Showing posts with label Indie Theatre. Show all posts
Showing posts with label Indie Theatre. Show all posts

Wednesday, February 22, 2012

Lessons for a theatre artist from Smash


The new NBC musical dramedy Smash has entered my life and I hope it never leaves. Instead of doing my own writing, I have sat through the first three episodes... and all of the buffering that occurs when watching Hulu at my house.

To justify this dedication, I present the top lessons from Smash for a theatre artist. Take notes, guys.

1. To write a musical, you must own scarves and you must love them.

2. "People sleep together in shows, it happens." -The lady from Will and Grace

3. If you are feeling bummed about getting cast in a pre-Broadway musical go to Iowa and sing karaoke. This will give you the strength to suffer through that Broadway credit.

4. Gentlemen, forget Hamlet, Lear, Loman, and Sweeney Todd. Everyone knows playing Joe DiMaggio is where it's at.

5. If you want to be a successful Broadway director/Choreographer don't go to Oxford. Go to the other place.

6. Resist the urge to buy a Marilyn Monroe wig and wear it while singing in fantasy dance numbers. Trust me, no one wins.

7. Be careful when making your daily walking commute over the Brooklyn Bridge. Hunky actors in your musical will try to ruin your marriage.

8. Also be careful of personal assistants. They will steal your notebook, then your writing partner, and lastly: your soul.

9. Finally, if you have parents in town and they want to go see a jukebox musical, you should probably take them to La MaMa.

I cannot wait for next week.

Wednesday, November 23, 2011

In honor of Turkey Day: A short list of the people we are thankful for at PFTC


Over here at PFTC, there is so much to be thankful for. Here's a very short list of some of the people who have said "yes" to PFTC. We couldn't have done it with out you guys. Warm wishes to you all on your Thanksgiving!

Love,
Diane, Erin, and Ross

Darren Mallett, Alex Kaplan, Lauren Connolly, Ariana Shore, Katie McClellan, Joshua Robinson, Jonathan Cody White, Niki Budnick, Nikki Mirasola, Karen Marshall, Eric Schwartz, Mike Gurrieri, Anthony Comis, Sara Andreas, Harmony Stempel, Molly Stoller, Robby Sandler, Melanie Zooey, Courtney Smith, Dahee Kim, Bekah Hernandez, Alda Leung, Jose Luaces, Jillian Watson, Alex Numeroff, Glen De Kler, Stephen Gelpi, Randall Pollard, John Bixler, Panicked Productions, Thomas Recktanwald, Lauren Kirby, Kelly and Lindsey, Rachel Park, Elliot Crown, Brittany Vaughan, Whitney Fincher Gelpi, Sus and Chlo on the Go, IndieTheatreNow, Kyle Axman, Pearl Taylor, Bar 82, Joseph Rende, Brett and the City, Jenny Dunne, Erin Rashbaum, Sue Smith, Anthony Hollock, Alex Paige, Clyde Voce, Chris Harbur, Eddie Austin, Nichole Yannetty, Rebekah Voss, Lindsey Gentile, FringeNYC, Erin McDonald, The Austin family, The Zelenka family, The Evans family, Brad Bauner, Kim David, JD Salinger, Kristen Hamill, Cory Sylvester, Professor Thom's, Kelly Swindall, Tim McCann, Nick Cobey, Professor Thom's, Holly Williams, FringeNYC, Gizzy's, and many many more.

Wednesday, November 2, 2011

Here's to friendship and PFTC plans for the future





“A friend is one that knows you as you are, understands where you have been, accepts what you have become, and still, gently allows you to grow.”
― William Shakespeare

Saturday, October 29, 2011

Happy Halloween from PFTC!


It's been an exciting Fall for PFTC.

Here are all the FUN places you can find us:

ONLINE... Two PFTC plays are published and available for purchase on IndieTheatreNow

Finger Paint: by Erin Austin and Ross Evans
-Martin Denton of nytheatre.com calls it “sexy, funny, and intriguing”!
http://www.indietheaternow.com/Play/PlayDetail/171
and
FIT: by Erin Austin
-Selected by IndieTheatreNow as one of 11 top Fringe 2011 picks!
http://www.indietheaternow.com/Play/PlayDetail/172

NYC... Check out Venus in Fur on Broadway. Assistant directed by PFTC co-artistic director Ross Evans

Hong Kong... Fit actor Harmony Stempel is a Timeout Magazine Top Five Pick for her one-woman show in the Hong Kong Fringe Festival

On Set.. Company members Darren Mallett, Ariana Shore, Alex Kaplan, and Lindsay Gentile are shooting episodes of "Brett and the City". Coming soon to a computer near you!

FINALLY, get ready for a new season filled with the launch of PFTC's Book Club, exciting collaborations and a return of Shakespeare’s Sons and Daughters.

www.plasticflamingo.org

AND DON'T FORGET TO LIKE US ON FACEBOOK and FOLLOW US ON TWITTER @PFTCo

Thursday, July 21, 2011

Pictures from the Fit Marketing Video Shoot





Some fun stills from our Fit marketing video shoot.
Featuring:
Lauren Connolly
Harmony Stempel
and
Molly Stoller

Saturday, July 16, 2011

Plastic Flamingo is bringing Fit: A New Play to the New York International Fringe Festival.



Want to become a part of the NYC Indie Theatre Scene?
Want to help bring Fit to life on the NYC stage?
Want to keep Plastic Flamingo thriving for years to come?


Then Check out our video and DONATE NOW!

http://www.kickstarter.com/projects/10200831/plastic-flamingo-presents-fit-a-new-play

Every Dollar Counts!

ANNOUNCING OUR FRINGE NYC DATES AND VENUE

Fit will make it’s World Premiere at Teatro LATEA

107 Suffolk St. 2nd Floor
Btw RIVINGTON and DELANCEY

FIT PERFORMANCE DATES

Wednesday 8/17 @ 2:00 pm
Thursday 8/18 @ 6:15 pm
Friday 8/19 @ 9:15 pm
Thursday 8/25 @ 2:00 pm
Saturday 8/27 @ 9:30 pm

For more information and to check out our newest video visit us at
http://www.plasticflamingo.org/productions.html

Thursday, July 14, 2011

Kelly and Lindsey in the NYIT Festival!


Kelly and Lindsey are funny. You know this from their youtube videos, their open mic nights, and the notes they leave in your gym locker.

Now you can see them in the Midtown International Theatre Festival. Kelly and Lindsey Do New York: A non lesbian love story opens this Sunday (7/17) Also it is directed by PFTC's ROSS EVANS.

I'm asking these women the tough questions.
Erin: You guys have been performing together for quite a while. How and when did you meet?

Lindsey: I met Kelly about 3 years ago at an improv class at the Upright Citizens brigade. It was level 101 and she had the most disgusting mouth in the class. Seriously would not stop talking about doodie. What a monster.
Kelly: that's interesting, because when I heard her foul mouth I remember thinking, "wow she's beautiful". It was then that I fell in love.


E: Do you ever argue when you are coming up with material/writing?

L: We don't argue actually. We talk about what would be funnier, sometimes having a difference in opinion and we get it on our feet to see what is funnier. We usually agree on what we are writing because it is so US.
K: Lindsey will throw a line out that's very Lindsey and I will throw a line out that is super Kelly and it just kind of works.
L: Kelly still wants to bring back the German Doctors, which were characters in our first show and THEY DID NOT WORK. PLEASE tell her they did not work.
K: YOU HOLD YOUR TONGUE.


E:Who are the funniest comedians we should be paying attention to these days?

L: We love local artists like Ophira Eisenberg, Adam Wade, Tom Shillue and Ali Wong.
K: Get into it!

E: Your show focuses a lot on dating and love in NYC. So, what is the best way for a guy to pick up girl in a bar?

L: I don't have a clue because men don't talk to me. They actually run away from me. Because I am a troll with branch hands. So all I can say is, if you want something GO FOR IT.
K: But don't be creepy

E: You guys are babes, any beauty secrets for us?

L: Hmmm, i think the key to good hair is not brushing it. I seriously DO NOT brush my hair. I didn't have a brush until my mom left hers here last time she was in town.
K: We also bathe in the blood of virgins to keep our youth


E:If you have to compare yourself to another duo in show biz who would it be and why?

L: We like to say we are like Lucy and Ethel meet Ren and Stimpy.
K: We definitely get our poop jokes from Ren and Stimpy.
L: And Kelly has fleas.

E: Are your parents coming to the show? Is it weird to make sex jokes in front of your parents?

L: Yes, our parents are coming to the show. Actually our entire families are coming... even my cute little nana. We are both a little concerned about the big black dildo, but our parents are pretty cool and I think they will totally feel confident about paying our college tuitions and we are writing a show about trying to get laid.
K: I'm still pretty concerned about the big black dildo.

E: Any advice for artists who want to write and perform their own work?

L: It's tough, it's a lot of work. But just think, you are in control, it's your baby, and you have the choice whether you should abort it or keep it.
K: This is why we must support organizations like planned parenthood.... wait, what was the question?

E: What is your best "how many does it take to screw in a light bulb" joke?
L: How many comedians does it take to screw in a lightbulb? I don't know but what are you doing later? Wanna make out?

Get tickets and join me at the show at http://www.midtownfestival.org/ I'll be sitting by Lindsey's nana.

Wednesday, July 13, 2011

More photos from our fundraising party






Here are some more delightful pictures from our past event. If you missed it and want to support PFTC visit our kickstarter site and donate today!
http://www.kickstarter.com/projects/10200831/plastic-flamingo-presents-fit-a-new-play

Wednesday, July 6, 2011

Our friends at Panicked Productions get absurd!


Not to brag, but we have cool friends. Case in point, our former classmates/partners in theatre crime are producing Rosencrantz and Guildenstern Are Dead in the Midtown International Fringe Festival this month. And here is the twist- they are using an all female cast. Cool. Anyways. I wrangled Glenn De Kler, director of R&G away from rehearsal for five minutes and got the real answers on the show- Panicked's take on the modern classic, Stoppard's idea of "cool", and how The Big Lebowski and Shakespeare are related.

EA: R & G is a really difficult play. Just ask 10th grader Erin in English class. What themes or ideas in this play made you want to bring it to life?

GDK:I also read this play for the first time in High School. I remember I loved it right away, but it was purely for the rapid-fire comedic banter, and the farcical energy of the whole thing. It wasn’t until my slightly more brooding college years when I revisited it, that I really appreciated the existential layers. I've always been interested in the “absurdist” genre, which immediately appealed to me because of the name alone, and the idea that life and the whole pretentious intellectual pursuit of finding the ultimate meaning of life is, well, absurd.

EA: Gender role reversal. I love it. Were there obstacles in this directorial choice inherent in the script or was it smooth sexual identity sailing?

GDK: The identies in the play are so fluid already. The other characters confuse Rosencrantz and Guildenstern with each other, and they even get mixed up themselves. We're also having the Tragedians play all the Hamlet characters. So, there's a fair amount of identity confusion inherent in the show. I told all our actors at the beginning that I didn't want them to play men, we're going to keep all the same pronouns and play the parts naturally. When we first applied for the rights, I was a little concerned that we wouldn't get approved because of the gender reversal, even though I felt that it was still in the spirit of the play. In the end though, Mr. Stoppard felt the same way, or, at least his literary agent did.

EA: The great thing about absurdism is that it can be portrayed in so many styles, tones, etc. What kind of production should we expect to see from Panicked?

GDK: A quote that I came across when I was doing my first research for this show was an observation Tom Stoppard made. He said he'd seen numerous productions of this show and two of them were failures. Those two productions did not treat the show as a comedy. I want to stick close to what made me love this show the first time I encountered it, the Laurel & Hardy/Martin & Lewis energy of R & G. I mean I love the existentialist metaphors, but I don't want to focus on that. Those ideas are all inherent in the text, and those fans will get them. I want everyone to have a good time, so we're going to "keep the laughs coming too fast to ponder the nature of existence."

EA: R& G elaborates on two characters that we don't get to know too much about in Hamlet. What short lived or barely there characters come to mind in popular culture: movies, literature, plays, etc. that you would like to see star in an existential riff on their original brief roles?

GDK: Wow. I barely know where to begin. One of the first people that comes to mind is Donnie from The Big Lebowski. Now, most people would assume that he is a main character, but it isn't until his eulogy that I learned he was a surfer. I knew all along that he was a good bowler, and a good man, but what else didn't we know about Theodore Donald Kerabastos? Also Bluto from Animal House, again, someone that seems like a main character, and even delivers one of the most rousing calls to action in cinematic history, but in the end we're left wondering: "Who were you John Blutarsky?" Perhaps it would be more impressive for me to say I'd like to know more about Charles Foster Kane, but, there it is.

EA: Like many famous and successful actor/director duos, you are directing your wife: the lovely and talented Jessica De Kler. What is that process like?

GDK: Admittedly, I was a little concerned about what that would be like, but it's turned out to be a complete joy. She may not have the confidence in my organizational abilities, or my tidiness around the house, but she definitely knows how dedicated I am to storytelling and has confidence in my vision for the show. She was also a little apprehensive at making a return to the stage after nearly six years, but I had complete faith in her and campaigned for a few months for her to take on the role. She' gotten right back on the bike, like I knew she would, and she really shines It's been great to be able share in this thing that we both love so much.

EA: Tell us about Panicked Productions. Why the name? What is your mission? And what is next?

GDK: Panicked Productions was born in 2006 when we did a revival of Boys' Life at Ensemble Studio Theater, in a space that we got for free because it wasn't air conditioned. We came up with the name because we were feeling pretty panicked at the time, and it was originally going to be a placeholder until we thought of something else. But once we were finished we had all fallen in love with it, so it became the official name we registered. Panicked has and will always be dedicated to providing opportunities to emerging theater artists. That includes us at the moment, but when we inevitably become outrageously successful, we'll have to find another way to produce our works. Panicked will always be about cultivating the next generation of theater.

As for what's next, it's an exciting time because R&G is the first half of our first two show season. Coming in the fall is a show called Follow the Leader. We challenged six playwrights, including a couple, ahem, Flamingos, to create scenes based on the word "cult", leaving the interpretation entirely up to the playwright. The results have been really diverse and interesting, and we can't wait to launch into production right on the heels of this show.

For more information on Panicked Productions visit:http://www.panickedproductions.com/
To get tickets to see Rosencrantz and Guildenstern visit: http://www.midtownfestival.org/

Thursday, June 30, 2011

Have fun with Kickstarter and help us make a play!

It's official. You can now give us money!



Plastic Flamingo Theatre Company is taking Fit a play by Erin Austin, directed by Ross Evans, to the New York International Fringe Festival in August 2011.

Fit is a play about three generations of women, all at the age of twenty. Mary tends to her grieving grandfather, Fiona grapples with motherhood, and Lauren prepares to flee. Celtic music, dresses, and mental disorders pass through all three women. Will this granddaughter, mother, and grandmother, all at the age of twenty, overcome their ghosts and find a good fit? Austin's play celebrates the tradition of Celtic music and the uniquely comical and often mystical culture of Scotland. Also, it explores the deeply rooted psychological emotions tied into a woman's quest for beauty and physical perfection- emotions that defy age, time, and country.

While every member of our cast and crew are working gratis, we still need funds for festival fees, marketing, costumes, lighting and set.

Tuesday, June 7, 2011

Fit: A New Play at Fringe


Fit will be premiering at The New York International Fringe Festival in August.

More details to come. But for now check out our listing on the FringeNYC website. http://www.fringenyc.org/basic_page.php?ltr=F

Stay tuned for theater location and dates.

Aaaaand here is our logo! Thanks to our artist Danielle Riechers and our graphic designer Alda Leung.

Sunday, May 29, 2011

Season Wrap-Up




Well guys, PFTC has officially ended is first real season. And what a season it was.

We began with the "Get a Clue" Festival at Bar 82 in November. We brought together artists of all kinds for two weeks of crazy ten minute play making.

In March, we moved to Under St. Mark's Theater where we did a reading of Fit by Erin Austin- a play that was accepted into the NYC Fringe Festival and will be performed this August!

Following, Fit was a reading of Team Awesome by Ross Evans. And it was...awesome. (USM)

May was all about Single's Night. 7 writers, 7 solo plays, and a sold out show!(USM)

Get ready for Fit this summer. We also have a couple of surprises up our sleeves.

Monday, May 16, 2011

Singles Night ONE WEEK from TODAY!



Join us for an eclectic night of short plays by:

Erin Austin
Brad Bauner
Ross Evans
Lindsey Gentile
Kimberly Lew
Brett Sanders
Rebekah Voss
That remind us that there is no I in team, but there is a ME.

Featuring:
Jenny Dunne
Lindsey Gentile
Nick Hardin
Alex Kaplan
Joseph Rende
Brett Sanders
Pearl Taylor
Directed by:
Darren Mallett and Diane Zelenka

Doors open at 6:30. Bar opens at 6:30. Show at 7.
$5 at the door

Seating is limited. To secure a spot email
us at plasticflamingotheatre@gmail.com

Friday, May 13, 2011

PFTC presents Fit: A New Play at The New York International Fringe Festival!


It's official. The Plastic Flamingo Theatre Company will present Fit: A New Play by Erin Austin in The New York International Fringe Festival this August.

There will be Celtic music, laughter, and Scottish accents that will blow your mind. So get ready for an exciting summer from the Flamingos right in line with the paint filled success of Finger Paint! (Backstage.com's Critic's Choice for FringeNYC 2009)

Make sure to catch all the PFTC fun as we bring Fit to life.
Follow us on twitter. http://twitter.com/#!/PFTCo
Friend us on facebook. http://www.facebook.com/#!/pages/Plastic-Flamingo-Theatre-Company/95145323755
Check out our website. plasticflamingo.org

Monday, April 25, 2011

Team Awesome


PLASTIC FLAMINGO THEATRE COMPANY
INVITES YOU TO ATTEND A STAGED READING OF

TEAM AWESOME (A PLAY IN VERSE)
BY ROSS EVANS

MONDAY APRIL 25TH

PLEASE ENJOY THE BAR AT THE THEATRE @ 6:30

READING BEGINS AT 7 @UNDER ST. MARKS
94 ST. MARKS PLACE [1]
BETWEEN 1ST AVENUE

ELLIOT'S WRITING. JOSHUA'S POETICALLY
TRANSCRIBING. NAOMI'S PLAYFULLY DELIGHTING. WHILE ADRIENNE IS IGNITING WHAT MIGHT THROW THE WHOLE BALANCE OUT OF WHACK. TEAM AWESOME
(A PLAY IN VERSE) IS A LINGUSTICAL, FAMILIAL ATTACK._

FEATURING: SARA ANDREAS*, ERIN AUSTIN*, MICHAEL GURRIERI*, AND JOSHUA ROBINSON

STAGE MANAGER: BEKAH HERNANDEZ

DIRECTED BY RACHEL PARK

*DENOTES MEMBERS OF ACTOR'S EQUITY ASSOCIATION

THE READING IS FREE, BUT SEATING IS LIMITED.

FOR YOUR RESERVATION PLEASE EMAIL US AT
PLASTICFLAMINGOTHEATRE@GMAIL.COM

www.plasticflamingo.org

Wednesday, April 6, 2011

Photos from our Fit reading






Alright guys, I am no photographer of any sort. However, I took pictures of wonderful actors. In case you missed the reading, here are some rehearsal shots of Fit.
By Erin Austin
Featuring: Anthony Comis*, Lauren Connolly, Elliot Crown*, Joseph Rende, Harmony Stempel, Molly Stoller
Musical Direction: Jonathan Cody White
Directed by Ross Evans

Thursday, March 24, 2011

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/

Monday, March 21, 2011

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.

Monday, March 7, 2011

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

Tuesday, March 1, 2011

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