If you happen to be in the neighborhood of Kennebunkport, Maine anytime between now and next Saturday (August 29th), come and check me out in the Arundel Barn Playhouse's production of John Cariani's Almost, Maine. I'm playing multiple roles alongside a terrific cast and crew and the Barn is really a charming space. It's been a whirlwind of a process and it's turned out to be a solid production.
If you're in the Columbia, SC area from now until July 25th, make a point to stop by Trustus Theatre and catch me playing the asshole Brad Majors in Richard O'Brien's The Rocky Horror Show. It's a really fun production of the inexhaustible cult classic. If you love the movie, you'll love the original stage show as well (the play did come first, after all). The cast and crew are all very talented and I promise they won't disappoint. I've heard I'm not bad, either...
Where: Trustus Theatre, 520 Lady Street in the Vista, Columbia, SC When: Now through July 25th. 7:30 PM Wednesday and Thursday, 8 PM Friday and Saturday. Cost: $25
Buy your tickets in advance by calling the theatre at 803-254-9732. They are going fast. For more info, visit trustus.org.
The Super Bowl of theatre came and went last night and except for a hell of a lot of technical difficulties, it went pretty well, mostly due to the job well done by the phenomenal Neil Patrick Harris.
Why next to normal didn't win every award it was nominated for is beyond me, but congratulations to Tom Kitt and Brian Yorkey for their much deserved Best Original Score win and also to the incredible Alice Ripley for her Best Actress in a Musical victory.
The best thing I did in my three week New York experience was go see next to normal at the Booth Theatre on Broadway. It's an excellent new musical and if you're in the Big Apple, you owe it to yourself not to miss this one. It'll probably be tough to get tickets now that it's been nominated for 11 Tonys (should have been 12, condolences to the terrific Aaron Tveit, though I'm sure this is only the beginning for someone as talented as he is). Michael Greif's production of Tom Kitt and Brian Yorkey's original musical is truly phenomenal.
I've heard great things about Billy Elliot as well but I have to climb on my soapbox for next to normal. The Tony Awards are an American theatre award. Billy Elliot already had a successful run in London and won 4 Olivier Awards (the British equivalent to the Tony for those that don't speak thespian). I honestly believe that imports should not be eligible for or at least should be unable to win Tonys or Oliviers. I hate to sound like a nationalist here, but the Tonys should be reserved for new American plays and musicals. It goes both ways; I wouldn't have wanted August: Osage County to win the Olivier for best new play. That honor belongs to a production native to the UK (and this year, Black Watch by GregoryBurke from the Royal Theatre of Scotland won). Unfortunately, Jersey Boys won the Olivier for Best New Musical (guess the Brits aren't cooking up any songs right now) and my guess is that Billy Elliot will rob next to normal of the Best New Musical award (among many others) it so rightfully deserves. It is bold and brilliant and quintessentially American and human. It deserves any and all accolades it receives. One thing is for sure: If Alice Ripley (pictured above, with Tveit and J. Robert Spencer) doesn't win the Tony for her beyond-brave portrayal of Diana, someone up there is perpetrating a fraud.
Apologies for the lengthy hiatus, but I've had a good reason. I'm opening a show in NYC.
If you live in any of the five boroughs and want to see some brand new theatre, come check us out at La MaMa E.T.C. at 2nd Ave and 4th St in the East Village starting tonight through May 10th, Thursdays through Sundays. The show is at 8 PM on Thursday, Friday, and Saturday nights and at 2:30 PM on Sundays.
Check out La MaMa online for more info. Break 'em.
If you live in Chicagoland and you haven't checked out the Edvard Munch exhibit at the Art Institute yet, I highly recommend you do so before it's over. I found it equally fascinating, moving, and disturbing...an excellent educational experience.
Munch was buddies with Swedish playwright August Strindberg (as well as Norway's own master dramatist Henrik Ibsen), which is not surprising when you think of the dark nature of both Munch's and Strindberg's bodies of work. There is even a painting of Strindberg's in the Munch exhibit at the Art Institute!
All of this talk of Strindberg reminded me of a site that my good friend PKone and I got quite a kick out of last February during out NYC sojourn: Strindberg + helium. I implore you to watch all of the misadventures of Strindberg and Helium as they are two parts delight to every one part miseryyyyyyyyyyyyyyy.
Brendan Kiley of Seattle's the Stranger has written an interesting article that makes some valid points about how theatres can help themselves avoid extinction. I'm always up for "state of the union" talks like these and I think more conversation needs to happen on the subject. Times are getting more and more dire and the arts risk being moved from the backseat and being tied up in the trunk of the car.
I posted a personal response on CTCC (Columbia Theatre Community Central [though I think the final 'C' should stand for Collective]) as to how the suggestions in this article can benefit my hometown of Columbia. Here it is.
"Ah yes...this is the stuff I love to talk about...that which interests me most these days.
Great article. A lot of valid points. I'm in agreeance on the Shakespeare situation. I don't think it should be banned, but I think it should have its own little happy land...like Disneyworld. A place where you can always go visit it if you want to, but you can also avoid it at all costs.
Definitely agree on the premiere thing. Seems like Trustus (including NiA et al) and the former Imperfect Theatre company are (were) the only two groups in Columbia doing new work or at least "regional premieres". Workshop occasionally pulls out something that hasn't been done around these parts (a la Urinetown and The Full Monty). This is the only thing that will keep people coming to the theatre and revitalize the audience with new, younger theatregoers. I love Williams, O'Neill, and Miller, (and hope to do some more of their work...soon please!) but that is only going to keep the old veterans in the seats.
Obviously, bringing in a younger audience is something EVERY theatre is currently focusing on (and if you're not...good luck). I think there are MANY ways to do that. Building on the BAR issue...this is something Mr. Harley and I have talked to great lengths about. Don't just give people a place to buy a drink...give them a place to hangout. If only it were possible to have the bar open ALL the time...to have it as an extra business in addendum to the theatre. The Annoyance is a comedy theatre here in Chicago and they have PERFECTED the theatre bar. The bar is open every night, regardless of what's going on (though there is ALWAYS something going on there) and the bar is open throughout the shows...it opens early and stays open late. It's a phenomenal set up and one that certainly adds to their revenue as well as their audience pool. Furthermore, producing sketch or improv comedy on a regular basis (we're talking several nights a week) is a GREAT way to bring in younger people and GREAT source of revenue. Comedy is CHEAP to produce and if you build a following (as Armed Chair at Trustus has done), you can make some serious money off of a small investment. That really adds up.
The Child Care issue is another great point. This is something that is gaining steam here in Chicago. The theatre I was at last night seeing Sarah Ruhl's Eurydice (read it) and where I take classes, Victory Gardens, offers child care for their shows. I really think this would take off in Columbia. Theatres, if you have the space, seriously consider a child care program. The article makes a great point for it, serving as a day care (night care?) service as well as a part of your education program. Simply brilliant. Get on this immediately. There are gains to be had here.
As for the final points...I can't say I encourage dropping out of grad school. I myself am hoping to avoid grad school. I'd rather just make theatre (or whatever), but I'm not ruling it out as a stepping stone on my way to a career. And as far as expecting poverty is concerned, that is simply unacceptable. Financial success is by no means guaranteed in our business, but financial failure should never be an unavoidable reality. I refuse to accept this and so should you. I know the economy is a in a graveyard spiral right now, but there are LOTS of ways to make a living in the arts. I agree that unions hinder us more than help us (its unfortunate but true...and the unions seem unavoidable if you DO want to make a living in the theatre) and changes need to be made there. There is money to be made through the arts (though not much!). Poverty is not necessary.
For further reading, I agree with Steven in seeking out Mike Daisey's writings. He's performing here in Chicago this weekend! He is a great voice in the contemporary theatre landscape and he makes a lot of great points about the direction of the art form. Funny enough, his website currently discusses this same article we are talking about: http://www.mikedaisey.com/
Keep fighting the good fight everybody. If I can help out at all back home, please do not hesitate to let me know. I'm always ready to help my friends."
Furthermore, I saw Eurydice with Daria and Don Hall last night at Victory Gardens and I definitely recommend it. The performances are great and the production value alone is worth the price of admission. Thanks Don!
In honor of the ongoing financial crisis our nation is beset by, I present catharsis through musical theater.I give you the 1967 musical comedy about Wall Street...How Now, Dow Jones.
The best thing to come out of this musical (besides a Tony for Hiram Sherman) is the song Step to the Rear, which was adapted into the University of South Carolina fight song! Go Cocks!
I propose a revival of this Broadway failure due to topical relevance. I smell another Tony.
Brett Easton Ellis' novel-cum-Christian Bale movie is being made into a Broadway musical.
This is clearly theatre that is not to be missed. Unless you have to return some videotapes. Here's hoping Bale gets the nod to reprise the title role. As Gawker notes, we already know he can sing. They also have video of one of the Psycho movie's best scenes. "Do you like Huey Lewis and the News?" More official info is available here. For my favorite Bale vid, see below.
I have to give a shout out to my good friend Jonathan Whitton for all of the amazing work he does. Here he is performing the final number in Hedwig and the Angry Inch (a role I am honored to have played as well).
Check him out at jonwhitton.com. If you're in the New York area and have a chance to catch his award-winning cabaret (or one last concert performance of Hedwig), don't miss it. You will not be disappointed. "Whitton is a winner."
If you happen to be in the neighborhood of Kennebunkport, Maine anytime between now and next Saturday (August 29th), come and check me out in the Arundel Barn Playhouse's production of John Cariani's Almost, Maine. I'm playing multiple roles alongside a terrific cast and crew and the Barn is really a charming space. It's been a whirlwind of a process and it's turned out to be a solid production.
The best thing I did in my three week New York experience was go see next to normal at the Booth Theatre on Broadway. It's an excellent new musical and if you're in the Big Apple, you owe it to yourself not to miss this one. It'll probably be tough to get tickets now that it's been nominated for 11 Tonys (should have been 12, condolences to the terrific Aaron Tveit, though I'm sure this is only the beginning for someone as talented as he is). Michael Greif's production of Tom Kitt and Brian Yorkey's original musical is truly phenomenal.
One thing is for sure: If Alice Ripley (pictured above, with Tveit and J. Robert Spencer) doesn't win the Tony for her beyond-brave portrayal of Diana, someone up there is perpetrating a fraud.
Apologies for the lengthy hiatus, but I've had a good reason. I'm opening a show in NYC.
If you live in Chicagoland and you haven't checked out the Edvard Munch exhibit at the Art Institute yet, I highly recommend you do so before it's over. I found it equally fascinating, moving, and disturbing...an excellent educational experience.
My friends Ben and Gabx have a sketch/long form improv show at the Annoyance Theatre starting up very soon!
In honor of the ongoing financial crisis our nation is beset by, I present catharsis through musical theater. I give you the 1967 musical comedy about Wall Street...How Now, Dow Jones.
Brett Easton Ellis' novel-cum-Christian Bale movie is being made into a Broadway musical.
