Rush

Written by Callie Kimball
Directed by Christopher Diercksen
Produced by Team Awesome Robot

Nominated for: Outstanding Lighting Design, Chelsie McPhilimy;  Outstanding Set Design, Jennifer Neads; Outstanding Actress in a Featured Role, Lauren Nordvig; and Outstanding Original Music, Ryan McCurdy

About the Production
Committed to fully embracing a collaborative process, Team Awesome Robot’s inaugural production Rush, was an ensemble effort. According to Theatre In the Now’s Michael Block “Team Awesome Robot takes the audience to a place where they may not have ventured to before.” Set in the Yukon in 1899, Rush is a dark tale about a couple who are far more than they appear to be.

Producer Yvonne Hartung and nominees Chelsie McPhilimy, Jennifer Neads, Lauren Nordvig, Ryan McCurdy share their experience of working on this ominous and thought provoking mystery.

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What attracted you to this production?

Chelsie: I loved the script for Rush from the moment I finished reading it. It was so unique, and that really piqued my interest in the production.

Jennifer:  I'm a pretty big Chris Diercksen fan. I'm thankful that he trusted me to help create this world. Not to mention that it was Team Awesome Robot's inaugural production!

Lauren: Team Awesome Robot is a brand new company of amazing artists and I was so excited to be involved in their first full-fledged production. Being able to lend time and energy to their mission of bringing to life new plays was my pleasure and I can't wait to see what they do next!

Ryan: I don't get to score theatre nearly as much as I'd like to, so I jumped at the chance of creating something wholly original within an historical framework.

Yvonne: The script never stopped surprising us from beginning to end. The plot was an adventure but the story effectively relied on mystery. Further, the themes of early feminism and a challenged masculinity were fascinating.

What did you want the audience to come away with after watching Rush?

Yvonne: We wanted the audience to have that feeling after a play where the real world is a little unfamiliar… a little disoriented but having been entertained. And then later, as time passes, for the audience to consider the roles of gender in our society today.

What was your favorite part of working on this production?

Lauren: This company's spirit of collaboration was phenomenal--the assembled team was so talented and did wonders with their limited resources. Music, lighting, set...the perfect blend of beauty and function.

Chelsie: My favorite part of working on this production had to be the wonderfully talented group of artists I was privileged to work alongside. It was truly a collaborative endeavor, and I'm so thankful to have been a part of it.

Ryan: The collaborative nature of Team Awesome Robot and the opportunity to work inside of a terrific Beth Lake sound design.

Yvonne: The generosity of our collaborators: everyone, from the playwright to the house manager was all-in on serving the story was our favorite part of working on this production. Working with people who are so giving of their talents and time is rare and to have a great time in the process of an indie-theater tech week is even rarer.

Jennifer: The entire creative team is so talented.

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

Lauren:  Switching back and forth between two dialects...my ear had to fight to stay on target and I'm sure I raised a few eyebrows when people noticed me muttering to myself between scenes.

Yvonne: The realization that none of us knew any performers who identified as Native American or First Nations to play the role of Rosie, a First Nations character, was the most challenging part of working on this production. It speaks to the lack of opportunity for native performers in this country. We broadened our network, asking friends of friends of friends to find performers to audition and were finally able to find a great actress, Charley Flyte, to play Rosie.

What was the weirdest part of working on Rush?

Ryan: The entire production took place on a bed of dirt fragments, which affected the venue's acoustics in a number of unexpected ways!

Yvonne: We had an amazingly dedicated design and production team- and not just dedicated to their own prescribed designs and jobs. Most notably, Rush’s set was made up of nearly 100 lbs of corn cob animal bedding, which then had to be dyed to the color of soil for use as a dirt floor. This was a big job and adding to the fact that we did not have a lot of time, we also learned that we did not have enough! So over the course of 4 days, cleaning out every PetCo between New Rochelle and Wayne, New Jersey, we dyed, dried, and spread the floor. Along with set designer, Jennifer Neads, our lighting designer, Chelsie McPhilimy, sound designer, Beth Lake, Production Manager, Rhiannon Tasker, and Stage Manager, Rivka Friedlander, worked tirelessly with us to dye all of the corn cob over the course of four days. Ultimately the “dirt” looked amazing, providing texture and sound to the piece that wouldn’t have been achieved by just painting the floor. It definitely wouldn’t have happened without the entire team.

Jennifer:  It was a bit of an undertaking to fill a stage with faux dirt and get it to just the right shade of Yukon topsoil-brown. That one was truly a group effort.

Lauren: Its always terrifying to work on a play when you know the playwright is going to see it. I don't have to worry about that so much with "the classics" so it makes me nervous on a whole new level!

What was it like working with Team Awesome Robots?

Jennifer: I loved working on with this company.  Everything. The clear focus on good storytelling.

Lauren: Their passion and drive--ah, the energy of youth!

Ryan: Their staff and their respect for their playwrights and cast/crew was impressive and made us all feel like our creative efforts were valued.

What was it like working with Chelsie, Jennifer, Lauren, and Ryan?

Yvonne: Lauren Nordvig is such a giving performer. Her confident performance as Alice never left any doubt that this woman is capable and not to be underestimated. She’s also a lovely collaborator and a joy to spend time with.

Jennifer Neads can make anything. We gave her next to no budget and she made a tangible world. That floor took the audience out of New York City and into the Yukon immediately.

Chelsie McPhilimy was able to create very specific locations with not a lot of instruments or time to experiment. She perfectly supported the very active and dynamic staging of our play that never stopped.

Ryan McCurdy wrote haunting and engaging music that perfectly complimented both Beth Lake’s sound design and Callie Kimball’s text. This music provided a sense of mood that permeated throughout the production.

You can follow these artists on Twitter
Team Awesome Robot - @teamawesomerobo
Jennifer Neads - @jenniferneads
Ryan McCurdy - @ryanmccurdyarts

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

Composure

By Scott C. Sickles
Directed by Fitz Brekeller

Produced by WorkShop Theater

Nominated for: Outstanding Director, Fritz Brekeller; Outstanding Original Full-Length Script, Scott C. Sickles; Outstanding Premier Production of a Play

About the Production
The Workshop Theater's mission is to develop and produce “new American plays and musicals that transport, challenge and surprise both artists and audiences.” Scott C. Sickles’ play, Composure tells the story of “an ill-timed college production of Romeo & Juliet leads to a modern-day star-crossed romance between two men whose past tragedies suddenly encroach upon the present.”


Director Fritz Brekeller and Playwright Scott C. Sickles talk about creating this piece that Sickles calls a “resonance of loss.”

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What attracted you to this work? 

Fritz: I love the writer, Scott C. Sickles, work and was excited to do a love story about two gay men finding love for the first time - in their late 40's/early 50's.

What was your favorite part of working on this production?

Fritz: Our hardworking cast made magic happen in a very short rehearsal process.

Scott: My favorite part of working on this production was collaborating with director Fritz Brekeller on the script. Fritz is not only a masterful visual storyteller who elicits beautiful nuanced performances, but he's also a *magnificent* dramaturg. He has great instincts about story structure and how to shape the details of your narrative to get the maximum momentum and impact. He also has a clear and direct way of communication that I respond well to. There's no B.S. At the same time, he's great to experiment with on scenes and ideas.

I also have to say that while the play was in performance, my favorite thing to watch was "Scene 10" -- a series of short scenes depicting the central relationship of the play evolving over a week juxtaposed to another character giving a lecture about a painting of Romeo and Juliet saying goodbye on the balcony. Fritz staged that segment with great elegance and depth. It really brought out the best in the writing and, if I'm being honest, obfuscated a couple of rough spots in the script.

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

Scott: I describe Composure as a play about the resonance of loss. Each character is confronted by difficult events in their pasts -- some as recent as a year ago, others from decades ago. One of the lead characters, a theater director named Fletcher Driscoll, suddenly finds himself facing a man with whom he had a toxic relationship thirty years prior when they were in high school, as well as the physical, emotional and sexual abuse that comprised the bulk of that relationship.

Those events, while fictionalized for the context of the story and character, are taken from my own life. Much like Fletcher, I hadn't had to think about those events this closely in a long time. Even while I was writing the earlier drafts of the play, there was a narrative distance between my memories and me. But when an actor is standing on stage telling a version of an intimate trauma that actually happened to you, suddenly it all becomes vividly real. As a playwright, you have to approach it as a storyteller -- this is not about what happened to me, it's about what happened to him. 

The loss resonates.

What was the craziest thing that happened during this production?

Scott: One night, our lead got sick and couldn't do the show, so we had an "understudy" go on for him. By "understudy," I mean an actor who had done a couple readings before who was also helping oversee this production who had not in any been preparing for this eventuality. But we had a full house and, since we had someone who was familiar with the play and had seen the production a few times, well... the show must go on! And it did! The director and the cast did a walk-through of the first act with him before we opened the house. During act one, Fritz would give the "understudy" direction then send him out on stage. While the scenes were going on, Fritz was marking up the act two blocking in the act two script. It all went great! The audience enjoyed it. It was the most exciting night of theater I've ever had (at least at a play of my own).

 
What was it like working with WorkShop Theater?

Scott: The best thing about working with the WorkShop Theater Company is that while we develop a lot of new plays and have a strong devotion to dramatic structure, the focus is always on encouraging playwrights to find their voices and tell the stories they want to tell. It's a developmental company's job to guide writers to find the best ways to tell those stories and I feel that when I got notes and suggestions, I was never being dictated to. Rather, I felt that artistic director Thomas Coté's mission was to inspire me to go deeper, make stronger choices, and really dive into the lives of the characters.

You can follow these artists on Twitter
Scott C. Sickles - @ScottCSickles
Fritz Brekeller - @FritzB123

Gluten!

Written by Stephen Kaliski
Directed by Stephen Kaliski & Amanda Holston 
Produced by Adjusted Realists

Nominated for: Matt Sherwin Outstanding Original Music & Outstanding Sound Design

About the Production

Adjusted Realists wants to tell "theatrical stories about slightly unhinged worlds." In Stephen Kaliski's Gluten! they explored a future world where sterilizing your environment, sterilizes your soul. For one couple, the desire for healthy living has been corrupted with fears and insecurities. This funny, thought-provoking, and touching satire achieved AR's mission while making fun of our current society's fascination with health and safety.

Producer Eric Vigdorov, Writer and Co-Director Stephen Kaliski and nominee Matt Sherwin shared their thoughts on creating this timely production.





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What attracted you to this production?

Stephen: I have an abiding love for dystopian worlds, so I wanted to write something in that storytelling tradition. Also, as someone who has tried to eliminate this or that (including gluten) to feel like a healthier person, I'm really fascinated by our cultural behaviors when it comes to feeling safer in a dangerous time.

Matt: Stephen Kaliski, the Director. We’d already collaborated on three projects, and I consider him a great talent…as well as a joy to work with. When he told me about the new theater company he’d co-founded, I was thrilled to be involved any way I could. I was honored to be given the chance to work on one of the company’s first productions.

Eric: One of our founders is the playwright, our team is tight and we loved the story.

What was your favoite part of working on this production?

Matt: Working with the theater company, Adjusted Realists, was a pleasure - they are a true team, with each member going above and beyond his or her ‘role’ in the company. And the cast was truly game for anything - they approached the prospect of trekking out to middle-of-nowhere Staten Island to record voice-overs in a damp unfinished basement with the same humor and aplomb as they approached their roles onstage. Additionally, this was my third time working with the folks at 59e59, and they were - as they have always been - extremely courteous, professional and supportive.

Eric: The team is a family. We work with actors, creatives and members who always support our work. It's wonderful.

Stephen: I got my A-team of actors and designers for this, so the collaboration was a thrill from start to finish. Also, producing at 59E59 is a luxurious experience for an indie theater company. They took such good care of us and eased some of our normal grassroots stress.

What was the biggest challenge of working on this production?

Eric: Producing a new play is always difficult, and designing one that is set in the future comes with its own unique set of challenges.

Stephen: I'm pretty mainstream as a director, but as a writer, this is the first play I've put together with a broad audience in mind. My writing has been somewhat esoteric in the past, so I wanted to create something that had widespread comedic reach. Moving the play from something I found funny and profound to something the audience found funny and profound was an ongoing challenge.

What did you want the audience to come away with after watching Gluten!?

Eric: We wanted the audience to think about our world today and our choices now could affect how it will in the future.

Stephen: I want them to question their impulses to safety. What are the choices we make to keep ourselves at a distance from the dangers of the world? And are those the right choices? I did not want the play to be moralizing; both points-of-view from the two bickering parties have merits and downsides. I just wanted to encourage the act of communal doubt.

What was the weirdest part of working on Gluten!?

Eric: The whole show was weird, innovative and funny!

Stephen: The title is a bit of a misdirection, and a commercially potent one at that. We had a lot of outreach from the gluten-free community, including a French magazine, thanking us for tackling this subject matter. I was never quite sure how to respond. The play is anything but an advocacy piece for or against that irksome protein.

Why was sound and music so important to the production and what was unique about Matt Sherwin's contributions?

Stephen: I've worked with Matt many times before, starting with a production of Sarah Ruhl's In the Next Room or the vibrator play at Yale University. On that show and all the ones to follow, Matt has contributed transformative moments to the story I'm trying to tell. His musical talents are breathtaking not only for their final beauty but also for how quickly he arrives at the abstractions I have in my mind--he always seems to nail it on the first go.

The world-building in Gluten! is completely dependent on evocative sound/music, especially in a lower budget production in which we can't 100% get the set/lights/costumes we want. With a quirky theme that evolves as the play matures and a detailed soundscape that captures the play's hyper-technological world, Matt crafted a design that inspired many audience members to mention the sound/music first in their responses. I still find myself humming the theme around my apartment! 

The Pillowman

Written by Martin McDonagh
Directed by Greg Cicchino
Produced by Variations Theatre Group

Nominated for: Outstanding Actor in a Featured Role, Deven Anderson; Outstanding Innovative Design, Aaron Gonzalez and David Rey

 

About the Production
The Pillowman centers on a writer in an unnamed totalitarian state who is being interrogated about the gruesome content of his short stories and their similarities to a series of child murders. The result is an urgent yet surprisingly hilarious theatrical masterpiece; an unflinching examination of the very nature and purpose of art.

What attracted you to this production?

Deven: The Pillowman by Martin McDonagh was always a bucket list play for me. After seeing the Broadway production in 2005 at the Booth Theatre...I just fell in love with the play and McDonagh's style. I have always gone out of my way wherever I am to see his productions when they come to town. More specific to the style - as a trained comedic actor - The Pillowman introduced me to a whole new level of humor, something I've never tried before. Its a kind of 'uncomfortable' humor. I remember watching Jeff Goldblum onstage during the original production and thinking 'What he's saying is SO incredibly dark and ruthless' but I found myself laughing none the less.

What was your favorite part of this production?

Deven: The cast. This was an all-star cast experience. Every single cast member was an absolute joy to work with. Kirk, who has been a guiding force in my acting life was an incredible listener on stage...and since my character does most of the talking...you couldn’t ask for a better partner to be there for you. Paul Terkel played Ariel. I'd never worked with Paul prior to this show but within days we had a genuine rapport with one another. Kyle Kirkpatrick who played Michal, well we never had any scenes together which was a shame, but at the time Kyle was my roommate so I was ok with seeing him a little less.

Aaron: Creative problem solving. Little to no budget and we needed to create an interrogation room, and a jail cell. (Pillowman)

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

Deven: It was a very gutsy call for the Chain Theatre to pick this production as one of its last plays. I've seen this show done well and I've seen it bomb. So it was incredibly important to make sure we never veered towards the latter. Also, our cast was young. When you read The Pillowman, you're entered into this oblique almost dystopian world where civil liberties are constantly kept in check by this overbearing and sinister government. With this dark setting - you never really picture young faces, at least I never pictured them. Tupolski and Ariel in my head were always rough and jagged- with years of exhausting detective work chipping away at their souls. Keeping my initial perception in mind, it was a challenge to make a young blonde haired guy such as myself believable in this tempest of a character. In my opinion, we were able to piece together an intimate 'in your face' fairy tale that the audience could be a part of.

Aaron: Digital animation of the stories in Pillowman. I had never done animation like this. I'm more familiar with photoshop, and Final Cut.

What was the most unique aspect of this production?

Deven: When we began production on Pillowman, we all knew was that the Chain theatre was going to close. At the time, we couldn't say anything to anyone. We had to keep everything a big secret. We just had to press on and create a production worthy of this great theatre's last few months. After The Pillowman's opening, I remember walking out into the lobby where a few audience members remained. This older gentlemen who I had never met before approached me and congratulated me on this production. I remember seeing this true excitement beaming out of his eyes - he said things like 'I came in here skeptical of this production since I had seen the Broadway production but I was blown away by yours...I can't wait to see what you guys do next year.' And I remember thinking...'this is where my real acting skills are being displayed.'

Aaron: We shot the actors dressed in black and white and I edited the footage to look like a Frank Miller graphic novel for the story of The Writer and the Writer's Brother. Also, the table we used in the interrogation room was not able to exit the stage mid show, so I built a proscenium that could fold down to hide the table and open to reveal a sleeping pad where the brother would later be smothered.

What was it like working with this Company?

Deven: If you take the time and energy to invest in the Chain Theatre, they invest in you. When I first started working with them after they opened, I was just an actor...now Im also a writer, producer, props master, and director. They helped nurture skill sets I never knew I had. The see who you are and who you should become and they help the two meet. That in my eyes, is a company to invest in.

Aaron: They do not let lack of funding hinder their ambition, and neither do I.

You can follow this company on Twitter - @chaintheatre

Hot L Baltimore

Written by Lanford Wilson
Directed by Peter Jenson
Produced by T. Schreiber Studio

Nominated for: Outstanding Set Design, George Allison; Outstanding Costume Design, Mary Cann; and Outstanding Revival of a Play


About the Production
Winner of the Drama Desk and Obie awards for best play in 1973, tells the compelling tale of misfits living in a once elegant hotel ( the hookers are hot the waters not), now so derelict that the "e" in "Hotel" is missing on the hotel's sign. When they learn the hotel is scheduled for demolition, the residents and employees must contemplate the loss of their home, the family they have become, and consider their future.


Costume DesignerMary Cann and Producing Director Halley Morse talk about reviving this OOB original and Landford Wilson classic.

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What attracted you to this production?

Mary: Though I have worked a lot with fashion and costume, I had never worked on a stage production. Peter Jensen asked me if I wanted to do it, and I jumped at the opportunity. It was really fun to collaborate with Peter and the actors; They all had thoughtful ideas about their characters to contribute and  that helped me form my ideas.

Halle: I have done several Lanford Wilson plays and love his writing. He finds the heart, compassion and tremendous humor in the small moments of life lived through the lives of the underdogs and disenfranchised of this world.

What did you want the Audience to come away with after watching this production of Hot L Baltimore?

Halle: To feel how important it is have the belief, passion and commitment for something /anything! The play asks us to recover our loss of culture, spirit, and imagination, and thereby recover ourselves

What was your favorite part of working on this production?

Mary: I enjoyed the research aspect of working on Hot L. The 70s was a very distinct era that I had never researched in detail before, and I enjoyed finding inspiration that was more in line with the lives of the characters than the exaggerated idea of the 70s we're used to seeing.

Halle: I had a wonderful group of very talented and well trained actors who took the ball and ran with it, I was blessed. They made my job easy.

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

Halle: The play has lots of overlapping dialogue and a large cast, sometimes all on stage at once, all talking at the same time! Like an orchestra piece.

Was there anything noteworthy that happened during the production?

Halle: The original lead actress and director from the first off Broadway run came to see it and partied with us! It was wonderful to share experiences and insights with them about working on Lanford’s landmark play.

What was it like working with T. Schreiber Studio?

Mary: I had a great time working with Peter Jensen and the rest of the crew and cast. He brings together a community of talented, collaborative people excited to work, and it makes the experience fulfilling and fun. It’s reflective of T. Schreiber and the way they operate as a whole.

What was it like working with Mary and George?

Halle: Mary Cann had amazing taste and feel for the period and brought a subtle feel to what could have been an over the top 70’s feel.

George Allison made a beautiful, incredibly detailed so easy to move around, live and inhabit set for 18 people! And a great cast, director, and crew to make it the best revival ever!!

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