Interviews for Welcome to My World with Bruce Kimmel, Sami Staitman and Corey Fogelmanis

     

        Welcome to My World, starring Sami Staitman, is the first ever one-girl musical written for and about a fourteen-year-old. The musical will have its world premiere September 10 and continue through September 27, 2015 at the Grove Theatre in Burbank, CA. The Disney Channel’s Corey Fogelmanis (“Farkle” on Girl Meets World), who appears as a Special Guest on the show’s upcoming Kritzerland Records’ CD Cast recording, will be on hand opening weekend for a private Meet & Greet with fans who have donated to the production. The show is created and directed by prolific Bruce Kimmel, surely no stranger to LA theatre.

         In the following brief interviews, creator/director Bruce Kimmel, star Sami Staitman and CD guest Corey Fogelmanis talk about Welcome to My World.

     BRUCE KIMMEL wrote, directed and starred in the cult movie hit, The First Nudie Musical (available on a Special Edition Blu-ray).  He also co-created (with David Wechter) the story for the hit film, The Faculty, directed by Robert Rodriguez.  As an actor, Mr. Kimmel guest-starred on most of the long-running television shows of the 1970s, including  The Partridge Family (recurring), Happy Days, Laverne and Shirley, MASH, Alice, and many others, including leading roles in several pilots for all three of the major networks. Mr. Kimmel is a legendary Grammy-nominated producer of theatre music on CD, having produced over 180 albums. He has produced solo albums for Petula Clark, Helen Reddy, Jason Graae, Liz Callaway, Christiane Noll, Rebecca Luker, Brent Barrett, Sally Mayes, Judy Kaye, Judy Kuhn, and many others.  In addition to the albums he has personally produced, Kimmel has also released over four hundred classic cast albums and soundtracks, including his acclaimed remix of the original cast albums of Follies; Promises, Promises and Sugar.  His label, Kritzerland, issues a new CD every two weeks.  For nearly five years he has been producing and hosting a series of live entertainment tributes based on albums he’s produced.  The series takes place at Sterling’s Upstairs at The Federal in North Hollywood and features top regional  singers and special guest stars. He is also the creator, writer, and director of the popular web series, Outside the Box.  Most recently he directed a critically acclaimed production of Li’l Abner; and took a sampling of his Kritzerland shows to New York.  He also directed the hit Los Angeles musical revival of Inside Out, and One Starry Night:  From Broadway to Hollywood, a benefit for ALS at the Pasadena Playhouse which starred Renee Zellweger, Petula Clark, Melissa Manchester, and Ed Asner, among others.

     
     What made you decide to write this musical? Was it Sami's talent that totally motivated it or do you have a passion for the craziness of that age?

     About three years ago I was asked if I could find a comic monologue for a thirteen-year-old girl.  I searched, couldn’t, and ended up writing one for that girl. That planted the seed about doing an evening of monologues for the character I’d created, who I’d called Molly. And I thought it would be fun to have one song in it to set up the show – and I wrote the beginning of one, which I called “Welcome to My World.”  But things were busy and I kind of just put it away.  Last year, after I’d been working with Sami for two years, I began to think about it again as a vehicle for her.  We sat down, I told her how much work and commitment it would be and said if she was willing to go there, I would begin writing the rest of the show. She was and I did. I’ve written fifteen books, thirteen of which are fiction, and eleven of which feature teen or pre-teen protagonists – I guess I love writing young characters.

       What do we learn about the 14 year-old girl in the show without issuing a spoiler alert?

     Molly pretty much runs the gamut in terms of subject matter – she talks about anything and everything that’s on her mind, some of them quite frankly – as she says at one point, “Have you noticed that I have no edit button?”  I hope both young and older folks will relate to the subjects and I hope they find Molly unique and even refreshing for a fourteen-year-old.

       Did you compose new songs or are you using familiar ones?

     Originally it was going to be just one song to open the show, but as I began writing the monologues I would get to the end of one and think, gee, what a good place for a song, and it just kind of morphed into a musical – but when you have Sami that’s just kind of a natural thing to do.  With the exception of one song that I wrote a few years ago and which Sami had already sung in a Kritzerland show but that also worked perfectly for this show, all the songs are new.

      Sami is best at comedy. Do we get a chance to see that in the new show?

      The majority of the monologues are comic, so, yes, she gets to do lots of comedy in the show. 

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    SAMI STAITMAN, a millennium child, has been performing on stage since she was 4, where it was love a first footlight! Sami's first professional gig was at the age of 8 and she hasn't stopped since. She adores musical theatre and has over 30 credits on stage. She is equally at home in front of the camera or in a recording studio singing and recording voice-over.  Sami has performed on stages all across the country from Los Angeles to New York. She is part of a very active cabaret scene performing in Los Angeles and in NYC alongside some of the great talents in musical theatre and cabaret today. Sami earned her Equity card at the age of 11 for the title role of Annie at the Pioneer Theatre Company.  Sami balances school with a professional acting and singing schedule performing in cabarets around the country and also taking part in musical theatre productions, readings and workshops, TV/Film & Voiceover. All this and she competes on the Comedy Sportz LA High School Team. She's fortunate that she has a school that is supportive of her career and a loving family that is by her side. At school, as a part of her core curriculum she takes American Sign Language as her foreign language requirement and she's a natural. In January, 2015, Sami was nominated for three Robby Awards, from Los Angeles critic Rob Stevens who recognizes the best of theatre in Southern California.   www.samistaitman.com

        How does it feel to be starring in your very own show at 14?

      Starring in this original musical is such a thrill and an honor for me!   I am beyond grateful to Bruce for this amazing opportunity!

       Has Bruce really nailed 14? Does he have you playing yourself or a fictional character?

       When Bruce first told me about this project I was really excited about it! Bruce and I spent a lot of time talking about all kinds of things.  About once a week for many months, me, my mom and Bruce would have lunch and he'd ask me all sorts of questions or I'd tell him stories that had happened to me at school, with friends or at camp.  So although I am playing a fictional character, I completely get Molly.  She and I are very different but share a lot of the same experiences.  And yes, he's really great at capturing what's going on in a 14 year old's world.    

      Tell me about your friendship with Corey Fogelmanis.

       Corey and I have been friends since we were about 9 years old when we were both cast in a local community theater production.  After that we went to NYC together for Broadway summer camp together.  Then when I was cast in a musical movie and they needed a boy to sing, we recommended Corey.  Next, when I was cast in a TV Pilot which had a musical number in it and they needed a boy to sing and I recommended Corey again. Then I introduced him to my agent who signed him and the rest is history. 

      I understand there's a song that you will be sharing with him on the album? You will do a version that you are singing in the show and he will do a different version? Talk more about this.

      We're each singing the song titled, "Everything is Gonna Be All Right".  It's a very positive, sweet song about no matter how bad things might be going, everyone goes through things like this and you're not alone in feeling the way you do, but in the end you'll get through it and that "Everything is Gonna Be All Right".  I think Corey's fans will love the song and it really speaks to kids our age.  Corey has a great voice and a lot of people don't even know that he's been singing most of his life.  It's one of my favorite songs in the musical and I can't wait for people to hear this song as well as all the other songs too! It really talks to not only kids my age, but it's a great song no matter how old you are.  This musical is filled with so many wonderful, fun and heartwarming songs.   (ask Bruce, but I think all the songs will be available on ITunes.) 

      Do you get a chance to do a lot of comedy in the show? Give us an example or two.

     This show is very funny, and Molly talks a lot - I mean a lot! Well she has to, doesn't she? Since she's the only one on stage, besides Alby Potts, the show's Musical Director, who is also on stage.  I don't think Bruce would want me to give anything away, so you'll just have to come and see it!  But as funny as it is, this musical also has it's sweet moments as well. 

     Tell me about the music that you sing in the show. Is it all original? 

     Every single song is a Bruce Kimmel original and they're all fantastic!  Only one was written before the show, but it actually happened to me in real life, so Bruce kept it in the show.  I love singing all the songs and I think everyone who hears these songs will have a favorite or many favorites and will want to sing them too. The songs are so amazing!  There are fast list songs to slow moving ballads, story songs and everything in between!  I can't wait for you to hear them all!

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     Corey Fogelmanis, “Farkle” on the Disney Channel’s mega-hit TV show Girl Meets World, has been involved with theatre from a very young age; and this year was honored to receive an Arts Advocate Award for his dedication to community theatre.  Staitman and Fogelmanis have been close, longtime friends and, together, have performed in numerous stage shows and on TV and in films.  Because of their shared passion for musical theatre, Corey lent his support to Welcome to My World by not only agreeing to be a part of the musical’s upcoming Kritzerland Records’ CD Cast recording and singing a special bonus track titled “Everything Is Gonna Be Alright”, but will appear opening weekend at a private Meet & Greet event for fans who donated to the production.  For more information about the CD, visit  www.GetTheCD.com.

         Tell me about your Disney Channel show and the character "Farkle" whom you play. Do you sing in the show?

        Currently, I am working on a show for Disney called Girl Meets World. It’s a sequel to the hit 90s show Boy Meets World. Basically, the show follows the daughter of Cory and Topanga, Riley, and her friends as they make their way through life. In the show I play Farkle, who is part of a group of four close friends. He is very smart and likes school and values the friendships he has. I do not sing in the show.

      What other kinds of roles have you had a chance to play - on TV or stage? Do you prefer musicals?

       I spent a good amount of time on stage before I started television and film. Some of my favorite roles that I have had the chance to play on stage include 10 year-old Tommy in The Who’s Tommy, Bugsy in Bugsy Malone Jr., and Young Don in Singing In The Rain. I like to perform whether it’s on tv or on stage.

       Tell us a little about the song you sing on the CD without giving too much away. I understand it is a different version of one Sami is singing in the show?

       The song I’m singing on the CD is called "Everything is Gonna Be Alright". It’s about not giving up and holding on because in the end everything will work out. I’ve added my take on it and I’m excited for it to come out.  

     Previews: Thursday, September 10 at 8pm; Friday, September 11, at 8pm/Runs: Saturday, September 12 – Sunday, September 27.  Fridays and Saturdays at 8pm; Sundays at 2pm Tickets:  Gala Opening Night September 12.  Thursday – Sunday: $25./Telephone Ticket Reservations: Plays 411 - (323) 960-7787 or reserve online at www.plays411.com/world

2015 Interview with Creative Team of Assassins

zach lutsky

dan fishbach

On August 21 Red Blanket Productions will present a rare revival of Stephen Sondheim’s musical Assassins at the Pico Playhouse in West LA. Director Dan Fishbach and actor/producer Zachary Lutsky, who plays assassin John Hinckley, recently took time out of their busy schedules to talk about the show. It is particularly relevant this year as we recollect the 150th anniversary of Lincoln’s assassination by John Wilkes Booth in 1865.

BIOS:

Dan Fishbach: Recent credits include The Maiden's Prayer, Private Eyes, Company, 25th Annual Putnam Co. Spelling Bee, HAIR, Bat Boy, Chicago, One Night Stand, International Tour (an improvised musical for Producer Marc Platt) and several productions at the Edinburgh Fringe Festival. Currently a professor at The USC School of Dramatic Arts (Directing & Musical Theatre). Formerly Head of Performing Arts at Harvard-Westlake School (2002-2006), Director of The Groundlings Theatre & School (2006-2008). Has taught at CalPoly Pomona, Santa Monica College and lectured extensively about the History of Musical Theatre. As a producer he produced the play An Oak Tree at The Odyssey Theatre, which was described by Variety as “A celebration of pure theater’s power”, Impro Theatre’s Impro Unscripted (Odyssey) and nearly 30 shows at the Edinburgh Festival. He is an alumnus of Director's Lab West. Degree from Kenyon College. Member SDC.

Zachary Lutsky: Zach is thrilled to be working with the amazing cast and creative team behind Assassins.   Some of his favorite roles include Harry in Company, Nathan Detroit in Guys and Dolls, Mr. Mushnik in Little Shop of Horrors, and Albert in Bye Bye Birdie.  During the day (and too often nights) Zach can be found working as a doctor in the ER.  He also has worked as a writer, medical consultant and actor on such shows as “ER,” “Parenthood,” “A Gifted Man” and “Scandal.”  He is currently a writer/producer on NBC’s “The Night Shift” in its third season.  Special thanks to Liz, Jacob and Emma, for their enthusiasm and support.  For Grandma Florence, who inspired his love of theater.
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How do you know each other?

DF: Zach and I have known each other since Jr. High School.  We were in a production of Gypsy together.  I played Rose’s Father and disappeared after about page 8 and he played Herbie (the lead).  No jealousy there at all. ;)

In the past, have you worked together doing theater – and if so, how and when?

DF: We have talked about doing a show together for a couple years now.  Zach’s been eager to produce something.  He initially approached me about doing In Trousers, which didn’t work out.  We then talked about The Last 5 Years, and Parade before agreeing on Assassins, and I’m thrilled that we did.

How did the idea of producing a musical first get hatched?

ZL: As mentioned, I have had a deep passion for musical theater since my high school years.  I have long fantasized about producing a musical.  But as a doctor and TV writer there has not been any time to make this dream come true.  In the meanwhile (meantime?), I have long supported and envied Dan's work directing plays and musicals at the college and professional level.  When it turned out that the show I am currently writing on was going to be on hiatus for a few months, I saw my opportunity and finally approached Dan about working together to produce a musical.  I knew he too loved Sondheim and with his extensive experience would be the perfect collaborator for this endeavor.  Fortunately, he was interested and we started working on it immediately.

It seems clear that you both enjoy musicals by Stephen Sondheim.  However Assassins is not one of his most popular works and when first produced, was not a successful venture creatively or financially.  The musical later picked up steam with a production in London, and was revived in New York, earning five Tony Awards in its first revival.  That being said, why choose Assassins and why now?

DF: As a director, Assassins appeals to me because for the very reason that it was not a financially successful venture:  it’s not traditional musical comedy fodder;  it asks us to look at a very dark side of America’s history and our present, and to look at these assassinations not from the outside but from the inside.  It asks us to step back before the moment of assassination to view the circumstances that provoke unthinkable violence.  They’re questions that regularly surface today with the regular gun violence in our country, and questions that even today, in real life, we hesitate to answer.  This show forces us to look at those questions, without ever really answering the questions.  It does what Sondheim and his collaborators do best: make an audience look inside  themselves and think.  That, to me, is the most exciting kind of theatre.

ZL: It is true Dan I are both huge Sondheim fans and this show popped in my head almost immediately when I thought about producing a musical.  I love that it is so unique, so rarely done and that ONLY Sondheim would have the brilliance and confidence to attempt to write a musical about people who murder presidents.  Who would ever think that that topic could be so entertaining, funny, moving and even lend itself to song and dance. Another aspect of this piece that I found attractive is that it is an ensemble show.  We have been able to pull together a very diverse group of actors and have been blown away by how their individual talents have melded together.   Finally, I feel that its message and themes are still very relevant today.  The show explores what happens to sick minds when they are confronted with the reality that most people will never achieve the American dream that we are all promised.  Looking at all of the horrific violence in our country today, we see the modern manifestation of this realization, when certain individuals, hopeless and disturbed, lash out in grotesque ways against the country they feel has betrayed them.  The Balladeer belts out early on in the show, "Listen to the stories. Hear it in the songs. Angry men don't write the rules, and guns don't write the wrongs."  I often think of these lyrics when yet another gun-related tragedy pops up on the evening news and pray that one day the world will know this truth.  

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Red Blanket Productions presents the multi-Tony Award-winning musical Assassins with music and lyrics by Stephen Sondheim, book by John Weidman based on an idea by Charles Gilbert, Jr. directed by Dan Fishbach, music direction by Anthony Lucca, and choreography by Lili Fuller.

Disturbing, alarming, and eerily funny, Assassins is perhaps one of the most controversial musicals ever written.  Stephen Sondheim, the great genius of contemporary musical theater, with stand-out shows such as Sweeney Todd, Into the Woods, and Company, leads audiences on a tuneful review of Presidential assassins and would-be killers from John Wilkes Booth to John Hinckley.  Thought provoking and darkly delightful, Assassins won five Tony Awards in its first revival on Broadway. 

The cast includes the talents of Claire Adams, Jeff Alan-Lee, Sean Benedict, Janna Cardia, Cole Cuomo, Dominic De Armey, David Gallic, Adam Hunter Howard, Jason Peter Kennedy, Zachary Lutsky, Sandy Mansson, Nick Tubbs, Bryan Vickery, Selah Victor, Travis Rhett Wilson, and Paul Wong.

Material appropriate for ages 15 and up/August 21 – Sept. 27, 2015/Fridays and Saturdays at 8:00 PM; Sundays at 2:00 PM/The Pico Playhouse, 10508 West Pico Blvd., Los Angeles 90064

/Tickets: $30

For tickets and information please visit http://www.assassinsmusicalLA.com 

Show Facebook: facebook.com/assassinsmusicalLA

Twitter: @assassinsshowLA

2015 Interview with Gregg T. Daniel

Director Gregg T. Daniel returns to The Group Rep to direct Eric Simonson’s critically acclaimed play LOMBARDI based on the book When Pride Still Mattered:  A Life of Vince Lombardi by Pulitzer Prize-winning author David Maraniss.  In our conversation, Gregg talks about the play, his fascination with the nature of greatness, and what he’s been up to as a director.

By Steve Peterson

When did you take an interest in directing? 

While I was in college, I worked for a number of years as a counselor at a summer performing arts program in East Harlem. The program provided neighborhood youth classes in Art, Music, Dance & Drama. I was in charge of the Drama Division. The program culminated in a fully mounted production utilizing all of the departments. One year, the program director asked me to direct the stage production. After that, I was hooked, the challenge of bringing various disciplines together into a cohesive whole thrilled me.   

What was the first play you directed and how did it go (or what did you learn from the initial experience)?

I believe the first play I directed was the musical, “The Me Nobody Knows.” It was an enormous amount of fun working with a musical director, a choreographer and a scenic artist. We were all very young and thankfully were willing and open to learn from each other. 

How did your directing of the Group Rep’s production of LOMBARDI come about?

I’ve developed a very fulfilling artistic association with the Group Rep. GRT’s Co-Artistic Director, Larry Eisenberg continues to invite me back and is willing to consider material I’m interested in. Lombardi is my fourth product with GRT. I was watching the sports channel ESPN one night and stumbled on a two part documentary about Vincent Lombardi. I was fascinated by the man and his accomplishments. I remembered there had been a play on Broadway a few years prior about Lombardi. I acquired Eric Simonson’s script and brought it to Larry.  

In addition to being a working actor, you also directed plays for Lower Depth Theatre Ensemble, a company you co-founded. What plays did you direct for LDTE and tell us a bit about how they relate to the mission of the LDTE Company?

A central part of LDTE’s mission statement is mounting material, “through the lens of the artist of color.” We look for plays that explore stories of the Black Diaspora. For LDTE, I’ve directed, “Three Sisters After Chekhov” by Mustapha Matura. It’s an adaptation of Chekov’s work set in1941 Colonial era Trinidad. The play is a wonderful reimagining of the original work with people of color squarely at its center. I’ve also directed, “Elmina’s Kitchen” by Kwame Kwei-Armah, a powerful work set in London’s East End about three generations of black men within an immigrant family.  

You recently directed the well received, award-winning production of WEDDING BAND for Antaeus where you are a company member. How did that rarely seen play come to be a part of Antaeus’ season?

My wife, Veralyn Jones is also a member of the Antaeus Company. She brought the play in. We’ve both admired the work for a long time and longed to see it revived. Antaeus encourages its members to bring in material they’re passionate about and arrange a reading for company members. If there’s enough interest in the work, the play may receive a staged reading open to the public. WEDDING BAND went through that process. Ultimately, the Artistic Directors decided it was a work which the company wanted to produce.   

What do you see as possibly being a challenge with the direction of Lombardi?

It’s hard to present a play about sports on stage especially a sport as physical as football. When you’re in a football stadium, there is a visceral reaction to the sights and sounds around you. It’s intoxicating. I want to bring some of that athleticism of the players and the excitement of the game to a stage production. 

What do you want the audience to take away with them having seen the play?

I’m interested in the play as a look at the nature of greatness. What are the unique ingredients which breed greatness in a person? I’d like the audience to possibly reflect on not only what they find great in others but in themselves as well.  

What’s up next for you as an actor and/or as a director?

Next up I’m directing a production of the Pulitzer Prize-winning play, FENCES by August Wilson. I’ll be at the International City Theatre in Long Beach. It’s been 30 years since the play’s initial production at the Yale Repertory Theatre. It’s also the theatre’s 30th anniversary season.  

Is there anything else you’d like to share about the play LOMBARDI that you would like people to know?

You don’t have to be a football fan to enjoy LOMBARDI, it’s a story anyone can enjoy. Additionally, Lombardi’s wife Marie figures prominently in the play. She was the glue that kept Lombardi and their family together. He may not have attained the greatness he did, if it hadn’t been for the determination of Marie Lombardi.

~~~

LOMBARDI runs July 24 – Sept. 6. Fridays & Saturdays 8PM.  Sunday Matinees 2PM.  Appropriate for ages 12+.  Admission: $25.  Buy Tickets/Info:  www.thegrouprep.com or (818) 763-5990.  Lonny Chapman Theatre 10900 Burbank Blvd., North Hollywood 91601.

The cast includes the talents of Bert Emmett, Christopher Hawthorn, Julia Silverman, Ian Stanley, Steve West and Troy Whitaker.

2015 Interview with Playwright Martin Sherman

Playwright Martin Sherman, most famous for his Pulitzer-nominated play Bent is in town for the Mark Taper Forum's revival of  the classic directed by Moises Kaufman. We sat down at Vespaio at the after party Sunday July 26 and chatted briefly about the play and this production.

A writer friend of mine wants to know what research you did originally on the persecution of gays in Nazi Germany?

I went to a library called the Wiener Library in London. There was hardly anything written about it. I asked the librarian and she showed me a book that had a footnote and another that had a line and another that had three sentences. I pieced it all together from that. There was also a brilliant book written by Bruno Bettelheim called The Informed Heart which was about the psychology of both the prisoners and the guards at Dachau when it was a detention camp, not an extermination camp. That was very helpful about the psychology of everybody.

When you wrote the play and it first appeared on Broadway in 1979 with Richard Gere and David Dukes and David Marshall Grant - which I saw by the way - what did you hope audiences would take away with them? And now, has that changed?

I wanted them to learn what happened to gays in Nazi, Germany. But beyond that I wanted...I'm sure I wanted... a message about love, which I always want in all my plays. It doesn't matter what time.

Well, as I was watching Act II tonight, you certainly achieved that.

This is a wonderful production. Wonderful director and company of actors!

So this production holds up to other past productions?

Oh, yes. This is so special, brilliantly directed and every part is wonderfully acted. It's a very, very special production. I couldn't be happier.

Is Bent your favorite play?

That's like asking a parent to choose a favorite child.

I love A Madhouse in Goa. It suits my craziness. All of the characters are such losers, and again in need of love.

Yeah, I love that play. It ranks right up there with Bent and other plays. Vanessa Redgrave played Mrs. Honey in London.

You should have won the Pulitzer for Bent. It's so powerful.

I don't know if that's true. In those days, nominations were not announced; now they are. Only the winner was announced. Years later when the Internet came into being, it started to say that I was nominated for a Pulitzer. Maybe I was. I honestly don't know. (he laughs) I have no idea where it comes from or whether it's true or not.

Thank you for your time, Martin.

Thank you.

A very humble, gracious human being and brilliant writer! Go see Bent while it plays at the Mark Taper Forum through August 23 only.
www.centertheatregroup.org

http://www.broadwayworld.com/article/Regional-Roundup-Top-10-Stories-This-Week-Around-the-Broadway-World-731-Ogunquits-NICE-WORK-a-Brilliant-BENT-at-CTG-LIZA-and-More-20150731

Interview with Stacy Ann Raposa

Stacy Ann Raposa has, for several years, worked with actors to explore the depths of their minds and souls.  In doing so, the actors create solo pieces that are performed in public at the end of a four month process.  Rather than just moving from one solo piece to another, all actors are on stage throughout the show – sometimes playing characters in other actors’ solo pieces.  We sat down with Stacy to hear about the process and how BARE NAKED ANGELS came to be.

BARE NAKED ANGELS:  Angels Unabated

Interview with Director/Producer Stacy Ann Raposa

By Steve Peterson

When did you first take an interest in the performing arts (theater, or acting)?

I was 26 and had just moved to California. I decided that it was finally time to go to college. I signed up for a Theatre 101 class at Glendale Community College and fell in love.

How did the idea of BARE NAKED ANGELS come about?   Where does the name come from?

While attending USC (where I met my co-producer Sarah, who also stars in the show,) I took a class in Solo Performance, which I was immediately intrigued by. After I graduated, I belonged to a theatre company and kept trying to get them to do some kind of solo show. My voice went unheard, so I decided to take matters into my own hands. I assembled a cast and held meetings in my living room, teaching my actors what I had learned and adding my own twist. One of my actors in the original show just blurted out the name during one rehearsal, and it stuck. “Bare Naked” as in the actors are baring their souls to an audience and “Angels” as in people living in L.A.

What is the development process of the material (briefly)?

For the first month, the actors’ homework for each rehearsal is to write 2 pages. It doesn’t matter what they write, just that they write. I have them start with a lot of stream of consciousness just to get them going. Once they get into a rhythm, amazing things start to emerge. Actors write about things they thought they forgot, or write things they didn’t even realize they wrote. We all lend support and understanding to each other and the stories grow from there. I follow many of the philosophies and use a lot of exercises from The Artist’s Way: A Spiritual Path To Higher Creativity, which is a wonderful book written by Julia Cameron designed to help artists harness their creative abilities. One of my favorite exercises is called Imaginary Lives, where Julia asks: “If you had five other lives to lead, what would you do in each of them?” She then goes on to give numerous examples and then invites the reader to choose five of their own. It is this kind of work that encourages the artist to allow themselves to think in ways that they normally wouldn’t.    

You have several other BARE NAKED ANGELS productions under your belt using the method you developed for solo pieces – has the method changed in any way since you first started?  What have you learned while in the process of giving shape or developing the monologues?

No, the method hasn’t changed. The end product has, though. The very first show I did was a little different. The process was exactly the same, but the end piece was 6 monologues. Beginning with the 2^nd show is when I started to break the pieces apart and glue them back together, making the show much more of an ensemble piece.

I have learned that everyone is an individual and has their own way of learning and going through the process. What works for one may not work for another. You need to cater to each and every actor to make sure that they are giving you (and their audience) the best piece they possibly can.

What is the most challenging aspect of directing the show?

The most challenging aspect of BNA is piecing together the show. I have to take various monologues (in this case, seven) and break them down, finding links (words, thoughts, feelings)  that connect certain pieces and glue them all back together to make an ensemble piece. It usually takes me about 2 weeks to complete.

Is there an overall theme to BARE NAKED ANGELS:  Angels Unabated?  And, if there is no overall theme – how do you go about tying, bundling, linking the monologues together into a play?

No, there is no overall theme; each piece has its own individual theme. That is one of the main messages of BNA, even though we are all different, there are a lot of things that connect us, or make us all the same too.  My process is to print out each actor’s monologue and lay them all out in front of me. I scan them once, searching for a word or a feeling that might tie a certain piece together with another piece. I write notes on a white board of links that I find. Then, I write all over the scripts, numbering each chunk of text in the order that I want it to appear. Then, I cut and paste and voila—a script!

What do you want the audience take away to be having seen the play?

That every human on this earth has something of value to say, even if they think they don’t.

What’s up next for you, new projects, other shows, etc.?

Well, Fringe Theatre Co is currently homeless, so I’m not sure what’s on the horizon for us. But I do know that I’ve been teaching my BNA method to actors for 9 years and it is so rewarding—for me and for them. I would love to be able to teach this to more people in the coming years.

Is there anything else you wish I had asked or something else you want the reader to know about you or the play/this production?

BNA has always been a labor of love. It is a very valuable tool for the actor to possess, going through this process. Past students of mine have reported that the process makes them stronger, bolder actors and also forces them to look at others in a different way. It changes lives, and that is something I’m very proud of.

BARE NAKED ANGELS:  Angels Unabated weaves together the intimate true stories of seven brave actors, creating a unique evening of theatre. It’s solo performance with a twist!   The play runs July 17^th through August 9^th, at Actors Workout Studio, 4735 Lankershim Blvd, North Hollywood, CA 91602.  For tickets and more information please visit www.barenakedangels.com and www.facebook.com/BNAsolo. 

2015 Interview with Amy Madigan

Actress Amy Madigan will direct Neil Koenigsberg's play Off the King's Road later this month at the Odyssey Theatre in West LA. A production of the play in New York last season was critically acclaimed, which included a New York Times critic's pick. In our conversation Madigan talks about the play, her cast and her association with the playwright. 

Tell me about your relationship to Neil Koenigsberg. I understand it's a long and fruitful one.

Neil and I have known each other for over 20 years. He was my personal manager and we both share a vivid interest in novels and theater, so we share that conversation a lot. He is a true friend and we have shared a lot over the years culminating with Off The King's Road. 

Describe Off the King's Road and the message it conveys.

Off The King's Road is really a play about love and connecting to who one is in the moment. There is pain and loss with our main character, Matt. But through a series of substitutions for his grief he finally moves on. I think it is a feeling in the gut when you react to the play. 

Neil Koenigsberg

What challenges are you facing as director of the play? Is this your first direction? If not, what other plays have you directed?

I have directed at the MET Theatre in Los Angeles in the past and have been a moderator in classes, but this is my first show at the Odyssey. I come from the acting side of things which finally is collaboration, so I felt comfortable taking this on and I have a crack team of designers, thank god, cuz I know what I like and want in my head, but need others’expression to help me. 

Tell us a little about Tom Bower and the role he is playing.

Tom Bower and I have known each other for about 30 years through Equity waiver theater and acting workshops. He was always my first choice for Matt, and he graciously accepted. It is a tough part – one that requires a confidence in self so we can see what this character needs to go though to get to the end of the play. Matt is onstage most of the play, and it is not an easy one. I cannot say enough about Tom as a consummate actor and friend. We also worked at Sundance together in the mid ‘80s when it was first getting started!!!! 

Tell us about the rest of the cast.

The rest of the cast is amazing. I auditioned a lot of people, and these other four — Casey Kramer, Thaddeus Shafer, Michael Uribes and Maria Zyrianova — are outstanding. Totally cool people and on top of their game, and they made rehearsal a blast and are the beating heart of this show. A real ensemble cast and tons of theater between them. 

I understand you and Ed (husband Ed Harris) will be returning next winter to New York to star in Buried Child. How exciting! Have you played Sam Shepard before? What do you feel makes him such a revered and electric playwright?

Ed and I will return for the first time Buried Child will be done in twenty years, with Scott Elliot directing and with The New Group.It's very exciting. I did the LA production of Lie of the Mind at the Taper downtown. He is the man who writes about family and rips it to shreds, with your heart going along...

Who are your all-time favorite playwrights? Talk a little about why you chose those particular writers.

I love Beth Henley, Tennessee Williams, Mr. Chekhov, Eduardo Machado, Mr. Shepard, Sarah Kane, Jane Shepard, Martin McDonough...and more. So many brilliant minds out there.

Be sure to catch Amy Madigan's direction of Neil Koenigsberg's Off the King's Road playing at the Odyssey Theatre, 2055 Sepulveda Blvd. Previews: June 19-June 26/Performances: June 27- August 2. Plays Fridays and Saturdays at 8pm and Sundays at 2pm. For tix, call: (323) 960-7712 or visit: www.plays411.com/kingsroad 

2015 Interview with Patty McCormack

Actress Patty McCormack surely needs no introduction. An Oscar and Golden Globe nominee for 1956's The Bad Seed, she has worked on stage, in film and on television to great acclaim for over 60 years. Now she is onstage once more in a hilarious world premiere dark comedy Miserable with an Ocean View playing Saturdays only at the Whitefire Theatre in Sherman Oaks. She recently sat down to chat about the play and about highlights of her long career.

Miserable with an Ocean View sounds very funny and your role as the mother from hell seems different for you as you have no dialogue. Talk about this and your other challenges in playing her.

The fact that I have no dialogue, in addition to being the Mother from hell, combines two of my favorite childhood roles. No dialogue as Helen Keller in the playhouse 90 production of Miracle Worker and child from hell, Rhoda Penmark in Bad Seed! The challenge in this role was how to make Rhoda Shapiro as real as possible, while fulfilling her reputation!! I figured, being a Mother myself, that she couldn’t be all bad! And I have one moment , I believe, that shows that. The other scenes are so much fun being so incredibly  “miserable."

How did you get involved in the project? Did you like the script from the start?

Howie (Skora) developed the play at Bobby Moresco’s Actor’s Gym, and although I wasn’t around for that stretch of time, I have been a member for some time.

As the play was getting cast, Bobby recommended me to Howie, and that started everything.  After some phone calls, and loving what he wrote, I was sure that it was the perfect time to break the long spell of not being on stage. The feeling of fear which becomes greater the longer you are away, began to subside, and I remembered the joy I had always experienced in front of a live audience.

Everyone remembers you from The Bad Seed. Talk briefly about that experience and what it was like as a young child to work in that company of actors.

I think of the time doing Bad Seed as a very happy childhood memory. I remember learning the thrill of causing a reaction from an audience! And learning how to “keep it in” because it worked. I had the privilege of working alongside actors who were veterans of theatre, and I learned so much by osmosis.  

I remember you as well from TV's I Remember Mama, the series. What kind of experience was that? Are the memories fond ones?

I began I Remember Mama before getting Bad Seed, and like most TV back then, it was “live” when I was on it, and much like doing theatre. I worked with Dick Van Patten, who was the most fun on the set. He really liked kids and so he brought a sort of normalcy to me and Kevin Coughlin, who was the young boy on the show.

Kevin and I made a “club” house in the empty rehearsal hall, attached to our main one at Grand Central Station where we rehearsed, and it was a great place to play, when we weren’t needed.

My Nephew, Fred Cerullo, is now the President and CEO of the Grand Central Partnership. He runs that Business Improvement District in NY. 

          

Talk a little about your soap experiences and other TV work. Do you have a favorite show?

I know that my first experience on a soap was when I just turned 7. You weren’t allowed to work on television until you were 7. I can’t remember the  name of it because it is so long ago, and I think missing from Imdb. The others are Young Doctor Malone,The Best of Everything, and As The World Turns. My most vivid memories were from The Best of Everything because I was carrying my Daughter Danielle all through the run, and met my “Best friend” in life! Julie Von Zerneck, who worked as Julie Mannix at that time. We were working with Gale Sondergaard, who won the first Best Supporting actress award, and Geraldine Fitzgerald! 

         

         

WITH PETER FONDA IN 1962 THE NEW BREED

Tell us something funny that happened - any unexpected or embarrassing moments?

I am going back in time to remember one of my favorite shows to do, which was Playhouse 90. I did 5 of them, and the embarrassing moment occurred during the one in which I was perched on a piano, singing “Oh, My Man” in French, with Lee J. Cobb, accompanying on the piano, and a room filled with “party guests." I didn’t speak French, so I learned it phonetically. Did it perfectly, all through rehearsals and dress, but when we went live, I went blank! All the actors in the room, including Mr. Cobb, began La-la-ing, and saved the day! But I was horrified and so embarrassed!!! That had never happened to me before!

     

I loved you as Sister Woman in Cat on a Hot Tin Roof at the Taper. Is that production a fond memory? How? If not, why?

Any one who has had the good fortune to work with Jose Quintero will tell you what an incredible experience it was. It was a highlight for me!

         

         

cat on a hot tin roof 1983

Is there a favorite stage role that you have played? Why that particular one?

I think that I had the most fun being “cookie” in Rumors, because I was directed by Avery Schreiber and we played at a theatre in Jupiter, Florida.

We had so many good times during rehearsals because of Avery and his wonderful sense of the absurd, and also fun because I had already played a different role in the same play, previously! It made it very interesting to see the story through a different character’s eyes.

Is there a role you yearn to play? Which one and why that particular role?

I don’t have an answer, but when I do, I will tell you!  

Did you find being a popular child actor and then having work decline as you got older depressing? What is it like for child actors when work on stage or in front of the camera is scarce? Is there adequate support for child actors in Hollywood?

I can remember early on wondering why there were gaps in my working and that was before changes began to be visible, so I always questioned not working more! I am still doing it! I think that today with people more awake to those issues, and the organization that Paul Peterson began, has helped so many former kid actors transition into adult actors,

or in some cases, different careers altogether. 

Tell me about the cast you are working with in Miserable and your director.

I love each and every one. It feels like we are on active duty together, and we all have each other’s backs . Please list: Elizabeth (Regen), Paul (Elia), Alex (Skuby) and Drew (Droege), and lastly and most importantly, Jim (Fall) our leader through it all! We are truly a company, and I am so happy to be a part of it.

Anything you care to add?

I am so glad that in my 70th year, I can still work at what I will always love, with such talented people, while also enjoying the other aspects of my life. Being a Grandma changes everything! (ask any Grandma or Grandpa!) So, this time of life is the best yet, and I am very grateful to be around to enjoy it! 

     

Don't miss the resilient Patty McCormack in Miserable with an Ocean View every Saturday through July 18 at the Whitefire Theatre!

www.miserablewithanoceanview.com

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