Spotlight On...Laura Careless

Name: Laura Careless

Hometown: Isle of Wight, UK

Select credits: Founding member of Company XIV.

Why theater?: I was a petulant and tearful toddler, and an early and enthusiastic walker, so my Mum sent me to dance classes to give herself an hour's peace in the day. That was 27 years ago, and I've never looked back.

Tell us about Rococo Rouge: Rococo Rouge is a dance, music and circus revue as it would have been if the salons of Louis XIV's court were cabaret clubs. We steal the most opulent aesthetics and the most entertaining performance practices from every era, mash them all up into a bottomless cocktail of sensuality, beauty, and glitter, and deliver it via some of the most talented and generous performers in New York City. All while you're sipping life-changingly delicious drinks on a couch in candlelight.

What is it like being a part of Rococo Rouge?: The most unusual and most wonderful aspect of performing in this show is the intimacy of the venue, and the level of consideration given to the audience's experience. The setting, waitstaff, music, drinks and our costumes set the tone and help the audience to relax into their environment before we've even danced a step. As a performer, this frees you from anxiety about whether or not the audience are on 'your side'. Rather, the experience is immersive for audience and performer alike. Everyone sees everyone in the space, and as performers this allows us to make personal connections that we can feed off and play with over the course of the show. You become very sensitive to the needs and desires of each night's audience, and it is a great pleasure to use the structure of a great show to tailor-make an experience that satisfies socially as well as aesthetically.

What kind of theatrer speaks to you? What or who inspires you as an artist?: As an audience member, I like to feel that my perspective has been considered. I want to feel the same way I did when my parents read me bedtime stories as a kid: that someone who knows the world of a story better than me is recreating it, and adding something personal to that story as they hand it along in a way that I can understand. The form this takes, and the person who does it, are no more and no less important to me than the story itself.

Any roles you're dying to play?: There's a couple of XIV shows I'm hoping will return for a second round one day, especially our production Lover.Muse.Mockingbird.Whore, our take on the women who inspired the poetry of Charles Bukowski. Other than that, I'm at an interesting point in my creative life where my fascination with ardent young literary characters (Juliet, Jane Eyre) is giving way to a desire to explore timeless archetypes (Martyr, Witch, Mother) in contemporary culture. The more ancient the archetype, the better, as it gives your interpretation more layers to draw from and rewards you with timeless lessons and insight.

What's your favorite show tune?: My favourite song in Rococo Rouge is "Amado Mio", performed live by Brett Umlauf and guitarist Rob Mastrianni. It plays during the drinks break, by which time most of my hardest dancing is done. I love to listen from behind the curtain, stretch and breathe.

If you could work with anyone you've yet to work with, who would it be?: My partner Ryan is an orchestra conductor, and we fantasize about the day when some orchestra will let him program Martha Graham's ballet Judith - and the Graham company let me dance it. I love to work with live music, and the thought of performing with a full orchestra behind me is almost too good for my imagination to handle. Add in Ryan and some coaching from a great Graham dancer, and the fantasy is complete.

Who would play you in a movie about yourself, and what would it be called?: Marion Cotillard. “Lady Careless”

What show have you recommended to your friends?: The TV show "Masters of Sex". It is shameless, fearless storytelling with some of the most well-written female characters I've ever come across.

What's the most played song on your iTunes?: Most recently, the opera Dialogues des Carmelites by Poulenc. I saw it for the first time at the Opera Theatre of St Louis this summer and it still haunts me. My all-time favourites are the song “Yo Soy Maria” by Piazzolla, and Edith Piaf's “Non, Je Ne Regrette Rien”. So fortifying.

What's your biggest guilty pleasure?: No true pleasure is guilty.

What's up next?: A remount of XIV's holiday hit, Nutcracker Rouge. We begin rehearsals in a few weeks, and open soon after Rococo Rouge closes in November. I'm excited! And then, after three months of that, vacation, and a teaching and creative residency in Sitka, Alaska before heading back to XIV in the spring.

For more on Laura, visit Lauracareless.com and Alchemyfornomads.wordpress.com. For more on Company XIV, visit http://CompanyXIV.com

Review: Darkness and Solitude in the South Pole

There's something refreshing about the prospect of seeing a play set in a foreign location. Let me rephrase that, a play that isn't a living room. Set in the communal room of a research base in Antarctica, Jona Tarlin’s In Antarctica, Where It Is Very Warm, explores the darkness and loneliness of the frozen tundra and the workers who try to survive it and each other.
In Tarlin’s new play, Neil, a replacement plumber, is brought to Antarctica to work on a research base as winter arrives on the frozen desert. As he becomes acclimated with his new home and coworkers, sanity quickly fleets and lives are tested. On the surface, In Antarctica, Where It Is Very Warm is an intriguing play about relationships and solitude. With a colony divided by scientists and blue collar works intertwining, lines are drawn as they attempt to survive the elements and each other. The characters that Tarlin has created seem to lack depth and dimensions. This may be due to the largest problem of the play, the timeline. Since the play is broken up into short scenes that take place over a seemingly long period of time, the individual character arcs seem to be lacking in the grand scheme. With Neil as the audience's way into this world, his character’s arc is developed on stage, but having only little backstory to lean on, the other characters lack their own personal journey. For the most part, the play lives in a very naturalistic world. That is until pregnant research student Vicki has a dream of premonition proportions. With no build up to speak of, the dream, though staged stunningly, seems to come out of nowhere. Had an insanity-driven dream occurred through the mind of Neil, perhaps it could be rationalized, but as it stands now, it appears a bit out of place.

The overall pacing of the show is slow. Until there is some action, the majority of the performances are subtle and lack energy onstage. Christopher Norwood as Neil does a fine job as the plumber on the verge of a breakdown. Norwood and Lindsey Austen’s pregnant Vicki have an interesting will they-won’t they relationship, ultimately leading to an unlikely ending. On the opposite side of the chemistry spectrum is Veronique Hurley’s Annabelle and E.J. An’s Helen. Hurley’s performance is one of the strongest on stage. An’s Helen, who spends the majority of the play with the moral dilemma of whether or not to deliver Vicki’s baby, lacks all chemistry with Annabelle, raising the question of why these two. Rounding out the ensemble is the misplaced Anthony Perullo as Tom. Tom seems to be the player of the base but he has no one to play off of, with the exception of the girl who would never go for him.
Director Kyle Metzger does his best to keep the world moving and accessible despite the lack of momentum in the script. The passage of time may have been the biggest downfall of the piece. With the facts the script offers about darkness in the winter months, it was rarely reflected in the overall design. Patience Haskell’s lighting seemed to lack darkness through the massive window of Aaron Ethan Green’s set. Sure, portraying darkness in a theatrical setting can be difficult as it is important to see the actors, the sanity-testing stakes set forth in the script were weakened with what was presented outside the window. With that being said, the dream sequence was a complete win for all involved. The sterile feel of Green’s set evoked the disheartening place to spend a life.
In Antarctica, Where It Is Warm was filled with potential but did not live up to it on stage. The script may be better served in a cinematic medium where the perils of the locale can be explored properly.

Spotlight On...Natalie Bates

Name: Natalie Bates

Hometown: New York, New York

Education: BA in theater from Hofstra University; Playwriting Master Class, Donna de Mateo--HB Studio

Favorite Credits: My novel "Friend Of The Family" published by Atheneum (Macmillan) to excellent reviews; Always -one act play festival, Circus Theatricals (Odyssey Theater) in Los Angeles; "What Comes Next"--An evening of  my one act plays produced by HB Playwrights Theater; Manhattan Theater Source's EstroGenius Festival.

Why theater?: I love the immediacy of theater, watching the story unfold in front of you.

Tell us about Overnight: This play, Overnight was written for and about my best friend. I always thought she would see it performed and get a big kick out of it.  She was a great fan of my writing.  She was a wonderful actress, so her opinion meant a lot to me. .. Sadly she passed away last October.  I'm so happy that EstroGenius is performing it now--it feels like a loving nod to her.

What inspired you to write Overnight?: I've always loved theater.  I was an actress for many years.  But once I started writing I felt like I'd found my niche. After writing several novels I began to try my hand at plays--and found that I LOVED it! It was so much fun.

What kind of theater speaks to you? What or who inspires you as an artist?: I love plays that explore the complex dynamic between families and between friends. I love plays that have some humor, that can make me laugh as well as think and even cry.  And being a person who can't sing or dance, I'm completely enchanted by musical theater.  There are many writers who inspire me--when I encounter  truthful, vibrant situations and wonderfully drawn characters I'm inspired by that writer.  

If you could work with anyone you’ve yet to work with, who would it be?: Helen Mirren--what fun it would be to write a play for her and see her perform it!

What show have you recommended to your friends?: The most recent--Jim Dale's one man show. I thoroughly enjoyed it!!

Who would play you in a movie about yourself and what would it be called?: Oh...it would have been Anna Magnani and it would have been called.."Joy and Sorrow"

What’s your biggest guilty pleasure?: Reading Mysteries--not the bloody, violent ones but the "cozies"--especially English ones, but they have to be very well written and have a very intriguing puzzle.  I love Sherlock and Agatha Christie....

What’s the most played song on your iPod?: Anything by Ella Fitzgerald, Rosemary Clooney or Billie Holiday.

If you weren’t working in theater, you would _____?: Own a lovely little book store in the country with a cafe attached where people could come and drink coffee and read books and play chess..maybe listen to some nice music or hear some poetry read.

What’s up next?: A production of Overnight in the Emerging Artists Theater's New Works Series.  And then a reading of a full length version of Overnight at the Workshop Theater Company.

Spotlight On...Cat Migliaccio

Name: Cat Migliaccio

Hometown: Everywhere but will say Texas its where I find who I wanted to be

Education: Bachelors

Favorite Credits: Playing characters can't point to a specific one

Why theater?: Performing or watching Live is where it's at

Tell us about The Tinder Scrapbooking Love Guru Victoria?: Victoria is Queen of Tinder, Goddess of Scrapbooking and a Love Guru to women helping them find the right mate with some backups to bless this earth with BABIES.

What inspired you to write The Tinder Scrapbooking Love Guru Victoria?: She was created after a conversation I had over the extremities of men and women thinking

What kind of theater speaks to you? What or who inspires you as an artist?: Improv Theater: jumping on stage, creating a world, relationship and saying yes instantly. It's just Beautiful!

If you could work with anyone you’ve yet to work with, who would it be?: I feel I've been super lucky to play/work with people I wanted to play/work with and will continue to in the future.

What show have you recommended to your friends?: TJ and Dave they are an amazing comedy duo

Who would play you in a movie about yourself and what would it be called?: Johnny Depp and it would be called “The Witty Blonde Ball of Fire”.

What’s your biggest guilty pleasure?: Sweets I have a huge sweet tooth, I could skip a meal and just eat sweets.

What’s the most played song on your iPod?: Right now tie between “Fancy” by Iggy Azalea and “Song for Someone” by U2

If you weren’t working in theater, you would be _____?: At the beach playing in the ocean and building sandcastles.

What’s up next?: Working on web series "HOW TO with Mrs. Apples" on my YouTube Channel: Cat Migliaccio

Spotlight On...Connie Schindewolf

Name: Connie Schindewolf

Hometown: Moline, Illinois but live in Bradenton, Fl now.  I taught theatre, including playwriting, in the St. Louis area for 25 years.

Education: BSE Truman University (Theatre Education) MA Southern Illinois University, Edwardsville (Speech Communication)

Favorite Credits: Being one of the playwrights in the 6 Women Play Festival in Colorado in 2010. As an actress, playing Stella in Streetcar Named Desire.

Why theater?: Why not?  I believe being involved in the arts keeps us sane, a real stress reliever. As a playwright your brain uses your subconscious to work out problems/scripts.

Tell us about A Bottle of Vodka?: I work with sea turtles down on the beach here in Bradenton, Florida and I've actually written a couple of scripts about it.

What inspired you to write A Bottle of Vodka?:  I have always been intrigued that we laugh at and about alcoholics.  I want the audience to laugh and then think, "Hey, that's not funny".

What kind of theater speaks to you? What or who inspires you as an artist?: I love dramas, not real fond of musicals.  Beth Henley inspired me because long ago she broke through a male dominated profession with her beautiful play, Crimes of the Heart.

If you could work with anyone you’ve yet to work with, who would it be?: I would love to work with any professional theatre company willing to produce one of my full-length plays!

What’s your biggest guilty pleasure?: Mounds candy bars...oh the coconut and dark chocolate!

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

What’s up next?: I have a couple of productions coming up in Spokane, Wa, and I'm starting on a new full-length called Mammoth Bones

Spotlight On...Roxy MtJoy

Name: Roxy MtJoy

Hometown: Waynesburg, PA

Education: BA in Theatre, Randolph-Macon Woman's College; MFA in Theatre, Sarah Lawrence College

Favorite Credits: R+J by Erin Breznitsky. I did a workshop production in grad school two years ago and we're gearing up for a full production this fall.

Why theater?: Because I believe in the transformative power of the arts and that theatre is the art of the people. And because I would have been a terrible accountant.

Tell us about Dear Susan?: Dear Susan is a solo piece that I wrote and directed that imagines a woman who is pen pals with Susan G. Komen. We know the name instantly, but the woman herself is like a mysterious martyr and symbol for the modern breast cancer awareness movement.

What inspired you to write Dear Susan?: The first seed of this show was planted in my Solo Performance class in graduate school. We were asked to write a brief monologue about something in the news and that day the story broke about them defunding Planned Parenthood. From there it grew because I am fascinated by the intersection of women's health and politics and in particular the glorification and commercialization of breast cancer.

What kind of theater speaks to you? What or who inspires you as an artist?: I love seeing things I've never seen before. I love seeing work where I can tell the people involved had something they had to say. Girl Be Heard is an amazing, amazing company and everything they do is electric and relevant.

If you could work with anyone you’ve yet to work with, who would it be?: I'd love to work on a new play by Sarah Ruhl, Lynn Nottage, or Theresa Rebeck.

What show have you recommended to your friends?: The last show I remember recommending to absolutely everyone -friends, family, people on the street- was Book of Everything at the New Victory Theater. It was everything I love about theatre; it was magical and smart and original. The New Vic, as large as it is, feels like NYC's best kept secret. People look down at theatre for young audiences but the work there is spectacular, regardless of your age. And it happens to be incredibly affordable.

Who would play you in a movie about yourself and what would it be called?: Lauren Graham. "I Don't Know What to Do With My Hands: The Roxy MtJoy Story."

What’s your biggest guilty pleasure?: Football. I say that because loving football while being a feminist can be a bit problematic at times.

What’s the most played song on your iPod?: "Illegal Smile" by John Prine

If you weren’t working in theater, you would be _____?: Working at a non-profit that advances women's issues.

What’s up next?: R+J by Erin Breznitsky. We have a stage reading in the middle of October that will hopefully set the stage (pun intended) for a full scale production later this fall.

Spotlight On...Christopher Domig

Name: Christopher Domig

Hometown: Salzburg, Austria

Education: B.A. Wheaton College in Philosophy, Psychology & Theatre, M.F.A Southern Methodist University in Acting

Select Credits: Theatre: Love Song, The Dumb Waiter, Much Ado About Nothing, Elizabeth Rex, Uncle Vanya, Box Man TV: "Boardwalk Empire", "Blue Bloods", "Bocce Ballers" FILM: "Apartment 4E" (Netlfix) "Bastards of Young" (iTunes), "3 People I’ve Never Heard Of", "Tenants"

Why theater?: Because it is the most immediate art form that addresses the questions of our time. It is also one of the few places where people still come together to be present with each other.

Who do you play in Dirt?: I play a man named Sad, who is an illegal immigrant from Iraq living in our city.

Tell us about Dirt: Dirt is a powerful drama about racism and the havoc it wreaks upon the human soul. This haunting play tells the story of Sad, a desperately-alienated illegal immigrant from Iraq, living on the fringes of Western society. Charming and humorous, yet cynical and violent, he confronts xenophobia and latent racism as he peddles roses to eke out an existence. Issues of identity, anti-foreign sentiment and self-worth are brought to life through the character's disturbing psychological self-portrait.

What is it like being a part of Dirt?: I have lived with this play for more than a decade. I first performed it for my thesis work in undergrad in 2003, then again at the NY International Fringe Festival in 2007, for which I received the Outstanding Actor Award. Since then I was able to take the play to London, Berlin, Edinburgh, and Vancouver B.C. I have already performed the play over a 100 times, but this upcoming run at 4th Street Theater is a new adaptation and a newly envisioned production of the play, and one that I am incredibly proud of and excited about.

What kind of theater speaks to you? What or who inspires you as an artist?: There are many people that excite me. I draw a lot of inspiration from other disciplines. My brother, Daniel Domig, is a painter who lives with his family in Vienna. He and I have had countless conversations about process and practice and how theatre and painting are similar. Seeing his work makes me a better actor. I am convinced of this. I also love music and how songs are ‘sculpted’ into being. I believe there are many parallels between music and theatre. Over the last few years these particular classical pieces have been a huge inspiration. Fratres by Arvo Paert. Prelude for Viola Da Gamba, by Friedrich Abel, and Funeral Canticle by John Tavener. Within the theatre, I have long been a fan of Peter Brook and his writing. I met him not to long ago and handed him a letter and a book. I asked him to work with me on adapting the book for the theatre. I realize how foolish it might seem is to ask a legend like Brook to collaborate, but at the end of the day I think we are all collaborators, at least those of us who lead with our hearts and not our egos. Two days later, he wrote me back via email. He thanked me for the letter and the book, but told me that he had too many projects lined up to take this project under his wing. He ended his letter with “I wish you all the best, and your search for meaning”. The fact that a man like Mr. Brook took the time to write me back gave me incredible hope, and I still think of his email as a blessing for my artistic journey.

Any roles you’re dying to play?: Yes, many.  But I see the great roles mostly in light of great plays. A great play makes for great roles, not vice versa. There are too many to list, but I hope I get the chance to be in Danny and the Deep Blue Sea, and Amadeus in the next few years. I try not to hold on too closely to the great roles. The opportunities will present themselves at the right time.

If you could work with anyone you’ve yet to work with, who would it be?: Peter Brook, Peter Stein, Pam MacKinnon, Anna Shapiro, Paul Thomas Anderson, Terrence Malick, David Cromer, Michael Attenborough.

Who would play you in a movie about yourself and what would it be called?: I would cast someone unknown. And the movie would be called “I believe, help my unbelief.”

What show have you recommended to your friends?: Steppenwolf’s August: Osage County, Awake and Sing, All plays by Stephen Adly Guirgis, David Cromer’s production of Our Town, anything Mark Rylance does.

What’s the most played song on your iTunes?: “Funeral Canticle” by John Tavener. It’s so much more uplifting than the title suggests, I promise.

What’s your biggest guilty pleasure?: Coffee and cake.

What’s up next?: Raising my 6 month old daughter Annie with my beautiful wife Janelle, who is producing Dirt, and without whom I would be a stranger to myself.

For more on Dirt, visit http://www.theplaydirt.com/

Spotlight On...Nairoby Otero

Name: Nairoby Otero

Hometown: New Orleans, La

Education: B.A Theatre Performance Marymount Manhattan College

Select Credits: The Coven (HB Playwrights Theatre), Modernism (Primary Stages ESPA), Freedom (Primary Stages Det. Series), Sunday on the Rocks (Abingdon Theatre), ‘Til Sunday (Abingdon Theatre), The Coldzone Creamery (The Public Theatre), Generic Hispanic (PRTT), The Magic Bus (The Cherry Lane Theatre).

Why theater?: Theatre is as natural as the air I breathe. It has become my greatest passion in life: the one constant I always knew I needed to fulfill and express myself. This is more than a want. It’s a need. It’s intangible, it’s imperfect and, often, it creates more headaches and heartaches than most people can stand. But, to me, it’s worth every single second. I love the smell of the theatre when I am in rehearsal, that bare stage when you look out into the empty seats, the technical rehearsals when people are exhausted, and, most importantly, when you finally get to see all your hard work slowly come together, knowing that in a few hours you will be given the privilege to take an audience on a journey that will hopefully give them joy.

Who do you play in Danny and the Deep Blue Sea?: Roberta

Tell us about Danny and the Deep Blue Sea: This is a stunning play about two people that don't know that life can actually be great!  Danny and Roberta have seen it all and done it all.  And although they don't see themselves as "brave" they allow each other to open up in way that is incredibly raw and scary.  To let anyone see you at your most vulnerable is incredible brave.

What is it like being a part of Danny and the Deep Blue Sea?: Ha! Exhausting and it is only THREE scenes!  It's incredibly challenging as an actress.  It is forcing me to look at my own demons and that is terrifying!  I go into rehearsals feeling ready to conquer and then a discovery happens and it really shakes me up.  It has been a magnificent process of self discovery and really pushing myself out of my comfort zone.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theatre that leaves me thinking hours after I have seen the show. Any artist that takes control of their artistic journey and does not wait for others to decide their artistic fate.

Any roles you’re dying to play?: Martha in Who's Afraid of Virginia Wolf

What’s your favorite show tune?: "Rose's Turn" from Gypsy

If you could work with anyone you’ve yet to work with, who would it be?: So many! But, since we are talking theatre I would have to say Mike Nichols

Who would play you in a movie about yourself and what would it be called?: Edie Falco and the movie would be called "Growing Up Cuban"

What show have you recommended to your friends?: Dry Land, which is playing at HERE

What’s the most played song on your iTunes?: Ricky Martin's "Vida"

What’s your biggest guilty pleasure?: Eating out!  I eat out more than my JP Morgan Chase checking account is comfortable with.

What’s up next?: A nap!

For more on Nairoby, visit http://www.nairobyotero.com/. For more on Danny and the Deep Blue Sea, visit https://www.facebook.com/dannyatnuyoricancafe

Review: Life According to Cleo

The Twelve Labors of Hercules were a series of tasks of penance performed by the Greek hero Hercules. In Loading Dock Theatre's fascinating production, The Twelfth Labor, the Twelve Labors of Hercules, among an abundance of other things, inspire a family drama, like no other, set in the Midwest in the 1940s. Written by Leegrid Stevens, The Twelfth Labor is told through the eyes and head of mentally handicapped Cleo as we watch her mother Esther as she attempts to keep her family together despite the hardships of life.
With a fascinating mix of epic realism and stylized dreams, The Twelfth Labor is a family drama at its heart tackling some bold themes. Stevens’ daring script touches on some taboo topics presented in a fantastical manner. Broken up into four acts, the play begins with a premonition by Herc, the youngest child, about a man returning home. After the dream ends, the family history, including a bombshell reveal about the nature of Herc's mother, and relationships are explored as we learn about the trials and tribulations of hardship that each member of the family is forced to endure.  The scripted second act is intriguing as it takes place through Cleo’s memories with the language spoken directly to how Cleo hears it. Stevens does a phenomenal job creating an accessible language and word with this second act, allowing us to truly get inside Cleo’s head. The staged first act is captivating, keeping the audience glued to their seats eager for answers. However the staged second act falls a bit flat in comparison, living in almost a different theatrical world. The scripted Act III sets Cleo's dream to a movie. While we know she longs to go to the picture show with her sister, we never know much of her love for film therefore the movie device, while entertaining, lacks weight. Through the dream device, we do receive interesting insight to the other characters and their parallels to “The Wizard of Oz” ensemble. By Act IV, which returns to realism, a heavy wind threatens the characters and the farm. By bookending the play with realism, it allows the tale to come full circle. We begin with a premonition and end with the result. While The Twelfth Labor relies on the audiences knowledge of the source inspiration, the play is truly inspired by the writer’s own family. Due to this, it may be the reason why the father figure has such a presence in the second act. In Act III, Forrest appears, breaking the whimsical movie world, and offers a lengthy and poetic monologue about his time as a POW. We spend the majority of the play, waiting for this Godot-like figure, so theatrically, his appearance and monologue are unsatisfying. However if he appeared only at the very end of the play, the pay off would have been well worth the wait. With the family history so prevalent in the piece, it makes sense why the monologue exists but it truly feels as if it should be a part of another play. But as a full, overall piece of theater, Stevens’ script is quite brilliant.

photo courtesy of Hunter Canning

The entire ensemble, from the core characters to the Greek chorus of gabby ladies, did a spectacular job in Stevens’ world. As Esther, the manipulative matriarch with good intent, Lynne McCollough offers a breathtaking performance. From resilient to pained and back again, McCollough’s performance is nothing short of a master class. Erin Treadway gives a transformative performance as Cleo. Her chemistry with her family, especially with McCollough’s Esther and Shelby Hightower’s Donna, gives the character and story vivacity. Hightower does quite a striking job as the unscathed youngest daughter Donna. Though the monologue may not fit, Jed Dickson is exquisite sharing his story as Forrest.
Director Matt Torney has the ginormous burden of bringing The Twelfth Labor to the stage. Fortunately, he does spectacular work. The creativity and innovations throughout the play kept the piece engaging. Though there were some iffy staging moments in the realistic worlds as the definition of space became muddy. The entire creative team brought a cohesive design to life. Carolyn Mraz’s cabin inspired set combied with the lighting design by Simon Cleveland allowed for some wonderful stage pictures. Though some of the larger wood gaps on the back wall allowed for the architecture of the space to shine through when Cleveland’s backlight was present.
The Twelfth Labor is one of the most exciting and revitalizing pieces of theater. With a intelligent script and a brilliant performance by Lynne McCollough, The Twelfth Labor is a piece you need to see to believe.

Blog Hijack: 2014 LAMDA Showcase

The students participating in this Showcase will graduate from either our BA (Hons) in Professional Acting or Foundation Degree in Professional Acting in July 2014 or our MA in Professional Acting in September 2014. They will be presenting an evening of contemporary scenes and all are eligible to work in the United States.

New York Showcase

Tuesday 23 September at 1pm and 5pm

Wednesday 24 September at 6pm

Jerry Orbach Theater in The Snapple Theater Center

210 West 50th Street at Broadway

New York, NY 10019

Los Angeles Showcase

Tuesday 30 September at 1pm and 7pm

Wednesday 1 October at 1pm

The Falcon Theatre

4252 Riverside Drive

Burbank, CA 91505

Review: A Night of Sex and Desire and Hot Performers

Winning an audience over takes skill and precision. Sex sells. And with the added element of alcohol, what else do you need? In Company XIV’s latest piece Rococo Rouge, the themes of sex and desire take center stage in an old fashioned evening of burlesque that bridges the gap of classic contemporary.

Photo courtesy by Phillip Van Nostrand

Performed in their new apropos theater and accompanying bar, Rococo Rogue is a sexy piece of burlesque. A night of sex and intrigue. An evening romance and temptation. Rococo Rouge uses common elements of the form mixed with an effective update of routines from dance to song to pole dancing. Despite a lack of story and character, Rococo Rouge is still stunning from top to bottom. Broken up into three short acts, perhaps mostly to help refill empty glasses, Shelly Watson serves as the evening’s emcee and host, guiding the audience through an array of emotions, presenting the talented yet scantly clad players. To help blend the periods, the show employs a perfect combination of musical styles from the classic “Habanera” to Lorde's “Royal”, Rococo Rogue is a sensual mix within the thematic pallet. The entire unit of performers shined in their area of expertise with some winning the hearts of the audience in their routines, namely Allison Ulrich with her stimulating pole dance. The dynamic duo of Brett Umlauf and Katrina Cunningham, the unsung hero of the night, covering the majority of the vocals were exquisite. Cunningham’s smoky and captivating rendition of Britney Spears’ “Toxic” opened up the audiences ears to the poignancy of the text. Cunningham needs to record an album of her brilliantly seductive covers.
Director and choreographer Austin McCormick gave the evening the right amount of intrigue and glamor, leaving the audience wanting more. The converted space allowed for some challenges but using the architecture of the space, including a column right smack dab in the middle of the stage, to their advantage was wonderful to see. The scenic design by Zane Pihlstrom aided greatly to the production. The beautiful Revolution inspired scrim, filled with a naughty teaser picture, reveals a sultry world of intrigue behind it. Ambiance is everything with the space. The furniture, décor, and even wait staff completed the well rounded atmosphere. Jeanette Yew’s lighting design is provocative, allowing for some stunning moments of shadow and light. The variety Yew brought allowed for each act to live on its own. The costumes by Pihlstrom were striking and flawless, showcasing the assets of each company member.
The art of burlesque isn’t dead and Company XIV is proof of that. With Rococo Rouge, less is definitely more, in every meaning of the phrase.

Spotlight On...Lynne McCollough

Name: Lynne McCollough

Hometown: Didn’t really have one, we moved a lot when I was growing up.  We spent the longest period of time in Tehran, Iran; second longest was Potomac, MD.  I have extended family in Allentown, PA.

Education: Tehran American School; Emerson College, Boston.

Select Credits: The Hannah track in Angels in America at the Signature; Carol in Sam Hunter’s A Permanent Image at the Boise Contemporary; Jolene Palmer/Aileen Wuornos in Self Defense (or Death of Some Salesmen) at HERE; Six Women of Cairo, GA in Cavedweller at New York Theatre Workshop.  And Esther in The Twelfth Labor, of course.  She’s moving to the top of my list.

Why theater?: I was a very self-conscious and intense kid, and I think theatre helped me get out of myself – it gave me permission to take on different ways of being in the world, and that was liberating.  And in learning about someone you are bringing to the stage, you are learning about yourself and about humanity – what makes us tick.  It’s a rich world, being an actor.  I love writing too, but the collaborative nature of theatre, when it is allowed to be collaborative, it’s just wonderful.  Theater was my way into the world, and my way of being with others.  Of being with myself, really.  So it brought me full circle back into myself.  What can I say, it completes me.

Who do you play in The Twelfth Labor?: Esther, aka Mama.  She’s a woman who’s been deeply disappointed by life, but who has a will of iron and tremendous pride.  She’s determined to see her family through a very difficult time, even if it means ‘giving up her soul’, in her words.  She just wants her kids to have a better life than she has had and she’s doing her best to give them that, however flawed her approach may be.

Tell us about The Twelfth Labor: It’s the story of a young girl and her family, struggling to survive harsh circumstances on a poor farm in Idaho during WWII.  Because Cleo is ‘special’, we get to see that world through her eyes and ears, so there’s whimsy and magic along with the very real pain of the family’s desperate situation.

What is it like being a part of The Twelfth Labor?: Pure unadulterated joy!  To start with, I love this play.  LOVE it.  And this role is an actor’s dream.  But what really makes it glorious is the talented group of people the Loading Dock has managed to assemble.  I had worked with Steve and Matt and Erin before, and had been really hoping to do so again.  Now, on top of that powerbase, we’ve got a terrific cast, crew and design team that couldn’t be better.  I’m just so excited to be bringing this to an audience at last!

What kind of theater speaks to you? What or who inspires you as an artist?: I really love doing new plays, exploring something for the first time.  I love theatre that’s rich in language, poetry, images.  Theatre that tells a story that puts us in touch with our lives by making visible, in some way, what’s going on in the lives of others.  Something that shares that human experience.  To have that happening - live, in the moment, with a room full of seeming strangers all come together for a few precious hours – feels like the closest I could ever get to god.

Any roles you’re dying to play?: I take delight in pretty much any role, and like to think I have a good range.  Since I do love doing new work, I may not have met the roles I am dying to play yet :-)

What’s your favorite showtune?: Anything by Sondheim, I played West Side Story to a nub when I was a kid. “Something’s Coming,” if I had to pick one.

If you could work with anyone you’ve yet to work with, who would it be?: It was Phillip Seymour Hoffman, and it will take me a while to accept that loss.  I don’t dare separate anyone else out after that, but there are so many extraordinary actors out there, known and not – I am determined to work with as many of them as possible.

Who would play you in a movie about yourself and what would it be called?: I’d be played by the love child of Fran Lebowitz and Eckhardt Tolle, and the movie would be called “The Long Haul – Late Bloomers are the Last to Fade.”

What show have you recommended to your friends?: Most recently, And I And Silence, at the Signature.  For movies, “A Most Wanted Man.”  Documentary, “Paradise Lost I, II, and III.”

What’s the most played song on your iTunes?: I’m embarrassed to admit, I don’t listen to music very often.  I can’t do anything else when I listen to it, except maybe dance or exercise.  I’ve been doing more reading these days, so music has been neglected by me lately.

What’s your biggest guilty pleasure?: Crunchy Cheetos!  And pumpkin pie with Cool Whip.

What’s up next?: I’m writing a performance piece (tentatively titled I Ran Far, See?), about growing up in Tehran before the Islamic Revolution.  Stay tuned…

Spotlight On...Matthew Foster

Name: Matthew Foster

Hometown: Sydney, Australia

Favorite Credits: Clown in The 39 Steps, Max in Lend Me a Tenor, Freddy in Noises Off, and everything with Australian Made Entertainment - Cosi, Speaking in Tongues, Once We Lived Here and The Club!

Why theater?: At the age of 11, my stage debut was as the Cowardly Lion in a one-night-only community theatre production of The Wizard of Oz. I don't remember exactly what I did, but I remember getting a huge laugh for some sort of schtick, and I was hooked. As an aside, Robert De Niro's first stage production as a child was as the Cowardly Lion in The Wizard of Oz, so surely that's some sort of good omen.

Tell us about The Club: The Club is a cultural classic by Australia's most successful playwright, David Williamson. A winner of the Australian Writer's Guild award for Best Play, this biting satire tells the story of a once-great Australian Rules football club that is currently struggling for form. Becoming competitive again is proving difficult due to the back-stabbing and double-dealing among those who run the club. The coach wants to quit, the players threaten to strike, and the club president is embroiled in scandal. But the club's devious administrator, in cahoots with a former player and coach, would dispense with them all if it meant the team had a shot at the championship.

What inspired Australian Made Entertainment to produce The Club?: While it contains universal themes that all theatre-goers will respond to, The Club is one of Australia's most well-known and loved works, quintessentially Australian. Where else can you hear phrases like "have a bit of a perve" and "he wasn't worth a cracker"? Plus, this really is an actor's piece. Each character is unique with his own very self-serving objectives, so there's a lot of electricity when they clash. And they clash constantly. Add to that the fact that the play unfolds in real time all in the one location and it's a very engaging piece of theatre.

What kind of theater speaks to you? What or who inspires you as an artist?: If there's a good story that keeps me involved and caring for the characters, then I'm on board. I tend to like subtler forms of theatre, but that said, I love a good spectacular musical or an over-the-top farce. I'm inspired by inventive works that bend the rules a little bit without sacrificing a satisfying narrative. The works of Aussie playwright Andrew Bovell (whose play Speaking in Tongues we produced a couple of years ago) are particularly inspiring to me.

If you could work with anyone you’ve yet to work with, who would it be?: Well, of course, I have to choose an Aussie here. In fact, let me choose two. Cate Blanchett and Geoffrey Rush are both amazing talents that I would be absolutely honoured to share the stage with.

What show have you recommended to your friends?: Shamefully, I haven't managed to get out to see much lately since my son Charlie was born seven months ago. (Parenting takes up a lot of time. Who knew?) But I have recommended Matilda to a few people (written by an Aussie, Tim Minchin!)
Who would play you in a movie about yourself and what would it be called?: I think Paul Giamatti probably has the right amount of neurosis to play me. And the film would probably be called "The Man Who Worried Too Much".

What’s your biggest guilty pleasure?: Right now, sleeping in is about as pleasurable as I can imagine. My wife Kat and I have been producing this show and organizing a move to LA, all with a seven-month-old baby at home. Sleep, when it happens, is divine.

What’s the most played song on your iTunes?: I tend to listen to podcasts more than music at the moment. I love Doug Loves Movies and The Skeptic's Guide to the Universe. But if I have to name a song, it's probably something by Billy Joel.

If you weren’t working in theater, you would be _____?: Quite unhappy.

What’s up next?: Kat and I are moving to Los Angeles almost immediately after The Club closes, so once we're settled in over there, we'll figure out what our inaugural West Coast production will be. We've been eyeing a few Joanna Murray-Smith plays, so it could be one of hers.

Spotlight On...Shelby Hightower

Name: Shelby Hightower

Hometown: Harleysville, Pennsylvania

Education: BFA in Acting from Boston University '14

Select Credits: Nora in Ibsen's A Doll's House, Rebel in Columbinus (Boston University). Romeo in Romeo & Juliet (London Academy of Music and Dramatic Arts)

Why theater?: I like to believe I am helping people remember that they are not alone. There is so much division and separation in the world, but I still fiercely believe that the human experience is universal. We, as a species, live this life together. I don't think that should be forgotten.

Who do you play in The Twelfth Labor?: I play Donna, the youngest sister in the Praeter family.

Tell us about The Twelfth Labor: The play is incredible. It's exactly the kind of play I love – a character driven drama that has unfathomable depth. I was tempted to stay in Boston after school because I had some paid gigs lined up, but when they offered this part to me, I couldn't say no. It just lights my fire. It's about a family living on a farm during the Depression. Our dad is a POW in Japan and so we must all suffer the consequences of that. Come see it! I can't do it justice here.

What is it like being a part of The Twelfth Labor?: It's a gift. I think everyone really believes in this show and it's palpable in the rehearsal room. There's passion!! Who could ask for more? Plus, the amount of fun we have together just as people is amazing. We laugh A LOT  :)

What kind of theater speaks to you? What or who inspires you as an artist?: Theatre like this speaks to me. Honest, gritty, dirty, REAL character driven pieces are what get me going. I also have a slight obsession with the main man, Billy Shakespeare. And mostly life itself seems to inspire me as an artist. My own life as well as the billions of others. I think it's so beautifully and tragically odd that we are all just...here. Human life fascinates me.

Any roles you’re dying to play?: Um... a thousand!! Of the ones I could actually be cast as now, I would have to say Pace in Trestle at Pope Lick Creek. I love her spunk.

What’s your favorite showtune?: Whoa, that's hard. "Don't Cry for Me Argentina" from Evita has been stuck in my head all week, so it's that one right now.

If you could work with anyone you’ve yet to work with, who would it be?: Meryl. I know – cliché. But Meryl.

Who would play you in a movie about yourself and what would it be called?: I think Evan Rachel Wood would play me and it would be called “The Earth is Her Home.”

What show have you recommended to your friends?: The Curious Incident of the Dog in the Night-Time. I saw it in London when I studied abroad and it's awe inspiring. The technology alone blew my mind, but the story is so beautiful, the characters are deep and delicate, and the direction was sharp and inventive. Over-all great experience, so i've been raving. (The book is great, too.)

What’s the most played song on your iTunes?: Okay, I looked. It's Beethoven's "Piano Sonata No. 14 in C sharp minor". I listen to it to fall asleep so it often plays through the night.

What’s your biggest guilty pleasure?: sitting...like ALL day... mmmmm

What’s up next?: I just got here! I'll be auditioning, exploring the city, and settling in. I work at a steel rack company, so I'm looking to get my welding license as soon as possible. It's exciting!!!!

Spotlight On...Sarah Gwynne Walker

Name: Sarah Gwynne Walker

Hometown: Chestertown, MD

Education: I received my BFA Acting degree from Marymount Manhattan College!

Select Credits: Chorus Woman Three in Medea: A Reading (Envelope Ensemble), Lucetta and Third Outlaw in Two Gentlemen of Verona (Hip to Hip Theatre Company), Soothesayer and Jupiter in Cymbeline (Hip to Hip Theatre Company), Lady Bountiful in The Beaux Stratagem (Marymount Manhattan College), Doctor Barium/Zombie in Zombiefest (Indoor Extreme Sports), Mrs. Jansen/Mary Margaret in Mrs. Jansen Isn't Here Now (The Secret Theatre)

Why theater?: I get this question a lot and I feel like I always give the same cliche answer of, "I did community theatre when I was a kid, blah, blah, blah..." and while that's all well and true and will be remembered fondly, it's so much more than that! I love exploring. I love the idea of exploring new worlds and discovering new things and sharing that with a live audience. It evokes thought and laughter. The theater suddenly becomes a sacred place. It's where two worlds collide and we're all forced to really focus on the world that we live in.

Who do you play in The Spotted Man?: I play The Specialist. The Specialist is supposed to know the cure for the spots that Eugene is covered in. Walter Wykes describes him in the play as a, "...a sub-human creature...". Let's just say that looks can be mistakenly deceiving...

Tell us about The Spotted Man: The Spotted Man is a short one act comedy that focuses on Eugene, a man that is convinced that he has spots all over his body. Hilarity ensues when a crazy, cooky nurse enters and turns his life upside down. We're really focusing on perspective and sanity, how we perceive the world around us and how others perceive that world. To quote our post card, "What if nobody sees the world the way you see it? What if nobody sees the spots?" It's nothing short of outrageous!

What is it like being a part of The Spotted Man?: It's an absolute riot! Every rehearsal feels like a productive play date. There's so much positive energy! It's an exhilarating feeling being the part of something brand spankin' new! We're all very passionate about the start of Group IV and we know that this is only the beginning.

What kind of theater speaks to you? What or who inspires you as an artist?: Classical theater has my heart. If I could do the old stuff for the rest of my life, I would be one happy camper. As far as who inspires me, I've got two of those! I'm a die-hard Bryan Cranston fan. What I would give to be as versatile as that man! Also, the dame herself, Judi Dench. What inspires me? People with ideas, but more importantly, people willing to take the risk to make those ideas a reality.

Any roles you're dying to play?: My dream role would have to be Lady Macbeth, but a couple of others would be Alma from Eccentricities of a Nightingale, or Medea.

What's your favorite show tune?: "Cell Block Tango", no competition.

If you could work with anyone you've yet to work with, who would it be?: I would love to have the opportunity to work with either of my acting inspirations! Or Nickelodeon or Cartoon Network, being a cartoon is my dream, haha.

Who would play you in a movie about yourself and what would it be called?: Maggie Gyllenhaal circa "Stranger Than Fiction" and it would be called "That was my Joke".

What show have you recommended to your friends?: I've recommended Silence: The Musical. I saw it three times...woops...

What's the most played song on your iTunes?: "Underdog" by Spoon!

What's your biggest guilty pleasure?: Crappy television and Chipotle. I'm currently binge watching the new "90210". Go ahead, judge me, I deserve it.

What's up next?: Auditioning, auditioning, auditioning! I will also be returning to Zombiefest and I will get to be reunited with my undead family, which is incredibly exciting!

For more on Sarah, visit www.sarahgwynnewalker.com

Review: The Woes of Middle School

Being the new kid in a new school is never easy, especially when you’re younger. Making new friends and fitting in sometimes is more of a struggle than school itself. In Gail Phaneuf’s cute tween musical The Love Note, farm girl Jessie becomes the new girl and learns the woes of middle school with the help of her imaginary friend, Airy.
The Love Note follows Jessie as she tries to fit in with the cool kids and develops a crush on Peter. Queen Bee Brittany cons Jessie into trading lunches with her daily in exchange for being part of her clique, part of the deal that is never upheld. In each of her lunches, Jessie’s mom leaves her a love note, which Brittany discards daily that the lunch lady recovers. Phaneuf’s story is absolutely catered for the younger crowd. The story is light and sweet, borrowing plot lines from numerous other new girl tales. The Love Note is virtually “Mean Girls” for middle school with the added imaginary friend and heart. For the most part, the plot works well, though there are some logistical questions only the most observant child would pick up on. The biggest one being the song where Jessie and Airy make cookies for lunch yet in the next scene the love note and Brittany and her girls reference the cookies made by Jessie’s mom. The other question the script raises is in regards to the Lunch Lady. Lunch Lady is virtually an older version of Jessie, but is telling kids to aspire to be good and you'll end up being a lunch lady the right moral? Perhaps turning her into a teacher instead would be a stronger choice. The score by Phaneuf is catchy and perfect for her young audience.
With a fun score to sing, the overstuffed ensemble did a great job tackling roles nearly half their own age. Bethany McCall has a stellar voice as Jessie, capturing the spirit of the show skillfully. Sam Harvey fits perfectly as the popular boy and object of every young girls’ affection. Katie Mebane as Brittany played up the mean girl role well, though was often overshadowed by two of her sidekicks, Jenna Perez’s Natty and Lauren DeFilippo’s Katty. James Michael Avance added a flare of fun as Airy.
Director Russell Garrett guided his young cast to discover the kid within, capturing the heart of Phaenuf’s story. Garrett’s choreography was simple, though it looked difficult to explore big movements with an enormous ensemble and a tiny stage filled with colorful cubes. The set by Josh Iacovelli is resourceful and colorful.
The Love Note is the quintessential tween musical with catchy music and a morally positive story. Though nothing new is brought to light, The Love Note is still an enjoyable kids’ musical.

Spotlight On...Nicole Kontolefa

Name: Nicole Kontolefa

Hometown: New Yawk, New Yawk (Lower East Side to be most precise)

Education: High School of Performing Arts (Laguardia) and Moscow Art Theater School conservatory (BFA)

Select Credits: Katherine in Taming of the Shrew in School, Catherine in Proof at Princeton Summer Theater, so many roles in Dostoevsky, Chekhov, Ostrovsky, Gogol, etc. But my favorite places to play have been at The Chekhov International Theater Festival, Baryshnikov Arts Center and of course the New Stage of The Moscow Art Theater itself.

Why theater?: Because it is happening in the present. There is so much going on at any one moment - you have the work of the writer, director, designers even musicians and actors all coming together to put ideas, feelings and experience into your head. And yet, in an instant it could all disappear. That’s cool.

Tell us about I Am Me: It’s a play I loved from the first read. I wasn’t sure if it was a play though. And I wasn’t sure I had the guts to do a one person play. I almost staged it with a director once, but schedules interfered. And also, I wasn’t sure I wanted to give up the vision that was growing in my own mind of what this play should be like. I decided to play it outdoors because I would be able to move and because it woul dbe free. It turned out to be exactly what the play needs. I Am Me explores the relationship we have with ourselves and the outside world. By playing it in the streets I hope that the audience will actually experience this - they are both audience and performer. They are not in a dark room paying attention to one fixed person or story - they are very much living in the world of the play. Also, it turns the play from a one person show into an ensemble performance!

What is it like being a part of I Am Me?: It is interesting. One of the things I love about theater is the collaborative nature of it. In this play I Am all alone until the moment the audience arrives. They are my collaborators. So sometimes it is quite lonely. Especially when I am on tour. But I also think that is part of the play’s story and an important part of experiencing life. Although it is uncomfortable I try to treasure the time I have alone leading up to a performance.

What kind of theater speaks to you? What or who inspires you as an artist?: I like theater with big gestures, very human emotions. Paradoxes - a person doing the opposite of what they might want or should be doing. I love immersive theater, inventive and imaginative theater built with interesting processes. I am less and less interested in seeing plays where people behave very naturally.

Any roles you’re dying to play?: Lady M. Broad comedy. I can’t wait to play bawdy older women! It’s kind of who I really am.

What’s your favorite showtune?: Anything from Cabaret.

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

Who would play you in a movie about yourself and what would it be called?: Kristen Wiig “Girls Just Wanna East Pork Buns”

What show have you recommended to your friends?: The Record by 600 Highway Men

What’s the most played song on your iTunes?: Iggy Azalea “Work” It really is!

What’s your biggest guilty pleasure?: Getting pickled.

What’s up next?: I’ve got a recurring role on a new web series called "The Loft". I get to play a wildly different Casting Director every episode. Accents, wigs, hilarity. Very different from being simply, Me.

Review: Let These Bedbugs Bite!

There are many scary things in New York City but the most feared thing this city is faced with: bedbugs. With the magic of timing on their side, New York has been struck with a new outbreak of these tiny, pesty creatures taking over the subways. And now those tiny bugs are taking over musical theater. In the new musical Bedbugs!!!, a scientist on a mission sets out to destroy the population of bedbugs only to accidentally cause a mutation of anamorphic bedbugs eager to take over the world.

photo courtesy of Rex Bonomelli

With a mix of Little Shop and The Toxic Avenger, Bedbugs!!!, with music by Paul Leschen and book and lyrics by Fred Sauter, lives in a hilarious world of Sci Fi musical comedy. The musical follows Carly and Burt as she creates a toxic extermination spray that contains an ingredient that doesn't kill but mutates. Along their journey they encounter a cast of zany characters including an abundance of New York stereotypes, a Canadian pop star, an undersexed bug king, and a legion of bedbugs. Once the mutation has occurred, all hell breaks lose on the city, and the libretto. The story gets crazy as Cimex, the bug king, begins to fall in love with his creator, Carly, forcing her to be his queen. Despite the insane plot line, by presenting it in such a campy manner, it all works cohesively with the rest of the script. For a musical that lives in it’s own imaginary world, the one hang up that could be delved into further is the exact cause of the mutation. The ingredient that causes the train reaction needs a clearer and larger set up, perhaps by Burt, so it's understood that its inclusion is bad for all rather than informing when the moment is right. Leschen’s pop infused score is catchy and fun, rarely relying on a power ballad to win over the audience. However when Leschen does slow down the music, it’s usually given to pop star Dionne Salon which is a hilarious ode to her inspiration.

photo courtesy of Rex Bonomelli

The high-energy ensemble seemed to have the best time living in the bedbug-ridden trash heap of New York City. Leading the pack was Nicholas Park in a role he was born to play. Park as loveable Burt brought a ridiculous amount of physical comedy and honesty to the gay boy with a mission. If ever there was a character, and actor, who deserve a spinoff, it’s Park’s Burt. And perhaps idol Dionne Salon could make an appearance. Brian Charles Rooney channels his inner diva as the Celine Dion knock off Dionne Salon. Rooney, who looks stunning in costume designer Philip Heckman’s wardrobe, discovers all the right moments to be Dionne and when to bring Celine out, including her spot on signature “lurves”. Rooney has so many show stopping moments killing Leschen’s score effortlessly. Grace McLean as Carly was lacking in her overall performance, being outdone by the tried and true comedians in the ensemble. She did have a redeeming moment with her breakout number “He Pierced Me.” Despite his own brand of killer voice, Chris Hall as Cimex, Lord of the Bedbugs, lived in a different style of comedy that didn't blend well. His portrayal of Cimex was too Frank-N-Futer that it lacked originality. In the ensemble, Barry Shafrin and Tracey Conyer Lee had some brilliant comedic moments as Mason the gay hipster and constant wig-changing TV reporter Belinda Bedford respectively.
Director and choreographer Robert Bartley easily took Leschen and Sauter’s whacky world and translated it to the stage. Bartley took the science fiction genre and ensured that the comedy within would be showcased. Bartley was greatly aided by the brilliant design team. Costume designer Philip Heckman and wig, hair, and makeup designer Bobbie Cliffton Zlotnik were the unsung heroes of the production manifesting the creatures to human form and even giving each one their own unique personality. Adam Demerath’s transformative set allowed for the scum of New York to be highlighted beautifully. The only problem the company seemed to have was handling the breaks on the tiered mattress cart. Prop designer Cameron Pate deserves some recognition for some of the innovative props including the supersoaker-like spray guns and the glowing baby bedbugs.
With a title like Bedbugs!!!, it’s natural to have trepidations about the quality of the show. Unlike many new musicals nowadays that don’t know where it wants to live, Bedbugs!!! is musical comedy genius. Giving these feared creatures the musical treatment is just so right.

Review: The Ultimate Friendship Test

It takes two to tango just like it takes two to make a friendship work. Long lasting bonds are sometimes hard to keep. There are bumps in the road. People change. New relationships enter the equation. So making friendships work over time is difficult. And if you’re ever feeling unsure of your friendship, put it to the test. In Knife Edge Productions revival of Stephen Belber’s Fault Lines, a pair, reaching forty, test the strength of their friendship with the aid of alcohol.
Fault Lines follows friends Jim and Bill as they meet a local bar in order to reconnect. As they reminisce about the past and catch up about recent events, a boisterous stranger comes and wreaks havoc exposing the cracks in truth and the faults in a friendship. For the most part, Belber’s story is straightforward and real. But the fatal flaw of the script comes with the sharp turn of a blindsided twist. It can be quite difficult as a company and a director to make that transition seamless. Unfortunately it wasn’t, but after the game gets going, the ensemble eases back into their roles.

As Jim and Bill respectfully, Neil Holland and Chaz Reuben had a nice blend of familiarity and void. Holland as the Peter Pan like Jim played up the man who doesn’t want to grow up role quite nicely, even when his scheme was in play. Reuben’s skeptical Bill was a great foil often dominating the scenes. Upon his entrance, Michael Puzzo as Joe, the stranger with a motive, won the audience over with his hilarity and energy. Puzzo did his best with his ever-changing identity, with his shining moments as the first incarnation of Joe. Danelle Eliav as Bill’s wife seemed a bit out of place comparatively. Her energy was much lower than the rest of the ensemble, seeming to enter with preconceived skepticism.
Director Shira-Lee Shalit guided her ensemble with certainty. With the aid of an overall strong script and team, Shalit highlighted all of the strong elements at the right moments. Shalit’s staging was natural, not asking her actors to move for the sake of movement. The gorgeous set design by Nick Francone evoked the spirit of a schlocky bar, though the mess of the floor was too strategically placed.
Fault Lines is a gem of a production. With a poignant script and well-rounded ensemble, Fault Lines will get you pondering the value of your own friendships.

Review: The Freaks at Night

The freaks really do come out at night. Sex can be a sacred thing, but when the environment calls for letting go, honesty come out and true nature is revealed. In Kim Davies new drama Smoke, two occupants of a sex party have an impromptu encounter that leads to an evening of roleplay and testing physical limitations.

photo courtesy of Hunter Canning

Smoke is a sexy and provocative play about temptation and seduction. Davies’ script brings together Julie and John at a sex party where anything goes, sexually that is. John, an intern for an artist who happens to be Julie’s father, and Julie, a student, engage in battle of dominance as they explore their sexual desires. What makes Smoke special is Davies exquisite ability to bring such a sexy subject to the stage in an engaging manner. Along with director Tom Costello, Smoke treads the line of naughty and erotic tastefully. The pacing that Costello plays with allows the piece to be a psychological thriller of foreplay. For some, the play touches upon a foreign world and by keeping the action constant and the relationship between the pair mysterious, Smoke is never dull. When the pair finally consent to bring their bond to the next step, the level of danger rises immediately. Like the infamous Chekhov’s gun rule, there should be a new rule called Davies’ knife. The moment when Julie discovers John’s pack of knives, you knew they would be used in some capacity, but Davies uses it in one of the most shocking way possible. The only hangup of the play is the too convenient ploy that in a span of an hour plus, no one entered the kitchen. But as John said, the food’s in the living room.
The chemistry on stage was astounding. Madeleine Bundy and Stephen Stout as Julie and John brought thrill to the extreme. Bundy’s innocent submissive balanced Stout’s seductive dominant. The power shifts throughout the piece kept Bundy and Stout active and in tune with one another. While Bundy’s Julie seemed to play up her roles, you never knew when she was acting and when she was honest. This contrasted nicely with the Stout’s earnestness throughout.
Costello led the entire team through this dark and secretive world. Set designer Andrew Diaz did a tremendous job transforming the blackbox into an apartment kitchen, utilizing only a corner of the space, allowing the play to be even more intimate. Costume designer Beth Goldenberg allowed the actors to look sexy and appealing without looking like costumes. The soundscape Lee Kinney offered throughout the piece allowed for the fear of being caught at any moment. Lighting designer Daisy Long created a nice ambiance and offered a nice affect with the light through the window, however it allowed it to be a tad confusing what the light source exactly was.
Smoke is a stimulating voyeuristic look at sex. Feeling dirty is almost guaranteed after seeing this production but it will allow you to think about how far is too far.

Spotlight On...Cat Parker

Name: Cat Parker

Hometown: Military Brat, so raised all over the world. But have lived in NYC longer than anywhere else, so I'm claiming it!

Education: MFA - Texas Tech University

Select Credits: Artistic Director of Articulate Theatre Company. Favorite productions include Picasso at the Lapin Agile (NYIT Award Winner), A Doll’s House, a steampunk-influenced Twelfth Night (NYIT Award Winner), the New York premiere of Sister Cities, (NYIT Award Nominee), and Rosencrantz & Guildenstern are Dead. Most recent projects include Parts of Parts and Stitches and Dragon.

Why theater?: Oh man. I ask myself this question at least once a week. The real, no-bull answer is that I love telling stories and watching those stories change the people who witness it. And theatre is always "life-sized." Movies may have more technology, but theatre remains about the human form, size and experience as we can all identify with it. Stories are important - they cause change in individuals, which causes change in small groups then out to communities, societies, nations and the world. It's gratifying that I can be part of something that's both basic and epic.

Tell us about the Articulating the Arts: Off the Wall?: Articulating the Arts: Off the Wall is part of our continuing exploration of the art of theatre using other art forms as a jumping off point. There's a conversation that happens between a painter, their canvas and the viewer. Our playwrights are the viewers of those paintings, but then they take the conversation further - sharing their perspective of the painting with actors who then share it with an audience. And we hope the audience will further that conversation even more, by sharing their experience with others. The paintings we used are classics, known by most people - but the stories that have come out of them range from the Tennessee hills to an Army base in Iraq. From the beginning of the Universe to a focus group to an empty fountain on another world. The conversation is... vast.

What inspired you to create Articulating the Arts: Off the Wall?: Articulating the Arts is our signature benefit event. "Off the Wall" is the second of these events (AtA: A Thousand Words was the first one.) The original inspiration came from an Articulate Theatre Company member who was helping his daughter write a paper based off of a classical painting. Hearing him relate the conversation that occurred between the two of them, because of that work of art, sparked the idea that art is meant to be discussed, and re-discussed, and discussed again. Each new perspective tells us more about ourselves and those around us. It has always been the goal that ATC would do works that had depth, meaning and connection. This fit the bill in spades.

What kind of theater speaks to you? What or who inspires you as an artist?: I like "epically local" theatre - theatre that contains elements of the mundane and the mythical. Maybe it's a play set in a laundry mat that involves Greek gods, or set in a fairy kingdom but addresses bullying. I think the Irish writers are particularly good at this, but as I meet more and more of the playwrights in this city... well, let's just say we have an embarrassment of riches in NYC!

What’s your favorite showtune?: Oh dear - gonna expose my silly side here. I love "For Good" from Wicked. I've moved a lot in my life, so the lyric about a friend leaving "...a handprint on my heart" just gets me where I live.

If you could work with anyone you’ve yet to work with, who would it be?: I've accomplished part of this with this Articulating the Arts. I've always wanted to work with Daniel Talbott, and I'm directing a play of his for "Off the Wall!" I'm completely excited about that. I'm hoping someday to work with Gwydion Suilebhan.

Who would play you in a movie about yourself and what would it be called?: Huumm... How about "Ninja Theatre" with Catherine Keener.

What show have you recommended to your friends?: When BAM hosted The Bridge Project's Cherry Orchard I couldn't stop talking about it. Also, KneeHigh's Wild Bride if I can cheat and mention two.

What’s the most played song on your iTunes?: "When Water Comes To Life" by Cloud Cult. We did a steam punk Twelfth Night a couple of years ago, using their music, and that song has stuck with me ever since.

What’s your biggest guilty pleasure?: Late night hidden object games online - just.can't.stop!

What’s up next?: For the rest of our season, Articulate Theatre is producing an event called "Circling Back" which will be an homage to Circle Rep Theatre, and then - pending funding - we're doing Thornton Wilder's The Skin of Our Teeth because we love a challenge!

Spotlight On...Vodka Stinger

Name: Vodka Stinger

Hometown: Salem, Oregon...Crystal meth capitol of the country

Education: BFA Marymount Manhattan College Theater/Musical Theater Minor

Select Credits: My gosh I haven't done an actual show in 10 years!  The last one was Hair at a theater in New Jersey called the Academy Theater, which is ironic as the only way I have any hair is to wear a wig.  I've mostly been writing my own material.  Recently have had success in the night club scene with my three shows Lower Your Expectations, and Around the World in 80 Ways, and Vodka Stinger's Last Resort.

Why theater?: There is something so marvelous about live theater!  Though I have gravitated away from performing in theater pieces and have really found that I operate well in a night club format where though there is a script and a set list I can riff on anything that is happening.  If you spill a drink, I'll come clean it up without missing a beat.  I love to connect with an audience.  I guess that is the real answer.  Rehearsals are fun, selling tickets and press are nightmares to me, but once I am in front of a crowd I am in absolute heaven.  Its my drug.  I love to make people laugh, I love to let go and play with the crowd.  I still love going to see a live show.  Theater is the medium I love the most.  I want to smell the actors.  I saw a show last week and I knew the performer had a cup of coffee before they went onstage.  How thrilling!  I remember seeing Venus and Fur and when Nina Arianda made her entrance I could smell her perfume.  Its so visceral.  To see Meryl Streep in Mother Courage and end up with mud on my face.  Meryl's mud!  We are breathing the same air.

Tell us about How to Lose Friends and Intoxicate People: How to describe what the show is like??  My makeup artist Brian Strumwasser said to me before our last show, "am I going to know any of these songs?" I answered "No."  Our tag line is Vodka Stinger and The Martha Rayes: We Sing the Songs You've Never Heard Of.  You'll hear some Kay Thompson, some American Songbook, a Monty Python tune, Big Band, Tom Waitts, an old children's song from China, some showtunes you probably don't know, our famous Offensive Indian Medley.  It's a mixed bag of weirdies that add up to a really entertaining night.   It's a nightclub act, bawdy, funny, touching, a mashup of two of my shows from last year.  A kind of best of Vodka Stinger and the Martha Rayes.  That said I couldn't do all old material, it kills me to pay for a cabaret show, or club act and find out the performer is singing the same set list they sang the last time you saw them,  So there will be new songs in this show, and ALL new material in between.

What kind of theater speaks to you? What or who inspires you as an artist?: I love absurdist theater.  I thought The Maids was a real kick!  It hardly mattered that I couldn't understand half the play.  Who's Afraid of Virginia Woolf speaks to me!  I love classic musicals!  I can't wait to see On the Town, On the Twentieth Century, Into the Woods and A Delicate Balance this season!  I find inspiration in performers like Elaine Stritch.  I always called her my spirit animal.  Balls to the wall performing.  She was incapable of not giving it her all.  I love that about her.  I certainly identify with her fears as well as her strengths.  The just don't make em like her anymore.  Kay Thompson is someone I have also found a great deal of inspiration in as well.  Maybe I have a thing for older women that live in hotels?  Marilyn Maye is another performer I just adore!  She is so warm onstage I'll see her do anything.

Any roles you’re dying to play?: What dream role?  George in Who's Afraid of Virginia Woolf. For years I thought I was a Martha type, but in reality I'd be a better George.  Fagan in Oliver would be a blast, anyone in Forum,  ANYONE IN URINETOWN!  Title of Show I love very much as well.

What’s your favorite showtune?: My favorite showtune!  JUST ONE????  I could never pick just one.  I've been listening to "Subways Are For Sleeping" the last week or so so right now I am obsessed with that score.  I love anything by Kander and Ebb, Cy Coleman, Comden and Green, Rogers and Hart.  My boyfriend says it's "All That Jazz".  He is probably right.

If you could work with anyone you’ve yet to work with, who would it be?: If I could work with anyone in theater right now???  Hunter Bell and Jeff Bowen are theater Gods to me.  They are living the dream.  When I see their shows I feel like they are in my head.  We have the same references.

Who would play you in a movie about yourself and what would it be called?: If anyone was going to play me (as a boy) I hope it would have been Gene Hackman circa 1975 or Walter Matthau.  As a broad Bette Midler when she was a red head and still had a sense of humor.

What show have you recommended to your friends?: A show I recommend????  I still tell people to go see Urinetown.

What’ your biggest guilty pleasure?: My biggest Guilty pleasure?? Chips and Salsa!

What’s the most played song on your iTunes?: How do I see what my most played song on my ipod is??  I can't figure this contraption out.  Oh it's actually “When The Foeman Bares His Steel” from the OBC of Pirates of Penzance.  Not surprised to find that out at all.  Second is “Die Vampire Die” from Title of Show, third is “Veronique” from On The Twentieth Century.

What's up next?: Next up we start working on our Christmas show (dates tba) for 54 Below!  It's like The Radio City Spectacular only bigger!

Spotlight On...Gail M. Phaneuf

Name: Gail M. Phaneuf

Hometown: Chelmsford, Massachusetts

Education: MA in Theatre Education from Emerson College, and MS in Electrical Engineering from UMass Dartmouth

Favorite Credits: Stevie in The Goat or Who is Sylvia, Woman in Laughing Wild (with Durang in the audience), Directing Baby With the Bathwater by Christopher Durang, Writing The Love Note and MONSTERS! A Midlife Musical Meltdown.

Why theater?: Because I tried to leave and be an engineer – and that did not work out.  My calling has always been the stage.  I feel it is the last bastion of real social community. (no cell phones allowed)  A place where you must listen and respond and you can build families with complete strangers.

Tell us about The Love Note: The Love Note Musical began as a short play in a playwriting for youth class at Emerson College.  A friend told me about how her mother used to write a little note in her lunch every day and I thought that was so amazing.  My mother wanted us to make our own lunches – probably because I was extremely picky.  But I thought that was kind of amazing that someone took the time to write a note to their daughter every day and put it in their lunch.  I wrote the short play and I thought at the time – “this would make such a fun musical”.  I was writing another musical at the time MONSTERS! A Midlife Musical Meltdown with my collaborator Ernie Lijoi.  I eventually came back to  The Love Note and the music began to pour out.   It’s a true labor of love and I think that it means so much to me that the kids who see it and are in it really relate on so many levels.  So do the adults!

What inspired you to write The Love Note?: My friend Beth Healy who told me her mother Arlene used to write her notes in her lunch.  Such a small gesture – packed with love.

What kind of theater speaks to you? What or who inspires you as an artist?: I love so many different kinds of theatre.  I especially like absurd comedy and contemporary musical theatre.  I am very big on story and characters, so the “review” type of shows don’t speak to me as much.  I love to discover and uncover the story as it unfolds.  I want to be challenged and moved.  I am a great audience member because I am a audibly appreciative of the work being done.  I laugh and cry and applaud.

If you could work with anyone you’ve yet to work with, who would it be?: Of course Meryl Streep. And I absolutely love Cherry Jones.  I’ve been a huge fan of hers for many years – since she was at the ART.

What show have you recommended to your friends?: Vanya, Sonya, Masha and Spike!  I loved it so much.  I laughed so hard – Durang has a way of really hitting my funny bone!

Who would play you in a movie about yourself and what would it be called?: I think it might be Jodie Foster and it would be called “Impossible Blonde”  (and Blonde is definitely in italics! LOL)

What’s your biggest guilty pleasure?: Swimming and sitting alone at the beach.  Or Swimming with my dog.  Not any real reason to be a guilty pleasure – but I love the water and it’s not always easy to take alone time.

What’s the most played song on your iTunes?: "Summer at Highland Falls" by Billy Joel – but please don’t tell anyone!  It’s such a feel good song for me. (but shows my age!)

If you weren’t working in theater, you would be _____?:  I already have so many jobs – that’s a tough one.  I am a computer consultant, a college professor, a screenwriter, a playwright/composer and a Producer/director.  I love all of my jobs (even the ones that make no $$).   I thought about being a short order cook at one time – I think I’d really like doing that!! Maybe at a diner.