Jon Stancato & Kiran Rikhye of “Kill Me Like You Mean It”

Stolen Chair Theatre Company presents Kill Me Like You Mean It, written by Kiran Rikhye and directed by Jon StancatoTough detectives. Tougher dames. Double-crosses. Cigarettes. Shadows. Fedoras. All the hallmarks of film noir.

With their show Kill Me Like You Mean It, playwright Kiran Rikhye and director Jon Stancato (no strangers to the podcast—definitely check out their interviews from past Stolen Chair shows The Man Who Laughs and Potion) transfer all those classic film noir elements to the stage.

Then, they add in a healthy dose of theatre of the absurd.

What comes out is an absurdly fun & tightly executed piece of drama.

Listen in as Jon & Kiran discuss re-mounting (and revamping) a show from their past, audience placement as camera angles, abandoning tetralogies, having your actors create their own vocal musical score, and honing the rhythmic and sonic nature of your show.

“There’s something really unsettling about it…even though it is fun, and even though it is a comedy, it sort of is a deeply unnerving world…”

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Mac Rogers, Rebecca Comtois, and Sean Williams of “Ligature Marks”

"Game Play" festival at The Brick TheaterMac Rogers is a playwright I seemed to keep missing — for example, I got back into town just late enough to miss the last performance of Advance Man, for which I had a ticket, and I was completely out of town for the entire run of Frankenstein Upstairs. And yet, I kept hearing great things about his work.

Turns out those things were dead on. Now I’m even more disappointed I missed those previous two shows.

His latest play, which he also stars in, is Ligature Marks, a noir story embedded in a domestic drama with an MMORPG backdrop. It’s not as confusing as I just made it sound. And it’s well-worth your 75 minutes in the theater.

Mac and his co-star Rebecca Comtois, along with Gideon Productions producer Sean Williams, sat down with me after a performance last weekend over a beer in the Alligator Lounge for a long conversation that covered a whole lot of super-interesting ground — and, included a beautifully-worded segment about why and how one can become an effective producer. Essential listening for those of you who want to make your own work.

Listen in as Mac, Rebecca, and Sean discuss playing damaged people onstage, stage names vs. who we actually are, why one shouldn’t hate on what other people like (even if it’s the Twilight series), how to talk down playwrights & directors when they’re freaking out, and creating theatre (and podcasts) as part of the long-term cultural conversation.

“…as a producer…your whole life is storytelling. Your whole life is inventing narratives, your whole life is acting, your whole life is playing characters, so I think for people who don’t like producing, but do like to act and do like to write, I think it’s possible that they’re looking at producing the wrong way…”

(seriously, one of the coolest pieces of advice we’ve gotten on the podcast) Continue reading