Saturday, September 17, 2011

A Few Extras

We have a very eclectic and dynamic and somewhat opinionated group of nominees this year and we wanted to get to know them a little better so we asked them to answer a few questions about their work. 

A couple of our nominees were busy working on shows (imagine that) and sent their answers a little late. But we loved what they had to say and wanted to share their thoughts with you. So here they are...


Why do you work Off-Off-Broadway?

"Because I want to create the work I want to create, when I want to create it. I don't want to be beholden to anyone else's schedule or aesthetic criteria. By producing our own work, our imaginations lead, and other concerns are secondary."
– Jeff Lewonczyk, Outstanding Original Full-Length Script nominee for Theater of the Arcade, Piper McKenzie & The Fifth Wall in association with The Brick Theater

"I work Off-Off Broadway because Off-Off Broadway opened its arms to me. I believe that Off-Off Broadway attracts a certain kind of performer: the working/thinking actor. The kind of performer who can't not be on stage because they would go mad. That drive and passion to bring read truth and honesty to each performance is rare, and, in my opinion, readily found in Off-Off Broadway houses.” 
– Whitney Branan, Outstanding Ensemble nominee for The Drowsy Chaperone, The Gallery Players

"It's the place where a) We can experiment  b) Our company can afford to produce  c) Our audiences can afford to see us." 
– Paul Zimet, Outstanding Director nominee for The Walk Across America For Mother Earth, Talking Band in association with LaMaMa Experimental Theater Club

"Currently it seems like Off-Off is the only place most of what we do in Neo-Futurism can exist.  We are constantly creating new & crazy work and know that at times it is going to be wild and fun and inspiring and even fail. It is a great and supportive community of audience and artists where we can experiment in addition to bringing on new writers & performers and allowing them to make whatever tiny masterpieces and mess they can dream up." 
– Rob Neill, Managing Director for the New York Neo-Futurists which is nominated for Outstanding Performance Art Production for both (un)afraid and Locker #4173b

"Off-Off-Broadway creates spectacular moments in intimate spaces and on seemingly non-existent budgets." 
 - Virginia Bartholomew, Outstanding Actress in a Lead Role nominee for Macbeth, Redd Tale Theatre Company

What was your favorite OOB production that you saw this season?

"I missed many shows I would have liked to see, but two that I got to and liked very much were The Tempest (Target Margin) and The Inexplicable Redemption of Agent G (Vampire Cowboys)" 
– Paul Zimet, Outstanding Director nominee for The Walk Across America For Mother Earth, Talking Band in association with LaMaMa Experimental Theater Club

"I loved The Tragedy of Maria Macabre." 
– Angela Harriell, Outstanding Choreography/Movement nominee for Circus of Circus, The House of Yes

"Buddy Cop 2. I always am inspire by and enjoy what the Debate Society does. With Buddy Cop 2 they created a police department and a racquet ball court on stage—awesome! Plus the performances were so solid and real." 
– Rob Neill, Managing Director for the New York Neo-Futurists which is nominated for Outstanding Performance Art Production for both (un)afraid and Locker #4173b

"Sleep No More is brilliance."  
 - Virginia Bartholomew, Outstanding Actress in a Lead Role nominee for Macbeth, Redd Tale Theatre Company

What was the most challenging part of the show you were nominated for?

"For both (un)afraid & Locker... we had real issues trying to find and work in new spaces; both times that lead to higher costs for the shows. However, I found the most challenging part was trying to rehearse (un)afraid, a show that had 16 variations and whose selection was determined by a guest spirit summoned by a ouija board." 
– Rob Neill, Managing Director for the New York Neo-Futurists which is nominated for Outstanding Performance Art Production for both (un)afraid and Locker #4173b

"I was warned by several directors that playing Lady Macbeth is a wild ride.  The aftereffects of literally inviting evil into your body can’t be good for one’s psyche so I spent a lot of time laughing last summer.  I rarely dig up deeply personal, dark and unresolved issues, but for the sleepwalking scene I felt I must literally be haunted."    
- Virginia Bartholomew, Outstanding Actress in a Lead Role nominee for Macbeth, Redd Tale Theatre Company

What was your favorite part of the show you were nominated for?

"For Locker... I particularly loved the moments of original song  that popped up from Joey and Borg in the show. For (un)afraid it was the Halloween show when we left the whole audience in white masks dancing to tricked out waltz music." 
– Rob Neill, Managing Director for the New York Neo-Futurists which is nominated for Outstanding Performance Art Production for both (un)afraid and Locker #4173b

"Lady Macbeth is such a treat to play!  She forces you to own your power, and the text incredibly rich, requiring the absolute best of an actor’s instrument." 
 - Virginia Bartholomew, Outstanding Actress in a Lead Role nominee for Macbeth, Redd Tale Theatre Company


If you could work with any OOB artist (that you haven't work with yet), who would it be and why?

"The folks from National Theater of United States of America.  Love their style and wild takes on material. Neo-Futurism & NTUSA would be a dirty cool and riproarin’ marriage for sure." 
– Rob Neill, Managing Director for the New York Neo-Futurists which is nominated for Outstanding Performance Art Production for both (un)afraid and Locker #4173b

"I love Terry Schreiber’s energy.  I’d love to work with him." 
- Virginia Bartholomew, Outstanding Actress in a Lead Role nominee for Macbeth, Redd Tale Theatre Company 


Thanks to all of our nominees for their thoughtful answers.

Friday, September 16, 2011

If you could work with any OOB artist, who would it be and why?

 
We have a very eclectic and dynamic and somewhat opinionated group of nominees this year and we wanted to get to know them a little better so we asked them to answer a few questions about their work. 


Here are their answers to question #5:
If you could work with any OOB artist (that you haven't work with yet), who would it be and why?


“I'd love to work with them all!.” 
- Jill Bianchini, Outstanding Ensemble and Outstanding Actress in a Lead Role nominee for Balm in Gilead, T. Schreiber Studio

“Stephanie Thompson, who was nominated for her work in The Tremendous Tremendous. I've known Stephanie for several years personally and have seen her work on stage several times, but I want to share it with her soon!  She is so magnetic to watch and I know whenever I'm going to see something she is a part of, no fail- it will always be quality work! 
- Deanna McGovern, Outstanding Actress in a Featured Role nominee for An Impending Rupture of the Belly, Godlight Theatre Company

Jennifer McCabe.  I love her intensity onstage. I would love to work with her in a show.”  
- Heather Siobhan Curran, Artistic Director for The Gallery Players, which is nominated for Outstanding Production of a Musical for both Reefer Madness and The Drowsy Chaperone

“Rhyn McLemore!  We've worked together regionally (for only two weeks!) but never in an OOB setting, and every show I've seen her in, she's just such an intelligent actress, makes such smart, interesting choices.” 
- Robert Anthony Jones, Outstanding Ensemble nominee for The Drowsy Chaperone, The Gallery Players

“Erica Livingston of the Neo-Futurists. She is one of the most honest performers I have ever seen; one of the smartest critics I have ever met; and her southern lilt melts my heart.” 
- Matt Wilson, Outstanding Original Full-Length Script nominee for Play America (Life is Short, Wear Your Party Pants), Sister Sylvester

“Nat Cassidy. His work continues to impress me and he is one of the most innovative writer/directors working in OOB at the moment.  His scripts are always original and his stories unusual. I always leave his shows feeling inspired.” 
- Kelly Anne Burns, Outstanding Actress in a Lead Role nominee for The Navigator, Workshop Theater Company

“I literally live across the street from The Brick, but have never worked on a show there- I would love to design a full-scale production in that space.” 
– Matt Brogan, Outstanding Set Design nominee for Balm in Gilead, T. Schreiber Studio

“Two people come to mind. Jessica Chayes at the Assembly Theater. She's a really smart director who consistently does great work. And she gets great performances from her actors. Also Eric Bland at Old Kent Road.  Eric's one of the best writers around, his plays always hit a nerve with me.” 
– Kent Meister, Outstanding Ensemble nominee for Theater of the Arcade, Piper McKenzie & The Fifth Wall in association with The Brick Theater

The New York Neo-Futurists consistently challenge conventional theatrical forms. I saw Too Much Light Makes the Baby Go Blind in Chicago years ago and it opened up my eyes to all the different ways theater can be created.  There is an urgency in their work I would love to be part of.” 
– Jeff Pagliano, Outstanding Actor in a Featured Role nominee for Fracturing, Sweeter Theater Productions

“Kevin Augustine of The Lone Wolf Tribe because he is one of the best puppeteers and puppet builders in this city.” 
– Jenny Lee Mitchell, Outstanding Ensemble nominee for Radio Purgatory, Theater THE

“I am always on the look out for new directors and choreographers to work with. To me it is the project that is the draw, not always those involved.” 
– Ryan Moller, Outstanding Costume Design nominee for The Drowsy Chaperone, The Gallery Players

I'd like to work with Taylor Mac. His vision and creativity are absolutely inspiring. I'd love to be part of his creative process and go on the journey he takes to create such a world of new ideas and honesty.” 
– Jennifer Conley Darling, Artistic Director for terraNOVA Collective and the soloNOVA Arts Festival which is nominated for Outstanding Performance Art Production for Woman of Leisure and Panic

“Maybe Kevin Augustine the puppeteer...he does great work!” 
– Aldo Perez, Outstanding Ensemble, Outstanding Sound Design and Outstanding Original Music for Radio Purgatory, Theater THE

“So many writers but in terms of acting alongside I would say Annie Henk. I saw a play she did called A Play About My Dad. She had a small part that made me really want to root for her character. I would also like to direct in the future and work with many actors that I have seen, especially Joie Bauer and Rob King.”
– Elaine Del Valle, Outstanding Solo Performance nominee for Brownsville Bred, Del Valle Productions, Inc.

“There are quite a few people I count as friends from the community that are on this list!  And yet I'm sure there are so many I don't even know about yet that will make it on this list eventually.” 
– Heather Cunningham, Outstanding Ensemble and Outstanding Actress in a Lead Role for Benefactors, Retro Productions

“Well, the corny answer would be my five-month-old son, Dash - God knows it's only a matter of time (like, weeks, probably) before we drag him onto stage. In truth, I've had the privilege of working with an astounding array of top-tier artists over the past few years (including dozens of them, albeit  briefly, in our collaborative project Piper McKenzie's Dainty Cadaver), but there are definitely some actor friends that we still haven't managed to put in anything: to list a few off the top of my head, how about Matthew Trumbull, Erica Swindell, Justin Holcomb, Lorinne Lampert and Sara Thigpen. Actually, it would be really awesome to write a play specifically for that cast. Wow. Okay, done.” 
– Jeff Lewonczyk, Outstanding Original Full-Length Script nominee for Theater of the Arcade, Piper McKenzie & The Fifth Wall in association with The Brick Theater



Thursday, September 15, 2011

What was your favorite part of the show you were nominated for?


We have a very eclectic and dynamic and somewhat opinionated group of nominees this year and we wanted to get to know them a little better so we asked them to answer a few questions about their work. 

Here are their answers to question #4:
What was your favorite part of the show you were nominated for?


Balm in Gilead was such an amazing experience it's hard to say I had a ‘favorite part.’ If I had to pick, it would be getting the opportunity to meet and perform for Lanford Wilson. Getting his seal of approval was the high point of the run for me. Also, just being part of such a groundbreaking play that effectively started the Off-Off movement was an honor, a privilege, and an invaluable learning experience.” 
– Ian Bell, Outstanding Ensemble nominee for Balm in Gilead, T. Schreiber Studio

“Unleashing my inner-Donkey Kong.  Very liberating stuff.” 
– Kent Meister, Outstanding Ensemble nominee for Theater of the Arcade, Piper McKenzie & The Fifth Wall in association with The Brick Theater

“Playing absurd moments with the rest of the absurd cast.” 
– Jenny Lee Mitchell, Outstanding Ensemble nominee for Radio Purgatory, Theater THE

 “My favorite part of Balm in Gilead was any moment that most of the 32 actors were all on the stage.  I loved being part of that ensemble.” 
- Jill Bianchini, Outstanding Ensemble and Outstanding Actress in a Lead Role nominee for Balm in Gilead, T. Schreiber Studio

The Pumpkin Pie Show is like a literary Gallagher routine, where the front row tends to get a little messy with sweaty metaphors. There’s a certain moment within each show where the audience clicks into just what they’ve gotten themselves into… It’s different for every audience member, but it’s fun to be onstage and see that flash of recognition where folks in the front row go: Oh, hell—I think I should’ve sat a few rows back.” 
– Clay McLeod Chapman, Outstanding Short Script nominee for both Diary Debris and Sixteen Again which was part of the Pumpkin Pie Show, Horse Trade Theatre Group

“The team, specifically the director Victor Maog, the actors Roger Lirtsman, Danielle Slavick, Kevin Dwyer, Jessica Howell, and Clayton Apgar, and the producers Allyson Morgan and Mara Kassin. I list their names because if you ever have a chance to work with any of these people, do it.” 
- Isaac Oliver, Outstanding Short Script nominee for Come Here, which was a part of The Spring Fling, F*It Club

“I was blessed to have a wonderful director, Hans Friedrichs, who allowed me the chance to do my homework and bring ideas to the table for my character. The Drowsy Chaperone is a show dear to my heart and I could not have found such exciting new levels to the "man in chair" if it were not for his help. Working with Hans on establishing the man’s arc would be one of my favorite things about this show.  
- Craig E. Treubert, Outstanding Ensemble and Outstanding Actor in a Lead Role nominee for The Drowsy Chaperone, The Gallery Players

“The script!  The script was shared with me several years ago by Joe Tantalo, our Artistic Director, who had been introduced to Matt Pelfrey and his work by a colleague.  Ever since the first time I read Rupture and the role of Terry, it was on my ‘list’ of roles I had to play, and it came true! There was just an instant connection with the material and the way Matt writes is exactly what young, contemporary actors want to tackle!” 
- Deanna McGovern, Outstanding Actress in a Featured Role nominee for An Impending Rupture of the Belly, Godlight Theatre Company

When Jesus comes down to visit Jimmy in the church to get him off of Reefer and he sings like a Las Vegas lounge singer with back up angels.”  
- Heather Siobhan Curran, Artistic Director for The Gallery Players, which is nominated for Outstanding Production of a Musical for both Reefer Madness and The Drowsy Chaperone

“I loved doing the ‘who's on first’ scene with Edward Juvier, who played Aldopho. We're great friends off stage so to do the scene was a little slice of heaven every time!” 
- Robert Anthony Jones, Outstanding Ensemble nominee for The Drowsy Chaperone, The Gallery Players

“The harmonious chorus who stole the show and their awesome songs designed by Stephanie Seward.” 
- Belle Caplis, Outstanding Ensemble and Outstanding Actress in a Lead Role nominee for Balm in Gilead, T. Schreiber Studio

“The Former Convent of St. Cecelia's Church was the perfect environment in which to explore the sprawling, constantly shifting landscape of this play. The building's art-deco domestic spaces, dank basement, and crumbling, desanctified chapel served as more than just backdrops for the performance--they became the most important characters in the play.” 
- Matt Wilson, Outstanding Original Full-Length Script nominee for Play America (Life is Short, Wear Your Party Pants), Sister Sylvester

“I loved the fact that I was playing a computer.  It gave me the opportunity to explore a non-human character, and I had so much fun finding those quirks and playing in a different realm than I am used to. I worked hard to really change my voice and make it computer-like, and people who saw the show still ask me to deliver quotes in my Navigator voice!” 
- Kelly Anne Burns, Outstanding Actress in a Lead Role nominee for The Navigator, Workshop Theater Company

“My favorite part was the montage at the end of the play. I got to work with all the actors, and the dancer was moving to the sound of their voices, having to relate to what they were saying and to how they were saying it.” 
– Elisabetta Spuria, Outstanding Choreography/Movement nominee for disOriented, Theatre C

“I particularly loved the sound design and original compositions. Underscoring is sadly underused in theatre.” 
– Matt Brogan, Outstanding Set Design nominee for Balm in Gilead, T. Schreiber Studio

“I think my favorite part of Drowsy… was not only the company but also working closely with the designers and my Choreographer Christine O'Grady it wasn't separate corners it was totally all of us working together so when I would say things like; In Show Off - it takes place poolside so why not have Janet actually go into the pool for some synchronized swimming and everybody was like "yeah that’s funny!" so we had to figure out how that might happen in a 1920's musical. Also I cannot say enough about my producer Robert Earle Jones he was there every minute for us!” 
– Han Friedrichs, Outstanding Director nominee for The Drowsy Chaperone, The Gallery Players

“The great group of people that came together to create this show was an amazing assembly of different personalities that clicked together really well.  When I first walked into rehearsal and saw everyone's ease and comfortableness with each other I thought they had all worked together before. I was wrong, everyone was new to each other.” 
– M.L. Dogg, Outstanding Sound Design nominee for The Land Whale Murders, Shelby Company

I'm grateful we partnered with community organizations to raise awareness and provoke wider discussion on the state of environment.” 
– Jeff Pagliano, Outstanding Actor in a Featured Role nominee for Fracturing, Sweeter Theater Productions

“I had so many favorite parts of The Drowsy Chaperone that I got to watch from the wings at every performance: the moment the live orchestra took over from the ‘record,’ Robert and George’s tap dance, the perfectly constructed scene between Feldzig and Aldolpho. My favorite part to perform was ‘The Toledo Surprise.’ (Are you surprised?) It was the only time the whole cast was onstage singing and dancing together. I’m such a sucker for a clever production number that builds into something grand, especially if there’s a key change (which there was). What is it about key changes?” 
– Dawn Trautman, Outstanding Ensemble nominee for The Drowsy Chaperone, The Gallery Players

I really enjoyed all of the performances for the three soloNOVA nominations we received. Charlotte Bydwell's Woman of Leisure and Panic was a perfect blend of humor and despair that every NYC artist goes through every day of our lives. Grant Neale's portrayal of Roman Polanski in Saviana Stanescu's Polanski, Polanski was an amazing new perspective on this man's life. Who knew I might actually begin to understand the complexity behind why Polanski did what he did to such a young girl. And finally, Andrea Caban's Questions My Mother Can't Answer touched my heart as a woman. The way Andrea captured the wisdom of an older generation of women was an inspiration in my life that I carry with me to this day.” 
– Jennifer Conley Darling, Artistic Director for terraNOVA Collective and the soloNOVA Arts Festival which is nominated for Outstanding Performance Art Production for Woman of Leisure and Panic

“The company of the other artists...all of them!” 
– Aldo Perez, Outstanding Ensemble, Outstanding Sound Design and Outstanding Original Music for Radio Purgatory, Theater THE

“I loved that playwright Eddie Antar created this odd little world-- almost all of the drama happens in a car.” 
– Quentin Chiappetta, Outstanding Sound Design nominee for The Navigator, Workshop Theater Company

“No longer needing to imagine what it would be like to see someone doing an impression of Al Pacino doing an impression of Mamet dialog, telling the story of the video game Asteroids.  That is one need in my life that I can definitely put a check mark in front of.  And, I’m a better man for it.” 
– Frank Padellaro, Outstanding Original Music nominee for Theater of the Arcade, Piper McKenzie & The Fifth Wall in association with The Brick Theater

“Benefactors is an extremely wordy play, full of debate and discussion and even monologue. But I don't think you need to be a heady person or an academic to appreciate it.  And the reason for that is largely due to the act of violence towards the end of the play.  I loved in our production how the sound and lights worked together with the actors in that flash of a moment - when the boiling liquid leaves the pot towards Colin - to create this moment of disbelief and of time standing still for the audience, just as it might if you were actually there and involved.” 
– Heather Cunningham, Outstanding Ensemble and Outstanding Actress in a Lead Role for Benefactors, Retro Productions

“The amazing ensemble of actors I got to work with. From the beginning they were superb people, and really helped bring my designs to life. I could not have asked for a better group of people to dress!” 
– Ryan Moller, Outstanding Costume Design nominee for The Drowsy Chaperone, The Gallery Players

“Watching the audience's reaction to our star acrobat, Ryan Shinji Murray, falling 10 feet from a stack of chairs he was doing hand-stands on. Of course it was staged, but he would ‘fall to his death’ every night. Even for the cast, it was terrifying every night. He's really good at falling really hard!” 
– Kae Burke, Outstanding Costume Design and Outstanding Innovative Design nominee for Circus of Circus, The House of Yes

“Since the show was pitched sort of equally at gamers and at theater people - and since we didn't give away the combination of game and style within the show itself - it was a constant pleasure to sit in the audience and hear different people laugh in recognition at different jokes at different times. Sometimes a snatch of dialogue parodying a particular playwright would get a reaction, sometimes a reference to a particular detail of game mechanics, and, as more people solved the puzzle, the laughter was grow. It was something different every night, and it added a whole other layer to the experience of the show, one that I hadn't anticipated at all.” 
– Jeff Lewonczyk, Outstanding Original Full-Length Script nominee for Theater of the Arcade, Piper McKenzie & The Fifth Wall in association with The Brick Theater

“My personal favorite part of The Drowsy Chaperone was performing ‘Show Off.’ Actually, it was rehearsing and then getting to perform ‘Show Off.’ Our creative team was so visionary in not following exactly what the Broadway production did. They took some key gimmicks from the Broadway production and completely threw them out. Our choreographer, Christine O'Grady, basically asked me to try everything during rehearsals for ‘Show Off.’ She'd say ‘now, try a backbend into a lift with the boys’ and we'd all go, ‘sure!’ Having the freedom to play and experiment with such a well written show was a true rarity.” 
– Whitney Branan, Outstanding Ensemble nominee for The Drowsy Chaperone, The Gallery Players

The people I had the opportunity to work with.  The cast, other artists, writers and directors were awesome and like family.” 
– Angela Harriell, Outstanding Choreography/Movement nominee for Circus of Circus, the House of Yes

“My favorite part undoubtedly was listening to my audience...during each performance...I learned so much.  Timing with laughter and sniffles, being present in every moment of every performance, and later learning my shows impact on the audience. I have never understood better the power of theater!” 
– Elaine Del Valle, Outstanding Solo Performance nominee for Brownsville Bred, Del Valle Productions, Inc.

“I loved the silly bits. We took silly very seriously on this show. So I got to ‘play’ a cardboard violin, do a little dance, play some pool and scare people. Oh, but one of the parts I looked forward to every night was the moment the dancer peeled her sunburn. Gross every time, but shark that I was licked my lips.” 
– Donya K. Washington, Outstanding Ensemble nominee for (oh my god I am so) THIRST(y), Little Lord (a theater company)

“Honestly, and this may sound like I'm not actually answering the question because it technically isn't ‘part of the show,’ but arriving to the theater every night was and always is my favorite part of working with the company of actors with whom I perform." 
– Nick Paglino, Outstanding Actor in a Lead Role nominee for An Impending Rupture of the Belly, Godlight Theatre Company 



Wednesday, September 14, 2011

What was the most challenging part of the show you were nominated for?

 
 
We have a very eclectic and dynamic and somewhat opinionated group of nominees this year and we wanted to get to know them a little better so we asked them to answer a few questions about their work. 

Here are their answers to question #3:
What was the most challenging part of the show you were nominated for?


“Embracing that people were calling my play ‘the porno play.’ Who am I kidding, I embraced it pretty quickly. I write what I know.” 
- Isaac Oliver, Outstanding Short Script nominee for Come Here, which was a part of The Spring Fling, F*It Club

“One of the more challenging parts of being the ‘man in chair’ is the relationship he develops with the audience. He doesn't get to interact with the ensemble until the end of the show, so the audience is really his scene partner for the time he is up there. It can be daunting, knowing you have a new partner every night and your job is to win them over.
- Craig E. Treubert, Outstanding Ensemble and Outstanding Actor in a Lead Role nominee for The Drowsy Chaperone, The Gallery Players

 “For me, the most challenging part of Balm in Gilead was the overlapping dialogue.  It was quite tricky trying to listen for my cue which often came from across a very crowded stage given by an actor who was in a scene in which I was not involved.” 
- Jill Bianchini, Outstanding Ensemble and Outstanding Actress in a Lead Role nominee for Balm in Gilead, T. Schreiber Studio

“The most challenging part of St. Nicholas wasn’t that it was a Solo Performance. The greatest challenge was the Dublin dialect. If I had been doing this show in regional theatre, I would probably have been more at ease with the idea…but there are many Dubliners in New York City, and I didn’t want to disrespect them by mangling their dialect. I worked with several different native Dubliners (mostly bartenders) but the most useful “coach” was Professor Emeritus and distinguished poet Eamon Grennan. Eamon and I had worked together on Oedipus at Colonus, and his help was invaluable. He often said, “Alright. That’s definitely Irish, but it’s not quite Dublin Irish.” And so the work would continue. After one performance, a big Irishman approached me. “About your accent…” he said. “You fucking nailed it!” Higher praise was never heard.” 
– Darrell James, Outstanding Solo Performance nominee for St. Nicholas, Theatre of the Expendable

“For better or for worse, we here at the Pumpkin Pie Show have forged a somewhat emotionally manipulative, abusive relationship with our audience. We fight, we take hostages, we hurt those we love the most—and yet, year after year, for well over a decade now, we keep begging our audience to take us back. The challenge is always to bat the eyelids just right and say we’re sorry like we actually mean it.” 
– Clay McLeod Chapman, Outstanding Short Script nominee for both Diary Debris and Sixteen Again which was part of the Pumpkin Pie Show, Horse Trade Theatre Group

“To be very honest, it was working with that tight budget, so commonly a challenge in theatre today.  It had to be stretched in all aspects of the show; technically, artistically and reaching a new audience base. Godlight Theatre Company, who produced Rupture…, has roots and a strong audience base at 59 E 59 Theaters where the Page-to-Stage adaptations are typically produced, so being at a new venue for the original works, (An Impending Rupture of the Belly), provided some challenges with our audiences initially.  But in the end there was still a great deal of support, which we were so thankful for, and some of the hurdles we faced actually made the company stronger. 
- Deanna McGovern, Outstanding Actress in a Featured Role nominee for An Impending Rupture of the Belly, Godlight Theatre Company

“Learning the Toledo Surprise!” 
- Robert Anthony Jones, Outstanding Ensemble nominee for The Drowsy Chaperone, The Gallery Players

“I played the Navigator in The Navigator so I was seated onstage for the entire play and was only able to make the smallest of movements. It was super challenging to remain still throughout. I remember some nights when all I wanted was to itch my nose!” 
- Kelly Anne Burns, Outstanding Actress in a Lead Role nominee for The Navigator, Workshop Theater Company

“Most challenging part was the research. Understanding about Korean fan dancing and incorporate contemporary dance in it, still being able to tell a story.” 
– Elisabetta Spuria, Outstanding Choreography/Movement nominee for disOriented, Theatre C

“The set in 'Balm in Gilead' rotates 3 times- not like a turntable, but where the actors pick up and rearrange all the furniture. Because the walls don't move you can't commit a surface to any specific area, like a back counter. The challenge was to find a neutral pallet of architecture that was still detailed and interesting.” 
– Matt Brogan, Outstanding Set Design nominee for Balm in Gilead, T. Schreiber Studio

The set. It was very labor intensive with all those cut outs and signs.”  
- Heather Siobhan Curran, Artistic Director for The Gallery Players, which is nominated for Outstanding Production of a Musical for both Reefer Madness and The Drowsy Chaperone

 “mmm....probably to keep from cracking up onstage at the rest of our hilarious cast!  Everyone was so funny in this show, it was a blast from beginning to end.” 
– Kent Meister, Outstanding Ensemble nominee for Theater of the Arcade, Piper McKenzie & The Fifth Wall in association with The Brick Theater

“The most Challenging thing about directing The Drowsy Chaperone was to re-envision it rather than re-invent it. Casey Nicholaw's original Broadway production I though was pretty damn perfect and I was a huge fan, but as a Director I need to tell my own version of the story, so there were decisions early on- for example no refrigerator that turns into a door, we found different solutions because I needed to break from the original. Also the intimate space of OOB allowed us to make different choices and for the audience to get to know these characters in a more intimate way.” 
– Han Friedrichs, Outstanding Director nominee for The Drowsy Chaperone, The Gallery Players

“Time, being sick in the days leading up to tech, and having jury duty the second and third days of tech.” 
– M.L. Dogg, Outstanding Sound Design nominee for The Land Whale Murders, Shelby Company

“About 2 days before we opened, the director made an ultimately liberating decision to drastically change an element of the blocking. While this was initially difficult to adjust to in such a short period of time, in the end it became one of the most rewarding elements of the show during performance." 
– Nick Paglino, Outstanding Actor in a Lead Role nominee for An Impending Rupture of the Belly, Godlight Theatre Company

Taking on a divisive political topic and making it human.” 
– Jeff Pagliano, Outstanding Actor in a Featured Role nominee for Fracturing, Sweeter Theater Productions

“For my role as Mrs. Tottendale in The Drowsy Chaperone, I got to take on the challenge of creating a character who is very different from me. I also got to learn a couple new skills that the character uses onstage: spit takes and playing the ukulele. Perhaps now I should learn to do spit takes AT THE SAME TIME as playing the ukulele? Now that would be something.” 
– Dawn Trautman, Outstanding Ensemble nominee for The Drowsy Chaperone, The Gallery Players

“Getting butts on seats and press to come out. As a performer it was tough trying to split myself and take care of administrative and production duties while having to do a show at night.  The rest was fun and satisfying.” 
– Jenny Lee Mitchell, Outstanding Ensemble nominee for Radio Purgatory, Theater THE

I'm proud that terraNOVA has received four nominations this year for four different shows. Alex Koch's nomination for Innovative Design for Feeder: A Love Story was certainly the most challenging show as a producer and artist this year. The subject matter has never been dealt with on stage and the way our production moved the audience to laughter, tears and disgust was an absolute joy to be part of and absolutely terrifying at the same time.” 
– Jennifer Conley Darling, Artistic Director for terraNOVA Collective and the soloNOVA Arts Festival which is nominated for Outstanding Performance Art Production for Woman of Leisure and Panic

“Probably learning how to look like I played pool. I got pretty good at it by the end.” 
– Donya K. Washington, Outstanding Ensemble nominee for (oh my god I am so) THIRST(y), Little Lord (a theater company)

“Adjusting to needless complexities. My advice: never rely on what you’re told - verify before hand any dependency that can frustrate an otherwise worthy production.” 
– Aldo Perez, Outstanding Ensemble, Outstanding Sound Design and Outstanding Original Music for Radio Purgatory, Theater THE

“The sound for this show was another character, VERY much an integral part of the show, and the timing had to be just right, or it would never work- there were also nearly 100 cues!” 
– Quentin Chiappetta, Outstanding Sound Design nominee for The Navigator, Workshop Theater Company

“Doing my own promotions, and constantly being challenged by the space--they kept changing my lights.” 
– Elaine Del Valle, Outstanding Solo Performance nominee for Brownsville Bred, Del Valle Productions, Inc.

“Teaching myself to play the accordion.” 
– Frank Padellaro, Outstanding Original Music nominee for Theater of the Arcade, Piper McKenzie & The Fifth Wall in association with The Brick Theater

“Sheila was a mess, constantly wavering from one emotional extreme to another.  That's hard enough to do in a performance, harder in rehearsal where you are working on small sections at a time.  But I think the hardest thing about Sheila was finding the trigger that pops in her head that turns her suddenly violent towards the end.  (And Good Lord there were a LOT of lines!)” 
– Heather Cunningham, Outstanding Ensemble and Outstanding Actress in a Lead Role for Benefactors, Retro Productions

“Always the limitations of a budget. I prefer to have a show built, so every character looks just as i want them to. I was not able to build the men’s clothes for Drowsy so i was forced to rent them. The ladies however were exactly as they were sketched.” 
– Ryan Moller, Outstanding Costume Design nominee for The Drowsy Chaperone, The Gallery Players

“Having to re-cast my lead actor due to an over-seas family emergency was...pretty challenging but intensely exciting. Benjamin Cerf was basically born to play this role of a corrupted and manipulative ring-master, and I had no choice but to find his replacement 2 days before the opening of our final sold-out weekend. Luckily my director found Tegan Flanders who stepped up and learned the entire show in 2 days. That is pure talent mixed with intelligence. Plus he fit the unitard. We held nights of full rehearsals, redistributed lines and changed choreography. It was like the bonus round of some fucked up ultimate-challenge theatre game show...and We WON!” 
– Kae Burke, Outstanding Costume Design and Outstanding Innovative Design nominee for Circus of Circus, The House of Yes

Theater of the Arcade was in many ways a dare to myself - could I actually pull off the gambit of matching up a classic video game with a recognizable theatrical style and somehow create something that people wouldn't be completely sick of in less than five minutes? It ended up that I decided to make each of the pieces actual, authentic little PLAYS rather than just sketches, and that was a scary thing to commit to - the more seriousness I gave the material, the more absurd the whole enterprise seemed. In the first piece, Monologue for Single Play (which is Frogger reenacted as a Beckett monologue), I still don't QUITE feel like I made it - the play still works better on paper than on stage, where it's too long - I'm still having a hard time figuring out how to shape its contours a bit more successfully.” 
– Jeff Lewonczyk, Outstanding Original Full-Length Script nominee for Theater of the Arcade, Piper McKenzie & The Fifth Wall in association with The Brick Theater

What I thought was going to be the most challenging part of the production I was nominated for, in actuality, turned out to be the most joyfully simple. With a show like The Drowsy Chaperone, it is so much about ensemble timing and unselfishness. It's about listening, giving, listening, giving. Not about making your own lines funny. The joy and humor comes from considerate actors throwing the ball back and forth. It comes from playing. With the ensemble of Drowsy, it was just an absolute pleasure to play during every rehearsal and every performance.” 
– Whitney Branan, Outstanding Ensemble nominee for The Drowsy Chaperone, The Gallery Players

“Since the show is about The Walk Across America for Mother Earth, the characters are walking for most of the show.  The challenge was to choreograph the walking so that it was theatrically engaging and that it reflected the physical and emotional changes of the activists on their nine month journey.   Since Taylor Mac conceived the piece as a pastiche of several genres -including Chekov, Commedia del'Arte, and Beauty Pageants - the walking reflected those genres as well.” 
– Paul Zimet, Outstanding Director nominee for The Walk Across America For Mother Earth, Talking Band in association with LaMaMa Experimental Theater Club 

I played a transvestite so... the heels and the makeup!” 
– Ian Bell, Outstanding Ensemble nominee for Balm in Gilead, T. Schreiber Studio

 “There is never enough time to explore the play with an audience. Just when it seems like there is a dynamic, sustainable dialogue happening between the observers and the actors--such that the line between observer and actor begins to disappear--the run ends and it's time to pack everything up.” 
- Matt Wilson, Outstanding Original Full-Length Script nominee for Play America (Life is Short, Wear Your Party Pants), Sister Sylvester

“Ending it.” 
- Belle Caplis, Outstanding Ensemble and Outstanding Actress in a Lead Role nominee for Balm in Gilead, T. Schreiber Studio