Wait Until Dark

I will be appearing in R-ACT's production of Wait Until Dark with some very talented cast-mates.

This is the story of a blind woman who is being conned by three men searching for a missing doll. I'm playing Mike Talman, one of the con-men. He's a complex character torn between the con and his fondness for the mark.

This is a thriller from beginning to end.

Performances are November 13, 14 and 15 at 7:00 PM at the Avenue Theatre in Rochester.

Check here for tickets and information.

The End of Company

This coming weekend will mark the final performance for my return to the New Castle Playhouse. I haven't been on either stage there for over a decade. The last time, I was a singing and dancing fork... or was it knife... in Beauty and the Beast. Well, that and several other small speaking roles including the Baker, a Gaston Crony and a townsperson. This time I'm playing Harry in Company on the Annex stage.

Just like when I did B&B, I've learned a few things about myself and how I relate to theatre. What I learned doing B&B ten years ago was that I was getting too old to play bit parts in musicals. It didn't seem worth my time or effort. I've endeavored since then to only take roles that allow me to either showcase my singing chops or my acting ability. It's worked for me so far.

This time, however, I learned some new things.

First, and this is probably an unpopular opinion, I discovered I don't like Sondheim. The music just seems unnecessarily complicated and difficult to sing and all of it sounds intentionally discordant which doesn't make me want to sing it. I always thought I didn't like Sweeney Todd because I couldn't relate to the characters or even feel sympathy for them, but I'm starting to suspect that I don't like ST because of the music. Even Tim Burton, who I love as a director, couldn't get me interested in seeing ST more than once. Besides, Sondheim sounds like a place in Valhalla where the honored dead go to drink mead and sing rousing Viking songs. You see my dissapointment?

Second, I learned that I have a very low tolerance now to other people's shitty behavior and attitudes. I never liked conflict to begin with but now I just don't have any more fucks to give. It's probably making me difficult in some people's eyes but, too bad. The field where I grow my fucks is fallow and barren. It's reaffirmed my belief system in how directors and actors should work together and I've added this experience to my mental list of things not to do when I am directing.

Third, I discovered I suffer from TMJ and it is one of the more painful things I've had to deal with. Apparently, I learned the lesson too well about opening my mouth when singing. Add that to the stress I was feeling during rehearsals (refer to above paragraph for clues) and the combination of gritting my teeth and sining "Bob!" really loudly, triggered a jaw clenching muscle spasm that brought me to my knees. So, I either need to be more relaxed or stop singing words that start with the letter 'B'.

What can I say, doing Company at NCP was a learning experience. I didn't have any fun and I hated 90% of it but I at least I learned some things.

Am I sorry I took this role?

In the words of my character, Harry, "You're always sorry, you're always grateful..."

Monty Python's Spamalot

Well, I'm way remiss in posting this, but I am appearing in Comtra Theatre's current production of Spamalot as Sir Robin, and others.

The show is running for two more weekends until November 9th. If you're interested in seeing it, you can get more information and make reservations at Comtraplayers.com.

Pittsburgh New Works Festival

I will be appearing in the comedy, Deck Chairs by Bill Arnold at the Pittsburgh New Works Festival. We're part of Program A and one of 18 world premiers.

The shows are on the Carnegie Stage in Carnegie, PA. It's a really nice venue. You should come out and support the theatrical arts in Pittsburgh. 

You can find more information on their website http://www.pittsburghnewworks.org/