Eight Tales of Pedro

Produced by The Secret Theatre
Written by Mark-Eugene Garcia
Directed by Rodrigo Ernesto Bolaños

Nominated for: Outstanding Actor in a Featured Role - Federico Mallet; Outstanding Original Music - Luis D'Elias

About The Secret Theatre
The Secret Theatre strives to provide New York City and surrounding communities with inexpensive, but high-caliber performances, to expand the horizons of patrons young and old alike who would normally not venture outside of the main borough. As a venue for assorted live entertainment, particularly classical theatre, as well as new works, comedy, and musicals.

Photos by Hunter Peress

About Eight Tales of Pedro
Two sets of storytellers, some now and some in the 17th century, cross a country - risking everything for a new life. As they tell their tales, their lives and plots combine and intertwine into the same conclusion.

What first attracted you about working on Eight Tales of Pedro?

Federico: Working with an all Latino cast telling a story that invites the audience to be empathetic with the Latino experience in the US in contentious times and accomplished it by also finding humor and joy in it.

Luis: The opportunity to develop a score in an unconventional way, plus working on an original Latin American work

What was your favorite part of the production?

Federico: The people. They were incredibly welcoming and that for me is one of the main (if not the main) characteristics of the Latino community.

Luis: The cast and crew. It was like a family, and there was this collaborative spirit where everyone felt invested in the work. Truly amazing group of humans.

What was your biggest challenge of this experience?

Federico: Very quick changes from character to character and switching from very light humor to the heavy stuff. You want to make sure those two land how they’re supposed to.

Luis: Listening. My work was an underscore that adapted to the play. It involved equal parts composing, and improvising to the rhythm of the performances, which involved a lot of listening tp the performer of each piece. The music became an active ingredient, but it could not overshadow the actor. So, it was like scoring a film in real time, which made it really organic.

What part of you did you bring to the production that changed what was presented to the audience?

Federico: I was the only actor in the production whose first language was Spanish, that brought the opportunity to expand the language and jokes of the show.

Luis: The way we let the music interact with the actors, as if it were another performer, felt pretty innovative. Something I think helped us connect was having me, the composer/guitarist, be part of the warm up exercises before each show and rehearsal. It's a level of cohesion that really benefited the presentation of the piece.

What was it like working with this company of artists?

Federico: Their warmth, love and joy for what they do. How welcoming they are. How willing they are to play.

Luis: A production team that feels like a family, especially one that is really trusting, and that allows each artist to bring what they know best to the table, trusting everyone comes from a place of shared respect and dedication towards the play and the subject matter.

Did you gain any insight or learn anything new from this experience?

Federico: I learned a lot of about the immigrant experience in the US (first generation/ second generation), and also a lot about folklore in different parts of Latin America.

Luis: New possibilities regarding composing a score and accompanying a theater play by listening and reacting to the actors and performers.

What does receiving this nomination mean to you?

Federico: It doesn’t happen often that I decide to do a play just because of my love for it. I loved the script instantly and my gut told me to do it no matter what the outcome. It’s good to know that that can pay off. It’s also special because sometimes I wonder how I fit in within the industry.

Luis: Truly an honor, but also a recognition towards this approach that connects actors and musicians into an organic unit, which I believe has endless potential for new and innovative theater experiences, not only for the audiences, but also for the performers involved.

Make sure to check out The Secret Theatre on Twitter - @secrettheatreny

MEET THE 2019 NOMINEES: Assassins

Produced by The Secret Theatre
Music and Lyrics by Stephen Sondheim 
Book by John Weidman
Director: Lauren Shields
Musical Director: Morgan Morse

Nominations: Outstanding Director – Lauren Shields; Outstanding Actor in a Lead Role – Evan Teich (see post); and Outstanding Production of a Musical

About the Secret Theatre
The Secret Theatre strives to provide New York City and surrounding communities with inexpensive, but high-caliber performances, to expand the horizons of patrons young and old alike who would normally not venture outside of the main borough. As a venue for assorted live entertainment, particularly classical theatre, as well as new works, comedy, and musicals.

Photos by Jakub Djeko

About Assassins
Nine individuals who have attempted a presidential assassination tell their stories in this revue-style musical of humor, drama, history, and fiction. Assassins is an illustration of very different people who have made extreme choices for varied reasons.

What about directing Assassins was most attractive for you?

Lauren: We all have a shadow side of ourselves that lurks deep in our consciousness. The consequences of the impact on us by our culture and our own individual tragedies can make us do reprehensible things in desperation. Some act on it, while others do not. No one person or set of experiences can be seen as black and white. I wanted to show audiences a deeper side of the humans that are seen as villains to so many of us.




What was it like to work with The Secret Theatre?

Lauren: This company dedicated so much of their time and passion into this project. They spent hours researching and working before they stepped into the rehearsal room. It made the rehearsal process powerful, moving and inspiring. I could not have had a better team.

Make sure to check out The Secret Theatre on Twitter - @secrettheatreny

Hamlet (What Dreams May Come)

Produced by Ript Theater Company in association with The Secret Theatre
Directed by Nathan Winkelstein

Nominations: Outstanding Costume Design - Sarah Marie Dixey; Outstanding Ensemble: Lindsay Alexandra Carter, Ade Otukoya, Chauncy Thomas, Nathan Winkelstein; Outstanding Revival of a Play

About Ript Theater Company
Ript Theater Company is devoted to bringing classic tales to vibrant life through innovative productions, new adaptations and performer centric work. We believe in the power of the words of the great classicists, be they Shakespeare, Moliere, Aphra Behn or Euripedes to move us and deepen our understanding of our world and our times.

Photos by Reiko Yanagi

About Hamlet (What Dreams May Come)
Four performers embody all of the characters in this innovative new Hamlet: a fast paced, non-stop whirlwind of mind and body as rational thought battles with hysteria. Secret Theater teams up with Ript Theater Company on this exciting production.

What first attracted you to this version of Hamlet?

Lindsay: Nathan Winkelstein has tremendous facility in classical text, is a smart casting director, and organized producer. I was excited by the prospect of being in his room.

Sarah: I was first approached by our director, Nathan Winkelstein, to be on this production. We had worked together in the past, and collaborated well. I thought figuring out the logistics of a truncated four person Hamlet would be ridiculous, challenging, and just the right kind of puzzle for me at the time.

Chauncy: I wanted an opportunity to work with my friend Nathan Winkelstein.

Nathan: I was interested in the family drama at the core of the play

What was your favorite part of working on the show?

Lindsay: The athleticism required of the actors to play the number of roles assigned led to a highly physical interpretation of the text which was exciting to discover with Cat, Nathan, and the entire ensemble.

Sarah: I really enjoyed the freedom of mixing textures that went along with the puzzle of creating such a small scaled show. All of the costumes needed to function as both highlighted characters and background noise that could seamlessly transition from moment to moment while all holding their individuality. This gave me a lot of room to experiment and just see what worked, which was quite engaging.

Chauncy: The camaraderie we developed while rehearsing.

Nathan: My incredible castmates and their immense patience as I moronically attempted to act, direct, adapt and produce all at the same time. Their backs still hurt from carrying me.

What was the most challenging aspect of this production for you?

Lindsay: I found differentiating Ophelia and Gertrude to be extremely difficult; especially because I wanted to remain as truthful to the text and intention as possible and avoid creating a caricature.

Sarah: As much as making a four person Hamlet was appealing, it was also quite a challenge. We had a strict budget and aesthetic, and fitting costumes that needed to be so versatile and full of texture into that was tough. We had a very restrictive light rig, which washed out almost all of the aging and dye treatments I had done. This resulted in pushing a lot farther than I was used to so things would read in the space. It's difficult to do that, but ultimately opens you up to some crazy paint jobs that you're thankful for in the end.

Chauncy: Honestly, it was trying to maintain my focus while dealing with a breakup.

Nathan: Wearing multiple hats, and as always finding the vulnerability at the core of any successful performance.

What was the most noteworthy part about your experience with this production?

Lindsay: The idea alone to create a production of Hamlet that is 90 min and only requires four actors I believe is undoubtedly innovative and created for a quirky track particularly for Claudius/Polonius and his transitions.

Sarah: I think the most innovative or interesting thing on this production was taking period patterns and using things like gauze, spandex, and soft draped fabrics to create the garments. It's a gamble to make something so structured out of fabric that doesn't always do that, but it worked brilliantly for the pieces I think! 

Nathan: Well I am never acting/directing and producing a show again. The level of beautiful, positive ensemble work by the cast in this show was astounding. Many of the most memorable moments of the show came from the minds of the group.

What was the best part of working with this company of artists?

Lindsay: There was not one weak artist in the room and all had a diverse set of skills which lead to the room being highly collaborative.

Sarah: I think the most innovative or interesting thing on this production was taking period patterns and using things like gauze, spandex, and soft draped fabrics to create the garments. It's a gamble to make something so structured out of fabric that doesn't always do that, but it worked brilliantly for the pieces I think! 

Chauncy: They gave me plenty of emotional support on and off stage. 

Nathan: I wanted to work with pros. Actors with incredible facility but the openness to explore and group as an ensemble. That happened.

Did you gain any insights or learn anything new from your work on this production?

Lindsay: I learned that I have some time before I am ready to properly play Gertrude.

Sarah: I had a wonderful time pushing my boundaries with this project. The entire process was a lot of going with my gut on choices and doing things I wouldn't normally do. I don't typically paint or burn costumes on loading docks during tech, but it was so rewarding to get a show that pushed me to do it!

Chauncy: It was the first time I somewhat felt like I knew what I was doing in a Shakespeare production.

Nathan: Don’t direct and play Hamlet, but if you do, do it with a special group of people. I also learned that truly asking a question is one of the hardest, most vulnerable things you can do onstage.

What does receiving this nomination mean to you?

Lindsay: It is always lovely to receive something that commends your work. It is nice to feel recognized.

Sarah: I'm honestly just flattered to be considered for this. This production was such rewarding experience, that it is just fantastic to be recognized as part of this collaboration.

Chauncy: I'm really thrilled. I strive to be someone who works well in an ensemble, so it's great to know my contributions were noticed.

Nathan:  It means a lot. I strive to be an unselfish actor and to surround myself with unselfish actors, its nice to have them recognized.

MEET THE 2019 NOMINEES: And Then There Were None

Annie Garrett-Larsen, nominated for Outstanding Lighting Design

And Then There Were None
By Agatha Christie
Directed by Christopher Noffke
Produced by The Secret Theatre

NOMINATED FOR:
Outstanding Lighting Design - Annie Garrett-Larsen
Outstanding Revival of a Play

Before CLUE! Before Murder, She Wrote! One writer penned the mother of all murder mystery whodunits, with an ending that still shocks readers today!

PHOTO: Reiko Yanagi

Produced by: Richard Mazda (The Secret Theatre)
Stage Managed by: Kat Vaccaro
Assistant Directed by: Ethan Henry
Set Design by: Brice Corder
Lighting Design by: Annie Garrett-Larsen
Original Music Composed by: Zev Burrows
Costume Design by: Ethan Henry
Special Props Designed by: Sarah Pencheff

Starring
Vera Claythorne - Zoe Abuyuan
Phillip Lombard - Dan Fenaughty*
William Blore - Adolpho Blaire*
Dr. Armstrong - David Engel*
Sir Lawrence Wargrave - Richard Mazda
Emily Brent - Peggy Lewis*
Rogers - Richard Iverson*
General Mackenzie - Albert Baker
Mrs. Rogers - Kelsey Sheppard
Nathaniel Ansbach - Anthony Marston
Fred Narracott - Aaron D. Van Skyoc

*Denotes member of Actors' Equity Association

PHOTO: Reiko Yanagi

PHOTO: Reiko Yanagi

PHOTO: Reiko Yanagi

MEET THE 2019 NOMINEES: Evan Teich

NOMINATED FOR: 2019 Outstanding Actor in a Featured Role

Evan Teich* as "John Wilkes Booth" in The Secret Theatre's Production of ASSASSINS

Evan Teich*

Executive Producer: Richard Mazda
Director: Lauren Shields
Musical Director: Morgan Morse
Stage Manager: Melissa Barry
Set Designer: Steven Bolt
Lighting Designer: Annie Garrett-Larsen
Assist. Direction/Choreography: Christopher Noffke
Costume/Prop Designer: Ashley James

*Denotes Member of Actors' Equity Association

What first attracted you to working on this show?
I'm a big history buff and I love how Sondheim/Weidman have woven the stories of these tragic historical misfits together to highlight a greater overarching narrative about the American dream.

What was your favorite part of working on this production? And why?
I loved how the intimate nature of The Secret Theatre brought out the hauntingly claustrophobic nature of some of ASSASSINS.

What was the most challenging part of working on this production? And why?
Working in a 3/4 thrust is challenging since you're always giving your back to someone. But, as long as you're engaged in the scene and conscious of giving face time to each side of the audience, it works in the end.

Was there anything odd, quirky, innovative, funny or otherwise noteworthy about your experience with this production?
Our Balladeer/Lee Harvey Oswald, typically cast as male, was played by a woman. This was my second time playing Booth and the gender changeup completely changed the nature and energy of the final climactic scene between Booth and Oswald. It was a refreshing change to a usually male dominated cast.

What is the best thing about working with this company and/or these artists?
The Secret Theatre was wonderfully supportive and generous during this production. The folks there went above and beyond to make us all feel at home.

Did you learn anything or discover anything new while working on this project? If so, what?
There's always a lot to learn working on a history piece, but getting the rare privilege to play a role twice, I got to dive even deeper into the motivations and nuances of Booth. He is a deeply interesting and tragic historical figure who gave up a life of fame and comfort in pursuit of his misguided cause.

What does receiving this nomination mean to you?
This nomination means a tremendous amount. We perform because we love it, but this recognition lets us know that others have loved it too. I can't claim full credit, however, as ASSASSINS is a truly ensemble piece. I shared the stage each night with a truly monumental cast and share this honor with them.

Visit Evan's website here.
Visit Evan's Instagram here.


PRODUCTION PHOTOS FROM THE SECRET THEATRE'S PRODUCTION OF ASSASSINS (Photos: Carrington Spires)

King Lear

Written by William Shakespeare
Directed by Alberto Bonilla
Produced by The Secret Theatre

Nominations: Outstanding Actor in a Featured Role, Zachary Clarke; Outstanding Revival of a Play

Photos by Steven Speliotis

About the Production: King Lear director Alberto Bonilla, known for his timely twists on classic Shakespearean dramas, transports this classic into a world of New York City's wealthy elite real estate titans. King Lear, suffering the beginnings of Alzheimer's disease, must divide his empire amongst his feuding children, while wrestling with his own mortality.

"Small independent Shakespeare productions are generally difficult to pull off. Short run time doesn’t generally allow for a heavy investment in difficult roles or elaborate production quality. But not so with The Secret Theatre which, under the guidance of director Alberto Bonilla and executive director Richard Mazda, continues to produce outstanding Shakespeare plays"  ~ JK Clarke, Theater Pizzazz 

 

A Chorus Line

Written by James Kirkwood, Nicholas Dante, Marvin Hamlisch, & Edward Kleban
Directed by Tom Rowan 
Produced by The Secret Theatre

Nominated for:  Outstanding Actress in a Featured Role, Adrian Grace Bumpas; Outstanding Actress in a Featured Role, Kelly Barberito; Outstanding Actress in a Lead Role & Outstanding Choreography/Movement, Geena Quintos; Outstanding Actor in a Lead Role, Jonny Stein; and Outstanding Production of a Musical

Photo by David Krochalis

About the Production
2015 was the 40th anniversary of A Chorus Line’s Broadway debut. In honor of this momentous milestone, The Secret Theatre wanted to be the very first New York theatre to put up a production during the anniversary year. Featuring iconic choreography and characters who resonate deeply with theatrical artists, A Chorus Line is a classic American musical.

The Secret Theatre’s Artistic Director, Richard Mazda; performers, Adrian Grace Bumpas, Kelly Barberito, Jonny Stein; and actress performer/choreographer Geena Quintos discuss their work on this personal and insightful production.


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What attracted you to this work?

Adrian: A Chorus Line' is a dream show for me. There is so much heart throughout the piece. This was my third time doing the show -- I feel like every time you get the chance to do it, you leave having more life-long friends because it bonds you in an everlasting way.

Geena: A Chorus Line is a show that has changed my life. It is the first show I ever did professionally (National Tour 2012-2013) and it made me realize my potential asa young woman in the business trying to pursue singing, acting, and dancing. When Tom Rowan approached me about choreographing the show, I was nervous (in a good way!) but ready to take on the challenge of working on a show that has been so dear to me over the years.

Jonny: A Chorus Line is a show that sheds light on the auditioning process that a lot of non-actors never get to see, and that kind of work is exciting to me. To get a chance to reproduce a Broadway final callback for friends who work as consultants at Deloitte or have entry level finance jobs at J.P. Morgan and hear them discuss what they learned (albeit somewhat dramatized) is what I was looking forward to upon going in for this show. And of course to dance the iconic dances in this show was a strong incentive too.

Kelly: I had been living in New York for 6 months and this was the first show I did. I thought it was a perfect introduction to New York and the life of an actor.

Richard: We wanted to be the first New York theatre to produce the show on its 40th anniversary.  This show truly deserves the approbation - iconic. Michael Bennett working with some of Marvin Hamlisch's best tunes molded a show that gives us the first real look inside the life of an ensemble performer, I found this fascinating. We also had the real bonus of having Tom Rowan as our director. Tom had just published the book, A Chorus Line FAQ and his encyclopedic knowledge of Chorus Line gave the project some heft. Once we secured a great cast and crew things happened really quickly but yet there was always risk of not doing the show justice so once we had a big success that whole thing was a kind of a rush!

I want the audience to realize that a theatre in Queens can pull off a high quality show of the kind that one might expect to see on an off-Broadway or Broadway stage. I want to break the glass ceiling that signifying that 'important theatre' happens in Manhattan.

Photo by David Krochalis

What was your favorite part of working on this production?

Adrian: Our production was in such a small place. We were all terrified and wondered if we could actually pull it off. I think our results were above and beyond what we ever expected. Unlike other productions, it was in an actual audition sized space. You could literally smell our hunger to be on that line.

Geena: There were many aspects of this production that made it very special to me; however, my absolute favorite part about working on this show was being able to rehearse and work with this stellar cast. Everyone was always 100% committed to the movement and story. They understood that it was the lives of these characters that made A Chorus Line so relevant and important. I am forever grateful to have had the opportunity to work with each and every one of them!

Jonny: This production, unlike any other show I have done, paralleled my real life tremendously. There is a moment towards the end where all of the characters are forced to think about what they would do if they couldn't dance anymore. The director challenges the performers to give it some deeper thought and at a certain point the actors behind these vulnerable characters can't help but hear as the question bleeds into our own psyches.

Kelly: My favorite part was going on as Maggie. I was originally just dance captain and a cut dancer. Our Maggie had gotten sick and they asked me to take over the role. Finally being a part of the CHORUS LINE was the best part of the process for me.

Richard: Its hard to choose but at the beginning it was probably seeing the actors for the first time in rehearsal working the iconic opening number which introduces us to all the characters. At the end of the rehearsal period it was watching the finale number on opening night.

What was the most challenging part of working on this production?

Adrian:  From the get-go we were faced with real life, challenging obstacles that we all had to overcome together. No matter what was thrown our way, this show was going to be seen. It just shows what hard working, driven, and the most passionate creators I was fortunate enough to work with.

Geena: The most challenging part was definitely the job of pulling double duty as both Choreographer and playing the role of the strong-willed Diana Morales. It has always been a dream role of mine, so being able to get my hands on it was exciting enough. But also, being given the chance to pass down the incredible choreography of A Chorus Line was extremely special. It was hard and very trying at times, but I wouldn't trade the experience for anything in the world. I was living two dreams at one time!

Kelly: Definitely learning the role of Maggie the day of final dress and going on that night. It was very unexpected and scary, but helped me grow as a performer.

Richard: Fitting the 17 main characters on to our stage!  This show requires the 'line' to have 17 characters and although the Secret Theatre has a larger stage than most Off-Off venues nevertheless one has to have enough room for the line and for the finale number.  We managed it obviously which is a huge testament to our Choreographer, Geena Quintos!

What was the weirdest part of working on this production?

Adrian: After the passing of a close friend, I was a little lost on if I actually should be doing this for a living. At our first rehearsal, (as scared and excited as I was) I met the wonderful Geena Quintos who had also gone to high school with this same beloved friend, every rehearsal I caught a glimmer of his spirit through her. Being under direction of this firecracker of a woman and not to mention getting to watch her on stage every night simply glow -- it revived my passion, gave me courage, and reminded me why I do this, for love.

Geena: Tom Rowan and I re-staged A Chorus Line on a thrust stage!! That, within itself, was a very fun and innovative experience for the both of us. In a way, it allowed us to look at A Chorus Line in a completely different way and involve the entire audience in the line's audition experience.

Kelly: Throughout this process, I had a bunch of different roles all at once. It definitely kept me on my toes!

Richard: The whole experience was an eye opener to the classic musical genre because so many aspects of this show became essential chapters in the book of Musical Theatre. We were also lucky to have Tom Rowan, a director whose encyclopedic knowledge and love of the show was a driving force.  It was a challenge to mount a respectful and more than solid version of the show given limitations of budget and space but I really think we pulled off a great show which is a testament to the effort, skill and great talent that the production was grateful to have on board.

The oddest thing was working with Mylar mirrors

Photo by David Krochalis

What was it like working with The Secret Theatre?

Adrian: Everyone put their heart on the stage. No matter what condition, temperature, or new cast member -- we all truly did every performance like it was our last.

Geena: The best thing about working with this company is the passion and commitment they brought to their characters every single night. I couldn't ask for a better company to choreograph and be on stage with every night!

Kelly: The best thing about working with this company is that they trusted me to go on and fulfill the role with a day’s notice. They trusted that I could learn the part the day of and go on. It made me feel they valued my work and work ethic.

What was it like working with Adrian, Kelly, Jonny, and Geena?

Richard: As a Choreographer Geena exhibits a talent and skill that totally belies her 23 years. I have just completed a second project with her and once again she knocked it out of the park. As an actress, Geena really did a terrific job of Diana and each night her vocals on 'What I Did for Love' was deeply affecting. Total class!

Jonny gave a real show stopping version of 'I Can Do That' which is a definite 'high energy' number that he performed with huge charisma each night. He deserves his nomination for sure!

Adrian was a huge comedic find for this production and she gave the 'kooky', tone deaf, Kristine who mangles the melody of 'Sing', her partner Al in the show finishes or sometime begins her sentences to huge comedic effect. We thought she was perfect in that role.

Kelly stepped into the role when our original Maggie left the show due to a medical emergency. The transition to this import role was smooth and Kelly nailed the famous high note in 'At The Ballet' straight out of the gate and every night after that.

You can follow these artists on Twitter
The Secret Theatre - @secretheatreNY
Adrian Grace Bumpas - @adrieebug