Jackie Cox // photo by Michael Block

Day: Sunday, March 11th      

Show: Just Jackie

Location: New World Stages

Queens Seen: Jackie Cox (@jackiecoxnyc), Gilda Wabbit (@gildawabbit), Gloria Swansong (@gloria_swansong)

Jackie Cox, Gilda Wabbit // photo by Michael Block

Gloria Swansong, Jackie Cox // photo by Michael Block

She's the new queen of New World Stages! Just Jackie and Friends finds Jackie Cox and her special friends celebrate drag and theater with an almost all singing show. With a fresh take on the classic drag sensibility, Jackie Cox manages to entertain from top to bottom. To kick the night off, the pretty queen sang "Pretty Girl Rock" with her own unique spin. She followed it up with the Postmodern Jukebox version of Katy Perry's "I Kissed a Girl," because why not? Joining her for theatrical debauchery were Gilda Wabbit and Gloria Swansong. Gilda showed off her pipes with Pink's power ballad "Glitter in the Air" and her signature parody of "Defying Gravity" entitled "Double Penetration." For Gloria's turn, she dazzled with her solo version of "Cell Block Tango" and the powerful "Back to Before" from Ragtime. It wouldn't be a full show if Jackie didn't ask for her gal pals to do some duets. In a wild live-sung/lip sync extravaganza, Jackie and Gloria did "Sing" from A Chorus Line, which yielded quite a comical result. Gilda and Jackie took on Maria and Anita in West Side Story for "A Boy Like That." Audiences like a good drag show. Audiences love a smart drag show. Jackie brought in a little Wicked and Judy Garland trivia as an homage to her guests.
Jackie Cox delivers time after time to ensure an enjoyable show that's special and entertaining. Smart drag is the best drag.

Jackie Cox // photo by Michael Block

Day: Sunday, February 11th        

Show: Just Jackie and Friends 

Location: Greenroom at New World Stages

Queens Seen: Jackie Cox (@jackiecoxnyc), Chelsea Piers (@thechelseapiers)

Jackie Cox, Chelsea Piers // photo by Michael Block

Last time you saw Jackie Cox at New World Stages, she was triumphantly crowned the winner of So You Think You Can Drag All Stars! Part of her prize package included a weekly show at the Greenroom. The debut of Just Jackie and Friends was a fabulous night of live singing, special guests, and a celebration of a queen who deserves her moment in the spotlight. With a cute video package to start the show, Jackie came out and entertained the packed room there just for her. Early on she explained that she may have some Vicodin in her body due to a wisdom tooth surgery, thusly making loopy Jackie Cox the thing you never knew you needed in her life. With a parody of “Put On Your Sunday Clothes” as her audience cheers song, it set the theme of the night. The good thing about having a drag show exposed to the lobby of a bunch of theaters, stragglers and theater-leavers may pop in. And Jackie got a bunch of those, including an international couple who was not fun of Jersey Boys and a 16 year-old girl who tipped a whopping $14! The first special guest of the night was Jackie’s gal pal Chelsea Piers, who dazzled with a Post Modern Jukebox version of “Fancy” and “Gives You Hell” by All American Rejects. After a rousing game of $10,000 Pyramid, where my dear friend Matt botched who exactly hosts what drag competition, the first act ended with a parody of the only song from Hamilton I love, “You’ll Be Back.” Fitting. The big act two surprise was not Jackie’s dazzling gold additions to her look, it was the surprise appearance by Angela Lansbury! Well, in puppet form (as performed by puppeteer Mike Hull). The pair sang the classic duet “Bosom Buddies.” The night ultimately ended with a duet between Jackie and Chelsea singing “That’s Life.” And that was it! Like the other shows in the venue, it was time for curtain.
As Jackie said, “Why would you have one bubble when you can have a gazillion?” Why would you have one Jackie when…well no, let’s stick to the one and only. She’s perfect as she is. It’s about time that this dynamic performer gets her due.

By Michael Block

There's no denying why this play now. Church & State by Jason Odell Williams is more than relevant in our political climate. The political comedy playing New World Stages may not be radical, but it's the manner in which it is presented that makes this play important today.
In the heart of Red State America, Charles Whitmore is running for Senate re-election. With only a few days before the big day, Senator Whitmore is about to make a usual speech. Only he is preempted by a breaking story of him announcing his loss of faith and belief in God. It sends shockwaves to his team as his hard-nosed campaign manager Alex Klein and faithful yet kooky wife Sara try to fix the situation before he walks on stage and tanks his chances. So what causes this loss of faith? Another mass murder at an elementary school by a lone gunman. Aside from being a glimpse into the backstage of politics, Church & State is a play that continues the necessary gun control conversation. With a smartly comedic backdrop, Williams is able to explore the various sides on the debate of faith and gun control while keeping the action moving. The play is bold but in no ways is it perfect. While his use of comedy is blended well into the overall drama of the situation, some of his characters are a tad cartoonish. Perhaps just for comedy's sake. He paints the southerners as a bit backwards, especially through the running gag of "the Twitter," while the northerner is on point with reality. It's a comedic juxtaposition and lends itself well to natural comedy but causes some believability issues when the important issues arise. Arc wise, Sara goes through a drastic transformation by the end. But the election night antics of Sara and her pretzel bites was the humor filler for the beat, the aftermath may not have been the most believable. Despite the poles of comedy in the text, it’s important to have some. It’s easier and most successful to capture an audience’s ear when they have permission to laugh. Church & State is a conversation starter. The points he introduced are poignant. They have great weight. They may not be brand new but they’re important to the overall political narrative. Same tragedy, no new changes.
Taking on the pivotal role of Senator Whitmore, Rob Nagle took the exuberance of the character and managed to bring out honesty and sincerity when it mattered. He stood firmly to his beliefs and helped to prove that anybody with a heart can change. As his wife Sara, Nadia Bowers tapped into Williams’ writing and ran with it, creating a character that was a scene-stealer. Bowers takes the silly jokes and makes them land hard. She has no fears on stage. Despite the drastic turn her character takes, Bowers allows it to feel as natural as possible. Channeling her best C.J. Cregg, Christa Scott-Reed as Alex was the brains inside the campaign. Putting the “ish” in Jewish, her Democratic Yankee campaign manager was wonderfully uptight and rightly wound up dealing with a pair of unpredictable personalities. Though mostly secluded to the editorial points of Williams’ script, Jonathan Louis Dent hammered home the essential points with ease and sublimity.
Markus Potter directed the fast-paced dark comedy with great intent and mindfulness. Church & State is filled with a big themes that was equally matched on stage through David Goldstein’s scenic design. It was America live on stage, as red, white, and blue seemed to be regurgitated in the room. It was comical to the point of being obscene. Goldstein placed some sort of scenic piece in every possible inch of the playing space, even the far extremes. Potter ensured that those pieces were touched even if it felt unnatural, especially bringing added light for the seldom moments. For the most part, sound designer Erik T. Lawson played with atmospheric sounds, most notably with the sounds of the unseen television screen. But you know you garner a powerful reaction when a, spoiler alert, a gunshot rings out and the audience cowers. It’s what the moment called for, bringing reality into theatricality.
Church & State is a play that can easily travel around the country in hopes of making an impact while still entertaining. Regardless where you fall in your beliefs, Jason Odell Williams has written a play that continues the national conversation on gun control. You may not walk out of the show talking about the play itself but it will certainly get you discussing the topic. And that’s almost more important.

By Michael Block 

FringeNYC can be a fairy tale for a show. Sometimes you can journey from way downtown theater to Times Square marquee. After filling glasses to audiences for some time, The Imbible takes over The Green Room bar at New World Stages. Written and curated by Anthony Caporale, The Imbible takes the bar crowd through the history of the thing we call alcohol.
The Imbible is more than just drunk theater. It's educational theater at its finest. Dare even call it hands-on as you're gifted a trio of libations including a beer, gin and tonic, and quite possibly the best old fashioned you'll ever have. The premise that Caporale has concocted is engaging. The text is virtually a history and science of liquor through recorded time. It veers into educational EPCOT attraction at times with the amount of information you're served up. With all the alcohol you take in, it's hard to say how much information you'll properly take in by the time you leave. That aside, what The Imbible is a ball of energy that keeps Caporale's expertise in the forefront. If you compare it to something like Bill Nye the Science Guy, it's a quirky teaching tool but The Imbible can go even further to amp up the comedy. The quick comedic moments that featured the ensemble were some of the strongest in the entire show. Why? Because it's simultaneously entertaining and educational. Perhaps it's playing into incorporating sound cues or sacrificing a direct address or two for the quartet as the barer of information. Even throwing in some comic sound cues can elevate the piece. As a writer, Caporale brings a plethora of passion and knowledge into his production, bringing the audience on a ride like no other. But the piece occasionally gets bogged down by being a few steps ahead of the slightly tipsy crowd. Though, those who are enthralled by fact will certainly get what they came for.
While this show is a perfect showcase for Caporale's surplus of knowledge and skills, the show is boosted with the help of the Backwaiters. With silly costumes and tight harmonies, the supporting trio of Tia Andriani, Ruthellen Cheney, and Luke Schaffer, are the pulse of the piece. Honoring the vocal stylings of acapella, Andriani, Cheney, and Schaffer each got a moment in the spotlight, though Schaffer had a few extra beats of natural hilarity.
The intimate bar setting allowed the ambiance to shine. While the majority of the seating creates a slight thrust-like stage, there a lucky few who get to sit at the bar. No matter where you sit, you'll miss something. It's the nature of the environment. And for those who arrive early, relish in the liquor-inspired pre-show playlist.  The aid of visuals on the monitor were a nice touch but occasionally drew some prime focus.
If you like to drink, get yourself to the Green Room at New World Stages for The Imbible. Even if you don't learn anything, you're bound to have a great time.

Name: Edward W. Hardy

Hometown: Manhattan, New York

Education: Master of Music – Aaron Copland School of Music, Cum Laude, 2014-15, Bachelor of Music – SUNY Purchase College, Cum Laude, 2010-14

Favorite Credits: As a Composer / Solo Violinist, The Woodsman by James Ortiz, A Brooklyn Boy by Steven Prescod and Moises Belizario, and Joe Turner’s Come and Gone directed by Dean Irby. Edward has composed and performed music for theatrical productions including Hamlet (Theatre of War), Joe Turner's Come and Gone (Dean Irby), Master and Margarita (David Bassuk), No Exit (Yellow House Pictures), Mother Courage and Her Children (Dennis Reid), A Brooklyn Boy (National Black Theatre/Vineyard Theatre), The Woodsman (59E59/Ars Nova/Standard ToyKraft). Edward has worked in cooperation with BAFTA, The National Black Theatre, Native American Composers Apprenticeship Program, Trilogy Opera Company, SUNY Purchase Conservatory of Acting, Dance/NYC, Katana Flight Foundation, Bard Conductors Institute, Tony Bennett Exploring the Arts Foundation, Google, Grand Canyon Music Festival, Colour of Music Festival.

Why theater?: I found my love for theatre during my first undergraduate year at SUNY Purchase. The senior acting company, 12’, was looking for a violinist that could act and play two characters in their production of Chekov’s Three Sisters. I quickly submitted for an audition. The director Dean Irby and Composer/Music Director Jim McElwaine asked me to play anything I wanted. I played through all the different genres of music I could think of on the spot; Classical, Romantic, Jazz, Latin, Country, Waltz, and Hip-hop. After the audition, I was cast as a Russian soldier and a beggar that both played violin on stage and in costume. Soon after I fell in love with theater. The spotlight, the responsibility, being immersed in a character and the connection with the audience. Much like classical music, theater is the place where I can be a solo violinist with a strong presence.

Tell us about The Woodsman: As a composer and solo violinist, it was my task to express musically a complex set of emotions and communicate with immediacy underscoring each action, each moment, and each scene. I have invested my mind, love, body, sweat and time in creating all of this original music; the songs, percussion, sounds and violin score. The theatrical aspects are the heart of the play, the music composition is the soul of the play. I am a co-conceiver of The Woodsman along with James Ortiz and since its' inception has performed in Strangemen & Co.'s first annual aPlay & aParty, performances at Standard Toykraft, Ars Nova's ANT FEST, a 3 week sold out run at 59E59 Theaters, and a 6 week sold out run at 59E59 Theaters. I composed and performed the music for The Woodsman, in every instance since it began as a small fundraiser. Throughout our journey, we received rave reviews on both our performances and creation of the play.

What inspired you to compose music to The Woodsman?: Music as a universal language. Though the sound of music one can describe an action or a response. Music can evoke an emotion; it can tell a story. Except for a brief introduction, The Woodsman does not have any words and is unlike any other play. During the first meeting with the playwright, we examined the synopsis of the play. This was my opportunity to think of this play like a silent film and tell a story through music. There wasn’t a script for almost a year, this gave me the opportunity to develop the characters musically. The emotion of the story is enhanced by the exploration of different genres of music (i.e. romantic, classical, modern, and folk), the imitation of the different instruments in the orchestra, and sounds of nature (i.e. clarinets, basses, flutes, percussive instruments, birds, wind/ storms). The music has a significant role in the production, although collaborating with actors without a background in music was an interesting experience. Understanding each actors tendencies and creating each characters’ emotion through music, makes the connection between the music and script seamless. Every theme, transition, modulation, tempo, song and sound has a purpose. If one were to close their eyes, they would easily continue to follow the story like an opera without words. Fun Fact: If you listen closely to the music, you’ll hear a witch clicking her heels 3 times, in a few big sections, and more importantly a heartbeat throughout the entirety of the play.

What kind of theater speaks to you? What or who inspires you as an artist?: Theater that emotes and tells a wonderful story while incorporating diversity in both their creative team and cast. My parents being my biggest role models, I thrive off of self-determination, I believe that I’m capable of doing anything and like Matthew McConaughey said “I’m always chasing my future self”.

If you could work with anyone you’ve yet to work with, who would it be?: Lin-Manuel Miranda. He is an inspiration. He is making a difference not only in theatre but in the lives of Americans and fellow Boricuas.

What show have you recommended to your friends?: Besides The Woodsman, I strongly recommend my everyone to see Curious Incident of a Dog in the Night. It’s a great show. Obviously, if you can get a tickets Hamilton you should take me.

Who would play you in a movie about yourself and what would it be called?: If I were not cast to play me in a movie, which would be terribly embarrassing, I would want Michael B. Jordan, Shameik Moore or John Boyega. Anyone but Kevin Hart (just kidding!). Kevin Hart is the man and I would be honored if he played me in the movie about me. The title would be called "New Generation".

If you could go back in time and see any play or musical you missed, what would it be?: In The Heights with Lin-Manuel Miranda, The Wiz with Andre de Shields and Annie Get Your Gun with Bernadette Peters.

What’s your biggest guilty pleasure?: Ben & Jerry’s Chunky Money Ice Cream.

If you weren’t working in theater, you would be _____?: I would still be a classical violinist and violist. I have performed in famous venues and would continue to perform around the world.

What’s up next?: I am composing music to a play called Four Days with Edgar Allan Poe by Amazon bestselling author Edward Medina, a play called Glass Jaw, a feature film called "Fire in Your Cities" by Kathryn Perry (working title), and am co-composing and performing music to a play called A Brooklyn Boy by Steven Prescod & Moises Belizario that is currently being workshopped.

For more on Edward, visit www.edwardwhardy.com. For more info on the history of The Woodsman, Visit edwardwhardy.com/thewoodsmanplay

by Michael Block

We get enamored with origin stories. Just recently, Wicked celebrated becoming the tenth longest running show in Broadway history. And right down the street, another origin story inspired by "The Wizard of Oz" is capturing hearts. And that show is The Woodsman. Inspired by the story of the Tin Man, The Woodsman is a beautiful reimagining of a beloved tale using puppets, song, and a whole lot of heart.
Conceived by James Ortiz, directed by Ortiz and Claire Karpen, with music by Edward W. Hardy and lyrics by Jen Loring, The Woodsman follows Nick Chopper, a munchkin who falls for a beautiful young girl named Nimmee, who happens to be under the control of an evil witch. As their romance kindles, the Witch, knowing she’ll lose her girl, casts a spell on the axe that ultimately mutilates Nick Chopper, turning him into a mechanical being with a broken heart. Using very little dialogue, extraordinary puppets, a singular violin underscore, and an ensemble of superb storytellers, The Woodsman is a reminder that anything is possible in theater. The story is simple. Rather than trying to do too much, Ortiz relies on an accessible story, giving just enough information for the audience to come along for the ride and allow our imagination to roam free. And getting an opportunity to harken back to childhood is always welcome. When it comes to origin stories, what sets The Woodsman apart from something like Wicked is rather than pandering and throwing in nods to what the audience knows, The Woodsman unravels naturally, allowing for that singular nod at the end to be well earned. With little dialogue to speak, crafting this story was all in Ortiz’s vision. Ortiz and Karpen intricately choreographed each beat. Everything flows seamlessly. There’s never a moment where the momentum halts. And that’s important.

photo by Matthew Murphy

The Woodsman strives in stagecraft. Ortiz and his team allow the story to take shape sans spectacle. Sure, there are extravagant moments but they serve to further the story rather than distract. It’s a brilliant directorial choice. With theatricality being an integral part of the show, the puppets were the official stars of the show. Designed by Ortiz himself, the puppets have a blend of practicality and necessity. The marriage between the lighting design by Catherine Clark and Jamie Roderick and scenic design by Ortiz, again, was a happy one. The set stylishly included wood textures without becoming overwhelming. And extending the elements into the audience added an inclusive touch. The Mason jar lighting fixtures transported the piece to a special place. The way they were incorporated, serving as flicking bugs or a glimmer of the Emerald City, was stunning. Ambiance was an important part of creating the world and the production’s soundscape, even during the preshow. Defining the atmosphere in this worldless piece was executed well. With Steampunk elements in Molly Seidel and original costumer Carol Uraneck’s design, the costumes paid homage to what we know from the source material while still standing on its own.
The Woodsman is a true example of ensemble. The nine piece company moved and breathed as one. And it was enthralling. The Woodsman is clearly a passion project for James Ortiz. So much so that in addition to all of the other hats he wears, he portrays Nick Chopper himself. In any other situation, this would be a recipe for disaster, but with the intricacies being what they are, playing Nick as well worked ok. While he may have been the titular character, the work from the rest of the ensemble should be celebrated. Eliza Martin Simpson is simply striking as Nimmee. Simpson radiates confidence on stage. Some of the most lovely and touching scenes are the romantic duet scenes with Nick and Nimmee. I dare you not to smile. Puppetry plays a big part in The Woodsman and the duo of Amanda A. Lederer and Sophia Zukoski operating The Witch almost faded away breathing life into the puppet. Naomi Florin, the expert violinist, was a wonderful presence and the unsung hero of the production. The music by Edward W. Hardy was tastefully simple yet played a pivotal role setting the mood.
The Woodsman is a family-friendly wonder that triumphantly brings theater and storytelling together. The production has been on an amazing journey and deserves a long life. The only struggle The Woodsman will encounter is what happens when Ortiz departs the production. Will the heart still be there or is this a vehicle made for one?

“Men Are From Mars, Women Are From Venus”, the best selling relationship book by John Gray is now a stage show and it's a two-hour laugh fest. Led by Peter Story, Men Are From Mars, Women Are From Venus Live takes the teachings of Dr. Gray and relates them to every day situations.
After touring the country for about two years, Peter Story gives relationship advice to those couples desperately needing it at New World Stages in New York City. Story has a great rapport with the audience. The way he shares his personal anecdotes and circles them into making them feel directed toward each individual is what sells the show as a success. The tales happen to be universal and garner a round of laughs. But most of those laughs are geared for those straight married couples in the crowd.  For those who may not be in one of those coveted relationships, the material is certainly funny but they don't resonate as strong. Sure, the show is meant for a certain demographic but you can’t help but enjoy Story’s stage prescience. No pun intended, Story is a storyteller. He knows how to not only work an audience but also paint a picture through story. You never saw a single picture nor met her, after the night is over, you knew exactly who Peter Story’s wife Megan was. And good on her for allowing her personal life become the butt of oh so many jokes.
Director Mindy Cooper guides Story through Gray and adaptor Eric Coble’s piece. Cooper and her creative team smartly allowed Story be the star, though the videos by Bazillion Productions featuring Dr. Gray and those amazing animated characters certainly had their shining moments. The only odd choice Cooper brought to the stage were those comfy couches. While they were likely present to evoke a psychologist’s office, Story rarely used them and weirdly, you were waiting for them to be occupied.
New World Stages may seem as an unlikely home for Men are From Mars, Women are from Venus Live, but Peter Story owns the place. For those needing a little help in the relationship department, this show is a great date night. For all those single ladies and gentlemen, there will certainly be something to appreciate, but you may not feel completely welcome to the party. And that’s all due to the shameless inclusion every moment Story references the couples, and the single people, in the crowd.

by Michael Block

The presidency of Bill Clinton was riddled with controversy and scandal. It was almost a parody of itself. With content so rich, Clinton and pals get the musical theater treatment. They say timing is everything. And with Hilary on the verge of announcing her run for President, Clinton the Musical comes at just the right time, pun potentially intended.

photo courtesy of Russ Rowland

In Paul and Michael Hodge’s Clinton the Musical Hilary recants her “first presidency” and the two men she loved who happened to be the same man. With a book by Paul and Michael Hodge and music and lyrics by Paul, Clinton the Musical is a 90 minute “SNL”-esque musical comedy that retells the scandal-laden two term presidency of Bill Clinton and his split personas, face of the nation WJ Clinton and smooth-talking, trouble-making Billy Clinton. The conceit is unique. It’s an idea that hasn’t quite been explored when mocking the 42nd President of the United States. But the remainder of the material includes reused and recycled jokes that still pack a punch. The era of the 90s is immediately addressed through Paul Hodge’s score. What comes next are a series of songs that are toe-tapping funny and occasionally raunchy, just like our main man Bill. By simply not giving the punch line the title of many songs, Hodge is able to garner genuine laughs to shine through, especially when certain songs are reprised and adjusted for certain characters. With a tale that the audience already knows the beginning, middle, and end, what comes next isn’t quite the surprise. It’s how the Hodges and director Dan Knechtges reveal it. And that’s what makes Clinton the Musical a blast to watch. By establishing the saga as a typical piece of musical theater, equipped with a hero with a dream, a villain with an evil scheme, a volatile love plot line, and an assortment of zany characters, how reality fits into the musical themes is where the comedy shines. Sure, the second half of the show may have a few too many ballads, the momentum is high from start to finish.

photo courtesy of Russ Rowland

Casting thoroughly can make or break a show. A stellar cast can make truly mediocre material look great. That's what this cast did. Doubling as good Bill and bad Bill, Tom Galantich and Duke LaFoon as WJ and Billy respectively brought the many personalities of America's 42nd President to the stage. Galantich and LaFoon were like a Phil Hartman and Darrell Hammond of the show. Both had two drastically different parodies of the same man and yet still were believable. They nailed the vocal cadence of Clinton and seamlessly eased into his physicality. Galantich, a little more so, found the humanity of Clinton that made his performance well rounded. Kerry Butler is a supreme performer. In the current age of Hilary where she’s been parodied by one of comedy's brightest stars, finding a unique spin on the First Lady is a great challenge. Butler was up for the task. Though she did have difficulty balancing Hilary singing voice with her own iconic vocals. Nevertheless, Butler takes Hilary and gives her an overeager and overambitious divalicious twist that makes her a great focal point. Everyone loves the bad guy. There’s something juicy that you want to sink your teeth into when it comes to a loveable villain, especially when you get a knockout actor in the role. A star was born in Kevin Zak's breakout performance as Kenneth Starr. Zak gave his Starr subtly funny intricacies that made him the perfect evil villain. From the claw of a hand to the erratic obsession of Bill to the ever-changing hair, Zak made Starr his own and truly gave a show-stopping performance. Zak is a triple threat that is bound for a bright future. The one performance that brought quite a happy shock was from gritty comic Judy Gold. Gold can not only carry a tune, but she can belt her face off. Her comic timing was second nature, but it was her musicality that was such a joy to watch. Getting the opportunity to play Hilary’s idol Eleanor Roosevelt as well as whistleblower and worst best friend ever, Linda Tripp, Gold continues to prove why she’s one of greatest comedians on the planet. As the beret-wearing subject of scandal, Veronica Kuehn gave Monica a sugary naive take that made her show-stopping number grand. John Treacy Egan was lights out as Speaker of the House Newt Gingrich. He and Zak had a wonderful report with one another that made their dynamic evil duo such a comedic highlight.
Director Dan Knechtges took an iconic decade of American history and found relevancy. Knechtges brought the Hodges’ material to the stage in the grandest of fashions. His clever staging allowed for the site gags to land, though the portrait screens of Beowulf Boritt’s sometimes caused some visual problems. The production was cohesive and smart. Boritt’s set was iconic yet theatrical, something that resonates with the Clinton story. The costumes by David C. Woolard were particular and recognizable. The political colors were never overbearing, especially in front of the sea of blue of the set.
It's not groundbreaking theater but Clinton the Musical is nothing short of entertaining and fun. The laughs are abundant and the performances tremendous. How will the Hodges handle the potential sequel after a Hilary presidency? Let's sit back and see!

Name: Kara Guy

Hometown: Carroll, Iowa

Education: BFA Musical Theatre - Millikin University

Select Credits: Footloose National Tour (Rusty), Hairspray (Penny)

Why theater?: I decided in high school that I really loved performing. I didn't even know at the time that you could actually get a degree for it and as soon as I found Millikin, I knew I was gonna be able to really go for it.

Who do you play in Clinton the Musical?: I play several parts in Clinton; Ensemble, Paula Jones, and Callista Bisek

Tell us about Clinton the Musical: It is a musical comedy romp about the major events during the Clinton's time in office.

What is it like being a part of Clinton the Musical: This is my first time off- Broadway in New York, so I am just ecstatic that long years of hard work has lead me to such a unique and rewarding piece.  I have also been apart of the project since it came to NY with the NYMF production. Being able to see it through has also been a dream come true.

What kind of theater speaks to you? What or who inspires you as an artist?: I love all kinds of theatre. Anything that moves me. I do tend to love the more kitchy and comedic pieces like - Xanadu, Urinetown, Hairspray. I have always been a huge fan of my cast-mate Kerry Butler.  

Any roles you’re dying to play?: I've always wanted to play Eponine in Les Miserables and Cynthia in Beautiful.

What’s your favorite showtune?: “Something Wonderful” from The King and I

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

Who would play you in a movie about yourself and what would it be called?: Amy Poehler - "Let's Get Weird"

If you could go back in time and see any play or musical you missed, what would it be?: Dale Hensley in Anything Goes

What show have you recommended to your friends?: Beautiful

What’s your biggest guilty pleasure?: Candy and reality shows

What’s up next?: Nothing coming down the pipe yet. I am just hoping to be employed for a while.

Name: Kevin Zak

Hometown: Buffalo, NY

Education: University at Buffalo

Select Credits: Silence! The Musical (Buffalo Bill), Clinton the Musical (Kenneth Starr, NYMF)

Why theater?: What do you mean WHY!?

Who do you play in Clinton the Musical?: Special Prosecutor Kenneth Starr.

Tell us about Clinton the Musical: If there was ever a presidency with all the qualities to make a musical, it would be the Clinton administration.   You have Bill as your flawed, double-sided hero, Hillary as your Evita, subsequently Monica Lewinsky as your mistress, Kenneth Starr and Newt Gingrich as your foils, and a flock of ridiculous newscasters to screw up the whole story for the public.  It's a smart and hilarious portrayal and told in the way we wish it could have been told in the 1990's.

What is it like being a part of Clinton the Musical: I've been very fortunate to have been involved with Clinton since last April, when Kaitlin Shaw from Tara Rubin Casting hired me as the reader for the auditions.  At the end of the day she asked me to audition for Kenneth Starr and year later I'm debuting the character Off-Broadway!  Working on a full production of a brand new musical comedy has been a dream come true.  The whole cast, crew, and creative team are wonderfully collaborative and hysterical.  I look forward to coming to "work" every day!

What kind of theater speaks to you? What or who inspires you as an artist?: I've always been drawn to ensemble pieces: musicals or plays where a small cast plays many different characters--I find a lot of humor in that.  I've also been big into Improv since I can remember, there's nothing like seeing funny people create something incredible out of a single suggestion.  I'm inspired by actors in theatre and film who are not afraid to make themselves to look ugly.  

Any roles you’re dying to play?: Agatha Trunchbull in Matilda the Musical

What’s your favorite show tune?: "The Best of Times is Now" La Cage Aux Folles

If you could work with anyone you’ve yet to work with, who would it be?: Tina Fey, Catherine O'Hara, Julia Louis-Dreyfus, Jim Carrey, Drew Droege.   The list could go on and on.

Who would play you in a movie about yourself and what would it be called?: I asked my brothers this question. They responded with Conan O'Brien in "Butterface" and Sally Field in "Mrs. Surefire." I'd say Laurie Metcalf in "The Worst Witch 2."  She can do anything.

If you could go back in time and see any play or musical you missed, what would it be?: Angela Lansbury in Sweeney Todd, Mame, Gypsy, etc…

What show have you recommended to your friends?: Hedwig and the Angry Inch.

What’s your biggest guilty pleasure?:  "RuPaul's Drag Race".  I feel no guilt.

What’s up next?:  Clinton the Musical opening at New World Stages April 9th!  You can also keep track of me at www.kevin-zak.com or @kevinjzak on twitter.

Ever have a dream of writing a hit Broadway musical? Well, what if I told you for one night only you get to have a little part of creating the next big musical and all you have to do is scream out a suggestion? In the hip and never-the-same Blank! The Musical, the audience gets to be a little part of creating a brand new musical as six outstanding improvisers take your suggestion and perform a musical on the spot.
Blank! The Musical, debuting at New World Stages, is musical improv that busts out a brand new show each night. Like most improv, audience participation is the backbone to the start of a night of hilarity. But Blank! takes audience interaction to the max! Upon arrival, audience members are encouraged to take out their smartphones and hit up the app that will allow them to vote on the elements of the show they’re about to see. When host T.J. Mannix comes out, he compiles audience suggestions through shoutouts and then it’s your turn to vote like a tween voting for their favorite contestant on a reality show. Your suggestions will fill in the blank of the title of the musical, the songs in the show, even the key the score will be! What makes Blank! special is it’s technological participation. It’s a clever device that allows everyone to feel they’re a part of something unique. And unique this show will be!
Depending on who you’re fortunate to be sitting with in the audience will determine just what you’re about to see. I was fortunate to have a bunch of sickos who suggested we see “Drag Queen Restraining Order” featuring songs like “Not in My Back Yard”, “Tuck It In” and the bound to be classic “Patrick Swayze’s Liver.” But with six incredible talents on stage, they took these radical suggestions and created one of the most entertaining nights on stage in New York. The cohesiveness and trust within the ensemble made the piece tick. With chips falling where they may, each night you’ll get something extraordinarily different allowing for certain improvisers to shine. “Drag Queen Restraining Order” had standout performances from Douglas Widick as a tired old drag queen who gives out wild and long pet names, Katie Dufresne as Debbie Downer with Crohn’s (out of the mouth) Disease and owner of the restraining order, and Matthew Van Colton as the protégé drag queen. Rounding out the ensemble were Nicole C. Hastings and Andrew Knox as Walgreen’s employees-slash-lovers and Tessa Hersh as Debbie’s trust fund losing roommate. What makes this ensemble so brilliant and skilled is how with no preparation, they established a halfway decent musical that rivals some of the junk that actually gets produced. While the six actors shined in the spotlight, the band trio and technical trio deserve special recognition for their improv skills as well keeping up with the brilliant minds on stage.
Blank! the Musical is nothing short of entertaining. Musical improv may not be something brand new, but rightfully it’s shining on a broader stage. Expect Blank! the Musical to live on for a long while somewhere in New York.