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

Posted on July 25, 2013 by robby

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 Nasarimba

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

Catya McMullen, Kate Middleton, and Scott Klopfenstein of “Rubber Ducks and Sunsets”

Posted on July 23, 2013 by robby

Regular listeners might have noticed that Go See a Show! was on a short hiatus until a couple weeks ago, as I was out playing trumpet & more in a regional show.

And as a trumpet player, and rock music nerd, I was stoked to see that Scott Klopfenstein, former trumpet player for Reel Big Fish, was composing original music for Ground UP Productions’ Rubber Ducks and Sunsets, running now at The Gene Frankel Theater. So naturally (or selfishly, rather) I had to check this show out, if only to geek out about my love of this guy’s old band.

Turns out I got to catch a great show, too.

Thankfully, I don’t think I gushed to the point of embarrassment—and it turns out the compositions figured prominently into the show, and helped guide the narrative in a beautiful way.

But the show’s a lot more than some nice music, as you can feel (and hear) in my interview with Scott, along with playwright Catya McMullen and director Kate Middleton.

You’ll hear lots of references to “concerts” and a “lullaby,” and while it might sound really cryptic if you haven’t seen the show, I don’t think I’m giving too much away to say that, yes, there is indeed a lullaby written by one of the characters, and concerts seen throughout the show—and both are lovely inventions discovered through the collaboration of the Ground UP artists.

Listen in as Catya, Kate, and Scott discuss leaving space in your script for other artists to fill, giving yourself a title as a way to make it true, why you’d throw out 92% of a script, and the magic of theatre, deadlines, and Vermont.

“A play about people that had grown up too fast…but also had incredible light…and also were really smart but unaware of the level of their emotional incapacity their journey through the grief together…about the way that friends become family…

“With jokes.”

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Aimee Todoroff, director of “Brecht in the Park”

Posted on July 18, 2013 by robby

Birds chirping. Children playing. Sun. Grass. Epic theatre?

Yep.

In case you’ve never listened to the podcast (or met me), I love Brecht’s work. And I love performances that are out in the open, and free to the public.

In my humble opinion, today’s guest, director Aimee Todoroff, is right—Brecht is indeed perfect for being done outside. Free & open to the public.

…and no purchased seats posing as “subscriber tickets,” taking seats away from the actual “public” (yes, I’m looking at you, oh-other-producer-of-plays-in-Central-Park).

For their first ever Brecht in the Park performance, Elephant Run District presents three of the master’s short plays—The Elephant Calf, In Search of Justice, and The Exception and the Rule—all of which have very strong connections to our current state of affairs.

Listen in as Aimee talks about her inspiration—text-wise & space-wise—for bringing Brecht to Central Park, what’s next for Elephant Run District, and how these plays written in Weimar-era Germany are eerily resonant with New York, NY, USA in 2013.

“How can we put the audience’s experience first, and make them have an experience that they’re going to talk about for the rest of the day?”

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

Posted on June 4, 2013 by robby

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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Neilson R. Jones, Lucy Breyer, and Vivian Hwang of Confetti Stage’s “The Lesson”

Posted on May 30, 2013 by robby

…and now for something a little different.

Summer’s coming on, and that generally means two things for off-off-Broadways theatre: breaks for some, and festivals for everyone else.

Your humble producer is taking a third path, and will be out on a regional theatre gig for five weeks. But never fear: Go See a Show! continues during my hiatus from the city, with a few episodes deviating from the podcast’s usual “here’s an off-off-Broadway show that’s happening, and an interview with the people behind said show” format. Here’s the first!

Confetti Stage presents Eugene Ionesco's "The Lesson" While we here in NYC might think of ourselves as the center of the theatre universe, there’s lots of great stuff happening outside of the five boroughs. When it’s not being done in a small house within the city limits, the kind of theatre that gets labelled “off-off-Broadway” here is often called “community theatre,” which all-too-often has negative connotations. An excellent example of why “community theatre” does not have to be deadly (in the Peter Brook sense) can be found just a short train ride from our fair city, in the state capital of Albany, with Confetti Stage.

Last year, Confetti produced one of Eugene Ionesco’s short plays, The Lesson, and on the merits of said production, Confetti has brought The Lesson to several festivals already, and are about to take the show to compete in the American Association of Community Theatre national conference. I spoke to the cast of Neilson R. Jones (also the director, and founder of Confetti), Lucy Breyer, and Vivian Hwang via Skype as they’re in the final days of their fundraising campaign to bring the show out to Indiana (help ’em out via IndieGoGo!).

Listen in as Neil, Lucy & Vivian discuss why they’re doing Ionesco’s 63-year-old play now, why Confetti’s tagline is “theatre without limits,” and what it’s like to live with a play for a year and bring it to festival competitions.

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

Posted on May 15, 2013 by robby

Grayce Productions presents "Vice Girl Confidential," by Todd Michael, directed by Lawrence Lesher A 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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August Schulenburg, playwright, and Kelly O’Donnell, director, of “Honey Fist”

Posted on May 14, 2013 by robby

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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Ming Peiffer, playwright, and Kat Yen, director, of “Advance Guard”

Posted on May 13, 2013 by robby

Spookfish Theatre Company presents "Advance Guard" The term “avant-garde” gets thrown around a lot, but as you’ll hear playwright Ming Peiffer recount in this episode, it started as a military term before it was used to describe the artists changing forms, and pushing art forward.

And as you’ll hear director Kat Yen discuss, the co-Artistic Directors of Spookfish Theatre Company felt that the plays they’ve been seeing of late aren’t original, or pushing theatre forward.

That frustration is where the play, and the central conflict of, Advance Guard comes from.

Listen in as Ming & Kat discuss rebelling against post-impressionism & what other people want to see, the madness leading up to opening night, and why be an artist.

“What the hell are we doing here?”

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Jeremy J. Kamps, playwright, Danny Sharron, director, and Lillian Rodriguez, actress, of “What It Means to Disappear Here”

Posted on May 8, 2013 by robby

Ugly Rhino's "What It Means to Disappear Here" For the second episode in a row, GSAS! heads to the nation of Colombia (via the magic of theatre, of course), this time with Ugly Rhino’s What It Means to Disappear Here.

Initially set in a café in Cartagena (where the audience sits, along with the actors), What It Means… is the story of Yulieth, a young Colombian woman who is meeting Mitch for the first time — the norteamericano man who wants to buy her as his wife. Through a series of flashbacks-and-forwards, along with some brilliant use of radio broadcasts, the audience follow the paths that brought Yulieth & Mitch to that initial meeting, and its aftermath.

Listen in as playwright Jeremy J. Kamps, director Danny Sharron, and actress Lillian Rodriguez discuss eavesdropping on a marriage deal and writing a play about it, focusing on the human story, and what makes somebody care.

“What is the role of theatre…in a drama bringing forth political issues…what is our role in the off-off-Broadway world, bringing a play like this?”

“To me, it is the role.”

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Johnna Adams, playwright, and Heather Cohn, director, of “Sans Merci”

Posted on May 2, 2013 by robby

Flux Theatre Ensemble presents "Sans Merci," by Johnna Adams, directed by Heather Cohn

When the mother of your lover shows up unannounced on your doorstep, it’s kind of shocking.

When she’s looking for answers about her daughter’s final days, which she shared with you, the shock is much more dramatic.

That’s the situation in which the characters in Johnna Adams‘s Sans Merci find themselves. Directed in its world premiere by Heather Cohn and produced by Flux Theatre Ensemble (in rep with another new play, Honey Fist — watch for a GSAS! podcast on that one soon), Sans Merci is a play about poetry, activism, and, as Flux asks, “who owns the stories of the dead?”

Listen in as Johnna and Heather discuss grief, haunting, activism, and theatre that can make everybody feel something.

“A lot of chocolate, and a lot of kleenex.”

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Go See a Show!

The off-off-Broadway podcast

Category Archives: Directors

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

Catya McMullen, Kate Middleton, and Scott Klopfenstein of “Rubber Ducks and Sunsets”

Aimee Todoroff, director of “Brecht in the Park”

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

Neilson R. Jones, Lucy Breyer, and Vivian Hwang of Confetti Stage’s “The Lesson”

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

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

Ming Peiffer, playwright, and Kat Yen, director, of “Advance Guard”

Jeremy J. Kamps, playwright, Danny Sharron, director, and Lillian Rodriguez, actress, of “What It Means to Disappear Here”

Johnna Adams, playwright, and Heather Cohn, director, of “Sans Merci”