Tag Archives: Playwrights

Erika Phoebus and Isaac Byrne of “Kiss It, Make It Better”

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Theatre 4the People presents KISS IT, MAKE IT BETTER at The New OhioWho really gets you? How well do you actually know yourself? And when your innocence is shattered, what can you do, who can you turn to, and where can you go?

For the characters in actress Erika Phoebus‘s Kiss It, Make It Better, the place to run away to is an abandoned roller coaster—but the real world has a way of encroaching in on the planned utopia of two runaway kids.

Starting with a bit of old slam poetry, Erika worked with director Isaac Byrne (whom you might remember from the second go-round of The Other Mozart) to develop the play, currently receiving its world premiere as produced by Theatre 4the People at The New Ohio.

Listen in as Erika and Isaac discuss lost innocence, being both playwright and actor in the rehearsal room, creating your own Neverland, why you shouldn’t rely on your box office, and why you should go wait in Central Park for “Shakespeare in the Park” tickets (hint: you might start a collaboration with others in the queue).

“I just kind of came to the realization that…you can’t really make money off theatre until it reaches a certain level…”
“…and even then…”
“…and even then! So unless you’re really coming in with a lot of capital, what’s the point? […] I just wanted people to come. […] And it’s actually been great…”
“I think it’s also really important to respect the community of artists that we’re a part of…and recognize that it’s our job to see theatre, and it’s our job to be a part of the theatre. It’s an exchange…”

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Jason Tseng, Emily Hartford, Alisha Spielmann, and Kia Rogers of “Rizing”

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Flux Theatre Ensemble presents RIZING by Jason Tseng, directed by Emily HartfordPodcast regulars (and favorites) Flux Theatre Ensemble are back with a new show, from a new playwright, developed in-house and featuring a lot of ensemble regulars that you’ll recognize.

Rizing, by Jason Tseng, is a modern and unique take on the zombie trope. Here, however, those with a taste for brains live and work among the other remaining survivors of the zombie apocalypse, though those who are “Z-positive” are highly medicated, and de-facto segregated. But the old drugs are starting to lose the effect of keeping down the flesh-cravings, and a revolt is beginning to stir…

Flux is once again offering tickets with their incredible and brilliantly innovative Living Ticket model, so you can get to the show without a barrier to entry—but you can also have the chance to help the company out with a pay-what-you-will model. And they show you where that money’s going!

Listen in to this episode as Jason, along with director Emily Hartford, actor Alisha Spielmann, and lighting designer Kia Rogers discuss “The Walking Dead meets Octavia Butler,” class battles, thanking St. Judith Butler, how to make a world breathe, and how we are shaped by our reactions to the impossible decisions the world presents us with.

“…a big part of the play is memory, and what that does to a person when you don’t have a history, what that does for the Z-negative characters to have lived through this enormously violent and destructive history, and the choices that they’ve had to make. So there is this balance between who you are as your actions, and who you are as this past that sort of haunts you…”

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Yolanda K. Wilkinson and Joey Rizzolo of “Bible Study for Heathens”

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The New York Neo-Futurists present Bible Study for Heathens, written and performed by Yolanda K. WilkinsonIt takes moxie to critique religion while performing in a church. But for Yolanda K. Wilkinson, Judson Memorial Church Loft is exactly the right place to premiere her new solo show: Bible Study for Heathens.

The show is presented by The New York Neo-Futurists and, like everything this ground-breaking theatre company does, Bible Studes for Heathens defies definition and pushes theatrical boundaries.

With hilarious visual aids, fantastically-produced videos, sock-puppets, graphics, and sometimes intense audience participation, Yolanda chronicles her personal life quest to find some kind of meaning, attachment or even divine inspiration in ten different religions she has taken part in, since her childhood. Along the way, she hones in on some disturbing truths about the American religious experience, but in the end, she—and the audience—find hope through basic, affirming, human communion.

Go See A Show! correspondent Tara Gadomski sat down after a recent performance—in the cavernous church—to speak to writer and performer Yolanda K. Wilkinson and director Joey Rizzolo. Listen in as they discuss avoiding “therapy” on stage, how to interact with audience members who may strongly disagree with you, and why religion and theatre intersect.

“We think about artistic media as having a relationship with one another, but theatre has a really close relationship with religion and it’s unique that way. And you can say that theatre has a closer relationship with religion than it does with any other storytelling medium. Because it’s the only one that requires people being in a room at the same time.”

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Emily Claire Schmitt, Ria T. DiLullo, Miranda Poett, Claire Buckingham, Charlotte Pines, and Courtney McClellan of “Whatchamacallit: A Play About Jesus”

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Whatchamacallit A Play About Jesus, written by Emily Claire Schmitt, directed by Ria T. DiLulloNuns & prophets. Lost faith & lost love. A virgin conception & a horde of condoms.

And, observing it all, a bemused Jesus.

If that doesn’t intrigue you to check out Emily Claire Schmitt‘s excellent play Whatchamacallit: A Play About Jesus, then this interview certainly will.

Listen in as Emily, along with director Ria T. DiLullo, and cast members Miranda Poett, Claire Buckingham, Charlotte Pines, and Courtney McClellan, discuss the hero’s journey, embodying third wave feminism, Catholic education, a play and rehearsal process mostly free from the male gaze, and how songs can sometimes sing you.

“…when I wrote the script, one of the intentions was, ‘how are we going to deal with issues that people don’t like talking about, but in a way that’s fun and comfortable…can we talk about religion, and can we talk about women, without judging religion…can we actually deal with these things in a human way, without destroying ourselves…”

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Heather Litteer and Elena Heyman of “Lemonade”

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LEMONADE by Heather Litteer at La MaMaWhat to do when you’ve been typecast by the film and TV industry?

If you are actor, poet, writer and performance artist Heather Litteer, you embrace it, work it, and try to enjoy the process, no matter how difficult…AND you continue to make theatre that explores ALL the complex layers of your humanity—not just the ones that Hollywood knows you for.

This journey has culminated in Lemonade, a one-woman autobiographical show, by and about Heather Litteer, currently playing in The Club at La Mama. In the show, she explores her screen career, playing prostitutes, junkies and strippers, her real life in New York as an independent woman in the 1990’s downtown theatre scene and her relationship with her traditional, “Steel Magnolia” mother in the South.

GSAS! correspondent Tara Gadomski went downtown to see the show, which she called “a really cool party.” Listen in as she talks with Heather and director Elena Heyman about the conception of the show, how it became possible through a fellowship at La Mama from The William & Eva Fox Foundation and Theatre Communications Group, the current state of “downtown theatre,” the importance of wafting glitter on stage, and advice for young female actors.

“Work extremely hard. I think that young actresses could benefit from understanding how hard you have to work to make what you want happen.”

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Danielle Trzcinski, writer of “Non-Equity The Musical!”

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Non-Equity The Musical, book and lyrics by Danielle Trzcinski, music by Paul D. MillsIf you are, or have ever been an actor, how many times have you heard someone say something to the effect of, “oh, acting! that must be so much fun!”—and had to fight a visceral reaction to respond along the lines of, “yeah, but you have NO idea what we go through…”

Because while it is fun, of course, and those of us lucky enough to work in the theatre feel our jobs are indeed the best in the world, the fun part of acting comes after a lot of trials, heartache, early mornings, degrading calls, blood, sweat, and tears.

It comes…after the casting process.

Playwright Danielle Trzcinski and composer Paul D. Mills have taken the unique experience of being at a casting call and put it onstage, with music, like you do. Their show Non-Equity The Musical!, after a sold-out run at the NY Fringe in 2012, has recorded a cast album, and GSAS! recently sat down with Danielle to talk about the show.

Listen in as she discusses the virtues and values of making your own work, playing to and fighting against type (and typing yourself out of your own musical), and following your dream even through the mess that is our business.

“I think it’s pretty awesome, like your podcast, that all these people are out there…it is so much work to do all these things, but there’s only so long we can wait around for an opportunity to be given to us…”
“…or so many 5 a.m. calls…”
“Exactly! Honestly, doing this show…that opened up so many more doors for me than when I was getting up and busting my ass at 5 in the morning…”

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Recent Cutbacks’ “Fly, You Fools!”

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Recent Cutbacks presents FLY, YOU FOOLS! at The PITThe brilliant comedic team of Recent Cutbacks didn’t exist, at least not in name, when they were last on the podcast with their incredible Hold on to Your Butts.

But luckily for all of us, they’re back, and this time, instead of dinosaurs, they’re taking on elves, dwarves, orcs, wizards, eagles, and, of course, hobbits, with Fly, You Fools!

On the mic are the show’s producer Allyson Morgan, as well as returning guests, director Kristin McCarthy Parker and performers Nick Abeel and Kyle Schaefer; and now, added to the team are performer Matt Zambrano, and foley artist Blair Busbee, all of whom sat in for a chat about their wonderful new show.

Listen in as the Recent Cutbacks team discusses why they moved to The Fellowship of the Ring from Jurassic Park, dancey, movementy, mimey things, the danger of inciting a nerd riot, finding the sound of your show as it continues to change, and how to deal with prop mishaps in real time.

“…in the rehearsal process, we sort of found that the more epic the film was, the less props we needed. We could get away with more, with less…actually, we don’t need these hundred wigs, or these extra props, when we can tell the story just through physicality. Which I think is actually more joyful for the audience…” Continue reading →

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Matt Herzfeld and Greg Carere of “The Improbable Fall, Rise & Fall Of John Law (Part 1)”

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The Dreamscape Theatre presents The Improbable Rise, Fall, and Rise of John Law, written by Matt Herzfeld, directed by Brad Raimondo, at IRT TheaterVisionary economist. Confidence man.

It’s likely that John Law blurred the line between the two better, or at least earlier, than anyone else.

The incredible true story of the exploits of this 18th Century genius/rapscallion proves fertile ground for playwright Matt Herzfeld‘s The Improbable Fall, Rise & Fall Of John Law (Part 1) currently being produced by The Dreamscape Theatre and running at IRT Theater.

Listen in as Matt, along with John Law himself, actor Greg Carere, discuss perception, mathematical purity, finding inspiration in Men of Wealth, morality in the grey, and how economics was, and remains, a confidence game.

“…John, to some degree, is a confidence man. And economics, to some degree, is a confidence game. The whole system works because people believe in it…and so perception is a part of that, because you have to sort of look the part…”
“…we get to sort of see the illusion that he creates, at every level…”
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Margi Sharp Douglas, Rachel Murdy, Peter Szep, Joan Jubett, and Cynthia Croot of “The Millay Sisters”

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Margi Sharp Douglas and Rachel Murdy of THE MILLAY SISTERS, presented by Vanderbilt RepublicIf you’ve ever wandered around Greenwich Village, you might have noticed a very tiny house at 75 1/2 Bedford Street, built on a former alley (it’s Manhattan, so if there’s land to be built on, someone’s going to try it). Stop and take a look at the facade, and you’ll notice a vermillion plaque, commemorating that this was once the home of poet Edna St. Vincent Millay.

If she’s unfamiliar to you, you’re in the fortunate position of getting to explore her work for the first time. And a great place to start would be The Millay Sisters, a cabaret/performance/play about Vincent (as she liked to be called) and her life, currently running at Gowanus Loft in Brooklyn.

GSAS! correspondent Tara Gadomski is back on the mic! Listen in as she and The Millay Sisters co-creators and performers Margi Sharp-Douglas & Rachel Murdy, musical director/musician Peter Szep, and co-directors Joan Jubett and Cynthia Croot discuss their process of development, light and dark, dramaturgy in Maine, giving your audience the opportunity to sing, and the importance of a bar at your show.

“…people are going to hear this, and think, ‘oh, it’s some sort of biopic;’ and there are a lot of facts in it. But really it’s about the emotional truth of what’s going on with her. When you see the show, you feel like you’ve met the person, not just sort of received facts from on high, and a lot of the music sets this sort of emotional world against which the poetry is then put…”

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Catrina McHugh, Cheryl Dixon, Laura Lindow, and Jessica Johnson of “Key Change”

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Open Clasp Theatre Company presents Key Change, written by Catrina McHugh, directed by Laura LindowKey Change comes to New York’s 4th Street Theatre from Northern England, after a long and interesting journey. It was created by the Newcastle-based theatre company, Open Clasp, in a collaboration with women in Her Majesty’s Prison Low Newton.

It started as a theatre devising workshop with the prisoners, then, as a show developed, it toured to male prisons in the UK. The company then took Key Change to the Edinburgh Fringe Festival this past summer, where it won the prestigious Carol Tambor Best of Edinburgh Award. The prize: a fully-funded production of Key Change in New York City.

Listen in as writer Catrina McHugh, director Laura Lindow, and actors Cheryl Dixon and Jessica Johnson discuss collaboratively creating composite characters, touring their show to prisons, working with the restrictions of their performance venues, how an environment can intimidate, keeping connections open, and building trusting relationships.

“It just felt like those voices had been flown over the razor wire, and had escaped…”

(Producer’s note: as you listen to this episode, you’ll probably realize that the dulcet, sometimes-confused, yet pleasing and sonorous baritone voice that usually does the interviewing has been replaced by someone who sounds like she knows what she’s doing. That’s because she does, for while I’m away on an out-of-town gig, radio-host, writer, actor, and fellow podcaster Tara Gadomski is more-than-ably taking over interviewing duties. Big thanks to her for keeping GSAS! going while I’m out.) Continue reading →

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