Nolan Kennedy, playwright/actor, and Welland H. Scripps, actor, of “Bully Me Down”

Posted on May 13, 2014 by robby

Yo ho ho, and a bottle of rum…

…and a whistleblower, a high-school anti-bullying activist, an assassin, a Scottish sea captain, a U.S. president, Barbara Walters…

All these characters (and more) collide in various bars across the borough of Brooklyn as part of Letter of Marque Theater Company‘s traveling play Bully Me Down, written by Nolan Kennedy and performed by Welland H. Scripps, Jason Tottenham, Scarlet Rivera, and Kennedy himself.

Listen in as Nolan, Welland and I hang out on the street-corner outside Hank’s Saloon after a performance to discuss putting theatre in a bar, a play as your company’s “self-titled album,” bullying, and shooting for the stars.

“We kind of wanted to do a ‘self-titled-album’ kind of show, so it’s trying on these piratical, privateer stories and ideas, and it also is dealing with what’s happening around us…this idea of what’s private and what’s not private…”

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Boo Killebrew & Geoffrey Decas O’Donnell, playwrights/performers of “Family Play (1979 to present)”

Posted on May 12, 2014 by robby

Over the past several decades, the fundamental definition of “family” has changed — and the collaborators of Collaboration Town have come of age through some 30-odd of those years.

In their new show Family Play (1979 to present), previously titled Help Me to Make It and part of their two-year participation in The Archive Alliance Residency, CTown co-artistic directors, actors, and playwrights on the project Boo Killebrew and Geoffrey Decas O’Donnell (fellow playwright Jordan Seavey spoke about the project on an earlier episode of the podcast, during the show’s workshop last summer) explore the changing nature of the family through a series of 116 moments — many of which will be familiar to…well, anyone who’s grown up.

Listen in as Boo and Geoffrey discuss what makes a family, “a lot of Google Docs,” the deconstruction of the traditional nuclear family in traditional American drama, and how you define a person based on moments.

“…if we’re going to explore how family is changing, then we need to explore traditional structure in plays…we wanted to just break everything down as much as possible…take away definitions of people…everyone is everyone is everyone…”

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Christopher Loar, adaptor/director of “The Complete & Condensed Stage Directions of Eugene O’Neill, Volume 2”

Posted on May 7, 2014 by robby

The Complete & Condensed Stage Directions of Eugene O'Neill, Volume 2, directed/adapted by Christopher Loar A few years back, director, accidental Eugene O’Neill enthusiast, and TMLMTBGB actor Christopher Loar thought up a fun little sketch for that long-running, long-titled New York Neo-Futurists show (if you don’t know it from the acronym, click this link, then go see the show this weekend, or any weekend!) — strip away O’Neill’s dialogue, brilliant as it is, and just say and perform what was meant to be performed and not said: the stage directions.

If you’ve ever read an O’Neill, you probably know that such a drastic cut would still leave you with a whole lot of text. The exercise of turning that text into a staged event unto itself proved successful in TMLMTBGB, so Loar’s next step? Make an evening out of it with The Complete & Condensed Stage Directions of Eugene O’Neill, Volume 1: Early Plays/Lost Plays, which received a Drama Desk nomination for “Unique Theatrical Experience.”

Now Loar and the Neo-Futurists are back with The Complete & Condensed Stage Directions of Eugene O’Neill, Volume 2 — because why mess with a good thing, right?

Listen in as Christopher and I discuss the utility of stage directions, staying out of the way of your performers/collaborators/interpreters, and O’Neill’s moment vs. this 2014 moment in downtown theatre.

“I think in the stage directions there’s the intention of what the writer wants to happen onstage or happen with that character…but I guess that’s what I like so much about this…I too come from a background where I was trained to ignore all of the stage directions…”

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Sean Patrick Monahan, James Presson, Charlie Polinger, and Tom Sanchez of “Little Mac, Little Mac, You’re the Very Man!”

Posted on April 25, 2014 by robby

It’s been a good few seasons for Bertolt Brecht’s The Threepenny Opera, his adaptation of John Gay’s The Beggar’s Opera — Martha Clarke’s version is currently running at The Atlantic, Marvel Rep’s production of Feingold’s translation was up for a Drama Desk in 2012, Robert Wilson’s stylized take was at BAM not long ago…now, add to that a truly American adaptation — Less Than Rent’s Little Mac, Little Mac, You’re the Very Man!

In LTR’s freewheeling musical, the infamous Macheath chases the American dream through time and space, encountering everyone from Richard Nixon & Ronald Reagan, to Joe DiMaggio and Michael Jordan, to Bugs Bunny & Jessica Rabbit. It’s as wild as you think it is, and a lot of fun.

Listen in as playwrights Sean Patrick Monahan and James Presson, director Charlie Polinger, and Mac himself, Tom Sanchez, discuss free-association & post-it notes to write your play, how to make it in America, and what happens when your American History book throws up all over The Beggar’s Opera.

“They were sort of taking the audience on a ride and then kicking them out of the car…and so we started trying to find a way that we could do that…”

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TALKBACK: David Stallings & Heather Cohn of “Dark Water,” with Robin Madel & Kyle Rabin

Posted on March 26, 2014 by robby

Manhattan Theatre Works presents "Dark Water" by David Stallings, directed by Heather Cohn David Stallings‘s play Dark Water is the tale of a mother turtle as she and her son negotiate the sea along with a host of other animals — like a land-loving dolphin, a vain heron, and a gluttonous gull — to save her daughters, who have been trapped by the titular menace. Director Heather Cohn‘s production features a colorful (and largely recycled!) set, music, puppets, and inventive projections to tell the moving tale of these animals.

Don’t let that description fool you — this isn’t a kids show.

Rather, it’s a righteous statement about the damage caused by the Deepwater Horizon blowout, the largest off-shore oil spill in US history. And sadly, although it comes almost four years after the initial tragedy, it can still be considered timely, because the environment is still dealing with the fallout.

At the performance on March 20, Robin Madel and Kyle Rabin of Grace Communications Foundation were on hand to lead a talkback on the environmental issues of the show. It was a great way to follow up the performance, and GSAS! was there to record it — it’s presented here in its entirety.

Don’t worry if you don’t remember just what happened in the Gulf in April of 2010; a brave audience member sums it up nicely in the discussion, before Robin & Kyle discuss the effects of this and other oil spills, what prompted David to write the play, and Heather’s fear (and ultimate triumph) of directing this “impossible to direct” play.

“Don’t eat bluefin tuna…BLACKOUT.”

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Emily Schwend, Jay Stull, and Boo Killebrew of “Take Me Back”

Posted on March 20, 2014 by robby

We all make terrible decisions at some point. With any luck, those terrible decisions only lead to some heartache, or maybe just some slight lingering shame, perhaps a small scar or two.

But for some terrible decisions, the consequences are a bit more dire — like a four-year stint in federal prison, which is what happens to the character of Bill in Emily Schwend‘s excellent new play directed by Jay Stull for The Kindling Theatre Company, Take Me Back. A short time after Bill’s release, he’s back living with his Mom, trying to help her take care of herself, trying to get his life back on track, trying to settle his relationship with old flame Julie (played by Boo Killebrew), and trying to get his truck running again. But opportunities don’t come easy for an ex-con in Muskogee, OK (yes, that Muskogee).

This play succeeds, as I point out in the interview, in marrying the political and personal — it’s one that kept me thinking after I left the room, which is one of the best compliments I can pay to a theatrical production. Go see this show.

Listen in as Emily, Jay, Boo, and I discuss writing close to home, systematic inequality vs. flawed character, paying for bad decisions, and why this very American play is important for New York City right now.

“Is it possible to be good as a person in places where there is no opportunity for improvement, or employment…?”

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Katharine McLeod, writer/performer of “My High-Heeled Life: Or, How I Learned to Keep Worrying and Love My Stilettos”

Posted on March 5, 2014 by robby

Katharine McLeod in "My High-Heeled Life: Or, How I Learned to Keep Worrying and Love My Stilettos" You probably remember that old saying, “The clothes make the man.”

And while you might want to dispute it, or actively fight it (my stint as a goody-two-shoes honors student male with long hair in high school was my small form of personal resistance), it wouldn’t be an idiom if a good number of people along the way didn’t find some ring of truth to it.

The performativity of what we prefer to wear—in her case, specifically, stilettos—intrigued actress Katherine McLeod to the point she had to write a show about it, appropriately titled My High-Heeled Life: Or, How I Learned to Keep Worrying and Love My Stilettos, which is currently running as part of the Frigid New York festival at Under St. Marks.

Listen in as Katharine and I discuss shoes as battleground, the long (and proper) title of her piece, and not having to apologize for those things that bring you joy.

“…what assumptions do you make about me based on what I wear? And, should I stop because you’re making those assumptions? Or, should I push back, and show my true colors, should I show all parts of me…”

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Cristina Lundy of NY Shakespeare Exchange, on “Othello” and the upcoming ShakesBEER

Posted on February 26, 2014 by robby

The New York Shakespeare Exchange recently presented Othello, setting the play’s Venice in a contemporary urban setting, with the Bard’s military officers becoming ranking police officers.

For adapter/director Cristina Lundy, the analogues between Shakespeare’s tragedy set amidst the jealousies of military officers, and the contemporary world of police work—especially in “stop & frisk”-era NYC, where those who are trusted to protect, can be the ones most feared—made this production all the more urgent to present.

While the production has closed from the posting of this episode, I’d highly recommend a listen to this interview, because NY Shakespeare Exchange has got some really interesting stuff going on—like The Sonnet Project, featuring video adaptations of all 154 sonnets, and the upcoming ShakesBEER, which…well, listen to the episode for Christina to explain it. It sounds amazing, and it’s coming up very soon…

Listen in as Cristina and I discuss hidden off-off-Broadway gems, drinking with the Bard, and how Shakespeare can be for everyone.

“The people we most want, in a way, are the people who don’t think they like Shakespeare, and let us convince them otherwise…”

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Clay Edmonds, Janet Jenness, and Aurora Heimbach of “OCD: or, The Trouble with Mrs. Henderson”

Posted on February 15, 2014 by robby

Gobsmacked Productions presents "OCD: The Trouble with Mrs. Henderson" I think of Hedda Gabler as one of those Mount Everest sort of shows; “exciting and daunting,” as one of the guests on today’s episode puts it.

The ideas and challenges of Ibsen’s classic are brought smack-dab between the play’s original 1890 setting and the modern day, in Gobsmacked! Productions’ 1950s-set re-telling entitled OCD: or, The Trouble with Mrs. Henderson. Gobsmacked producers Clay Edmonds and Janet Jenness share directing duties with Clay’s original script, and the (fabulous) actress Aurora Heimbach takes on the tragic heroine, known here as Henrietta Henderson; that’s her with the rifle in the photos below.

Listen in as Clay, Janet, Aurora and I discuss setting Clay’s favorite play in the 1950s, their personal relationships with that archetypical era in their choice of location (the American South), and what it’s like to take on the challenge of one of theatre’s most iconic roles.

“…I thought translating this piece into the ’50s was totally genius…that veneer of the ’50s, that painted on, plastic, ‘everything’s great’ was this even more concrete obstacle that I think helped with the claustrophobia of this woman who is trying to reconcile her own aspirations with the reality of the hand that she’s dealt…”

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Tara Gadomski, playwright, Illana Stein, director, and Robert A. K. Gonyo, actor, of “The Offering”

Posted on February 7, 2014 by robby

I make this podcast because I love sound, and I love theatre; Go See a Show! is a great way to unite the two.

And I’m an amateur sound-designer, and make radio dramas, for much the same reason.

For this episode of the podcast, those two worlds—sound about theatre, and sound in the theatre—collide. My guests are playwright Tara Gadomski and director Illana Stein, with whom I have a conversation about our production of The Offering.

For a bit of context: the play was originally written & recorded for Radio COTE, the radio-play festival I produce with my company Co-Op Theatre East—you can check out the original performance on iTunes. We all loved the play so much that Tara adapted it into a stage version, which is currently running in The Network One-Act Festival (with your humble GSAS! narrator doing live foley onstage). And in this shameless-self-promotion episode, we talk about this great little one-act, which to me is about the power of art, that we’d all love for you to come see.

Listen in as Tara, Illana, and I discuss making a radio play into a stage play, the beauty of language, “the question,” and getting (and keeping) power.

“…you just got compared to Shakespeare…”
“…let’s not go so far…”

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