” Hill, Roger Miller, Dan Monceaux, & Leegrid Stevens, captured the video game vibe effortlessly. It moved succinctly with the choreography from director Jacob Titus. The Dudleys was a tech heavy show. And it’s clear much time and thought went into the logistics. But Titus didn’t seem to handle the story as well as he did the production. Though the text was a giant factor. As much as you wanted to give sympathy to this family and the situation, there was little to give. When it came to costumes, Heather Carey found a color scheme for each individual that popped. Though the brown on Clara was a bit of a letdown in comparison to the vibrancy around her. Even if her character was depressed, a different color would have done the trick. Carey paid attention to fabrics and patterns to match the 8-bit world without becoming forced.
The technical execution of Leegrid Stevens’ play was what The Dudleys will be remembered for. It was a daring production to say the least. Perhaps it was the lack of connection to the material that caused the audience to not get on board for the ride. When the audience is unsure of whether to clap or not at the intermission break, it’s a warning sign that something isn’t working.

Spotlight On...Amir Darvish

Name: Amir Darvish

Hometown: Boston

Education: Brandeis

Favorite Credits: Seen/By Everyone (of course), The US Premiere of The Golden Dragon, Spin City & my one-man show Mercury: The Afterlife and Times of a Rock God

Why theater?: There is nothing like the rush of performing live and connecting with your audience in real time.

Tell us about Seen / By Everyone: After much research, we were very drawn to the way we were mourning (ones self) and dying online. Something so private has become so public. This was common practice back in the days of ancient Greece. In modern culture, this is new and really hits home. We wanted to explore this phenomenon to shed some light on it.

What inspired you to create Seen / By Everyone?: I was frustrated by constantly being cast in roles that were defined because of my background or the color of my skin. It is no secret that there is a lack of diversity in the industry today. People who look like me are often cast as terrorists, cab drivers or someone who has to or must speak with an accent. Instead of just complaining, I decided to do something about it. I knew I could create something amazing and think outside the box with the outstanding talents talents of Meg MacCary, Matthew Cohn, Jen Taher and Norm Munoz. Seen / By Everyone definitely has a group of diverse creators as will as a beautiful cast of multi-ethnic actors.

What kind of theater speaks to you? What or who inspires you as an artist?: I am really drawn to new work & plays, especially ones in which you see actors of all diverse backgrounds cast, and their ethnicity does not define the roles they play. It’s 2000 f--ing 16 and sometimes our industry is so stuck in the dark ages. I must say I do admire James Franco. He does whatever he wants. Takes on so many different kinds of roles and just doesn’t care what people think. I admire that. He is a risk taker and a cutting edge actor. That inspires me.

If you could work with anyone you’ve yet to work with, who would it be?:  Put me in any scene with the actors on "The Walking Dead" or smack in the middle of Vera Farmiga & Freddie Highmore in "Bates Motel". And Jessica Lange is a given.

What show have you recommended to your friends?: If they do the revival of Sunset Boulevard, that just recently closed on the West End with Glenn Close, on Broadway…I would say run!

Who would play you in a movie about yourself and what would it be called?: Umm, can we bring back Clark Gable or Cary Grant? Omar Sharif (jr) would do a bang up job and it would be called “The Little Prince That Could.”

If you could go back in time and see any play or musical you missed, what would it be?: Who wouldn’t want to go back in time and see Brando & Tandy in A Streetcar Named Desire & Streisand in Funny Girl?

What’s your biggest guilty pleasure?: Batman. I love the duality.

If you weren’t working in theater, you would be _____?: Dead … I am dramatic after all ☺

What’s up next?: The 2nd staging of Seen/By Everyone…this is only the first step, along with some TV and VO work peppered in for good measure.

For more on Amir, visit www.AmirDarvish.com. For more on Seen/By Everyone visit SeenByEveryone.com and Facebook.com/seenbyeveryone

Spotlight On...Matthew Cohn

Name: Matthew Cohn

Hometown: New York City

Education: Dartmouth College

Favorite Credits: Harry Horner in The Country Wife—the show on which I met Meg MacCary, who pulled me into Seen/By Everyone. Incidentally, Katie Bruestle, another actor in Seen/By Everyone, was also in The Country Wife.

Why theater?: Acting affords me the opportunity to pretend to be someone else for a few hours a day. Theater in general, as a collaborative art, affords the opportunity to transcend each participant’s weaknesses and blind spots. Whether or not that opportunity is realized is an open question, evaluated on a show-by-show basis, but only a collaborative art allows for the creation of an artistic whole greater than the sum of its parts. I like to think that Seen / By Everyone has crossed that threshold with room to spare.

Tell us about Seen / By Everyone: It’s a show about dying, grieving, and living online. Whereas even as recently as fifteen years ago, it felt like life just kind of melted into air when we died, now—assuming we’re active online—we leave behind so much more of a presence. And that presence has a degree of permanence that seems very new and very unusual. People can still comment on your Facebook page after you die. You can still see their tweets, or their even more mundane activity. Whereas once they were consigned to shoeboxes or albums on a shelf, pictures of me standing with people who died almost ten years ago will pop up on my screen, while I’m scrolling through the news. These photos or these memories are thrust upon you, as if there’s some agency behind the action. The ghosts seem real. And you stare at these people, or these pets, or old homes, and see that they’re stuck in time while you’ve gone gray and tried to move on. Because everything on the internet stays there forever, the dead won’t let us go they way that they used to (again, ascribing agency where there is none, and in ascribing that agency, creating the illusion of a ghost-agent). The show is about wrestling with the many kinds of death in this totally new environment.

What inspired you to create Seen / By Everyone?: I remember reading an article—which I have since been totally unable to find, much to my chagrin—that talked about how all of these young men who died during the height of the AIDS epidemic didn’t have a presence online that many of their surviving contemporaries did. The gist of the article was that there wasn’t this same record of people who, had they lived, would have Twitter feeds, websites, Facebook pages, etc. I also have some friends from college and high school who died shortly after graduation, and they’ll be my friends on Facebook—and 22 years old—forever. (Dartmouth was among the first places to get Facebook, so a number of us have been on it for twelve years.) There just seemed to be so much dramatic potential in the way that death and mourning has changed that it seemed worth exploring. And there was, from the outset, a strong desire to exclusively use found text. By collaging other people’s often mundane or repetitive words together we could create something weird and beautiful. We all liked the idea of extending the collaboration outward beyond just the five brains in the room, making the text an almost active participant.

What kind of theater speaks to you? What or who inspires you as an artist?: I really do like all kinds of theater, so long as it’s unironic and unapologetic. I’d rather watch something fail spectacularly than fall safely short of greatness. I also have an enormous soft spot for musicals, particularly of the Rodgers and Hammerstein variety. Some contemporary musicals have been excellent, but since Hair, I feel there’s been a real movement away from good use of Baritone and Bass voices, to the detriment of the overall sound. I miss the more classically-trained orchestration of older musicals. (Obviously this criticism does not apply to someone like Sondheim.) I also go to the opera a lot. As for who inspires me as an artist? A principal inspiration of late has been David Bowie. I saw the Bowie exhibit at the Museum of Contemporary Art in Chicago a couple of years ago, and was really struck by how fearless an artist he was. He was deeply committed to putting on a show, and entertaining people, yes. But he made music that interested him. There was no playing it safe. And some of his albums aren’t very good! And that is totally fine. Because he managed to retain his commitment to following his artistic impulses and trusted his own taste. The fact that Blackstar (his final album) is such an unqualified triumph is astonishing. Hell, I probably play it as much as I play Space Oddity, which is quite a bit.

If you could work with anyone you’ve yet to work with, who would it be?: Bowie’s dead, so I’m going to go with Werner Herzog. Christ, that’d be a trip.

What show have you recommended to your friends?: The last big commercial thing I recommended to people was probably Jerusalem, largely due to Rylance’s towering performance. Most recently, I recommended the Richard II at BAM to my friends. I do a lot of classical theater—Richard II is one of my favorites, behind Henry VI.3—and my best friend is a huge David Tennant fan. It seemed like a no-brainer.

Who would play you in a movie about yourself and what would it be called?: "A Bit Much: The Matthew Cohn Story", starring Idris Elba. (In a post-Hamilton world, I think we should more aggressively pursue creative casting, and I’d like to pretend that I’m that handsome.) Or if you’d prefer I stick to Jewish actors, I’ll go with a young Paul Newman.

If you could go back in time and see any play or musical you missed, what would it be?: The world premiere of The Eumenides. Wouldn’t it be wild to find out if women actually miscarried because they were so frightened?

What’s your biggest guilty pleasure?: Trashy movies or TV shows about spies. If there are spies, I will watch it. I have no idea why.

If you weren’t working in theater, you would be _____?: An astronaut.

What’s up next?: I produce a new works theater festival up at Dartmouth College, so the day after closing, it’s up to Hanover for me. Then I’m taking a vacation. There are also some other shows I’ve had on the back burner that I’m going to start working on. Stay tuned!

For more on Matthew, visit www.matthewcohn.com

Review: Family Matters

As a child, it's believed your parents are invincible. Even though we know we grow up, it's hard to imagine that do too. But the sad reality is the old free get, the older get. In A. Rey Pamatmat's smartly executed House Rules, the heart of family is explored as two sets of siblings, who happened to grow up together, learn that blood is thicker than water as age and illness take a toll on the ones they loved.
Through an exploration of culture and generation, House Rules is an ensemble dramatic comedy with an exuberant amount if heart and truth. When Rod and JJ's father falls ill and laid up in a hospital bed, their lives are turned upside down as Dr. Rod is dumped by fellow doc Henry and JJ uproots his rising LA life. Meanwhile sisters Twee and Momo go head to head for attention, affection, and approval by their mother Vera. Through an exploration of generations and culture, House Rules is all fun and games until reality sets in. There’s a universality in Pamatmat’s story. With the exception of Henry, Pamatmat’s characters are Filipino. Through two generational lens’s, Pamatmat explores Filipino tradition and culture allowing for a wonderful narrative. There is an internal conflict for the younger quartet to assimilate yet still honor their heritage. It’s especially seen in the food fight between Twee and Momo. And in the end, Twee and Momo’s spat draws back to family ties. And that’s where the heart of House Rules is. Pamatmat has crafted a beautiful family play. The relationships are genuine. The struggles are true. It’s an honest portrayal of growing up in the adult game of life. Structurally, Pamatmat has crafted a strong narrative for each individual, though Ernie does have a significantly smaller arc. He has taken the time to give each character the respect they deserve. But there is one thing that is striking. Each person seems to have an additional story arc counterpart present. Vera and Ernie are connected. “Bad kids” Twee and JJ end up having one another. Rod has an emotional conflict with Henry. And that leaves Momo without a side companion. Pamatmat suggests some turmoil between Momo and roommate Sheila but without her presence, it’s easily forgotten. Perhaps Sheila existed in another draft and her references are just hold over, but with what is mentioned, some sort of Momo and Sheila arc could be interesting to show the outside stresses Momo must deal with in addition to her family. Though House Rules was an ensemble story, finding the right moment to close the piece seemed a bit hard. Without spoiling anything, Twee and Momo’s personal conflict finds resolution after an event reminds them the importance of family. Pamatmat stylishly harkens back to Twee and her language-learning program that happens to be teaching her family phrases. It’s on the nose but beautiful. You’d think that’s where the black out would come but it ends with Ernie in his hospital bed. Perhaps clarity was not in the production’s favor, based on the script, what was written did not happen. Further more, jumping from the sisters to Ernie seemed illogical. Had we seen Rod and JJ, maybe it would have been satisfying, but alas.

photo by Web Begole

Pamatmat crafted a very specific piece of theater. It was exceptionally cinematic in structure. How director Ralph B. Peña overcame the cinematic obstacles was crucial for House Rules success. Thankfully Peña did an exceptional job staging the play on Reid Thompson’s sleek design. Thompson truly used HERE to his advantage. It was a fabulous use of space. With so many locations to capture, Thompson married tradition with modern touches strategically placing each local on stage. Perhaps theater magic and Oliver Wason’s exceptional lighting design assisted in the ability to isolate scenes. Sure, you knew everything was visible, but they melted away. The only questionable element of Thompson’s design was the rainbow road tiling on the bottom portion of the deck. While it did create a cool effect with Wason’s tile by tile light up, the colors were jarring and could easily achieved the same success with a neutral pattern. The score that Fabian Obispo used incorporated a pretty lively jazz-infused theme. While it may not have deviated much, but it was present in every transition. It even was used in the end. Shockingly, the mood of the music didn’t match the mood of the moment, causing a jarring feeling. It sadly pulled away from the emotional beat.
The company of House Rules was comprised of a pretty stellar ensemble, each bringing a unique flavor. Taking on the grounded siblings, Tiffany Villarin as Momo and James Yaegashi as Rod found strength as the medical kids. On the opposite end of the spectrum were Tina Chillip as Twee and Jeffrey Omura as JJ. Both added a jolt of energy, though Chillip had some moments of sitcom over-acting. As Henry, Conrad Schott was soft, both personality and audibly, and subtle.
House Rules is a strong story about family that was smartly executed. The A. Rey Pamatmat and Ma-Yi Theater Company have something special on their hands.

Review: Ain't No Party Like a Donner Party

Growing up as a 90’s kid, playing the computer game “The Oregon Trail” was literally all fun and games. You didn't quite comprehend the stakes and reality when one of your party would die. You kept on wagoning along. But the reality of the westward journey that the game was based on had its horrors. Just ask the Donner Party. In AntiMatter's sensational The Tower, the audience is thrust into an immersive experience where the ghosts of the past haunt Donner Lake as their horror story is told in a visceral way.
For those needing a bit of backstory, The Donner Party was a group of American pioneers who set out West for California in a wagon train. After a series of mishaps, the party became snowbound in the Sierra Nevada. And for some, the only way to survive was to resort to cannibalism. This spectacularly horrific tragedy was the premise for Adam Scott Mazer’s The Tower. Staged and transformed at HERE Arts Center, The Tower is an immersive extravaganza where you and your friends will enter present-day Donner Lake, home of the horrific acts, as the past is thrust into the present. You get to witness some of the Donner Party’s greatest players including James and Margret Reed, Tamzene Donner, and Lewis Keseberg as they chose to embark on a relief effort or stay back at camp where their demise was imminent. Here's the way the night is set up: you are encouraged to explore the snow-dusted campgrounds of Donner Lake as The Guide retells the history of the events. Throughout the tour, you can move around, if you so please, to get a better glimpse of the real-live action taking place. But be warned, if there is an actor bulleting in your path, it’s best to get out of their way. These people are out for blood. With dozens of characters unable to make it into the theatrical retelling, Mazer gives you the hits of the Donner Party while blending a psychedelic allure of insanity into the mix. You watch as the migrants settle into despair and lose themselves and their trust of sanity. What Mazer, director Philip Gates, and their incredible design team do is allow you to choose your experience. With various playing “stages” set up for the scenes, you decide how close to the action you want to be. Journey plays tend to be a hard to sell on stage. But in this atmosphere, the journey is happening all around you. It’s almost a full-five senses experience. In the next iteration, because this show will most certainly have more lives, it would be even more exciting to get more of a smell and taste to enhance the experience. Just imagine what it could be like to smell the pine of Donner Lake and taste a little bit of beef jerky as the Donner Party chews one of their own. Regardless of what could be, what is present it worth every penny. With only two hours to play and so much time to span, Mazer has no time for character development. Yet it didn’t seem to matter in this environment. It’s best to know some history before going in.
Even knowing little about the people, it was the fight and determination that kept those characters and this piece flowing as it was perpetually snowing. And the ensemble did a tremendous job with their treacherous journey. It was truly an ensemble effort. To guide the audience through Donner Lake, Joe Petersen as The Guide brought the typical tour guide scripted cadence. When things took a twist and his guide persona was ripped away, Petersen had true grit. As the adventurous travelers who went forth for help, Karsten Otto as William Eddy, Leah Walsh as Margret Reed, Marlowe Holden as Sarah Foster, Craig Mungavin as Charles Stanton, and Rebecca Hirota as Luisa were forced into them to physically freeze in the elements. With the audience potentially in their face, each actor needed to go above and beyond to make the theater feel like a frozen tundra. And they did just that. They used every inch of their body, offering a teeth-chattering vocal. You could see the amount of physical exhaustion they exuded. Individually, it was Leah Walsh ‘s Margret that shattered hearts. While she may not have been as sugary, Marlowe Holden’s Sarah was a warrior. As the tent and cabin-bound stragglers, Elizabeth Bays as Virginia Reed, Curry Whitmire as Landrum Murphy, and Courtney Fenwick as Tamzene Donner were able to capture the more comical moments of Mazer’s text. Bays and Whitmire as the meet-cute home alone kids had a special bond. When the fantastical moments are brought into the play, it’s Fenwick who delivers the fear. Between the contacts and the meat market scene, Fenwick may haunt your dreams. Leave it to the true outcast of the tale to be one of the most intriguing characters. Rudi Utter’s Lewis Keseberg, the last remaining Donner Party member and self-proclaimed King of the Meat was filled with fervor. His character’s journey may be one of the strongest in the text which allowed Utter to elevate him to a brilliant force.

It takes a revolutionary vision to make The Tower come to life. Director Philip Gates had just that. Gates and his concrete design team reimagined how to transform a common theater space. Scenic designer Peiyi Wong’s unparalleled design transported the audience through time and space. With virtually four “stages” for Gates to play in, Wong paid attention to detail, providing intricate detail without overstuffing the space. The subtleties, between the wood features to the forests-scape on all surfaces, Wong transformed HERE Arts Center into something you wish would never change. The lighting design by Alana Jacoby was precise and sharp as it bouced from scene to scene, but when the travelers were in the wilderness, the cold light was perfectly terrifying. The costumes from Summer Lee Jack fit the period well. Even though they were layered, you could see how the thin fabrics lead to their demise. The hero of the design team was Sam Kusnetz. Kusnetz played double duty as sound and projection designer. He was the defining factor in bringing the audience to Donner Lake. In a time where sound design isn’t getting the recognition it deserves from a certain award show. The soundscape Kusnetz gives The Tower is essential for allowing you to feel present. The wind alone was splendid. When it comes to Kusnetz’s projection design, it was something noteworthy. From the movement of the clouds to the incidental films, Kusnetz filled the room in every way possible. With such brilliant collaborators to work with, Gates seemed to have every wish he ever desired at his disposal. His staging was deliberate and offered an easy flow for the show. When he did go for the element of surprise, depending on where you were in the space, you might have had a moment of fear in your eyes.
Though the end was horrific for the Donners, the future is bright for The Tower. There’s something about the intimate yet vast space that made this experience worthwhile. Keep an eye out for the next iteration of The Tower. And hope you get the five-senses version. Cannibalism has never been so exciting.

Block Talk Episode 2- Philip Gates

In the latest episode of Block Talk, we chat with my friend and all-around incredible theater artist Philip Gates! Phil is currently directing The Tower by Adam Scott Mazer at HERE Arts Center. Phil and I talk about The Tower, the evolution of the project, sticking out in Indie theater, and his favorite spot in all of New York City!

Review: Embracing the Next Frontier

There will always be somewhere new to explore. It's our human condition to seek the next frontier. With virtually our entire planet now accounted for, the next frontier just so happens to be the next planet over. In MJ Kaufman's How to Live on Earth, the not too distant future is explored where a group of humans will be sent to Mars to colonize without any prospect of coming home.

photo by Hunter Canning

How to Live on Earth is a fascinating character study that examines hope, fear, and everything in between with a backdrop of the space unknown. Through a series of intertwining stories, How to Live on Earth tells the story of Aggie, Bill, Eleanor, and Omar, and their hope of leaving behind earth for a new heroic adventure. We watch as they each battle the consequences of leaving and how it not only alters them but those around them. With some wonderful themes to explore on both a personal and universal level including escape, adventure, and the unknown, Kaufman truly highlights the importance of character. But the gravity of importance of singular characters was lost through the double casting. With many company members playing multiple characters, the significance of the primary four diminished. By keeping each actor an individual character, it would truly capture the importance of each relationship. There were a few moments that until you heard their name referenced or their scene partner appeared, it was difficult to figure out who was who. How to Live on Earth is truly an ensemble driven play. The way Kaufman structured the script was quite interesting. The narrative at the start focused equally on the quartet but once they result if their inclusion on the mission is revealed, their arcs seemed to be given different weights, especially Omar and Robert. Kaufman gives great importance to their story by giving them the final moment and line. But it had been scenes since we last saw them and the audience didn't know that that blackout was the finality of the play. Another glance at the overall structure could work to Kaufman's advantage. Additionally, the timeline of slave travel was a bit rushed and forced into the storytelling.
The ensemble tapped into their characters to make great discoveries. Charles Socarides was great in his dual roles as Bill and Russ. Socarides found a way to make his characters vastly interesting. While one was a slacker poet and the other was an over-confident doctor, Socarides eased into each role, making you wonder at first if it was a different actor. Amelia Workman as Eleanor was grounded and poised. The bond between Workman’s Eleanor and Socardies’ Russ was possibly the most dynamic bond on stage. Playing Robert and Rick, Adam Harrington didn’t quite find a difference in the roles. It wasn’t until late in the show before you could truly tell that he wasn’t both Aggie’s father and Omar’s boyfriend. As Aggie, Molly Carden was living on her own planet. Though her character was one who longs for escape from the life and people around her, as an actor, she didn’t quite seem to connect with her scene partners.

photo by Hunter Canning

Director Adrienne Campbell-Holt brought a very cohesive vision to the stage. Campbell-Holt lifted Kaufman’s concept with ease through a dynamic and invigorating manner. Campbell-Holt highlighted the relationships of characters by keeping things simple. In the grand scheme of design, Amy Rubin’s set was impressive and great but Campbell-Holt kept the scenes tight utilizing the personal lens against the global picture. Rubin’s design transformed the HERE Arts Center Mainstage. Rubin capitalized on the interesting diagonal of the horizontal room. The scenic elements had a retro inspired feel that called back upon a time the heyday of the first space exploration. One of the most dynamic elements of Rubin’s set was the scenic shift that occurred when the mission to Mars officially took off. The walls began to disappear to showcase a scrim with a space projection by Lianne Arnold and occasional lighting tricks by Grant Yeager. With this stunning visual, you have to wonder was it worth not having it prior? Regardless, Yeager offered a variety of lighting looks that were captivating and motivating. Paired with the lovely soundscape by M.L. Dogg, the overall design of How to Live on Earth was top notch.
How to Live on Earth is a wonderful concept on paper. The thesis that MJ Kaufman offers is enough to draw you in. But there were some bold choices that were mystifying, altering the big picture of the show. The relationships are present. It’s the storytelling that could be adjusted.

Review: The Battle of Reinventing Love

Love is an ever-changing thing. As the world around evolves, the ideals of courtship seems stuck, all thanks to the romanticized models of some classic novels from the past. From “Pride and Prejudice” to “Wuthering Heights”, these novels epitomized romance. In Theater Reconstruction Ensemble’s You On the Moors Now, the philosophies of love are dismantled and put back together in a clever manner, mashing up four beloved romances.
Written by Jacklyn Backhaus, You On the Moors Now pits the men against the women in the battle of love. You On the Moors Now takes the audience on a literary journey as four beloved romances are given new spin as four iconic women search for their own identity. Lifting the characters from “Pride and Prejudice”, “Wuthering Heights”, “Jane Eyre”, and “Little Women”, Backhaus and the ensemble have put a current twist on these beloved stories by mixing language and themes while maintaining the integrity of the source material. Backhaus cleverly brought the weight of the theatrical theory the ensemble was tackling and blended heart with humor. Though some of the characters may have appeared as rejected characters from a great “Saturday Night Live” sketch, the commitment and dedication to the character was present. And hey, love is a funny thing!

photo courtesy of Suzi Sadler

The large ensemble was filled with ability. With a veteran group of actors, the vitality on stage was contagious. It was quite evident that the cohesiveness within the two sets of ensembles, the quartet of lovers and the supporting players, was dynamic. The key players in the show were the eight lovers lead by Kelly Rogers’ Lizzy, Preston Martin’s Darcy, and Jon Riddleberger’s Rochester. Rogers gave Lizzy a wonderful presence, finding her own tones for the character through humor and heart. Martin’s Darcy and Riddleberger’s Rochester need their own spinoff with that adorable chemistry they had going on. Martin brought a colorful heightened hysteria to Mr. Darcy that was nothing short of scene stealing. Riddleberger’s mix of hilarity and desperation was charming. Witin the other group of actors, strong performances came from the character-driven Michael Barringer and the strong, grounded Claire Rothrock. Rothrock’s smooth toned River Sister was definitely a highlight.
Director John Kurzynowski had a vision. Kurzynowski lead the entire team through the landscape that he and Backhaus established. The theatrical vocabulary was filled with specific nuances. From hand gestures to repetition in staging, the Kurzynowski and the ensemble knew the world inside and out. However, it didn’t always translate to the audience equally as well. Occasionally intellectual prowess replaced clarity. The clashing of the worlds, past and present, was made clear with the two distinct sets of actors, but until they interacted it was unclear why costume designer Joseph Wolfslau’s period and modern clothing appeared simultaneously. Storytelling was a heavy factor in understanding the arc and goal of You on the Moors Now. The individual actors had a role to play. But there was one who seemed to have two. Eben Hoffer began the evening introducing the piece and then taking his place at a desk behind a computer, assumingly playing music cues. And then he casually joined the supporting group. This affected some of the fluidity the piece was developing as well as trying to determine what his presence on stage meant. The soundtrack offered by sound designer Alex Hawthron fit the world nicely. The music was like a metronome for the pacing of the scenes. The lighting by Marika Kent was simple yet beautifully calculated. The set, also by Wolfslau, was simple until the wondrous reveal of the floorboards. While it was an intricate and interesting conceit, it did alter the fluidity that Kurzynowski had established as this transition was much slower and difficult to tackle.
You On the Moors Now is a special piece of theater that explores an engaging topic. On the whole, it’s a captivating examination on courtship and our ideals of love, but this journey may only open eyes rather than minds.

Spotlight On...Jaclyn Backhaus

Name: Jaclyn Backhaus

Hometown: Phoenix, Arizona

Education: NYU Tisch, BFA in Drama.

Favorite Credits: Set in the Living Room of a Small Town American Play, my 2013 play for Theater Reconstruction Ensemble (TRE). I wrote it and played Florence Del Franzia, a creepy neighbor of a very fraught Midwestern family. My other favorite is Folk Wandering, a musical I wrote with Andrew Neisler and Mike Brun.

Why theater?: I wasn’t sure how my writer’s voice worked until I found theater, which gave me permission to build and problem-solve things in a room alongside intelligent, thoughtful, and caring humans. I also love the freedom of exploration built into the form and built into the conversation between what’s onstage and who’s watching it.

Tell us about You On The Moors Now: You on the Moors Now begins in a grassy alternate reality where Jane Eyre ("Jane Eyre"), Cathy Earnshaw ("Wuthering Heights"), Jo March ("Little Women"), and Elizabeth Bennet ("Pride and PREJUDIIIIIICE") all meet each other after they’ve rejected proposals from the men who loved them. It’s very literary, very humanist, very feminist, and also very strange and very life-affirming. It’s my third show as resident playwright for Theater Reconstruction Ensemble, which is a company of artists that spends awhile collecting and exploring and working from existing texts or theatrical styles before tackling a set script.

What inspired you to write You On The Moors Now?: I am deeply moved by the women at the center of those four books, and John and I decided to focus the next TRE piece on 19th century literature—so it all started there. While I was writing the play I was in the middle of planning my wedding to the man of my dreams, so I was thinking a lot about love and who you align yourself with in life, and that really pumped my gears up. Also, I’ve worked with TRE over the course of many shows and I am always deeply inspired by the director, John, and the ensemble of performers and designers who contribute to each piece. They make me write better plays.

What kind of theater speaks to you? What or who inspires you as an artist?: I really like theater that contains weird characters and magic places, or theater that relies on the audience’s capability to make leaps of imagination. I love the work of playwrights like Anne Washburn and Annie Baker and companies like the Debate Society and ERS.

If you could work with anyone you’ve yet to work with, who would it be?: Emma Thompson and Bjork and Mark Rylance in something about living inside a volcano. Is it a play? A film?  A song cycle? An immersive app? Do I have to write the dystopian quest novel that it will be based on first?

What show have you recommended to your friends?: I’ve been recommending a bunch of things I haven’t seen yet because I’m super stoked about finally getting to see them: Chiara Atik’s 5 Times in One Night which is going up at EST, Kate Benson’s Great Lakes…, and the Soho Rep/TFANA revival of An Octoroon by Branden Jacobs-Jenkins.

Who would play you in a movie about yourself and what would it be called?: This one is hard! No wait, it’s not. Anjelica Huston would play me in a movie called "I FORGOT ABOUT THAT" and it would be sort of about me but also sort of about a house on the edge of the world where the last person on earth lives.

If you could go back in time and see any play or musical you missed, what would it be?: The Bengal Tiger at the Baghdad Zoo by Rajiv Joseph. He was one of the first teachers I had when I moved here. Then a few years later when that play opened, I can’t remember why I didn’t see it. I didn’t have the money? I was working? No excuse was good enough.

What’s your biggest guilty pleasure?: "Game of Thrones" and spicy potato chips, often at the same time.

If you weren’t working in theater, you would be _____?: I would be a winemaker’s apprentice. I would work in a very moldy French wine cave. Or some sort of museum curator/librarian who designs stationery in my spare time.

What’s up next?: My company Fresh Ground Pepper, which focuses on creating development opportunities for artists, is kicking off its 7th season on February 20th. Anyone can get involved and submit their work at www.fgpnyc.com! I’m working on a play called Men on Boats about the Grand Canyon expedition in 1869. And I’m developing another musical project with Brun and Neisler, a trilogy called Bull’s Hollow.

For more, visit reconstructionensemble.org.

Blog Hijack: Unsex Me Here

In today's edition of Blog Hijack, Unsex Me Here creators Annalisa Ledson, Lori Parquet, and Jamie Watkins share a little about their latest project about the wicked ladies of Shakespeare!