A few weeks ago, I  asked composer Matt Conner and director Evan Hoffmann to discuss the Kensington production:  

 

Matt Conner, Composer of Nevermore:

(1) What was your reaction when Evan Hoffmann asked you if he could direct a new production of Nevermore?

I was very honored.  He asked me about it about the same month Nevermore had been released to the public so ironically I thought how wonderful for the first production, outside of the Signature production, to be right here locally in Kensington.

(2) Why choose Kensington Arts Theatre as the venue? Have you seen any shows here or performed at KAT?  

I have not seen a production at KAT but that will change in just a couple of weeks.

(3) Can you tell our readers how you came to write Nevermore, and talk about the Signature production?

Nevermore started with the purchase of a 5 dollar bargain book at Borders that became a complete obsession.  After a tragic house fire and 18 poems later (all set to music), Nevermore was born.  Eric Schaeffer heard some of the music and a general outline for the show and decided to do a workshop of the piece.  I am very proud of the Signature piece and the names attached to it.

(4) Now that you had time to reflect, are there things you’d like to and will change for the new KAT production?  

I think there are always things that artists would like to change.  It’s what drives us to continue to be our best and perfect our craft.  But an artist also learns to let go and as of now there will be no changes to the script or score.

(5) What will be your role with the KAT production?

I have offered my assistance to Evan that he may use at any capacity.  I would love to help KAT if needed, but I also don’t want to hinder another director’s vision or interpretation of the piece.

(6) Any other feelings you’d like to share with our readers?

I’m just looking forward to another production and hope the audience enjoys the show.  See you there!!

 

Evan Hoffmann, Director of KAT’s Nevermore:

(1) What’s it like to be the director and the lead in Nevermore?  How will you pull it off?

It is certainly not an easy feat nor one that I would have necessarily chosen for myself.  My playing Edgar is the result of extenuating circumstances taking our original actor out of the show and then time constraints and the demands of the role hampering our ability to seek an outside replacement.

Consequently, I will have additional help on the directing side by bringing in other directors whom I have worked with and trust to offer consultation and guidance to the show while I am busy onstage.

As far as its overall affect on the show…in a way it is somewhat fitting.  Everything in Nevermore is seen through the “minds-eye” of Edgar and is in large part a metaphor for the struggle of the Artist to create.  In a way…the message and purpose of the show is driven to an even finer point through my efforts to simultaneously lead the journey as Director and take the journey as Edgar.

(2) Tell us about why you wanted to direct another production of Nevermore which premiered at Signature last year.

The origins of this production are fairly interesting.  Kensington was previously slated to produce another show in this time slot, however, that production fell through.  Craig Pettinati, the Artistic Director of Kensington Arts Theatre, approached me to see if I would be interested in directing a replacement show.  Based on KAT’s reputation for doing more cutting-edge shows than many of the other local community theatres I was very eager.

At the time, I was performing in My Fair Lady at Signature Theatre with Matt Conner, the composer of Nevermore  and had been a great fan of the original production.  One day while considering shows to propose to Craig, I turned to Matt in the dressing room and asked him if he would be willing to let me do a new staging of Nevermore.  Matt approved and the ball started to role!!

The “why” is fairly simple…it’s exciting to work on fresh material.  Although I had the greatest appreciation for the Signature production, there are always aspects of any show that a director would approach differently and to be one of the first directors to do so is both interesting and immensely gratifying.

(3) What was composer Matt Conner’s reaction when you told him that you wanted to mount another production of the show at Kensington Arts Theatre?

Matt has been very supportive the entire time. Both he and everyone at Signature have offered continual enthusiasm and energy for the prospect of seeing a project they created take on a life of its own. 

Matt will be a part of the rehearsal process and offer feedback on the production prior to opening.  In fact, with Matt’s permission, one song removed from the Signature production has been added back into the show.

(4) Why did you choose Kensington Arts Theatre? Have you appeared in any of their productions?

Prior to Nevermore I had never worked with KAT personally.  My connection came from having many theatrical colleagues who have worked with them and attending some of their previous shows.

(5) Can you tell us about the cast, and the audition process? When will rehearsals begin and how long will they last?

Casting was very exciting.  We held auditions in mid January and began rehearsals almost immediately after. The cast consists of one male (myself) and six women.  I can’t really vouch for myself, but the women in this production are spectacular!!  The roles are written beautifully for the women, but these actresses attack them and connect to them with such incredible intensity, I am continually amazed.  They are dealing with such passionate emotions and relationships and bringing warmth and truth to each and every one of them.

We rehearse 3-5 times a week, on weeknights and weekends and the show will open on March 9th and run for 4 weekends.

(6) How will this production be similar and different from what we saw at Signature?

The script for our production will be identical to the one used by Signature.  Without the benefit of having Grace Barnes, the playwright, there for rehearsals, we cannot (and would not) presume to edit or change her work. 

However, there will be some major differences:

As I mentioned earlier, Matt has given permission to re-insert one cut song back into the show. 

I have made some choices in the casting that are significantly different from the original production.  I have split one role, that was played by Jacqueline Piro in the Signature production, into two roles (again, without script changes).  I have also chosen to cast the role of Edgar’s mother as a younger women rather than older (as it was portrayed by Florence Lacey previously).

Other than that, differences will be largely cosmetic.  I have in no way tried to copy or emulate the visual aesthetic of the Signature production, but create our own world for Edgar Allan Poe.

To hear some of the music from Nevermore, click here:

For tickets,  visit the KAT website

BE IRONIC FOR A GREAT CAUSE!

Hexagon is sponsoring a benefit for the Ronald McDonald House at The Duke Ellington School of The Arts called Strike While The Irony Is Hot, from

March 2ND -21st. For more than 50 years, Hexagon has been performing original music reviews in the DC area. They write their own material. Hexagon has raised over $3 million which has been donated to over 40 organizations in the area. The membership consists of volunteers who comprise the cast, orchestra, backstage and technical crew, the production team and the ushers.

How about joining me in supporting this worthy cause? For tickets, click here.

  

 THEY SHOULD’VE …..

OK. Have we all let it out yet? I know there were a lot of people who were disappointed that there were some performances left out of the Helen Hayes nominations, and I was one of them. But, life goes on and I want to congratulate all of you who were nominated and I wish you well at the Helen Hayes Awards ceremony on Monday, April 16th at the Warner Theatre. So here’s my list of should’ves and I just want to thank these performers for enriching my life with your fantastic performances:

– To Susan Lynskey in Goldfish Bowl. Sweetness and innocence graced your performance. I’ll never forget it.

– To Felicia Curry in Two Queens, One Castle, for the power of your voice and heartbreaking and very assertive performance.

– To Max Talisman in Caroline, or Change, for your beautiful voice and calm stage presence in a very difficult role. You did good kid!

– To Harriet Harris in Mame. Thanks for all the laughs, Vera.

– To Daniel Conway in Nevermore. I loved your wonderful rendition of ‘To My Mother’,and still hear it playing in my mind.

– To Scott Fortier for your twisted and heartbreaking performance in The Elephant Man.

– And to Kate Debelack for your touching and phenomenal performance in Fat Pig.

 Bravo to you and to all the Helen Hayes Award nominees!

Pages: 1 2 3