Spotlight On...Bill Army

Name: Bill Army

Hometown: Pomfret, CT

Education: Pomfret Community School, Pomfret School, Middlebury College(BA), NYU- Graduate Acting (MFA)

Select Credits: Broadway: Act One (Lincoln Center Theatre), Relatively Speaking (three one-act plays by Ethan Coen, Elaine May, and Woody Allen directed by John Turturro). Off-Broadway: Old Jews Telling Jokes, All's Well that Ends Well (Delacorte Theatre), Measure for Measure (Delacorte Theatre). With Potomac Theatre Project: Scenes from an Execution, Vinegar Tom, Gertrude- the Cry, The Europeans, and No End of Blame.

Why theater?: The Theatre reminds me of the first time I saw flash paper set on fire.  It burns hot.  It burns fast.  But it burns so brilliantly that it has stayed with me for over twenty years.

Who do you play in Scenes from an Execution and Vinegar Tom?: In Scenes, I play the Admiral, Cesare Suffici, and in Vinegar Tom, I play, Jack.

Tell us about Vinegar Tom and Scenes from an Execution: Scenes from an Execution by Howard Barker, is the epic tale of the Venetian Painter, Ana Galactia (loosely based on Artemsia Gentileschi) and her commission by the State of Venice, to paint the Venetian Naval Triumph over the Ottoman Empire in 1571, known as the Battle of Lepanto.  The play examines, amongst many other themes, censorship, the role of the artist, the discrepancies between written history and what actually happened, and the oppression and emergence of women in a male-dominated culture.  Barker celebrates and indicts his characters.  His visceral and savage wit is both horrifying and riotously funny.  I feel so lucky to work with Richard Romagnoli, Alex Draper, David Barlow, and of course Jan Maxwell on this revival production. Vinegar Tom is Caryl Churchill's exploration of the marginalization of women through the lens of the witch trials between the late 1500's and the late 1600's in England. The action of the play is broken up by a trio of three young ladies operating as a Greek Chorus who sing contemporary-style songs, by Carol Christensen, to both alienate and elucidate the dramatic action.  In some ways, Cheryl Faraone, picked a perfect counterpoint to Scenes.  While Barker is exploring the hypocrisy of the ruling-class, Churchill is examining the trickle-down effect of corruption amongst the lower classes, and particularly its effect on women.

What is it like performing in rep in multiple shows? What are the challenges?: It's rigorous physically and vocally, but I feel so blessed to have the opportunity to work on these plays.  Even though VT and Scenes take place within twenty years of each other, my characters couldn't be more different in dialect, in class, in education, and in sexuality.  Suffici, a Patrician, has conquered the world; Jack is struggling to purchase his own farm.  Having compassion to advocate for and embody both men without judgment is a daily challenge especially when placed in diametrical opposition.  However, they are such polar opposites, I find myself feeling quite balanced in my personal life.

What kind of theater speaks to you? What or who inspires you as an artist?: If it is human, if it is honest, and if it challenges me, I will take it with me, everywhere.  In an age of ubiquitous technology, I am astounded that Theatre still exists.  The mere fact of an existing theatrical community is inspiring. There are far too many great artists to name, but I will name a collaborative team: Stephen Sondheim.  His commitment to the dance of content and form amazes me.  His music and lyrics magnify the humanity of his characters like no other. James Lapine.  James' stories have bewitched me, both on the page and off from the the time I was seven years old. This brilliant team inspires me, because they exemplify artistic collaboration.  Their stories still resonate with me, and I believe that they will continue to do so.

Any roles that you're dying to play?: I'm dying to play a part in a new play, where the character is conflicted and faced with at least one very hard decision. Additionally, I want to be in a musical!  I deeply admire Jan, for having had such an extraordinary career doing both!  I sing.  I want to be in a musical!  I want to be in Something Rotten!  Every single time I am cast in a play, my Grandmother asks me, "do you sing?"  I always say, "no."  There's a pause, and then she says, "do they know you can sing?"

What is your favorite showtune?: "Finishing the Hat" from Sunday in the Park with George and " I Have Confidence" from The Sound of Music.

If you could work with anyone you've yet to work with, who would it be?: Oh God, I will give three, but there are more: Doug Hughes, Diane Paulus, and Bartlett Sher.

If you could go back in time and see any play that you missed, what would it be?: The original production of Oedipus Rex, in the original Greek.

What's your guilty pleasure?: A very cold, dry, Bombay Sapphire Gin Martini, straight up, with three olives.

What's up next?: I am shooting an episode on the webseries, "COHAB," and I am writing the book of a musical.  Other than that, a brief vacation and a visit to my parents'... then hopefully, a new play, where I play a young man who is conflicted and faced with at least one very hard decision.

Spotlight On...Nesba Crenshaw

Name: Nesba Crenshaw

Hometown: Atlanta, GA

Education: B.A. Emory University

Select Credits: Currently appearing as Joan/Kramer in Vinegar Tom; Biddulph/Gleason in Serious Money; Loti in Territories: The Spoils

Why theater?: There’s nothing like the rush of stepping out in front of a live audience every night.  And, as a performer, theatre allows you the opportunity to continually explore and discover nuances in your character…subtle ones of course.

Who do you play in Vinegar Tom?: Joan and Kramer

Tell us about Vinegar Tom: Vinegar Tom is a one-act play by Caryl Churchill set in early 1600s England during a particular time of social and political unrest.  It focuses on a village where any misfortune is blamed on witchcraft being ‘practiced’ by women who happen to find themselves on the margins of society.  Churchill intercuts the action with a trio of contemporary singers, commenting on the all too resonant narrative.

What is it like being a part of Vinegar Tom?: I absolutely love this play and what it has to say about society and how we treat those who are seen as unconventional or non-conformist.  It began life as a feminist piece of theatre but I think it has a wider scope.  It’s been a very exciting piece to work on with an extremely talented company.

What kind of theater speaks to you? What or who inspires you as an artist?: Well I find theatre of most types engaging, but lately, I’ve been most interested in promenade style which I first experienced in London after seeing/experiencing The Masque of the Red Death by Punchdrunk.  Since then, I have to say that that sort of immersive style of theatre is, for me, incredibly enlivening.  I also found London Road at the National Theatre (UK) equally powerful in a very different way; a true story about a murderer, Alecky Blythe recorded interviews with neighbours on the street where he lived and then, with a composer, used their natural speech patterns to create a musical – or a play with music. I found that production so clever and exciting.

Any roles you’re dying to play?: I would love to play Martha in Who’s Afraid of Virginia Woolf – an oldie but goodie.

What’s your favorite showtune?: I recently saw Sunny Afternoon in London, and, although it’s not a ‘show tune’ per se, I just loved Waterloo Sunset in that production (and, of course, the ‘original’ version).

If you could work with anyone you’ve yet to work with, who would it be?: Anyone at the National Theatre.

Who would play you in a movie about yourself and what would it be called?: Elizabeth McGovern, "A Woman Abroad"

If you could go back in time and see any play or musical you missed, what would it be?: Anything with Mark Rylance.  I’d pay to see him read the phone directory.

What show have you recommended to your friends?: Judith/Vinegar Tom

What’s your biggest guilty pleasure?: My daughter and I have been known to watch "Dance Moms"…

What’s up next?: Back home to London where the search for the next production begins anew.

For more on Vinegar Tom, visit ptpnyc.org

Review: A Wickedly Intense Double Feature

PTP/NYC is known for presenting strong productions of their favorite playwrights. With so many rich scripts in the repertoire, it’s hard to choose which plays to produce. So why not bring a double bill! In a night of high-intensity drama, PTP/NYC brings you Judith by Howard Barker and Vinegar Tom by Caryl Churchill. At first glance you may not see a correlation between their pairing but these are two plays that, among other things, contain strong females characters. Very strong.
First up is Barker’s Judith. A retelling of the Book of Apocryphya’s heroine Judith and her physical sacrifice to general Holofernes, Barker presents his version where he suggests a struggle where Judith loves with the enemy. Barker’s piece is intense and provocative to say the least. The struggle for power and the immense sexual tension of the play furtheres the action until madness ensues. Director Richard Romagnoli takes the intimacy of the piece and glorifies it in all the right ways. Romagnoli finds the edge and grit of Baker’s script and manages to excite and arouse. The cat and mouse game between Pamela J. Gray’s Judith and Alex Draper’s Holofernes was thrillingly wonderful. With clear objectives to start, watching Gray and Draper become flippant as the situation transformed kept the audience attentive. While the battle between Judith and Holofernes may have been the meat of the piece, it was Patricia Buckley who stole the show. Buckley is nothing short of phenomenal as The Servant. Buckley balanced immense humor and wit with impeccable timing to make the third wheel of the piece the star.

photo by Stan Barouh

It’s unfortunate that this prominently intimate piece was stuck upon the giant stage. With the confines of a double billing, Romagnoli and scenic designer Hallie Zieselman kept the space open despite using only half of the stage. Had there been a way to confine the space, the dangers of the piece would have grown vastly. The chairs and bed that Zieselman used for Holofernes tent were absolutely beautiful. The modern pieces were added a richness to the world. It’s unfortunate that the oriental throw rugs clashed with the modernity of these stunning pieces.
In Vinegar Tom, Churchill writes about gender and oppression through the lens of the witch hunt in England. When Alice and her mother are accused of witchcraft by their neighbors, the village explodes with accusations as mishaps occur all throughout town. Director Cheryl Faraone takes the biting play and ensures that the message is clear. Churchill’s approach is not subtle and neither is Faraone’s. She keeps things active and makes the mystery of the truth unfold in a careful manner. Her staging involved many meandering bodies around the space, peering into the action. It’s possible it was calculated but there were moments that the specific bodies felt arbitrary. While Alice may have been the focal drive of the play, it was Bill Army’s Jack and Kathleen Wise’ Margery that were simply astounding. Army and Wise had immense chemistry drawing the most sympathy for their story. Both Army and Wise brought an array of emotion, but it was Wise who pulled on the heart strings. Nesba Crenshaw as Joan, the mother of Alice and accused witch, found ways to make you believe that perhaps she does know a thing or two about witchcraft. The verbal battles between the characters within the acting company is striking to watch. Even the physical altercations are forcefully real. The only issue that arises is the plethora of dialects on stage. It’s a bit unclear as to the exact location due to the inconsistency.

photo by Stan Barouh

Part of the intrigue of Vinegar Tom is the juxtaposition of song to story. Churchill writes some sharp lyrics to display the universality of the story. Faraone and composer Carol Christensen take the modern approach with the music. Stylistically the music works well. Christensen employs a hauntingly harmonious doo wop feel in the songs. Even the "Witchy Three Singers" played by Caitlin Rose Duffy, Joelle Mendoza, and Liana Barron bring extra life to the piece, though it’s Duffy who’s the Beyonce of the trio. And whenever you hear three singing witches and flashy lights, you can’t help but think of some ladies from a campy movie called “Hocus Pocus.” And the audience loved these three. But as jarring as the music is supposed to be, there was something off about it. And it came from their costumes. Costume designer Annie Ulrich did a stunning job clothing the townspeople of Vinegar Tom. But with Duffy, Mendoza, and Barron, it felt as if they walked into the theater and onto the stage in their street clothes. Perhaps if they blended into the world of the play, breaking out in “character”, there would have been a cleaner cohesiveness. Aside from this, the design of the piece is spectacular. The structure gets utilized in a wondrous way, storing the props yet giving glimpse of what is to come.
The Judith and Vinegar Tom double feature is a night of high drama. It’s best to prepare yourself before taking your seat. But once you do, you’ll be glued to the action and storytelling that PTP/NYC is known for. Just another wonderful showcase for two strong theatrical voices.