Spotlight On...Jesse Manocherian

Name: Jesse Manocherian

Hometown: Mamaroneck, NY

Education: Northwestern University’s Theatre Department and Music Theatre Program

Select Credits: Leo Frank in Parade in Chicago, New York, and Pittsburgh. Other favorite credits include: The Hidden Sky, Seussical, The Baker’s Wife, Opa!, Falsettos, The Wild Party. Readings, workshops, and concerts with Yale Rep, The Director’s Co., the New York Theatre Barn, the Cell Theatre, and the ADL, among others.

Why theater?: I believe in presence above all else. I think when we show up and share a space openly and honestly, we really get to exercise and exorcise the way things are.

Who do you play in Insomnia?: Brad, a gay writer in his 30s who can’t sleep and is trying to FINALLY write something meaningful.

Tell us about Insomnia: I think Insomnia is wonderful because it fits into the cannon of musical theater — it’s born of traditions explored in Company, Sunday in the Park, A New Brain, even Fun Home — but continues to evolve them. It’s both very of the moment and timeless — and I think the music is the best example of that: it has these soaring melodies that are at once completely new and interesting, but somehow very familiar.

What is it like being a part of Insomnia?: This has been one of those great blessing: Brad is the kind of role that doesn’t come along often, and I have been so very fortunate to have the opportunity to push myself — musically, dramatically, personally — in a room of incredibly supportive and talented people. It’s not every show that asks so much of you but give you so much back.

What kind of theater speaks to you? What or who inspires you as an artist?: I like theater that demands our presence in the space. My theater heroes for as long as I can remember are George C. Wolfe and Joe Mantello. Ivo van Hove’s work has also been a bright spot lately, but the cabarets of Sherie Rene Scott, Lady Rizo, and Taylor Mac are the people who jump to my mind as the voices I most relate to: artists who unapologetically share their authentic voices and, in doing so, encourage us all to do the same.

Any roles you’re dying to play?: That list goes on and on. I could make the same list I did earlier (Bobby in Company, George in Sunday, Gordo in A New Brain) with the addition of Louis in Angels in America, but I am sure I am leaving tons off that list, and I also love working on new roles. Also, there is nothing like the gift of a role you thought was one thing and reveals itself to you.

What’s your favorite showtune?: Depends when you ask me, but right now I just got to a place where "Being Alive" is the first thing that jumps out of my mouth when I get to sing.

If you could work with anyone you’ve yet to work with, who would it be?: HOW DO YOU PICK OUT FLAMES IN A FIRE!!! This is the real list I couldn’t make—how can we know who we want to work with until we work with them? Based on their work, any of the theater heroes I mentioned previously—oh and Michael John LaChiusa.

If you could go back in time and see any play or musical you missed, what would it be?: Again with the impossible lists! Off the top of my head: Carol Channing in Gentlemen Prefer Blondes, Barbara Harris in On a Clear Day, the original cast of Follies, the original cast of A Chorus Line...I wasn’t going to say Company again, but it is definitely on the list.

What show have you recommended to your friends?: Shuffle Along was hands down my show of the season.

What’s your biggest guilty pleasure?: I like food and lots of it, but that’s not guilty…so maybe musical theater.

What’s up next?: I’m working on a cabaret, but really I hope I get to do more Insomnia and soon, I am loving wrestling with this one.

Spotlight On...Ovi Vargas

Name: Ovi Vargas

Hometown: Born in Brooklyn, NY and raised in the Suburbs of Boston.

Education: Graduated from The Boston Conservatory Of Music with a degree in Musical Theatre.

Favorite Credits: The Dining Room, The 2000 Godspell with Stephen Schwartz, 30th Anniversary of Hair.

Why theater?: It’s live! Anything can happen. Also, the opportunity to think in abstract terms and create something theatrical not necessarily naturalistic.

Tell us about Insomnia: Is the story of Brad’s inability to move forward because he hasn’t dealt with the void in his life. This particular night, he has no alternative but to conjure the most important people in his life in order to come to terms with the barriers in his relationships that have plagued him for years.

What inspired you to direct Insomnia?: I’ve known Charles Bloom for years. I was fortunate enough to have directed one of Mr. Bloom’s shows in the past and he was gracious enough to ask me again to helm another one of his shows.

What kind of theater speaks to you? What or who inspires you as an artist?: I love bold and theatrical theatre. Theatre that takes chances and speaks intimately about the human condition. There are too many people who inspire me to list them here. I have the usual heroes, Michael Blakemore, Hal Prince, Stephen Sondheim. etc. But honestly, I am inspired by my own colleagues every day.  From Artistic Director Michael Tobin who is a one-man band trying to keep his small theatre afloat, to Playwright Doug Devita, Shelley McPherson & Ben Henderson to composer Charles Bloom, composer/lyrist team Jeff & Don Breithaupt. Music director Paul Johnson. Great actors like Matt Walton, Erik Van Wyke, Elisabeth Rodgers, Travis Mitchell and Diana Papas to colleagues who work on the Broadway stage and screen.

If you could work with anyone you’ve yet to work with, who would it be?: Alive: Daniel Day Lewis, Amy Adams. Dead: Laurence Olivier

What show have you recommended to your friends?: Hamilton, Jersey Boys, The Curious Incident of the Dog in the Night, The Father, The Fierce Urgency Of Now by Doug Devita, Roamin’ Catholic, Ferry Tales. A handful of others.

Who would play you in a movie about yourself and what would it be called?: If they ever make a movie of my life no one would believe it.

If you could go back in time and see any play or musical you missed, what would it be?: Olivier as Hamlet or Richard the Third or Othello or Eleonora Duse or John Barrymore in the classics. I know you asked for one but come on…

What’s your biggest guilty pleasure?:  Pizza and really wine or really beer. Thai food a close second.

If you weren’t working in theater, you would be _____?:  The starting Quarterback for the New York Jets.

What’s up next?:  I’ll be directing and choreographing a production of My Fair Lady at Theatre By The Bay in Bayside, Queens. Opens November 5th… Unless of course we are moving INSOMNIA for an open-ending run at some off-Broadway theatre… sorry, wishful thinking.

Spotlight On...Charles Bloom

Name: Charles Bloom

Hometown: Los Angeles, CA.

Education: Academically. NYU - Music Composition and Psychology. In life, alongside my formal music education, I found my semi-brief career as an actor on TV had a direct, invaluable effect on my ability to write for performers...to think as they do while on stage. I think all theatre writers should take an acting class, particularly when they're starting out.

Favorite Credits: My store credit at Bergdorf's. As an actor on TV, it was guest-starring on an episode of "Mork and Mindy. Robin Williams was almost seen as "the new Chaplin" at that time, so I knew being able to work alongside such a rare, comedic mentality would be important so I haven't forgotten a thing from that experience. As a composer/lyricist, I'm ashamed to admit, I don't really have any. My work isn't exactly over-exposed and has rarely been produced. Better to have asked me what my favorite song of mine is...but I'm glad you didn't.

Why theater?: I love the theatre for the same reason my favorite instrument to which to listen is solo acoustic guitar (classical or jazz). It's beautiful and yet imperfect. You can hear the squeaking of fingers sliding up and down the frets. The theatre, similarly, is filled with beauty in countless definitions but by its very design, to fully connect there must be something to see and hear that is slightly raw and of course, unpredictable. When an art form is alive when delivered, there must be some suspense somewhere. The theatre feels eternally unfinished and I find that to be, as Lerner wrote in My Fair Lady, "a towering feeling".

Tell us about Insomnia: When composing a score for something not based on pre-existing material (the hardest, most dangerous kind of show to write), before a note is written, I first look for any built-in structural elements which are universally familiar. In Insomnia, that comfort connection was not a dominating character or a searing plot-point...it was a period of time: Midnight to Dawn. These wee, small hours come to all of us night-after-night but we experience them in millions of different ways. Thus, the idea of "similar and different" at the same time made me feel that no matter where the story led, the audience would have a natural, internal connection to the main characters' journey because to some degree, they have all taken a variation of it. This is WHY it appealed to me. To know the rest, you'll have to come see it.

What inspired you to compose Insomnia?: Lots of reasons. Being the son of a commercially successful screenwriter, I thought (and think) it has great potential to be widely produced. Next, the challenge of writing in a conceptual form, rather than the conventional unveiling of a story, interested me. Third, as I wrote in the previous question, like the general audience, there were elements of its content with which I, too, could personally identify which brings with it the literary equivalent of a "gravitational pull". 4th, this show caused me to intersect with Theo Wolf. I saw a play he wrote last year at a local festival and heard a maturity of language and a sense for story structure which extended far beyond his youthful years. I enjoyed how he writes, alternately, both for story and character which is hard to do seamlessly. We haven't known one another that along but share an affinity for the same kind of theatre which makes for a kinship which supersedes time. I hope Theo and I stick together. 5th, my dear friend and colleague Ovi Vargas: a passionate, uncompromising theatre man with whom I love working. Finally, as a pure matter of music, Insomnia allows me to write in a myriad of different styles without being "various for the sake of being various". It's an ensemble piece made of many pieces and the chance to put them all together was great fun, indeed.

What kind of theater speaks to you? What or who inspires you as an artist?: The kind that forces me to listen. The kind that slaps me down in a seat, buckles me in, takes me by the collar and says. "You must look at me". I may be a pro in some capacities but when an audience member, I'm strictly an amateur. I love to be made to cry...even more than to laugh. As soon as I know the authors are in control, I willingly go where they take me. I never impose my personal views or values on an artistic expression created by someone else. When watching anything, musical or otherwise, I am the business of believing. The "what" stems from the opposition to the idea that "everything has been done" and even if it has, the WAYS in which to do them will never be exhausted. I think an artists' nature should be immersed in a feeling of limitlessness, innocence and most importantly of all, doubt. In art, it is better to suspect than it is to "know". The bloated idealist in me is, however, in NO doubt about the fact that if the arts were emphasized in all public schools twice as much as they are now...not as an elective, but as a normal offering to development of human nature, the world would be a better, if still imperfect place. The "who" has always been the people in ALL art forms who have devoted their lives to it...to the creation of a body of work. We know the famous people who have succeeded but that is the result. The differing mediums and the success, itself, are incidental. It's the commitment that counts and the artist must trust in the idea that all good work is good because it has made something more than money. It has made an echo over time.

If you could work with anyone you’ve yet to work with, who would it be?: Douglas Carter Beane, Terrence McNally and James Lapine are the first 3 who come to mind. These men (and there are others, but why walk you through my foolish dreams?) while not technically composers, create work so rich in "music", while hearing their plays, I feel like am at Carnegie Hall. The constant rhythm of their ideas and by turns, simplicity and counterpoint in their concepts makes me feel as if I know them and if we worked together, we'd have a "humming-start".

What show have you recommended to your friends?: In the past, I've recommended:
OTHER DESERT CITIES - FROST/NIXON - LOMBARDI - SOUVENIER (The story of Florence Foster Jenkins)

Who would play you in a movie about yourself and what would it be called?: The movie would star Neil Patrick Harris and be called "HUMMABLE BEGINNINGS" - Until things get better professionally, I'm titling my memoirs, "THE IMPOVERISHED PHILANTHROPIST"

If you could go back in time and see any play or musical you missed, what would it be?: Play: OUR AMERICAN COUSIN on the night Lincoln was assassinated. - Musical: The opening night of CAROUSEL. Song: I would like to hear Cole Porter play "Night and Day" the moment it was finished.

What’s your biggest guilty pleasure?: I love to watch old movies while eating hot, heavily buttered popcorn and drinking very cold V-8 Juice. Sounds crazy, no? It is...but it brings more pleasure than guilt. Please don't be afraid of me now.

If you weren’t working in theater, you would be _____?: A teacher...and on the few times I've been in such a privileged position, it was a truly rewarding experience. (Colleges doing revues of my stuff, etc...) Since I have to-date not been in many classrooms, I'm happy to say that my work is. Archives of my songs are in many musical theatre-emphasized colleges in the US and abroad. It has been a source of much gratification that international educators find my work as a good way to instruct students in learning new songs which are classically structured. I'm a pretty low-tech person so, next to writing, sharing ideas with musical theatre students would be a good "other life".

What’s up next?: Who knows? I don't even know my next chord change. I'd like to see Insomnia begin its journey to a larger audience. I'd like my other works to follow suit. Another of my shows will likely be up at this (or another festival) next summer. In general, I'd like to be busier because I do my best work under pressure but, as you've read here, a life in the arts is more questionnaires than answers.

Spotlight On...Sean O'Shea

Name: Sean O’Shea

Hometown: Ithaca, NY

Education: Meisner Trained Actor & BFAs in Theater and in Music

Favorite Credits: Co-Writing & Directing The Devil Tree, and Acting as Jesus in Godspell and Tunny in American Idiot

Why theater?: Why not? I grew up performing on stage, and constantly singing. I stopped doing theater briefly during high school to pursue the sports thing, but my heart was always in performance. After graduating St. Bonaventure University, Class of ’11, I studied the Meisner Technique at the Actors Workshop of Ithaca before moving to NYC in 2013. I love theater and film (as well as music) and look to pursue these passions to their fullest. The dream is to be able to live off of my art and inspire others.

Tell us about The Devil Tree: It’s a good ol' fashioned ghost story with modern horror flair. "Friday the 13th" meets the film version of "Clue" meets "Wet Hot American Summer". A camp counselor tells his campers a ghost story with fun and scary results.

What inspired you to write The Devil Tree?: My girlfriend Samantha Kahn (Co-Writer) told me about a horror themed short play festival that was accepting submissions, and told me I should submit something. I had a couple of unfinished screenplays, but no completed theatrical scripts. I started constructing a story inspired by a legend from my summer camp, changing various details of course, and after several looks over my shoulder and offering her advice and ideas, Samantha joined me and we spent the next few nights finishing the script. It premiered at The Players Theatre on MacDougal St, and won “Best Play” of the week, by audience vote. Sam and I have plans on writing an anthology series based around The Devil Tree and its many legends, as well as a film adaptation.

What kind of theater speaks to you? What or who inspires you as an artist?: What inspires me as an artist and person is passion. Whether it’s a drama or farce, I want to see real, tangible, relatable characters. The consequences always need to be real and believed.

If you could work with anyone you’ve yet to work with, who would it be?: Adam Green (Writer/Director), Robert Englund (Actor), and Kane Hodder (Actor).

What show have you recommended to your friends?: I really loved Fun Home and Hand to God

Who would play you in a movie about yourself and what would it be called?: Someone who gives off a 90’s vibe. Someone attractive, fun, and awkward, yet cool. I really have no idea about the title, it would have to depend on the main adventure of the film. I’ve been on a few adventures in my time.

If you could go back in time and see any play or musical you missed, what would it be?: I’d love to see the original Glass Menagerie or any of Shakespeare’s works!

What’s your biggest guilty pleasure?: Taco Bell. Love it. No shame.

If you weren’t working in theater, you would be _____?: I will be entertaining and trying to inspire others until I die.

What’s up next?: I’m currently directing a sold out musical titled Furniture: the Musical written & composed by Natalie Lifson and Jeffrey Schmelkin, about the lives the furniture items in a college freshman’s dorm lead. Think "Toy Story", but with furniture, and for adults. It’s going up as part of the Midtown International Theatre Festival at the end of July (27th, 29th, and 31st). My first time directing a musical and such a large cast, twelve people! The Devil Tree is going up at the beginning of August (2nd, 4th, and 5th) as part of Manhattan Rep’s Summer One Act Festival Competition. After that, aside from working on the next part in the Devil Tree series, I’m looking to focus a bit more on my acting and get in front of the camera and on stage again!

For more on Sean, visit www.facebook.com/therealseanoshea and www.facebook.com/seanosheamusic. For more on The Devil Tree, visit www.facebook.com/thedeviltreeplay

Spotlight On...Chima Chikazunga

Name: Chima Chikazunga

Hometown: Amityville, NY

Education: FSU

Favorite Credits: I say playing Tom Robinson, we had a performance for a local high school and they really didn't have " theatre etiquite " and we're laughing at all the wrong moments and right as I am about to go on stage my stage manager says..." Guess it's up to you"
Long story short, I come out and there was silence and I couldn't understand it. I would later come to realize- that they were paying attention but what struck me about that performance was when I had a " brain fart" and I was sweating... And our Atticus guided me through it. It was honest and very truthful and I could move people with what I did.

Why theater?: I chose theatre because it gave me a challenge that I never really experienced in the sports I excelled at. Nonetheless, the collaborative process helped fulfill something that was installed in me early on " there is no I in team. Very similar to my experience doing " Mockingbird"

Tell us about 3 The Hard Way and The Eye of the Wake: 3 The Hard Way: After years of therapy dealing with her son's untimely death on 9/11, Ruth- a grieving mother's -newfound peace is compromised when her son's widow is introduced to his mistress almost 10years since the last time they saw him. Truths are unraveled that cannot be ignored as the mistress holds the one thing that gives the hope she needs that years of therapy unfortunately couldn't provide.
The Eye of The Wake: Following her fathers death, Elaine reflects on their time together.  As a result, she confronts his and her deepest dark secrets through words that have stuck by since her Sweet 16... " Life isn't about living. life is about what you do before you die." Guilt and grief now fill this once happy home, opening Elaine's eyes to An unforeseen realm of temptation "

What inspired you to write 3 The Hard Way and The Eye of the Wake?: The inspiration for these two plays in particular was solely to approach race and grief in a way most don't typically see it. The other piece is an excerpt of a play I was working on and struggling with the second act- this scene in particular. As a whole- this scene is one that shows these characters most vulnerable

What kind of theater speaks to you? What or who inspires you as an artist?: Contemporary... Something that you can see and have it resonate with because I know those people. As close to reality as possible to where I actually care about the people on stage; not necessarily cheering for the bad guy but somewhere along those lines. My parents both have always been very supportive in what I do. Whether I succeed or fail- as long as I try, they were there.

If you could work with anyone you’ve yet to work with, who would it be?: I don't want to name drop-- but I like those artist who are capable of multitasking and/ or multi-talented. Tons of writer/directors or actor/directors whom are true masters of their craft and have a vision that inspires me everytime I see their work.

What show have you recommended to your friends?: Anything by Guirgis, C. Lucas, Morriseau  or A.Rapp

If you could go back in time and see any play or musical you missed, what would it be?: as I mentioned earlier, my mother was a huge inspiration and we have seen James Earl Jones twice on Broadway... If I could- I would've liked to see his Othello. I hear that guy is pretty good.

If you weren’t working in theater, you would be _____?: If you weren’t working in theater, you would be? Still be an artist as it is the only thing that challenges me. I love the collaborative process. To quote Dustin Hoffman... Quoting Picasso on an interview I saw years ago on " Inside the Actors Studio"... " if they took my paints away, I'd use pastels. If they took my pastels away, I'd use crayons. If they took my crayons away I'd use a pencil. If they stripped me naked and put me in a cell, I'd spit on my finger And draw on the wall!! " That always stuck with me after the fact

What’s up next?: Hopefully a workshop of a full length I've been working on with a company. Directing two plays at once is enough for this lifetime. It's been fun but I really want to get back to my roots as an actor. Hopefully a company will like what they see and approach me with an opportunity to collaborate with them Links:

For more, visit https://www.facebook.com/events/100934306990249/?ti=icl and www.midtownfestival.org

Review: When the Past Comes Back

The past, no matter how much we try to bury it, always comes back when we least expect it. In Susan Jennifer Polese's short drama Under the One Time Sky, a man from the past returns to the place he once called home to check on a woman more than a decade after a traumatic event.
Under the One Time Sky is a language driven two-hander that reconnects two friends turned strangers in a coincidental meeting to discuss a difficult day of the past. While it unfolds in a slow manner, the event in question is known almost instantly. What begins as two people reminiscing about good times turns into a battle of will and whys. Polese's script is filled with poetic language, planting metaphors in every speech. But when Christine and Dwight finally give title to the rape, the poetic nature of the dialogue lacks sincerity. Rather than watching two people rehash the past, you listen to the direction the metaphor is about to take, though some are seen a mile away. Despite the language, what Polese does quite well is she allows the story to stray away from being preachy. We learn why Dwight did what he did and remained silent. We understand the struggle Christina has been living with. Though the answer is contrived, discovering a genuine "why this moment" answer to Polese's timing will give the story a stronger arc.

Building an instant relationship despite virtually being strangers to one another was one of the most important connections Christine and Dwight needed to overcome. Thankfully, the chemistry between Adam La Faci and Michelle Concha worked. La Faci and Concha were truly like those friends who can pick up after years of removal. What La Faci and Concha did struggle with was making the language genuine. In a realistic play, it’s hard to make the poetic nature of the script feel colloquial. Because the difficulty was evident, some of the stakes felt forced.
Putting this play on its feet can go one of two ways. The easy way where the characters stand their ground or the hard way where there is action and movement, but strategic ones at that. Director Leta Tremblay picked the hard way and it paid off. Tremblay painted a visceral image through her staging. Tremblay brought the past to the present, even if it was hard to watch.
Under The One Time Sky is an important story that is presented well. Currently only an act, you almost wonder what another scene or two would look like. And maybe another character from the story. Polese has the foundation to plant something that can grow into something big and beautiful.

Review: Not So Super, or Super Bad

We all want to be super. The feeling of being revered as a hero, that's a super feeling. But what makes a hero super? It's something that gets touched upon in Aaron Michael Krueger's new musical Super.
Lovingly and knowingly ripped off from that DC comic about a man who happens to be super, Super follows young Mark as he deals with the death of his super dad, the struggles of having super powers, and the feeling of being super in love. There is great potential for a rich story for characters with clear objectives but Super is derivative. Just knowing the basics of Superman, Lois Lane, and Lex Luther, you can see the direct parallels in Super, which sadly makes this musical unoriginal. Why not come up with original heroes and villains rather than bad versions of well-known characters? But regardless of who these people are, Krueger's characters are thin. The character development relies so much on the inspiration that this show doesn't give us the whys and hows. Why is Mark super? How did he find out? And what is this character's kryptonite! Even at two acts, there are a lot of things that get glossed over. With plot holes all over, the music by Krueger is not memorable. This easily could be blamed on the canned music. Canned music for a primarily untrained cast is deadly. Krueger, who also served as musical director, needed to assist his cast desperately. From the music that did make a dent, the lyrics were a bit weak. And when it comes to musical theater, never write a song called “The Confrontation” and if you do, especially don’t end it with anyone falling to their death. That musical about the French people has rightfully staked their claim on that one.

Super needed super performers who could handle the giant kryptonite that was no live music. With a sound system less than ideal, the canned music was played softly forcing the company to sing in an unnatural manner. Some were timid. Some were soft. But all were afraid of being off key. And yet that still happened often. As Mark, Adam Keller certainly had the appearance of a hero. He stood tall. He had confidence. But he lacked strength. His voice was weak and struggled being the lead. Whether the confines of the production forced this, Keller needed more time to shine. As Alex, Mark’s best friend turned nemesis, Derek Speedy brought potential. He has a youthful sound that will grow with time but until you saw him in evil costume, he lacked believability. And the bald cap from hell could easily be blamed. Jessica Dorcey as Laura Lewis had the naivety of a quintessential damsel but her voice was severely lacking. Dorcey and Keller had zero chemistry and had quite the time trying to harmonize. As Mark’s mom, Stephanie Estep was a pro. She has a stunning voice and a motherly aura. But she had little to work with due to the thin character. Keith Milkie is the physical manifestation of super hero. He could be superhuman. Despite the booming baritone, he struggled as an actor.
Director Lexie Fennell Frare had to battle the evil that was the material to find promise. There’s only so much blame you can give a festival setting before you have to question the little things. She attempted to use scenic designer Sam Krueger’s scaffolding to her advantage but things looked silly with the living room curtain used as masking. Not knowing the lighting plot in a festival can be a massive disadvantage. Lighting designer Catherine Clark did not utilize the lights or color to help make this show pop. When there wasn’t a basic wash on stage, things finally came to life. The costumes by Julia and Deborah Krueger evoked a superhero but it was unfortunate to see Mark not have a pair of black shorts like Major Justice did as spandex are always all revealing.
There is so much creative liberty when you create a new hero. You have the potential to find a rich backstory and reason to be a hero. But Super showed no originality in it’s creation. Super needs a super makeover before it flies away.

Review: Ma-Ma-Ma-Ma-Ma-Ma-Ma-Ma Mad Mad

There's an old saying that goes something like this: "If it ain't broke, don't fix it." When it comes to playwriting, writers go through drafts upon drafts until they find the one that works. The prolific playwrights, the Shakespeares and Williams and Millers and Chekovs, have granted us such masterpieces that we continue to produce them and adapt them because we want to put our own spin on them. But when it comes to their exact pieces, they’re virtually untouchable. And should stay that way. In Puzzle the Will, director and “adaptor” Lauretta Pope has deconstructed the Bard’s classic drama Hamlet and put it back together in a bold and brazen manner.
It is extremely difficult to call Puzzle the Will an adaptation. Sure, it takes something and theatrically creates something new with it, but it maintains the words of Shakespeare, just in a different order. Why? Well, the thesis is to show the characters and story in a familiar yet different format. What it really does is “drama classes” the text. But the sad and true fact is Puzzle the Will just comes across as pretentious. The intentions are well, but the way Pope presents her piece as if this is how Willy should have done it. Pope virtually rewrites Hamlet. Yes, the authorship of the Shakespearean canon will forever be debated but regardless, but Shakespeare isn’t alive to defend the structure of his work. And I don’t know many, if any, living playwright who would willingly allow someone to deconstruct and puzzle their play in a new order in this manner. There is no denying Pope has done her homework on the text. The findings she discovers about characters and themes are fascinating. But this structure and examination is better suited for the rehearsal process before diving into what the playwright intended. To continue along the familiar yet unfamiliar idea, gender and ethnicity is mixed around as well. It’s a device that has been used before but it added nothing to this particular production. There were no new discoveries except the ability of some actors getting the opportunity to play roles they would never normally get to.

photo by Dan Rousseau

Like Hamlet, it’s possible Pope has gone mad. You have to be mad to rewrite Shakespeare so it’s fitting that Pope took on two other roles including the titular mad Danish Prince and director. Securing three prominent positions, Puzzle the Will could be renamed The Lauretta Pope Spectacular. One of the many jobs of the director is to be the eyes and ears of the production, guiding the team through the journey of the play. With Pope finding herself in the spotlight acting as Hamlet, the overall staging was a bit messy as she was the focal point throughout. While there were some stunning and inventive moments, aided greatly by Dan Rousseau’s lighting, including the brilliant Ghost and Hamlet back and forth, other bits fell by the wayside. Had there been a sole person wearing the director hat and the director hat only, it would have made a necessary difference.
It’s inevitable that every stage actor has tackled Shakespeare at least once in their career, whether it be professionally or through training. That doesn’t mean if you’ve tried it you’re good at it. There were many in the Puzzle the Will bunch that didn’t quite grasp the Bard with ease. But those who did commanded the stage. Keith Chandler as Ophelia and the Second Gravedigger, Zak Kamin doubling as Laertes and Rosencrantz, and Brett Warnke, sadly only seen was the Ghost, Priest, and Bernardo, were the strongest at the text and finding a character. Aside from these three, the others gave rare moments of Shakespearean bliss. Pope offered a fast-talking Hamlet, speeding through the text, barely coming up for breath. The speed could have played into the madness of the character but unless you know the text, it was difficult to comprehend. Lyn Kagen was fine as Gertrude but in this version, Gertrude was almost an afterthought.
There was enormous passion on the stage. It’s clear that this company is proud of their work. But the way this piece was presented came across as something drastically different from the intended description. It’s like on the tv cooking shows, like “Chopped”, when the chef comes out with their fancy “deconstructed” dishes. You can’t help but roll your eyes and think, “pretentious.”

Spotlight On...Jessica Elkin

Name: Jessica Elkin

Hometown: Cleveland, Ohio.

Education: The New Actors Workshop, Empire State College (SUNY), Columbia College Chicago, Marymount Manhattan College, Point Park University.

Select credits: Twenty-four hour play festival at The Kraine Theater.

Why theater?: Theater allows me to utilize all of the various training I have had through out my life and there is nothing like the thrill of immediate feedback from a live audience.

Who do you play in Rise of the Usher?: I play eleven different characters.

Tell us about Rise of the Usher: It is about an attempt to ascend the ranks of the theater support staff hierarchy through any means, once attained the protagonist feels an emptiness, which can only be filled by love.

What inspired you to write Rise of the Usher?: Having worked as an usher, directress, and backup ticket taker at various Broadway theaters.

What is it like being a part of Rise of the Usher?: Being both an actress and writer in a solo show is both liberating and terrifying.

What kind of theater speaks to you? What or who inspires you as an artist?: Good writing and acting, and a minimal set usually. Heather Woodbury, who is a genius!

Any roles you’re dying to play?: Josie in A Moon for the Misbegotten by Eugene O’Neill.

What’s your favorite showtune?: Anything by Sondheim.

If you could work with anyone you’ve yet to work with, who would it be?: Mabou Mines Theater Company.

Who would play you in a movie about yourself and what would it be called?: A younger version of Kitty Winn in "Breaking the Mold".

If you could go back in time and see any play or musical you missed, what would it be?: Cherry Jones in The Heiress.

What show have you recommended to your friends?: Outside Mullingar by John Patrick Shanley.

What’s your biggest guilty pleasure?: Chocolate.

If you weren’t working in theater, you would be ______?: I would ideally be in dance and education.

What’s up next?: Chicken Boy.