Carol Channing Gets All Patriotic

The iconic Carol Channing, at the ripe age of 90, has decided to record an album taking on the iconic Americana songbook. Yes, that's right. Dolly herself will be singing the following anthems:

1). God Bless America
2). Battle Hymn of The Republic
3). Yankee Doodle Dandee/Grand Old Flag medley
4). Dear Old Glory
5). Before The Parade Passes By
6). His Eye Is On The Sparrow (special guest Lulu Roman)
7). Battle Hymn Of The Republic
8). Don't Sit Under The Apple tree (with T Graham Brown)
9). Amazing Grace
10). St. Louis Blues
11). America The Beautiful

Are you as terrified as I am?

FringeNYC 2011 Overall Excellence Award Winners!

Irene may have stopped the final two days of the Fringe, but that doesn't stop the announcement of commending this years talent! Congrats to all, especially the folks over at The More Loving One and The Bardy Bunch! Well deserved!

Winners of the 2011 FringeNYC Overall Excellence Awards, as selected by an independent panel of nearly 50 theater professionals, are as follows:


Overall Production/Play:

PigPen Presents The Mountain Song

The More Loving One


Overall Production/Musical:

Yeast Nation

Pearl's Gone Blue


Performance:

Jennifer Barnhart (The Legend of Julie Taymor,or The Musical That Killed Everybody!)

Ryan Barry (In the Summer Pavilion)

Miles Cooper (Elysian Fields)

Patrick Byas (Sammy Gets Mugged)

Casey McClellan (My Name Is Billy)

Brian Charles Rooney (Winner Takes All)

Lauren Hennessy (Ampersand: A R&J Love Story)


Playwriting:

Nicholas Billon (Greenland)

A.D. Penedo (The Three Times She Knocked)

Bella and the Pool Boy (Dennis Flanagan)


Music Composition:

Chris Rael (Araby)

Dusty Brown (The Ballad of Rusty and Roy)


Ensemble:

Jersey Shoresical

The Bardy Bunch: The War of the Families Partridge and Brady

Stimulated!

Crawling with Monsters


Costume Design:

Stephanie Alexander (Le Gourmand, or Gluttony!)

Mark Richard Caswell (Parker and Dizzy’s Fabulous Journey to the End of the Rainbow)

Tara DeVincenzo (Technodulia Dot Com)


Directing:

Greg Foro (Hamlet)

Joshua Kahan Brody (Fourteen Flights)

Alaska Reece Vance (The Disorientation of Butterflies)


Solo Performance:

Donna/Madonna

The Day the Sky Turned Black

Be Careful! The Sharks Will Eat You!

Paper Cut

Heroes and Other Strangers


Dance:

WallstoriesWhen the Sky Breaks 3D


Video Design:

Cinty Ionescu (Nils' Fucked Up Day)


TheaterMania Audience Favorite Award:

COBU - Dance like Drumming, Drum like Dancing.

Irene Wins: Broadway Goes Black

Broadway will officially go dark this weekend as Irene is ready to strike.

Fringe To Shutter Early; Broadway Goes On

The final day of Fringe 2011 will be today instead of Sunday with Hurricane Irene swiftly approaching. The closing festivities have also been cancelled. But fear not, Fringe Encores will be back with some of the big hits of the festival including the brilliant The More Loving One! But the Great White Way has decided to remain open, despite the system wide shut down of MTA.

Review: The Yeasts Are Alive!

Unless you’ve been hiding under a rock, you’d know that the biggest show of Fringe 2011 is Yeast Nation. Not familiar? Let me get you up to speed. A long time ago in a Fringe world of yore, the little musical that could was produced. The catchy titled show was called Urinetown and it went on to be nominated for that little thing known as the Tony Award. Now the duo that brought you that piece of theatrical brilliance is back to Fringe with Yeast Nation. As the biggest and most hyped show of the season, the judging is at a much different level.
Now the biggest question when discussing this musical is how it relates to Urinetown. Thematically, it mirrors it quite nicely and fits the mold of a fun prequel. If it’s meant to not be a prequel but a stand-alone piece, then well, you can call Greg Kotis and Mark Hollman something of a one trick pony. So I’m going to go forward believing it officially is a prequel. While I could write a term paper on the comparisons of the two, which could just be boring, so I’ll try to stick to what Yeast Nation brought, but I'm sure that won't last long. With that being said, let’s go back in time. Way back to the very first life forms. Yes, that’s correct. The characters in this musical are singing, dancing, and soon to be emoting yeasts. Like it’s predecessor, Yeast Nation makes us well aware that the fourth wall is barely, if ever there. We get a narrator in the form of the hilarious and talented Harriet Harris playing Jan the Unnamed who just so happens to be able to have knowledge of the future despite being blind. Jan the Unnamed leads an ensemble of Yeasts (all of whom are named Jan), including her little sidekick Jan, played by the cute Charlie Plummer, who continues to interrupt her story. Sound familiar? Believe me, Harris and Plummer are good, but in no way do they compare to the brilliant characters of the now iconic Officer Lockstock and Little Sally. With an opening number that leads us into the world of the yeasts, we are introduced to the typical stock characters: a decaying king, his way too hot and beautiful son who’s next in line, the spiteful and jealous sibling who’s not, the wise right hand man, and of course the love interest who’s there to mess with the head of the next in line. Like Urinetown, the turmoil that thrusts the plot into full speed is caused by the untimely defiance by the parent of one of our lovers. This time it’s Jan the Wretched, played by Urinetown vet Rick Crom, who just wants to consume more salt. Well our king just won’t have it, because the salt is beginning to run low and how dare anyone stand up to him, so Wretched is killed. Since yeasts don’t have blood, we have a funny little bit where jelly, in the form of green and yellow confetti from a deliberately visible confetti cannon, is playfully burst. Death brings mourning to Jan the Sweet just as everyone in Yeast Nation learns of a newfound emotion, love. Jan the Second, who happens to already posses a heart, offers his condolences to Jan the Sweet, in the form of salt, and like a spark, they start to fall in love. Jan the Sweet initially rejects Second until he defies the strictures his father put forth and rises to the surface and returns with muck, an even newer life form. Second literally force-feeds Sweet who takes a liking to muck, and Second. Like a classic musical, subplots run ramped. Jan the Sly, the sister of Jan the Second, realizes that she is not in line to gain the thrown if Jan the Eldest loses his membrane, so she employs Jan the Wise to take part in her dastardly plan to overthrow Eldest and kill Second. And the only way to do so is to frame the vulnerable Sweet and goody two shoes Second. How? Telling Eldest of the muck Second committed at the jubilee of sameness, a party in commemoration of Wretched’s death. But just as the jubilee is about to get underway, Second reveals he has given birth to a new life form after consuming muck. The New One, played by Kimiko Glenn who channels her inner Gollum, appears and causes some peaceful chaos.

Lost yet? Well, just get a refresher from Urinetown because the rest of the plot and jokes almost mirrors. From the static Act I closing number, the narration of the start of intermission, the frantic ensemble being lead astray by one of their own, a musical number with choreography poking fun at one of the lovers being bound, and the virtual decay of a species predicted from the start. Yeast Nation is another Malthus-centric allegory, unfortunately not as brilliant as Urinetown. There’s just a lot of fattie to be trimmed.
While the script was not top notch, the production was. This is not your average Fringe show. This production had the resources needed to make it a true production. Adam Koch’s brilliant set combined perfectly with K.J. Hardy’s transformative lights truly brought us to the bottom of the sea. Regrettably David Kaley’s costumes seemed quite lost and possibly in the wrong production. If you walked in late and didn’t receive the instructions of the location of the play, you would have thought you were watching a Greek play. When given the freedom of creating the human form of Yeast, there is so much possibility and freedom. Yet most of the cast looked as if they were coming back from a toga party at a frat house. The freeflowing costumes were yeasty, but when they happen to be white and some actors have Grecian style headbands and sandals, our minds see something else. Jan the Unnamed’s costume seemed to be the only thing that was right in the yeast world. Similarly, the freedom of creating a yeast on the page is unbound. Especially when casting an ensemble of vary shape and color. There were touches of modern stereotypes in certain characters. For example, if Wise, who was played by the very funny Manu Narayan, had been played up using into the stereotypical Indian accent, breaking into straight English would have been comic genius. Or if Second was written as the quintessential surfer dude throughout instead of going back and forth, his dialogue would have been much funnier. Kotis had the power to give voice to yeast like Disney gives voice to their talking animals in animated films. Freedom. There is so much more available that didn’t even scratch the surface.
As far as the performances, the cast was superb. Harriet Harris and Manu Narayan were finely cast. They were just right for their parts and it’s a bit hard to think of anyone else trying to fill their shoes. Emily Tarpey did the best she could with her Hope Cladwell wannabe despite the character being a tad forgettable. The chorus of Jans deserve a shout out for their fine, enjoyable work. The weakest link within the cast was Jennifer Blood as Jan the Famished, but it may not have been entirely her fault. The character is one of the most important to the plot, yet the writing may not have been all there. And anyone would look weak when you have to share the stage with the show stopping, scene stealing, overall wondrous Joy Suprano. Like Harris and Narayan, she is irreplaceable. She has an impeccable voice and some of the best comedic timing I’ve seen on stage. It’s always more fun to play a villain, and she proved it. Suprano’s character may have been the butt of “the forgotten one” jokes, but believe me, her performance is not. The other star turn in Yeast Nation came in the form of future Broadway leading man Erik Altemus. Altemus exudes charm and likeability, the requirements of being a successful romantic lead, commanding the stage the very second he touched it. He has a beautiful voice that elevated the music greatly. Altemus is the next generation of star, I promise you that. Watch out Aaron Tveit, you’ve got some stiff competition on your heels!
It’s easy to judge Yeast Nation on a level higher than any other production in the festival because the hype has been behind it and the future of the play is inevitable. I will most definitely see the next incarnation of the play, I just hope some serious work happens before hand.

Review: Laughs in Last Chance

We have all been in that position of desperation. That instance of knowing you will do anything to get out of that desperate circumstance. And that’s exactly where the characters in This One Time in Last Chance are. Man will do anything to win his wife and daughter back. Simon will do anything to get the ten grand he lost back. Dude will do anything to get his prized Pomeranian back. And in a clever turn of events, Leroy will do anything will let his son live. This One Time in Last Chance is a classic buddy tale that screams Judd Apatow flick. Man and Dude (don’t worry, a smartly placed joke is used toward the end of the play about their real names) rent a motel room in Last Chance, Colorado, in order to score a drug deal. Dude calls upon his friend Man to help him with the deal. Unfortunately, Ma didn’t know what he was getting himself into. Upon entry in the room, Man discovers the thing that will make their deal a bust: a dead body. As the play progresses, nothing goes right for our pals. A frantic man continues to knock on their door searching for his dog Roosevelt. The dead man haunts by simply “decaying” in a chair (kudos to Marcus Denard Johnson for sitting lifeless for a good forty or so minutes). And that’s just the beginning. The action continues to escalate for the worst, leading to some top-notch comedy from Joshua Everett Johnson and Rob Bradford as Man and Dude respectively. They possessed the requirements of being successful yings to yangs for their characters. Like I said earlier, the script could make a fun Apatow flick, allowing Seth Rogan and James Franco to easily be plugged into the roles. Despite being able to be considered derivative of an Apatow film, Sam Gooley’s script is pleasurable. It was funny when it needed to be funny and sentimental when it called for it.

I was engaged in the plot, wanting to know how these fools were going to get out of their tight situation. Thankfully, the play was left with a cliffhanger. We never truly find out if things end up getting tied up nicely in the end, though the stage picture says quite a lot! (see it and you’ll understand the poor joke…). The only thing that seemed to take me out of the play was Chester’s monologue. While it served for a funny freeze in the action, it just wasn’t necessary and didn’t further the plot. We already knew the speech he was selling. Though funny, I could have done without it. The plot as a whole was derivative but contained some funny twists. The plot twists helped to make the script fresh. It’s always great to get a plot point that is mentioned and addressed later without beating us over the head. Though some seem to come from left field they’re used at the right moment (like the very funny and well timed and executed erection gag). Gooley seems to have a knack for creating an enjoyable dark comedy.
In the Fringe Festival, sometimes you get the opportunity to have brilliant spaces that work wonders for your piece. Other times you don’t. Unfortunately, Teatro LATEA is a tad of a detriment to work in, especially during the summer with the A/C blairing and the sun still out. Knowing the brilliant work they always do, Ben Pilat’s lights and Julia Noulin-Merat’s set helped to transform the dire space. The space is not your typical theater, and knowing the limited magic that can happen, especially with an abundance of drab masking, I was able to imagine the run down motel room we were in. The playing space was far too big for this intimate piece. Grabbing on to Punchdrunk and The Amoralists lead, This Once Time in Last Chance would be an exciting site specific experience. Laura Breza’s direction was quite fine. Despite some moments of exceptionally slow pacing, she helped to raise the stakes when it was called for.
This One Time in Last Chance is definitely one of those pieces that you wish was on Netflix instant watch. It’s a cure for a good laugh with fine acting and fun writing.

Review: Complete Success

It's been many years since I took a science class. I was never a science geek. Never really understood it and whenever I would hear science terminology being thrown around, I would close my ears. And then I had the great privilege of seeing Playwrights Horizons A+ production of Itamar Moses's Completeness. The play is a love story literally about two geeks. We watch them from first interaction through their growing relationship. So of course the two science geeks, Elliot and Molly, portrayed by the stellar Karl Miller and Aubrey Dollar, would exchange dialogue of mostly science mumbo jumbo. But what makes Moses's play so perfect is the fact that I had no idea what they were talking about, I knew EXACTLY what they were talking about. Why? Because beneath all of the science talk was the subtext of love. Moses, one of the most inspiring young playwrights of this generation, knows how to write characters so well, and Completeness is no exception. Watching the love unfold between Elliot and Molly was beautiful and real. As far as plot is concerned, Molly was conducted an experiment with yeast that Elliot was able to create an algorithm that would help her predict the results. Molly needed Elliot. Completeness.

David Zinn's set was brilliant. Walking into the theater, you see a basic college style computer cluster. And then all of a sudden, the set begins to transform. The walls revealed new locations. Desks disappeared into walls and into the floor. It was perfectly high tech and not in the least distracting. It served the play wonderfully. And then there was Pam MacKinnon's direction. It could be summed up in a single word. Flawless. I'm honored that I was able to work with her last year on Clybourne Park. I highly suggest seeing this show. I will be shocked if it doesn't extend and find further homes throughout the country. Completeness is quite possibly the best play I have EVER seen. Bravo to all.

Review: Shakespeare + Brady + Partridge = Comedy Gold

The recipe for a successful Fringe production tends to be the following: a splash of notoriety with a dash of hype combined with a sprinkle of shtick. And the team behind The Bardy Bunch took this completely to heart. They had a splash of notoriety (the classic sitcoms The Brady Bunch and The Partridge Family), a dash of hype (and ensemble of 18 singing and dancing comic geniuses), and a sprinkle of shtick (The Bradys and Patridges battling in a war of words straight from the Bard himself). If you’re looking for a surefire laugh, look no further than The Bard Bunch: The War of the Families Partridge and Brady. I like to consider myself a professor of Pop Culture. Sure I lack the PhD, but I know my classic sitcoms. And believe me, there was not a single joke or reference I missed. I can’t say that I’ve seen every single episode of the musical family clans’ shows, but I’m pretty well versed. If you want to take away my theater degree go ahead because I have to admit, I probably know more about the Bradys and Partridges than I do of the work of William Shakespeare. Yet I was laughing from Prologue to final song. If you’re a fan of either show, you’re appreciate the lack of original music because you’ll know every song used. And you’re allowed to break out into laughter the moment the six Brady kids start “Keep On, Keep On Dancing,” choreography included. Though you forgive the weak and pigeonholed script, the show is all about laughing and poking fun at the families you grew up with, either in the 70s or on TV Land. And then there’s the Shakespeare aspect of the show. Throw in some of the Bard’s classic lines and plots into the Brady and Partridge world, you would think Willy envisioned the future. As I continue, just remember what happens in most of Shakespeare’s tragedies. Death. And The Bardy Bunch was a hilarious bloodbath. Though I may sound like I’m spoiling the plot, there’s no surprise there’s a Hamlet-esque finale.

If you gave a producer a script with an ensemble of 18 nowadays, they would probably laugh in your face and hand it immediately back. But when you’re going to do a parody of these two families, you can’t do it with any less. Each member of the cast had their moment to shine, though the adults were completely outshined by the eleven "children". The kids of the two clans emulated their famous counterparts perfectly. I would be here forever if I wrote about all eleven of them. But I will say they used their spotlight moments perfectly. Fine, I lied. I’ll boast a few of them. Talisa Friedman had Cindy Brady’s lisp down to a T. And she used it all the way through her hilarious Polonius death and reemergence as ghost Cindy. Olli Haaskivi was the epitome of dastardly, giving the usually forgettable Chris Partridge quite a character. A.J. Shivley, though more attractive than Barry Williams ever was, found his inner elder Brady with charm and charisma. Elizabeth Wharton’s deadpan Tracy Partridge was borderline scene stealing with all of her deliveries. And it wasn’t until Jonathan Grunert got his moment to shine that Peter Brady existed in the play. And of course it was “Time to Change”, Peter Brady’s classic song now turned into a power ballad of sorts, that stopped the show. But there were really two standouts. One Brady and one Partridge. You could not have found a more perfect actress to play Jan, the middle daughter, than Annie Watkins. If you’re familiar with The Brady Bunch movies of the 90s, you’ll remember the riotous Jennifer Elise Cox’s take on Jan. Watkins took Cox’s Jan and brought even more hilarity to her. Even when she was dead, Watkin’s Jan couldn’t catch a break. Erik Keiser as Keith Partridge was sheer perfection and the standout of the bunch. As he lusted after Marcia, Keiser was suave and commanded the stage. Like David Cassidy was the star of The Partridge Family, Erik Keiser was the star of The Bardy Bunch. Look out for what this kid does next.
The biggest question of this century has been who’s team are you on: Team Edward or Team Jacob. I personally don’t care. I’m still reeling trying to figure out if I’m Team Brady or Team Partridge. The Bardy Bunch is a campy laughfest that you’ll be sure to love.

Review: Defining Love

I’ve found since I moved to New York, it’s rare to see real life on stage, meaning what actually happens in real life. What it means to be in love. What it means to fall out of love. What it means to feel betrayed. What it means to actually learn how to grow up. What it means to be afraid of feelings. What it means to have a relationship. And then I saw Cory Conley’s The More Loving One. If you know anything about me as a writer, you can coin me as “the relationship play” guy. That’s my niche. That’s what I love to write. As humble as it’ll come out, I like to think my stuff is pretty top notch. But this play gives me newfound inspiration. Mr. Conley gives me a run for my money! If you’re looking for a near perfect Fringe production, The More Loving One will not disappoint. Fringe is usually filled with kitschy, shticky pieces. This is not one of those. And that’s what’s so refreshing.
The play follows two couples as they grapple with their personal relationships in the wake of an underage sex trial. The first couple, Matt and Lauren, are a married couple who are thrust right in the middle of the sex trial as it happens to be Matt’s “oldest friend in town” who’s on trial. When Lauren reveals a bit of sympathy for the man on trial, Matt begins to berate her causing the start of their on stage marital meltdown. In the middle of the fight, Henry, a stranger by presence but not of name, walks in, yet Lauren and Matt do not yield. Even when Heinrich, Matt and Laruen’s roommate, and the other half of the couple, waltzes in, the fight continues to escalate. It’s not until the four are present in the room do the secrets start to get revealed. The way Conley has structured the play is quite fantastic. We begin in the present and then transition into a flashback, allowing us to learn of the secrets that fuel the fire in the present. It’s quite easy to instantly take a liken to David Beck’s Matt, but as we truly begin to learn of his character, he turns into an heartless, selfish monster. We learn that Matt and Lauren, beautifully and heartfully portrayed by Adriana Degirolami, artificially have to conceive a child, which helps to prompt Matt to ask Lauren to kick out Heinrich of the apartment. We learn this through the flashback and with this knowledge, Heinrich’s vendetta against Matt in the present can be considered evil as he reveals Matt’s involvement the night of allegation. While the focus seems to be on Matt and Lauren, Heinrich and his younger lover Henry are also having their fair share of relationship woes. Heinrich asks Henry to marry him, prompting an in-restaurant dialogue of it’s the right time and place. This is by far the most heartbreaking and heartfelt scene of the play.

Watching Heinrich bare his love on his sleeve nearly brought me to tears. We’ve all been there, though not necessarily at the point of proposal, we know what’s it like to know when love is truly love. Both Heinrich and Henry are chockfull of gay clichés. From witty one liners and dry sarcasm, it’s not until we see them at their most vulnerable do they become real people. Jimmy Davis as Heinrich was best in the most sentimental moments. His fears of love and commitment were fully exposed in his duet flashbacks with both Lauren and Henry. The breakout star of the play is Preston Martin as Henry. His character had the least investment with the other couple, but without Henry the discussions in the present would not have occurred. And Martin ensured his character was visible. He showcased wit and charm in a lovable way. His facial reactions when he is literally caught in the warfare between Lauren and Matt, smartly arranged by director Craig Baldwin, were priceless. In a sense, he was our way into the play. Make sure you remember the name Preston Martin. Star in the making. Overall, the company of four was superb. Not a single weak link.
Walking into the 1st Floor Theater at LaMama, you instantly saw brick walls. This could be detrimental for a scenic designer in a festival. But Dane Laffrey’s set utilized the space perfectly. If you didn’t know better, you could have believed you were actually in someone’s living room. The architecture of the theater combined with the sleek modern set pieces and niftly hanging roll of paper gave the space character.
For me, the star of the play was the script. It’s witty and smart and filled with heart. Exactly what I look for when I see a play. I’m not made of stone but I rarely emote during a show. The More Loving One got me teary eyed in the final scene. Conley reveals the truth for the characters neatly and not forced in the slightest. I honestly wish I could find some constructive criticism, but I really can’t. I was engaged from start to finish. Still with a week of shows to go, you can call The More Loving One my best bet of FringeNYC 2011.

Review: Nothing Like a Cow Play

To say Cow Play is just a thought provoking piece of theater would be a tragic understatement. Less Than Rent, an ambitious and productive group of rising artists, have brought this enticing play to life in perfect Fringe fashion. Without giving too much away for fear of spoiling the plot, Cow Play centers around two brothers, Mark and Jed, one who’s able to break free from the constraints of home, the other who remains. Mark goes to college, falls in love with Julie, an actress, while Jed tends to the farm after the sudden death of their father. The play presents various themes including grief, what it means to succeed and the values of life and death. The piece is broken up into four parts. The first and fourth parts transcend time and place, bouncing from location to location, while the second and third part remain on the farm over the course of one summer. The middle two sections are by far the most interesting parts of the play forcing the first and last to serve more as a too lengthy prologue and an epilogue of exposition show and tell. As the play unfolds, Julie starts to scarcely emulate a person from Mark and Jed’s past, which affects them both in drastically different ways playing straight into the ideals of how to grieve the ghosts of the past.

The production as a whole fit perfectly to the needs of the Fringe Festival. It never tried to be more than it was capable of. Yet, I continually wondered how this very cinematic script would play on screen, especially during the very static, surrealistic first and fourth parts. Cow Play would make a near perfect indie film. Matthew George’s script is chock full of potential. I would love to see what a more streamlined, intermissionless version of the script would be. While the believability of certain aspects of his characters seemed contrived, he created relationships that are far too familiar. Alex Kramer and Will Turner as the Willard siblings could not be more different as actors and characters. Kramer’s Mark was both charming and inviting compared to Turner’s Jed who took the entire play to finally break down the guard he fronted. Kramer seemed to stand out the most in the company, perhaps because his character seemed to be the least tragic and most connected. Willa Fitzgerald’s Julie grew on me as the play neared the end. She seemed to try too hard to please everyone and everything around her. From Jed to her unseen auditioners to Antigone the cow, Julie continually groveled for acceptance.
Cow Play contained so many aspects of theatrical styles, from realism to abstract to surrealistic elements, that I was so intrigued by the occasional disconnect. Sometimes for better, sometimes not so much. Perhaps it was when and how the projections were used. The claymation cows were appealing to the eye but left little to the imagination. The conceit with projecting the various letters, documents, and other objects took away from the great work the actors were doing in front of the blank wall. Again, another instance of show and tell. In a film version, the camera would probably pan into the letter the character was reading. It just didn’t fair well in a theater setting. There was rarely a moment where there was not action on stage. Charlie Polinger’s staging was quite polished. He created a cohesive language of locale for the characters to play in. When we jumped time, there was never confusion. Dan Geggatt’s set served perfectly to suggest the world of the play allowing for the right amount of imagination to set in. Less is more in this instance.
If you’re looking to see the next generation of theater artists, you must see Less Than Rent’s production. Expect big things from them in the future. They’re heading in the right direction.

Spotlight On...Tom Feeney

Name: Tom Feeney

Hometown: Reading, MA

Education: Fordham University at Lincoln Center, Performance major

Select Credits: Does this woman have a name? (Jon, Fordham University); See Saw Kill (Julian, Shortened Attention Span Horror Festival); The Tempest (Trinculo, Fordham University)

Why theater?: I have studied theater since elementary school and it's one of the only art forms I have stuck with. I have loved performing since a young age whether it be acting, dancing, or singing and theater covers all of those. I think theater is the most underrated form of entertainment or storytelling.

Tell us about Technodoulia Dot Com: Technodoulia Dot Com is about how humans are connecting and disconnecting with the use of the internet and new technology taking over our lives. Literally Technodoulia means slavery to the internet and our show discusses the struggle we have with technology becoming a major parts of our lives.

What is it like to be a part of Technodoulia Dot Com?: Technodoulia has been a fascinating process to be apart of because we have devised this piece basically through improvisation in rehearsal. The play has been constructed by our research from other people and our own stories involving the internet. All five of the cast members and the creative team have created the script that we now call Technodoulia Dot Com.

What kind of theater speaks to you? What or who inspires you as an artist?: Personally, I enjoy theater that serves a purpose of being performed now because it has something new to say to our time and the audience coming to see it. I enjoy any theater that can keep me entertained while making me think.

What’s it like to be a part of FringeNYC?: Fringe is crazy because of how quick everything goes. There are just so many shows and so much to be done with your own show that it all gets a little overwhelming. I think it is a great festival for new people to show their work to an audience that probably wouldn't have been able to see it without this festival.

Any role you’re dying to play?: I'm still young and niave when it comes to plays and their playwrights, so right now I'm just auditioning for anything and everything i can get my hands on. Every once and a while a role comes along that you just really connect to.

What show have you recommended to your friends?: Recently, I haven't seen many of shows but I have been highly recommended to Jeruselam and obviously The Book of Mormon. Some Fringe shows I can recommend are Pig Pen, Cow Play, The Rubber Room, I Light Up My Life, and When the Sky Breaks 3D.

What’s up next?: Up Next is my Junior year of school at Fordham University and I am excited to audition for as many shows i can for first semester!

Spotlight On...Francsesca Choy-Kee

Name: Francesca Choy-Kee

Hometown: Croton-on-Hudson, NY

Education: NYU Tisch School of the Arts, London's Royal Academy of Dramatic Arts, and NYU's Graduate Acting Program

Select Credits: Yale Repertory's World Premiere of Bossa Nova by Kirsten Greenidge; The Long Wharf's World Premiere of Agnes Under the Big Top by Aditi Brennan Kapil; The McCarter Theatre's production of She Stoops to Conquer directed by Nicholas Martin; Williamstown Theater Festival '08/'09.

Why theater?: It's one of the most intimate ways to connect with our own humanity, empathize with others and ultimately experience a mode of storytelling that is vital, playful, and collaborative between the actors and their audiences.

Tell us about The Rubber Room: The Rubber Room is about five NYC public school teachers that have been fired from their jobs and placed in a teacher detention center (a rubber room) to await hearings concerning their dismissal. Over the course of four days they, and the security guard who keeps them in line, struggle with each other and themselves as they await their fate. The play was inspired by this New Yorker Article, written in 2009.

What is it like to be a part of The Rubber Room?: The rehearsal process has been a fast and furious one, but this is a cast that has approached this charged material with real commitment, curiosity and humor. I love collaborating on new plays, and this is one that sheds light on the NYC Public Education system, the teachers who serve it, and whether this system is ultimately benefiting the students who it's in service of. What's it like to be an educator in a rubber room? ...not fun :-)


What kind of theater speaks to you? What or who inspires you as an artist?: I love classical theater - when Shakespeare is done well it can be totally transporting. I also really love physical, inventive pieces... When I was last in London I saw Philip Pullman's His Dark Materials at the Royal National Theater and thought it was incredible. As far as inspiring artists are concerned... Audra McDonald. I've looked up to her since I was little. Meryl Streep, Viola Davis, Samantha Morton, Fiona Shaw, Derek Jacobi... I'm inspired by complete transformation. When an actor has the courage to truly use themselves as a conduit for a character...it gives me chills.

What’s it like to be a part of FringeNYC?: It's wonderful to be part of such a large community dedicated to giving voice to new work. I feel like a cell in the body of a huge theater organism.

Any role you’re dying to play?: Medea, Electra, Beatrice and Cleopatra. It would be a gift to delve into Athol Fugard's work again. I was obsessed with My Fair Lady when I was younger...Eliza Doolittle would give me endless delight. I'd love to play the roles that haven't been written yet, that speak to our changing world and the people in it.

Who would play you in a movie about yourself and what would it be called?: Renascence a film about identity and the authentic self. Directed by Ang Lee or Michel Gondry starring.... me! Or maybe Sophie Okonedo...she's pretty amazing.

What show have you recommended to your friends?: I was just talking about Mark Rylance's riveting performance in Jerusalem a few nights ago...which you and I saw together! I'm also looking forward to Milk Like Sugar at Playwrights Horizons this Fall.

What’s up next?: I will be playing Celia in the Cincinnati Playhouse in the Park's upcoming production of As You Like It this September!

To learn more about Francesca, visit her at http://thewanderingbark.blogspot.com/

Spotlight On...Marion Le Coguic

Name: Marion Le Coguic

Hometown: various small towns in France, followed by the 5 boroughs of
NYC

Education: Boston University School of Theatre

Select Credits: Fallujah (Penny, Kennedy Center); Three Sisters (Olga, Calderwood Pavillion); Old Times (Kate, Boston University)

Why theater?: Have you ever seen the movie The Reckoning with Paul Bettany and Willem Dafoe? Well: set in 14th century France, Bettany plays a sinning priest turned traveling-troupe-actor. They stop in town squares and perform the creation story, mostly. But this time, the troupe essentially ends up solving a murder case and saving an innocent woman wrongly accused of committing said crime. How do they do this? By acquiring every single fact needed to perform the event of the murder in front of the whole town in order to prove that this woman did not kill this boy. Theatre sheds light, subtly or not. I like to do that, subtly or not. And if it's just for entertainment's sake, then great! As a person who sometimes loves nothing more than to just lose myself, I give back what others on movie screens and stages alike have given to me: I am always thrilled to provide people with a means of escape. We need that once in a while.

Tell us about Sanyasi2011: Sanyasi was written in 1917 by a man named Rabindranath Tagore (how cool is that name) which he translated himself into English a few years later, thereby leaving us with a perfect, unbotched translation. Nutshell: a monk, if you will, truly believes he is on the path to enlightenment. But you'll see that he speaks of the world very darkly, that he is full of anger, and has ghosts of his own... until he meets Vasanti, a girl "deserted by both gods and men alike" who opens his eyes to the beauty of all that is around us. I won't say any more, though :) Ameneh Bordi —our director— called it Sanyasi2011 as opposed to leaving it as Sanyasi because yes the play is timeless, but we have brought our own contemporary elements to it. Like a reawakening. The language is heightened, formal, but Ameneh made it a point to work with us on getting those words comfortable in our mouths. Making them not so sacred, you know? Letting the text speak for itself. We left it simple, it’s literally a trunk show. It is also underscored the whole way through with beautiful original music by Keith Adams, with electronic and real instruments, creating a flow that really helps the audience understand what is happening when.

What is it like to be a part of Sanyasi2011?: I love the fact that we’re bringing to life a play that has… as far as we know —and Ameneh’s done her research— never been done before. And it’s been really great working with familiar faces outside of the university setting, and of course meeting new theatre artists is always exciting. Especially from this upcoming generation that I am very proud to be a part of.

What kind of theater speaks to you? What or who inspires you as an artist?: I’d like to thank Ilana Brownstein for my ability to answer the first part of this question, which is still hard to do after 4 years of theatre school. I really dig a lot of genres, so that’s why I’m having a tough time here… Where’s my Contemporary Drama syllabus when I need it! In a box. Somewhere. Alright: realism, historical plays, In Yer Face, abstract, magical realism, fringe, dark comedies, a damn good tragedy, the Greeks, one [wo]man shows… Hmm. I love plays that tell the stories of a different culture than mine, I think that’s such a beautiful way of showing the world. And if whatever I’ve just seen doesn’t speak to me, or “I don’t like it”, I ask Why. I’ll leave it at that. I get inspired every day by all kinds of people. By my family, especially my little sister; by my best friends, who are all incredibly talented at what they do; by my teachers, even those who date back, who strongly and willingly believe in me; by someone who’s got 5 or 7 plays laid out on his table and is memorizing monologues next to me in Starbucks to be sure to have 11 or 15 monologues lodged in the back of his brain (true story); by the woman on the subway with her 3 kids plus a stroller with the 4th one in it; by Meryl Streep, Mark Rylance (who I’d never seen before Jerusalem), Daniel Day Lewis, Emma Stone, and so fucking many of’em I couldn’t possibly name right now; by the construction workers with their spattered clothes and Timbs; by couples who have together for 50 years; by —you get it. That was “who”. Now “what”: love, knowledge, hard work, growth & change.

What’s it like to be a part of FringeNYC?: Awesome. So very awesome. And on East 4th Street, are you kidding me?! I began my theatre days at Downtown Art! I feel so lucky to be back on the block!

Any role you’re dying to play?: I was recently asked this. Trevor in Roadkill Confidential by Sheila Callaghan (again, thank you IB), Ouisa in Six Degrees of Separation (I’ve wanted that since high school, thank you Stephen Kaplan), and all the women in The Blue Room by David Hare (thank you Sidney Friedman).

Who would play you in a movie about yourself and what would it be called?: I would play my Mama, hands down, and it would be called… Petit Coq in French, and Little Rooster in English.

What show have you recommended to your friends?: Haha. Jerusalem. That’s actually the only one I’ve seen since I’ve been back in NYC and I do feel terrible about that, I gotta kick my ass into gear. And I’m sad I missed Henry V, especially since it was stage managed by my friend Leigh Robinette, but I was busy every performance they had.

What’s up next?: I’m auditioning for Blood Manor (the haunted house) for this year’s Halloween season. We’ll see how that goes, I’d be SO PSYCHED if I got that gig. I’m like a giddy little kid when I think about it.

For more information on Marion, visit http://marionlc.tumblr.com/

Review: Boat Treads Water

When you hear the word “improv”, you immediately get the image of Drew Carey in your head. Why? Because for most people, the only way into the world of improvisation is through the classic tv show Who’s Line is it Anyway? But As the Boat Approaches is not that. As the Boat Approaches takes the classic ideals of long-form improv and tells the tale of two newfound buddies who are suddenly stranded on an island. With no set, no costumes, and no props, you are forced to use your imagination, which tends to be scary in theater. And I greatly appreciated the fact that I got to use my imagination, which seems to have disappeared once I started studying theater. The piece traveled from place and time, allowing our two actors, Jonathan Gordon and Justin O’Neill, to create various characters and various sounds, including the classic fart.

Gordon and O’Neill played off each other brilliantly. They were like Ben Stiller and Owen Wilson of improv. The perfect duo who let one another take moments in the spot light. Gordon and O’Neill were in their prime when the scenes called for comedy. The more dramatic moments seemed to drag a tad to long, though this may be due to my preconceived notion that improv should always be funny. Gordon and O’Neill’s humor way outshined the maudlin, though the final moments of the play were beautifully sentimental. Live comedy can be tough, and O’Neill occasionally broke character if Gordon said something funny. But as an avid Saturday Night Live fanatic, watch at old episodes when Jimmy Fallon breaks character. It’s some of the funniest moments of comedy in the history of the show (ie the Will Ferrell/Christopher Walken “More Cowbell” or the Janet Jackson and Co. “Cork Soaking” skits). So I forgive you and thank you. Justin Kuritzkes, who serves as the dual writer/director, does a fine job steering his actors. One of the interesting aspects of As the Boat Approaches, was the lighting. As the piece headed toward the end, the lights dimmed, almost as a warning to wrap up. Though it was a bit distracting for me, it served perfectly for the end of the play. I am very intrigued to see Jonathan Gordon and Justin O’Neill do more improv together. They have the perfect onstage bromance. If you’re looking for a good laugh, check these two out.

Review: Tate Comes to Life

Before walking into an evening of theater that is an adaptation of something, you get the choice to research the source material or go in blind. I chose to enter blind. And I’m glad I did. Lunar Energy Production’s Before Placing Me On Your Shelf is a collection of generously smart scenes using the words of Pulitzer-Winning poet James Tate. Not knowing the source material, I was able to listen to Tate’s language and discover a thru-line within the piece, despite the occasional and unfortunate pigeonholing. There were consistent themes and images used throughout the play that connected the poems to one another helping to create a play.

Shelf was at its finest when the scenes touched the absurd. Sure the narratives appeared realistic, the situations were not. From duct tape to moths to the silly items used to fix a speaker, Tate’s poems served for a great absurdist piece of theater. The ensemble of seven, led by standouts Caitlin Johnston and Josh Odsess-Rubin, worked nicely with each other, never allowing for a dry or dull moment. From a production standpoint, Philip Gates used his space perfectly. Walking into the Kraine Theater, there seemed to only be two entrances and exits. Suddenly an actress appeared magically via a revolving door with moth-like silk decorations behind her. The ingenious use of the three revolving doors was a strong choice that made the simple black box theater more enticing. I continually wished for someone to appear and reveal the silk. Gates, who directed and conceived Before Placing Me On Your Shelf, lifts Tate from page to stage in a way most directors dream of doing though rarely succeed. He guides his troupe on a thought-provoking journey through Tate’s world. The only thing I wish that Shelf had was a more cohesive costume design. The costumes seemed to be static and what looked best from the actors’ closet. Overall, if you’re looking for a unique theatrical experience, head over and see Before Placing Me On Your Shelf.

Spotlight On...Barry Shafrin

Name: Barry Shafrin

Hometown: Milwaukee, WI

Education: Harvard University – A.B. in Psychology, Minor in Dramatic Arts

Select Credits: RAINBOW FISH (Shark, national tour); HOLD MUSIC (Peter u/s, Living Theatre); STANLEY’S PARTY (Stanley, Manhattan Children’s Theater); FOREVER PLAID (Jinx, Lycian Theatre); THE WEDDING SINGER (George, Armory Theatre); ALTAR BOYZ (Mark, New Lebanon Theatre Barn)

Why theater?: I was a wee bit melodramatic as a child, so my parents shipped me to theater camp early on, and it just stuck. Good call, Mom and Dad. The thing I love most about the theater is the degree of collaboration. The directors and designers build on playwright’s vision, the actors add their individual voices and spirits, and each night the audience brings a unique energy. I think you become addicted to the intimacy and immediacy of live theater, both as an actor and an audience member, and I am constantly looking for my next fix.

Tell us about The Legend of Julie Taymor: The Legend of Julie Taymor has already won a Pulitzer, 3 Grammys, and a Kid’s Choice Award. Seriously. Don’t fact check me, but seriously...But actually seriously, it is a new rock musical inspired by the epic rise (and fall?) of Spiderman on Broadway. I think the show is enjoyable both for people who followed all the ups and downs of the Spiderman’s journey to Broadway, and those coming in with no clue. Expect larger-than-life characters, laugh-out-loud good times, a get-stuck-in-your-head score, and other exciting hyphenated superlatives.

What is it like to be a part of The Legend of Julie Taymor?: The process has been a total joy from day one. It has been a delight to sit in rehearsals every day and witness the brilliant antics of my stupidly talented castmates. Our director, Joe Barros, has also been an amazing mentor in encouraging us to be as big as we possibly can while staying rooted in the truth of the story. Plus thanks to Team J-Tay (that’s what I plan to call our kickball team), I can finally cross “have clothing ripped off by original Avenue Q cast member ” off my bucket list.

How does it feel to be poking fun at one of the most topical stories in theater?: They say it’s the sincerest form of flattery, no? And it’s all in good fun.

What kind of theater speaks to you? What or who inspires you as an artist?: A good vs. evil tale is nice, but it’s when the morality goes a bit askew that stories really draw me in. I find that grey area the most compelling. And I think our show manages to make you fall in love with the oversize arch-villain that is our Julie, despite (or perhaps inspired by) her dastardly doings. I’m also really drawn to new works, I think we are living in a really exciting time for musical theater. New composers, I want to jam with you! My friends will also tell you I am hugely inspired by Gavin Creel. He’s my favorite. Sometimes I send him emails…call me, Gavin…

What’s it like to be a part of FringeNYC?: Fringe is a whirlwind, but it is amazing to be in the company of so many incredibly talented artists who are all equally panicked about teching a show in four hours. I am hoping to catch as many shows this year as I can.

Any role you’re dying to play?: Fanny Brice. Watch your back, Ambrose. Elder Shafrin also looks pretty great in a white button-down.

What show have you recommended to your friends?: There were so many amazing new plays this season that I am sad I can no longer recommend: The Normal Heart (saw it twice, still dehydrated from the crying), Good People, and Unnatural Acts jump to mind. The Book of Mormon is truly spectacular, but it feels mean to recommend a show for which it’s virtually impossible to get tickets. Unless, you have preposterous luck and win the lottery on your first try, which I am astonished to say that I did.

What’s up next?: An EGOT.

For more information on Barry, visit http://www.barryshafrin.com/

Spotlight On...Bethany Heinrich

Name: Bethany Heinrich

Hometown: San Antonio, Texas

Education: The Juilliard School Drama Division, Class of 2010; The University of Michigan, BFA in Musical Theatre

Select Credits: The Merchant of Venice (Ensemble, The Broadhurst Theatre); The Winter's Tale (Dorcas/Hermione Understudy, The Public Theater NYSF); Big Money, Far Away, Please Stop Talking, Cold Hard Cash (Williamstown Theatre Festival Non-Equity Fellowship); The Threepenny Opera (Polly Peachum, The Juilliard School)

Why theater?: I love telling stories, and I was always someone who had a big imagination. Playing pretend and writing stories were some of my favorite activities growing up because anything was possible. I was always very shy, and in middle school I found that theatre allowed me to express myself. Somehow playing a character freed me up, and I had a lot more courage and confidence to articulate thoughts and ideas. I think that theatre is so wonderful because it really forces people to sit down, listen, and reflect upon what they are seeing. With technology developing so rapidly and information becoming so immediate, it seems that we are a culture that is losing its attention span. It is nice to have an art form that slows us down, even if it is just for a few hours.

Tell us about The Rubber Room: The play centers around six teachers who have been accused of misconduct, and as a result have been suspended and placed in the rubber room. These temporary detainment centers were notorious and controversial within the New York education system (the rubber rooms closed down in 2010) because many teachers were apparently falsely accused. Furthermore, these teachers were paid full salary to basically go to detention for eight hours a day while awaiting hearings to see if they would be let back in the classroom. The Rubber Room explores what it is like for six very different people to share those eight hours a day. It is a dark comedy that is very touching because you realize that these are individuals who are just trying to survive, as we all are. I find that there are elements in each character that the audience will identify with, and that people will walk away having had a wonderful and meaningful experience at the theatre.

What is it like to be a part of The Rubber Room?: So much fun! It is a great group of actors and creative team to work with. The process has been very smooth, and the rehearsal room has been a great environment where it feels safe to take risks and explore. The director has really allowed me to play, and I appreciate that a lot as an artist.

What kind of theater speaks to you? What or who inspires you as an artist?: My favorite playwright is Anton Chekhov. I love his stories so much because they give such insight into the human condition. I am drawn to stories about people trying to survive under difficult circumstances. I respect that fighting quality so much in people- the will to keep getting up even if there doesn't seem to be foreseeable hope at the moment, and his stories reflect that so beautifully. I am also drawn to the American dramas by William Inge, Clifford Odets, and Thornton Wilder. And for sure work by Chris Durang. My greatest inspirations to me as an artist are two very significant acting teachers I have been so fortunate to work with: Richard Feldman and Earle Gister. They helped me so much to believe in myself as an artist and they really worked to open up me up as an actor.

What’s it like to be a part of FringeNYC?: It's cool. I feel like it's such a New York acting experience so I am happy to take part in the tradition.

Any role you’re dying to play?: I would love to work in any of the plays by the writers I mentioned above. I would also love to focus on new work. There are so many great playwrights coming up, so it would be awesome to be apart of developing a new piece. I'd also love to focus on work that involved physical comedy. That is something I really found a love for at Juilliard.

What show have you recommended to your friends?: I recommend The Talls by Anna Kerrigan at Second Stage. It's awesome, and it is a beautiful and rich story that is also extremely funny and entertaining.

What’s up next?: I am pretty busy helping produce Anna Kerrigan's next film entitled Wunderkind. The other producers and I just had the launch party recently and it went wonderfully. So I will be busy in the coming months trying to raise funds and raise awareness about the film. Her first film called Five Days Gone did really well at the Nantucket Film Festival and the Brooklyn Film Festival (where it received Best Screenplay), so I am really thrilled and honored to be working on this project. The idea of producing is fascinating to me, and I am hoping to have a career that eventually balances acting and the production side. I find I am someone who loves to be busy, so my goal is to be involved on the producing side when I am not acting.

For more information on The Rubber Room, visit http://therubberroomplay.com/

Spotlight On...Joel Perez

Name: Joel Perez

Hometown: Lawrence, MA

Education: Tufts University, British American Drama Academy, Upright Citizens Brigade

Select Credits: In the Heights, Ensemble, 1st National Tour

Why theater?: I tried my hand at being Pre-Med in college for all of one year. It wasn't for me so I jumped around majors for a while. I had been singing since I was a kid and auditioned for a musical in college. When I realized I liked being at rehearsal more than doing chem problem sets, I knew it was time to refocus. I studied in London at the British American Drama Academy and that experience made me realize that I needed to tell stories for a living.

Tell us about Words Don’t Work: Broken Box Mime Theater Presents Words Don't Work is a collection of unique short stories that are told entirely through movement and mime technique. We also use lights and music to create our environments. It's like nothing you have ever seen before.

What is it like to be a part of Words Don’t Work?: Our company is an ensemble. We all take ownership of our material and develop it together. It a really rewarding experience as an actor because it is truly a group collaboration and we all want our shows to be the best they can be. I was primarily a singer and actor so mime work has really helped to push my abilities as a performer.

What kind of theater speaks to you? What or who inspires you as an artist?: I love stories...well-told, unique and coherent stories. I love theater that recognizes that and makes sure the story is paramount. I don't need bells and whistles, just honest storytelling.

What’s it like to be a part of FringeNYC?: It's AMAZING! Being a part of something so big has been really exciting. I'm just grateful to have the opportunity to share Broken Box Mime Theater on such a big scale and feel welcomed in the New York City theater community.

Any role you’re dying to play?: If a film of The Alchemist ever gets made, I want to play Santiago. I'm just putting that out there.

If you could steal anyone’s career, who’s would it be?: Hank Azaria. Hands down.

What show have you recommended to your friends?: I can't wait for Venus in Fur to go to Broadway! I saw it at CSC and was blown away by Nina Arianda. David Ives writes some good shit.

What’s up next?: I'm excited for the future of Broken Box Mime Theater! I'm developing a solo show that will be a part of ANT Fest at Ars Nova on Nov 9th. Mark your calendars! I'm also doing a random production of Fame in Macau in October. No lie!

For more information on Broken Mime Theater, visit http://www.brokenboxmime.com/

Spotlight On...Chris Davis

Name: Chris Davis

Hometown: Falmouth, ME

Education: Connecticut College, BA Theater/Atlantic Acting Conservatory/Academia dell'Arte, Arezzo, Italy.

Select Credits: We're Drunk/This Is The End (Nate, TS Elliot US/UK Exchange Old Vic, London); Avenue of The Americas (Phil, The Tank NYC)

Why theater?: People. Places. Community! I thoroughly enjoy working with new people in an artistic setting and growing in a community of theater lovers! I love to travel and when my art allows me to get on a plane or a bus, I am in my element. Theater allows for exploration of self and the world which I feel is invaluable to humanity.

Tell us about The Apartment: The Apartment is an amazing new play by 4 very talented writers (Sorrel Tomlinson Barnard, Melissa Moran, Lindsay Murphy and David Scott) that tells the story of a LES apartment and its tenants. The play opens in the famous 2003 Blackout and continues through until present day. Each act portrays a unique couple struggling with the stereotypes of NYC living, their own demons and the going-ons of the ‘Naughties (the last decade). It be hilarious! There is dancing, smooching, blood and guts: the recipe for a great night out I assure you!

What is it like to be a part of The Apartment?: I love working on new plays because there has been wonderful collaboration with the writers so when fun new things happen in rehearsal, they end up in the play! The writers have been so great about working with us in the rehearsal room and it has led to some fabulous new moments! The cast and production team have a ton of fun together and it has been awesome to be with such talented artists.

What kind of theater speaks to you? What or who inspires you as an artist?: I love dance/theater. Physical devised ensemble based theater is a joy for me. When a group of people grow a piece of theater from the ground up to share their voice, I am inspired. I believe in training, I love training and when that is coupled with the ensembles performance, magic happens. I am inspired by my family, the ocean and the artists I get to share my story with along the way.

What’s it like to be a part of FringeNYC?: This is my first Fringe and it is non-stop excitement. There is never enough time, resources or people but the show goes on: the beauty of live theater with a 15 minute setup and teardown. The adrenaline is high, the parties are stellar and being apart of this play has been such a treat.

Any role you’re dying to play?: Since I missed the boat on the remake of Footloose…well…maybe ill wait for the 3rd one!

What show have you recommended to your friends?: What The Sparrow Said by Danny Mitarotondo. It is done by a favorite theater company of mine: The Common Tongue. They always put up great work and I got to give a shout out to actress Heather Oakley who not only inspires on stage but also in life as a teacher of mine at Atlantic.

What’s up next?: I am in an exciting show with The Bower Group called This Is For You featuring four new one acts written by company members that goes up over labor day weekend at the New York Theater Workshop 4th St Theater. This fall I finish up my 5th semester at the Atlantic Acting School and will be involved with two shows, one of which will be produced/directed/acted by our newly formed theater company of 16 ensemble members that have trained together for the past two years. It will be an exciting 3 months ahead!

For more information on Chris, visit his website at http://www.chrisdavisnyc.com/. For more information on The Apartment, visit http://www.playwith4sides.com/

Spotlight On...Charlie Polinger

Name: Charlie Polinger

Hometown: Washington DC

Education: I'm about to enter my junior year at Yale

Select Credits: I'm primarily a director. Most recently I directed a new show called The Private Sector at Theater for the New City. I've also directed a handful of shows at Yale, many of them original (including both Cow Play and The Private Sector as well as Bunkerville: A Post-Apocalyptic Musical).

Why theater?: It creates a scenario where a group of people experience something together that no one else can ever have exactly. A live audience is one of the most powerful ways that people can connect in my opinion. Obviously the show itself is incredibly important, but what's most exciting is how the show can effect an audience as a whole. It's the same reason I like going to concerts. It's a chance for people to bond in a unique way.

Tell us about Cow Play: Cow Play is very difficult to describe both because it is very non-traditional and poetic (a bit like Sarah Ruhl's plays) and because I don't want to give too much away. It's about these two brothers who grew up on a dairy farm, Jed and Mark, who grow apart after their father dies. Mark goes to college and gets a girlfriend, Julie, while Jed takes over the farm. But eventually Julie needs to get out of the city so Mark takes her home to the farm, and that's where the majority of the play occurs as all three of their relationships develop. More generally, though, it's about how people deal with time. Time is such a bizarre and horrifying idea for people to grasp, mainly because it moves forward at its own rate and there's nothing anyone can really do to stop it. So the show experiments with time, weaving the past, future, and present together to demonstrate how difficult it is separate those things.

What is it like to be a part of Cow Play?: I'm having the time of my life with this show. I directed a production of it last September at Yale and that was an amazing experience, but it ended too soon. It's such a challenging, delicate, and visually specific show that it's pretty much a dream for director, actor, and designer alike. But it's really fun revisiting it having done it before. We're constantly finding new things to play with and it's great collaborating with Matthew (the playwright). We've gotten to the point where we can really bounce ideas off of each other to help find the strongest ways to present things.

What kind of theater speaks to you? What or who inspires you as an artist?: This sort of ties into the "why theater" question. I'm inspired by theater that is created around the fact that theater is rare because it's made for a live audience, unlike film. I like theater that uses it's liveness to its advantage. I honestly think theater is on its way to making a comeback because the fact that everything is so accessible (on youtube, itunes, etc) makes live entertainment way more exciting and special. I think people like Sarah Ruhl, Sam Shepard, Tony Kushner (and MANY others of course) are so inspiring because they tap into the most theatrical and visceral ways to tell a story, and that's what it's all about.

What’s it like to be a part of FringeNYC?: It's like going on the Superman ride at Six Flags. It's horrifying to prepare for, but once your on it, it's awesome and scary and fast. Or, without using a stupid metaphor, it's just exciting. It definitely comes with a lot of limitations, but that's half the fun and it's really great being a part of a larger whole and seeing what kinds of things everyone else is doing.

Any role you’re dying to play?: Hmmm maybe Jesus in The Book of Mormon, he has an awesome costume...

What show have you recommended to your friends?: For Fringe? I'd recommend The Three Times She Knocked. On Broadway, The Book of Mormon or Jerusalem.

What’s up next?: Good question. Not entirely sure other than going back to college. I'm directing an original musical in the fall so that should be exciting!

Spotlight On...Jared Zirilli

Name: Jared Zirilli

Hometown: Bellmore, a lil town in good ol Long Island :)

Education: I went to Ithaca College and got a BFA in performance

Favorite Credits: Wicked (Fiyero Cover, 1st national tour); Aida (Radames, Drury Lane Chicago); Rubber Room (Alan, Artistic New Directions); Rent (Roger, Hangar Theatre- Regional Premiere); Light in the Piazza (Giuseppe, Maine State Music Theatre) Altar Boyz (Matthew, Bethesda Theatre- DC Premiere); Aladdin: The Musical Spectacular (Aladdin, Hyperion Theatre (Disney Prods)

Why theater?: Started when I was a kid because it was instant form of getting attention from everyone! haha. But now I feel like it's the most incredible way that we can act and behave in ways that aren't acceptable in normal life! Is that weird? haha. I like to misbehave and act out. Theatre lets you do that.

Tell us about Winner Take All: This show is an all out party. It's some of the BEST music I've ever heard in a musical. A friend of mine saw our opening last night (Friday) and she works for Atlantic Records, isn't much of a theatre person, and said the music was unreal. It spans so many incredible genres, gospel, blues, funk, reggae. It's all the stuff you just love to hear and groove to! I can't get the songs out of my head, ever. The story is simple, and great. I play Ricky, Catie's boyfriend. And it's a love story that revolves around a battle between rock and roll heaven and rock and roll hell! That's all I can say :)

What is it like to be a part of Winner Take All?: It has been a family. We all spend so much time together working on new changes to script and music and staging. We know the show inside and out, and we all believe in it and love it! I love these people, and they are so talented. It's an honor to work with them every day.

What kind of theater speaks to you? What or who inspires you as an artist?: As far as musicals go, I am a Sondheim lover. I had a very ballsy high school theatre director, and we did Sondheim, Follies and A Little Night Music, my first 2 years of high school. From then on I was obsessed. Truly the best. But for what speaks to me, Shakespeare and straight theatre is an inspiration. I am so deeply affected by a majority of the plays I see in New York and regionally. I can't wait to be a part of them :)

What’s it like to be a part of FringeNYC?: Off the cuff and exciting! It's like nothing I've done before. It's fun to have some hectic-ness in your life :)

Any role you’re dying to play?: OOh that's the tough question. I'd love to be in Jersey Boys. Or in A Little Night Music!

What show have you recommended to your friends?: Jerusalem and Master Class

What’s up next?: Stay tuned!

For more information on Jared and Winner Take All, visit http://JaredZirilli.com/ and http://winnertakeallmusical.com/index.html

Spotlight On...Chris Bellant

Name: Chris Bellant

Hometown: Detroit, MI

Education: NYU Tisch School of the Arts (Stella Adler Studio)

Select Credits: David Lindsay Abaire's Snow Angel, Twelfth Night (as Fabian), Insidious (at Theater for the New City), Twelve Angry Men (Juror #5, Stella Adler Studio).

Why theater?: Long story short, because it makes me happy. Film really is a director's medium. In the theater actors have an incredible freedom that doesn't exist in film. The audience is on a journey with the actors in a situation where literally anything is possible. I love the bond that's created between actor and audience- people who have never met before, and may never meet again, but agree to have an experience together in the moment.

Tell us about Killing John Grisham: The most remarkable thing about Jack Moore's play in my opinion is how relatable it is. He created a group of extremely funny and intelligent people who struggle with the same things as every one of us: the need for recognition, validation, and success; searching for love and acceptance; loneliness and alienation; feeling let down by the people who matter most in our lives; etc. The play goes places that I don't think the audience will expect from a comedy.

What is it like to be a part of Killing John Grisham?: We have a ridiculously talented cast and crew, the hardest working director in town (she has three shows opening this week! THREE!), an exciting new playwright, and a great producer. What more could anyone possibly ask for? It's been an exciting journey, and I sincerely hope that I get to work with all of them again soon because I have been feeling very lucky to be in the company of such great people.

What kind of theater speaks to you? What or who inspires you as an artist?: When I was a kid, I watched the movie Hook every day, and I was in awe of Dustin Hoffman. I told my parents that whatever he was doing I wanted to do. I recently had the great fortune of seeing Jerusalem, and Mark Rylance changed my idea of what is possible in the theater. Charlie Kaufman's writing is revolutionary. I'm inspired by people who challenge the boundaries of logic and imagination.

What’s it like to be a part of FringeNYC?: It's like a circus in a way. You'll see some really crazy things that will sometimes be frightening, but in the end you're always glad you were there.

Any role you’re dying to play?: One day I MUST play George in Who's Afraid of Virginia Woolf? and Tom Wingfield in The Glass Menagerie.

What show have you recommended to your friends?: Jerusalem (if you haven't seen it, it's closing soon so get on it!)

What’s up next?: Writing and acting in a film titled Loserville, which I'm developing with producer Vicki McCarty and is attracting some all time great actors! Playing Macduff in a production of Macbeth, workshopping a new play by Darren Caulley, and just cast in a one act in the Estrogenius Festival, a festival of new works created by women at Manhattan Theater Source.

For more information on Killing John Grisham, visit http://killingjohngrisham.com/

Spotlight On...Christopher Michael Clark

Name: Christopher Michael Clark

Hometown: Huntsville, AL

Education: The American Musical and Dramatic Academy

Select Credits: Greg Pierotti in The Laramie Project (YAPP @ The Looking Glass Theatre), Ellard Simms in The Foreigner (TH @ The Playhouse)

Why theater: Because I've been fired from every day job I've ever had! I don't know how to do anything else. All kidding aside, it's the easiest way I know to identify with all walks of life and all kinds of people. It's about humanity, and telling a story.

Tell us about The Flowers of Fantastico: Funny and engaging. A clever script written and directed by Rachel Kerry of Brain Melt Consortium, The Flowers of Fantastico is a bisexual romantic horror comedy that pays an earnest homage to B-movies (and the people who love them). When perpetually lovelorn Tara finds a mysterious VHS cassette tape hidden in a 30-year-old vending machine, she uncovers the dark secret it harbors, putting the destiny of millions at stake. From awkwardly hilarious breakups to the pursuit of ones sexual identity, Fantastico will tickle your funny bone and tug at your heart strings. Plus , we have superhero nuns, demonic baked goods AND exciting special effects designed by Bloodpump Productions. Did I mention a celesbian wedding that could end the world?

What is it like to be a part of The Flowers of Fantastico: SO. MUCH. FUN. Rachel has assembled a hilarious cast of up-and-comers who treat comedy like it's their job. It's so humbling to see what these amazing actors bring to the table each week and watch them breathe life into these characters that we've all come to love. Also, we have a ridiculously supportive creative team behind us. They make the magic.

What kind of theater speaks to you? What or who inspires you as an artist?: I find myself drawn to theatre that challenges your perspective and allows you to see into a window of life that maybe you never understood. Everyone deserves a chance to tell their story and if you'll just listen you may learn a thing or two. Inspiration can be found all around if you just open your eyes.

What’s it like to be a part of FringeNYC?: Thrilling. It's like being in the same room with 200 other people who just GET it, and don't judge you for thinking outside of the box. It's been an emotional experience as an artist and a safe environment to let go and create.

Any role you’re dying to play?: Joe in Angels in America

What show have you recommended to your friends?: My Fringe picks: Ampersand, The Eternal Husband, and Sammy Gets Mugged. I've also heard amazing things about Salamander Stew and All The Windows on Alcatraz.

What’s up next?: No theatre in the immediate future, however, you can catch me this fall as Jesse Einhorn in The RA's a new webseries by John Capo (Winner, Best Pitch, NY Television Festival 2011) premiering September 8th. www.watchtheras.com

For more information on The Flowers of Fantastico, please visit http://www.brainmeltconsortium.com/

Spotlight On...Sam Gooley

Name: Sam Gooley

Hometown: Baltimore Maryland

Education: East Carolina University

Select Credits: Bethesda and Air Force 525 (WorkShop Theater Company); The Argument, Wonderful World, and Dark Rapture (The Attic); Dream Wedding (Manhattan Repertory Theatre); and Best Party Ever (Richard Shepard Theatre). Sam co-wrote and directed Fat Man Tapping at the Laurie Beechman Theatre.

Why theater?: Well, I saw a production of Heidi when I was 10 at a local theatre in my hometown and I got a crush on the girl that played Heidi, so I went and auditioned for their next show so I could meet her but got sucked into the life of the theatre instead. But, the thing I love most about it is, the chance to be able to explore a story and see where it can go every night. Every night can be a different adventure. It’s one of the most thrilling and satisfying experiences I’ve have had and I think it’s also what makes Theater so exciting.

Tell us about This One Time in Last Chance?: It’s about two lifelong best friends who devise a perfect plan pay off some of their massive debts by setting up a drug deal in a local Motel. However, when they arrive at the motel, they find a dead man in their room and have to figure out where he came from before the other drug dealers show up. I think it’s a story a lot of people can relate to.

What inspired you to write This One Time in Last Chance?: The original idea actually came from a short film I made with my best friends when I was 15 about two friends finding a dead man in their apartment. That idea always fascinated me and stayed with me for all these years. Fast forward to last year, I wanted to explore the idea of just because you grow up with someone, that doesn’t make them your best friend but with that alone, I was having massive writer’s block. So, for some reason, I decided to integrate those two ideas and it just seem to work (I think).

What kind of theater speaks to you?: That’s an interesting question because I think that any type of theater can speak to me if it’s well done. I like being surprised by shows. Our Town at the barrow street theatre a couple years ago surprises the hell out of me. I couldn’t sleep after that show. It was brilliantly done.

If you could compare yourself to any playwright, who would it be?: I don’t think I want to compare myself with any playwright cause I don’t think I’m that good. However, I’m very influenced by the work of Martin McDonough. He is a writer that tells his stories without mercy yet he can shock his audience into laughing about anything.

What’s it like to be a part of FringeNYC?: It’s been a very interesting yet amazing thrill ride. Being able to work with my theatre company (THE ATTIC) on this project has also been a real treat.

What show have you recommended to your friends?: The Normal Heart and The Motherfucker With The Hat (which both closed!) But, War Horse and The Book of Mormon are both incredible and deserving of their awards. Also, I really want to check out Sleep No More.

What’s up next?: The next season with the Attic and working on my next play that is so secretive I don’t even know what it is.

For more information on This One Time in Last Chance, please visit http://www.theatticpresents.org/