Interview with Sara Andreas

Sara Andreas is currently performing in Catch Me If You Can at the Neil Simon Theater. She was recently seen on the First National Tour of Legally Blonde (u/s Serena, Margot, Pilar, Brooke), and is a founding member of The Plastic Flamingo Theater Company. She took a few moments to catch us on up on her Broadway debut.


Ross Evans: Can you tell us a little about Catch Me If You Can and your involvement?

Sara Andreas: It's based off the movie with the same name (sans the musical part of course). I am swinging the show, which means I am not on stage every night, I am just there in case someone gets injured, or falls ill, or is on vacation, etc...

Ross Evans: So as a swing, how many roles does that mean you cover?

Sara Andreas: I cover 10 tracks in the show.

Ross Evans: Wow. That's insane. Memorizing that many tracks has to be one of the toughest jobs in all of theater. For which part are you most excited to go on? Which are you most dreading?

Sara Andreas: There are three tracks in the show that are the belt your face off black girl tracks. Wait, is that not PC?

Ross Evans: We will allow it.

Sara Andreas: Good. Originally, they scared the crap out of me. But funnily enough for the past two weeks, I've been on for one of those tracks, and it's been SO fun! I mean don't get me wrong, I was scared s***-less the first night I went on but now it's fun.

Ross Evans: Being un-PC is fine, but we will edit out the swearing.

Sara Andreas: Fair.

Ross Evans: Now, between them, your creative team shares 11 Tony's can you tell us what's it's like working with such theater Royalty?

Sara Andreas: It's f**** amazing!

Ross Evans: Swearing.

Sara Andreas: Sorry. I don't think I have an intelligent enough vocabulary to describe it properly. First off, Jack O'Brien is a genius! The way he describes things is amazing! Marc Shaiman and Scott Whitman are brilliant as well, and the coolest people you'll ever meet! And well Jerry, let's just say I am obsessed with him! The way he creates really astounds me, he has a hundred ideas for every section of the show and 99% are good ones. He's so good at telling the story through dance, and so fun and wonderful to be around. All of them work so well together, it's really astounding!

Ross Evans: Sounds like quite an experience. So, working on a new musical is always a daunting task, can you tell us how the show has changed from it's first rehearsal until now?

Sara Andreas: It's actually changed quite a bit since rehearsal started. Numbers have been completely cut out of the show, choreography is constantly being changed, as well as scenes and songs. Since we're still in previews we have rehearsal every morning from 12-5, where we change entire numbers and implement the new changes in the show that night.

Ross Evans: And then re-memorize those changes for 10 different tracks?

Sara Andreas: Exactly.

Ross Evans: You're a rock star.

Sara Andreas: I know.

Ross Evans: Can you tell us what it was like stepping into a Broadway theater, and thinking "I get to perform here every night?!".

Sara Andreas: Probably one of the best feelings I've ever felt. Even better was the moment right before I ran onstage my first night on. I almost started crying (out of happiness obviously) and then realized I had an entire show to do, so I better suck it up!

Ross Evans: You only get that moment once, and I can't even imagine how special it must feel. Now to the tough stuff -- With such an exciting season on Broadway this year, can you give us three reasons (besides seeing you) to catch Catch Me if you Can?

Sara Andreas: My favorite thing about the show is that it's a father and son love story. And not in the creepy catholic church kind of way. It's a relationship you never really see addressed in musical theater and Norbert and Aaron, are really quite amazing. Also the choreography and music is nailing it! It's a really fun show!

Ross Evans: Finally, now that you are a big Broadway star, are you still pumped to do PFTC shows for little to no money? (We need it in writing)

Sara Andreas: Dzuh, as long as you give me more then three lines Ross!

Ross Evans: Not to worry. I wrote you a new scene today. Well, we couldn't be happier for you, Sara. We are all proud as can be at Plastic Flamingo, and can't wait to check out your Broadway debut.


To purchase tickets to Catch Me If You Can visit http://www.ticketmaster.com/artist, or/1515546?camefrom=CFC_NED_CATCH_TICKETS, call (877)250- 2929, or go to the box office at Neil Simon Theatre (250 West 52nd Street)

Plastic Flamingo Theatre Presents Fit

FIT
by Erin Austin

MONDAY MARCH 28th at 7 pm
@ UNDER ST MARK'S
94 ST. MARKS PLACE
BETWEEN 1ST AVENUE & AVENUE A

Three generations of women, Celtic music, and a mystical meeting. Fit is about the identity of beauty… and the beauty of identity.

Featuring: Anthony Comis*, Lauren Connolly, Elliot Crown*, Joseph Rende, Harmony Stempel, Molly Stoller

Musical Direction: Jonathan Cody White

Directed by Ross Evans

*denotes members of Actor's Equity Association

SEATING IS LIMITED. FOR YOUR RESERVATION PLEASE EMAIL US AT

PLASTICFLAMINGOTHEATRE@GMAIL.COM

www.plasticflamingo.org

Join us after the reading for a drink next door at Vbar St. Marks!
http://vbar.net/vbarstmarks/

Unofficial Offices: Gizzi's

First of all, we have no idea how to pronounce the name of this coffee shop. The mystery lies in that first elusive letter. Is it a G like in the word "guesture"? Is it a G like in the word "Guinness"? The Frat boy in me really hopes it's the first kind of G. And that's how the Flamingos pronounce it.

Gizzi's is the greatest coffee shop for a theatre company meeting ever. Trust us, we've tried most of them.
http://www.gizzisnyc.com/


Here's a list of why we love working/meeting/and spending time at good old Gizzi's.

* 's denote the bonuses that for whatever reason do NOT apply to Ross Evans.
-Free Wi-fi
-* Friendly service. They will even bring your food/coffee to you.
-They have a flat screen TV that played muted silent films and cartoons.
-Their "large" cup of coffee comes in a soup bowl with a handle. I don't joke about these things.
- They play a fantastic Fiona Apple-heavy mix.
-They have amazing chocolate croissants. * They heat them up for you for extra great-ness.
-Super location in the W. village. En route back to the subway station you have to pass the pet store on 6th avenue with the puppies in the window.

It's UM's showcase week..it's PFTC's FOUR year anniversary

So the UM showcase is today. Break legs, you talented kids, you. More info here: http://www.facebook.com/#!/pages/UMiami-NYC-Showcase/129878253747805

A performance like this makes old people (us) nostalgic. Here are a couple of pictures of us during our showcase week. March 2007: This was the first time Plastic Flamingo hit NYC as a unit. Four years later we are bigger, more opinionated, and still great friends. That's worth a celebration.

Captions from top picture to bottom:
*Warming up inside the Time's Square McDonald's post MTC's brilliant production of Blackbird.
*Student rush seats to In The Heights at the late 37 Art's Theater.
*Snow in the village. Back when we still took pictures of snow...
*The Slaughtered Lamb
*Priceless-ness

8 Minute Musicals and PFTC's Erin Austin in one Theater

Are you marching through March without any music in your life? We have an evening for you. Plastic's own Erin Austin is a featured writer in this year's 8 Minute Musicals.

Don't miss...
"Marshall and Jane's Adoption Appointment"
Music and Lyrics by Bonnie Gleicher
Book by Erin Austin

Sunday, March 13 at 7pm and 9pm
Monday, March 14 at 7pm and 9pm

TBG Theatre, 312 West 36th Street, NYC 10018

for tickets visit http://www.smarttix.com/show.aspx?EID=&showCode=8MI2&BundleCode=&GUID=669bda96-8aed-4ae1-b873-02327b80a2e1

http://www.8minutemusicals.org

Interview with Stephen Svoboda

Stephen Svoboda is the playwright and director of Odysseus Died of AIDS playing at The Lion Theatre- Theatre Row in March. He’s also one of my favorite teachers ever. We flagged him down and picked his brain in prep for the NYC production.

Erin Austin: I first saw Odysseus in my sophomore year in the UM studio theatre. But I know it’s been around longer then that. When did you first start writing Odysseus DOA?

Stephen Svoboda: Back in 2001 when I was in graduate school at Ohio University. It has gone through 14 drafts and many title changes, but the basic version of the play wasn't really finished until 2005. Now it has just been fun to workshop the play around the world and do all the fine-tuning.

EA: Have you always been interested in Greek mythology? Where did the inspiration come to combine a modern tale about AIDS with the Odyssey?

SS: I’ve been obsessed with Greek mythology since I was little and feel head over heels in lust with Harry Hamlin as Perseus in the original Clash of the Titans. The inspiration to combine the play came when I was having a serious block as to how to proceed with the play. The show is about a dying man achieving glory, about living a life worth being remembered, and the play didn't seem to have enough size to hold up such a large conceit. When the Odyssey became a part of the story everything fell into place in 2 weeks of re-writing. It was essentially the key that unlocked the last crucial piece to the play working.

EA: You’ve seen this play performed in multiple cities, countries and with different production values, rehearsals, etc. How have the audience reactions been different at each restaging? How have they been similar?

SS: The play is like a machine. No matter what version of the play I've seen, from readings to full on technical productions, it always has the same emotional impact on the audience. They laugh and then they cry. My favorite review from the run in Syracuse was from a young woman who said, "The play was so good I had to blow my nose in my scarf." I think the lights, sound, projections and all that help makes the story clearer and utilize the theatricality of the script. This also allows me to re-create for the audience the character's feelings of being trapped and overwhelmed. There is no intermission. I want the audience to laugh and cry, but most importantly I like capturing the idea that death is inescapable.

EA: Ha. “I had to blow my nose in my scarf.” That’s awesome. I think a lot of the audience reaction (in reference to the drama as well as the comedy) comes from how much we can relate and identify with the characters. Is there a particular character you are especially attached to? And if so, has it changed over time?

SS: I will always be incredibly attached to Elliot and Resean. Elliot is the "me" character. I wrote this play when I thought that I would die from HIV at a very young age and I wanted to confront the fears of losing myself and saying good-bye to my mother. His journey of gathering the troops and creating something memorable is very much my journey everyday. Resean is my inner voice. A few years ago I was doing some Hypnotherapy and meditative healing and during the session the shrink asked me to imagine a person of strength and compassion visiting me. It was Resean. (Not even a real person). You can't help but smile and feel calm when you are in the presence of her character. This production has been a little different. The mothers have taken on a new connection with me as a writer. In the past they were in my mind simply the antagonists, or really the people who couldn't let go, but recently a little boy I was trying to adopt from Tanzania died from AIDS related illnesses, and all of a sudden I was able to play the role of parent and child when looking at the play. I think it has helped me to humanize the mother's in this production.

EA: Yeah, she’s so harsh but her stakes are so high. My heart just broke for her… Okay, we are going to change directions here. Who are your biggest influences, theatrically speaking?

SS: Theatrically speaking I am a huge fan of work that mixes up genre and styles. I really like to mesh historical styles with postmodern theatrical techniques. This play, hopefully, combines the epic nature and imagery of Aeschylus, the alienation of Brecht, and the characters of Paula Vogel. I think that plays should experiment with form and embrace theatricality. You don't need elaborate, overdone sets. You simply need to engage the audience's imagination. I hope we do that in this production.

EA: Okay, so in a perfect world I would write, direct, and act in everything all at the same time- and pick out the pre-show music. Obviously this is impossible. What’s your advice for those of us who like to direct our own plays?

SS: Make sure you can have distance. I am a re-writer. Writing the first draft for me is the hardest part of the process. I can script doctor someone else's work in a heartbeat, I think that is from 8 years of being a playwriting teacher, but writing that first draft is a real struggle. I think this really benefits me as a director. I try to come into the process as if it is a re-writing and doctoring process. I use the production to solve the kinks in the script. I've been known to change something at the last minute, because truly the play is never really finished. I also recommend working with talents actors and designers that you trust. People whose instincts are similar to yours, but will call you out if the play isn't working.

EA: What’s coming up next for you?

SS: Well, right now I am running two Arts Center's in upstate NY; one in Syracuse and one in the Adirondacks, so I am always busy. I am currently directing a production of the Wizard of Oz with a rock 'n roll score that stars 40 kids from a local school and 20 adults with developmentally disabilities and then in June I will be directing a professional production of Peter Brook's Conference of the Birds in a 140 year old church on an island. The cool thing about my current job is I really get to participate in the full spectrum of what theatre is.

EA: Thank you Stephen. Can’t wait to see Odysseus.

Odysseus Died of AIDS
Written and Directed by Stephen Svoboda
Theatre Row - The Lion Theatre
410 West 42nd Street (Between 9th and 10th Avenues)
New York NY 10036

Cast Members:
John Bixler, Laura Austin, Maha McCain, Temar Underwood, Adam Perabo, Brett Davenport, Kate Metroka, Darian Sundberg, Binaifer Dabu, Nathan Young