SAVING MR. THESPIS

Scott Levy is my hero. Truly. Here is a man who gets things done, who makes thing happen- who knows what the f*#@ he is talking about- especially when it come to talking about theatre. Mr. Levy is the artistic director of the theatre at the Fine Arts Center of Colorado Springs- which under his inspired guidance has become far and away the best theatre company in Colorado. His most recent triumph? The current production of the musical Mary Poppins- which is utterly charming, exciting, and heart-warming. The show is also proving to be amazingly popular- they have already added an extra week of performances. If you are looking for a last minute Christmas gift, giving someone a pair of tix to this outstanding show will definitely get you on their nice list.

The musical is based on both the Disney movie of the same name, and that movie's source material, the stories of P. L. Travers. It centers around the Banks family, who live in Victorian London and are in need of some guidance of their own. Mr. Banks is clearly lost in his banking job, and hasn't merely forgotten to stop and smell the roses, he's forgotten that roses exist. Mrs. Banks is trying to fit into her rather uptight world, and failing.  Michael and Jane, the two children, are a bit on the bratty side, and as such have lost a series of nannies in quick succession. Of course, all that changes with the entrance of Mary Poppins- whose chief magic isn't flying with her umbrella, or pulling an impossible amount of things from her bag to the wonderment of the Banks children- but rather the ability to see through the facades and defenses of everyone around her and into their souls. There is magic of former sort in the show, of course- special effects that delight the eye and confound the mind- but the real magic in this production is the spirit of the show itself- the great wonder of being alive, of being human.  (for info on the plot, characters, etc. click HERE)

I loved everything about this production: the cast, the set, the costumes, the lights, the special effects- the list goes on and on. First and foremost, the show is directed at a cracker jack pace- necessary because this is a huge show. Mr. Levy keeps the action lively, the plot moving forward, and fills the stage with vibrant, fully realized characters. The music- under the direction of Jay Hahn, is superb. The choreography by Mary Ripper Baker is a visual treat- both exciting on its own, but also furthering the story. I think one of the many numbers that shows how all three- director, choreographer, and music director- worked perfectly together would be the Jolly Holiday sequence in Act One, which perfectly blended whimsy, pathos, music and movement. The cast is outstanding, top to bottom. Tom Auclair as Mr. Banks is perfect. Tom Pierce as Bert the chimney sweep is a joy every time he's on stage. Sally Hybl is sweet and sympathetic as Mrs. Banks, full of grace and humor. Nate Patrick Siebert as Michael and Mallory Hybl as Jane are outstanding- getting young actors who can hit it out of the park like they do is a feat indeed. Almost stealing the show as the evil Miss Andrew is the amazing Jen Lennon- who was just flat out awesome. She walks on the stage, and you lean in and believe whatever she wants you to believe. And carrying the show with ease is Jennifer DeDominici as Mary Poppins. Ms. DeDominici gives the best female performance of the year on this or any other stage in Colorado. She sings like an angel, and I believed every moment she was on stage.

Again, tickets for this one are hard to come by, but if you can find a way to procure one, do yourself a favor and get to the FAC. This is one for the ages.

GHOSTLIGHT

So busy of late. Little Shop of Horrors at the JCC, Percy Jackson and the Sea of Monsters at Littleton Town Hall, A Midsummer Night's Dream at DAT, Sweet Charity at StageDoor- I work on a lot of shows. So what do I do next? Film a horror film as part of a class at Reel Kids. The movie is called Ghostlight, and it's a thriller centered around a high school theatre department. It's the kind of movie  Joss Whedon should direct, in my humble opinion. I've had a couple of different classes read the script together, and the feedback has been amazing- you can tell when people genuinely like something. Anyway, I want to share some of the script with you- so here a bit of the opening:

INT. BLACKFORD HIGH SCHOOL THEATRE - NIGHT

The theatre is empty, the only light a lamp in the middle of the stage. FOOTSTEPS AND WHISPERED VOICES approach. A KEY TURNS IN A LOCK. A DOOR CREAKS open. At the doorway is a group of high school kids, ready to party. MILTON, freshman drama geek, nervously points a flashlight into the theatre. RAY, the school rebel, pushes past Milton into the theatre, twelve pack of beer in his hand.

RAY 

          Lock and load!

He tosses a beer to NOEL, the class clown.

NOEL

          My ninja!

The group walks in. Ray tosses a beer to MAGGIE, Milton’s smart and sexy older sister.

MILTON

Maggie!

Maggie wags a finger at Milton.

MAGGIE 

          Milton- don’t make me regret letting you and 

          your nerdy friends come to the party.

IAN AND TONY, Milton’s nerdy friends, look at each other.

IAN

          Nerdy?

TONY 

          Clearly she meant you.

Noel grabs Milton’s flashlight, shines it on himself, and starts making faces. GROANS, LAUGHTER, “Loser!” ETC.

NOEL

          I am the ghost of Bloody Bones!

He HOWLS like a wolf. TRINA, MARNA and CECILY, three of the older girls, giggle.

NOEL (CONT’D)

          I am the ghost of Bloody Bones, and I am 

          walking into the theatre!

Noel freezes in terror. He points over Rays shoulder.

NOEL

          Ray- look out!

Marna and Cecily SCREAM. Trina LAUGHS. Ray doesn't flinch.

RAY

          Hilarious.

Unseen in the audience, LENNY- the school janitor who has been sleeping behind some chairs- sits up.

LENNY

          Morons.

Lenny takes the last swig from a BOTTLE OF WHISKEY, lays back down, and almost immediately passes out.

MILTON

          Actually, Bloody Bones is an old
          Scottish legend. He was flayed alive, and 
          roams the highlands seeking new skin.

Everyone stares at Milton. Maggie hangs her head, embarrassed. DANA, sophomore drama geek, looks scared.

DANA 

          N-N- New skin?

MILTON

          You could tell his victims from
          the lack thereof.

DANA 

          Lack there of?

MILTON

          He'd peel them. Like grapes.

NOEL

          Sweet!

Milton notices everyone is listening, smiles sheepishly.

RAY

          Nobody’s interested in a lecture
          on Captain Bloody Butt-

MILTON 

          Bloody Bones.

RAY

          What?

MILTON

          His name- it’s Bloody Bones.

RAY

          Whatever- look, you got us in here-
          now shut the fuck up.

Milton looks down, hurt. Maggie glares at Ray.

MAGGIE

          Milton, why don't you turn some
          lights on?

Milton sullenly runs towards the light room.

NOEL 

          Lack thereof.

Marna giggles. Noel smiles at her. Ray notices this.

RAY

          What we need is some atmosphere.

Ray steps to lamp, reaches for the switch.

MILTON

          Don’t turn off the ghost light!

Ray stops, turns to Milton.

RAY

          The what?

MILTON

          A theatre in the dark is a
          dangerous place. As president of the drama club, 
          I strenuously object.

Trina howls with laughter. Ray winks at Maggie.

RAY

          Danger's my middle name, baby.

MILTON

          Be that as it may, you don't turn
          the ghostlight off-

NOEL

          Why’s it called the ghost light?

MILTON 

          Theatres are haunted- full of ghosts from the 
          stories we tell: the fall of kings and queens, 
          star crossed lovers, things that go bump in the night-

RAY

          I got something that goes bump in the night.

Noel and several others shush Ray.

MILTON

          This is sacred ground...can’t you feel it?

RAY

          No.

MILTON

          You're clearly not a thespian.

RAY

          Clearly.

MILTON

          Every theatre has a ghostlight, to keep 
          the spirits out.

Trina takes a step towards Milton, fascinated.

TRINA 

          What do they want?

EMMY, a cute freshmen, steps forward.

EMMY

          Yeah, what do they want, Milton?

MILTON

          Oh, uh...some think it's the ghosts of actors, 
          not ready for their final exit-

Trina looks Milton in the eyes and smiles. Milton blushes, not sure what to do.

RAY

          Oh no!

Ray turns off the ghost light, plunging the theatre into DARKNESS. Milton SCREAMS. Everyone LAUGHS.

RAY 

          Come and get us, Bloody Bone!

Noel points flashlight into Milton’s face.

NOEL

          It’s Bloody Bones! He’s gonna peel me!

Milton runs to the ghostlight, turns it back on.

MILTON

          Seriously! What's next? Whistling backstage? 
          Quoting the Scottish play?

NOEL 

          You mean Brigadoon?

Ray looks incredulously at Noel.

NOEL 

          What? It’s a good movie.

MILTON

          You’re not respecting the theatre!

RAY 

          Alright, Duck- calm down.

MILTON

          A theatre is a temple! A TEMPLE!

An awkward moment. Milton is practically hyperventilating.

MAGGIE

          Milton, you’re embarrassing me.

Milton tries to compose himself.

MILTON 

          I’ll get those lights.

Milton walks to the LIGHT ROOM DOOR. A FLOORBOARD CREAKS.

MAGGIE 

          What was that?

NOEL 

          Maybe it’s Bloody Bones!

Milton unlocks the door.

MILTON

          I told you, he’s in Scotland.

Milton opens the door. It’s very dark inside, and the light switch is at the far end.

MILTON 

          Uh, Maggie, could you help me?

NOEL 

          What’s with Duck?

Maggie elbows Noel in the ribs.

MAGGIE

          He doesn’t like the dark, asshole.

Noel smiles, looks to Ray.

NOEL 

          Really?

Noel and Ray run to Milton, push him in the light room, and close the door, holding it shut. Milton screams from inside. Noel and Ray howl with laughter.

MAGGIE

          Not funny!

Some of the kids laugh. Milton continues to scream.

MILTON

          Let me out!

Maggie runs and pulls Ray away from the door.

MAGGIE

          Ray! Stop being such an asshole.

RAY 

          Lighten up!

MAGGIE

          I don’t like how you’re treating
          my little brother.

RAY 

          How do you like this?

Ray swats Maggie on the ass.

MAGGIE

          Stop it!

Maggie SLAPS Ray. 

An uncomfortable silence, except for Milton’s pounding on the door.

RAY 

          Well fuck you too!

Ray throws the ghostlight to the floor, SHATTERING the bulb, plunging the theatre into DARKNESS. 

A moment of silence, then ALL HELL BREAKS LOOSE. Floorboards CREAK. Stage LIGHTS turn on, and BURST, showering SPARKS on the floor. Milton furiously POUNDS on the door.

Trina sees something, SCREAMS.

Abruptly, everything goes QUIET. Everyone looks a little shell shocked. Maggie goes to the back wall and turns on the overhead lights. Noel is still standing in front of the prop room door.

NOEL 

          What the fuck was that? 




So that's some of Ghostlight. If you are over 13, and interested in working on this, click HERE.

I'M GONNA GO FLY A KITE AT FAC

So, yet again, I am going to tell you all something true about the performing arts in Colorado- the consistently best theatre in the entire state in in Colorado Springs at the Fine Arts Center. I have seen so many shows there- Assassins, Lovers Leapt, A Year with Frog and Toad, Other Desert Cities- and all of them have been excellent. The latest show I saw, Dracula, was amazing- fun, scary, quick paced, and entertaining. The night I saw it, the house was sold out, and the whole place had the kind of energy running through it you usually find at a rock concert. Which is, I believe, how theatre should be. The cast was excellent, the set gorgeous, the lighting amazing, the costumes beautiful- and the script the chose outstanding. I had recently read the Bram Stoker original, and was hoping I would enjoy the stage version as much as I loved that weird, one of a kind novel. And my expectations were exceeded. The play started with Renfield- played with insane glee and just the right amount of sadness by Michael Lee- addressing the audience in a monologue that set the tone for the night with a surprising, bloody moment. From that point on, I was leaning in, lost in another world and completely enjoying myself. Kate Consamus as Lucy and Jessica Weaver as Mina were both excellent. Jason Lythgoe, as Lucy's bumbling suitor Seward- was comical, tragic, and a joy to watch. Christian O'Shaughnessy as Harker- a usually thankless role- was quite good, and Matt Radcliffe as the bloodthirsty title character was creepy, dark, and menacing. Logan Ernstthal as Van Helsing was at times hilarious, at others heroic. Rounding out the cast in several smaller roles were Karl Brevik, Crystal Carter, and Kaetyln Springer- each of whom was solid in the performance. The set, designed by Christopher L. Sheley, was ingenious and glorious and perfectly set each scene in both look and tone. The costumes, by Janson Fangio, were as beautiful as the set, and everything was perfectly lit by lighting designer Holly Rawls. And putting all this together and making seamless was the director, Nathan Halvorson. This show kicked it in the ass.

So much theatre these days seems dull, contrived, and made to order for donors who must not really care about actually enjoying the experience of going to a play. A lot of these places- and I don't want to name names-  make going to the theatre feel like eating your vegetables did when you were a kid: something not very fun, but something you did because you were told it was good for you. Why this is, I do not know- I only know that it is so. And I am so sick of hearing from people in the theatre community bemoaning the glacial retreat of regional theatre, or how the corporations are running things on broadway and making it impossible for good theatre to be created, or how hard it is to compete with tv and film and the internet. Those are all just excuses for bad theatre made by people who should know better! You want your theatre to thrive? Stop making boring theatre, and your theatre will friggin' explode with customers- and the FAC in Colorado Springs is proof. Under the leadership of Scott RC Levy, they have grown a larger audience and presented exciting, relevant theatre that keeps people coming back for more. And not only do they come back, they seem to bring their friends.

Next up on their stage is the musical Mary Poppins, directed by Mr. Levy- and I can not wait. Here is some info from their press release: This musical aptures the exuberance of the Disney film, while remaining true to the original P. L. Travers' books. The score brims with such timeless classics at "Feed the Birds," Supercalifragilisticexpialidocious," and "Let's Go Fly a Kite."
The show runs December 11-January 4 at 7:30 pm Thursdays-Saturdays at 2:00 pm. Student matinees are already SOLD OUT! Tickets are available at www.csfineartscenter.org or at the box office, 719-632-5583.


Hope to see you there!

HELL OF A TOWN, HELL OF A MONTH

August, and for that matter July and June, has been what you might call hectic. Or crazy. Or glorious. Or some mix of all three. I sometimes feel like I am running through several dreams, or reality shows, or alternate timelines that have all converged in what I perceive to be me.
And I wouldn't have it any other way.

I teach theatre, I direct theatre for young people, and I write scripts for both the stage and screen. The money isn't fantastic- yet- but I can't imagine pursuing anything else in this life. That's one of the things people tell you in the performing arts business- if you can picture yourself doing anything else for a living- do it. Which always seemed bizarre to me. How could anyone picture doing something else? I eat, drink, sleep, breathe, dream stories. It's my drug of choice, and I will not give it up. I don't think I could, really. I've quite smoking and drinking- both cold turkey. But no way in Hell can I, or will I, ever give up the wicked stage.
Not gonna happen.


Anyway- where was I? Ah, yes- semi-complaining about my busy summer. Poor me. I got to direct stage versions of Harriet the Spy, The Phantom Tollbooth, Harry Potter and the Deathly Hallows, Alice in Wonderland, the 25th Annual Putnam County Spelling Bee, and Annie this summer. I also got to have my latest play, April's Fool, open at the New York International Fringe Festival.

That's what I wanted to talk about- New York. What a town. It always feels to me like you enter another dimension, with its own laws of physics and time and such, whenever you land at LaGuardia or JFK or, God forbid, Newark. And no matter how long you've been away, once you step into Gotham, not a moment has passed, you slip back into your New Yorker identity, and it all makes sense and feels right. At least, that's how it is with me. We took a red eye flight, arriving at LGA around 9 in the morning, jumped in a cab, and headed to the upper east side, to my old apartment where my sister currently lives with her two boys. Drop off the luggage, get Lisa a set of keys so she can go to Central Park, and my sister Heather (who is playing Norn in April's Fool) and I catch the 6 train down to Bleeker for the final rehearsal before opening. The space is classic New York space- run by a minor lunatic who shows up late with the keys. The show runs smooth enough for a Fringe show- which means minimum rehearsal time, crazy schedules that make it impossible to get everyone in the cast together that much due to the fact that in a Fringe show you don't really pay anyone anything. But still, there was my show- my baby, my child full of quotes, madness, plaintive longing and more than a bit of magic. I dig it. There are some changes to be made in the script before it gets done again- little cuts and clarifications- but the soul is there. It is a strange thing to see mostly complete strangers perform something you wrote. And I imagine they found it strange to have the writer of something they'd been rehearsing for a month sitting in the front row of the rehearsal room. I prefer to be at rehearsals when a show is new- that's usually where the best things happen- the moments found out of frustration with moments that don't work, the bits discovered by the actors that inform the characters. Sadly, I was unable to do that with this production. This happens when you live in a different state. Still, I feel good about the show, and head back uptown to get some sleep.
The next day, it's down town- first to brunch in the Village with my wife, her son, and his girlfriend- but eventually I have to excuse myself and head towards the theatre. A playwright on opening night of a show is now fun to be around. I head to Fringe Central, see old friends, pass out some post cards for the show, and make my way to the Connelly Theatre on East 4th.
Finally, it's show time- and all these wonderful people I haven't seen in ages arrive- friends not only from NY, but from California- from when I was a student at San Jose
State University, and even one friend from Blackford High. Very wonderful.
I watch the show from above, in the unused balcony section of the theatre. It goes well. People applaud.

After the show, we all head out to gab, catch up, and discuss the show. I don't have enough time to see all my friends. I bounce from table to table, catching snippets of conversations- then am pulled somewhere else.
That is the one drag of going back to somewhere you once lived. There is never enough time to see everyone. I suppose that is one of the main drags of life in general.
Sunday I go to a Fringe U event where Martin Denton leads a great discussion on the role of theatrical criticism in this age of bloggers and DIY websites. Later, I finally get to meet the children of one of my great friends, Vinnie and Shannon. They are amazing and cute and funny, and Lisa and I stay way too late, laughing and catching up and soaking up as much time as we can.
On Monday, the first review comes out, by Martin Denton on nytheaternow. It's really nice. You can read it HERE.
I blink my eyes twice, and it's time to go home, to tech rehearsal for Spelling Bee and casting for Anything Goes- the first show of many I'm working on this fall.
And here I am. Summer is beginning to lose her fight, the show goes on, and today I am told we had a great performance out in NYC. We have two shows left, by the way- if you are in NYC, you can get your tix HERE.
I dig it.

APRIL'S PRESS RELEASE

So, tickets are now on sale for April's Fool, and we are in full promotion mode. That means many emails, Facebook invites, text messages, tweets, and whatever else it takes to fill those seats, and to get the members of the press to show up- because, love them or not, a good review can make all the difference for a show- especially if you don't have thousands of dollars to spend on publicity. We've gotten some responses, and a little traction already- in fact, the first article about the show came out last week on Broadwayworld.com, and the hope is that this is a harbinger of things to come. You can click HERE to see that article. I also did an interview for Indie Theater Now about the process of writing the show- you can see that HERE. And soon, also on Indie Theater Now, you will be able to read our director Bronwen Carson's thoughts on the play.

And if you are planning on coming, I will be at the opening performance- August 9 at 4:15 at the Connelly Theatre. Get you tickets now by clicking HERE.

So, there you are. And below you can see our official press release.

FOR IMMEDIATE RELEASE
NEW YORK HAMLET PRODUCTIONS
341 East 65th St Suite 3RE
New York, NY 100065
Phone: 646-319-6445 E-mail:cnobbs99@gmail.com

NEW YORK HAMLET PRODUCTIONS
PRESENTS
APRIL`S FOOL
NYC Fringe Festival 2014
New York Hamlet Productions is proud to announce the world premiere of April’s Fool, a new
play by Kelly McAllister, directed by Bronwen Carson. Performances will take place at The
Connelly Theater, 220 East 4th St on:

SAT 8/9 4:15 - 6:15, SUN 8/17 6:30 - 8:30, WED 8/20 2:00 - 4:00,
FRI 8/22 9:30 - 11:30 and SUN 8/24 NOON - 2:00

At a costume party on April Fool’s Day in the East Village of Manhattan, Fate arrives in the guise
of a Norn (Norse Goddess of Fate) and, over 24 hours, toys with the lives of four young New
Yorkers as they struggle with love, life and entanglement. As time and space shift, we follow
these characters through a varied Manhattan landscape that includes an East Village
apartment, a hipster bar and Central Park. Lies are told, confidences shattered and the fabric of
reality itself is questioned.

The cast features Liz Conway, Ian Campbell Dunn (The Leftovers/HBO), Heather McAllister,
Casey Shane and Sarah Wharton.

Kelly McAllister, a three time veteran of FringeNYC, is an award winning playwright whose
work has been published and produced all over the world, from NYC to Prague to Sao Paulo.
His play Last Call won the Excellence in Playwriting award in FringeNYC 2002. Other plays
include: Burning the Old Man (NYIT 2005 Outstanding Full Length Play) and Hela and Troy
(Finalist Humana Festival Heideman award 2010). His plays have been published by Applause
Books, Playscripts Inc., Smith & Kraus and NYTE.

Bronwen Carson is an accomplished director/choreographer based in NYC. Credits
include: Viva America (Broadway Workshop), The Cherry Orchard (Off-Broadway), In The Key of
Cy (Off-Broadway), Myopia (Neighborhood Playhouse) and Dim Sum(Neighborhood Playhouse).

Producer Craig Nobbs was recently Associate Producer on SAM, a feature film co-written and
directed by Nicholas Brooks and Producer on the film The Cat’s Cradle, written by Tawny
Sorensen and directed by David Spaltro. He is an award winning playwright and screenwriter
and a graduate of NYU Tisch School of the Arts’ Dramatic Writing Program.

Website: www.aprilsfoolplay.com/
Facebook: www.facebook.com/aprilsfoolplay
Twitter: @AprilsFoolplay
FringeNYC: www.FringeNYC.org

GET CAPE. WEAR CAPE. DANCE

Sometimes, you get to see a little magic in this life. Not all that often- but I suppose that's what makes it all the more wondrous when it occurs. I've been directing a week long theatre camp this past week, which will culminate in a performance of an hour long stage version of Harriet the Spy. The age group is kids going into third grade to kids going out of sixth grade. So there can be moments that are a little trying- like when one of the younger kids went on a half hour long crying jag after losing at a game called Mafia- a charming game of imagination involving murder, trial, and execution. But now and then, when I am teaching the younger artists of this world, something happens that makes it all worthwhile- makes me so happy to be alive in a world that has human beings in it. I got two such moments on Friday.

First moment. We were rehearsing a scene where Ole Golly is saying goodbye to Harriet. Old Golly is Harriet's nanny/friend/adviser/teacher. She lives with Harriet's family, and she loves Harriet and Harriet loves her, and it's one of those goodbye's in life that mark a turning point. We have the kid playing Harriet carrying these binoculars, because Harriet is a spy. Go figure. Anyway, in the scene, Ole Golly and Harriet recite their favorite poem together, then hug, then Ole Golly walks out of front door and out of Harriet's life. As Ole Golly walks away, we play a little music, Harriet watches her go, then turns and goes to her room and writes in her journal. But on Friday, out of the blue, as Ole Golly walks away, the girl playing Harriet watched Ole Golly go, then held up her binoculars and watched for longer- as if Harriet wanted to hold onto her time with Ole Golly as long as possible, and watch her walk down the street and into the distance. It was a little thing- a choice the actor made that was spontaneous and appropriate. But it touched me. Made me think, wow- that kid knows a thing or too about acting in the moment.



Second moment. As the day wore on- and it wore on! Tech rehearsals with young actors can be, are usually are, long and tedious. But at the end of this long day, we were practicing the scene shift into the final scene of the show. The shift takes almost a minute, and while it's happening, we have the stage in blue light and play this song, "Once More with Feeling", by a group called Get Cape. Wear Cape. Fly. The lights went blue, the song began- and the entire cast, with hive-mind like precision- all ran up onto the stage and starting dancing around, silently, to the music while the stage hands moved scenery. They looked like elves or something, half shadows flitting in and out of the deep blue. Their joy at being on the stage, dancing in the dark, was like a wave of joy that you could feel roll through the theatre.

We perform the show at 6pm tonight.

On other notes- my upcoming show APRIL'S FOOL, which is having it's world premiere at the New York International Fringe Festival this August. Being starving artists, we are raising funds for this show via Indiegogo- if you have a minute to spare, please to HERE and then follow, share, and/or contribute to the cause.

Or click here: http://igg.me/at/AprilsFool/x/3385268

And I wish you all some magic.

FATE, IT SEEMS, HAS A SENSE OF HUMOR

That's the tag line for April's Fool. And I dig it. I've been writing this play for a little over a year, and I am in love with it. I am in love with all my plays, of course. When you write a play, it becomes one of your children- and you love it unconditionally. Whenever people ask me which play is my favorite, I truly can't say. I love them all.


April's Fool is set to have it's world premiere this August at the New York International Fringe Festival, and I am soooooo excited. The Fringe is where my first play, Last Call, premiered. It's where I became addicted to writing. It's my birthplace as a playwright- and something about this whole experience feels so right it's more than a little freaky-deaky. First off, the director- Bronwen Carson- gets me and this play like she's psychic or something. Second, the show is being produced by my great friend Craig Nobbs- who is just such an inspiration to me with his attitude and work ethic and general awesomeness. Third, we are performing in the Connelly Theatre, where I had one of the best theatrical experiences of my life playing Boxer in a puppet version of Animal Farm. Fourth, we just cast this sucker, and the cast is mind blowingly perfect. Fifth, the Fringe is good mojo. And beyond all that, my gut is telling me that this is going to be special.

Sometimes, when working on a play, you get this feeling in your gut that something magic is in the air. I remember when I was writing Last Call I had this feeling. I was in my apartment in Williamsburg, talking with good friend Jack Halpin about the show- and we both noted that there was something in the air, some sort of electric charge about the show. Something was happening that was going to change our lives, and somehow we knew it.

I feel that way about April's Fool.

And I just hashed out the ending- or new ending, as there have been several incarnations- and it feels right. Like something clicked and now I get it and there's the ending I've been wanting/needing/striving for- and now it all makes sense. It's weird, and exhilarating, and a little magnificent.

So get on board with me. Join the team. Enlist in April's Army, as a Fool, Magician, Lover, or Star. We are setting the course for points unknown- but we have a cosmic playlist, plenty of snacks, and an open road. For more info, click HERE.

And on another groovy note, my play RIDDLE LOST has just been published on Indie Theater Now. If you want to check it out, click HERE.

Onwards, and May the Fates Be with You.

FLOYD AND CLEA KICKING ASS AND TAKING NAMES

Why is it that every time I write about the theatre at the Fine Arts Center of Colorado, I start with
the words "yet again"? As in, yet again, under the direction of Scott Levy, the Fine Arts Center provides the best theatre in Colorado. It's really amazing- over and over and over, I have seen shows there- and always, they remind me why I love theatre: because, when done right, it's exciting, and fun, and relevant. I know there are those in the theatre community who bemoan the state of theatre in America- who complain about finances and donors and whatever else- but those people need to wake up and smell the coffee and get their collective butts to the FAC.

The theatre, I am happy to report- is alive and well and living in Colorado Springs. Case in point: the Colorado premiere of Floyd and Clea Under the Western the Sky. What a friggin' great show this is. Entertaining, moving, unique- this production shakes the dew out of your eyes and reminds you that you are a human being- frail and majestic, living in a world of beauty and sadness and connection and hope and loss and redemption. This show is like a breath of fresh air- new and exciting and hard to define in the boring old terms like musical or serio-comedy or whatever. It is beyond labeling. It's a work of art, alive and kicking and drawing you in like a great song you hear on the radio- the song the you never heard before but that is so good you have to keep the radio on until either you find out who it is singing or what the name of the song is, because you must- right away- buy that song and play it over and over until you know every word. It's part modern drama, part concert, part intimate musical- and one hundred percent engaging.

The plot follows Floyd- a singer/songwriter who at the start of the story is obviously in the middle of a downward spiral. He's clearly talented, and charming- but also an alcoholic with a talent for self-destruction. As Floyd, Jordan Leigh is a revelation- charming, infuriating, and sad. Floyd isn't into self pity, however. Simply self immolation via a flask he keeps filled with booze. While anyone destroying themselves is tragic- there is something doubly tragic in watching Floyd degenerate, because you can see glimpses of greatness in him- particularly when he's singing one of his plaintive songs about love and loss and loneliness. Fairly early in the story, he meets young Clea- a girl with dreams, talents, and an inability to take no for an answer. Clea is a firebrand, fiercely portrayed by the outstanding Chelsea Ringer. She lights up the stage the moment she enters- and when she sings  she has the voice of a angel. Watching Ringer and Leigh in a scene, or singing a duet, is a treat- a master class in style, grace, and agility. They listen to each other and play off each other so well, so naturally, so splendidly- it's mesmerizing. I don't want to say too much of what happens in the story- but it's not your average boy meets girl type of story. It's not a romance in the traditional sense. It's a very modern story about some classic problems with human beings- dealing with ourselves, figuring out who we are, what to do with dreams deferred or detoured, what to do with dreams come true- so much, and yet it's all crammed into about 90 minutes of stage time. The music, by David Cale & Jonathan Kreisberg, is amazing. It sounds like something T-Bone Burnett would produce- slightly rock-a-billy with and edge and lyrics as clever as something Elvis Costello would write. And the Band! Holy crap, what a band! Jim Christian on guitars, Bobby McGuffin on percussion, Jay McGuffin on Bass, and Jim Robertson on guitars, all under the music direction of Jay Hahn, are the tightest, rockingest, grooviest band I have ever heard in a show. Ever. When the performance is over, thye play a few songs while the audience ambles out. I highly recommend staying, and savoring every ounce of these music gods. I did.

Scott Levy directs this show at a perfect pace- moving action along when needed, and letting other moments develop their own quirky timing. There are a few scenes in a motel room that are just magnificent- quiet, simple, conversational- but with so much heart and emotion bubbling underneath the silent veneer, with so much unspoken tension between the two characters based on a need to express their true feelings and needs that you can't help but lean in from your seat watching them. The set by Christopher L. Sheley is outstanding- sparse, imaginative, and with a fantastic sky stunningly lit by light designer Holly Anne Rawls. And the costumes, by Janson Fangio, are perfect, natural extensions of both Floyd and Clea at the various stages of their lives as they both make a rather arduous journey.

If you haven't notice, I love this show.

And I love the Fine Arts Center.

On other fronts: my show APRIL'S FOOL- which had it's first ever public reading as part of the Rough
Writers Festival at the FAC, has been accepted into the New York International Fringe Festival- the largest performing arts festival in North America- and will have it's world premiere this August. We are crowd sourcing this production through Indiegogo, and would greatly appreciate it if you checked out the campaign- and if you like what you see, please share it via social media. You can find the campaign by clicking HERE.

So, to reiterate: Go see Floyd and Clea now! I myself plan on returning to see it a second time before the run is over.

SUMMER AT REEL KIDS

Hi there!

I'm writing this to let you know about some summer theatre/film camps I'll be teaching at Reel Kids in Superior. Would love to see you there. Here is the email we've been sending out:

Summer classes have officially kicked off here at Reel Kids, and we couldn't be more excited! Fresh off our closing performance of Dear, Edwina Saturday night, today was our first day of rehearsal for The Secret Garden (opening June ?), and our first day of class for production design. Secret Garden, one of the most beautiful musicals of the past few decades, is based on the classic novel of the same name, and performs June 27th, 28th, and 29th. We hope to see you at the show!

June 16-20, we are offering Hogwarts Film Academy- a week long class where students can film their favorite scenes from the Harry Potter Stories, casting themselves as their favorite characters. Students can write their own scripts, or use material from the screenplays. Click here for more information. For the more advanced, we have a film directing class in June- this class is an exploration of short film making, from beginning idea to shooting the film to post-production. For more info, click here.

In July, we go through the looking glass with our production of Disney's Alice in Wonderland. This is the stage version of the classic Disney film- full of great music and unforgettable characters like The Mad Hatter, The Cheshire Cat, and The Queen of Hearts. Rehearsals beginJune 30, and performances are July 25th, 26th, and 27th. Slots are still available- click here for more info. And if you have a young artist more interested in the design aspect of theatre, in working backstage, building sets, costumes, lights, etc. we have a production class connected to this show. For more info, click here.

Also in July we have several film camps. We start with Camp Half Blood, a two week camp based on the Percy Jackson books. If your young artist ever wanted to make a short movie involving Greek Gods, fighting monsters, and modern teen-agers, this is the camp for them! Click here for more info.  We also have The Hunger Games Film School- where students get to make their own short films based on The Hunger Games. Each student gets to direct their own short film, based on these very popular books. Click here for more info.

And, as if July wasn't action packed enough, we are also offering a beginning film makers class called "iMovie and Beyond" a one week camp exploring the field of digital video and video editing- perfect for any novice movie mogul. For more info, click here.

And in August, it's all about The 25th Annual Putnam County Spelling Bee- a hilarious musical for actors ages 12 and up. Smart, edgy, and heart warming, this 2005 show has become an instant classic. Slots are still available- for more info, click here. And if you have an artist interested in working on the production elements of this show, click here.

We'll see you at Reel Kids!

Kari, Kelly, Devin, Tara and Hunter!

25th ANNUAL PUTNAM COUNTY SPELLING BEE & DISNEY'S ALICE IN WONDERLAND

HEY YOUNG ACTORS IN THE DENVER/BOULDER AREA!
I'm directing two shows at Reel Kids this summer:
Disney's Alice in Wonderland &
The 25th Annual Putnam County Spelling Bee.

If you like these shows, having fun, making friends, and living life to the fullest, you should join me.

I mean, imagine being in this number:

Or this one!

Yes, you will have to work hard. Yes, you will have to have fun.
Those are the two golden rules of theatre.
See you at Reel Kids.
For more info, click HERE.

FAC KICKS IT IN THE ASS WITH NEXT SEASON LINE UP

The Theatre at the Fine Arts Center of Colorado Springs is one of my favorite theatre companies in Colorado. The reason is simple- they create exciting, pertinent theatre that engages the mind and soul, on a visceral level. I believe that theatre should be like a good rock concert- an almost tribal event where you gather together with strangers, sit or stand in the dark, and for a few hours become one- a united tribe grooving together in the darkness. I have seen many shows at the FAC since Scott Levy became Artistic Director, and they have all been fantastic. Highlights include Hairspray, Lovers Leapt, and Other Desert Cities. I can't wait to see there upcoming Colorado premiere of Floyd and Clea Under the Western Sky, which opens June12.


Not only do they have a great main stage, but more and more they are using a second stage for smaller shows, staged readings, and their Rough Writers series- a festival of new work that spawned, among other things, my latest play APRIL'S FOOL, which is set to have it's world premiere at the 2014 New York International Fringe Festival. (You can find out more about April's Fool by clicking HERE)

Here is what they have planned for next season:

MAINSTAGE

Dracula

By Bram Stoker, adapted by Steven Dietz (Denver native)

Oct. 9-Nov. 2, 2014

A sensual, suspenseful, scary and bloody adaptation of Bram Stoker's classic.  Steven Dietz’s version conjures the raw, stark intensity of the original novel in this not-to-be-missed theatrical journey. For Mature Audiences Only.

Mary Poppins

Musical based on the stories of P.L. Travers and the Walt Disney Film

Dec. 11, 2014-Jan. 4, 2015

Based on the classic Disney film celebrating its 50th anniversary, our regional premiere of this award-winning Broadway musical features an irresistible story, eye-popping sets and costumes, breathtaking dance numbers and beloved songs such as the Academy Award-winning "Chim Chim Cher-ee," "A Spoonful of Sugar," "Feed the Birds," "Step in Time" and "Supercalifragilisticexpialidocious." You'll have a "Jolly Holiday" with Mary!

Reefer Madness

Book by Kevin Murphy and Dan Studney/ Music by Dan Studney/ Lyrics by Kevin Murphy

Feb. 12-March 1

This raucous musical comedy inspired by the original 1936 film of the same name (long before there were dispensaries and retail shops), takes a tongue-in-cheek look at the hysteria caused when clean-cut kids fall prey to marijuana, leading them on a hysterical downward spiral filled with evil jazz music, sex and violence. You won’t be able to resist the spoofy fun of Reefer Madness!  You don’t even have to be stoned to laugh.  Mature Audiences Only.

4000 Miles

By Amy Herzog

March 26-April 12, 2015

This regional premiere by celebrated new playwright Amy Herzog is an acclaimed comic drama that tells the story of Leo, a 21-year-old tree hugger from Seattle who unexpectedly arrives at the Manhattan apartment of his feisty 91-year-old grandmother, Vera as he finishes a cross-country bike trip. Over the course of their reconnection, we discover the fragile connection they share between growing up and growing old. Named Time magazine's #1 Play or Musical of 2012.

Guys and Dolls

Book by Jo Swerling and Abe Burrows/Music and lyrics by Frank Loesser

May 21-June 14, 2015

Winner of 8 Tony Awards, luck will be a Lady again as we produce what’s been appropriately called “the perfect musical comedy.” Capturing the 1920s confluence of gangsters, floating crap games and missionaries in New York City (“Runyonland”), Guys and Dolls continues to delight.  

SECOND STAGE

Love, Loss & What I Wore
Written by Nora Ephron and Delia Ephron/Based on book by Ilene Beckerman

Sept. 18-28, 2014 

With its fashion forward subject matter, this intimate collection of stories by superstar sisters Nora Ephron (Sleepless in Seattle, When Harry Met Sally, Heartburn) and Delia Ephron (You’ve Got Mail, The Sisterhood of the Traveling Pants), is based on the best-selling book. The show has played to sell-out crowds from London to Los Angeles, using clothing and accessories and the memories they trigger to tell funny, startling, and often poignant stories that every woman can relate to. The perfect girl's night out!

Stuart Little
Book by E.B. White/ Adapted by Joseph Robinette

Oct. 23-Nov. 2, 2014

The debonair mouse in the smart little tennis shoes from E.B. White’s classic children’s book comes to life in this charming stage comedy.  Prone to one misadventure after another as he tries to adjust to his adopted human family, this is and witty adaptation of a timeless tale.

WYNOT Radio Theatre

Dec. 11-28, 2014

The finest old-time radio parody troupe around, WYNOT radio theatre is back and this time with a twist.  Three weeks, three different episodes.  Join the WYNOT gang for laughs after laughs and come back each week for an entirely different show!

Tilly The Trickster

By Jeremy Dobrish/ Music and lyrics by Drew Fornarola/ Based on the book by Molly Shannon

 March 20-30, 2015

This high-spirited musical adaptation of SNL alum Molly Shannon’s children’s book follows the adventures of a mischievous girl and her talking dog, from one scheming prank to another.

Rough Writers- 

June 4-14

Yes! The birthplace of APRIL'S FOOL! This new play festival will return with staged readings of original short and long plays written around a theme to be announced later this spring. 

Veronika String Quartet

Oct. 12, Jan. 18, May 3

One of the state’s finest classical quartets returns for another three-concert season in our beautiful Music Room, an intimate setting where their tight harmonies have helped them become a huge FAC hit.

SUBSCRIPTIONS

Season Subscriptions range from $99-$173, and we’ve added special Family Packages that range from $81-$105.

FlexPasses give even more ways to save money while maintaining flexibility -- picking your favorite four, five or six shows without committing to specific days.

Ticket prices for individual mainstage productions start at $20.

Current season ticket holders have until July 1 to ensure their seating preference.

For tickets and information call: 719-634-5583 or visit csfineartscenter.org.