Interview with Tal Fox of In Trousers

Actress/Producer Tal Fox is about to open in the rarely produced In Trousers at The Lounge. In our conversation she tells us about this and her other theatrical chestnuts.

TAL FOX  - Tal is an LA-based actress, singer and theater educator. Theater credits include: Max & Ruby (National Tour), The Christians (Center Theatre Group), Star Is Born 3, Unauthorized Musical Parody of Mean Gurlz (The Rockwell), Kiss Me, Kate, Urinetown, Sunday in the Park with George, Zorba, Hello Again, The Spitfire Grill, Ragtime... Tal holds a BFA in Musical Theater and BA in Communications from Pace University, and is also a producer, writer, and casting director. Producing credits include: Star is Born 3 (The Rockwell) and Dreamgirls (5-Star Theatricals). Casting work includes: Good Grief (Center Theater Group), Collective Rage (Theatre @ Boston Court), 5-Star Theatrical's productions of Shrek, Matilda, West Side Story, and The Music Man. Follow her on Instagram: @talmorningdew
~Tal  

Tal, tell our readers about your acting background. What kinds of roles have you played previously? What role are you essaying here?

I’m a graduate of Pace University’s Musical Theater program in NYC. After college, I joined Actors Equity when I went on tour with a Nickelodeon musical, “Max & Ruby”. I returned to NYC after and worked on some new works, concerts, and plays. I made the move back to California several years ago to pursue some other goals and have been staying active in theater with the Musical Theatre Guild and at venues like The Rockwell Table & Stage. I’m constantly trying to find new opportunities to perform, to build on the craft, and to tell good stories. Theater is the ultimate space to collaborate and connect and I feel really lucky to be an artist who is a part of this upcoming production of In Trousers. I’m grateful that I’ve played parts that have a lot of variety to them (The Actress in Hello Again - desperate for a connection; Pennywise in Urinetown - severe and brash; Lilli/Kate in Kiss Me, Kate - high drama, covers a large vocal spectrum…), and I’m thrilled to be working on such a nuanced character of The Wife in In Trousers, who teeters on the brink of “breaking down” and being so reflective and introspective.

Talk about producing a play or musical. How enormous is this job and do you like wearing this hat as well as that of the actor in the piece? If you had to choose, what would you rather do, produce or act?

Producing a musical is always a large task, but I’m grateful to be working with a collaborative team as part of Knot Free productions. I really enjoy solving puzzles and having produced on several other productions (at 5-Star Theatricals and The Rockwell Table & Stage). Within these, I’ve found another element to this industry that I can take pleasure in, and have some control over. Gathering together the sensational team on this show and putting together all of the other entities, big and small, has been very rewarding. I can see where our hard work is going to pay off and am grateful to help create opportunities for other actors, directors, musical directors, etc. to put on a production; especially one that is so rarely done.

Tell us about In Trousers. It preceeded Falsettos, correct? Why has it been left out of productions of Falsettos? When was it last seen?

In Trousers is the first of a trilogy by William Finn. It originally premiered Off-Broadway in 1979 and then a significantly rewritten version (the one that we will perform) premiered in 1985. Following this show, he used the same Marvin character when he wrote March of the Falsettos which premiered in 1981 and then later Falsettoland, which premiered in 1990. It was not until 1992 that the two latter parts of the trilogy were combined into Falsettos, which ran on Broadway and went on to garner seven nominations at the 46th Tony Awards winning two: the 1992 Tony Award for Best Original Score as well as the 1992 Tony Award for Best Book of a Musical.

In one sense- In Trousers is a prequel to Falsettos as we know it now. In short, it is the story of Marvin, and the women in his life, as he sorts out his issues with intimacy and his sexuality, ultimately trying to figure out what he wants and who he is. It’s very rarely done, but has a cult following, with many fans of the 1979 album, recorded with original stars, Alison Fraser, Chip Zien, Mary Testa, and Joanna Green.

Why was it decided to finally bring it back? What does it contain that the other two pieces do not?

We chose to produce this show, most simply, because it is a beautiful and moving piece of theater that never really got its due. Its hauntingly gorgeous musical score and bold message of self-acceptance were way ahead of their time and we feel will be much more appreciated in today’s culture, especially in an intimate venue.

We are introduced to the three women that most affected Marvin’s development and self discovery: his wife, his high school sweetheart, and teacher. The wife character continues in Finn's latter pieces but the other two characters do not. Also, while the two parts of Falsettos deal with Marvin’s handling of his disjointed family, torn apart by his coming out and leaving his wife, as well as the impact of the AIDS crisis on gay men in the late 80s, In Trousers tells the story of Marvin’s self-discovery and the women he loved and hurt along the way.

Musically, this piece is very unique as well, with one male character singing with three women who are in tight harmonies throughout the score. Furthermore, the music is very freeform and brings us into Marvin’s mind. It becomes a “character” in the show much more than most of his other works.

What are your expectations for audience reaction to the piece?

I hope that people walk out having enjoyed a beautifully acted and sung piece by William Finn. His work is exceptional and this music is challenging and in your face. This musical deserves to be heard by new audiences. I really feel this show was ahead of its time and can be appreciated in a way now that it never could when it was written.

I hope as well, that on top of being moved by Marvin’s specific journey of self-discovery, that audiences will reflect on and appreciate those few moments and people in their life journeys that helped them discover who they really are.

Talk about the rest of your cast and your director.

We’re so lucky to have these gems joining us! Corey Lynn Howe directs- she has developed many plays and has recently directed Next to Normal, Title of Show, Tattered Capes… She’s also a part of A Little New Music and is an advocate for new and rarely done work.

Jake Anthony, our musical director, is a highly sought-after vocal coach and musical director throughout Southern California. Credits include Little Women, Splendora, Songs from an Unmade Bed, Into the Woods… He is also a composer who’s written three musicals that are produced throughout the US.

Our cast: Braxton Molinaro stars as Marvin. He is an exceptionally talented actor and symphonic composer. He brings so much depth and nourishment to this role. Michelle Lane plays Miss Goldberg, his teacher- wait till you hear her sing “Set Those Sails”! Lea Madda plays the Young Sweetheart, and is just that, a delightful doll. Additionally, we are lucky to have Brooke van Grinsven cover all the female tracks (not an easy task! Have you heard this music?!) I am co-producing this piece with Zachary Harris whose producing highlights include Assassins and Next to Normal at the Pico Playhouse.

What for you is the message of this play? Is it any different from the overall message of Falsettos?

In one of my favorite songs from the musical my character sings, “Love me for what I am, not what I try to be. Love me for what I am…someone imperfectly me.” This powerful anthem of self-acceptance is the message of the show. It is this self acceptance that Marvin searches for throughout the piece and the message that we hope our audience will take with them when they leave the theater.

In Trousers plays October 11 – November 3. Fri/Sat 8 pm; Sun 3 pm. Ages 14+. Sexual content. Running time 90 minutes, no intermission. Lounge Theatre – Front Theatre 6201 Santa Monica Blvd, Los Angeles, CA 90038

To make reservations, go to:
https://www.facebook.com/events/490514184826945/

Interview with Sylvia Brooks

Jazz artist Sylvia Brooks has quite a fascinating background to share with us. In her live concert at Feinstein's Upstairs at Vitello's on October 26 she will sing from her three albums with an eclectic and alluring mix of songs.

Talk about your album The Arrangement and how it became a breakout in forwarding your career.

SB: Before I started to make this album, I was in a bit of a quandary. I knew that I wanted to explore a variety of styles- and really didn't want to only stick with one idea in order to make the album cohesive. I love Latin music, Classic Jazz, Blues and certain pop songs that I have always wanted to record, like the Beatles "Eleanor Rigby" and Hank Williams "Cold, Cold Heart". And I was familiar with a number of musicians and writers in the Los Angeles area that I have always wanted to work with. So, I reached out to them and asked them if they wanted to be part of this project. There were songs that I thought would be good for their musical voices, and I said, what do you think about doing an arrangement of this...all I asked was that they kept the arrangements consistent with any combination of horns that they wanted to use. I also said, pick your players. So we went into the studio and recorded. I knew that the album's success or failure really depended on my ability to make these writers work sound musically cohesive, so that it all fit together as one piece of work. It was a big risk, but I think it paid off.

What was it like growing up in Miami? Tell our readers about the styles and rhythms that surrounded you.

SB: My father was a well known, first call pianist who loved Oscar Peterson ( he actually taught his book) as well as Duke Ellington. My mother was an opera singer, who later headlined in the big show rooms on Miami Beach, singing jazz and pop - artists like Nancy Wilson and Peggy Lee. Miami is a sensual place- and moves to a different rhythm than other parts of the country... the heat & humidity, the ocean air- the tourists that would come down from New York in the summer. There was a time when Miami was one of the major entertainment capitols in the world. I reference that in the liner notes to my first album. And, without giving myself away, I grew up down there when the wealthiest Cubans had just come over from the revolution. The Cuban culture was magnificent- and I learned a lot from not only their pain and loss of having to leave the country that they loved, but the richness of their lives. It was a wonderful time to be down there.

What was it like coming from a musical family?

SB: I think coming from a musical family- I rebelled and went into theater- I was classically trained at the American Conservatory Theatre in San Fransisco- and then moved to New York. But because I had a natural voice- I started getting cast in musicals. I had just returned to New York, after playing Anita in West Side Story, and my knee gave out. It was like A Chorus Line! I realized that I could no longer dance- and so I moved to Los Angeles and started over. Luckily, my family was always very supportive of my choices- and my desire to be an artist.

When did you know that music would be your career?

SB: My dad passed away about 12 years ago, and when I was putting his funeral together, and was going through his archive- I had this epiphany that I wanted to sing jazz. I started working with several wonderful musicians here in LA, some of whom will be playing with me at Feinstein's At Vitello's. We ended up receiving The LA Times Critics pick for a series of 6 shows that we were doing. It was at that point that the guys said, let's go into the studio and make an album of this- that's how Dangerous Liaisons came about.

How do you feel about the direction music is taking in 2019? Do you prefer the standards as opposed to contemporary music? If so, why?

SB: I love all music....however I do I tend to like more complex melodic structures, and songs that have a message. There are some wonderful pop songs- that have great messages. I think the problem becomes how to take a classic song and make it fresh. That's something that I try to do. I love writers and performers like Leonard Cohen, Elvis Costello- Bruno Mars- Cecile Mclorin Salvant is doing some really interesting things- at the end of the day, it's all about reaching people. If you are able to do that as an artist, then I believe you are doing your job.

Are there musical styles that you would like to try?

SB: Yes, I'd like like to eventually do a big band album, and a trio album- with a great Jazz trio. I'd also love to do a Brazilian Jazz album. Guess I've got a lot left to do!

Getting back to your upcoming concert on October 26 at Vitello's, what will you be performing? Songs from The Arrangement? What else without creating a spoiler alert?

SB: I'm going to be singing music from all 3 of my albums. And I may be adding in several new pieces, we'll see.

Do you have a music mentor? If so, who is that? Who is your favorite composer? Why this choice?

SB: I remember seeing Lena Horne in A Lady and Her Music when I lived in New York, and she changed my life. I know that I would have felt the same way if I'd seen Judy Garland or Edith Piaf in concert. I love Porgy and Bess- Gershwin, Sondheim, Duke Ellington and Harold Arlen, Joni Mitchell and Laura Nyro. I suppose my mother and father were my mentors. Growing up in a musical household seeped into me when I couldn't even talk yet. I remember my dad bringing trios into the house for rehearsals, and my mom vocalizing. I'm very lucky to have had that.

Jazz is coming back into vogue. How do you want to be remembered as a contributing jazz artist?

SB: It's my hope that my recordings and live performances reach people- and as they are listening, they are taken into their own experiences. I recorded a famous Nancy Wilson song on The Arrangement- called "Guess Who I Saw Today"- and I decided to do it as if I were living in the 50's- before women had the choices that they do today. I felt that it made it more poignant and truthful- as that was what the writer intended. So I suppose that's my mission- to reach people with as much of the truth as I can and be an honest story teller.

Anything that you wish to add?

SB: Jazz is a true American art form, and I think it’s so important to keep those great voices alive today- and for generations to come. I want to encourage people to support the arts more here in Los Angeles- go out and listen to our musical community here. There is so much talent, but we need you, the audience. Thanks Don for spreading the word!

To purchase Sylvia Brooks' albums, visit her at 
www.sylviabrooks.net

Feinstein's at Vitello's is located upstairs in Vitello's restaurant at 4349 Tujunga Avenue, Studio City, CA 91604/ Hours Of Operation:  6:30pm-10:30pm/ to make reservations for October 26, call: 818-769-0905 

Interview with Pamela Clay

Actress/singer Pamela Clay has been performing a show she wrote about Edith Piaf entitled Forever Piaf for quite some time to great acclaim! She will perform it locally at Feinstein's Upstairs at Vitello's on October 16. In our conversation she talks about growing up in a musical family and how Piaf's outlook became the cornerstone of her life.

Tell us about your background. As a child, how did you become interested in music? When did you know that it would be your career?

PC: One of the first things I remember was hearing classical music. Both my parents were blessed with beautiful voices, played piano, and my father also played trumpet. Daddy was a child prodigy who played classical piano live on the radio at age five, and when I was three, they put me in the church choir, and enrolled me in piano lessons and ballet. I was cast as “Miss Merry Sunshine” in my Kindergarten’s musical show at age five. An Army brat, we’d move every two years or so, and moved to Paris, France when I was eleven, then onto Germany, where I sang “O Holy Night” solo live on German TV. Somehow “they always found me” and would put me in all the school shows. My senior year of high school, I was cast as Eliza in My Fair Lady, and I think that was when I realized that this could be my life.

Did you speak French as a girl? How and when did Edith Piaf become so important to you?

PC: I was first introduced to the French language in fifth grade in North Springfield, Virginia, just before we moved to Paris, where I attended the American school in sixth grade and S.H.A.P.E’s international school in seventh grade. The curriculum was entirely in French, and I was awarded “Le Prix des Parents d’Eleves” (best student), at the big ceremony at end of the school year. My junior year of college, I happily returned to France, attending the University of Bordeaux, and remained after the year was finished to live in the southern French countryside where I made my living singing. Then I returned to Paris to be with my Parisian ex, Coco Roussel, a world-class drummer, and later to the States where my parents were living in Arlington, VA.

Edith Piaf became important to me the first time I heard her sing “La Vie en Rose” when I was in my early twenties. I knew instinctively that I could sing this song, and started learning some of her other songs, which I’d be hired to sing at private parties, special events and nightclubs in the DC area. When we moved to Los Angeles I met dear Skip E Lowe, and sang Edith Piaf in his weekly Monday night shows until I was hired to be “the French singer” six nights a week at the fabled Moonlight Tango Café. When my ex and I divorced, I abandoned my “French soul” for a time, until I hooked up with Skip E Lowe, and once again started singing every Monday night in his live shows in Beverly Hills. I took Skip to a special SAG screening of “La Vie en Rose” and met Marion Cotillard. That film and her extraordinary performance inspired me to write my own show about Edith Piaf.

Have you performed in Broadway shows in New York or Los Angeles or are you exclusively a cabaret singer?

PC: The choices I’ve made in my personal life have impacted my ability to commit to a full-blown theatre career, and so I’ve always done my best to “grow where I’m planted”. I was blessed to study under the late, great Sanford Meisner who told me I could very well be a “true character actress”, and although the theatre is my first love (with a passion!), I also realize that theatre is like a marriage, demanding a full commitment.

I went to NY to audition for Les Miserables when I was living in the DC area, and just after I left my ex, I auditioned for the LA production. I was shocked that they remembered me from my audition in NY, and was almost cast as Fantine, but it was not to be. During the time in which I’d “abandoned my French soul”, I formed the all-original 7-piece New Orleans-flavored rock band Catahoula with my amazing artist/musician husband, Bruce Bermudez. When Catahoula was busy recording our second album, we weren’t playing out, and I was incredibly frustrated to not be singing. Lou Rawls was a longtime friend of Bruce’s, and encouraged me to get out there and sing – anything, anytime! So my spirit led me back to Skip E Lowe, and besides singing in his weekly Monday night shows, I started singing solo gigs at private parties and nightclubs. Because I’d been singing jazz and cabaret six night a week in DC hotels, in addition to my theatre and rock background, I have an extensive repertoire that includes of course, Edith Piaf. As I always say: “There are a lot of people living in here, and they all want to sing!”

You wrote your one woman play about Piaf. Tell our readers what they can expect to see October 16 at Vitello's.

PC: On October 16th at Feinstein’s at Vitello’s, I will “bring the Little Sparrow to life”, allowing her spirit to “take me over”. I will be “Piaf in concert”, singing her songs in French, and sharing vignettes about her life, as if Piaf herself might do were she given an opportunity to “live again”.

Is this your first endeavor as an artist to put together your own show? If not, what else have you written?

PC: Yes, this is my first endeavor as an artist to put together my own show.

Do you have a favorite performer female or male that you look up to? Anyone you consider a mentor?

PC: There are many, including Elvis Presley, Connie Francis, Bobby Darin, Judy Garland, Ella Fitzgerald, Janis Joplin, Aretha Franklin, The Righteous Brothers, and of course, Edith Piaf.

Who is your favorite musical composer? Why this choice?

PC: Beethoven. His symphonies are so filled with passion! I recorded his 9th Symphony“Ode to Joy” live singing with the University of Kansas choir my freshman year at KU (what a thrilling experience!), and also adored singing Lerner and Loewe’s fabulous songs from My Fair Lady, as well as Kurt Weill and Bertholdt Brecht’s thrilling songs from Three Penny Opera when I played Jenny at George Washington University to much acclaim. The Kennedy Center came and asked me to come audition for their next production, but my ex told me he’d divorce me if I wanted to be an actress, so I continued to “just be a singer” (and an obedient wife…).

Which of Piaf's songs is your all time favorite? Why this choice?

PC: It would have to be “La Vie en Rose”. Edith Piaf wrote the lyrics herself, and they are quite simply about how when you are in love, you “see life through rose-colored glasses”. This resonates so deeply with me, as I feel almost as if “my rose-colored glasses” are “hard-wired”. My mom always told me what a happy child I was. As an adult I’ve learned that happiness is a choice as well as a commitment. The cards we’re dealt aren’t up to us, but the way we play them is. I’m not saying it’s easy, but for me, it’s the only way to live. Love is all.

There are other singers who have done Piaf like Elaine Page and recently Christine Andreas to great acclaim. What is different about your approach and performance that will make audiences want to see YOU?

PC: I let Edith Piaf “live inside me”, I’m not sure what Elaine Page and Christine Andreas do. For me, the fact I’m singing is incidental, what I’m saying is most important. Edith Piaf told passionate stories with her songs. This is what “hooks me” the most, to strive to tell each song’s story with as much passion and honesty as I can, on the wings of the powerfully written melodies. And it helps to have world-class musicians play with me, such as gifted David Moscoe, who came to New York with me for my big NY debut performing “Forever Piaf!” at Feinstein’s 54 Below in NY. On October 16th at Feinstein’s at Vitello’s, I’ll also have Vince Tividad on upright bass, Coco Roussel* at the drums, Smokey Miles on accordion and featuring Lindsay Gillis* on lead guitar. *(Both Coco and Lindsay also play in Catahoula.)

Anything you wish to add that I did not mention?

PC: I appreciate so very much your having asked me to do this interview! It hasn’t been easy for me to keep my answers brief, as my life has been quite a journey, and there is so much more to say! I also feel an especially deep kinship with Edith Piaf because she was blind when she was very young, and I was deaf, and both of our senses were miraculously restored. I have such big dreams, and believe the best is yet to come. I’m just so excited about everything the future holds, and so grateful for this wonderful journey of life! Thank you so much + I sure hope to see you all at “Forever Piaf!” on Wednesday, October 16th at Feinstein’s at Vitello’s!

Pamela Clay has a terrific dvd of the show available for sale. Visit her website to purchase:

http://www.pamelaclay.com/

Feinstein's at Vitello's is located upstairs in Vitello's restaurant at 4349 Tujunga Avenue, Studio City, CA 91604/ Hours Of Operation:  6:30pm-10:30pm/ to make reservations call: 818-769-0905 

Amy Tolsky Spotlight

The Road Theatre on Magnolia is proud to present The Spanish Prayer Book by Angela J. Davis and directed by Lee Sankowich. The fascinating historical play about the power of art to forge human connections had its official opening on Friday September 20 and plays until November 10. Each week we will spotlight a cast member. This week the light shines on Amy Tolsky.

What character do you play in Spanish Prayer Book? How does she contribute to the play?

I’m the triple role of The Auction House Assistant, Law Clerk and Customs Official. Basically, the comic relief in this mostly serious piece.

Any challenges to overcome as an actor?

A fun challenge! All three roles are British so we had to make them look and sound very different. I used three different wigs and gave the characters three distinctive regional sounds, thanks to our dialect coach Tracy Winters: upper class plummy RP, middle to lower class London, and a Northern Yorkshire sound. I also gave the characters a different physicality and personality which helped to differentiate them.

What to you is the message of the play?

This play isn't about one thing. There are many subjects covered including The Holocaust, survival, ethics, cultural treasures, art, religion, adultery, ownership, love, identity, legal rights, entitlement, family, legacy and faith. Maybe the message is that decisions need to be carefully considered and one must look deep inside but be willing to compromise to do what's right for the sake of your family and the future of humanity. 

Talk about your director and fellow castmates.

Our director Lee Sankowich is a very collaborative and easy-going presence during the rehearsal process. He trusts his actors to find their way and gives a lot of freedom to the actors. If something isn't quite working, he will suggest trying a different approach either with the interpretation of the text or changing the blocking to serve the play better and tell the story in a clear and concise manner. The cast as a whole are all lovely people. I've worked with Laura, Allan and Carlos before on readings but thrilled to have the chance to work with them (as well as Allison, Tiffany and RJ) on a full production!

What do you hope will be the audience takeaway?

There are a lot of ideas floating around this play. I hope the audiences will enjoy the production (both the acting and technical aspects) and possibly debate the issues after. Theatre is meant to entertain but also give people food for thought.

The Road on Magnolia is located in the NoHo Senior Arts Colony at 10747 Magnolia Blvd. There is plenty of street parking but allow yourself plenty of time. Tickets may be purchased at 818- 761-8838.

Night of the Living Dead Interview

Drina Durazo and Gus Krieger are about to open an adaptation of Night of the Living Dead at Group Rep on October 4. In our conversation they talk about the excitement of presenting this Halloween treat.

Gus Krieger (Writer): Original stage plays include Deity Clutch, Sherlock, Through The Looking-Glass, The Armadillo Necktie, and Breaking Bard. Awards include the Spirit of the Fringe Award for Best Writing, Scenie Awards for Best World Premiere Play and Outstanding Production, and the Valley Theatre Award for Best Play. Krieger’s first produced feature screenplay “The Killing Room” premiered at the 2009 Sundance Film Festival. As writer-director-producer, Krieger’s films include the philosophical thriller "The Binding," and the award-winning hip-hop drama "My Name Is Myeisha." Additionally, Krieger is the Associate Artistic Director of The Porters of Hellsgate, which will become the first Los Angeles theatre company to produce the complete works of William Shakespeare.

Drina Durazo (Director): Drina has been a member of The Group Rep for 8 years. GRT credits include: as Director- Yellow Brick Ride, Moon over Buffalo, Hotel Paradiso, Don’t Dress For Dinner, and the world premiere of Gus Krieger’s The Armadillo Necktie (winner of 7 Scenie Awards); as Producer- Sherlock’s Last Case, Awake and Sing!, Lombardi, Calendar Girls, and Avenue Q. Other directing credits include: the multi-award winning production of Breaking Bard by Gus Krieger, for The Porters of Hellsgate; Every Christmas Story Ever Told (And Then Some), All The Great Books Abridged, Baskerville: A Sherlock Holmes Mystery, and The Ultimate Christmas Show Abridged for Mammoth Lakes Rep.


Drina, explain in detail your love of horror.

My love of horror as a genre began when I was a young child. At the tender age of eight, my favorite movies were A Nightmare on Elm Street, Halloween, and Psycho; my favorite TV shows were Tales from the Crypt, Unsolved Mysteries, and Are You Afraid of the Dark. My initial fascination was hugely in part because I enjoyed experiencing terror followed by a euphoric sense of relief, and also because I loved that some of the strongest women onscreen were part of the horror genre. In time, my fascination also stretched into the theory that there is a beast within us all. We consciously disagree with what we see the boogeyman/zombies/vampires doing, but the unconscious part of us enjoys seeing it happen. It's morbid to think about, but some deep part of us enjoys seeing humans one step away from their animalistic ways. I think this thin veneer of civility is apparent in many horror films, including Night of the Living Dead, which makes it so much fun to explore onstage.

Gus, as adaptor, what happens when you open the film up to the stage? How exactly do you attempt to heighten the scary elements?

The goal was always to go for horror. The film is inherently claustrophobic, and those restrictions translate perfectly to the stage. There's always an element of removal when watching a scary movie from the far side of the silver screen, but that barrier is removed entirely in ninety-nine seat theatre: the zombies could literally reach out and grab you at any moment.


Drina, what are your challenges as director of the piece?

I thought my biggest challenge would be finding actors who wanted to play zombies, knowing they wouldn't have lines or character arcs. Wearing scary makeup and walking around moaning and grunting is not exactly high on every actor's list, but to my delight I was able to find a great deal of people willing and interested in being involved. Once I had them all onstage for the first time, I realized my greatest challenge would be making each zombie specific to the action. For this, I turned to Marc Antonio Pritchett. In addition to playing Ben in the show, he is also serving as our fight choreographer, and I can honestly say, I've never seen a fight choreographer more organized and passionate. The play has a lot of action, and without Marc, I don't know quite what I would have done. He created looks for each fight that I would add my two cents to, then he'd design the fight based on that. He created what I frequently refer to in rehearsal as the "zombie ballet," among other great fight moments. The zombie challenge was met head-on with his help, and I couldn't be more grateful.

(Drina and Gus) Do you have original music for the piece? Are there projections onstage?

Gus: Yes to both! We're utilizing a full multimedia experience for our show, combining elements in ways only live theatre can.

Drina: We decided to pay homage to the film by recreating those news broadcasts, shooting, and projecting them. Matthew Herrier was our video editor and his work brings a real 1960s feel to the footage, bringing us back to the era. Kenny Harder has an extensive background in music and proposed the idea of creating original compositions for the show. He took influence from the film's original score, as well as various other horror film composers, and put together some really great tracks that will both keep us in the mood and help us carry the tension from scene to scene.

(Drina and Gus) You alluded in the video to problems in our world in 1968 that have repeated themselves in our contemporary world. Expound on those if you will.

Gus: The original film was very clever with the ways it presented its themes of nihilism, societal breakdowns, etc. Unfortunately, little to none of that has gone away in the intervening decades. Feelings of hopelessness and powerlessness pervade on a national scale. The piece feels, if anything, more prescient and relevant today.

Gus, when you wrote the stage play, what was your greatest challenge?

Running time! And I'm only half-joking. So much of the film is non-verbal that it quickly became evident that large parts of the story would have to be translated to dialogue for the story to play out with the same level of efficacy. In film, a single close-up can convey a world of emotion, a relationship, a subtext. On the stage, those things have to be personified through words and action.

Drina, does the staging involve the audience more intimately? Do you think this will cause a more frightening experience?

No spoilers, but I will say this: we do have zombies, and I can't control just where they wander throughout the show. Being the undead, they simply can't be directed, and just kind of... do their own thing. The audience will have to wait and find out.

Drina, this is a great opportunity for fab costumes and makeup. Who is doing each?

Angela M. Eads has been my costume designer on all the shows I've directed at The Group Rep. She's always worked well with my vision and she is bringing her expertise into the world of 1968. The costumes the zombies wear tell the story of their life before death: great character exploration for creatures that have no action but to attack and kill. The makeup design is done by my long-time friend and incredibly talented makeup artist, Julia Hapney. Julia has over one hundred makeup and special effects makeup credits in film and TV, and I've had the privilege of working with her on several projects. I approached her to design the makeup for this show and she very enthusiastically said yes: in addition to loving what she does, she considers Night of the Living Dead to be the greatest horror film of all time.

Is there anything either of you wishes to add?

It's our hope that NIGHT OF THE LIVING DEAD will be one hell of an evening of theatre: engaging and scary and thrilling and thought-provoking in equal measure. We hope to see you on the NIGHT!

The Group Rep presents George A. Romero’s “Night of the Living Dead,” adapted for the stage by Gus Krieger, directed by Drina Durazo. Seven strangers barricade themselves inside a Pennsylvania farmhouse, attempting to escape the bloodthirsty, flesh-eating ghouls ravaging the countryside. Beset by the walking dead outside, and ever-rising interpersonal tensions within, the group begins their desperate attempt to survive the night…October 4 – November 10. Fridays/Saturdays at 8:00 pm. Sundays at 2:00 pm. Special performances, Wednesday, October 30 and Thursday, October 31 at 8:00 pm. Talkbacks after Sunday matinees October 13 and October 27. Approximate running time 85 minutes, no intermission. Ages 13+. Tickets: $25. Seniors 65+/Students with ID. Tickets/information: www.thegrouprep.com or (818) 763-5990. Lonny Chapman Theatre – Main Stage, 10900 Burbank Boulevard, North Hollywood 91601

Spanish Prayer Book Spotlight

The Road Theatre on Magnolia is proud to present The Spanish Prayer Book by Angela J. Davis and directed by Lee Sankowich. The fascinating historical play about the power of art to forge human connections previews September 17, 18 and 19 and has its official opening on Friday September 20. Each week we will spotlight a cast member. This week the light shines on Allan Wasserman, a Roadie since 2012.

What character do you play in Spanish Prayer Book? How does he contribute to the play?

Jacob Adler. Michaela’s father and soul transporter of The Spanish Prayer Books to the USA from Germany. 

Any challenges to overcome as an actor?

Applying  a slight German dialect and to investigate and attempt to discover how I’m like the character and unlike the character.

What to you is the message of the play?

What are the ethical actions to take in life during desperate times and also during calm and abundant periods. It is a  moral tale that sheds light on wrestling with ethics versus human needs. 

What do you hope will be the audience takeaway?

This is a story that exemplifies our shared human behavior and vulnerability no matter what kind of lives we lead. 

The Road on Magnolia is located in the NoHo Senior Arts Colony at 10747 Magnolia Blvd. There is plenty of street parking but allow yourself plenty of time. Tickets may be purchased at 818- 761-8838.

2019 Interview with Lilly Bright

Actress Lilly Bright is about to open in her one woman show American Standard at Highways in Santa Monica. The play reveals a deep secret she has kept about her struggles with bulimia. In our conversation she opens up to our readers and conveys the importance of coming to terms with your inner self. The truth will set you free.

 Lilly, you are from West Virginia. Tell our readers about your upbringing and what caused you to initially not feel satisfaction with your life. Was is it your parents? Were they too strict?

Come to my show and find out!  Seriously. The family dynamics underpinning the story are layered and complex. Beneath the subject matter of eating disorders and addictions, the show is about family dynamics, secrets and discovering what’s at the root of inner and generational pain. 

Obviously you became increasingly dissatisfied. What did you do to feel better?

Everything! I’m a seeker. I knew I wouldn’t be satisfied with partial recovery. I wanted full transformation which I embody and bring to the stage. This is what makes the solo show genre so powerful. When at its best, the audience bears witness to the transformative journey. 

When did you realize that you were in trouble? What advice did you seek?

I’m 17. I’m spending that summer atop the highest mountain in West Virginia in a writing program I was accepted into as an upcoming high school senior. I had to write an autobiographical thesis. This is when I realized I had to tell someone. I couldn’t keep my struggle a secret any longer. I admitted I needed help and that began a journey of recovery that lasted ten years. 

Talk about what you learned about the perils of bulimia. How do you bring all of this into your show with humor? Give us a couple of examples without creating a spoiler alert.

 It’s not about the food. People who have never struggled with an eating disorder might find this hard to believe. It took me decades to realize this! It’s crystal clear now, but I had to reprogram myself. I had to learn to be with discomfort. To feel feelings without running away.

I’m able to bring humor because I’m fully recovered and I don’t take myself or my colorful journey seriously. I’m able to laugh at myself. When tragedy is written and performed well, it is, it CAN be funny. I hope that gets translated. People will laugh and cry.

Is American Standard the first play you have written? How did audiences react to it when you first presented it?

It’s the first play I’ve written that’s being staged in this way. I wrote many plays as a child. Our neighborhood would put on the shows. I wrote a play script last fall for a dance company in San Francisco. I performed along with the company and did a spoken word Laurie Anderson type thing. I have been in the film business since 2003 as a producer and distributor. I love being back in the theater; my roots are in dance and theaterical plays. 

What is the message of your play? Why is it so important to you to get it out to the world?

Self-love and inner transformation is possible when we learn to embrace all of ourselves, when we learn to stop being so afraid, running away from feelings.

Our planet is going through an incredibly tumultuous time right now. To make a difference and contribute in a meaningful way to society means looking at ourselves first, cleaning up all the places we’ve been blind to in order to bring that change into the world and have it effect the world positively. I mean, who doesn’t want to feel better within themselves and who wouldn’t want to share that learning with the world?

Talk about your director Valerie Hager and how she has helped you get the project on stage.

Valerie is a soul-sister, a total professional, a fierce director, visionary and team player. I am so honored to have her alongside me for this show. We have a lot in common, which is contributing to going very deep with the material and makes a perfect collaboration.

There are many one person shows about addiction. What do you feel sets yours apart from all the others? Why should we pick yours to go see?

I’m not aware of another solo show specifically about bulimia. I am aware that a play was recently staged in NYC that addressed anorexia. I’m super pleased to see these topics entering the conversation within the arts community with less and less stigma and shame and with higher and higher levels of quality production. Bulimia is something my character has to deal with as a way of growing up, as a way of becoming comfortable in her own skin. So many of us cling to unhealthy agents in our best efforts to thrive, even though they’re not working.  I don’t make the show solely about bulimia. The scope is much wider and that’s why it will appeal to a wide audience range. If my healing wasn’t complete I wouldn’t be able to make it relatable (and fun!), but I am, and it is.

(photo credit: Cheryl Mann) 

Highways Performance Space is located at the 18th Street Arts Center (1651 18th Street, Santa Monica, CA 90404). Tickets are $25 for general admission and $15 for students. For more information and tickets, please visit  http://americanstandardshow.com.

Performances:
Thu. Sep. 19 – Sat. Sep. 28
• Thursday, September 19 @ 8:30pm• Friday, September 20 @ 8:30pm
• Saturday, September 21 @ 2:00pm
• Monday, September 23 @ 8:30pm
• Friday, September 27 @ 8:30pm• Saturday, September 28 @ 8:30pm