Trish Harnetiaux, Katherine Brook, and Jess Barbagallo of “How to Get Into Buildings”

New Georges presents How to Get Into Buildings, a new play by Trish Harnetiaux, directed by Katherine BrookConvention halls, brunch, fish all over the highway, shoot-outs—they all come together in New Georges’ world premiere of How to Get Into Buildings, currently playing at The Brick.

Working with the structure of an “exploded view,” playwright Trish Harnetiaux has built a dark, playful, at times absurd love-story, directed by Katherine Brook and featuring Jess Barbagallo as Ethan Cambabert.

Listen in as Trish, Katherine, and Jess discuss inspiration from installation art, slippage, dialogue in the rehearsal room, and how “dark rom-com” needs to be its own genre.

“Do you know what an exploded view is?…all these parts are going to come together and form a thing, but the really cool thing is the diagram that you see that shows you each tiny bit. This play is like all those tiny bits that form a larger picture…”

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DeLisa M. White, Heather E. Cunningham, Ryan Pater, and Rebecca Gray Davis of “Good Boys and True”

Retro Productions presents Good Boys and True, written by Roberto Aguirre-Sacasa, directed by DeLisa M. WhiteRetro Productions is back with another revival of a 20th Century play, directly in line with their mission “to broaden our own understanding of the world we live in.” Roberto Aguirre-Sacasa’s Good Boys and True may be set in 1988, but the issues of class, privilege, sexuality, and violence feel uncomfortably current.

Listen in as director DeLisa M. White and Producing Artistic Director of Retro Productions and actor Heather E. Cunningham, as well as fellow actors Ryan Pater and Rebecca Gray Davis, discuss high school flashbacks, the importance of punctuation, laughter from struck nerves, what happens when your mom’s in the audience, pulling from personal experience, and how this “retro” play resonates into the past, our present, and, sadly, probably into the future.

“One of the lines in the play is, ‘Everything is broken.’ That’s what happens…when you hear that headline in the news, the tentacles and roots of that problem expand far beyond what you see in the news, or even in the situation if you’re in it…”

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Lizzie Vieh, Aleisha Force, Russell Jonas, and Donny Repsher of “Barrier Islands”

Barrier Islands, written by Lizzie Vieh, directed by Zi Alikhan, featuring Aleisha Force and Russell Jonas, produced by Donny Repsher“Do your own work.”

As one of the guests on this episode notes, that’s a common suggestion to independent theatre practitioners—and the thought of it can exhaust even the most ambitious of artists.

But sometimes, you discover that the people immediately around you—classmates, coworkers, colleagues—can come together to make something awesome.

As you’ll hear in this episode, that impulse to make something brought together the collaborators of Barrier Islands, a brilliant play written by Lizzie Vieh, directed by Zi Alikhan, produced by Donny Repsher, and beautifully acted by Aleisha Force and Russell Jonas. Inspired by true crime, Barrier Islands appears at first to be a crime procedural or whodunnit, that as it unfolds actually becomes an exploration into various modes of violence against women.

Listen in as Lizzie, Aleisha, Russell, and Donny discuss the parts of ourselves that we’re hiding, dialogue that just rolls off the tongue, finding distinct characters, imposing deadlines, disovering collaborators at your day-job, and how having one more beer might make you a producer.

“…the style of restaurant in which we work has a style of service that makes us depend on one another quite frequently, so I knew that I could trust her as a person. And then I went to see her as a playwright, and you put those two things together, and you go, ‘oh!’…”
“She can write a play, and she will get that ketchup to my table.”
“She will! She won’t forget that ketchup, and she can write a play. Winner, winner.”

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Daria Miyeko Marinelli and Elana McKelahan of “Untamable”

Highly Impractical Theatre and The Unsoft War present Untamable, written by Daria Miyeko Marinelli and directed by Elana McKelahanEver wanted to watch as a major heist unfolds in front of your eyes? Not on film, but actually happening right in front of you?

Thanks to the magic of immersive theatre, you can. Daria Miyeko Marinelli and Elana McKelahan, the playwright and directors of Untameable, respectively, give you that opportunity in a Brooklyn church they’ve converted for the occasion.

Plus, you can see it from both sides: those trying to steal the diamond, and those trying to protect it from the thieves. And while those multiple angles come with an opportunity cost—you’re definitely going to miss some action at some point—that just gives you a great reason to meet and compare notes with your fellow theatre-goers after the show.

Listen in as Daria and Elana discuss fascination with “illegal teamwork movies,” what it takes to act in an immersive show, the opportunities for connection that this style of theatre can provide, and how to invite the audience in by breaking all the rules.

“When people leave a show and they want to talk about it, and they’re really excited about it, it is exciting to me as a creator of the show…”

“…and I love theatre that makes people talk to each other. And it’s kind of impossible to see this show with someone else, and not talk about the experience you have, because you create your own experience…”

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Jason Sofge, Serrana Gay, and Christian De Gré of “Fatty Fatty No Friends”

Mind the Art Entertainment presents Fatty Fatty No FriendsOpera tends to be pretty tragic.

And even though Mind the Art Entertainment‘s operetta Fatty Fatty No Friends is about a group of kids, it doesn’t shy away from the dark and grisly themes and action that usually goes along with the form.

But the show also grapples with some very deep, and even distressing issues that our society has been dealing with for a long time. Composer and director Christian De Gré and author Serrana Gay have done the magic of put those themes into a gorgeous, entertaining show—and Jason Sofge, who plays Tommy, leads a brilliant cast that sings and plays it to life.

Listen in as Jason, Serrana, and Christian discuss why the show was set up like a kid’s book, entertaining work with social messages, inspiration from a late-night meal, and choosing between venue-director money or actor money (please note, neither is a good get-rich-quick scheme).

“…I think it’s really interesting that it can have such a stark, different perspective: are we watching a monster piece, or are we watching a piece about a fallen hero that never was understood? Maybe it’s one and the same. I think it’s very important that people see this piece of theatre…I really think this is a conversation that we need to have right now…”

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Jake Lipman and Molly Ballerstein of “The Inn at Lake Devine”

Tongue in Cheek Theater Productions presents The Inn at Lake Devine, adapted for the stage by Jake Lipman from the novel by Elinor LipmanAt the age of 14, if someone told me I couldn’t do something, I might get pretty righteously indignant, but likely would have felt powerless to do something about it, and then moved on to the next thing to be righteously indignant about.

In Tongue in Cheek Theater Productions‘ The Inn at Lake Devine, at age 14, protagonist Natalie is so affronted when her mother receives a letter suggesting, essentially, that there are “no Jews allowed” at the titular inn…well, she finagles a way to get there herself, to see just what’s up with that. That’s the inciting incident for a pretty epic memory play of love, loss, discrimination, and acceptance between three families through the ’60s and ’70s.

Listen in as Jake Lipman, TIC Producing Artistic Director/adaptor of the play/”Natalie” and fellow metaphorical multi-hat-wearer (but literally often sporting a fedora) Associate Producer/Assistant Director/Stage Manager Molly Ballerstein discuss how personal experiences helped to bring TIC to adapting this play, what it’s like to adapt a novel to a play, teaching/practicing space work, the importance of great designers, and what’s next for Tongue in Cheek.

“…there’s that element of my experiencing something [like this] at a similar age to Natalie, and then I just love her chutzpah and her moxie…she has a flair for the dramatic which I really enjoy.”

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Dara Silverman and Ren Dodge of Agile Rascal Traveling Bike Theatre

Agile Rascal Traveling Bike TheatreTouring an independent theatre production can be challenging, but also really rewarding—and really fun.

Maybe you’ve been out on the road with a show; if you have had the pleasure of touring, now imagine you’re doing it on your bicycle. All the props and sets and costumes and your camping gear and your personal living essentials are in your panniers. Everything you need for the show, and for yourself, is on that bike.

For three months.

Sounds like quite an adventure to me. And that’s just what Agile Rascal Traveling Bike Theatre did with their play Sunlight on the Brink. Beginning from their home-base in Oakland, CA, the Rascals finally landed in New York City a couple weeks ago for shows in Manhattan and Brooklyn, and celebrated reaching the Atlantic with a trip to Coney Island.

Though sadly I missed their show, I sat down with Rascals Dara Silverman and Ren Dodge for a coffee and an interview; listen in as we discuss the leap from bicycle touring to bicycle touring with a play, logistics, preparation & adaptation for an epic journey, finding venues across the country, and the kindness of (quirky) strangers who become new friends.

“…there was an intention to write a play where the themes of the play would hypothetically sync up to the themes of the biking as well…so that as we rode across the country, the play would deepen and change based on what we were experiencing…” Continue reading

The Playwright, Director, and Cast of “Poor People”

The Present Theatre Company presents POOR PEOPLE, written by Lavinia Roberts and directed by Irene KapustinaEven being as into independent theatre as I am, I always seem to miss most of Fringe each year.

Thankfully, I was able to get out to The Kraine with a microphone for just one show in this year’s festival, and had the pleasure of talking with some of the creative people behind this heartbreaking theatrical adaptation of Fyodor Dostoyevsky’s novel Poor Folk, here entitled Poor People.

Listen in as the playwright Lavinia Roberts, creator/director Irene Kapustina, and actors Alan Altschuler, Jarrod Zayas, Jennifer Stepanyk, and Eric Doss discuss adaptation, perception, killer mustaches, the difference between “bad guys” and “guys who make terrible choices,” the challenges of putting up a show in a festival, and the relationship between Dostoyevsky’s 1845 St. Petersburg and our 2015 New York City.

“…I really fell in love with Dostoyevsky’s humanist lens, and how perceptive he is about people, and able to really appreciate them for who they are, even when they behave in dubious ways. He has such a beautiful understanding of humanity…it was just such a really exciting world to dive in to…” Continue reading

The Cast and Playwright/Director of “Shakespeare’s Presidential Primary”

Pulse Ensemble Theatre presents Harlem Summer, Shakespeare's Presidential Primary, written and directed by Alexa KellyNo robo-calls.

No obnoxious, omnipresent ads.

No idealistic young campaign workers knocking at your door, interrupting dinner.

Just a good, ol’ fashioned, wholesome (and of course, often antagonistic) debate between some of your favorite Shakespearean characters—Phoebe, Bottom, Malvolio, and Lady Macbeth—as they try to win your vote as candidates in Shakespeare’s Presidential Primary.

On this episode, listen in as the show’s writer/director Alexa Kelly, along with co-conceptualist Brian Richardson (who plays Malvolio), and the rest of the cast of Karim Sekou, Marcia A. Berry, Denise Marie Whalen, Samantha Osborne, Celine Havard, Colleen McGloin, Camille Mazurek, and Michael Gilpin, discuss writing your free summer Shakespeare piece to your convention-hall-like setting, how the audience affects their participatory show, the friendly competition between the candidates/actors, and Chris Christie as an actual ass.

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J. Alphonse Nicholson, Howard L. Craft, and Joseph Megel of “Freight: The Five Incarnations of Abel Green”

Freight: The Five Incarnations of Abel Green, written by Howard L. Craft, directed by Joseph Megel, and featuring J. Alphonse NicholsonPlaywright Howard L. Craft was tasked with creating a 10-minute play based on a work of art from the Ackland Art Museum’s permanent collection, and he chose Slow Down Freight Train, a painting by Rose Piper.

Actor J. Alphonse Nicholson tore into the script with the help of director Joseph Megel—and when it was over, they all wanted more.

So Craft when back to the page, and expanded a short play about a minstrel into an epic of the African American male across the 20th Century in America. That’s all I can really say to describe it: you’ve just got to see it. Seriously, you really should go see this one. It’s powerful, original theatre, and incredibly performed.

And before you go, listen in to this episode of the podcast as Alphonse, Howard, and Joseph discuss finding connections with characters across a century, old souls, chemistry with your collaborators, basketball metaphors for your team, and finding new things with every new incarnation of your production.

“…you live them. You don’t act them. You live them. And this is a piece that allows me to do that. I tell people all the time, ‘I hate acting. But I love living.'”

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