photo by Kurt Sneddon

Name: Taylor Frey

Hometown: Las Vegas, Nevada

Education: Brigham Young University, Provo, UT

Select Credits: Venice Film Festival: Summertime (Matt-  Dir. Gabriele Muccino “Pursuit of Happyness”), Tribeca FIlm Festival: G.B.F. (Topher, dir Darren Stein); South Pacific @ Lincoln Center

Why theater?: Because it's in the now. It’s happening right before us. It wasn’t recorded somewhere in time and witnessed on playback. Because I love humans and interacting with them. To come on stage and see a crowd full of people there who came to go on a journey and dig into a story is so thrilling to me. Building a relationship with them throughout a couple hours in a dark theater where incredible experiences can be had is very motivating to me.

Tell us about The View UpStairs: The View Upstairs is based on the real event that occurred in New Orleans in 1973 where a gay bar was burned down. It dissects the gay community quite a bit, it examines our hierarchy, our stereotypes, what’s beautiful about us and what’s tricky about us. It examines how far we’ve come and how far we need to go. It tells the story that the 32 lives in 1973 didn’t ever get to tell. Every single night before I go on that stage I send up a sort of thought/prayer into the universe and to the lives that were lost in hopes that I tell the story well and remind people of these lives lost in a way that is honorable to them.

Who do you play in The View UpStairs?: Patrick, a runaway hustler trying to stay afloat.

What is it like being a part of The View UpStairs?: It’s been incredibly rewarding to be apart of the creation of new work, and to put my artistic stamp on Patrick and the show. It’s also important to tell a story so few know occurred. It feels especially meaningful. But as a gay dude,  it’s rare and special to be a part of something that is predominantly lead by gay characters. I love that Max Vernon created something that is so specifically fabulous, and GAY.

What kind of theater speaks to you? What or who inspires you as an artist?: Theater that has a message, a reason behind it. The kind of theater that reaches into your heart and then slowly moves up your throat as it tightens and your jaw locks to hold in the emotion you are overwhelmed by. I suppose that will occur in different types of shows depending  on the person. It happened to me in very memorable ways during  Once and The Color Purple. I was a mess. I loved feeling that. I have this phrase always on the forefront of my mind in terms of inspiration, and its “Tell your story.” As an artist we can get so caught up in just getting jobs and to “stay working” that we forget that a massive reason behind what  makes this process special is that it’s you doing it, and there are things only you and your life experience can offer a role or piece. I find that incredibly inspiring. No one will do it like you do. Who inspires me? Artists who are completely themselves and not afraid of what jobs may or may not come because of that. Also, my husband’s work ethic honestly, and Beyonce’s appeal and originality :). Truly her appeal   is so universal, it blows my mind.  And she maintains that appeal while putting whatever the hell she feels like creating out there. And people eat. that. shit. up. We don’t meed more artists trying to fit a mold. We need new   original artists here to shake things up and be different (enter:  Max Vernon.)

What’s your favorite showtune?: Hmm. Tough. I love so many. But as of now---- I did kind of just swoon over “Too Beautiful For Words” recently when I saw Heather Headley perform it (the key being Heather Headley singing and acting it.)

If you could work with anyone you’ve yet to work with, who would it be?: There’s an Australian director who I think is truly a visionary named Neil Armfield. I would die to work with him. He is a brilliant story teller and celebrates all the things that make me excited to continue on in this business. Him  and also my dear friend and brilliant actress Meghann Fahy.  I would love to be opposite her on any stage or set anywhere and feel what that’s like.

Who would play you in a movie about yourself and what would it be called?: I don’t know who would play me, but it would be called “You finally got your shit together!"

If you could go back in time and see any play or musical you missed, what would it be?: Crazy For You original cast, 1992. That show makes me happy. I love those tunes.

What show have you recommended to your friends?: Not many recently to be honest. There’s still a lot I need to see this year. I would recommend Hamilton more often if tickets were more readily available.

What’s your biggest guilty pleasure?: Wine.

What’s up next?: An 8 show week at the Lynn Redgrave this week.

For more on Taylor, visit www.TaylorFrey.com. For more on The View UpStairs, visit www.TheViewUpStairs.com

By Michael Block 

When it comes to LGBT history, there seems to be some important stories and events that haven't quite impacted LGBT Millennials. They’re lost in time. The tragic mass shooting in June at Pulse, a gay nightclub in Orlando, allowed the tragic events at the UpStairs Lounge in New Orleans in 1973 to resurface and inform the uninformed. The youth of the present learning about the past is the jumping off point of Max Vernon's astonishing The View UpStairs. Present and past intermingle in a time travel story. In the present, a young gay man is about to tear down the historic club. The past resurfaces when the souls of the victims teach him an important lesson.

photo by Kurt Sneddon

It's hard to sell the plot without it sounding gimmicky. If you can get past the time travel as a plot device, Max Vernon offers a unique perspective to tell a tragic story in LGBT history. Inspired by a heartbreaking true story, The View UpStairs follows Wes, a young gay man back in New Orleans, who purchases a building in the French Quarter that he plans to transform into a flagship store for his brand. After stepping foot into his plans for the future, he’s suddenly thrust back into the past. Specifically the night of Sunday, June 24th, 1973. Wes begins to interact with the lively lot as he learns about the space he wants to tear down and the hardships of being a gay man in a time of intolerance. Between knowing the inspiration and the glimmer of foreshadow, the musical ultimately ends with the tragic event of a deliberate arson attack. Max Vernon has scripted an exceptional story with effortless characters that exudes life and love. There’s heartbreak. There’s joy. There’s anger. There’s tenderness. Vernon has managed to provide a spectrum of emotion that will not only entertain, but also inspire conversation. There’s a strong sense of hope through the tragedy. Vernon maintains that the modern cliché holds true: It can get better. And it will get better. The libretto has some holes, but some of these dramaturgical traps can easily be patched up. Most prominently, consistency when it comes to the rules of the world is necessary. Wes seems to acknowledge the time travel at times, but then forget it at points of convenience. The patrons of the UpStairs Lounge sometimes seem to be clairvoyant and other times oblivious to Wes and his presence in their time period. It’s a tricky world to create, but Vernon can undoubtedly overcome the problems to bring this musical to the next level. The characters that Vernon has crafted are vibrant, leaping off the page. Vernon does exemplify a lot of the "bad" in the modern gay community through the character of Wes, but with a beautiful message of hope in the end, perhaps Vernon can instill just the slightest change for gays of today. You eventually learn to love Wes, but it takes a lot of time to warm up to him, since he embodies the social media obsessed youth of today. Even when stereotypes come into play, it’s the personal relationships that keep this musical afloat. Vernon has proficiently created characters you not only can relate to but care for. When it’s their time to ultimately go, you can’t help but feel sad. His score, which ranges from period pop, rock, and funk, soars and keeps the groove vibrant.
The View UpStairs thrives thanks to the community within. The characters have their escape where they can feel pride. And each individual in this company bursts with pride. As Wes, Jeremy Pope didn’t have the strongest of voices, but certainly made up for it in character. Pope’s passion as Wes allowed him to grow and eventually advocate for change. As the token hot and sexy love interest, it’s safe to say that Taylor Frey was perfectly cast. Frey, in a breakout performance, was charming and affable. With a million dollar smile and voice to match, Frey found the beauty within Patrick, the ultimately nameless victim. Frey and Pope had a unique bond. It was a syrupy relationship. Tickling the keys as the keeper of the keys, Randy Redd’s Buddy was one of the most complex and raw characters in the text. Redd left you wanting more from Buddy. Easing into an uproarious campy performance, Nathan Lee Graham was a chameleon of the stage. He switched from scene-stealing diva to fading into the background. It’s a sign of a strong performer knowing when to be "on." Graham’s Willie was the social butterfly you wanted to sip cocktails with. Frenchie Davis as bar owner Henri gave her heart and soul as she showcased her powerhouse instrument. Davis had a captivating grip on Henri, allowing the walls to come down to reveal a striking susceptibility. Michael Longoria as Freddy was a riot. As the resident drag queen, Longoria pulled out all the stops. Ben Mayne went beyond making Dale just the weird hustler that roams the bar looking for a lifeline. Mayne made you worry about Dale. He made you care about Dale. He made you wish “Better Than Silence” was placed a bit earlier in the show. But most importantly, Mayne made you sympathize with Dale despite his actions. And that is no easy feat.

photo by Kurt Sneddon

Let it be said, The View UpStairs is a great work, but what set this musical apart is the magnificent production design. You needed to feel apart of this world and director Scott Ebersold and his creative team went above and beyond. Upon walking into the Lynn Redgrave Theater at Culture Project, you’re thrust into the UpStairs Lounge. Scenic designer Jason Sherwood completely transformed the space. The atmosphere is alive. You may have watched as the cast of characters mixed and mingled and the night drew to a close, but if you looked around at the intricacies and details in the set dressing, you’ll note just how deep Sherwood went to make this foreign place feel welcoming. String lights wrap around the poles. Streamers hang low. An array of hanging lamps cast warm glows down. Beer bottles line the ceiling. Neon beer signs illuminate the room. Newspapers, books, and an hodgepodge of nostalgia-laden trinkets cover every single nook and cranny. Every square inch of the space was calculated. It’s as immersive as you can get with this sort of play. The lighting design by Brian Tovar was breathtaking. Between the bursts of color to filling the space with haze in order to highlight the beams of light coming from the flashlights, Tovar assisted in making this world mesmerizing. Costume designers love period pieces. There’s fun to be had. Costume designer Anita Yavich fulfilled the fun by dressing the company in retro wear. Wes may have made the dress for Freddy in the show, but Yavich showcased the makeshift eleganza. Al Blackstone’s choreography added to the fun quota, encompassing the entirety of the space. Ebersold brought a community together within the show, but he also did so to create the show.
Stories will never die and this show will surely live on. Max Vernon is the voice of the future. This incarnation of The View UpStairs is not perfect. But it’s absolutely a must see. That's because you'll want to brag that you saw it before it become a monster smash hit.

Name: Max Vernon

Hometown: New York City

Education: NYU BA for Gender & Sexuality studies (Gallatin), MFA in Musical Theatre Writing (Tisch)

Select Credits: The View UpStairs, KPOP (Ars Nova, opens August 2017), 30 Million (Keep Company), Show & Tell (Civilians R&D Group, Jerome Foundation), Nincest (Book & lyrics by Jen Silverman)

Why theater?: I think Musical Theatre is the great American art form. When it's bad it feels truly soul killing, but when great it is transcendent- it is visual art, dance, music, performance, writing all rolled into one so it has the potential to resonate on all cylinders. Since we are constantly bombarded with information & stimulation, it can be hard for us to get off our screens. Seeing theatre forces us to lean in and focus. The way I see it, a good TV episode or movie you might stay in your head for about for a week or so; great theatre sticks with you for years.

Tell us about The View UpStairs: The View UpStairs uses the story of the UpStairs Lounge Fire to have a multi-generational conversation about our where our society is headed & the queer community in particular. Since 1973, how has the world changed for better or worse? Which battles have we won, which are we still fighting? The main character, Wes, is someone whose relationships are transactional- someone who thinks in order to be loved he needs a following. Over the course of the show he has to learn that what he's really seeking is community, and to make connections that are transformational.

What is it like being a part of The View UpStairs?: Being involved in this show right now is keeping me sane. We are being gaslighted daily by our President. Every day we read the news and there is some fresh horror. But we are speaking truth to power with this piece in a very balls to the wall, unsafe way. We are saying we are here and we are NOT going back to the way things were 40 years ago. We've got hustlers,  copious cocaine usage, hustlers, busted drag queens, and a fuck-ton of distorted guitar. This ain't Seussical, but for those whom the show speaks to, I think they are going to feel seen. Really seen. And hopefully motivated to go out and carry the torch.

What inspired you to write The View UpStairs?: I was a queer studies major undergrad, and I was going so far down the rabbit hole in my studies, reading Donna Haraway's "Cyborg Feminism", and all this stuff with Foucault and Butler, etc. But 6 years ago when I first learned about the UpStairs Lounge Fire, not one of my professors had heard of it. And before Pulse, this was the worst attack against the LGBTQ community in US history. So I was like, "why am I reading this 500 page dissertation on the ontology of Fisting when no one knows 32 people died in this gay bar...why aren't we reclaiming this story?" Growing up I never felt like I had any queer elders to mentor me, I kind of had to figure out how to exist in this world on my own. So there was a desire with The View UpStairs to travel back to the past and see what lessons I could learn there. How do we stay connected and vibrant and also outraged; how do we survive and fight oppression? I also just wanted the opportunity to write a badass rock score with some Stevie Wonder clav.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theatre that challenges and provokes. That makes your jaw drop and laugh at things you think you shouldn't be laughing at. I like glitter, fantasy, sequins and feather boas as much as the next theatre queen, but I want to get the ratio right. Hair, Hedwig, Rocky Horror, Passing Strange- all those musicals speak to me. My inspirations are all over the place- I love Siouxsie Sioux as much as Sondheim. Mama Cass, Vogue ball culture, Erykah Badu, X and 80's Los Angeles punk. Right now I'm having a Roberta Flack moment.

What’s your favorite showtune?: Probably "Rose Tint My World" from Rocky Horror.

If you could work with anyone you’ve yet to work with, who would it be?: I'd love write a musical with Dennis Cooper or Jodorowsky. Or to score a horror movie with some cheesy 80's synth soundtrack ala Argento's Suspiria.

Who would play you in a movie about yourself and what would it be called?: Ben Wishaw or Ezra Miller. "Existential Life Crisis Lullaby."

If you could go back in time and see any play or musical you missed, what would it be?: I would love to go back in time and see the original Follies.

What show have you recommended to your friends?: Go see the Broadway transfer of Lynn Nottage's Sweat, and Kirsten Child's Bella at Playwrights Horizons later this year.

What’s your biggest guilty pleasure?: A stiff drink and a stiff...something I shouldn't put in writing ;)

What’s up next?: The View UpStairs opens at the Lynn Redgrave Theater on Feb 28th (previews start feb 15th), then my other musical KPOP starts previews at Ars Nova in August.

For more on Max, visit www.maxvernon.com and https://www.facebook.com/MaxVernonMusic. For more on The View UpStairs, visit https://www.facebook.com/TheViewUpStairs