Smash Report: How Not to Collaborate

We begin with a bang. Or what was a bang. Karen, naked in Jimmy’s bed, sneaks out, stealing pages of his music off his piano. But wait. That was not Karen and Jimmy. It was Hit List. McSleazy offers Jimmy some direction on his acting, which of course he denies. This is not going to be a good collaboration. We head over to the Ivy-lead Bombshell singing our song, “Let Me Be Your Star.” It’s a different take than what we’re used to. Ivy and Karen are completely different Marilyns. She knocks the socks off of everyone though. After not hearing from Jesse L, Julia reveals to Tom that her and Mr. Artistic Director had a history in grad school and he holds a grudge. Why? We don’t know yet. Ivy asks Tom a question about our song, allowing a can of worms to open known as “open collaboration.” Tom announces to the entire company that if they have suggestions, they should feel free to share. That will not end well. Oh no. At Eileen’s office, with Playbill.com open on her computer, she meets with her publicist known as Mimi or Daphne Ruben-Vega. Hmmm. Not quite sure I get that. Ivy bumps into Sam outside of rehearsal and tries to convince him to go see Tom. Before we get that reunion, Julia reveals that she’s weary of the new democracy at Bombshell. He just wants it to be a happy experience for all. And then Sam appears. Bells ring and doves fly! At Hit List, the kids are with glee at the casting list. All the big stars are coming to audition! Including Lea Michele! Get it? Glee? Lea Michele? Moving on. Jimmy is pissed about this prospect, says Lea Michele’s name twice to which McSleazy retorts with one of the best lines the show has ever had, “You say her name one more time, she magically appears.” Jimmy is not happy with the direction his baby is going. He doesn’t want a star. He wants pure angst.
Mr. Artistic Director is not a fan of the friction on day one, expecting his writers and directors to work together. He insists that McSleazy find a middle ground with Jimmy. At the former flame’s reunion, Sam shares that he’s not happy on tour, in which Tom offers to take him back, despite the lack of parts. Oh love. Eileen heads over to the New York Times to get Bombshell in the paper, offering an exclusive look at Bombshell redux. At Tom’s cast party, he pines over the fact that there is nothing for Sam in the show. What will he do? Can’t break his heart again! Karen finds one of her shirts in Jimmy’s possession to which prompts inspiration for his story. Karen tries to level with Jimmy about connecting with McSleazy. She believes neither writer or director are talking to each other, rather talking at each other. Jimmy makes a quip about her having a special connection with McSleazy, prompting her swift exit, with her stolen t-shirt. At Tom’s, Tom accompanies Sam on an old thrown out song from an axed musical. Sam leads the impromptu song and dance through Tom’s giant apartment with much happiness and razzle dazzle. Dispite the happy song, the lyrics are very fitting, forecasting some troubles for Tom and Sam. That is until Ivy suggests that the song could be a part of Bombshell. Tom, realizing that this is his opportunity to bring Sam back home and into his life, on the whim creates a role for him. Hugs go around as Julia shares a look of pure terror.
McSleazy brings Jimle in to talk about his ideas. Instead of getting a name star, he offers a sleek design. Jimmy no likey. Jimmy may actually be the worst collaborator in the world. Karen asks McSleazy if he’ll audition Ana for the part of the Diva, but he declines. Before long, we see Sam and Tom in bed. Love! Mr. Artistic Director brings McSleazy in to talk about his high tech demands, including three LED screens. The budget no likey. At Bombshell, Eileen is shocked to learn that the great art editor will not be seeing Ivy in Bombshell redux, prompting a blow up between herself and Tom. Instead he was about to see Sam as Sammy Davis Jr. That is until Eileen and Julia crush Tom’s heart by forcing him to renege on his promise to Sam. Karen shares to Ana that she’s championing her for the part of the Diva. Jimmle chat about Jimmy’s poor decision tattling on McSleazy, only to be met by McSleazy himself giving him the good news about his approved design. Writer-Director tension!
Eileen and Richard the Arts Director try to figure out a way to give Bombshell press, in which the story will be about how mother-daughter save the show. Eileen schemes and hails a taxi. Julia takes Tom downtown to get advice from McSleazy on how to make tough decisions as a director. Instead, they see Jimmy and McSleazy at odds, again. Jimmy takes jabs at McSleazy, bringing Karen into the middle of the drama. He forces her to say what’s on her mind, which happens to be Team Jimmy. McSleazy is pissed, like usual, and walks out. Julia finds Mr. Artistic Director and tries to talk to him about the grudge. The grudge turns out to be Julia passing Mr. Artistic Director up on their promise for Mike Nichols. I would hold a grudge too! This decision took a huge toll on Mr. Artistic Director’s career path. Tom ends up chatting with McSleazy getting the advice he needs. How does he sleep at night after talking down to the cast? Getting respect over being liked is how to get things done. Tom then offers his own advice, convincing McSleazy to listen to Jimmy, because despite his arrogance, he might be right.
Ana and Kyle talk about things they can’t have. Ana tells Kyle to let go and think about things he can have. Enter Blake the lighting guy. They share a smile. Love. Jimmy and McSleazy finally have a heart to heart to get on the same page. Jimmy claims his show is about two people falling in love and the challenges that get in their way. McSleazy accepts this. McSleazy, on a now blank stage, offers a presentation of a song from the show that now includes obstacles between “Amanda” and “Jessie” and their love. The choreography is very lively and modern, fitting the beautiful song written by the talented Andrew McMahon of Jack’s Mannequin. The entire company digs the new approach, including Jimmy. Is it the first time we’ve seen him smile?
Julia stalks Mr. Artistic Director outside of his theater in order to apologize to him. She grovels about how she messed up fifteen years ago. He accepts it and offers his condolences on her split with Frank. Remember him? Karen finally reveals to Ana that she has feelings for Jimmy. Ana wants her to tell him and at least put herself out there. She decides to lead by example and performs “If I Were a Boy” for McSleazy. Odd song choice? Yes. Very odd. Is this her audition for McSleazy to be the star of the show or to get in his bed? Probably both. It’s a very Diva-esque performance. Is it enough? Time will tell. But first, Tom finally tells Sam that he can’t put the song in the show. Sam is expectedly upset, not only because he’s out of a job but because Tom’s being Tom again. Tom is hurt and takes the advice McSleazy gave him into action, shutting down Ivy and making Julia do some work. He’s ready to see his show on its feet, but first Eileen reveals that the role of Marilyn’s mother will be played by Ivy’s mom. Bernie’s coming back! A perfect story for the Times. Oh Ivy is NOT gonna like this! Ana wins McSleazy’s heart and gets the part. Karen puts herself out there to Jimmy, asking him out, but Jimmy is hesitant and too slow, for McSleazy is ready to swoop in. Right when they were getting along, Jimmy hates McSleazy again. McSleazy tries to get himself into Karen’s apartment, but she denies him. Before she can get settled, her apartment buzzer goes off, revealing not McSleazy but Jimmy. They share a passionate kiss, derobe, and get the nasty on! End of episode!
What did you think of tonight’s episode? Pretty good, no? Will love last for our new couples, Jimmy and Karen and Kyle and Blake? Will Tom get over the fact he slaughtered Sam’s heart again? And are you excited for Bernedette Peter’s return?

Smash Report: Movers and Shakers

It’s only a few weeks away before we are relegated to the dreaded Saturday night, so let’s enjoy our time on Tuesdays while we can! We begin our night at a try out for Hit List at “Manhattan Theater Workshop” where Jimmy and Ana sing a nice little duet. Everyone’s impressed, including McSleazy and asks Collins/Jesse L if they have a slot for the team. He goes to talk it over with his team to see what options he has which then leads to a cameo made by the super awesome Dan Abeles as Blake the Lighting Designer! Over at Bombshell, Tom takes his reigns as director. And it’s not going so hot. Karen doesn’t quite feel it. Neither does the ensemble. Looking for reassurance, Julia and Tom chat about how without McSleazy they’re just having fun, until Tom suggests a Marilyn and mom scene remain cut. There goes the fun. Oh Julia no likey. Speaking of no likey, the cast of Liaisons hates all of Terry’s ideas. Small pox. He suggests small pox. Oye. Lets dodge that one and head back to Bombshell. The new choreographer at Bombshell gives “The National Pasttime” the over-tap treatment. Bring back McSleazy’s choreography! Tom tries to give Karen some direction but instead decides to be her. We all thought Tom was good with actors. Clearly not. He’s violated like so many unspoken rules. The only way things could go back to normal is if McSleazy signs a contract allowing for his choreography to be used. Something’s telling me unless Eileen has magic, he ain’t gonna budge.
Mr. Artistic Director offers the idea that Hit List would be better suited in their smaller, underground space. Why? Because of the subscribers. Oh how very true! The Blue Hairs don’t like edgy. They like classic. Jimle and McSleazy exit Manhattan Theater Workshop, which is actually New York Theater Workshop (4th St. much?), and argue about how to make their venture better and in a bigger space. McSleazy gets pissy and tells the boys that they need to do research at the opening of Liaisons. Oh they gonna hate it. Eileen and her offspring discuss how Jerry is a jerk. It’s a throwaway scene because we immediately see how awful Terry Falls is in Liaisons. Monotone much? These new changes are abysmal. McSleazy meets Karen in a bar where he compares himself to Bob Fosse. Excuse me! Gross! They whine and pine and somehow, McSleazy gets Karen to go do his dirty work of making Jimle fix their musical. Eileen meets with Julia and shares that Jerry never sent the choreography contract to McSleazy in hopes of bringing him back to Bombshell. Jerry is clearly not a team player. Eileen offers the chance for Julia and Tom to pull the plug on Bombshell in order to get rid of Jerry. Oh that’s a risky move! Will they?
Jimle brainstorm on how to fix Hit List. It’s pointless because Karen pops up with coffee to eavesdrop. Jimmy pulls the Ana card to play with Karen’s head while Karen tries to give support. And once again, Jimmy pushes her away because he can’t get the reality of the business (or love) through his thick head. McSleazy and Mr. Artistic Director meet at a local hangout on 4th St. to discuss how they can make Hit List a reality. Julia literally bumps into Mr. Artistic Director, whom she clearly has a past with, before she bombards McSleazy with the contract. She tries to get him to sign while she’s there but he’s weary. He plays the Peter card, which makes her storm out. The girl just can’t catch a break! Ana and Karen talk about how she’s upset that Jimmy doesn’t love her when they disocer Tom at their stoop. He grovels to get her support in rehearsal and proposes that she be his date to the opening of Liaisons. Karen’s worried that Ivy will be made (she’s worried about Ivy???) but Tom assures her it’ll be fine. Backstage at Liaisons, Terry Falls reveals that the theater message boards are calling him, and the show, meh. Clearly his worst review ever. Ivy reveals she wants out of the show while he wants her out because she’s too good. They theorize that if the show’s going down, they’ll go down in a blaze of glory, also known as sheeps, mirrors, and full frontal. Oye.
Seth Rudestky, in full cameo, meets Karen and Tom and tries to get them to spill the beans on Bombshell. They’re not on the same page giving Seth two completely different ideas. Uh oh. Jimle are in aww of what an opening night looks like. Forshadow for their future? McSleazy tries to teach them a lesson until Jimmy asks why he left Bombshell. McSleazy, in a British huff, walks away because clearly he has no idea. Eileen and offspring go through mementos that might catch Jerry in his lie and protect Tom and Julia. Julia comes in with a box that contains a contract that Eileen made with the Monroe Estate to use her diaries. Why is this important? Because Julia reveals she’s used the diary and found their silver bullet to get Jerry out. At the opening, Jerry tries to woo McSleazy, which Tom oversees. Tom storms over to try to go toe to toe with McSleazy. Something they are no strangers to. (Do we know their complete backstory yet……..) They exchange some heated words and verbal jabs to which Jerry ends with a you can come back to Bombshell McSleazy, it’s still yours. (Obviously not exactly like that) Oh no one saw that one coming! Oof. No one is gonna be focused on watching the bomb that is Liaisons now!
The colorful Liaisons opens with some sheep and a lavish musical number. It’s outrageous, filled with boob and face slapping, girls on swings, motorboating, sex, a swordfight, and a fall by Mr. Falls. How punny. It’s hilarious to be honest. After the show, Tom and Karen compliment Ivy and learn that there is no hope for Liaisons. Karen realizes that with Ivy free, Tom will probably want Ivy to play Marilyn. She proposes that she leaves the show so she can be in Hit List. Wait…you’re going to QUIT a BROADWAY show? Get this girl to a doctor! Karen announces that she’s quit Bombshell to Jimle and McSleazy. They are all shocked that she gave up a Broadway show for an underground show, and love. This brings us to a meeting of the minds where Jerry is escorted to his death sentence. If Jerry uses any of the lyrics from the Monroe estate, the show can be shut down or he can sign away the rights back to Eileen. Offspring plays the “I can’t believe you did that to mom” card, which clearly pulls at Jerry’s heart.
Terry announces that he’s leaving Liaisons and that the show will close at the end of the week. Ivy is thrilled. Freedom! Tom and Julia are waiting for Eileen until McSleazy walks in and allows for his choreography to be used in Bombshell. Eileen announces that Jerry has bequeathed the rights to her. Everything is back to normal, except they lack a star. Wait. Ivy is free. Will it be her? At Hit List, McSleazy offers a small rough snippet, which includes projections, of Jimmy singing a song from the show. The number explodes onto a huge stage with moving screens and lights, singing a song called “Rewrite This Story.” It’s a very fitting to all that’s happened thus far on the show. Karen is soon revealed and again, Karen and Jimmy have a duet. Is that the equivalent of sex on network tv? And just like that, Mr. Artistic Director loves the new direction and gives them the main stage. Jimmy is thrilled and asks Karen out on a date. Something clicked in his brain! But wait! Conflict! McSleazy tells Jimmy that Karen and he have a history and would be distracted if anyone messes with his love. Oh what a mean mean sleazy man!
So what did you think of the musical chairs of theater? Were you able to catch all the role swapping? What do you think will happen between this newfound, official, work triangle between Karen, Jimmy, and McSleazy? Will Jimmy swallow his pride for opportunity or will he blow it for a one dimensional relationship of duets with Karen? Oh, and Ivy. Remember her? Is Bombshell a hit with her as Marilyn?

Free Ticket Offer: One Way Ticket (a reading)

Want a free ticket to see a new musical come to life? Be one of the first 10 people to e-mail rcstaab@me.com with your name and telephone number, and you'll get a free ticket (regular cost $10) to see a developmental reading of the new musical murder, mystery, One Way Ticket on Saturday, March 23rd at 2:00pm. To claim your ticket, send an email to rcstaab@me.com and he will add you to the comp list. Be sure to mention that you received this offer on theaterinthenow.com

For more on One Way Ticket, visit www.onewayticketmusical.com.

Smash on the Move...to Saturdays

Oh this can't be good. NBC has announced that the theater-themed drama "Smash" is continue its remaining episodes on Saturdays beginning April 6th. While this is an unfortunate sign that the end is near, fans are probably thrilled that the remaining episodes will air as opposed to being yanked. What do you think? Will you watch it live or will it officially be a DVR only show?

Spotlight On...Andy Nogasky

Name: Andy Nogasky

Hometown: Greensburg Pa, a great little city outside of Pittsburgh

Education: BA from Bucknell University (Degrees in Theatre, Art & Art History), MFA from Rutgers University

Select Credits: All My Sons (Frank, Barrington Stage Co.); See How They Run (Sgt. Towers, Barrington Stage Co.); Raleigh (Sir Walter Raleigh, Actors Theatre of Louisville); Two Rooms (Michael, Winnipasaukee Playhouse); Rounding Third (Don, Winnipasaukee Playhouse); Marat / Sade (Sade, Rutgers Theatre Co.); Fen (Frank, Rutgers Theatre Co.); Love Song (Harry, Rutgers Theatre Co.)

Why theater?: Why not? Silly answer. It's vital.  In all definitions of the word, for the community and for myself as an artist.  And it's a gift to perform, and a gift to give away to people.  How could you not love that?  I've always been a person who had an extreme need for creative outlets.  I've done everything from oil painting to playing the trombone, but it wasn't until I found theatre that I could give myself over entirely to an art form.  Probably because it's this wonderful amalgamation of all of them.

Tell us about Trevor: What a fantastic new play. I have a deep love for Classic American theatre, I'm a big Miller junkie and then to get in on the ground floor of this play just feels right.  I've never been a part of a play that feels so rooted in that tradition on one foot and then the other foot is squarely in that exciting realm of contemporary, rough and tumble new work. But that's more academic.  Everyone is so phenomenal, watching Steve and Coleen is a whirlwind, Moritz is a dream to work with, Lesser America is such a blessing and Nick has written something truly unique.  The questions this play raises about human connection and what life as an artist feels like is beautiful. Of course if you're just asking about Trevor the Chimp-- I love him, and I'd love to have him as a pet.  Who wouldn't want a manic ape who's serious about his craft?

What is it like being a part of Trevor?: Exciting. Again whirlwind, and so much fun.

What kind of theater speaks to you? What or who inspires you as an artist?: Miller, Williams, O'Neill.  Sometimes I think I was late for my own birth by a few decades.  But I have great love for new work as well, and I love finding myself in completely uncharted waters forging a new path ahead.  Any truly solid performance, whether be on stage or film, gets my blood pumping.  And extra-theatrically I have to say Neruda, Kandinsky, Ginsberg, Duchamp... I'm kinda all over the place.

Any roles you’re dying to play?: Yes. 

What’s your favorite showtune?: Ooh, I'm more of the guy who puts on the whole cd, leaves it running too long, and accidentally stamps his sub-conscience with it.  But I have to give it to "Brotherhood of Man" from How to Succeed... It was the first musical I remember seeing, and its just so catchy.

If you could work with anyone you’ve yet to work with, who would it be?: I gotta say I really don't think that way.  I try to treasure working with who I'm working with currently.  I hope that's not as pretentious or precious as that sounds.  There are people who's careers I'd like to emulate, sure, but when it comes to listing a dream list of actors, directors, writers, well I just don't have one.  Now I do have list of people I'd prefer not working with, but that isn't the question. :)  

Who would play you in a movie about yourself and what would it be called?: Channing Tatum, obviously.  Title: "Andy Nogasky: The Andy Nogasky Story"

What show have you recommended to your friends?: The last show I recommended to someone was Peter and the Star Catcher.  The last television show I recommended to someone was "House of Cards".

What’s your biggest guilty pleasure?: Grilled Cheese and Netflix Streaming.

What’s up next?: I'm currently working on putting together a comedic radio play series about elementary school administrators, and then I have a project  somewhere in the near future I that I've been writing for what seems to be forever about the history of Tetris,  And then next show I'm in is looking to be a new play about robots...so it seems I'll be nerding out for a while.

Smash Report: A Change is-a Comin'

I missed you all last week, but now that I’m home from The Happiest Place on Earth, the “Smash” Report is back! We open the episode with the answer to the cliffhanger from last episode. Eileen’s decision is…drum roll please…Tom and Jerry! Oh how funny! Bombshell is going big budget Broadway! We shift over to no budget theater to Jimle’s Fringe production. They get a schlocky little theater preparing for their performance in ten hours. Will they be ready in time? The cast of misfits set up their new space while Jimmy serenades the gang with a little ditty only to be shut up by a venue director in very funny fashion. How very true that moment was. Karen heads off to go to her Broadway rehearsal where she meets Ivy in the elevator. Awkward! They attempt to have a conversation but small talk is not their forte. Ivy gets off the elevator to be ambushed by her cast because superstar Terry Falls has brought in sheep and metaphors to the production. Oh boy. Bomb. Back at Bombshell, Karen sings one of the songs Jerry is ready to cut in order to make way for his big budget plane. Julia and Tom are not ready to cut the first song they wrote for the show that got them excited about the project. Tom tries to level with Julia who, along with the rest of the team, has gone off the charts. Eileen agrees with Jerry? Oh this isn’t good. During the break, McSleazy discovers that Karen and Jimle have gone ahead with their Fringe show and pouts. Jerry plays the producer card after he finds out that Karen won’t be introduced as the star if she continues with Jimle’s Fringe show because, well, she would have been introduced there. What will Karen do? Betray her new friends or continue on Broadway? That’s a tough one? Or not. But in the meantime, has Jerry forgotten that she’s already been introduced to audiences in Boston? Right…we’re supposed to forget that happened.
Karen tells Jimle that she has to bow out with six hours to go before the first performance. The gang is pissed and kicks Karen out. Back to Broadway I suppose. McSleazy and Ivy happen on each other outside of their rehearsals, where they both reveal how sucky their respective shows are going. How will they ever recover? Julia is on a date, perhaps a professional date, with Peter. He offers the idea for her to leave Bombshell. Why? Because he wants to bring her to London to collaborate, or “collaborate”, on a new show. He plays the “Tom’s left you” card just as Tom goes to bat for his collaborator. Mean Peter! Jerry claims the song he wants to cut is too intellectual and lacks the wow factor that the show needs. Eileen and Jerry make a deal that if Tom can adjust the song in 24 hours time, he and Julia can keep it. What will happen? Outside of the Fringe show, Karen talks with Ana about Hit List only to be found by Cyn, Ellis’s ex. Welcome back to “Smash” Condola! She drops the bombshell to Karen that Ellis was working with Jerry, and that he’s a gay. Oh snap! What will Karen do with that information!
At Jimle’s, they discuss what to do with their show now that Karen is gone. Cancel or perform. Doesn’t Jimmy know that despite any hiccups, the show must go on? Cleary not. It’s the mantra of live theater! At Tom’s, Julia tells Tom about Peter’s London proposal because she thinks the show is doomed. Tom tells her that he has her back and will fix it. Tom is too good for everyone. Something good needs to happen for him. And now for the hilarity, Terry Falls and company perform an invited press rehearsal of Les Liaisons. Oh it’s gonna be a doozy isn’t it. But before we can see it, we are at the Bombshell song experiment to get Tom and Julia’s song back in. Tom offers some guidance to Karen, which McSleazy gets whiney about because it’s a good idea that he didn’t have first. Calling the wambulence! The new version of the song now brings the men of Marilyn’s life on stage with her as she goes through each of them. No longer a solo number but a production number. Julia, Eileen, and Jerry love the piece and the idea. Tom saved the show! But again, McSleazy whines and gets in everyone’s face because he can sense he’s being pushed to the background. What will he do? What he does best. McSleazy monologues, verbally slapping each member of the creative team in the face, only to announce he quits. Well, for someone who’s been fired from projects because he’s a womanizer, not sure that was his best decision. What will McSleazy do now? Fringe show?
Karen and Eileen run after McSleazy to bring him back but it’s no use. His mind is made up. Now with McSleazy gone Karen spills the beans to Eileen about the news Cyn brought to her attention. What will Eileen do with the information? She runs after the truth as Karen gets in a taxi to presumably go to the Fringe show. At Les Liaisons, Ivy gets to perform her solo number. It’s quite on point until she decides, via imagination, to go Terry Falls with it. Homegirl has some opera pipes! She brings the comedy into the song, which Terry isn’t fond of. Jealous much? But before we can hear from him, Eileen sneaks into Jerry’s office. Eileen takes a page out of the Snoopy playbook! Meanwhile, Terry reveals to Ivy that she can’t have the spotlight and is going to ask to get her song cut. Oh movie stars. Getting everything they want. At Hit List, Karen returns and tries to grovel her way back in the show. She pleads to Jimmy to take her back but his tough exterior won’t budge. Someone has to crack that kid!
At rehearsal for Les Liaisons, Terry finds Ivy crying on the stairs because the show is awful. Ivy tells Terry that he’s one of the reasons the show sucks. And Terry, off his meds, agrees. Humble pie! Terry gives Ivy her song back as long as she always tells him the truth. That shouldn’t be too hard! Tom and Julia have Chinese food to discuss the departure of McSleazy. Tom thinks the best thing for the show is the loss of McSleazy. And Julia reluctantly agrees. Eileen calls, presumably with the information she discovered on Snoopy and Jerry. But before we know what she found out, we get to see Jimmy in the Fringe show, accompanied by Karen. The song is a pretty duet that develops into an big budget reimagining of what the song would look like. I looks very similar to Baz Luhrmann’s La Boheme. Oh and McSleazy is there to watch. Is this a sign of his approval? Of course, the song caps off with a kiss. Is this the first real kiss the pair has had? If so, wasted on a stage kiss? How unfortunate.
Terry brings his cast together to have a heart to heart session about their feelings. No one wants to pipe up, until they lay into it all at once. Terry is on board to make changes to make the show good. What will this show become now? At the little Fringe venue, the gang all celebrates their triumph until they are interrupted by Tom Collins or Jesse L. Martin or Scott Nichols, (fake) Artistic Director of NYTW. He wants to meet the writers and director of the show because he’s interested in it. And who claims he’s the director? McSleazy himself! Gross! Eileen meets up with Tom and Julia to reveal that Snoopy gave Jerry the information on Nick that pushed her out. She wants payback! But before that, they need a director. Who will replace McSleazy? The person who wants to save Bombshell more than anyone, Tom!
Oh, and if Kyle’s script sucked a week ago, how the hell did he make it better for the Fringe production? It’s the little things. How will Tom do as the new director of Bombshell? Will Tom bring Ivy back to play Marilyn? Will Karen follow McSleazy to Hit List? How will the power struggle between Tom and McSleazy play out? Things are heating up here at the little “Smash” show!

Spotlight On...Amy Staats

Name: Amy Staats

Hometown: Boston MA, but I moved to Charleston, SC when I was 2, and then to Green Bay, WI when I was 4, and the to Sacramento CA when I was 7 so who really knows.

Education: Barely.

Select Credits: Coney (The New Ohio); Sluts of Sutton Drive (EST, Youngblood); Waking Up (EST)

Why theater?: Because its New York and theatre refuses to die, it blossoms without hope like a great cactus flower.

Tell us about Trevor: Trevor is a really great play written by Nick Jones with a stellar cast, director and production company.

What is it like being a part of Trevor?: Being a part of Trevor is really fun and a bit terrifying. its so rare when all the elements of a production come together like this. My cast mates are uniformly excellent and are all very cool and interesting people. Lesser America has been a wonderful to work with. Nick and Moritz are princes. So kind and wicked smart.

What kind of theater speaks to you? What or who inspires you as an artist?: I like all kinds of theatre, except lazy theatre, or theatre that reeks of people putting things onstage because some sort of star is involved who doesn’t have chops yet.  No fault of the star, I like stars, but its not fair to them either really. My friends inspire me. I like scrappy art.

Any roles you’re dying to play?: I’ve always wanted to play Ms. Julie cuz I like to go mad, but I might need to think of something else because God knows the clock it ticking.

What’s your favorite show tune?: Something from Hedwig and The Angry Inch. "Midnight Radio"? I also like that puppet song about the goat herder from Sound of Music because I like yodeling.

If you could work with anyone you’ve yet to work with, who would it be?: The companies I really like are The Management and Debate Society and Lesser America. Oh look, I’m working with Lesser America! One down, three to go.

Who would play you in a movie about yourself and what would it be called?: Crispin Glover could play me and it would be called “Life in the Fast Lane” Seriously, movies take a long time to produce, so maybe I should say Shiloh Jolie-Pitt can play me. But it should still be called “Life in the Fast Lane.” Either that or “The Little Engine That Could Almost Make It” Or, it could be called “Top Tomato” because I’ve always wanted to get a furry white cat and name it that.

What show have you recommended to your friends?: Trevor of course.

What’s your biggest guilty pleasure?: Go Fug Yourself and eating jelly (or jam) straight from the jar with a spoon. Except not right now, cuz I’m off sugar till April. My friend and I made a pack. Don’t ever do this.

What’s up next?: My film Mary and Louise www.maryandlouise.com is being edited and will hopefully be ready for submissions in June.   Also I am going to my cousins wedding in May.

Spotlight On...Nick Abeel

Name: Nick Abeel

Hometown: Indianapolis, IN

Education: BFA University of Evansville

Select Credits: Anatomy of Gray (Homer, Kennedy Center); Adventures of Tom Sawyer (Joe Harper/Others, Denver Center); Checks and Balances (Rogers Little Theatre)

Why theater?: I have a lot of interests and I tend to get obsessed with things. Lately I've been obsessed with politics, fueled by "The West Wing" on Netflix and the NY Times app on my phone. I get really immersed in the world for a while and start having crazy thoughts like: "Maybe I want to be a politician..." But the beauty of theatre is that I could be a politician - and for a lot less than it costs to go to law school! Right now of course, grizzly bears are my other obsession. I just watched the documentary Grizzly Man - it's crazy - go watch it.  But really, theatre is all I've ever known. I started doing it as a kid and never stopped - never really seriously considered doing anything else. I love performing and theatre has always been my community - I like hanging out with creative people.

Tell us about Bears: Well bears, or Ursos arctos horribilis, are solitary creatures that - oh you mean the show. Woops. Bears tells the story of a post-apocalypitc world in which three zoo bears leave the world of human influence and go back to the wild. It's about the tension between instinct and intellect.

What is it like being a part of Bears?: Well, it's a unique challenge, being Bears. Haha. I guess I've tried to approach it like anything else. How do you portray a politician? We're still discovering in rehearsal which distinctly ursine qualities are helpful and where the line is. There's a great energy around the show. We've been selling these tote bags to promote the show and it's been fun to spot our friends using them around town. 59E59 has been wonderful so far.

What kind of theater speaks to you? What or who inspires you as an artist?: I like theater that is inherently theatrical - things with a lot of movement. Knee High Theatre. Theatre with music - Philip Glass.

Any roles you’re dying to play?: Hal in Henry IV

What’s your favorite showtune?: "Being Alive" from Company

If you could work with anyone you’ve yet to work with, who would it be?: Itamar Moses. I'd kill to be in a premiere of one of his plays.

Who would play you in a movie about yourself and what would it be called?: Daniel Radcliffe in the live action version of "The Little Engine That Could"

What show have you recommended to your friends?: Circle Mirror Transformation

What’s your biggest guilty pleasure?: Definitely gummy bears.

What’s up next?: I'm a company member at Amios and work in various capacities on their monthly show called Shotz! It goes up at Under St. Mark's the first Monday of every month. Check us out.

For more on Nick, visit http://www.nickabeel.com/. For more on Sans A, visit http://sansaproductions.org/

Spotlight On...Steven Manuel

Name: Steven Manuel

Hometown: Houston, Texas

Education: BFA in Theatre Design/Technology from the University of Evansville

Favorite Credits: Co-Founder of Sans A Production; Costume Coordinator on Season 2 of HBO's GIRLS; Costume Designer of Exit Carolyn for Sans A Productions.

Why theater?: Theatre is the only art form that exists in which every other art form is relevant and can be utilized. Theatre is also the only art form that truly engages in a direct dialogue with its audience. It's this wide net of artistic talent that theatre casts, and the conversations it not only sparks but engages in, that make theatre truly unique and exceptionally exciting to be a part of. Sans A Productions, as a company, strives to gather all of that wide range of talent into a singular space, with a singular work, and together we collaborate to create a fully immersive product takes advantage of every artistic form theatre can be while directly engaging and reverberating with our audience.

Tell us about Bears: Bears came to Sans A Productions as a reading in the Summer of 2011, and we've been in love with it every since. We as a group were drawn to the script because it seemed perfectly in sync with our mission. Sans A looks for plays that require every possible aspect of theatre in order to tell the full story. We seek out stories that are challenging for actors, directors, and designers. Bears is exactly that. Bears follows the story of two bears, Timmy and Growl Bear, living in a zoo during an apocalypse. Enter Susie, a wild bear who leads them out of the zoo and into the wilderness. This play speaks to us as a company because the environment and the characters provide incredible creative challenges and opportunities.

What is it like being a part of Bears?: Bears, and any Sans A production, is all about collaboration. That's our mission as a company. As a part of Bears, you're constantly in conversation with the director, other designers, and even actors to discuss and build a collaborative world for the play. This is something truly unique and exciting. A lot of off-off-broadway shows I've worked on, you have one or two meetings with the director, and then you're sent off to do what you do. Not with Sans A. You're having conversations every day, doing research together, having meetings. It's a lot of work, but everyone knows we're all working towards a better, more succinct storytelling experience that is greater than the sum of its parts.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theatre that turns the ordinary into the extraordinary. Fantasy and period peaces are wonderful, and the spectacle can be truly magical. But there's something about plays that show real life through the magic of theatre than can be transformative in a way no other art can. I know that maybe sounds like something opposite of Bears, but trust me, it isn't. I enjoy theatre that is more than just a script being read, but theatre that is fully immersive to every sense you have as an audience member, that draws you into a deliberate and specific world, commanding your thoughts through words, sights and sounds. 

If you could work with anyone you’ve yet to work with, who would it be?: There are so many people I'd love to work with, I don't even know where to begin. There are newer people like Alex Timbers and Sam Gold that would just be so much fun to work with, I think. Then there are those that I'd love to work with but probably just stand in awe of the whole time: Tracy Letts, David Lindsay-Abaire, Tony Kushner, Martin McDonagh. And those are just writer/directors! I took a workshop once with John Lee Beatty. It'd be a dream to collaborate with him on something. But also just sitting in a room watching him work would be surreal. Is that creepy?

What show have you recommended to your friends?: Bears, of course! No, honestly, I've personally been kind of MIA on the theatre scene lately. I'm very excited to see Peter and the Starcatcher move to New World Stages. I could see that show five more times. Also, I'd love to catch Who's Afraid of Virginia Woolf before it closes.

Who would play you in a movie about yourself and what would it be called?: My boyfriend says "that's you!" every time Andrew Rannells pops up on "Girls". While very flattering, I think it's a bit of a stretch, but he'd probably do a great job! Unfortunately he probably couldn't use his beautiful singing voice in my life story, as my singing is decidedly dismal. As for the title, as long as it doesn't have some sort of play on "Even Steven," then we're headed in the right direction.

What’s your biggest guilty pleasure?: TV on DVD (and/or Netflix). I'm always binging on one or two series from beginning to end. Right now it's "Parks and Rec" and "Boardwalk Empire". I also just finished "House of Cards". It's incredible!

If you weren’t working in theater, you would be _____?: If I weren't working in theatre, I would probably have pursued a career in graphic design, or something like that. Something creative, in the marketing field. I couldn't live if I didn't have a creative outlet of some kind.

What’s up next?: For Sans A, we'll see! Summer's a busy time for everyone, especially in theatre. I'm excited to see what's going on in the city, and what we as a company might be able to contribute. We have a few buns in the oven, but nothing finalized yet. As for me personally, I plan on having a lot of free time after Bears to work on some personal projects. You know, like laundry.

For more on Sans A Productions, visit http://sansaproductions.org/

Spotlight On...Chris Harcum

Name: Chris Harcum

Hometown: High Point, North Carolina  

Education: 3 degrees in Acting.

Favorite Credits: I like mixing things up—classical, new works, different styles—so I’m not sure. Sometimes you do a great project but the people you work with spoil it or no one comes to see it for who knows what reason. My favorite moments in shows are when the audience has a laugh that takes them by surprise or drops down to a place of deep listening and understanding. I’ve experienced this doing intense dramas, solo shows and children’s theater. I like things that change me during the course of working on them.

Why theater?: It found me when I was young.

Tell us about Two Lovely Black Eyes: It’s my 11th solo show. It’s a comedy about escalating violence, trust and America’s gun culture.

What inspired you to create Two Lovely Black Eyes?: Seeing some great work in Edinburgh, the incident in Aurora, Colorado and some personal stuff that is revealed during the show.

What kind of theater speaks to you? What or who inspires you as an artist?: I have a broad range of things I like. I don’t like artists who have not put in enough time on the work or are self-indulgent. I don’t like seeing things that feel like a homework assignment that was slapped together the night before. I do like thinking, “I can’t believe they did that.” I often ask, “What would Bill Irwin do?” Not just on stage but in life as well. I do things better when I do that. I’m inspired by a lot of my colleagues in the indie theater scene.

If you could work with anyone you’ve yet to work with, who would it be?: I understand Steven Soderbergh is giving up Hollywood and doing other things, including theater.

What show have you recommended to your friends?: In the FRIGID, I recommend The Vindlevoss Family Circus Spectacular and Generic Magic Realism. Both are nicely done and really delightful to watch.

Who would play you in a movie about yourself and what would it be called?: Oddly enough, a film director friend suggested he shoot a documentary about the making of my next solo show. I hope the score is good because it will be a lot of scenes of just me typing.

What’s your biggest guilty pleasure?: Green tea and a large cookie.

If you weren’t working in theater, you would be _____?: I picked up the harmonica for this show. I’ve been thinking about becoming a blues man as I get older. I can get rougher looking and it won’t matter. Also, I can get some mileage out of all the bad patches in my life.

What’s up next?: My company, Elephant Run District, will be hosting more Stampede Labs in April. We also are planning something big in the summer. I’ve been asked to play the title role in a workshop of Richard III and am working on a screenplay. I am also working on another draft of The Devil in Ms. Spelvin, based on the memoir by the porn chic actress.