Category Archives: Artistic Directors

James Rutherford and Elliot B. Quick, adaptors & directors of “The Importance of Being Ernest Hemingway”

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M-34 presents "The Importance of Being Ernest Hemingway" at The Access TheaterTo drastically, drastically oversimplify his play—this what happens when an easy pun is chased down to the point where it becomes a complex theatrical statement.

If they all turn out like this, a strong case can be made that we should all chase such simple puns more often.

Listen in as the adaptors/directors of The Importance of Being Ernest Hemingway, James Rutherford and Elliot B. Quick, discuss the complexity of Oscar Wilde’s puns, what it really means to be earnest, and how even when things work out just perfectly, there can still be hurt & pain.

“It did actually start from a pun — and then we started working on it, and were really shocked and appalled that it was really fruitful territory, and that these two writers actually have a great deal to say to one another…”

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Nora McNally, Ben Diserens, Rachel B. Joyce, Sean Patrick Monahan, & Patrick Dooley of “Beckett in Benghazi”

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Less Than Rent presents "Beckett in Benghazi" by Ben DiserensBeing drawn to the classics, Less Than Rent has taken to integrating the work of the masters into their creations; as associate producer Sean Patrick Monahan notes in this interview, it’s like how painters try to imitate the iconic works of their predecessors to understand the process. By digging in and trying to understand what came before, we can come to appreciate the genius that preceded our work — and, possibly, see where it fits into our current cultural landscape.

In the company’s new show, Beckett in Benghazi, a young troupe of actors about to stage Samuel Beckett’s Endgame changes the show’s concept just days before opening in an attempt to integrate — or, perhaps, capitalize on — the major news of the day: the attack on the U.S. diplomatic mission in Benghazi, Libya.

Sean is joined on the mic by LTR’s Executive Director Nora McNally, Beckett in Benghazi‘s playwright Ben Diserens, and actors from the show Rachel B. Joyce and Patrick Dooley — listen in as they discuss world events becoming buzz-words, asking questions, and the cyclical nature of life, Beckett, and this play — as well as what sort of work a play can do.

“‘I can’t go on, I’ll go on.’ Exactly.”

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Liz Davito, Lucy Smith, Eamonn Farrell, & Jessica Weinstein of “I Land”

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Anonymous Ensemble present "I Land," part of the Ice Factory festival 2013The Ice Factory festival of new works at The New Ohio comes to a close with Anonymous Ensemble‘s I Land, and while all the works have been creative & adventurous, this, in my humble opinion, might be the most innovative.

Because when you sit in this show, you’re co-creating the show with Anonymous. Despite their name, you, as an audience member, are not anonymous in this production; you help to write it, in a very real way. I’ll stop there, I don’t want to give too much away…but I think it helps to know at least that much about the show before listening to this episode.

On the mic are the performers: Liz Davito, Lucy Smith, Eamonn Farrell, and Jessica Weinstein. I’m going to let them carry this episode from here. To say any more here would take away from the experience you get when you walk into a performance of I Land, and I certainly wouldn’t want to do that.

Listen in as Liz, Lucy, Jessica & Eamonn discuss extraordinary stories, the fine line between “playing with” and “mocking,” theatre as an event, and what happens when the last element you add to your show is a script.

“I felt like I existed. And it was so fantastic.”

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Sanaz Ghajarrahimi, Ben Hobbs, and Vincent Van Santvoord of “Red Wednesday”

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Built for Collapse 1-Red Wednesday-pThe Ice Factory festival continues, and Go See a Show! continues to follow the new work showcased at The New Ohio with this week’s production, Red Wednesday, by the Brooklyn collective Built for Collapse.

The Artistic Directors of Built for Collapse — Sanaz Ghajarrahimi, who directed the show, Ben Hobbs, who choreographed, and Vincent Van Santvoord, who is acting in the show — joined me after the first public presentation of Red Wednesday, which is still in development. Described by Sanaz as a “multimedia ballad about revolution, past, present, and future,” Red Wednesday grew from Sanaz’s personal connection to the overthrow of the Iranian shah in the 1970s, and starts to dig into the connections between family and politics, and past and present history.

Listen in as Sanaz, Vincent, and Ben discuss searching for structure, revolution & theatre’s role in it, creating movement from images, and personalizing politics by mixing world history with being a 20-something in 2013.

“A political family drama about the politics of family.”

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

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"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 →

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Justin Plowman, Nicole Lee Aiossa, and Amy Overman of “Final Defenders”

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Dysfunctional Theatre Company presents "Final Defenders"I love returning guests. The conversation can be nice and free and candid, and it’s just plain fun — but then again, all of my experiences with the good folks at Dysfunctional Theatre Company have been fun. Maybe it just gets fun-ner?

That’s not a word.

Either way, welcome, Justin Plowman & Amy Overman, back to the podcast — and welcome Nicole Lee Aiossa for the first time. Nicole & Justin co-directed, and Nicole & Amy co-star in this new play by Patrick Storck (writer of the Brew of the Dead plays, featured on one of the earliest GSAS! episodes with Amy & Justin), about a team of time-traveling game-masters who battle an evil interstellar queen, playing now as part of The Brick Theater‘s Game Play Festival.

Listen in as Justin, Nicole, and Amy discuss Google Doc dramaturgy, 1980s montage-style dance-breaks, letting the audience in on the joke, and the cup-and-ball.

“You don’t know who Karnov is? Fire-breathing communist from 1980? Ok. All right. That’s fine.”

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Dysfunctional Theatre Company presents

Final Defenders

by Patrick Storck
directed by Nicole Lee Aiossa & Justin Plowman

part of Game Play, at The Brick
thru July 26, 2013

tickets & showtimes available via OvationTix

Dysfunctional Theatre Company presents "Final Defenders," photo by Flaviu NasarimbaDysfunctional Theatre Company presents "Final Defenders," photo by Flaviu NasarimbaDysfunctional Theatre Company presents "Final Defenders," photo by Justin Plowman

photos 1 & 2 by Flaviu Nasarimba; final image by Justin Plowman

Rachel Dart & Jenna Panther, directors of “There’s a Light on Yonder Mountain”

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Ever wanted to create a brand-new piece of theatre, from the ground up? This is a good episode of the podcast for you.

aMios and Horse Trade present "There's a Light on Yonder Mountain"aMios has always embraced new work — their Shotz series is responsible for creating six brand new plays every month (!), and their past “longer-form” work has all consisted of brand-new plays from artists in the aMios circle of collaborators. Check out a great interview about Shotz on Episode 13.

For their latest full-length, There’s a Light on Yonder Mountain, the company wanted to bring in the creative energies of many of the wonderful people they’ve worked with since their inception in 2009. So instead of asking just one playwright to write a script, they asked five (one acted as a “literary manager”). And naturally, instead of one director, they got two.

Which led me, as a director myself, to ask the first question of this interview: how?!?!?

Listen in as those directors, Rachel Dart & Jenna Panther, discuss not only how they worked together as a team, but a whole lot more, including creating an ensemble-driven devised piece, tension, desert-island people, and the only resource you can’t get more of: time.

#whoisSteve? Continue reading →

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Lawrence Lesher, director, and Todd Michael, playwright, of “Vice Girl Confidential”

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Grayce Productions presents "Vice Girl Confidential," by Todd Michael, directed by Lawrence LesherA powerful crime boss. A crusading District Attorney. A tough-as-nails madame. The corruption of a small-town girl. Stool pigeons. Vice. Drag. Dames.

With a play entitled Vice Girl Confidential, you should expect these elements.

Gracye Productions gives you the goods with the re-mounting of their Fringe Festival hit, now directed by Lawrence Lesher, with a revised script by Todd Michael (who also plays the aforementioned madame, Stella Fontaine).

Listen in as Lawrence & Todd discuss the importance of timing in physical humour, how Vice Girl Confidential changed over time, and the fun challenge of hiding the risque elements of a play (in a world where sex & violence are usually out in front). Continue reading →

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William S. Yellow Robe, Jr., playwright, and Ryan Victor Pierce, actor/producer, of “Wood Bones”

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The Eagle Project presents "Wood Bones" by William S. Yellow Robe, Jr.

When I asked playwright William S. Yellow Robe, Jr. to describe what his new play is about, as you’ll hear at the start of this episode, he responded that it’s about the spirit of the land, that the earth (and structures, like the “wood bones” that give the play it’s title) has spiritual energy created by what happens to the land.

Told through a series of flashbacks throughout the 20th century in and around the house with the street address of 121, Wood Bones tells the stories that give the house its spiritual energy, and gives that energy a physical presence (literally — the spirit of the house is a character onstage).

Listen in as William, along with Eagle Project founder & Artistic Director (and actor in the show) Ryan Victor Pierce, discuss making theatre inclusive, the spiritual energy of the land, and accepting that you don’t know — but you have the opportunity to learn.

“Everything is alive.”

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August Schulenburg, playwright, and Kelly O’Donnell, director, of “Honey Fist”

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Flux Theatre Ensemble presents "Honey Fist"I love seeing people I recognize onstage.

And though I’m not from Marble Head, outside of Boston (pronounced “Mahble Head, outside of Bahston”), playwright August Schulenburg has written some beautifully complex, and very familiar, characters in his funny, tragic, compelling new play, Honey Fist.

Listen in as Gus and director Kelly O’Donnell discuss where Gus’s “most autobiographical play” (that’s not autobiographical) came from, the late-night last-minute carving of bongs, and why Honey Fist is running in rep with Sans Merci (hear the Sans Merci podcast here — and, listen to Gus & Kelly’s first outing on the podcast, about Adam Szymkowicz’s play Hearts Like Fists, here).

“Wha, you think you’re bettah than me?”

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