William Steinberger, Marisa Brau, Andreas Damm, Michael Calciano, and Melissa Cesarano of “Gregor”

InVersion Theatre Company presents Gregor, freely adapted from Kafka's The Metamorphosis, directed by William SteinbergerWe’ve all felt like an outsider at some point. But imagine how much more divorced from the world you’d feel if you woke up one day to discover you’ve turned into an insect.

That is, of course, the premise of Franz Kafka’s century-old absurd novella on alienation, The Metamorphosis. For GregorInVersion Theatre‘s stage adaptation of the story, the company adds theatrical movement and storytelling to give it a contemporary spin.

Plus, they add inter-dimensional actor-bureaucrats to tell us the story. And it totally works.

Listen in as director William Steinberger, along with the full cast, Marisa Brau, Andreas Damm, Michael Calciano, and Melissa Cesarano, discuss hearing Bond villains in your head, the inability to speak linearly, what happens when you lose language, and Kafka’s character of Gregor as a “proto-millennial.”

“…there’s this really fascinating triad: there’s Kafka who wrote it, there’s the speaker of The Metamorphosis, and then there’s Gregor…and I felt as though the novella was incredibly ripe for theatrical adaptation, because…a good way to [recreate that triad] was through breaking the fourth wall…I thought theatre could do it really well.”

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Cave Theatre Company’s “Gruesome Playground Injuries”

Cave Theatre Company presents Rajiv Joseph's GRUESOME PLAYGROUND INJURIESLove hurts.

In Rajiv Joseph’s Gruesome Playground Injuries, it hurts a whole lot. Like face-split-open, teeth-knocked-out, razor-blade-cut, horrible-fireworks-accident maims. And the scars it leaves aren’t only on the bodies of protagonists Doug & Kayleen.

Cave Theatre Company, rounding out their first year of productions, is staging Joseph’s dark relationship dramedy at Under St. Mark’s as part of their residency with Frigid New York; listen in as director James Masciovecchio, actors Kiley Caughey and Alex Etling, and their fellow Cave crew, co-producers Josh Triplett and Cassie Wood, discuss getting rights to your favorite play in a nail-biting photo-finish, inspiration from podcasts (really!), leaning into theatricality, making bad Tinder dating stories into theatre, and why you should just get your friends together and make something.

…we want to see real stories on stage. We want to see honest stories, and try not to sugar-coat things, and try not to show things for what they aren’t…

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Katie Palmer and Paul Bedard of “The Debates”

Theater in Asylum presents The DebatesTheater = Politics = Theater = Politics

If you’ve seen that equation on a t-shirt around the independent theatre world in NYC of late, then you’ve seen someone who’s worked on or seen Theater in Asylum‘s ever-changing The Debates.

It’s the perfect slogan for a project theatricalizing the Democratic Presidential Primary debates, with the intent to bring theatre people to the political process, and political people into the theater—and it sounds like the project is doing its intended work.

GSAS! sat down with the show’s director, Paul Bedard, and choreographer, Katie Palmer, to discuss how they trained their team, how to balance a scene, how to handle material that’s moving so quickly, why they’re focusing on only the Democratic Party, the actual differences between Hillary and Bernie (and how to present them fairly), and “who am I, who are you, who are we.”

I think one of the reasons people stay out is that it seems like such a big thing, that if, “I’m not in it already, it’s just too much to learn, and I don’t want to get involved.” And I think people stay away from theaters for the same reason…”I couldn’t possibly understand what’s happening in this theater”…and I think we’ve tried to take the fear and the elitism out of both of those avenues, saying that, “you can engage in both things, here’s some helpful tools…”

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

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!”

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

Patricia Lynn, Annie Branson, and Lauren Lubow of “Fen”

Red Garnet Theater Company presents Caryl Churchill's FEN, directed by Patricia Lynn

“…it’s become about women, and the role that we play in what we want, and what we do to go after it. What do we feel that we’re entitled to, what are our aspirations, and what are the obstacles getting in our way?”

Caryl Churchill’s Fen follows the lives/stories/desires of several women working in the drained marshland of Fenland, England—and for the artists at Red Garnet Theater Company, it’s about that quote above, an exploration that continues now in 2016, despite the play being written over 30 years ago.

GSAS! corespondent Tara Gadomski takes you underground at IATI Theater’s Black Box for a conversation with director Patricia Lynn, associate producer/actor Annie Branson, and Red Garnet Artistic Director Lauren Lubow; listen in as they discuss why Fen now, finding performance opportunities for your company members, how to get the rights to a play by a notable living playwright, UK pop references of the ’80s, getting creative to prop your show, and why it’s so important to just be cool when you’re in this industry.

“…the imbalance that you have between men and women in this industry is huge. And I think there are so many women out there that have so much to say, and we haven’t heard it. And I think that the idea of light, which I found so fitting that Patty found that theme throughout this play, is, where can we shine the light, and what can we uncover and unearth..?”

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Margi Sharp Douglas, Rachel Murdy, Peter Szep, Joan Jubett, and Cynthia Croot of “The Millay Sisters”

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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Adam Scott Mazer and Philip Gates of “The Tower”

AntiMatter Collective presents The Tower, written by Adam Scott Mazer, directed by Philip GatesWhat does it take to survive?

In AntiMatter Collective‘s show The Tower, that question, in the context of the winter in the mountains for the Donner Party in 1846-47, becomes an allegory for American individualism & imperialism. And it’s done through an immersive staging, complete with a guide, edibles, gore, and dance numbers.

It’s quite a trip, if you’ll pardon the pun.

Listen in as producer/playwright Adam Scott Mazer and producer/director Philip Gates discuss accepting offers from the performers, making assumptions, psychedelic breaks in your play, and how knowing where you’re headed can help you build your show.

“It’s like the dark side of the American Dream…what is the sacrifice that America is making, to be America?”

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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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