Spotlight On...Daphne Gardner and Carl Holder

Name: Daphne Gardner and Carl Holder, The Daphne and Carl Experience

Hometown:
Daphne Gardner: Baltimore, MD  
Carl Holder: Gainesville, FL. 
DG: We could be welcome at either a cotillion or a fish fry!
CH: We would be asked to leave both.

Education:
DG: BFA in Acting and BA in Filmmaking with an emphasis on American Pop Culture and Women's Studies from University of Maryland Baltimore County
CH: BFA in Acting with an emphasis on waitressing from SUNY Purchase College Acting Conservatory

Favorite Credits:
DG: Being compared to Laura Palmer at a party where I was not dressed like her. Note sure if they meant dead or alive, but I'll take either!
CH: World's Greatest Mom, or Best Sound

Why theater?:
CH: It's pretty much my favorite thing in the whole world.
DG: I just like standing in front of a lot of people and talking. But for real, theater and film are the two ways I feel I can best communicate with people and have the most fun doing it. I mean, I think in the long term we do want to create more filmed material together.  Right?
CH: Sure!  If for no other reason, it reaches more people beyond your immediate geographic location.  But I would never want to stop writing plays for the stage. 
DG: Oh definitely not!
CH: Nothing can replace the feeling of something happening live in front of you, and no other medium offers you the same opportunities to reach people as directly.  There are so many different ways to engage a room of living, breathing people that aren't relevant when you're making something on camera.  The catholic in me also loves the complications that come from having to repeat a performance night to night.  Keeps you honest.
DG: Totally agreed. But we are making more films.
CH: ...and plays.

Tell us about Who Are You? Who Are We? What Is This?:
CH: It's a three-part, interactive, and immersive theatrical experience.  Topics we cover?  Questionnaires, mothers, being gay, getting dumped, getting nachos, having a dream, a terrible day job, and a best friend.  Hopefully, if you join us, you'll have a laugh, a cry, and maybe a drink or five.
DG: We can guarantee surprises with a reasonable degree of certainty.
CH: ...and also some most enjoyable confusion.
DG: Did you mention the bar?

What inspired you to write Who Are You? Who Are We? What is This?:
CH: There're two versions of this story: the sprawling, atmospheric, campfire-version, or the short one.
DG: Short one!
CH: Daph and I have known each other for some years, and always seemed to be working on someone else's project together.
DG: So one time we were talking-
CH: Side by side, onstage, behind a flat I believe, yes?
DG: Details are for campfires!
CH: Sorry, anyway-
DG: One of us said to the other, I can't remember who it was-
CH: Me.  I said "I feel like we both have something to say, do you want to actually make something together?"
DG: ...and I said yes, sooooo...
CH: So I got on one knee and, yeah!  It really just clicked.  We knew right way we had more going on that would fit in one show.
DG: We've kept going from there.
CH: That's the short version.

What kind of theater speaks to you? What or who inspires you as an artist?:
DG: Dark and funny! Also anything with a badass female lead. I like women in charge.
CH: Anything, really.  I like daring plays, that dare to be plays.  As long as it's alive, authentic, and has some spirit behind it, I'll watch anything..

Who would play you in a movie about yourself and what would it be called?:
DG: Reese Witherspoon, “Freeway”
CH: Ruth Gordon, “Harold and Maude”

What’s your biggest guilty pleasure?:
DG: Etsy k-holes and mexican food. I just had to talk myself down from almost buying an 80 dollar Joan Jett t-shirt, jesus.
CH: Discussing guilty pleasures, I'd best refrain.

What’s the most played song on your iTunes?:
CH: According to my iPod it's “He Doesn't Know Why” by Fleet Foxes but I can't remember playing that album recently so I guess I don't really know why...
DG: Fleetwood Mac “Sara” or Le Tigre “The The Empty”.

If you weren’t working in theater, you would be _____?:
CH: Dead.
DG: Sleeping regularly and going to the movies more.

What’s up next?:
DG: More filmed content online and our next full-length stage show!
CH: Yes and YAZ!  I'd also like to see us regularly presenting more short works at various spaces around the city like Dixon Place and Ars Nova.

For more, visit http://www.godcx.com/

Spotlight On...Tessa Skara

Name: Tessa Skara

Hometown: Richmond, BC, Canada

Education: New York University

Select Credits: I perform all over NYC with my musical sketch group Pop Roulette, most frequently at The PIT. I've performed as my comedic alter ego "Janelle Bonae Ramsey" in Janelle Bonae Ramsey's FAM3 WH0R3 (Total Rejects Live! at the Public Theatre) and Janelle Bonae Ramsey: Cannibl Sup3rS4r (Dixon's Place) and lots of queer nightlyfe events, but now I'm focusing on bringing my mix of performance art/stand up to more "traditional" comedy clubs. We can only change the patriarchy from within the belly of the beast/Carolines on Broadway.

Why theater?: Because I couldn't break into plumbing. Kidding, I just didn't get enough love as a child.

Who do you play in Too Many Lenas 3?: Apologetic Lena, she's the anxious, dramatic, and self-obsessed Actress with a capital "A".

Tell us about Too Many Lenas 3: Too Many Lenas 3 is a psychidelic, absurd, computerized romp through our NEED for self representation, not only as citizen's of the 21st century, but as womyn.

What is it like being a part of Too Many Lenas 3?: Kind of like hanging out with your best friends making each other laugh so hard you want to pee on the studio floor or explode through a window

What kind of theater speaks to you? What or who inspires you as an artist?: I'm inspired by/love to watch female identified artists. What we think of as the "cannon" of Art and Performance has been largely populated and decided on by men, so seeing the art that women choose to make, in any medium, with such limited examples of what a "traditional-lady-artist" is really interests me. It's why I think we're seeing so many awesome female artists who play with the status quo of their medium, cross-genres and make risk-taking work: because they don't have a tradition to uphold. As a comedian, I love to see women doing stand-up because comedy clubs have become a very "bro-centric-space" and when a talented woman does stand-up I feel like I see the most original work in the field: like Kate Berlant, Kristin Schaal, Maria Bamford, Sarah Silverman and Margret Cho. Also shout outs to Kathleen Hannah, Blondie, Rineke Dijkstra and, of couse, Miranda July.

Any roles you’re dying to play?: Myself in Funny Art.

What’s your favorite showtune?: Judy Garland singing "Come Rain or Come Shine"  with just those bongos accompanying her gets me every time. But also Liza Minelli "singing" anything. GOD I LOVE THAT FAMILY!

If you could work with anyone you’ve yet to work with, who would it be?: The band Of Montreal. Basically my entire freaky + absurd yet campy aesthetic has been cultivated by being a super fan of theirs in my teens. 

Who would play you in a movie about yourself and what would it be called?: I WOULD PLAY MYSELF ONLY I CAN TELL MY STORY.

What show have you recommended to your friends?: I love (and sometimes perform at) my friend Chris Tyler's queer nightlife performance-party TRL>>>Total Rejects Live at This N That every first Wednesday of the month. I also love Champagne Jerry, Bridget Everett and Erin Markey's work around the city. I love anything that blends art with comedy, music and (hopefully) A #PARTY!

What’s the most played song on your iTunes?: "Eli's Coming" - Laura Nyro and THEN "Bitch, Don't Kill My Vibe"-Kendrik Lamar. I am an intricate valley of contradictions.

What’s your biggest guilty pleasure?: I guess a lot of people would say smoking weed, but I don't feel guilty. Just high.

What’s up next?: Doing a run at the PIT with Pop Roulette every Saturday @ 9:30 in Sept-Oct and performing stand-up around the city. Check out www.tessaskara.com for show times and to contact me for #shows.

Spotlight On...Alex Goley

Name: Alex Goley

Hometown: Charlotte, North Carolina

Education: NYU, Tisch School of the Arts

Select Credits: The Bardy Bunch (Chris Partidge, Theater at Saint Clement's), Big River (Huck, TheatreWorks SV), Smile! (Freddy, Musicals Tonight), Richard III (Prince Edward, Arkansas Shakespeare Theatre), The Berenstain Bears Live! (Brother Bear, Matt Murphy Productions).

Why theater?: I started performing as a singer when I was very young in school and church choirs.  My first opportunity to audition for a musical, was my middle school's production of Narnia. I still thank Bruce and Michelle Long, teachers and long-time mentors, for pushing into theater.  After that, I never stopped. 

Who do you play in Cloned?: I play Wally Waterman.  A young, budding physicists who is working on developing the world's first functioning human teleportation machine.   

Tell us about Cloned: I'll leave the summary to our very talented PR team, but this show is a hilarious, door-slamming farce, featuring a script that has kept me in stitches from the first I read it, all the way through rehearsals, and a score that I wake up singing every day.  Our writers Dan Wolpow (Book & Lyrics) and Adam Speigel (Music & Lyrics) have showcased skill and finesse in their writing well beyond their years, and I think this show is going to bring a lot of joy to a lot of people.  

What is it like being a part of Cloned?: Firstly, I would like to state for the record how much I love working on NYMF shows.  NYMF is a great incubator not only for new musicals, but also for the actors, directors, choreographers, and designers who get to test out their craft on blank slates.  So many times in this profession we have to work on and around pieces of theater that have very ridged structures to them.  But on a brand new show, it is up to you as the actor to bring this character to life for the first time, and I find that to be very fulfilling and special. As for working on Cloned!, I feel like I'm working with a Broadway cast and creative team.  (Wow I'm gushing a lot)....But I've been having so much fun in rehearsals.  Our director, Tom Wojtunik, has been extraordinary to work with.  He's constantly pushing the actors, writers, and designers to bring their "A" game, and I think the show demands that from us.

What kind of theater speaks to you? What or who inspires you as an artist?: My answer to the first question has definitely changed over the years, but to this day, no piece of theater has ever spoken to me like Passing Strange.  Stu, the writer/narrator of the show, inspired me not only to fearlessly chase after my artistic goals, but also to cherish every relationship in my life. Life is too short to not shower everyone in your life with love. (Netflix, please put it back on the streaming service.....lol)

Any roles you’re dying to play?: Absolutely.  Now, this may be an odd choice, but there is an incredible musical of Lord of the Rings.....that score is amazing and a nerd like me could never pass up the chance to play a hobbit!  I'd love to play Boq in Wicked and I'd love to revisit two roles I did at NYU: Tobias (Sweeney Todd) and Tommy (The Who's Tommy).

What’s your favorite showtune?: Hands down: Lothlorien from the Lord of the Rings Musical

If you could work with anyone you’ve yet to work with, who would it be?: Stephen Sondheim

Who would play you in a movie about yourself and what would it be called?: You know in the first Captain America when Chris Evans is little?  That version of him, and it'd be called "Alex-nado".

What show have you recommended to your friends?: I recommend that people see as many shows as possible.  Ballets, musicals, plays, concerts.  Even if it's bad, it's still something great to talk about! This Broadway season, however: Gentleman's Guide to Love and Murder and Aladdin.

What’s the most played song on your iTunes?: My iTunes is  always on shuffle but if I have to pick one it would be "Hit Me" by Dirty Loops.

What’s your biggest guilty pleasure?: Major League Gaming......yeah.

What’s up next?: More shows!

photo courtesy of Andrew Barry Fritz

Spotlight On...Brittany K. Allen

Name: Brittany K. Allen

Hometown: Houston, Texas - but I really grew up in the bonny suburbs-of-DC (...Maryland.)

Education: NYU's Tisch School of the Arts.

Select Credits: The Three Sisters (Natasha, HiveMind Theatre); The Donner Party: A Country Musical (Mary Graves); Jenny Koons' "The Odyssey Project." Also, various productions with Rescue Agreement Theatre and web-series' out the wazoo.

Why theater?: Theater because 1) I enjoy immediate gratification, praise, and attention 2) (pushes spectacles up nose) "We tell ourselves stories in order to live," and combining the visual, auditory and textual applications of this mission just seems PRACTICAL amitire and 3) Theatre's elastic. It can comment on and champion and point at and break hearts very efficiently, and often in utterly new ways. It's a gas. It's more fun and better than most things.

Who do you play in Too Many Lenas 3?: MFA Lena! She's the next season. She's kind of a pretentious blowhard, but her intentions are good. She's earnest, like the rest of 'em.

Tell us about Too Many Lenas 3: TML3 is an expansion pack on TML's 2, 1, etc. I think this show is neat because it's operating on a lot of levels: the "Lena coven" idea is our very cheeky, self-aware indictment of that whole selfish-Millenials-making-art-about-selfish-Millenials "movement"... but then the piece arrives in space in this highly stylized, thoughtful, visually bizarre language. In a nutshell, this is a play about a group of people who allegedly have no originality, but this lack of story is rendered in a wildly original spirit -- so in a strange way, TML3 has an optimistic take on the state of kids today. I really like this, as a use of irony. Optimism is so nice. All the Lenas are kind of damaged, but they sort of see why...meanwhile, we-the-cobblers have discovered what's funny and earnest about their (our) botched attempts to make things, and have...made something about it.

What is it like being a part of Too Many Lenas 3?: It's ridiculous, of course! But I'm very thrilled to be a part of it.

What kind of theater speaks to you? What or who inspires you as an artist?: The narrative kind. The funny kind. The detailed and present and sincere kind. The bizarre ...brand. But lately, I see a lot more comedy and read a lot more books than I go to the theatre, so: Zadie Smith, the improv troupe Doppelganger. Chimamanda Ngozi Adichie. Joan Didion, David Foster Wallace, Carrie Brownstein, Gary Shteyngart. Key and Peele. Richard Linklater. Tami Sagher and Chelsea Peretti.

Any roles you’re dying to play?: Ms. Hannigan from Annie. Weirdly, Celia in As You Like It. Corruptible ingenues. A lot of people who haven't been written yet.

What’s your favorite showtune?: This question is especially difficult to answer because I am typing to you RIGHT NOW through a veil of tears inspired by the If/Then soundtrack...but I'ma be real, probably something from RENT. Isn't that why we all moved here?

If you could work with anyone you’ve yet to work with, who would it be?: I haven't worked with most people! Shucks -- of the theatre I follow, a lot of my NYU teachers are making really exciting work -- like Rachel Chavkin, with the TEAM. No, suffice it to say: I want to be in most rooms that feel collaborative, curious, good for a laugh and challenging. And I mean challenging to the Man AND to the Me.

Who would play you in a movie about yourself and what would it be called?: Oh Solange Knowles, no question. And "The Spectacular Now," unless this is taken.

What show have you recommended to your friends?: The last show I recommended to everyone was Dave Chappelle at Radio City Music Hall. Speaking of geniuses...

What’s the most played song on your iTunes?: "Swim Club" by The Cave Singers.

What’s your biggest guilty pleasure?: Musical-theatre-related crying. Or, wait: Gossip-Girl related crying.

What’s up next?: Going into fall, I'm working on some long fiction and a few essays -- these will probably be about race and comedy one way or another, despite my best creative intentions. I also hope to take more classes with the Uprights Citizens Brigade, and generate some sketch comedy. I hope to audition for new plays, and finally start that croon-y jazz band I'm always talking about. If you care to find me, look to the Western sky. Or, Twitter: Britt_Kathryn

Spotlight On...Sue Loncar

Name: Sue Loncar

Hometown: Houston, TX

Education: BA in English with Speech Minor from University of Houston.

Select Credits: Lu Ann in Lu Ann Hampton Laverty Oberlander, Jessie May in Trip to Bountiful,  M’Lynn in Steel Magnolias, and Boo in Ballyhoo. 

Why theater?: Because I’m insane. I’m kidding.  Honestly, the short answer is that I love and treasure stories.  As an actress, I’m drawn to theatre because I love finding pieces of myself in other characters.  There’s something beautiful about being openly vulnerable on stage.

Who do you play in Lone Star and Laundry & Bourbon?: Hattie

Tell us about Lone Star and Laundry & Bourbon: It’s about life in small town Texas after Vietnam.  As a play, it would have been so easy to make this story dark and dramatic, but James McLure made it so much more than that.  He penned the depth of life in 1970s rural Texas in two one acts.  Rather than being navel-gazing and depressing, it’s actually one of the funniest plays I’ve ever read.  I will never get tired of this play.  I could spend the rest of my life touring with this play.

What is it like being a part of Lone Star and Laundry & Bourbon?: It’s just as amazing as the last two times we’ve produced it.  My best friend is playing the role of  Hattie’s best friend, and that makes the whole experience more fun.  It also allows us to go deeper into play, into the characters.  We revel in the comedy, but in this production we highlight how trapped the characters are.

What kind of theater speaks to you? What or who inspires you as an artist?: I challenge myself to produce theater where the audience members see their stories on stage-where they can feel better, relate, and lose any sense of loneliness.  I seek out stories about relationships and the problems we all face. Personally, I admire Beth Henley, Holly Hunter, Cathy Bates- women in the arts who have never given up their Southern roots.  Women who can so easily play diverse characters, but have never traded in on their heritage.

Any roles you’re dying to play?: No, because these are the last lines I think I can memorize! I’ve found that the more children I have the harder it is to memorize lines, and I’ve got six kids so these monologues are killing me. But I always seem to venture back out onto the stage, and I’ve got my eye on a work by a Dallas playwright for next season.

What’s your favorite showtune?: "Day by Day".  Every time I hear it, I feel lighter.

If you could work with anyone you’ve yet to work with, who would it be?: John Patrick Shanley. I love his words and his perspective.

Who would play you in a movie about yourself and what would it be called?: My youngest daughter, Grace, would play me well if she could manage to do it  without too much satire. I think it would be called, “This Really Is A True Story.”

What show have you recommended to your friends?: Last Night at Ballyhoo because it has everything.

What’s the most played song on your iTunes?: Anything by Phil Collins. I’m sure exactly why, but I can listen to his songs on repeat.

What’s your biggest guilty pleasure?: Umm…I don’t think I can put it in print.

What’s up next?: My daughter is in Little Women the Musical in December, and that’s what I’m focusing on next.  We’re also planning our 2015 season at Contemporary Theatre of Dallas.  Planning the season is one thing I look forward to every year, and I am so excited about our thirteenth season at CTD.

For more visit https://www.telecharge.com/Off-Broadway/Lone-Star-Laundry-and-Bourbon/Overview

Spotlight On...Dan Wolpow

Name: Dan Wolpow

Hometown: Dix Hills, NY (Long Island)

Education: Cornell University

Favorite Credits: Keepers: A Broadway Benefit at Studio 54 and playing the title role in a college production of Bat Boy.

Why theater?: Despite that most theater almost universally disappoints me, it is the only art form capable of sending me into a complete state of euphoria.

Tell us about Cloned: Cloned! is a musical comedy about a young scientist who is trying to build a teleportation machine, and then accidentally and unwittingly clones himself. With two of him running around, things get a bit out of control and it leads to a lot of ridiculous farcical situations.

What inspired you to write Cloned?: My collaborator Adam Spiegel and I were loosely inspired by the central premise of Shakespeare's The Comedy of Errors as well as our love of all things science fiction.

What kind of theater speaks to you? What or who inspires you as an artist?: Lately I've found myself especially drawn to immersive theater. I caught Third Rail Projects' Then She Fell last December and came away very impressed. I'd like to see how shows like these can develop to better tell compelling narratives. They've got the immersive part down, but the storytelling still has a ways to go. Nothing inspires me more as an artist than seeing less talented people getting their work produced. If they can do it, why can't I?

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

What show have you recommended to your friends?: The two shows in recent years that I couldn't stop raving about were Boeing-Boeing and One Man, Two Guvnors. These rank as two of my favorite theatrical experiences of all time.

Who would play you in a movie about yourself and what would it be called?: Buster Keaton and it would be called "Strange Casting For Several Reasons".

What’s your biggest guilty pleasure?: Downton Abbey. Anybody pretending that it's a sophisticated drama is deluding themselves. It's a hokey, maudlin soap opera, but I love it.

What’s the most played song on your iTunes?: As weird (and ironic) as this sounds, I don't listen to a lot of music. I regularly listen to two podcasts every week: The Giant Bombcast and The Judge John Hodgman Podcast.

If you weren’t working in theater, you would be _____?: Earning a respectable living.

What’s up next?: Adam and I have a short, original musical about the Jewish holiday Purim that we'd like to expand, possibly for a future concert. Also, more of Cloned!, knock on wood.

Spotlight On...Logan Sutherland

Name: Logan Sutherland

Hometown: Schwenksville, PA

Education: BA Musical Theatre, American University

Select Credits: Autobahn (Big Intimacy Group), Everyman (Edge of the Universe Players), One Night in NY! (Capital Fringe Festival), The Source Festival (Source Theatre)

Why theater?: When I was three years old, I was bossing my father around while he was taking home videos, asserting “No Daddy look at me!”  I think it might be the earliest evidence of my desire to entertain.  I got my opportunity when I was in fifth grade—I played Tom Sawyer in my elementary school’s production.  They put so much stage makeup on me that I looked like an androgynous clown (with glasses and braces nonetheless), but it didn’t matter.  I was hooked.  And today I still do it because I think theater creates such a beautiful and unique relationship between the actor and the audience.  There’s really nothing else quite like it.  It’s magical.

Who do you play in Sex and Education?: I play Joe Marks, a 17 year-old high school basketball MVP.

Tell us about Sex and Education: It’s a very funny new play written by Lissa Levin.  The play begins with Joe trying to pass a rather vulgar note to his girlfriend in the middle of his final English exam.  The note gets intercepted, and my teacher, Miss Edwards, is more concerned with how poorly written the note is, than with the excessive profanity and decides to make me re-write it.  I don’t want to give away much more than that, but it’s funny, touching and definitely not for kids.  It’s a play that makes you think, and I appreciate that.

What is it like being a part of Sex and Education?: Wonderful.  It’s the most professional gig I’ve worked on since moving to NYC in January, and the people at Penguin Rep are an absolute delight.  Joe Brancato is a fabulous director who is constantly coming into rehearsal and saying “I was thinking about this at 3am, and I think the key to this scene is this…”   And Lizbeth Mackay and Bridget Gabbe, my costars, are amazingly talented, but just as importantly, very kind and caring human beings.  Lizbeth is a seasoned pro, and I am so lucky to be able to work with an actress of her caliber.  She originated the role of Lenny from Crimes of the Heart on Broadway! 

What kind of theater speaks to you? What or who inspires you as an artist?: I like a lot different types of theatre.  Truthfulness, I think, is what speaks to me the most.  Do I believe this story, these actors, this production?  Do I become lost in it, or do I sit on the periphery looking at it from a distance?  I want to become wrapped up in it.  I want to leave the theatre laughing or crying or totally shell-shocked.  I like plays that stay with me long after I leave the theatre.

Any roles you’re dying to play?: I’ve already played Bottom from Midsummer while I was studying abroad in London, but I would love to reprise that role on a professional stage.  It would be very against type for someone to cast me as Bottom, but I’m hoping someone gives me the chance.

What’s your favorite show tune?: Anything from Hair.

If you could work with anyone you’ve yet to work with, who would it be?: I would love to work at Arena in DC.  Molly Smith is brilliant.

Who would play you in a movie about yourself and what would it be called?: Neil Patrick Harris.  “Okay… But What’s My Motivation?"

What show have you recommended to your friends?: After Midnight.  The dancing is unreal.  Those actors are super humans.

What’s the most played song on your iTunes?: “Hang With Me” - Robyn

What’s your biggest guilty pleasure?: Ice cream.  I can’t stop.

What’s up next?: I’ve had a couple of good film and TV auditions lately, so you might see me up on the big screen!

For more, visit http://penguinrep.org/

Spotlight On...Jaime Wright

photo courtesy of Tinker Coalescing- Queer Photography

Name: Jaime Wright

Hometown: Somers, NY- a small town in Northern Westchester County known as the "Cradle of the American Circus." 

Education: New York University

Select Credits: Chris Tyler in #HASHTAG: A Performance Art Performance (PRELUDE.13), Backup Dancer in Janelle Bonae Ramsey's FAM3 WH0R3 (Total Rejects Live! at the Public Theatre) & Kale Girl/Self in many installations throughout Brooklyn nightlife.

Why theater?: Because once you start, the party never ends!!!

Who do you play in Too Many Lenas 3?: I play Naked Lena.  She is literally the Lena "id."  She is all want.

Tell us about Too Many Lenas 3: Too Many Lenas began as a "chamber play" about Lena Dunhams living in a house together.  But it has evolved into a deadpan anti-portrait of millennial effort/ennui. You don't need to have watched GIRLS to "get it."  You literally just need to be self-aware, and tuned in culturally, and you must have feelings.

What is it like being a part of Too Many Lenas 3?: Working with the cast & team of this show over the past year and a half or so has literally changed my life.  It's really inspiring to be in a space with so many unique queer and female voices- making a show, developing a style, worshipping/making fun of bourgie food culture.  It really gets me going.

What kind of theater speaks to you? What or who inspires you as an artist?: In 2011, I had completely given up on theater, and was living in Los Angeles for the summer when I decided on a whim to see the Rude Mechs' The Method Gun, and it blew me away.  I really just love work that feels SPECIFIC TO THE EXACT MOMENT IN WHICH WE ARE EXPERIENCING IT, is aware of the exact surroundings, and plays to the specific audience in the room.  I love Celia Rowlson-Hall's work.  Basically anything that comes from the tradition of Miranda July.  Women who are working across different media.  I love Rebecca Patek's work.  Half Straddle.  The choreography Annie-B Parson is doing for St. Vincent.  Women owning zones is my whole thing.

Any roles you’re dying to play?: I am working to convince everyone that I actually was a Creative Writing major at Wesleyan (with a Women's Studies minor) by 2016.

What’s your favorite showtune?: "Gimme Gimme" from Thoroughly Modern Millie

If you could work with anyone you’ve yet to work with, who would it be?: Honestly, I am DYING to work with Sheila Heti, Margaux Williamson, Misha Glouberman, or basically any Toronto-based artist fictionalized in Heti's How Should A Person Be.  Hello, Toronto.

Who would play you in a movie about yourself and what would it be called?: Miranda July's shirt from "The Future" (https://www.youtube.com/watch?v=8y0cwsiNFmQ), or a Pusheen (http://pusheen.com/).  It would be titled (as was my NYU senior thesis show), "my struggle".

What show have you recommended to your friends?: Attending Chris Tyler's monthly show TRL: Total Rejects Live!!! last summer literally changed my life.  It is a queer performance party that is ACTUALLY FULLY inclusive, diverse, and "mixed."   It is actually subversive, and the performances are both "spectacular" and "thought-provoking" which cannot be said of many other performance parties I have been to in Brooklyn.  The show is on hiatus for the summer, but keep your eyes OPEN.

What’s the most played song on your iTunes?: I am afraid to check, but it is definitely a sad, whiny indie rock jam.

What’s your biggest guilty pleasure?: Anthony Bourdain.

What’s up next?: I am pretty much officially retiring from "performance" besides working on Carroll Simmons' next show, Oak Park, but look out for more of my WRITING soon!

Spotlight On...Eric Mann

Name: Eric Mann

Hometown: Born and raised in Little Rock, AR

Education: BFA Music Theatre from Elon University. Other: Upright Citizens Brigade - Improv, Michael Chekhov Acting Studio

Select Credits: National Tour: A Chorus Line (Mike), Regional: Hello Dolly! (Barnaby, North Shore Music Theatre & Cape Playhouse); Enter Laughing (Marvin, Bay Street Theatre); The Drowsy Chaperone (Gangster #2, North Carolina Theatre), West Side Story (A-Rab, North Carolina Theatre), Annie (Fred McCracken, North Carolin Theatre); Big River (Huck, Galveston Island Musicals); Tommy (Arkansas Reportory Theatre) Children of Eden (Arkansas Repertory Theatre), Gypsy (Arkansas Repertory Theatre). In addition to acting, I recently opened my own film production company last year - UNREEL FILMS, LLC.  I have done everything from SAG Short Films to promo videos to music/dance videos to wedding videos and to reels - all in such a short time!  Film (Director): "Alistair'sWednesday," "Finish Her," "Defunkt," "A Rather Splendid Day." 

Why theater?: Theatre is truly the best way to tell a story.  Obviously this seems counterintuitive to all the film work that I do, and don't get me wrong I absolutely love film because it is a beautiful way to paint a picture, but when we get to the true essence of storytelling - the most beautiful and poignant way to tell a story is through theatre.  The problem is that in today's world commercial theatre is trying to be film.  And it's not, nor ever should be.  When we do theatre it is the chemistry between actors on stage and the energy that sifts out over the audience that makes the magic of theatre breathtaking.  God is in the details, as they say.  Unfortunately, this subtle energy has been lost through a majority of the theatre.  This is why audience members and actors feel increasingly more underwhelmed by the work.  Michael Chekhov talked about this in the 50s and it continues evermore so today. It basically boils down to heart and true creation.  That is what I feel Cloned! has - and it has so much of that heart and creation!  I feel so fortunate to work on such a piece like this.  A piece that really honors the collaborative process and really cherishes the heart of the story.  That is what makes beautiful theatre, and that is why we all got into this in the first place.  Not for said "career," but to tell a darn good story.  I know that this magic will subtly permeate the audience while they watch - people love this show!

Who do you play in Cloned?: Clone Wally

Tell us about Cloned: Cloned! is a story about a scientist, Wally Waterman, who is on the verge of cracking the code of teleportation.  To his complete astonishment, he ends up cloning himself instead.  Hilarity, door slamming, and deep buried feelings of love ensue.  There also might be some yodeling! 

What is it like being a part of Cloned?: I am unbelievably honored to be a part of this journey.  This show and the creative team of Dan and Adam, Tom, Ryan, and Julianne is just beyond fun.  This show is a WORK OUT!  I leave exhausted everyday, but I am having the time of my life!  Also, I have to shout out to the cast too.  Alex Goley who is my clone (or I am his clone) is fantastic and the supporting cast is just unbelievable!  Everyone who is in this makes me laugh out loud every day.  They are such good storytellers!

What kind of theater speaks to you? What or who inspires you as an artist?: Anything that really engenders the creative process.  We as the audience can see this - I guarantee it.  I recently saw Allegro at APAC in Queens and was just blown away.  It resonated with me deeply because it is where I am at with my art.  Choosing to take a step and create something that comes from your higher consciousness, and doing it because you love it and not for anyone or any future praise or acclaim is what I strive for.  There is a quote from the Bhagavad Gita that says something about not being attached to the fruit of your actions - just give attention to the action itself. Do the work in the present moment, not for a boost of the ego, but because you love it.  When I see theatre or any art that is this to the core, I am utterly inspired.

Any roles you’re dying to play?: Haha, I feel really fortunate with all the roles I have gotten to play thus far.  I think if I saw Cloned! as an audience member I would be dying to play Clone Wally - I'm not even kidding.  Lucky for me, I get to play that role!!  And I get to create it, which is every actor's dream.

What’s your favorite showtune?: Mmm...hard to say.  I really love Merrily We Roll Along - the whole show that is!

If you could work with anyone you’ve yet to work with, who would it be?: Patrick Stewart - bar none, that man is a genius.  So much care is put into his work and I just admire everything that he does.  Luckily though, while I have not worked with Sir Patrick, I have worked with geniuses of the theatre, and I have learned from the best of them.

Who would play you in a movie about yourself and what would it be called?: I don't know who would play me, but I do know Emma Watson should probably be in it.  It would be called: "My Life is a Diary: Where I Mean to Write One Thing and End Up Writing Something Else".  The title is too long - Hollywood might not go for it!

What show have you recommended to your friends?: Allegro at APAC.  Unfortunately, it is over though.

What’s the most played song on your iTunes?: James Taylor's "Fire and Rain."  No matter your mood, that song just speaks to you.

What’s your biggest guilty pleasure?: Fun film projects!!  I wouldn't even call it guilty tho! 

What’s up next?: I am filming and "starring" (if you can call it that) in a documentary called "Just Go".  Three of my friends and I are going on a 3 week road trip across the US on a limited budget and camping out each night.  The premise is that you don't have to wait until your 401k kicks in or have a lot of money to go on an adventure.  The average American spends an average of $150 on food a week, each member of the "Just Go" team will spend $100 a week on food.  We will be staying at free camp sights, and we will get to see some of the best national parks and roads in the country.  I am unbelievably excited about this!

For more, visit http://www.nymf.org/cloned

photo courtesy of Andrew Barry Fritz

Review: A Clown Walks Into a Bar

Everyone loves a little classic noir story. But when you put a new twist on a classic genre, you know you’re in for a fun night. In the highly immersive Clown Bar by Adam Szymkowicz featuring music by Adam Overett, you placed right into the action of a noir style murder mystery. However the clever spin in this story is the characters happen to all be clowns. 

When detective Happy, a former clown himself, searches for answers about the murder of his brother Timmy, a rising clown, we see the whacky clown inhabitants prowling the bar, all of whom turn into suspects. On Happy’s journey, we meet a cast of characters including silver-toned emcee Dusty, foul-mouthed Petunia, former flame and burlesque dancer Blinky, and the head honcho Bobo. Through flashbacks and murder “in clown blood”, Happy gets the answer he’s been yearning for all while getting a taste of his past. What Clown Bar does beautifully is brings the immersive experience to the max from start to finish. Upon entry and receiving your own red nose, the show is already underway. From clowns sitting at the bar drinking to the adorable “shots girl” Brian, played by Michael Lorz, selling clown-themed shots and offering a whoopee cushion for a social media picture with your red nose, the life of the party is ever-present. Dusty serenades with Thumbs, played by musical director Ian Axness, on the keys all while the audience sips on clown themed beverages. Once the show gets underway, the action comes to life all around you. While the plot is nothing new, the clever clown twists and Szymkowicz witty script is what keeps the night lively. 
As the detective with a past, Shane Zeigler shines as Happy. Zeigler is perfection for the noir style of the character. From body language to vocal inflection, Zeigler shined. Dan Tracy as Timmy was superb with his mix of humor and pain. Tracy’s characterization was captivating through the flashback scenes. Jessica Frey and Salty Brine as the main entertainers Petunia and Dusty respectively were truly the heart and soul of the production. Frey’s Petunia was always the source of cheap laughs while Brine’s Dusty had a wonderful report with the audience.
Director Andrew Neisler did a great job tackling the tough terrain of the space. But thankfully  The Box was a wonderful location for the play. The speakeasy style ambiance was perfection. Neisler discovered the balance of dark and humorous within Szymkowicz’s script. While the tight central space allowed for some unfortunate sight line issues for certain audience members, expanding the stage to fill the entire bar was a nice touch. Costume designer Meghan Gaber found each actor’s personality through their clown costume. With iconic clown attire, Gaber still evoked the noir vibe of the world. Joe Cantalupo’s lighting design was top notch for the venue, bringing in the dark and smokey aura alongside the presentational moments.
Clown Bar is a top notch immersive event that is unique and bound to be a cult favorite. Don’t let the steep food and drink prices scare you away from truly enjoying the evening. “Clown Noir” is sure to be the next hit genre of entertainment.

Spotlight On...John Hurley

Name: John Hurley

Hometown: Moscow, Idaho

Education: University of Idaho (and unfinished Masters Degrees at Binghamton and Syracuse)

Favorite Credits: Johnna Adam’s Lickspittles, Buttonholers, and Damned Pernicious Go-Betweens (Boomerang Theater Co), Crystal Skillman/Fred van Lente’s Action Philosophers! (The Brick/Impetuous Theatre Group), Crystal Skillman’s Hack! An I.T. Spaghetti Western (Brick/Impetuous) as well as her play The Vigil, or the Guided Cradle (The Brick/Impetuous).

Why theater?: I don’t know that I have an intelligent answer. I’m good at it. I’ve always been good at it. I think we gravitate towards our talents, and (growing-up) the internet and film equipment were not available to me. Of course, they are now so… I don’t know what my current excuse is. Mostly, I do it because it makes me happy. When it doesn’t—I’ll stop.

Tell us about King Kirby: It’s the life story (in 75 minutes) of Jack Kirby (the artist behind X-Men, Iron Man, Thor, Captain America, and Fantastic Four, to name a few). It details how the man who shaped many of our childhood dreams and fantasies (along with much of the current Summer Box Office) largely lived in obscurity (relative to others who received the lion-share of the credit and revenue), and how that can happen to an artist.

What inspired you to direct King Kirby?: Scene 11 (is the short answer). Scene 11 is the “dream” of the meeting which never took place between Stan Lee and Jack Kirby (later in life). It’s an argument over Art (the moment of inception vs. the day-to-day detailing), and the arguments are so balanced—I found myself siding with both men. Balance makes great drama.

What kind of theater speaks to you? What or who inspires you as an artist?: As a matter of personal taste, I don’t tend to get excited over living room dramas or comedies. I love theatre that is “heightened” in some way, but knows how to walk with at least one foot on the ground. I also love silly comedies (I’m not going to pretend that I can reconcile these tastes). I remember seeing Tony Kushner’s adaptation of “The Illusion” at the Oregon Shakespeare Festival (just before “Angels” would hit Broadway) and thinking… “so that’s what theatre can be.”

If you could work with anyone you’ve yet to work with, who would it be?: Marian Seldes (she’s magic).

What show have you recommended to your friends?: I’ve had my head buried in rehearsals for so long that anything I’ve loved and would recommend has closed. I’ve seen nothing. I look forward to being able to see shows again. I suck. Sorry.

Who would play you in a movie about yourself and what would it be called?: Peter Lorre in “One life left for the fat Cat.” (it didn’t do great Box Office, but had a mention at Sundance)

What’s your biggest guilty pleasure?: Fantasy Baseball.

What’s the most played song on your iTunes?: It’s “When You’re Falling” by Peter Gabriel and Afro Celt Sound System beating out “40 Day Dream” by Edward Sharpe and the Magnetic Zeroes by one play!

If you weren’t working in theater, you would be_____?:  I thought seriously about majoring in Oceanography (that wouldn’t have ended well for anyone), but wound-up going to a land-locked school so… we can put that alternate reality to rest.

What’s up next?: Watching the World Cup.

Reviews: The Dancing Un-Dead

When there is a trend in pop culture, everyone tries to capitalize on it. Better yet, when it’s a resurface or resurrection or reanimation or whatever zombie pun you’d like to use, attempting to pay homage plays a factor into the art that will eventually be created. When it comes to zombies, no one does it better than George Romero. And with the hit that is “The Walking Dead”, zombies are so in. But when it comes to zombies and musicals, you need much more than a love of the undead to make it work. Unfortunately the latest in the long string of zombie inspired musicals, The Zombies: a Musical may wish it hadn’t reanimated on stage.
Conceived and directed by Max Resto, The Zombies: a Musical is a send-up of Zombie flicks of yore. The Zombie Apocalypse has arrived and the characters in the musical, who haven’t been infected quite yet, are doing whatever it takes to survive. Some of the last surviving humans barricade themselves within two neighboring stores. Inside the gunship include Otis the gun-slinging hillbilly and his pal Bruce, who’s brought his two sons, Junior and Little Pete, with him. Across the way is Pedro’s restaurant and its inhabitants, the always sweeping Pedro, emo-gothic Chloe, the wise Odessa, and stoner Basil. As the story progresses, family drama and love triangle magically appear out of nowhere all while facing the harassment of graceful dancing zombies.
In a preshow speech, we’re told this project is only a year in the making. And it shows. The Zombies: a Musical suffers from a severe lack of staffing. With Max Resto serving as writer and director, there’s no one able to clean up the mess in the script of on the stage. From a directional standpoint, Resto breaks the rules of his own world constantly. When it comes to staging, the split screen idea is a clever device, however when we enter a location either via split screen or full stage, the relation of the wall to furniture needs to be consistent. The script plays upon stereotypes. Yet these stereotypes sometimes contradict each other. Additionally, the musical, billed as a comedy, becomes a propaganda piece on America and politics. Had they been presented in a comedic tone they may have been successful and suitable. Instead, they come as an “in your face” address. The script plays upon musical theater tropes but lacks the campy nature it so strongly wants to be. Dramatics and heart are welcome, but they’re not quite earned. When the campiest moments of the show come from the dance-like transitions, it appears as if it’s poking fun at the piece. With the amount of characters that garner “lead” status, there were many storylines to follow. While publicizing a “love triangle” and a “family drama”, you would think they were not interconnected. The character Junior is the one that truly crosses between the two, yet based on the poster, you’d never know. In fact, he truly is the source of the family drama as opposed to Little Pete, which is what is displayed. 

The entire ensemble is committed, giving all they’ve got in their performance. With lackluster material and little to do, the characters are ordinary and desire depth and an arc. Of course, there are some that breakthrough the mundane. Rich Hollman as Otis is great, creating a hilarious character. He has a great vocal, providing even more comedy for Otis. While Junior’s story line is intriguing, the character is not as developed as he should be. Despite this, Alex Daly gives a solid performance with his show stopping rock out number. Alex Parrish as Little Pete and Daley’s Junior have great chemistry together as siblings. Though the late discovery of Pete’s age is disheartening. The Zombie chorus is fun but quite redundant, appearing way too often, serving more as a distraction to the weak script and score. Sam Given, billed as Will the Butt Naked Zombie, is so talented and wonderful to watch, he stands out as a terrific dancer in the Zombie chorus.

The choreography by Tricia Brouk overall was topnotch. The fluidity of movement she created for the zombies was pleasant to watch. When there was choreography during numbers that either didn’t require storytelling or was not a production number, the question of “why now” came up. And it came up way too often. Annette Weterby’s costume design is brilliant. The Zombies are so well done, aided greatly by Michelle Buongiovanni’s makeup design, they are the saving grace of the production. Overall, the costume design is quite strong with the great exception of the distracting and illogically unstereotypical mesh shirt Junior is forced to wear.
Projection design by Chris J. Noon adds nothing to the piece, especially when actors are forced to interact with it, there’s a loop of a distracting flickering light, or the Zodiac signs circle around during the love song. With the placement of certain set pieces, they ended up being in the way of the projections anyway. In the day and age of electronic music in theater, stripped down bands are common. With a “band” of two on the keys, the additional pre-recorded music to fill the band was a disservice to the actors. The dialogue in between verses and choruses seemed painfully timed to ensure they fit inside the canned vamps. With no room for error, acting these moments may have been an afterthought. In the small space and no band to compete with, the sound mixing was a disaster. The individual microphones were not helpful, occasionally dropping out during key musical moments.
By presenting in a venue like the Peter Jay Sharp theater with a steep ticket price, there is an expectation of great quality. While quality may have come in the form of costumes and makeup, the rest of the production greatly suffered. The Zombies: a Musical was an unfortunate case of not being ready for a grand production. It was an ambitious undertaking that may be remembered for all the wrong reasons.

Spotlight On...Candice Bernstein

Name: Candice Bernstein

Hometown: Cape Town, South Africa

Education: Atlantic Theater Company's 2.5 year conservatory

Favorite Credits: The Adventures of Noddy, Snow White, Rhinoceros (ATC), Mary Stuart (ATC) 

Why theater?: Theater is the essence of humanity. It is electric and universal and I just couldn't imagine my life without it. It is where I feel at home.

Tell us about The Syringa Tree: The Syringa Tree is a one-woman, 24 character play set in South Africa. It centers around Elizabeth Grace, a 6 year old white little girl who navigates growing up during Apartheid and her relationship with her African nanny Salamina.

What inspired you to pursue The Syringa Tree?: The play parallels my own experiences living in South Africa and is a very beautifully told story of unconditional love, forgiveness and reconciliation. I got to work on it during my time at Atlantic and thanks to the guidance of Kathryn Alexander I was able to feel safe enough to throw myself into this challenging piece and to go further with this project.

What kind of theater speaks to you? What or who inspires you as an artist?: I love watching people make bold and brave choices in their work. Fiona Shaw is my current wave of inspiration. She makes incredibly smart artistic choices and leaves her heart on the stage.

If you could work with anyone you’ve yet to work with, who would it be?: Austin Pendleton; It would be a dream to perform in a Chekhov piece directed by him.

What show have you recommended to your friends?: The Killer at Theater For A New Audience. Michael Shannon's final monologue will blow your mind its so good!

Who would play you in a movie about yourself and what would it be called?: Probably Emily Blunt (with Charlize Theron dubbing the accent) in 'My Year as Rhea Patio.'

What’s your biggest guilty pleasure?: Reality TV. You name it, I've watched it.

What’s the most played song on your iTunes?: 'Loving You' from the original cast recording of Sondheim's Passion. Donna Murphy's rendition is hauntingly stunning.

If you weren’t working in theater, you would be _____?: A Press Agent. 

What’s up next?: Pageant Tales and Beauty Fails as part of Theater for a new City's Dream Up festival.

A Look Into: Darkroom Series 5

On June 12th and June 13th, New Light Theater Project celebrated their fifth installment of the Darkroom Series. The Darkroom Series is a platform for artists to take work-in-progress and present a portion of their work in front of an audition. In just over a year, the Darkroom Series has provided workshops for over 25 new pieces of theater. The works included in Darkroom Series 5 were: One Fish, Two Fish by Everett Goldner featuring Chris Herbie Holland and Kimmie Solomon, Speak, Lavinia by Tim Duncheon, Directed by Kyle Metzger featuring Shannon Marie Sullivan, Matt Faucher, Andrew Davies, and Gabriel Levey, Contemporary by Gina Scanlon, Directed by Anne Haney featuring Louise Mittleman, Nate Washburn, and Andrew Baldwin, Sun Breaks Down by Rose Martula featuring David Kubicka and Maria Hoffmann, and Mother, Lover by Marrick Smith featuring Alexandra Cremer and Marrick Smith. Before the evening’s events pre show music was performed by The Dreamstalks featuring Karen Bray and Zach Miko.

New Light Theater Project is now accepting applications at http://www.newlighttheaterproject.com/  through June 30th for The Darkroom Series 6. Darkroom Series 6 will take place at Access Theater on August 5th and August 6th with a private salon reading on July 30th.

Darkroom Series 5 artists Gina Scanlon and Kyle Metzger talked a little bit about their experience with the platform for new work.

Gina Scanlon:
How did you get involved with New Light Theater Project and the Darkroom Series?: A friend of mine and fellow playwright was kind enough to turn me on to the project, so I submitted my latest work-in-progress to David Sernick.
At what point in its process was your project?: I have about 1/3 of the final script written and a rough outline of the full script. Darkroom's performance was the first 11 pages of my script.
How has the Darkroom Series helped your project? What discoveries did you make?: It helped immensely! Gave me an idea of what it would really look and feel like on stage, including the pacing and language. I also had the chance to collaborate with a great director and great actors who all contributed to revisions throughout the process and the piece is stronger for it. They discovered tiny quirks about the characters, and even suggested line and logistic changes that I ended up using. Any chance you can get a play on its feet in any form is a privilege. Especially to gauge how enjoyable an audience finds the piece; where they laugh, gasp, don't respond, etc.
Why would you recommend the Darkroom Series to other theater artists?: For all the reasons above and more. My experience was invaluable because not only am I inspired to go finish the project, but I feel like I've been handed the proper tools to do so. And now I have a much better idea of the direction I want it to go.
What is the next step with your project?: Possibly workshopping other sections of the script, and finishing it! Once I'm happy with it, I will be submitting it out to theatres.

Kyle Metzger:
How did you get involved with New Light Theater Project and the Darkroom Series?: Sarah Norris, Mike Aguierre and I have collaborated on a few projects over the past year, and I presented some scenes from Sexless in the Boroughs last year, which went on to be produced by my co The Glass Eye and terraNOVA Collective at IRT in October.
At what point in its process was your project?: We have just scratched the surface with Speak, Lavinia, workshopping the first 20 minutes of the play.
How has the Darkroom Series helped your project? What discoveries did you make?: I've been wanting to develop this play for a while, and the Darkroom was the perfect opportunity to get it up on its feet and moving around. The play has some staging challenges I wanted to explore, and I wanted to work with actors to understand who these characters are and what the tone and style of performance the piece has.
Why would you recommend the Darkroom Series to other theater artists?: It's a great chance to see how your new play works in front of an audience. The audience reaction is a great tool, it teaches you a lot about what you have and can show you what doesn't work.
What is the next step with your project?: We will continue to build and rebuilds the foundation we created for the Darkroom, and develop the rest of the play until it's production ready.

Spotlight On...Melanie Ehrlich

Name: Melanie Ehrlich

Hometown: Commack, NY

Education: BA from NYU, self-curated major: "Communication and Education Through The Performing Arts"

Select Credits: On-camera: Upcoming feature film "Tumbledown" starring Jason Sudeikis and Rebecca Hall; "Redrum" on Investigation Discovery. Theatre: Starred as Mimzy in One Last Box (also written by Brett Ackerman) at The Network One-Act Festival 2014 (semi-finalist). Casting: Currently casting voiceover talent for the upcoming video game "Blue Planet: War In Heaven", mod of the popular cult classic Freespace 2.

Why theater?: I love acting on-camera; I love the realism and intimacy of the medium. That being said, there is nothing quite like the connection with a live audience. It's just so fun! I loooooove acting for the camera, but acting for the stage is its own unique thrill. The audience and the actors--we breathe life into each other. You know how when you're little you learn that trees "breathe" out oxygen for us to breathe in, and we breathe out carbon dioxide for trees to breathe in? It's kind of like that. You're so connected. It's awesome. Casting for theatre has been interesting, particularly since most of my previous casting work has been in voiceovers. It's been helpful to me as an actor to be on the other side of the table in the audition room; to see for myself how I cast, what my internal thought process is in the room, has given me some really good insight into what I should focus on for myself as an actor in auditions going forward.

Tell us about White Space: White Space was written by a good friend of mine, and one of the most witty, insightful, and creative writers I know. It is directed by another good friend of mine, who is sharp and insightful and has a very complementary sense of humor. And all of the actors we cast are just right for their roles. Devin (Alex) brought a focused yet explosive energy to the audition and callback that no one else could match, and Nicola (Samantha) got everything intuitively from the get-go. I was THRILLED to cast two of my voiceover students (and good friends) in the show--Tom (Dying Alex) and Nick (off-stage male voices) are so well-suited for their respective roles in White Space. I also had the unique opportunity to cast myself, (off-stage female voices), which is not something I've done before!

What is it like being a part of White Space?: I'm really happy to be involved in this production with these great people! My role in this production was unique, as we got to combine live theatre and voiceover elements, so I ended up taking on casting, acting, and audio engineering roles for the production, and I loved it! I am so looking forward to seeing the final product!

What kind of theater speaks to you? What or who inspires you as an artist?: I love productions that surprise their audiences somehow. Shows that continually engage their audiences. Shows that don't try to be anything they're not, and let their own unique strength shine. A production recognizing its strengths and fulfilling its potential can be a beautiful thing to experience.

Any roles you’re dying to play?: On the stage, I would really love to play Ti Moune in Once On This Island. Or Oogie Boogie in a musical theatre production of The Nightmare Before Christmas. Maybe Lucky in Waiting For Godot just because. On camera, I would love to play any and all roles that are the right roles for me--no more, and no less. Dying to play, though? I would love to play a fun, quirky, clever character on "Community". Here's hoping there is truth to the rumors and that "Community" is coming to Hulu for another season. (Please Hulu, I'm still hoping for six seasons and a movie.)

What’s your favorite showtune?: I really love "Oogie Boogie's Song" from The Nightmare Before Christmas. If I was a big, bad sack of bugs, that would be my theme song. Is that a showtune? I say that's a showtune.

If you could work with anyone you’ve yet to work with, who would it be?: Really, I would love to work with anyone and everyone who would love equally to work with me. If I have to be specific? I would love to work with Matthew Gray Gubler. I dig his style!

Who would play you in a movie about yourself and what would it be called?: I would play me in a movie about myself. I think I would do a very good job. It would be called...I don't know what it would be called, but it would have a very flamboyant, eye roll-inducing pun or play on words in the title. At least one.

What show have you recommended to your friends?: "Community" and "Suits" are the two top shows I recommend to everyone who has eyes and/or ears. Though I would totally recommend them to people who don't have eyes or ears too!! I don't discriminate.

What’s the most played song on your iTunes?: "Strela Amura" (Arrow of Love) by Alexander Rybak. Download it!! It's really good. There's an English version ("Oah") but there's something particularly charming about the Russian version. Alexander Rybak is a particularly gifted musician and I am looking forward to him making his mark on the American music world the way he has on the European music world. :)

What’s your biggest guilty pleasure?: My second most played song on iTunes is "Da Capo" by Ace Of Base, soooooooooo...

What’s up next?: A bunch of things I can't yet talk about...and one that I can! My newest endeavor is the LTM Audio Players--an intensive character voice acting class/ensemble hybrid that will culminate in a live showcase performance at an Off-Broadway theater. If all goes well, we will be having our debut performance at the end of August! Keep an eye out on www.ltmaudioplayers.com for updates. :)

For more, visit  http://www.listentomelanie.com/

Review: Saintly Entertainment

True artistry can be a joy to watch. When an artist’s passion and drive comes through on stage, no matter the material, the performance has an added boost of emotion and drive. In Gertrude Stein SAINTS!, it’s evident that every single artist on stage has so much passion for their project. Using the text of the renowned Gertude Stein, we watch an enthusiastic ensemble of thirteen young performers sing, dance, and play through Stein’s vision.

Taking the words of Gertrude Stein, drawing inspiration from the libretto of Four Saints in Three Acts, Saints and Singing, and “The Gradual Making of The Making of Americans”, members of the ensemble composed and set music to bring Stein to life. With no clear plot, the energetic kids of Carnegie Mellon evoke dynamic and vitality from moment to moment all while looking like the most attractive traveling Gap ad. Using musical stylings from rap to country, pop to gospel, the entire stage is filled with the voices of saints. What SAINTS lacks in story, it makes up for in performance. The blend within the cast is near seamless, with standout performances coming from Nathan Salstone, Molly Griggs, and Chante Adams.
Once the ball gets rolling, director Michelle Sutherland knows how to keep the audience captivated and engaged. Sutherland is able to showcase her ensemble and highlight their numerous talents. With Diego Montoya serving as both costume and scenic designer, Montoya’s visual world is colorful iconic, and pleasing to the eye.
If you weren’t able to follow Gertrude Stein SAINTS!, you certainly left with a great appreciation for the artstis who made the work possible. If nothing else, SAINTS is a triumphant of a production.

Spotlight On...Amy Lee Pearsall

Name: Amy Lee Pearsall

Hometown: various (born in Albuquerque, NM)

Education: BA in Theatre Arts, summa cum laude, St. Edward’s University, Austin TX

Select Credits: Lickspittles, Buttonholers, and Damned Pernicious Go-Betweens (Boomerang Theatre Company); Blast Radius (The Honeycomb Trilogy) (Gideon Productions); The Trojan Women (Wide Eyed Productions)

Why theater?: Oh man. Why theatre. It’s life. It’s electricity. It’s an act of communication and communion, and beats the heck out of playing in traffic.

Who do you play in King Kirby?: Roz Kirby (wife to Jack), and a bevy of other fun characters. I’m having a great time and will leave it at that. You’ll just have to come and see it.

Tell us about King Kirby: It’s a bio-play about comic book artist Jack Kirby, told as a lyrical, action-packed one act. It’s a love story of sorts - one man’s love for his art, and what it won him and what it cost him.

What is it like being a part of King Kirby?: It’s sort of like I won the lottery. John Hurley is one of my favorite directors to work with. He has his vision, but he’s also open to new ideas. He gets us right up on our feet, and I really love that. As for the cast, I met Steven Rattazzi for the first time at the table read, and he is a hoot. I mean, he’s Dr. Orpheus, for pete’s sake. But what he’s bringing to the role of Jack is so honest and lovely. I’ve worked with Nat Cassidy, Joe Mathers, and Timothy McCown Reynolds in the past; they are all so much fun to work with and consistently bring their A game. And it has been such treat to have our playwrights Fred Van Lente and Crystal Skillman in the room; they have been super accessible throughout this entire process. Coming into rehearsal every day is…We get work done. We do. But I’m hanging out with some of my favorite people in the indie theatre community in this beautiful space – we’re rehearsing in the Sheen Center in NoHo right now, and it’s gorgeous – and we get to make art. It’s just humbling.

What kind of theater speaks to you? What or who inspires you as an artist?: I’ve said it before elsewhere, but I’ll say it again here: I love honest, raw writing, strong thoughts and ideas, and am a sucker for the poetry of words.

Any roles you’re dying to play?: If anybody wants to cast me as Galactica in Scenes From an Execution, we need to talk. www.amyleepearsall.com

What’s your favorite showtune?: I try not to speak of my sordid musical theatre past, but I’ve always had a soft spot for Sondheim. And there’s never just one favorite Sondheim tune. It just isn’t done.

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

Who would play you in a movie about yourself and what would it be called?: A friend of mine told me that if we produced a mockumentary based on our lives, Laura Dern would be play me. And I have no idea what that’s all about, but okay.

What show have you recommended to your friends?: I haven’t even seen it yet, but all anyone seems to be talking about right now is Macbeth at the Armory and how fantastic it is. I keep standing in line for rush tickets and getting turned away at the wire.

What’s the most played song on your iTunes?: This week, I’m kind of obsessed with “I can see the pines are dancing” by AA Bondy.

What’s your biggest guilty pleasure?: Going to Bikram and eating a burger afterwards. I know, it’s unholy.

What’s up next?: I’ll be in the US premiere of Picture Ourselves in Latvia by British playwright Ross Howard with New Light Theater Project this July/August. It’s a beautiful play, and I’m stoked about it. Come check it out!

Photo Diary: Backstage at Short Life of Trouble with Michael Markham

We asked Short Life of Trouble's Michael Markham to give us a inside look at what goes on behind the scenes at the Access Theater!

"Producer and actor Joseph Parks"

"Suzy Kohane, getting into character. Apparently Gertrude is afraid tonight."

"Just a friendly fight call"

"Shakespeare never fully understood Hamlet's relationship with the San Antonio Spurs"

"Eric thinking about notes"

"I swear Greg naturally finds the most dramatic lighting"

"Writer/Adapter, Producer, and Actor, Valerie Redd, chattin' with the director"

"Sheila made me take this picture"

"Well we've all been there"

"Sexy Bartender. I be we move some booze tonight."

"John is always so disappointed."

"The warm glow of LED's in a plastic sheath.

"I only have a couple notes"

"What did I tell you about the dramatic lighting"

"OOOOOOO I'm really scared!"

"Good job John"

"Goofing aside, John knows how to work"

"Hi Andy!"

"Don't mind me"

"Insert dramatic caption here"

"Now about my tie..."

"Even when getting notes, Greg finds the dramatic lighting"

"Just a little pre-show music"

Please drink our booze"

"Sheila's rapper name is Little Joon"