Spotlight On...Catherine Gowl

Name: Catherine Gowl

Hometown: NYC. I was born and raised in Murray Hill.

Education: BA in the History and Literature of France and America from Harvard. MFA in Acting from the Old Globe/USD.

Select Credits: Baby Joey/Callaghan in the War Horse North American Tour. Chyrsothemis in Electra at the Pittsburgh Public Theater. Understudy for all of the female roles in Theater for a New Audience’s tour of Merchant of Venice. Kate in Taming of the Shrew and Emilia in Othello at the Virginia Shakespeare Festival. Cordelia in King Lear, and Elizabeth in Six Degrees of Separation at the Old Globe. Milton in The Director at The Flea. Wendy in I’m Not Peter Pan at the Cherry Lane and the Edinburgh Fringe Festival. Associate Artist with blessed unrest.

Why theater?: I believe that theater is one of our greatest tools in what I trust, at least on some subliminal level, is the universal human project towards empathy. I love telling stories, finding points of connection to and entry into lives distant from mine, and the small act of community building and consciousness raising that comes with each performance. Theater, especially theater in intimate spaces, can demand an immediate and visceral connection between audience and performer that both engages the imagination, and bypasses it, to go straight for the gut.

Who do you play in Body?: Body is a fully ensemble piece, but my main role step out role is that of the Doctor. She is a trauma surgeon.

Tell us about Body: Body is a fully devised piece, that started with a germ of an idea and some bodies in a room. The initial activation energy came from the real life inspiration of two people: a painter of nudes and a trauma surgeon. How do these two professionals see and encounter the body differently? Our exploration lead us to other sources of inspiration: a sister struggling with her sister’s absence, and a woman grappling with the literal loss of part of herself. Body has become an exploration of our relationships to, and through, the body.

What is it like being a part of Body?: My work and education have taken me out of the city for 5 or so of the 8 years I have been working with blessed unrest, but even with that time away, blessed unrest has become the artistic home to which I always return. Body has brought together an ensemble of actors who know each other both as professionals and as complex whole people. We are a true family, and from that foundation our rehearsal room is utterly safe and therefore deliciously dangerous.

What kind of theater speaks to you? What or who inspires you as an artist?: I’m an omnivore, theatrically. I’ll see shows in houses and warehouses and Broadway houses. I am moved by theater that seems necessary, that lingers with me afterwards, that surprises me by engaging my thoughts and my feelings, and that demonstrates mastery and/or exuberant mess. Tom Nelis, Chuck Mee especially as directed by Tina Landau, Ivan Van Hove, Jason Robert Brown, Fun Home, Trip Cullman, Laurie Metcalf, Branden Jacob-Jenkins, Ko Murobushi, Keli O’Hara, K. Todd Freeman, Will Eno - these are some of the people who inspire me.

Any roles you’re dying to play?: I’d love to do a Shakespearean pants role: Rosalind, Portia; and I’ve recently developed a hunger for Lady M. Anything by Will Eno.  I do love working collaboratively, though, so a play written with me in mind, that I’d really love to do.

What’s your favorite showtune?: At this moment, "Another Life" by Jason Robert Brown. But I was raised on Camelot and have a solid through line of love for Sondheim.

If you could work with anyone you’ve yet to work with, who would it be?: There are so many wonderful artists I’ve yet to work with. Today, I’ll say Steppenwolf. The totality of the world they created with Airline Highway blew me away.

Who would play you in a movie about yourself and what would it be called: Jessica Ranville then Keri Russell and then Annette Bening. “The Right Words”

If you could go back in time and see any musical or play you missed what would it be?: The Rite of Spring complete with riot.

What show have you recommended to your friends: Airline Highway. Gloria. Fun Home. Hand to God. Curious Incident.

What’s your biggest guilty pleasure?: Nut butter from the container, frequently on a double-dipped spoon.

What’s up next: The Return at the Metropolitan Museum of Art in July. This piece is an intersection of traditional performance and new technology. I play a docent in conversation with a digital avatar of a Renaissance sculpture of Adam, played by an actor in a motion capture suit in the next room and rendered using gaming technology. Together we tell the story of how the sculpture, the Biblical Adam on which it is based, the fall that shattered it in 2002, and the digital Adam that was used to help the conservators reconstruct it over 12 years are all intertwined.
http://www.metmuseum.org/events/programs/concerts-and-performances/the-return-reid-farrington

Preview: 2015 New York Musical Theatre Festival

The 2015 New York Musical Theatre is upon us and to get you ready, Theater in the Now is giving you a little glimpse into the 22 full production of this year’s festival! NYMF runs from July 7th until July 27th. For more information and to purchase tickets, visit nymf.org and remember to use #musicalslivehere and #titn on Twitter and Facebook! And visit NYMF's Soundcloud playlist for a musical glimpse into the festival. And without further ado, a preview!

Top 5 Exciters

Claudio Quest
Book, Music, and Lyrics by Drew Fornarola and Marshall Pailet

This is the show for the geek inside. Written by Drew Fornarola and Marshall Pailet (Triassic Parq) and directed by Tony Nominee John Tartaglia (Avenue Q), Claudio Quest has all the makings for a superfun musical with a vibrant young cast. The musical follows a very super hero, his less super brother, and one butt-kicking princess on a mission to overcome killer eggplants, a love starved platypus, and their own 8-bit existential crisis. It sounds like it will be paying homage to Mario and friends, Claudio Quest has a cool logo and the marketability potential.

The Alice Griffin Jewel Box Theatre
7/7 @ 7; 7/10 @ 1; 7/12 @ 8; 7/13 @ 1; 7/14 @ 5; 7/14 @ 9

Deep Love: A Ghostly Rock Opera
Book by Jon Peter Lewis, Ryan Hayes, and Garrett Sherwood, Music and Lyrics by Ryan Hayes and Garrett Sherwood

Reality TV super fanatics, we got some names to draw you into this one! Written by Ryan Hayes, Garett Sherwood, and Jon Peter Lewis, Deep Love: A Ghostly Rock Opera is a haunting rock and roll opera where sweethearts become adversaries in pursuit of what they cannot live without. For those who are avid fans of singing competitions, Deep Love is written by The Voice season 4 contestants Ryan Hayes and Jon Peter Lewis of Midas Whale and features Amy Whitcomb. If you want to go deeper, you'll remember Amber from The Sing Off Season 3 and JPL from one of the most competitive seasons of American Idol, Season 3, also known as the year that Jennifer Hudson was robbed. But back to the musical. Rock and roll and musical theater have had a nice bond in recent years and this one has a haunting score. Audience, you are encouraged to come dressed in your best funeral attire. Cue the cult followers

The Alice Griffin Jewel Box Theatre
7/17 @ 8; 7/17 @ 9; 7/19 @ 4; 7/22 @ 1; 7/24 @ 5
deeploveopera.com

Manuel Versus the Statue of Liberty
Book by Noemi de la Puente, Music by David Davila and Howard Post, Lyrics by Noemi de la Puente and David Davila

If ever there were a poignant piece of theater. Manuel Versus the Statue of Liberty is a Latin-infused American musical set up as the ultimate boxing match where Manuel, an undocumented immigrant, must take on The Statue of Liberty in a high-stakes fight known as immigration. Manuel Versus the Statue of Liberty packs all the punches in musical comedy fashion. Led by powerhouse performers Shakina Nayfack and Gil Perez-Abraham, this musical is riding high on the American Dream.

The Alice Griffin Jewel Box Theatre
7/21 @ 8; 7/22 @ 5; 7/25 @ 5; 7/26 @ 8; 7/27 @ 12
manuelvsthestatueofliberty.com

Spot on the Wall
Book and Lyrics by Kevin Jaeger, Music by Alex Mitchell

Following the tale of Paul Hunter, a talented photographer who is about to receive an exhibition of work that focuses on his mother’s recent battle with cancer, Spot of the Wall is a musical about the difficulty of facing your pain and your past. Led by the stunning vocals of Robert Hager and featuring the beautiful score by Jaeger and Mitchell, Spot on the Wall seems like the sleeper musical of the festival that you’ll need a pack of tissues or two for.

Theater 3
7/7 @ 7; 7/10 @ 5; 7/11 @ 9; 7/12 @ 12; 7/14 @ 5
spotonthewall.com

Tonya & Nancy: the Rock Opera
Book and Lyrics by Elizabeth Searle, Music by Michael Teoli

Every festival needs that campy show that draws audiences via pop culture. And believe me, I love pop culture. NYMF’s offering this year is Tonya & Nancy: The Rock Opera. For those who may not remember these 90s icon, this musical is about dueling figure skating divas Tonya Harding and Nancy Kerigan and the infamous whack heard round the world. Tonya & Nancy is certainly bound to garner much attention. Led by Jenna Leigh Green and Tracy McDowell as Nancy and Tonya, this one is sure to pack houses by concept alone.

PTC Performance Space
7/9 @ 8; 7/11 @ 5; 7/12 @ 8; 7/14 @ 9; 7/16 @ 1
tonyaandnancytherockopera.com

The Rest of the Fest

210 Amlent Avenue
Book by Becky Goldberg, Music and Lyrics by Karl Hinze

An homage to New York, rather the Hamptons, 210 Amlent Avenue follows a Fourth of July celebration at the old Jordan estate hosted by retired actress Mrs. Jordan. A young poet arrives in search of the truth, setting off a firestorm of events. Inspired by the storytelling styles of Ibsen, Chekhov, and O’Neill, 210 Amlent Avenue features a score reminiscent of the classics.

The Alice Griffin Jewel Box Theatre
7/9 @ 8; 7/10 @ 9; 7/11 @ 1; 7/12 @ 4; 7/14 @ 1
210amlentavenue.com

Acappella
Conceived by Greg Cooper, Book by Vynnie Meli, Music and Lyrics by The Acappella Company

A gospel singer leaves home and makes it big as a pop singer. He returns home to find his own voice. Acappella is the message and the music in this romantic comedy. Performed solely by voice, Acappella has a hook that is certain to entice audiences.

PTC Performance Space
7/7 @ 7; 7/10 @ 5; 7/11 @ 9; 7/12 @ 12; 7/14 @ 1
acappellathemusical.com

Foolerie 
Book, Music, and Lyrics by Santino DeAngelo

Be a guest of the Great Earl and meet Clowne, the most infamous jester of the age, and his traveling troop of fools as they employ madcap madness and musical comedy in their desire to divert you. Wits will be battled, entendres will be doubled, and art itself shall be put on trail in this whacky cross-dressing, mistaken identity, true love, and pure, unadulterated, foolerie send-up of Shakespearean proportions. And for those brave souls, on-stage seating is available!

PTC Performance Space
7/22 @ 8; 7/24 @ 5; 7/25 @ 9; 7/25 @ 12; 7/27 @4
fooleriemusical.com

Headvoice
Book, Music, and Lyrics by Ethan Anderson

Eric is writing a musical about his life. But instead of actors, he’s using voices…the voices in his head. Headvoice is a funny, touching, and original musical that tells the story of a young composer grow up and discovering love, loss, and the power of music. Developed at Elon University with a workshop session with Adam Guettel, Headvoice is a witty and clever score, featuring super beltress Molly Emerson, and is certain to touch hearts.

Theater 3
7/17 @ 8; 7/19 @ 12; 7/22 @ 9, 7/23 @ 1; 7/25 @ 9

Held Momentarily
Book, Music, and Lyrics by Oliver Houser, Additional Material by James Zebooker

Previously part of FringeNYC last year, Held Momentarily has an eerily similar story to NYMF 2012 show Stuck. Regardless, the musical follows six strangers stuck on a stalled subway car and discover it’s not just the train that’s stuck. Held Momentarily is a musical comedy about making connections, living in the moment, and moving on in life. Oh, and a woman just went into labor.

PTC Performance Space
7/20 @ 8; 7/23 @ 1; 7/25 @ 5; 7/26 @ 8; 7/27 @12
heldmomentarilythemusical.com

Moses Man
Book and Lyrics by Deborah Haber, Music by Casey Filiaci

Inspired by the true saga, Moses Man portrays the indomitable spirit of survival recounting the true saga of a Holocaust survivor and his nine-year journey throughout Europe, Cypris, Palestine, and Africa before finally finding freedom in America. Leading the cast of the epic musical is West End legend Oliver Thornton

The Alice Griffin Jewel Box Theatre
7/8 @ 8; 7/10 @ 5; 7/11 @ 9; 7/12 @ 12; 7/13 @ 9
mosesmanthemusical.com

Napoleon
Book, Music, and Lyrics by Andrew Sabiston and Timothy Williams

With a score reminiscent of Les Miserables, Napoleon is the story about icons and the people who make them. Talleyrand, a mater politician operating in the shadows, believes he can manage the man he’s grooming for greatness. But there’s only one thing he can’t control; Napoleon’s obsession with Josephine. In the battle to come, two of the three will be known forever, one will be known as the devil incarnate.

The Alice Griffin Jewel Box Theatre
7/15 @ 8; 7/18 @ 5; 7/19 @ 8; 7/20 @ 12; 7/22 @ 9

Passing By
Book, Music, and Lyrics by Patrick Thompson

Set in the small rural town of Jacksonia, Wisconsin, Passing By follows the relationship of Jenny Zimmerman, an ambitious writer, and Edison Wolter, a young man who runs his family farm. The two have grown up together and now they must decide what comes next. Will they plan a life together or follow their own separate dreams? Passing By is a romantic dramedy with a contemporary folk score.

The Laurie Beechman Theatre at the West Bank Café
7/20 @ 4; 7/21 @ 12
passingbymusical.com

Pope! An Epic Musical
Book and Lyrics by Justin Moran, Music by Christopher Pappas

Pope! An Epic Musical tells the tale of a young, idealistic, rock star Pope and his ambitious nemesis, the Archbishop, who will stop at nothing to wear Pope’s mitre. With a comic book world backdrop, Pope soon learns that a few well-placed enemies can overpower a few million fans. Good and evil collide in this rambunctious, Shakespearean power struggle where liens must be drawn, sides must be taken, and confrontations must be musical.

PTC Performance Space
7/15 @ 8; 7/16 @ 9; 7/ 19 @ 4; 7/ 19 @ 8; 7/21 @ 5
popethemusical.com

Real Men: A Musical for Guys and the Woman Who Put Up With Them
Book, Music, and Lyrics by Paul Louis and Nick Santa Maria

A show for bros by bros. Getting straight men to the theater without being dragged by their lady is hard. Get ready for an original musical comedy about real men behaving like, well, real men. This musical revue answers the one pertinent question on everyone’s mind: “Do real men sing and play with puppets?” You better believe they do!

The Laurie Beechman Theatre at the West Bank Café
7/13 @ 8; 7/15 @ 12; 7/17 @ 12; 7/18 @ 7:30; 7/20 @ 8
realmensingshowtunes.com

Single Wide
Book and Additional Lyrics by George D. Nelson; Music and Lyrics by Jordan Kamalu

Katy may live in a trailer park but that doesn’t stop her from having enormous dreams. As a single mother, living with her own single mother, Katy does all she can do to get her son out of the “single wide” situation. But when her son befriends the reclusive new move-in two trailers down, Katy sees something different in him that makes her take a second look. Led by Stacia Fernandez and Emma Stratton, Single Wide features some unlikely musical heroes.

PTC Performance Space
7/17 @ 8; 7/21 @ 9; 7/23 @ 5; 7/24 @ 9; 7/25 @ 1

Songs for the Fallen 
Book by Sheridan Harbridge; Music and Lyrics by Sheridan Harbridge and Basil Hogios

The year is 1847. The place is Paris. Songs for the Fallen takes you through the extraordinary life of Marie Duplessis, courtesan, party girl, liar, and legend, from desperate poverty to meteoric rise as the most notorious woman in France. Part vaudeville, part cabaret part MTV-goes-Baroque, Songs for the Fallen is the wild and hilarious tale of a woman who knew one thing: good girls don’t make history.

Theater 3
7/21 @ 8; 7/24 @ 12; 7/25 @ 1; 7/26 @ 9; 7/27 @ 12

Summer Valley Fair
Book, Music, and Lyrics by Dylan Frederick

At Summer Valley Fair you can be anyone you want to be, right? Aching for more than the blue glow of 432 friends, one sixteen year old girl trades safety of her attic for roller coaster screams, laser light nights, boys who might be real, and supermoon girls who definitely aren’t. Created and featuring Dylan Frederick, Summer Valley Fair is the great hope that even without uploading, we can sing ourselves into existence.

Theater 3
7/16 @ 8; 7/18 @ 1; 7/19 @4
summervalleyfair.com

The Calico Buffalo
Book by EJ Stapleton, Music and Lyrics by Peter Stopschinski and EJ Stepleton

When the first born son to chief of all buffalo arrives covered with the markings of a calico kitten, the chief, his son, and the entire buffalo nation are catapulted into the adventure of a lifetime. This kid friendly musical is the stage adaptation of the book of the same name.

PTC Performance Space
7/8 @ 8; 7/10 @ 9; 7/11 @ 1; 7/12 @ 4; 7/16 @ 5

The Cobalteans
Book and Lyrics by Yianni Papadimos, Music by Andrew Bridges, Ben Chavez, and Yianni Papadimos

One year after their friend Gabriel’s death, four young men return to the lake house they had spent their summers growing up in. The boys have come to say goodbye but the tranquility of November on the Lake Erie coastline does not linger for long as tensions rise. The folk rock inspired score features a top notch young cast eager to explode on stage.

Theater 3
7/8 @ 8, 7/10 @ 1; 7/11 @ 5, 7/13 @ 1; 7/15 @ 9
thecobalteans.com

Wearing Black
Book, Music, and Lyrics by Riley Thomas

When his twin brother Charlie suddenly passes away, all Evan wants to do is forget their complicated relationship and move on, but the tangled relationships Charlie left behind prevent Evan from truly letting go. As he slops into a spiral of self-destruction, Evan must mark a stark decision: either accept and forgive his dead twin brother, or become him. Written by Stuck scribe Riley Thomas, Wearing Black is an emotional journey of moving on featuring a heavy score.

Theater 3
7/9 @ 8, 7/10 @ 9, 7/11 @ 1, 7/13 @ 5, 7/15 @ 1

What Do Critics Know 
Book by Matthew Gurren, Music and Lyrics by James Campodonico and Matthew Gurren

This musical already gets the award for insulting the people reviewing the show! But nevertheless, What Do Critics Know follows three of the most powerful theater critics who have taken countless shows off the stage and now must put one on. With time running out they enlist struggling writing Nathan Wood, who is in need of a comeback. Can cooperation, harmony, and perhaps even love exist between an artist and a critic? The old-fashioned musical features Bach and Shakespeare, so get ready for anything!

The Alice Griffin Jewel Box Theatre
7/23 @ 8; 7/24 @ 9; 7/25 @ 1; 7/26 @ 4; 7/27 @ 4

Review: The Cyborg Future

The future is upon us. The rise of technology has proven that the world is ever-changing and the capabilities are boundless. What was once science fiction is becoming science fact. In Citizen Cyborg, a stage version of the James Hughes book, an enthusiastic ensemble takes the audience on a journey to a future where the next class of citizens are robots.
Adapted for the stage from the book of the same name, Citizen Cyborg is a series of vignettes and audience addresses that tackle the technological near future of the next generation of citizens. By blending mask work with mashups of Shakespearean and Greek texts, Citizen Cyborg takes the audience on an ambitious eye-opening expedition. From the start, the fourth wall is broken. The ensemble mingles with the audience prior to the first line, the dressing room area is completely exposed, and the masks are placed on chairs to encourage handoffs. Without warning, the transmission begins and a fast paced flurry of definitions are tossed into the room. Broken up into three short "acts", what occurs next are the theatrical vignettes where well known characters and themes are replaced with Hughes' thesis of the future. Director Neal Utterback established a physical vocabulary with his ensemble that allowed a cohesive dialogue with the audience. The physical theater nature of the piece is strong. The simplicity of the staging allows for the thesis to take the focus. That being said, some of the masks were a bit restricting in vocal clarity as dialogue muddied tone. The piece remains moving allowing space to be virtually nonexistent. The moments of air are deliberate, allowing the audience a moment to digest.

photo courtesy of Ethan Farell

The way into this world is through the youthful acting ensemble. They are an assertive bunch eager to share a warning of the future. They bring a mesmerizing sense of devotion and commitment even if they may not comprehend every word they recite. With the piece merging the world of character and actor, some of the best moments came through the direct addresses where they were given the opportunity to share their hopes, fears, and beliefs. One of the most beautiful moments of vulnerability came from Jamison Monella, who also gave a strong showing throughout. Monella is an actor that in time could have a bright future.
Due to the nature of the piece, Citizen Cyborg treads that fine line of hokey experimental theater that gets parodied on “SNL”. With a group of growing actors, there were times that came off as unintentionally humorous. The basic black shirt, no shoes, and jeans uniform were a bit too on point, aiding into the hokey nature. Though the paired down approach Utterback took did work well with the festival confines. He used the space properly, benefiting from the diagonal, and kept the various worlds consistent through lighting looks. What did bring the production up to a new standard was the live music created by Gabriel Gould. The soundtrack blended electronic sounds into an underscore that kept the stakes high.
Citizen Cyborg is a piece of political theater that provokes great talking points. It's ambitious and brave and happens to be wonderfully prevalent.

Spotlight On...Bay Bryan

Name: Bay Bryan

Hometown: Golden, Colorado

Education: Life. Royal Conservatoire of Scotland

Favorite Credits: The past couple months I have been really fortunate: I composed the music and played it live in True Believer at TheaterLab; it is a one woman show, and the actress that played the woman is my sister Kersti Bryan, so that was a very special run for me. Less than a week later I was in Scotland, and I had the opportunity to play my music at Dundee Rep Theater, opening for singer-songwriter Horse McDonald. Then immediately after that I flew out to LA to visit a friend and by chance I got to see a screening of an animation I composed the music for: The Walker by Heather Collins, Produced by Matt Groening.

Why theater?: Well... I love stories. On top of that though, there is just something so powerful about them unfolding in front of us live... There we sit grouped together as individuals and as a collective to witness it. It's kinda weird right...? I LOVE IT!

Tell us about Growing into My Beard: Let's see... it is a quirky coming-of-age story of sorts that follows my personal journey of coming out, flying far from home, and inevitably ending up where I am now. Ultimately it's about self-acceptance and love, and is told through my songs, farcical dance, musical improvisations, anecdotes, with dash of drag queen thrown somewhere in!

What inspired you to create Growing into My Beard?: Since arriving in NYC I've been feeling my way through the singer-songwriter world and the theater world; even though they are both performance, they are very different market-places and I suppose I've been trying to find where they can intersect... So I guess this show is sort of the product of that effort- a piece where I get to tell a story that both involves my music and whatever the hell else I want to do.

What kind of theater speaks to you? What or who inspires you as an artist?: Stories with heart. done.

If you could work with anyone you’ve yet to work with, who would it be?: There are so many I can't even think... I'll shoot for the stars: Ian McKellen, because he's Ian McKellen.

What show have you recommended to your friends?: Matilda, because I love that story, and because Tim Minchen is such a talented and quirky songwriter, and then to have him write the music and lyrics for the show was an interesting choice which I thought it worked beautifully!

Who would play you in a movie about yourself and what would it be called?: Kersti Bryan in drag because we kind of look identical, although she's far prettier than I... I think it would be called "Growing into My Beard" :P

If you could go back in time and see any play or musical you missed, what would it be?: I would have to say the original production of Hedwig.

What’s your biggest guilty pleasure?: Plants vs Zombies.

If you weren’t working in theater, you would be _____?: a Killer Whale. definitely.

What’s up next?: A kombucha. Yes I think that will do the trick

Review: A Night to krav

The formula for theater is not always cut and dry. The way audience and production interact is changing. Changing into something wondrous. With new theatrical events popping up all over the place, the nuances of testing the limits of an audience are becoming more and more stimulating.  5 Senses Theatre’s krav gives you the ultimate theatrical social experiment masked as a supper club.
With no two experiences ever being alike, krav features a 4 course Cajun tasting menu and wine pairing prepared by expert chef Rick Martinez in addition to a swanky social gathering where mixing and mingling with a stranger is encouraged. With food and drink being the glue that brings everyone together, what happens when all the guests have arrived is what makes this evening simply extraordinary. Though the intent is not to insult with the reference and though they are actually quite different, krav is almost the equivalent of "The Joe Schmo Show", a "fake" reality show where a set of actors had to make an unsuspecting Joe believe he was a participant on a "real" reality competition show. For those who remember, that show featured a virtually unknown comedian named Kristen Wiig as Dr. Pat, a darling plant who nearly blew the entire cover when she got injured in a competition. I compare the two because the audience of krav has no idea who is who. If you have trust issues, leave them at the door because the darling girl you sat next to during the four course meal may not actually be an actor and actually be a "real person". The set up is simple. A group of guests are invited to an apartment for a dinner party. What ensues is an evening of truths, lies, loss of inhibition, and an incredible gourmet meal. This is a work that defines the power and intricacies of personal relationships. How do you interact with a complete stranger as you wine and dine with talking points ranging from escaped convicts to AOL Instant Messenger names. With a basic structure composed by Jason Aguire, every evening will be drastically different depending on the makeup of the audience and who you're fortunate to be sitting with at the table.

From a theatrical standpoint, krav keeps the atmosphere genuine. Mood music fills the room. A giant table splits the space. And a set of rules is placed on the wall. Be sure to follow them because those who disobey will be shone the door. Once the food is served, it’s nothing short of a flavor explosion. The tour of the South includes sensational Cajun Fried Oysters with garlic aioli and pickled fresno peppers, Spicy Glazed Short Ribs that melt right off the bone, and Strawberry Rhubarb Bread Pudding which truly makes for a happy ending. I’ll never consider myself a food connoisseur just an avid eater, but Chef Martinez’s menu was simply divine.
Upon reading the cast list at the end of the night, I realized I had cracked the entirety of the acting company. A win for me. Others were completely shocked that their neighbor lied and deceived. Great acting I suppose. And that is what's absolutely fascinating about krav. The entire experience is driven by you and your peers. As an avid fan of “Big Brother”, the ultimate social experiment, krav was the closest thing to actually playing that game. And getting to have that adrenaline rush for the night was simply thrilling. A moment I want again.
Whether you view it as immersive theater or a cousin to the Escape the Room trend krav and 5 Senses Theatre are on the pulse of the future of theatrical experiences. When the next iteration rolls around, expect a night you'll never forget and won’t stop talking about. It's a must.

Spotlight On...Stephen Jobes

Name: Stephen Jobes

Hometown: Littleton, Colorado

Education: Colorado College

Why theater?: Nothing else is as lively.

Tell us about The Immortal Coil?: A sardonic comedy where a young soul meets an old soul & both strive to create a work that neither can create alone. Humor, explosion, tenderness, death.  Our playwright, J.B. Heaps, calls to account all those who fake their craft & reveal the price to be paid for those lacking humility.

What kind of theater speaks to you? What or who inspires you as an artist?: All kinds, all styles. Oliver Sacks, Philippe Genty, Jane Hirshfield, Gene Scrimpsher, Charles Laughton, Michael Shurtleff, Ted Roethke, Benjamin Black, all playwrights.

What’s your favorite show tune?: The first are the best: “Soon It’s Going to Rain”, The Fantasticks; “Willkomen”, Cabaret; "Mira", Carnival.

If you could work with anyone you’ve yet to work with, who would it be?: Bill Nighy, Patricia Clarkson

Who would play you in a movie about yourself and what would it be called?: A toss up between the Muppet, Floyd Pepper and the Colorado Rockies, mascot, Dinger. It would be called, “Oh No, Please!”

What show have you recommended to your friends?: Hand to God, The Last Ship, always Alvin Ailey.

What’s the most played song on your iTunes?: "The Weight", from The Band’s Last Waltz

What’s your biggest guilty pleasure?: Finnegans Wake at midnight; if I say more, I’m in trouble.

What’s up next?: Manitou Springs, Colorado

Review: Not Your Average Jane Austen Adaptation

It's not necessarily a new idea. In fact the musicalization of the Jane Austen classic “Pride and Prejudice” has seen recent stage life in an entirely different production at NYMF in 2011 and at La Mirada Theatre a few months back, though the conceit is a bit more unique. There were truer book adaptations done in London and Chicago, both of which are penned by different writers. The appeal of giving the epic romance the musical treatment is apparent. It’s rich with character and love and everything a musical ideally needs. Playing at Theater for the New City, John Taylor Thomas' Pride and Prejudice is a long musical version that has great difficulty finding its groove and resolve.
"Pride and Prejudice" is a beloved story, receiving film and stage treatments for generations. Though the story is virtually the same, Thomas’ Pride and Prejudice follows Austen’s novel about the unwed Bennet sisters and their pursuit for love. Thomas includes nearly every major and minor character of Austen’s story for his stage production, something that seems to be one of the very many downfalls of this show. The score, for the most part, remains pretty consistent and alike stylistically. Thomas gives practically every character their own number, many of which do not further the story at all. These fluff songs could easily be eliminated to cut much needed and valuable time. The sound Thomas uses is reminiscent of the Golden Age of Broadway mixed with a tinge of Gilbert and Sullivan. The only song that seems out of place is Jane’s Act II number as it had a bit more of a modern vibe comparatively. While music is the draw of a musical, nothing can kill a show more than a vapid or over-stuffed book. The draw of "Pride and Prejudice" is the will they-won't they romance between Elizabeth Bennet and Mr. Darcy. And when adapting it for the stage, this needs to be the dramaturgical focus. As far as subplots and minor characters are concerned, if they don't directly have anything to do with forwarding Lizzie and Darcy's story, they're not necessary on stage. Thomas’ musical adaptation spends too much time with the less important plots that it's no wonder the production surpasses a long third hour. Not every single moment from the book needs to be recreated on stage. Taking liberties is not necessarily a bad thing.
With bad material, finding standout performances from the acting company was like finding a diamond in the rough. Thankfully, there were a few. Rebecca Knowles and Hallie Wage as Lydia and Kitty Bennet respectfully brought the full package. As the giddy bouncy sisters, Knowels and Wage made their characters real and invigorating, something the rest of the drab ensemble could not do. There were some wonderful vocals from Britney Simone as Mary, Stephanie Leone as Jane, and Chris Donovan as Mr. Bingley. Casting a pair of impeccable leads as Elizabeth and Darcy is crucial. If you don’t care for them, the piece is over. Sadly, neither Amanda Yachechak or Jonathan Fox Powers could deliver worthy performances. Yachechak did not have the fervor for the mighty sister. Powers, like many of the men of the show, was charming-lite. Their lack of chemistry was solidified at the end of the show with their long, awkward kiss.

photo courtesy of Peter Welch

The great trouble with Pride and Prejudice from a production standpoint is it doesn't quite exit the vibe of "community theater." Transitions are messy. The scenic elements don't match. The acting is all over the map. But with a keen eye, these mishaps could easily be avoided. Director Lissa Moira struggled to find the proper theatrical vocabulary to make this a successful production. As far as staging, Moira struggles with consistency. With no scenic architecture to create the Bennet household, among other locales, Moira has her ensemble use the only two entrances behind the scrim to come and go. Yet it's a free for all where those paths lead as the presumable front door switches from scene to scene, actor to actor. Moira doesn’t assist her company in discovering ways to find expression in the one-dimensional characters. Many of Moira’s directorial choices are border-line bizarre. Musical theater is known for the musical freeze device where a character sings and the ensemble is virtually frozen behind. While lighting usually assists in melting the world away, when that is not possible, any movement is distracting. One of the prime moments of this was during Darcy’s song where he sings of Elizabeth dancing. Had Moria allowed Darcy to see Elizabeth partake in the action he’s singing about, it could be possibly be excused. Not only is she not dancing, Moria has Elizabeth talking to another character while the rest of the ensemble is frozen. Another great example of the absurd is the final stage picture. It includes the ensemble on stage for the joint wedding. Moira not only has Lydia and Mr. Whickham on opposite sides of the stage, but he is linked arm and arm with Mary Bennett! Other strange choices included the poor casting decision of Henrietta Steventon as Mrs. Bennet, who not only looks younger than some of her onstage daughters but also offers an over-the-top caricature display that could only be compared to a cartoon. Moira employs a series of scene location through improper voiceover that garnered some laughs simply due to its jolt of intensity. Prop, set, and costume coordinator Lytza Colon compiled a jumbled muster of furniture that was recycled into ever scene. Mr. Bennet's modest income or not, the lack of matching chairs in the Bennet house was upsetting. But nothing was more disappointing than the backdrop that looked sloppy, especially due to the random fake greens and winding road that lead to a grey city of the future. The choreography by Robert Gonzales Jr. was primarily featured in the ball scenes. Gonzales Jr. seemed to be clueless how to use the stage properly, cramming the ensemble into a line where the actors couldn’t navigate or maneuver their way around the person nearest them. The balls needed to be grand. They were anything but.
When “Pride and Prejudice” plays closer to a Gilbert and Sullivan comedy than an epic romance, something is wrong. This production of Pride and Prejudice needs assistance in the slicing and dicing of fluff material in order to something of note. But with stiff competition, it may already be a losing battle.

Review: Love of Doom

You ever see a show where the conflict could easily be solved with a simple line or action but instead there are an abundance of senseless "reasons" why you're stuck sitting through an entire play where what should happen does happen anyway? Though the title likely is the answer why, Easier Said Than Done is a relationship drama that should be considered a comedy due to the engineered situation.
Written by Paul John DeSena, Easier Said Than Done follows two couples that should really just switch spouses but are tied down by fear and irrational reasoning. This is a play about loving the wrong person and finding ways to self-destruct in response to the choices of the past. Married couple Nathan and Catherine are set to renew their vows after five years of marriage. But before that day happens, friend Nikki, who has a thing with Nathan, reveals she suspects her husband Justin is cheating on her. Her suspicion is correct as Justin and Catherine, a pair with a very storied past, are engaged in an affair of their own. Truths are revealed and the past comes screaming back as four people attempt to figure out how to be adults despite their high school actions. DeSena sets the tone of despicable actions from the start when we watch Nathan and Nikki engage in something they should not. Something we learn has happened before. From this moment, you see them as villains. Despite learning about the other duo and their extramarital affair, you've already sympathized with them regardless of their ways. You slowly understand that their true love is masking retaliation. By picking the order of events, DeSena establishes the rules of right and wrong. Had the affair been swapped, a new narrative might have formed. As the play goes on, nothing seems to go right for anyone. From destruction of property to the reveal of a pregnancy, it’s a comedy of errors. For a play about people and relationships, DeSena's characters have little to no redeeming qualities. Justin is spiteful. Catherine is feeble. Nikki is manipulative. And Nathan, well he’s just an asshole. You almost wish that Nathan were completely coherent when Catherine spills the beans about the identity of the father because you want to see him truly feel the pain of losing everything. Rooting against characters is never a good sign.

photo courtesy of JC Vasquez

The unfortunate thing for Easier Said Than Done is the company is split down the middle in strength. Dana Leigh Snyder as Catherine and Christopher Stokes as Justin offer adequate performances. Emily DeSena as Nikki and Michael S. Rehse as Nathan struggle majorly. Snyder and Stokes show their potential for great depth. They have a natural ability that allowed them to find something within their script scenes together. Snyder has control on stage. Stokes has an aura of a Williams’ leading man, like Brick or Stanley Kowalski. Emily DeSena seemed misplaced in the piece. The piece strives on chemistry and DeSena lacked any with her male counterparts. Nathan is unsavory. And Rehse's performance resembled a used car salesman. You listen but you don't believe. Rehse's choices on stage were large and theatrical, not fitting into the world of the play. His portrayal was unreal for a character that was such a driving factor.
The direction by Kristen Penner couldn't save DeSena’s weak script. With a storage bench that oddly represented a beach and two rehearsal cubes, the set is basic yet unclear. Additionally, with a three quarter audience situation and little variation to work with, Penner's staging suffered. Penner had her actors circling the scenic elements in a game of cat and mouse. With little to work with, it caused sight line issues as well as felt monotonous. The lighting and sound design by Melissa Farinelli was quite bothersome. It’s possible that many of the lighting issues were to no fault of Farinelli’s as she used a festival light plot, but Farinelli used instruments that cast unfortunate shadows and forced a giant circle on the upstage wall as it appeared to be the only light that could hit Penner's blocking. Had Farinelli advised Penner to these issues, perhaps the staging could have been aided. The soundscape that Farinelli used was distracting at times, sounding more like generic sound cue file than built design. There was also a lack of consistency between cued door slams and actor generating knocking. When it doubt, take it out.
When bringing life to a piece in a festival, it’s always important to know what can and cannot realistically be achieved. Easier Said Than Done appeared to be lost in a festival setting, not knowing the limitations and struggles. But festival aside, DeSena’s script lacks appeal.

Spotlight On...Spencer Wilson

Name: Spencer Wilson

Hometown: Kansas City, Missouri

Education: Marymount Manhattan College in New York City

Select Credits: Triumph of Love (Harlequin), Elegies for Angels Punks and Raging Queens, and Unidentified Human Remains and the True Nature of Love (David).

Why theater?: I've never done anything else since the age of 2, and I would have it no other way.  I don't think anything would be quite as fulfilling as this.

Who do you play in The Immortal Coil?: I am Ketchum Harley, an adorably clueless, young, new actor.

Tell us about The Immortal Coil: The Immortal Coil is a great new work by Jody Heaps focusing on the relationship between a young actor and his role model.  It's an eloquent and hilarious script with some great moments of darkness.  

What is it like being a part of The Immortal Coil?: It's very collaborative! We always have a great time laughing and working together to make this a great piece!

What kind of theater speaks to you? What or who inspires you as an artist?: I'm really loving this immersive style of theatre that became so popular with Sleep No More.  It's just so alive and really transports you to another world.  I love working on brand new plays, and watching the library of great theatre keep growing.

Any roles you’re dying to play?: Anthony-Sweeney Todd, Miss Trunchbull-Matilda, Lord Farquad-Shrek, and I also have this passion to do an all male version of Nine in which I would want to portray the Claudia Jenssen role.

What’s your favorite showtune?: "Unusual Way" from Nine, and "Johanna" from Sweeney Todd.  I also can't stop singing "Last Midnight" from Into the Woods but I think we all go through that phase at least once.

If you could work with anyone you’ve yet to work with, who would it be?: Hands down, no questions, Jessica Lange.

Who would play you in a movie about yourself and what would it be called?: Kristin Chenoweth and it will be called "Legally Drunk: Red, White, and Bubbly".

If you could go back in time and see any play or musical you missed, what would it be?: Definitely the original Cabaret, or Robert Preston and Barbara Cook in The Music Man.

What show have you recommended to your friends?: I recently told a friend about the play The Memory of Water by Shelagh Stephenson.  It's a great piece for women.  Currently on Broadway, Fun Home is so beautiful and incredible.

What’s your biggest guilty pleasure?: Totinos Pizza Rolls.

What’s up next?: Auditioning!  I always update my site www.Spencer-Wilson.com with what I am up to!

Spotlight On...Laura Scruggs

Name: Laura Elizabeth Scruggs

Hometown: Normal, IL

Education: B.S. in Elementary Education & M.A. in Communication, Media and Theater.  I also studied acting and directing at Act One Studios and independently with Dan Taube in Chicago.  I've taken play writing classes at Chicago Dramatists with Douglas Post, Arlene Malinowski and the late M.E.H. Lewis. In addition, I've taken storytelling classes with Scott Whitehair.  Finally, I've taken an intensive at Second City, a European Clown Class at The Inside Out Art Studio and The Art of the Idiot class (with Dean Evans).

Favorite Credits: Wendy in Peter Pan, Joanna in Home Free, Mother of victim in Bully: The Hip Hop Musical, Mary in The Red Coat and Fairy Freak Finooza in Six Stories Up, Up and Away (a collaboration of people with and without special needs and it was circus and super hero-themed)

Why theater?: I feel that theater is one of the purest forms of expression, lacks a single solution and enables us to explore other worlds and escape.  Also, I love how it is never the same twice.  It's a place where I can fit in and be uncensored. Abraham Maslow says that education-through-art is not so much about turning out better artists, as it is about turning out better people.  I love to hear other peoples' stories and I once heard in the play "Who Am I This Time?" that theater is the best way to get to know people in a short amount of time.

Tell us about Punk Grandpa: It is the story about how I didn't fit in and how my grandpa taught me that I was okay, just the way I am, through his uninhibited, reckless approach to life.  He would do things like pretend to communicate with spies through his hearing aids, yell at women on the sidewalk, "Hey, pick you up in an hour!" and tell me that eating lots of syrup would put hair on my chest (and later, he would cut off part of his own hair from on top of his head and tape it to my chest while I was sleeping). It is also a fund-raiser for Alzheimer's (as my grandpa passed away due to Alzheimer's almost nine years ago); so far, Punk Grandpa has raised about $2,000 (from performances at the Fringe festivals in Chicago, Orlando and Elgin as well as at Stage 773 in Chicago).  In addition, it was used as a fund-raiser for the theater department at Hammond Academy for the Performing Arts; I performed it three times in one day for the students, back in October of 2013. It is portrayed through storytelling, music, dance, vintage family photos and film footage and little bit of puppetry.

What inspired you to create Punk Grandpa?: My grandpa was the freest person I ever knew.  I want to tell others what he taught me, that it's okay to be different and to be yourself.  I want for others to feel the way I did around him:  to be swept away in his humor, spontaneity and freedom.  He passed away due to Alzheimer's almost nine years ago, so this is a tribute to him; he is truly unforgettable.

What kind of theater speaks to you? What or who inspires you as an artist?: Fringe theater speaks to me; whenever an underdog or someone who doesn't fit in is involved, I am interested.  I also love and am inspired by people who take great risks, romance (when it involves complete acceptance on both sides), the 80's and puppetry.  I recently read a quote in a book from the puppet museum in Atlanta, GA that says that puppets help us discover a deeper reality. Weird Al and Richard Simmons inspire me, with their ability to be themselves, shamelessly and unfiltered. Susan Ariel Rainbow Kennedy inspires me as well, as she is a laser beam of love and tells everyone to take care of themselves in most magical ways and to dream, dare and do things like eat hilarious cookies. I am also inspired by Nikki Minaj's creativity in "Starships," "Va Va Voom" and "Pound the Alarm."

If you could work with anyone you’ve yet to work with, who would it be?: Weird Al, Richard Simmons, Susan Ariel Rainbow Kennedy and Bernadette Peters.

What show have you recommended to your friends?: Literary Lunatics, by the Pink Elephant Performance Troupe at Rhinofest.

Who would play you in a movie about yourself and what would it be called?: Lili Taylor or Aileen Quinn would play me in a movie about myself and the movie would be called "Normal No More, How Laura Became a Fairy."

If you could go back in time and see any play or musical you missed, what would it be?: Anything at the Caffe Cino, particularly Home Free and Dames at Sea, featuring Bernadette Peters.

What’s your biggest guilty pleasure?: Burlesque (as long as it tells a story; I once saw a really good performance that was inspired by Hitchcock's "The Birds")

If you weren’t working in theater, you would be _____?: Teaching people how to be faeries, performing in a circus and being a counselor.

What’s up next?:  Punk Grandpa will be presented next at Three Brothers Theater in Waukegan on July 17th and 18th, as a multiple character show (for the first time, I won't be performing in it and it won't be performed as a one woman show).  This will be the first time that I get to be solely the playwright and I am very excited to see what Three Brothers does with the show!

For more on Laura, visit lauraforcescruggs.com. For more on Punk Grandpa, visit punkgrandpa.com and https://soundcloud.com/wbez/storycorps-chicago-punk-grandpa-inspires-granddaughter

Punk or Provocateur with...Ryan Mills

Name: Ryan Mills

Hometown: Washington, Missouri

Tell us about The Roaring Girl: Strikingly prescient Jacobean comedy

Describe The Roaring Girl in 3 words: Great Dick Jokes

Who do you play in The Roaring Girl?: Goshawk, Sir Beauteous, Curtilax

Describe your character in 3 words: Goshwak: Stuffy Puffy Lecher / Sir Beauteous:  Fabulous Flippant Fop / Curtilax: Bumbling Inept Rogue

Which company member is most likely to be a roaring boy or girl?: Rebecca

Most likely to get in a brawl?: Erin

Who’s the fanciest?: Joel

What is the best thing about being a part of The Roaring Girl?: Watching the other actors create.

What is your favorite moment in The Roaring Girl?: How Mr Gallipot "handles" his wife.

Why The Roaring Girl now?: Middleton and Decker wrote a Judd Apatow film centuries before he was born.

Punk or Provocateur?: Provocateur

Have you ever performed in rep before? What are the challenges/struggles?: No. Cohabitating shows with vastly different needs.

What are you most excited to see in the other play?: How they bring band dynamics to the stage and a look back at a time in music I am intimately familiar with.

Why should we come see Punks and Provocateurs?: More funny than you catch in just one sitting

Punk or Provocateur with...Alyssa Block

Name: Alyssa Block

Hometown: Rochester, NY

Tell us about The Roaring Girl: It's a post-Shakespearean sex comedy. Need I say more?

Describe The Roaring Girl in 3 words: deliberate, cheeky, obscene

Who do you play in The Roaring Girl?: Mistress Openwork

Describe your character in 3 words: gullible, dramatic, affectionate

Which company member is most likely to be a roaring boy or girl?: Guys, I've been meaning to tell you. Moll is my alter-ego.

Most likely to get in a brawl?: Jacob, while defending a lady's honor.

Who’s the fanciest?: Erin is one of the most graceful people I've met in my many travels, so she gets the bid here. Grace equates to fancy for me.

What is the best thing about being a part of The Roaring Girl?: The creative problem-solving and humor of Anais and the cast. It's a messy little play and we're all having a great time figuring it out.

What is your favorite moment in The Roaring Girl?: I'm particularly excited about some of the transitions Anais has staged. They all serve to clarify or extend the story, and one of my favorite moments is the transition "My Thing Is My Own." It pretty much sums up my character.

Why The Roaring Girl now?: Because it's a gender-bending romp through the life of a woman who chooses what she wants to be, how she wants to present herself, and what she wants to do. It smashes many of the same ideals of femininity that we still cling to today. This is a story where the leading lady neither has romance on the brain, nor stumbles across love by accident over the course of her adventures. She doesn't crave it, and I would say that's still a rare concept in entertainment today.

Punk or Provocateur?: Oh, definitely provocateur.

Have you ever performed in rep before? What are the challenges/struggles?: Nope! This'll be a new experience!

What are you most excited to see in the other play?: I'm told it's completely different from ours: dramatic, super contemporary, a tiny cast. I want to see the other side of the coin.

Why should we come see Punks and Provocateurs?: This play is so rarely performed! You'll see 12 productions of Romeo and Juliet in your lifetime, but who knows if you'll ever get a shot to see this one again? Skip that Shakespeare show and come see us! Plus Everyday Inferno is a group of really cool, thoughtful, skillful artists who are doing wonderful things. Support that.

Spotlight On...Laiona Michelle

Name: Laiona Michelle

Hometown: Springfield Ma.

Education: MFA- Brandeis University,  BA- Alabama State University  

Select Credits: Theater: First National Tour- The Book of Mormon. Nominated Best Lead Actress for the  Halen Hayes Awards in the Arena Stage production of Yellowman. Recipient of NAACP for the Regional Tour of Constant Star. TV/Film: "Law and Order" (SVU & Criminal Intent)

Why theater?: I've always enjoyed exploring within my imagination and I also always have been intrigued with culture and human behavior. I'm that girl that can people watch for hours. To me there is something very tangible about the theatre that I truly love. There is nothing like going to a live performance and becoming engulfed with the atmosphere and entire experience. I just love the process of making art.

Who do you play in Amazing Grace?: I play the principle role of Nanna, a house slave from Sierra Leone.

Tell us about Amazing Grace: Amazing Grace is the story behind the song based on the life of John Newton, a horrific slave trader from Great Britain that becomes enslaved in Sierra Leone. He is given a second chance and finds redemption.

What is it like being a part of Amazing Grace?: It is really thrilling to be a part of such an important piece of art. I'm so excited to be making my Broadway debut.

What kind of theater speaks to you? What or who inspires you as an artist?: All forms speak to me when the work is honest but I love working on dramas and the classics. I am inspired by both of my grandmothers, Bernice Smith who was a missionary and Anna Weaver who worked most of her life as a maid. I am also inspired by woman in the industry that are trail blazers creating their on paths: Tonea Stewart, Odetta, Viola Davis.

Any roles you’re dying to play?: I love Shakespeare and I would love to someday play Lady Macbeth. I love the Greeks so I hope to someday play Electra, and I would love to have the honor of portraying Nina Simone and Odetta (The folk singer) on stage. Lastly if I had my way I would rule my own land in "The Game of Thrones". Everyone in my land would be a reflection of me with dark skin and bald heads. Yes!

What’s your favorite showtune?: “I'm Here” (Color Purple), “Defying Gravity” (Wicked).

If you could work with anyone you’ve yet to work with, who would it be?: Denzel Washington and Sean Penn.

Who would play you in a movie about yourself and what would it be called?: The name of my bio pic would be called "My Conversations with God". The role of God would be played by Oprah. The role of myself would be played by Kimberly Elise and Cicily Tyson.

If you could go back in time and see any play or musical you missed, what would it be?: I would have love to see Sidney Poitier and Ruby Dee in the original version of Raisin In the Sun.

What show have you recommended to your friends?: Everyone MUST see Amazing Grace!

What’s your biggest guilty pleasure?: Jamaican style Oxtails, Red wine and black coffee.

What’s up next?: It's in God's hands.

Review: Choose Your Own Woyzeck

Georg Buchner wrote a little play called Woyzeck. Well, he started to and then he died. In 1837, Woyzeck was presumably mostly finished leaving those artists who were fascinated by the piece the option to “finish” the puzzle for him, meaning rearranging the order if they so choose. In Woyzeck: The Human Experiment, writer-director John Bezark has adapted Buchner’s classic in intriguing way. This version of the drama is a live-action choose your own adventure where the audience is given the chance to vote on Woyzeck’s journey to insanity.
Taking the fragmented drama allows for endless possibilities, but deep inside, Woyzeck’s journey is clear. A lowly solider, Woyzeck lives with Marie, the mother of his child born out of wedlock, earns money by shaving the Captain and being a human experiment for the Doctor. As time progresses, Woyzeck begins to lose his mind when the experiments grow stranger and his love falls for another. With the climax pretty much in place, the journey to the tipping point is up for interpretation. And that’s where Bezark’s piece comes into play. Bezark and his actors allow the audience to choose the journey Woyzeck goes on. By simply voting with your smart phone, you get to choose who Woyzeck talks to next, where his next adventure is, and what he gets to do at his destination. Where Bezark and his team succeed is the concept. A live action event of this nature is hard. Precision is key. While the technical aspects of the voting where clearly not perfected, forcing some of the actors to improv beyond their ability, the problems of this piece were strongest in the grasp of the source material. Adapting allows the writer the freedom to pick and chose what they feel furthers their piece. By abandoning Buchner’s words through any translation for a modern tongue hurt the piece tremendously. While it simply could be due to the nature of the unknown, the moments of improvisation wanted so desperately to be scripted. To ensure that a smooth story is told, rehearsing every possible scenario allows for the dead space to be avoided.

Beyond that, picking a concrete acting style for the company is quite necessary. The sextet brought a mixed bag of choices. The strongest, and most compatible for the piece, was the slightly heightened essence of Kyle Walton as the Doctor. Walton transformed into the role easily, bringing a tinge of vocal inflection that created a strong character. Amber Avant as Marie had moments of great choices, especially in the more dramatic scenes, but she lost her character in the moments of improv. Brandon Zelman as Woyzeck brought a modern comedic tone to the character. He found humanity, something that is rarely explored. Perhaps due to the space caused by the piece though, his trip to madness was unclear. For those unfamiliar with the arc of the character, it’s possible it was completely confusing. Aishling Pembroke stood out by introducing an accent to the Carnival Barker, something the others did not. This lack of cohesion pulled away from the ensemble work. When it came to filling the gaps, Pembroke and Zelman may have been the strongest when it came to thinking on their feet.
Bezark and his creative team used a carnival theme through an expressionistic lens to tell the story. It was an obvious choice that was perfect. The set by Daniel Geggatt was simply surreal. With the iconic red and white tent-like barrier, it was clear where we were. The wall of props that the company pulled off was a brilliant touch that added to the concept. Alex De Nevers lighting was strong, using a spotlight to give the expressionism feel in certain scenes. While the technological aspect was dragging, the voting pods after the selection were beautiful images. The costumes by Siena Zoe Allen, like the acting styles, was all over the place. There were basics of period mixed with modern elements but cohesion was lacking.
What Woyzeck: The Human Condition was time. A lot of time. There is great potential in a future for this piece. But clarity and a strong cohesive vision will allow it to be something special. In the next iteration, a smoother voting process will be essential. Perhaps incorporating a projector with the live-voting could be of great aid.

Punk or Provocateur with...Jon Meyer

Name: Jon Meyer

Hometown: Crescent Springs, KY

Tell us about The Roaring Girl: The Roaring Girl is a fun, lighthearted show that plays with the complexities of love in a variety of story lines. In this show, we also get to see a fantastic, strong female lead character- which still isn't seen all that often today. Even though the show is a bit dated, the themes are still very relevant today.

Describe The Roaring Girl in 3 words: Cuckolds'n sex jokes

Who do you play in The Roaring Girl?: Hippocrates Gallipot and Fight Choreographer

Describe your character in 3 words: Faithful. Clueless. $$$.

Which company member is most likely to be a roaring boy or girl?: I've got my money on Joel DeCandio. He's the realness.

 Most likely to get in a brawl?: Erin Beirnard- She looks sweet, but you definitely don't want to test her...

Who’s the fanciest?: Sam Ogilvie, for sure. Have you seen that man? You should see that man.

What is the best thing about being a part of The Roaring Girl?: Rehearsals are amazing! I love being in a room with such dedicated and creative people.

What is your favorite moment in The Roaring Girl?: I really don't want to spoil anything, but my favorite moment is when Moll gives a rude awakening to a certain male character who clearly didn't know what he was getting into...

Why The Roaring Girl now?: As a society, I'd like to say we've come a long way in regards to upholding the rights of all people no matter their beliefs, backgrounds, or very being. However, we still have a long way to go when it comes to empowering women and allowing them to speak freely without judgement and prejudice. Moll is an amazing example of courage for upholding her beliefs despite the social climate of the time. We could use more Molls today.

Punk or Provocateur?: Honestly, I'm neither. If I must choose, then I'd have to go with Provocateur. It sounds fancier.

Have you ever performed in rep before? What are the challenges/struggles?: I have not performed in rep before, but I'm enjoying it a good deal. It's difficult because you have to stay sharp with the random breaks in performance here and there. At the same time it keeps everything fresh- so it's great!

What are you most excited to see in the other play?: I heard their band is awesome. Who doesn't like a good ole' fashioned punk rock show?

Why should we come see Punks and Provocateurs?: I mean, do you have a good reason NOT to come see sword fights and punk rock? If you have any self-respect, you'll come see this show. Side note- I'm great at PR.

Punk or Provocateur with...Russell Sperberg

Name: Russell Sperberg

Hometown: Manhattan Beach, California

Tell us about Punk As Fuck: Punk As Fuck is a new play that explores the life of a fledgling punk (or is it metal? Maybe grunge?) band in the early nineties. It's about music, but it's also about the dynamics and relationships that arise around the music. It's about the love people try to find in both music and people. It's also about food and sex and going to the bathroom.

Describe Punk As Fuck in three words: Punk. As. Fuck.

Who do I play in Punk As Fuck: I play Lee, the bassist.

Describe your character in 3 words: Music. Doritos. Secrets.

Which company member is most likely to be in a band?: Preston, who plays Cage. I mean, he used to play in a skiffle band. That's pretty badass.

What would the name of my band be?: Big Fuckin' Sea Monsters. In high school, I had one band practice with friends and that was gonna be our band name. It was gonna be a quartet: two drummers, one electric bassist, and one guitarist playing an amplified acoustic guitar. The band never ended up happening, but that name is too good to let go.

What would be my punk rock stage name?: Spussell Rerberg

What is the best thing about being a part of Punk As Fuck?: The music? The people? The script? All of the above? Yeah, all of the above. It's a great group of folks, and it's a funny, exciting script to work on. There's a lot of stuff we have to figure out and interpret, and that's such an exhilarating challenge.

What is your favorite moment in Punk as Fuck?: I like the beginning. The way we start off the show is pretty ridiculous.

Why Punk as Fuck now?: Why not? The world can always use a little more punk music. The world can always use a little more love. And it's always nice to laugh.

Punk or Provocateur?: I think they're one in the same, but my loyalties have to lie with Punk.

Have you ever performed in rep before? What are the challenges/struggles?: No. Scheduling. Rehearsing. The usual. Thinking about how these two shows work together, what kind of message they send as a single unit. That's something both directors have emphasized, and I think it's something very important to consider when doing two shows in rep.

What are you most excited to see in the other play?: All of the double entendres! I've read the script and done a reading of it, and with each subsequent reading, I find some new joke. Really, I'm pumped to be overwhelmed by a barrage of Jacobean sex puns.

Why should we come see Punks and Provocateurs?: First of all, both are gonna be a ton of fun. They're being staged in such inclusive, fun ways - I firmly believe each night will just be a big ol' party. It's also refreshing to see theatre that asks questions about love and gender and identity and does so in an accessible, entertaining way. And tickets are cheap! Two quality shows for $20 total! Come on! That's a great deal.

Spotlight On...Corinne Woods and Kati Frazier

Name: Corinne Woods and Kati Frazier. We’re a little theatre collective called Not Without Rage

Hometown:
KF: I’m from an itty bitty town in the south call Hope Mills, North Carolina.
CW: I'm from Kansas City, MO originally. I also lived in Grand Junction, CO when I was finishing high school.

Education:
KF: I went to UNC-Greensboro, where I majored in the blossoming and lucrative fields of English and Theatre.
CW: University of Central Florida majoring in English Literature, and my graduate work at NYU in Humanities and Social Thought.

Favorite Credits:
KF: Back in December we had a short piece in The Brick’s Tiny Theatre Festival called My Emotions Are Too Big For This Room. It’s the first play I ever wrote that got a New York review. Who the hell reviews ten minutes plays? It’s a very surreal thing.
CW: I loved My Emotions Are Too Big For This Room (eventually Kati and I will work on a play whose title will fit in a tweet easily). I also love working with Deb Margolin and with Untitled Theatre Company #61.

Why theater?:
CW: Guess I’m starting this? I grew up going to the theatre, mostly the big touring shows at the Kansas City Music Hall. I really got into it in middle and high school because I loved pretending to be someone else, and I liked having a goal and achieving it. Musicals were my jam; my friend Amanda and I would drive around our small Colorado town singing Avenue Q at the top of our lungs.
KF: It’s really the only thing I’ve ever been able to imagine myself doing for the rest of my life. I was writing plays when I was 3 and making my older brother act them out with me when he got home from school. It’s just always been there.

Tell us about a sex thing (or a bunch of liberals getting uptight about the sociopolitical implications of their desires):
KF:  a sex thing is a play about the stuff it’s excessively long title suggests. Two couples are trying to make things work sexually, but their brains keep getting in the way.
CW: One of the most interesting thing we are exploring in a sex thing (at least in my opinion) is how reticent people are to talk about their needs and desires - and not just sexually. How do you ask for what you want? And what do you do if you don’t know what you want, or don’t want to want it?
KF: Also it has BDSM, hoopskirts, and wooden buttplugs.

What inspired you to write a sex thing?:
KF: Pretty much every time I saw kinks portrayed on stage, I didn’t like what I saw. Either it was all shock factor, or wildly inaccurate, or a bunch of walking talking stereotypes. I got fed up with it. What was it that Gandhi said? “Be the kinky sex-positive theatre you want to see in the world” Yes, that was definitely what he said.
CW: Yup.

What kind of theater speaks to you? What or who inspires you as an artist?:
KF: I love work that is intrinsically theatrical. I’m much less impressed by big budgets than I am by ingenuity. I’d rather Peter and the Starcatcher than more traditional high-tech broadway spectacle any day of the week. I love the theatre magic we make with our bodies and the simplest of tools.

If you could work with anyone you’ve yet to work with, who would it be?:
KF: I want to write a musical with Lisa Kron and Jeanine Tesori. I want it to somehow be gayer than Fun Home, and then I want us to win a Tony for the first 3-person all female writing team.
CW: Deborah Warner and Fiona Shaw. Sarah Ruhl. Janelle Monae and Esperanza Spalding (a sci-fi musical perhaps?).

What show have you recommended to your friends?:
KF: When I saw An Octoroon it was all I could talk to anyone about for like a week.
CW: Besides Fun Home? The TEAM’s Roosevelvis has been closed for a while in NYC, but I’ve been recommending it to all of my Boston friends for when it goes to A.R.T. next spring.

Who would play you in a movie about yourself and what would it be called?:
KF: I would probably be played by Melissa McCarthy, less because we look a like, and more because there aren’t too many fat funny ladies who get to star in movies.
CW: In a perfect world, Ellen Page.
KF: I think the title would be something something cool and mysterious but about whiskey, and queers. A Queer Whiskey Cocktail? Old Fashioned Queers Drinking Old Fashioneds?
CW: Yeah, definitely on the queer whiskey title train.

If you could go back in time and see any play or musical you missed, what would it be?:
KF: I would travel back in time to earlier this year and watch The Team’s Roosevelvis at least 7 more times.
CW: I agree. I also very recently missed Airline Highway, which I am kicking myself over.

What’s your biggest guilty pleasure?:
KF: While working on this project, it’s turning out to be getting actors to do silly things while simulating sex on stage. It’s the best.
CW: I don’t know if I have a lot of guilty pleasures, I tend to embrace my overly enthusiastic responses to life and media. My fascination with competitive cooking shows featuring Gordon Ramsey perhaps?

If you weren’t working in theater, you would be _____?:
KF: Traveling circus. Bearded lady. No doubt about it.
CW: If I stopped working in theatre now, I would want to be a comic book editor. But if I had never been a theatre person? Probably teaching high school English.

What’s up next?:
a sex thing is in f*ckfest at The Brick for 4 performances in June. Our next project together is a full production of Patronage: a new fairy tale with Random Access Theatre Company this winter.

For more on Not Without Rage, visit http://www.facebook.com/notwithoutrage and www.bricktheater.com/f*ckfest