Featured in this segment are: Mary Beth Peil, Salma Qarnain, Reggie Ray, Lawrence Redmond, Kelli Sawyer, Serge Seiden, Sekou (tha Misfit), Shirley Serotsky, Howard Shalwitz, J. Fred Shiffman, Bobby Smith, Andrew Sonntag, Alexander Strain, Eddie Sugarman, Regina Marie Williams, Dana Yeaton, Christopher Youstra
- Mary Beth Peil, Outstanding Lead Actress
- Katherine in 33 Variations, Arena Stage
The Character
Katherine is a smart academic super star in her field of Classical Music. A single mother concerned about her daughter’s future, and obsessed with finishing her book before ALS ends her life.
Connecting
I am a trained classical musician with a previous career in Opera/Concert and a love of Beethoven. I love my daughter and sometimes worry about her future.
Surprise
When Moises asked me to find a way to use the MISSA SOLEMNIS in the play I thought he was crazy and that it would be impossible. But when I found a part in this difficult work that I thought we could all learn and sing…he did find a surprising and amazing way to integrate it into the piece.
Favorite Moment
Ironically “33 VARIATIONS” is a composite of many “moments”. The rehearsal process consisted of the cast presenting Moises with “moments” (a kind of improvisation on existing and non-existing text) which he then molded into the play. So one could say that the entire play consists of “favorite moments”. My own personal ones were watching and hearing the deaf Beethoven “writing” the Fugue and the previously described MISSA SOLEMNIS moment.
Favorite Performance
Jenna Russell and Daniel Evans in the Broadway revival of SUNDAY IN THE PARK WITH GEORGE … they bring to their roles such honesty, humanity and grace. and Eve Best in THE HOMECOMING a lesson in simplicity, stillness, trust.
Next
Finishing the run of SUNDAY IN THE PARK WITH GEORGE ( I play George’s mother) and then? Who knows?..
- Salma Qarnain, Outstanding Supporting Actress
- Lady Macduff in Macbeth, Synetic Theater
The Character
I played Lady Macduff. Archetypally, she represents goodness that is slaughtered by Macbeth and Lady Macbeth’s lust for power. Ultimately, she is a wife and mother who will protect her family at all costs.
Connecting
Shakespeare makes connecting with the characters easy, since every character is bold and emotionally charged in one way or another. Lady Macduff is no different and is no wallflower. My own husband frequently travels, so I could relate to her frustration with Macduff’s leaving her behind. Also, the loss that Macduff suffers when Lady Macduff is killed (and in our version, when she and her children’s spirits are ascending) is also something I have definitely felt and could visualize.
Silent Shakespeare is very different from what I have done in the past. When working without words, your objectives and subtext have to be extremely clear and strong in order for the emotions to carry. Synetic’s rehearsal process is known to be grueling, but it is fantastic for an actor, because you can improvise many different versions of the objectives and the scenes and then select the strongest choices. Interplay is also extremely important when you cannot rely on words, so I relied heavily upon stimulus from my scene partners to further strengthen my choices.
Surprise
By the last week of the run, both the actors and the set had taken a real beating, and one of them was surely going to give. As it turned out, during the last fight sequence, one of the trap doors collapsed. It did its best to try and take out the actors as well (Ben Cunis, Irakli Kavsadze, and Philip Fletcher). Thankfully, Ben pulled Irakli out of the gaping hole, and Philip was not under the stage!
Favorite moment
The whole play was action-packed and so much fun to perform. But, I have to say that my favorite moment was one of the most still: the final scene between Macduff and Lady Macduff, occurring after the death of my character, was very tragic and emotional.
Favorite performances
Anyone who knows me won’t be shocked that I found Charles Ross’ “One-Man Star Wars Trilogy” at Woolly to be the show of the year! Absolutely hysterical for a die-hard fan like myself.
Also, I loved performing at the Capital Fringe Festival as well as watching some wonderful work. My favorite performance was that of my amazing sister, Zehra Fazal, in “My Friend Hitler.” She absolutely blew me away with her one-woman show based on a Japanese novel and is now planning on touring it across the country. Of course, the entire “Macbeth” cast, especially Irina Tsikurishvili, Philip Fletcher, and Irakli Kavsadze, all gave brilliant performances. Finally, I really loved Kate Eastwood Norris’ portrayal of two distinctly different characters in “She Stoops to Comedy,” and Meghan Grady’s performance in Theater J’s “Speed the Plow” was effortless.
Next
I just closed Synetic’s “Romeo and Juliet” and will be beginning rehearsals shortly for Synetic’s “Carmen” at the Kennedy Center. I enjoy working with Synetic because the quality of the production, from concept to artistic and technical aspects, is simply amazing. I am extremely grateful to have worked with people who not only have vision but can execute. Paata and Irina Tsikurishvili are truly special and magnificent artists.
And then after that… maybe my own version of “Star Wars”… I’d love to do science fiction!
- Reggie Ray, Outstanding Costume Design
- Souvenir, A Fantasia on the Life of Florence Foster Jenkins, Studio Theatre
Why this play?
As a young person, in this often brutally persistent world, I have been confronted with environments that are not always conducive to one’s self-development, growth as a stellar individual within diverse societal boundaries, and just plain negativity, which often raises its ugly head. I have recognized that these issues often serve as a deterrent and sometimes obstacles that seem to pull the life force out of the souls of mankind and presents themselves as the sole reason to succumb to failure. The incredible life and experiences of Ms. Florence Foster Jenkins banishes all existing thoughts and any sense of defeat hurled in one’s path. Her tenacious hunger for planning to succeed beyond the expectations of others summoned a fierceness that proved to surpass heightened goals at record breaking moments. Ms. Foster Jenkins had the skill and remarkable sense of creativity to move forward with tunnel vision and accomplish her ultimate dreams despite the aggression of hopelessness.
Greatest challenge
The most challenging moment of this project was to create (believably) the illusion of a lengthy Carnegie Hall debut in about 10 minutes, with a cornucopia of costumes and hair styles that represented the tour of nations which existed in Ms. Foster Jenkins’ vision. This vision culminated into a tour de force of fanatically organized chaos!
Your best contribution
Ultimately the best choice of events that became the spring board to recreating the image and spirit of this remarkable cult legend was to travel to New York and attend the premiere of a viewing of Florence Foster Jenkins: A World of Her Own. This remarkable footage of selected memories by the director and fan Donald Collup was indeed a rare glimpse of personal oddities that were not privy to anyone but a select few. In addition, the director was present to expound on each of our inquiries.
If you could work with anyone in the theatre, living or dead, who would it be and why?
I have considered myself one of the most fortunate artists of this century. I have been afforded the opportunity to work with people that not only love their art but are passionate about the vision that the art inspires them to create. The art then becomes ritualistic in nature and we that have been a part of this vision through production and or observation become changed. We begin to exist through a heighten sensibility and embrace the diverse thought patterns that allow us to enhance the lives of others.
I would have to give honor and praise to those artists who have changed my life and have influenced my heightened sense of humanity. My Mom and Dad, Mike Malone, Joy Zinoman and my entire Studio Theatre Family, Quay Truitt, Judy Dearing, Susan Mickey, Charles Coward, Denise Saunders, Michael Murray, Brandee Mathies, Ron Himes, Thom Jones, Patdro Harris, Tim Bonds, Michael J. Bobbitt, George Faison, J Kyle Manzay, Derrick Sanders, Kenny Leon, Israel Hicks, Ruben Santiago-Hudson, Gordon Davidson, Lou Bellamy, Todd Kreidler, Jennifer Nelson, Vera Katz, Kenneth Daugherty, Felix Cochren, Sam Scalamoni, Jeremy Cohen, David Muse, Andrea Frye, Debbie Allen, Ken Johnson, Maggie Dick, Martha Timlin, Luqman Salim, Richard Gross, Christopher Schramm, Gregory Bazemore, All of my children at Howard University and my colleagues and that is just a few of the names that I have room to mention. Moreover, if I had to choose one person it would have to be an individual that has affected a large community of people and has changed the lives of most. For me that individual would have to be the remarkable Stevie Wonder. That decision fosters no explanation!
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I have several projects in the works however the most important “gig”, and it will always remain the most important, is to mentor and develop the minds of our beautiful young precious gems at Howard University. Enhancing their educational experience through “hands-on” life experience, developing their cognitive skills along with their problem solving and decision-making skills will forever be the main fire that burns consistently and with great fervor……..eternally.
Lawrence Redmond, Outstanding Lead Actor
- The Lecturer in Reefer Madness, The Musical, Studio Theatre 2ndStage
The character
The Lecturer in Reefer Madness: The Musical functions as a narrator as well as major-domo for the evening. The conceit of the show is a gathering at a high school in middle America circa 1936.
Connecting
The connection is tenuous at best. I guess I found my “inner High School Principal” as well as tapping into the fire breathing hysteric that beats inside the dark underbelly of the true believer. Is that me? Well, maybe more than I would like to admit.
Surprise
The audience reaction. I knew that the show had the potential to be an early 21st Century “Rocky Horror Show” and Keith Alan Baker and company really allowed us to get over the top really early in the process.
Favorite moment
Late in Act II, the “Grand Guinol” quick-cutting 11 o’clock number with the whole company where the “kids” all come back as zombies, and we have flesh eating, and blood, and gunplay, and Bobby Smith and Channez McQuay would wail in this massive quintet. Waaay over the top style, and GREAT voices reverberating the walls!
Favorite performances
Ed Gero as Buckingham in Richard III. KenYatta Rogers in A Lesson Before Dying. J. Fred Shiffman and Nancy Robinette in Souvenir. Will Gartshore and Tracy Olivera in Merrily We Roll Along. Christopher Block in Christmas Carol 1941, and my personal favorite because I felt I was present at the growth spurt of a talented young artist: Mollie Clement who played my daughter in Christmas Carol 1941.
Next
The prophet Samuel and Uriah in David in Shadow and Light at Theater J with Will Gartshore, Bobby Smith, and Donna Migliaccio. It will be like working on the original Godfather: huge talent wherever you look. And I’ll be looking, and learning, and “stealing” every minute!
Kelli Sawyer, Outstanding Lead Actress, Non-Resident Production
Kate Monster and Lucy T. Slut in Avenue Q, The Broadway Musical, National Theatre
The Characters
I play Kate Monster and Lucy T. Slut. Kate is a chubby, rather insecure 20-something with dreams of romance and of changing the world through teaching young monsters. Lucy is a blonde bombshell with no ambitions past tonight’s one-night-stand.
Connecting
Connecting with Lucy is as simple as shaking my hips a little bit-she definitely leads with the pelvis! Kate, however, is a special character and I’ve come to find that I adore her. Kate has a beautifully innocent disposition, but she also has a temper and she’s very quick-witted. Although I wouldn’t describe myself as sweet, I would say that I’m sincere-probably to a fault-so I can use that similarity to key-into the sweetest part of myself. Kate’s quick-tempered trait, on the other hand, doesn’t require quite as much manipulation on my part-I come by that very naturally!
Surprise
I had the opportunity to play this part in Avenue Q in Las Vegas and on Broadway, so taking the show on the road was an adventure. I continue to be surprised by how different the show inevitably becomes from theatre to theatre. There are a plethora of elements required to make up a show and when they are perpetually changing, the whole show has to adapt. It is remarkable to me how flexible a piece of art and its elements can be.
Favorite moment
The puppet sex (aka “puppet kama-sutra”) is always a good time-hearing the audience react to the audacity of it is just a blast. But my favorite moment in the show has to be the scene in which Kate’s boyfriend breaks up with her. My heart breaks for her character every time I work that scene and I find myself recalling tender moments from my past that eventually made me so much stronger as a woman.
Favorite performances
Honestly, I’ve been living on the road for the last year and one of the sacrifices you often make as an employed actor is not being able to see your fellow actors perform. It’s certainly a high price to pay!
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Oh mercy…I haven’t had a good answer to that question since I graduated from college and I don’t see that changing anytime soon! It’s a hilariously terrifying truth, but I wouldn’t have it any other way.
- Serge Seiden, Outstanding Director
- Souvenir, A Fantasia on the Life of Florence Foster Jenkins, Studio Theatre
Why this play?
The prospect of working with Nancy Robinette and Fred Shiffman together!
Most difficult scene
The Carnegie Hall performance sequence was the most challenging to direct: coordinating the piano cues, recorded audience responses, Florence’s choreography, singing, and costume changes along with getting variety in the lights AND making the tiny set suddenly seem like Carnegie Hall was a wonderful challenge.
Surprise
The moment when Micaele Sparacino, the opera coach, brought Nancy Robinette to the realization that she was a coloratura soprano and could perform the material absolutely straight if she wanted to. Everyone in the room was electrified.
Favorite moment
Florence and Cosme listening to the recording of FFJ singing The Queen of the Night Aria…there was no dialogue and the interplay Fred and Nancy developed tickled me every time.
If you could work with anyone in the theatre, living or dead, who would it be and why?
Great question, but impossible to answer simply. One of the best things about directing is that every production presents a whole new team of actors and designers and each time you fall in love with THAT team. For that time, you can’t imagine working with anyone else.
For intellectual stimulation, however, I would love to go back to ancient Athens to experience a production of The Bacchae at the Theatre of Dionysus (with an interpreter, of course). Then I’d zoom forward in time to see a production at The Globe of Romeo and Juliet. Then I’d zoom forward again to see the first production of Uncle Vanya at the Moscow Art Theatre and finally zoom forward to see Marlon Brando in Streetcar. I wonder if that’s what heaven will be like?
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My “day job” is producing and we’ve still got a lot of that left to do at Studio THIS season: including the Rainpan 43 Festival, The Internationalist, Jerry Springer and The Civilians.
- Sekou (tha Misfit), Outstanding New Play, Outstanding Resident Play
- Co-writer, The Word Begins, Signature Theatre
Surprise
For me, the play’s biggest surprise has been the way that it has touched and galvanized people of every demographic. We wrote The Word Begins to be universal in its significance, yet specific in its approach, but even we couldn’t predict that its power would cross demographic lines – especially generational lines – so powerfully. We’ve had high school and college students drag their parents to the play after seeing it. We’ve had grandparents buy tickets for their high school and college-aged grandchildren (and all of their friends) after seeing it. We’ve seen the oldest people in the audience consistently be the first to leap to their feet for standing ovations (canes, walkers, and all), after previously agreeing with their spouse in the restroom before the play started that they would sneak out if it was too “hip-hoppy” for them. That, along with the appreciative response we’ve received across gender, racial, religious, and cultural lines has been such a joyful surprise.
Greatest challenge
I’d say the biggest challenge in writing The Word Begins was maintaining balance between all of the goals we were trying to serve. We need it to be discomforting yet enjoyable, universal yet specific, educational yet entertaining; we needed it to raise a plethora of concerns, but not attempt to be a panacea for the world’s problems; we needed it to be spoken through the heightened language of spoken word poetry, yet still seamlessly fused with monologue, dialogue, stand-up comedy, hip-hop, and singing, and still accessible to everyone – poetry lovers or not. So, getting all of that to be balanced, harmonious and thrilling, within 90 minutes, was probably the biggest challenge.
Favorite moment
My favorite staged moment of the play has changed probably as much as the writing has over that past few years. But if I had to choose, I would say it’s probably during the middle of the section dealing with race issue, when our two assimilationist characters invite the audience on stage with us to end racism by making love. It’s a favorite because, like many other moments of the play, the audience’s reaction determines the script at that moment. There was always an outburst of hilarity from the audience when the invitation was made, followed by an awkward moment of them quizzically looking around, wondering if we were serious, followed by personal assessment of values and questioning their commitment to social change (if it turned out that this actually was a solution), followed by one or two brave souls (from students to seniors) leaping up, shouting “Yes damn it! Yes, I will @$%# you to end racism!” And what happened next? … Well, you’ll just have to come experience it for yourself at the next run of The Word Begins.
Next
Well, with this being our first play produced on this level, Steve and I are just happy to continue seeking new theaters in which this play can live and through which this movement can spread. We do have another comedic show called No Easy Choices, which we debuted at the Aspen Comedy Fest, that we’re also looking to have produced. And during the course of crafting The Word Begins at The Signature, our director, Robert Egan, became very excited about a new idea we have for another two man show. So I’m sure the pen and stage will keep us very busy this year! But our primary goal is getting The Word Begins into a few new homes across the nation.
- Shirley Serotsky, Outstanding Director
- References to Salvador Dali Make Me Hot, Rorschach Theatre
Why this play?
I have wanted to work with Rorschach since I saw their production of LORD OF THE FLIES in 2002. I dig the gutsy, visceral work they do and Casa Del Pueblo is an exciting, provocative, challenging space to work in (may it rest in peace). Then I read the play. And it was stunning and beautiful and difficult and heart breaking. And daunting in the way that it combined a completely theatrical world with talking cats and dancing moons with the gritty, realistic, kitchen sink drama of two people who are totally in love but failing miserably at making that love work–trying desperately to come together and love each other again. And I thought it would be really hard to meld those two worlds without discounting either one of them. And the more I do this, the more I realize that the greater the challenge the greater the pay-off.
Most difficult scene
The quick answer is the sex scene, because it was the first time I’d directed an all out sex scene, and those are just tough–both technically and emotionally. Because it is such a personal thing and there you are putting it on stage. And the audience is two feet from Gabi and Andrew’s heads, and it might be your grandmother sitting in that seat. And where does Gabi throw her shirt so that she can find it later? And what happens when the wooden fence/bed creaks? And will they get splinters? And why does the damn sheet keep coming off the corners? As it turned out however, I think the two Benito/Gabriella scenes were simultaneously the hardest and the easiest to “get”. Because we can all connect with the relationship struggles that these people are going through, on some level we get that. We KNOW that. But because of that, it’s just not a fun place to go to for hours on end, night after night. And it was a challenge to find the shifts in the landscape of their argument, the rises and falls, the flare-ups and the moments of breath, so that it didn’t sound like one long rant.
Surprise
I think the most surprising thing happened during auditions, and that was finding Gabriella in the first place. I’d had artistic directors of several theaters in the area say, “We thought about doing that play but were not sure we could ever cast it”. And here’s Rorschach, a small theater using all non-Equity actors, trying to do the play justice. And that meant finding actors for several of the roles that were, indeed, Latino. I knew Andrew was of Columbian descent and have admired his work for years, but I did not know if we would find an actress with the chops and background and spirit to play the role of Gabi, not to mention the fact that everyone in the play has to totally fall in love with her. And there was a somewhat exhaustive search. And then like, three people emailed me Gabriella’s info. And she came in and she tells us she’s of Puerto Rican decent, born there and raised here, and she’d lived in New York, and she’s gorgeous, and then she read the side and left the room and I think Randy and Jenny and I looked at each other and said, “We can’t let her leave the building. If we have to kidnap her and keep her here in Casa for eight weeks we will do that, but we have to have her in this play.”
Favorite moment
Ahhhhh. Hard question. I can’t pin it to just one. I loved the Moon’s tuneful serenading and melancholic speeches from up above. I loved the eerie moon-glow light when he landed on the ground (thanks Andrew and Connor). I loved the perfect tango music (thanks Matt!). I loved the look in Martin’s eyes when he was peeking over the fence. I loved the Moon/Martin fight with the belly check (thanks Grady). I loved Cat coming back from her torrid night out all rumpled and wheezy and then climbing into the cupboard. I loved many moments that Robbie Haye’s brilliant set made possible. I loved Coyote’s tight, tight jeans (thanks Pei) and his passionate howls and heart-broken ghost. And, okay, look, it got to a point where watching Benito and Gabi interact was so laden with charged moments that now, reading back over the script, I can’t pin just one. Seriously, I loved watching those two. Can you tell? I loved this cast, I loved my design team (and I have to thank Tim Getman for putting that together). And I have to also say, I couldn’t have done this show without guidance and wisdom from Jacqueline Lawton’s dramaturgical input and overall smarts and clear-headedness.
If you could work with anyone in the theatre, living or dead, who would it be and why?
This is also tough. It’s like that dinner party question–where you have to think, certain people made really awesome contributions to history and to the world–but would they be good conversationalists? Likewise here. Just because someone’s brilliant doesn’t mean they’d be fun to work with. But I had an a-ha moment while up in NY earlier this week.
I’d like to work with my twin brother, who is an actor. Because he’s smart and talented and we shared a womb. I mean, with the short hand (secret twin lingo, right?) we have I think it would at the very least save time. And that would definitely make it into my parent’s holiday newsletter. I mean, I hope. Mom?
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CRUMBLE (LAY ME DOWN JUSTIN TIMBERLAKE) by Sheila Callaghan with Catalyst Theater Company, running May 7-June 7. And yes, JT does make an appearance. Several, in fact.
- Howard Shalwitz, Outstanding Director
- She Stoops to Comedy, Woolly Mammoth Theatre Company
Why this play?
You don’t often find a genuinely experimental comedy that enchants its audience. This play offers a rare combination of stylistic innovation and simple charm.
Most difficult scene
The play coalesces around a sex scene, in which Alexandra (disguised as a man) sleeps with Alison (her lover) and somehow manages to keep her identity hidden. Through a long series of questions and answers, Alison narrates the affair to Eve. This scene invited some difficult questions: how do you activate straightforward narrative? How do you draw your audience into an event that they can hear about, but never witnesses?
Surprise
This play is very unusual, in that it utterly subverts the traditional “fourth wall.” It does not allow the audience to suspend their disbelief. It does not provide them with a conventional storyline or disparate universe. Nonetheless, both actors and audience managed to find their way inside of the play – to feel the emotional tug of its beautiful, simple language.
Favorite moment
Towards the end of the play, all of the characters sit at the edge of the stage and speak some of its most beautiful lines, just inches from the audience. That was certainly one of the most arresting moments in the performance.
If you could work with anyone in the theatre, living or dead, who would it be and why?
I am working with them right now.
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I am directing Measure for Pleasure by David Grimm at Woolly this spring. Formally, Measure does not have much in common with She Stoops. Yet both are distinctly contemporary plays with an intriguing period flavor.
- J. Fred Shiffman, Outstanding Lead Actor
- Cosme McMoon in Souvenir, A Fantasia on the Life of Florence Foster Jenkins, Studio Theatre
The character
Cosme McMoon was a real person, shadowy, talented, and, by circumstance, thrust into a situation not of his own creation.
Connecting
How did I “connect” to the character? By force of having an audience needing me to connect to the character, so they could connect to Nancy Robinette’s character. I discovered that an actor, in that piece, cannot pretend to be a cabaret performer, but rather must be one. I was ill-prepared for the challenge.
Surprise
Nancy discovered she had a voice and I discovered I could play the piano in front of a paying audience. Funny that we didn’t worry about those things beforehand.
Favorite Moment
Nancy’s final “Ave Maria”, a ghostly rendition of perfection that every performer hears somewhere deep inside of themselves.
- Outstanding Supporting Actor
- Wooer in Vigils, Woolly Mammoth Theatre Company
The character
For the “Wooer” in Vigils, it was different. He was part real, down-to-earth, regular person, and part playwright’s concoction.
Connecting
The delightful Noah Heidle was game for anything!!! The role originally required a nude scene. I declined the role, writing to Howard Shalwitz in an e-mail, that while I have a nice body and a”great three-piece set”, I was not interested in displaying that in front of Washington audiences who have seen me perform for 30+ years. I encouraged him to look elsewhere for his Wooer.
Long story short (no pun intended), the nude scene was cut, and through the tireless efforts of Naomi Jacobson, I was given the role. The rest…history…..
Favorite performances
As for favorite performances, you have to appreciate that when we work so often and attempt to manage a real life on the sidelines, we miss many great performances. I would start by mentioning my co-workers in every project I did last year. I would single out Nancy, Naomi, Chris Innvar in Shrew…and I can’t help mentioning Rick Foucheux in our current “Salesman” and Delaney Williams in “View”.
- Bobby Smith, Outstanding Lead Actor
- The Musical of Musicals: The Musical!, MetroStage (shown here)
Reefer Madness, The Musical, Studio Theatre 2ndStage
The characters
It is hard to fully describe the characters I played in Reefer Madness or Musical of Musicals. I was fortunate to play six different characters between the two. A satirical Jesus, a drug dealing gigolo in 1930; a parody of four musical theatre villains by four different composers, it is hard to get all the “voices” out of my head.
Connecting
I can relate to the characters in each show because I was able to gather my many stray personalities, go to work every day and paint with a broad stroke.
Surprise
The element of the audience is always a surprise to me and what it lends a production. I have always felt a connection to live theatre because of the energy the audience provides. Although I enjoy the artistic freedom during the rehearsal process, with a director and an empty theatre, it is the audience along with the cast that creates every memorable moment in a play. To me it is very personal.
Favorite performances
I have not had the opportunity to see as many productions as I would like, however I admired Studio Theatres’ productions of Souvenir and Rosencrantz and Guildenstern are Dead.
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I can be seen in David in Shadow and Light at Theater J, and Jerry Springer, the Opera at Studio Theatre 2nd Stage over the spring and summer. It is a dream to do something that you love and be recognized for it.
- Andrew Sonntag, Outstanding Lead Actor
- Jimmy in Reefer Madness, The Musical, Studio Theatre 2ndStage
Connecting
Despite how cartoony and gag-filled the show was, I was directed to approach the character as I would approach any character (and not focus on “play within a play” aspect of it once it got rolling). I was told, and I agree, that Jimmy had to be grounded in reality for the rest of the characters and jokes to work. That left less room for me to “go for laughs” or whatever, but that wasn’t as important. The characters are drawn in thin lines, so to make them real I was told again and again to take it seriously, and that was easy with Jimmy. Whether with alcohol or drugs or some other vice, all of us become corrupted in some capacity in our lifetimes. Looking past the gags (and for the sake of them), I found that Jimmy’s story was very similar to my own-quite nearly every aspect of it.
Surprise
There was only one moment when I was truly shocked during the run, and it was hilarious, but I think it may be in bad taste to write about it here (I’ll happy to tell you about it sometime in person though, for sure). The other surprise was a doozy I suppose, come to think of it. One night, relatively early in the run, they re-wrapped the wick on the torch I had to swallow and didn’t warn me. Turns out it was twice as big (at least it felt that way in my mouth, on fire). It was big enough that it hit the back of my throat before extinguishing, and that’s the only time I ever burned myself. That was a nice surprise. I got a nasty sore back there for a short while, but I was fine. Builds character.
Favorite moment
Well I guess you can’t beat Solomon coming out at the end with the sparkler; the face he made was priceless, of course. But personally, I had the most fun during The Orgy. At that point in the play I was forced to let go of any inhibitions I might have carried on stage with me that night. They rip off my clothes and I get to be completely ridiculous with some of my best friends on stage while I eat and breathe fire. What other job lets you do that?
Favorite performances
You know, I’m sitting here stressing over how to answer this, but the more I think about it, it really is a good thing that it’s so hard to pick. There is tremendous work being done in DC. I love anything from Synetic, and the Shakespeare in this area always moves me. And there is great new work being done, incredibly important work in my opinion (I could write for pages about Glory Days, but I guess that counts as this year, so I’ll spare you). That being said, if I had to, my pick would be Floyd King from Studio’s Rosencrantz and Guildenstern Are Dead. He was brilliant. To be honest I thought the entire production was just incredible! That’d have to be my favorite.
Next
This spring I’ll be in The Stephen Schwartz Project at MetroStage, directed by Michael J. Bobbitt, and through the summer I will be Atreyu in The Neverending Story at Imagination Stage, directed by Janet Stanford.
- Alexander Strain, Outstanding Supporting Actor
- Nadav Berger in Pangs of the Messiah, Theater J
The character
Nadav Berger is the son of Rabbi Shmuel Berger, an important religious and political figure in a Israeli West Bank settlement. Nadav is a simple soul who is devoutly attached to the building of his own house in the community. He has a neurological/social condition similar to Asperger syndrome that has denied him acceptance into the Israeli military. Nadav’s family must now be sensitive to his various homebound idiosyncrasies and needs.
Connecting
Nadav follows a philosophy of simplicity. His needs are few, and his outlook on the world to me seemed bound to an inherent goodness and purity. Though to many (even myself) his views would probably seem endearingly naive, I think maybe we’d be better off if we aspired for such humility.
Surprise
The production showed me that theatre truly can inspire dialogue among people. This play fueled many varying opinions, from alienation to validation, anger to ecstasy, and everything in between.
Favorite moment
I had a scene with Michael Tolaydo (Shmuel Berger) early in the play that was one of the few scenes that didn’t deal with the political strife but rather the relationship of father to son. Not only was it great to work with such a remarkable actor on such a scene but it was just a reminder that at the heart of any political/social discord are human beings.
Favorite performances
‘Peter and Wendy’ at Arena Stage was my favorite production from last year. Also, Aubrey Deeker was wonderful in ‘Crime and Punishment’, I aspire to give that much heart to my performances.
Next
I’m rehearsing ‘Lord of the Flies’ at Round House Theatre. I’m playing Ralph, so there is a large group of adolescents aiming to kill me right now. Should I survive that I will begin rehearsals with Kasi Campbell for ‘In the Heart of America’ at Rep Stage.
- Eddie Sugarman, Outstanding New Musical
- Author: (Book and Lyrics) Meet John Doe, Ford’s Theatre
Surprise
That we finished it. This was the first show that I actually completed since college. I started a few and something always happened. Andrew kept knocking his shows off one by one and I thought, “Hey, I should really write a show with this guy. He’ll make me finish the damn thing.” So thanks, Andrew.
Greatest challenge
Saying goodbye to characters and actors. We’ve had a wonderful development path for this show, which has involved many stops and more than a few changes in story and cast. Everyone has been so generous with their time and their talent, it’s tough to part ways. Oh, and getting people to pronounce Andrew’s last name correctly. It’s Gerle – two syllables – rhymes with “air-the”. Say it with me now. Ger-le. Very good.
Favorite moment
It’s probably Ann in the door frame. Near the top of the show, our lead, Ann Mitchell – played remarkably by Heidi Blickenstaff – sings a song called “I’m Your Man”. For the big finish, she belts “Watch out New York / Here comes Ann!” during which Heidi was posed in a doorframe. Then, for the very end, she stormed out and slammed the door on the stinger with a bump to black: musical theatre deliciousness!
Next
Nothing booked for sure right now, but some exciting things in the works. Stay tuned!
- Regina Marie Williams, Outstanding Supporting Actress
- Dr. Charlene Bigelow in Redshirts, Round House Theatre
The character
Dr. Charlene Bigelow is mild mannered, educated and smart. She reads, she thinks and KNOWS the power of education. She is not stodgy and actually has a sense of humor but is a bit self righteous because she can be. She checks her facts. She dresses classically and comfortably but well. Being a professor is not just a job but a vocation. It is partially her way of giving back. There was no doubt she had compassion for the boys she caught cheating. She did not let them get away with it because she cared.
Connecting
In reading a script there are some obvious clues to who our characters are, where they are from, their relationship to the other characters etc., a costume designer can envision how the character may dress or a set designer how they might live. Director Lou Bellamy gave me a few thoughts but there was one that unfolded and answered all the other questions about Professor Charlene Bigelow. “She’s southern” he said. That one fact informed my thoughts, my feelings, opinions, personally, politically, religiously etc., how she walked, even. Profound. I immediately saw a Toni Morrison or Alice Walker. I always need to see the person before I can be the person. They are not always famous either. My characters may be conglomerations of people I know. Usually my aunts, sometimes the lady I saw at the grocer the other day, or the woman who walks her dog by my house everyday while smoking her cigarette.
Surprise
“My nosegays are for captives…” The first line of an Emily Dickenson poem and a line from “Redshirts“…My children’s father is a poet and he could not get them to read Emily Dickenson but after seeing the play and hearing the hoots and hollers from the locker room in Dana Yeaton’s play “Redshirts”, my eleven year old recites the poem and keeps the book of poetry next to his bed.
Favorite performances
I love that even with as busy as I have been I have found time to go to and see theater. This past year at the Fringe Festival in Minneapolis I was pleasantly surprised by “Same Difference” , a two hander written by Samuel Roberson. Powerful and quite humorous the play addresses racial and human issues from the perspective of two college roommates from two different sides of the tracks. I also lapped up a performance by Sally Wingert in Private Lives at the Guthrie Theater. How is it an actor can be on stage for less than seven minutes, say as few words and garner more applause (quite deserved) than the main characters. I think about that performance often. She wasn’t performing for us or anybody. She was just being the French maid. A French Maid to aspire to.
Stephen Pelinski’s performance was stunning. He was so precise without being stifled. I enjoyed watching him and listening to his every word. (I have had a note to call him for coaching).
One of my favorite performances in the DC area was Women of Brewster Place. I saw the performance with my thirteen year old and we talked about the individual performances for weeks. We still talk about it. There a scene where a woman is attacked by a gang. There was no gang or anyone else onstage but the actress who tossed herself about like I have never seen. I think her name is Harriet Foy. There was that great moment in the kitchen where the two women are listening to Billie Holiday and they start dancing. The delightfully warm actress for whom I could not take my eyes or ears off would later perform “Ella”. I also remember the surprisingly moving scene of one character being bathed by a sea of women to help bring down her tears. My stoic thirteen year old cried with me. But I must not forget there was the hilarious day at school. Once again only one actor onstage (Harriet Foy, and NO I don’t know her) and you could see an entire class room of children.
I think I saw more great performances than great plays. It is always a pleasure watching an actor spin their magic or simply do their work.
Next
Speaking of work…although it is quite late I still have some lines and music to review. Weeknights and Tuesday through Sunday I am performing in Blues in the Night at the Ordway Center. During the day I am rehearsing Once on this Island for Ten Thousand Things Theater. Rarely a dull moment.
- Dana Yeaton, Outstanding New Play
- Redshirts, Round House Theatre
Surprise
The cast of “Redshirts” is mostly black, and at our first read-through, one of the actors walked in looking for the young, black female playwright. I’m a 50-year old white dude from Vermont, so her question was what we call a welcome surprise.
Greatest challenge
Until I showed up in the University of Tennessee locker room, I knew squat about football, especially the elite Division I variety. And did I mention I’m a 50-year old white dude from Vermont?
Favorite moment
The director, Lou Bellamy, managed to stage an injury in slow motion; as one character’s head inches closer and closer to the floor — and a second concussion — the rapping lead character turns to us and delivers two quick rhyming couplets about the power of the mind. Then, WHACK!
Next
Sight Unseen Theatre in Los Angeles will premiere “My Ohio,” a 2-person musical.
- Christopher Youstra, Outstanding Musical Director
- Titanic, the Musical, Toby’s Dinner Theatre
Why this show?
The score is one of my favorites — Yeston’s music doesn’t always speak to me, but I think this particular score is thrilling, lovely and powerful.
Greatest challenge
We had to take this thrilling, lovely, and powerful score that was written for around 50 voices and a large sized orchestra and pull it off with around 24 actors and 6 musicians. In the round. It is challenging to divide the cast, in the opening 20 sung-minutes, between the 3 different classes, the crew, and the officers of the ship and keep the harmonies balanced.
Your best contribution
Persuading the directors (Toby Orenstein & Larry Munsey) to give us an inordinate amount of time to work this intricate music with the cast. This ensemble worked tirelessly on this music and really rose to occasion. I am really proud of the work that they did.
If you could work with anyone in the theatre, living or dead, who would it be and why?
I have always wanted to perform a cabaret act with Bob Prosky, but beyond that, I would have loved to work with Howard Ashman — not only for his superb lyrics, but the way he created beautiful theatrical moments in film.
And maybe Gandhi.
Next
I just opened Chasing George Washington at the Kennedy Center TYA and then begin work on 1776 at Olney Theatre Center next week. After that, I am doing Jerry Springer: The Opera at Studio Theater’s 2ndStage followed by The Producers at Toby’s and back to Olney for Peter Pan. A highlight for me this year is I am workshopping a new musical at Imagination Stage in May. The working title is The Dancing Princesses. I wrote the music and lyrics, and Ally Currin wrote the book.
The series continues here.
