Josh & I Talk Gospel, Dreams, & Being the Messenger

the_gospel_josh.joshua_rivedal-400x257This week, Josh Rivedal, answered some of my tough and hard-hitting questions about his one-man show and it’s transition into a book. The Gospel According to Josh: A 28-Year Gentile Bar Mitzvah will be released on September 24th. During this exclusive pre-release through the 23rd, 15% of the sales goes to The American Foundation for Suicide Prevention and the Centre for Suicide Prevention in Canada.

And without further ado:

Malini: Josh, you know I love your book. I devoured it one night the way I devour a bowl of pasta. My readers know that I respect those who share their truth. It is difficult to do that. Who really wants to admit their shame or expose their vulnerability? And you’ve shared your truth and vulnerability in two forms: performance and the written word. What was the catalyst in writing the book version of the show?

Josh: Great question. I really wanted to make this story more accessible. In three years I’ve reached about ten thousand people with the show version. But I can only do so many performances in a week or month. With the book it’s low cost and able to be consumed at a pace that suits the audience member. It’s much more easily shared as well. You can hand someone a book but I can’t live in someone’s pocket and put on a performance at a minute’s notice.

The book is also loosely structured as a three act play. It has one more act than the one-man show version. During the final act, the book shows my own spiral into clinical depression and suicidal thoughts a few years after losing my father to suicide. Additionally it shows my recovery from depression and bouncing back from rock bottom. In society we are constantly presented with pictures of people who are struggling but rarely are we shown someone in recovery. I wanted people to see someone who is in recovery and living a well-adjusted and productive emotional and professional life.

Malini: One of my favorite parts in the book, without giving anything away, is the use of voices and dreams. I found that they really enhance the story. How did you come up with that concept?

Josh: Thank you and… damn, that’s a tough question!

First on the conceit to use of dreams. I was having dreams on a consistent basis about my father for over a year after he died. I could understand things he was saying and these dreams drove me, in part, to write my one-man play The Gospel According to Josh. However these dreams were freaking me the hell out and it contributed to my deteriorating mental state. I thought I was going crazy (not true) and didn’t talk about it for a few years. The dreams were also a way for me to say goodbye to my father, something I never got a chance to do.

The voices. I think it came to me one day early in the writing process. I was taking a shower and was trying to think of a way to break up the exposition and give insight to my inner thoughts. We all talk to ourselves throughout the day, sometimes aloud, and often when we think no one else is listening. It’s more normal than you think. My thoughts often sound a little ghetto fabulous. I also quote Bible verses at myself because of my Evangelical youth. And I swear a lot in Spanish in my head. In the context of the book, these three voices (religious, ghetto, Spanish) are my friends and enemies. They’re vulgar, compassionate, needling; and they break up and lighten what can be some serious subject matter. They’re probably the most risky part of the book (as a writer) but they’re my favorite part too.

Malini: You discuss your first performance in the book and you are still touring the show, which I think is great. What has shifted for you, if anything, as you continue to carry your message?

Josh: I think the thing that’s shifted is that this message, carried out with compassion and humor, is snowballing. People are embracing it all over the U.S. and Canada. It’s taken a few years but it’s happening. And I’m somewhat known as “the suicide prevention guy” which is interesting. Not something I ever thought I’d be known as when I got into show business ten years ago. But here we are and I’m totally cool with it.

And there you have it! You can get all the info here as well as on Facebook. Or just click on any of the links above. Buy the book. It’s really a fantastic and inspiring read.

Guest Blogger: Josh Rivedal’s Stripping Down to the Bare Truth (Naked in Alaska)

valeriehagerThis week I saw a one-woman show Naked in Alaska, written and performed by Valerie Hager, and came away a changed man.

How? Like any good piece of the theatre, I uncovered a life lesson by watching Ms. Hager’s performance.

Being naked is an important part of life.

Naked in the metaphorical sense (sorry to disappoint all of your voyeuristic junkies).

To bare one’s soul, to open up about one’s sordid past, to disclose one’s private personal foibles—this is much braver than making a living dancing nude.

Ms. Hager performs her autobiographical piece with an earnestness and makes her work look effortless—two factors that belie the risk involved in this theatrical undertaking.

Putting your life story on stage for all to witness is no easy task—trust me, I know; I have my own Gospel to tell. What if audiences don’t like it, what if they say that your work, your theatricalization of your life is no good? That would be the worst thing in the world—like, worse than being told you’re not funny or you have an ugly baby.

Ms. Hager takes a huge gamble in creating and performing her life story—and it pays off. She lived in her truth and told her story and the audience connected with her honesty and candor. I imagine if she continues to play her deck wisely and doubles down with Naked in Alaska her future payoff can be huge.

Back to being naked (sorry, I couldn’t resist). Baring one’s soul on a stage—not everyone has that gift. But that doesn’t mean the lesson doesn’t apply all of us.

Whether you’re asking for a promotion, creating some sort of art, or mustering up the courage to ask your crush out for a night at the Cracker Barrel; we have the opportunity to take a (somewhat calculated) risk and share our souls with the person sitting across from us. What’s the worst thing that can happen? Temporary embarrassment? Egg on your face? A dinner alone at the Cracker Barrel? What’s the best thing that can happen? Oh, I don’t know, you get what you wanted!

Speak from the heart. Speak openly and generously, and for the benefit of the other person. Be brave. Show a little metaphorical ankle… or some metaphorical cleavage—oh, la, la. Be vulneOKrable in your dealings. Ms. Hager does it in her show and it’s taking her on a wild and fulfilling journey.

Get Naked. Go see Naked in Alaska. In no particular order.

Joshua Rivedal is an actor, playwright, and international public speaker. He wrote and developed the play, The Gospel According to Josh, which has toured extensively throughout the United States and Canada. His book The Gospel According to Josh: A 28-Year Gentile Bar Mitzvah, published by Skookum Hill, is available for pre-order in August, 26th 2013. He wrote the libretto to a Spanish language Christmas musical Rescatando la Navidad. www.gospeljosh.com www.joshuarivedal.com

3 SHOWS LEFT

Tues., Aug 20 @ 2pm
Wed., Aug 21 @ 7pm
Sat., Aug 24 @ 1:30pm

ALL DAYS: http://www.ticketweb.com/snl/Search.action?query=naked+in+alaska?

SUNDAY:http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=3703294

Guest Blogger: Nick Radu Reviews See Jane Give Up Dick

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Sharing your truth is never easy. So I always have deep respect for anyone willing to make a drastic change in order to improve their life. Then tell us what they did to get through it. And See Jane is so much more than just celibacy for 365 days. It’s self-cleansing. Definitely check out one of next five performances! Nick Radu is my guest blogger this week and my, now, co-writer of Imaginary. Here’s his thoughts:
What’s it like to give up sex for an entire year?  And could you do it?  Writer Devin Preston went on that very journey and she has shared the answer with us in one of the NYCFringe 2013’s best one-woman shows.
As soon as Jane (Meghan O’Neill) hits the stage she greets the audience, makes them laugh and sets them at ease as they travel back with her to that year of chastity.  O’Neill breaks the fourth wall with precision and excellence, allowing us into the living room of her life.  It was so wonderful to watch Jane chip away at the block of life, creating the sculpture of the woman she didn’t even know.   The comical writing, O’Neill’s wonderful timing and use of Jane’s very own power point presentation was all wrapped up in the perfect bow known as Isaac Klein, the director of this charming piece.
The sarcasm and wittiness of this show hold your attention as you laugh with Jane, and at her, but the beauty and tenderness come through as we see a woman grow and change and find something she never even was looking for: herself.  Anyone looking to find those shows in the Fringe that have just the right amount of everything will need to be sure to make a stop at the Steve & Marie Sgouros Theatre at 115 McDougal and check out “See Jane Give Up Dick.”  You will not be disappointed!
Nick Radu is an actor/writer/director currently living in New York. His recent play, Imaginary, went to it’s second staged reading at a backers’ audition and is currently in transition to a screenplay for interested parties. He is writing numerous plays and a novel, at present, and will be directing a staged reading of a fellow writer’s original work for Black Henna Productions.

Guest Blogger: Cas Marino Absorbs Naked In Alaska!

NIA_Photo_Request_FotorOh boy! It’s getting  hot in here. I met Valerie Hager after a performance of her one-woman show, Big Man, at Stage Left Studio. I was instantly blown away by her performance and felt totally bummed that I missed Naked in Alaska in the EstroGenius Festival last year (yes, she was in the 5 % that I didn’t get to see!).  Since it’s the same 7 people in theatre, it wasn’t too much of a surprise that we shared a mutual friend in my best guy pal, Cas Marino. I eventually did see Naked in Alaska at Dixon Place and knew I had to be a part of it in some way. And I am. As Marketing Director, I have the best opportunity to get people to see this piece of art. However, when it comes to really capturing the spirit of the show in words, I turn to Cas. Here’s his two cents:
Never, in my experience has Alaska been so damned hot.
Nor has being naked been so damned meaningful.
That being said, in discussing Valerie Hager’s one-woman lightening bolt, “Naked in Alaska”,  we’re not talking about the actual climate of the Last Frontier, or the actual state of undress this artist just barely denies us with a few lacy and fringed bits of propriety; we’re talking about an audience’s mounting passion for a story and a cast of characters that hits in waves of empathy and curiosity and delight as a brutally honest young woman lays bare her true story of life as an exotic dancer, with an equally brutal courage that allows us to journey with her from the Deep South to the Way North and back, instead of merely sitting in the dark watching a staged version of some well-organized postcards.
You don’t see “Naked in Alaska”.
You absorb it.
So much so that to call it what it is in theatrical terms — a One-Woman Show — is to do the piece an absolute disservice, and to completely undervalue the One Woman whose show and story and naked truth we meet here.
The dozen or so characters embodied by Hager as she invites us into the gritty details and relationships and decisions that manifest in her sweeping story so instantly become as real in our temporary life with her as they were in her own.
The diminutive Hager needs only to affect a change in stature, a flip of her flowing hair, or a curl of her lip, and a whole other person has joined or replaced her entirely on the stage. She is simply that adept at pulling us into her private universe — so much so that we have no choice but to feel the presence of each of the characters that had, quite obviously, such a profound effect on her experience in this period of her life that they now impact us similarly as we share in it momentarily.
It is beyond rare to find an artist who is at once this gifted a storyteller with this level of craft and acting chops, who also has the power to write with such a visceral glow as to not simply deliver a monologue to an audience, but to virtually bring her audience inside her own head to experience that internal monologue right along with her.
The fact that the gorgeous Ms. Hager is also worth every dollar bill in your pocket when it comes to her mastery of the brass pole, which she works onstage to punctuate her story the way a seasoned novelist painstakingly employs ellipses and exclamation marks, is more than just a bonus for the visual aesthetes in the house.
Expertly directed by Scott Slavin, who knows the artist with an intimacy that shows in every aspect of the work, this microburst of theatrical brilliance will have you so engaged and leave you so enamored of the life that is Valerie Hager’s autobiography-in-progress, that if they’re anything like “Naked in Alaska”, such possible sequels as “Wearing Jeans in Starbucks” or “Throwing on a Robe because the Chinese Takeout Delivery Rang the Bell” couldn’t possibly be anything less that completely satisfying.
Cas Marino is an actor, singer, and director in New York City. His work as a spoken word artist and monologist has been seen by a wide variety of audiences, as well as his national television and radio appearances. As a freelance writer, he’s covered topics in print and online media ranging from pop culture and sexuality to food, fitness, nutrition, and theater.

Guest Blogger: Adam Kern Reviews Gym Shorts

556523_414399671974283_1756644137_nIf you haven’t gotten the memo yet, I am doing the PR for Gym Shorts. It is five vignettes based on what I love to blog about…life. Except it’s based in the gym. Now this girl does not love going to the gym so being a part of this amazing creative team is the closest I am getting to a workout. And since Adam is my guest blogger this week, I will  admit that I do about 4 minutes of yoga every day. That’s 4 more minutes than I did two months ago. What? I walk a lot.

Anyway, Gym Shorts is currently running at the 777 Theatre here in NYC.  Tuesday, May 14th is Pay Your Age Night – just stop by the door, use the keyword ERIC, prove your age, pay in cash.  Also, follow me on Twitter (@malinism) as I will be live tweeting on Thursday night.

And without further ado:

Right off Broadway are a motley, manly crew of actors performing their collective hearts out…well, maybe not that manly.  “Gym Shorts” is a 90-minute play in five parts all set in a, (surprise!) a gym.  The rugged, sweaty, testosterone-fumed gym.  Yet soon the audience sees there is something very strangely askew…like the ever- unsaid relationship dynamics of this modern haven of muscle-mass are suddenly spoken.  Loudly.

The nearly all male cast (with one woman, played by Cara Maltz) take us into the lives of “those that dwell at the gym.”  One is jealous of another’s new spotter, while the shameful truth falls unceremoniously out of the bag of another man…spurring an oft-uncomfortable dialogue.  Discussions heat up.  Arguments.  Threats.  Neurosis.  Anger.  One trainer is fired, to the petulant dismay of his former student.  Another dares to stray from the “typical” gym regimen, causing more ire.

Written and directed by Eric. S. Robertson, the characters’ cattiness becomes apparent throughout the stories.  Deep seeded insecurities are brought to the fluorescent lights of the gym, with some genuinely funny results.  Both the gym rats and detractors will have something to smile about in this farce.  If you’re looking for an evening of highly energetic actors, good ole’ off-Broadway hijinks, and a surprisingly all-age friendly show (though kids will not get a lot of the humor), then check out “Gym Shorts.”  The “Shorts” are gonna be pulled down real soon though, so best catch it while they’re still up!

Adam Kern, Creator and host of over 200 episodes of “Obsess This!”; a weekly talk radio program on arts, science, politics, and sports broadcast on Long Island’s oldest radio station, WGBB 1240 AM. Also host and engineer at Sportsradio NY (sportsradiony.com).  Commercial/ Voiceover, television/ film actor. Yoga practitioner at Bamboomoves Forest Hills. Adam lives in Fresh Meadows, Queens. 

Guest Blogger: Nick Radu Makes It Happen – Imaginary Becomes Real

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Last night, Nick and I had dinner with our director, Adrienne Willams, of our upcoming reading of Imaginary. As we ate and talked shop, we went off on a tangent about why we are still doing theater and why does it drive us.  Imaginary was a play that Nick talked to me about 5 years ago and then mentioned to me a year and a half ago.  I know a good play when I read it. I know when I want to be fully involved in a potentially amazing piece of art. And with that, we decided to make it happen. So without further ado, I give you my guest blogger, Nick Radu:

When does one “make it” in this crazy business we call entertainment? Is it when we publish one of our favorite poems? Is it when we get cast as a singer/dancer in the ensemble in a Broadway musical? Is it when we sign for a $20 million contract to star in the next superhero movie? Or is it when our words, our direction or our performance make just one person in the community theater audience feel something that they didn’t know they were going to feel before they stepped into that church basement?

I know I moved to New York to “make it” as an actor. I ended up falling in love with all aspects of the business, specifically rekindling my love for writing.

Imaginary came to me one day and I was blessed to watch it come alive in front of me like watching one’s favorite movie or TV show. Soon I was sharing it with professors, friends, colleagues, and family members. I was even more blessed to lay it in the hands of a like-minded, highly-motivated and inspiring friend: Malini Singh McDonald.

Together we have already put up a reading and spread the word on this piece that is so very dear to my heart. We are currently pushing it to the next level, which I know excites us both, while scaring us like crazy at the same time.

I knew this play was going somewhere after what I learned at that reading. I’m not talking about those who praised it afterwards or those who patted me on the back and told me, “I didn’t know you could write, too!” No, I’m talking about those who roared with laughter at the jokes, listened so intently you could hear a pin drop at the dramatic moments, and those who allowed the tears to flow when they were moved to do so. That’s when I knew I had something special. That’s when I knew Imaginary was on it’s way. That’s when I knew I had “made it.”

Visit our Indiegogo Campaign page! Read about our workshop last year and visit Imaginary’s  Facebook page!

Guest Blogger: Kate Powers Does Theatre Up the River

Document4A couple of weeks ago, my sister-in-law, Dawn, blogged about her theater work in prisons.  So when I found out that my fellow director, Kate Powers, is still actively directing at Sing Sing (and knows Dawn), I asked her to please share her experiences with us.  My limited knowledge of prison theater consists of Beckett’s production of Waiting for Godot at  Lüttringhausen Prison as well as that amazing season of Oz with Betty Buckley. Kate is not only creating art but being of service.  Theatre is an amazing outlet for those who want to grow.

So without further ado…

“Theatre inspires me.”

“Theatre teaches me about myself, and helps me to understand why other people do what they do.”

“Theatre relaxes me.”

“Theatre teaches me empathy.”

“Everyone in my life was a backstabber or a deceiver.  I never knew what trust was until I started making theatre.”

I didn’t say any of these things; actors in my latest project did.  Many directors learn from their collaborators or are moved to think differently because of an encounter with a particularly gifted, or especially irksome, actor.  The individuals in this production rock my world regularly and have revealed many of our received ideas to be built upon ignorance, fear, salaciousness and indifference, but not on reality.  I work as a director, teacher and facilitator for Rehabilitation Through the Arts, or RTA (www.rta-arts.org).  I work with men who are incarcerated at Sing Sing Correctional Facility, a maximum security prison north of New York City.  Sing Sing gave us the phrase ‘the big house’ and it is the origin of the euphemism ‘up the river.’

RTA was founded at Sing Sing in 1996 by Katherine Vockins and now operates in five New York State prisons, offering incarcerated individuals the opportunity to participate in theatre, dance, visual arts and creative writing classes, workshops and productions.  RTA is about using the arts as a tool for social and cognitive transformation.  What that means is that theatre is rocking the big house.  The guys in the RTA program are thought leaders within the prison; they are role models.  The superintendent (aka the warden) loves the theatre program because he sees what a profound change it rings.  RTA member C once told me, “You have no idea how much more walking away we do than everyone else in here;” theatre, he said, had taught them that they don’t need to take the bait when another prisoner is spoiling for a fight.

The men at Sing Sing have performed plays by Sophocles, Shakespeare, Steinbeck, Suzan-Lori Parks, August Wilson, Tracy Letts and, yes, Stephen Sondheim.  This spring, we will present Our Town for the general population of the facility and for an invited civilian audience.” We’ve just started rehearsals, with several lively discussions about how one can be open to the beauty in one’s every day world, when one’s every day world is a prison.

In the midst of rehearsing a play, doing table work, discussing characters and motivations, exploring staging possibilities, it turns out that one can discover trust, learn compassion, find one’s voice, learn how to negotiate conflict, how to disagree without fighting, improve one’s cognitive skills and reading comprehension.  One can learn organizational skills.  One can discover what it is to be seen, heard and accepted for who one is, and not for the mistakes one has made.

Some people balk at the idea of this program.  People have protested to me, “I wish I had free Shakespeare classes!  Why do those murderers get that?”  So here’s the thing:  the recidivism rate for the general population of convicted felons in this country is approximately 68%; this means that, within two years, two-thirds of the approximately 650,000 souls released from prison in 2013 will be back in the system.  They will have violated their parole or committed another crime, not because they are ‘bad’ or ‘evil’ or beyond redemption, but sometimes just because they didn’t get any information about how to proceed in any other way with their lives.

The recidivism rate for individuals who participate in prison arts and education programs is more like 10%.  Yep.  10%.

So this isn’t some special treat.  This is art giving people tools with which they can change their lives and head in new directions.  These are skills that they can ‘take over the wall.’  This is theatre actively making my community and yours safer.  This is theatre making an actual, quantifiable, measurable, life-altering difference.

Now that inspires me.

Guest Blogger: Dawn Slegona McDonald on Becoming Our Best Selves

photo (1)My sister-in-law, Dawn, is flying the flag against gun violence and is involved in making a difference for our future. However, her activism didn’t just start with the senseless deaths in Connecticut last year.  She has been a strong proponent for those in need via…theater. I think Dawn is a wonderful power of example and an awesome mom.  And without further ado:

On becoming our best selves…

A number of years ago I spent some time in a shelter for runaway teens. Later on I found myself in a home for battered women and their children.  And finally I landed in prison.  Now before your imagination races away with you let me tell you that I am in fact not a runaway, or a battered woman or a former criminal.  I am a teaching artist who uses theatre as an educational tool in community settings.  Or in many cases settings that are removed from the community and from society in general.

For many years I pursued an acting career and found that it did not satisfy the part of me that wanted to make a difference in the world, the part of me that just wanted to do good with my life. In 2006 I was lucky enough to see a play that was written and performed by a group of high school girls from Harlem. It forever changed the way I view theatre. The girls beamed with pride as they took their curtain calls and I later learned that they had been part of a program designed to foster leadership skills in young inner city women using playwriting and performance. I also learned that every single girl in the play had been accepted into college – something that for their school and neighborhood was an unexpected accomplishment. I decided then and there that’s what I wanted to do. I wanted to use everything I love about theatre to teach and to help people better their lives. I received my Masters degree in Educational Theatre from NYU and began teaching workshops in schools across New York City, in shelters, in prisons, and even in a rural school on the island of Zanzibar off the east coast of Africa. I’ve used theatre to teach literacy, to teach public speaking and on a more human level, to teach skills we need as humans – discipline, teamwork, critical thinking and empathy. To me, theatre must have meaning, and in an ideal world the viewing and creating of theatre will teach us a valuable lesson about ourselves.

People who oppose my prison work often complain that “prisoners doing plays” sounds like a waste of time. I usually explain that it is so much more than merely doing plays. It’s teaching prisoners skills they will need when they re-enter society. But first I ask these folks a question a very wise woman once asked me: “They will be getting out someday”, she said. “How do you want them?” Do you want them to have sat in prison becoming bitter and angry?  Or do you want them to come out having had an experience that made them want to be better people?

I may sound naïve or overly romantic, but I believe that learning through theatre can make us all better people.  We expand our worldview, we learn to put ourselves in someone else’s shoes, we learn what we are capable of and we grow from the experience.  I feel blessed to have made this my life’s work.  And even more blessed that I can share it with my child, who is my one and only student these days.  I am a stay at home mom, but a teacher still, using theatre and the arts to encourage my son to grow into his best self.

Guest Blogger: Ian McDonald and The 39 Steps

148349_10151198313746567_1557097707_nI am really thrilled to introduce this week, my guest blogger, Ian McDonald. Besides being my better half, he is also a very talented actor. Ian is currently in rehearsals for The 39 Steps which opens on Saturday, February 16th.  This week he shares his experience:

“I always wanted to be an explorer, but – it seemed I was doomed to be nothing more than a very silly person”  – Michael Palin

When I heard that The 39 Steps was being produced by The Parkside Players, I was pretty sure I’d be auditioning for it.  I only say pretty sure because I was fooling myself into thinking I wouldn’t audition for it.  And when I did decide to audition for it, I was still fooling myself into auditioning for the role of the single character Hannay, as deep down I knew I should be auditioning for the role of one of the clowns.

I was built for the role of the clown.  From the late night viewings of Monty Python’s Flying Circus on public television back in the late 70’s, to the memorization of, and subsequent repetition of, just about every piece Python and Kids In The Hall I could get my college-aged hands on in the mid 90’s, it was obvious I was infected with the disease known as “sketch comedy.”  Late one night in 1995, the disease took full root and over caesar salads and carafes of orange juice at Denny’s Joe Koyon, Michael McVeigh, Chris Gladis, and I went all out and invented our own Sketch Comedy troupe.  We were called “It’s Just A Phase” and were on the razor edge of comedic genius – we were edgy, sometimes offensive, often introspective, and always hysterical – at least to each other.  You see this was long before the age of YouTube, portable digital video cameras, and your new fangled interwebs.  We ate and laughed and wrote and laughed and ultimately never shot a single frame of the comic gold we had been mining.  And we really didn’t mind. We were making each other laugh and that was what was really important at the time.  Eventually, we all went our separate ways – staying connected over the years in varying degrees through social media and sometimes visits to the far-away lands to which we had all spread out, and somewhere – possibly in McVeigh’s footlocker, is a black and white marble composition book filled with what the outside observer would no doubt think were the ravings of a madman.  So there it ends – the illustrious and meteoric rise and fall of my multiple character comedic disorder – or so I thought until I was offered the role of the clown.

Malini has often commented in the past on my seemingly schizophrenic ability to be jump from self to character in a matter of seconds when we’ve done shows together.  These days, Malini never knows who is walking in the door after a rehearsal. Could it be the ebullient supershowman Compere?  Is a cockney thug ala Jason Statham’s Turkish sitting in the living room playing on the Playstation? Did Ian just walk through the room in a kilt whistling Scotland the Brave?  And did he just call Malini “Meine schatze” in a German accent? The answer these days is yes to all of the above.  This masterpiece of Hitchcockian comedy has finally allowed me to “get my sketch on,” as it were, playing fifteen different characters with some of them actually having conversations with themselves.  It’s wonderfully frenetic, incredibly freeing, and hysterically funny – at least to me.  And while I always hope others can enjoy my comedy I’ve come to realize that there’s nothing wrong with making yourself laugh.

“He who laughs most, learns best.” – John Cleese

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The 39 Steps

A Comedy
by Patrick Barlow
adapted from the 1915 novel by John Buchan and the 1935 film by Alfred Hitchcock

Directed by
Susan Young

The 39 Steps is a raucous comedy based on the Hitchcock movie, a man with a boring life and no passion meets a mysterious woman who claims to be a spy. When she is murdered in his apartment, he finds himself running across Britain from the police and an organization of enemy spies, all the while searching for an answer to a question of national importance: What are “The 39 Steps”? A cast of 4 recreate the film playing over 150 characters in a fast-paced whodunit certain to keep you guessing….what madcap stunt the cast will pull next!

Performances
Fridays, February 22 & March 1 at 8:00 pm;
Saturdays, February 16, 23 & march 2 at 8:00 p.m.;
Sundays, February 17 & 24 at 2:00 pm.

Feb 16, 17, 22, 23, 24, March 1 and 2, 2013

Admission: $14 / $12 for Seniors

CAST
RICHARD HANNAY.........................................KC Scwabb
ANNABELLA SCHMIDT/PAMELA/MARGARET.................Monica Barczak
CLOWN 1.............................................Johnny Young
CLOWN 2.............................................Ian McDonald