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roristevens · 7 years

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My thoughts on the Broadway cast album (3) -- spoilers

This post will cover the rest of the Act One songs.

9. “What Could Possibly Go Wrong?” -- Replaces “It’s Teavee Time” from London. This switches between an “All-American school fight song”-style march for Mrs. Teavee and a electric guitar-shredding bridge for Mike. Although it’s suggested that this Mrs. Teavee is just as much of a Stepford Wife-type as her London counterpart was, to me she sounds a lot jollier, just deluded as she sings about all the great things about the U.S. of A. (medications, alcohol, guns, online message boards, etc.) and how it raises its kids (treating them like special snowflakes).

The merry melody (or looney tune, pick one) is fun enough that the lyrics sound funnier and less tired than they actually are. Again, the lyrics seem to have the wrong priorities -- where “It’s Teavee Time” focused on how Mike was almost sociopathic and certainly destructive (I’ve always seen it as a close cousin to “Dentist!” from Little Shop of Horrors), and what that meant for his mom in particular, this is just a goof on U.S. patriotism (notably malcontent and president get rhymed) aside from Mike’s stretch.

Mike’s stretch sounds a lot like something from a 1990s Chuck E. Cheese commercial, and it’s about as relevant. Rather than be obsessed with violent video games (having his favorite be called Captain Knuckleduster showed how closely the creators had read the novel), he’s a social media freak. I suppose the techno-rock that he had in the London version is already kind of dated, but given that “Vidiots” was ported over to Broadway intact, what was wrong with “It’s Teavee Time”?

If there’s one performer the reviews for this show had absolute sympathy for it was Jackie Hoffman as Mrs. Teavee. She does put her heart into it -- she reminds me of Carol Burnett in her more manic modes -- but again, acting funny and being funny are two different things.

10. “If Your Father Were Here” -- Retooled from the London version’s “If Your Mother Were Here”, this is now a solo for Mrs. Bucket. Not much is actually changed from the original, but I agree with the critics/online commenters who would rather have had “Cheer Up, Charlie” in this spot if the show was going to use songs from the ‘71 film and get rid of Mr. Bucket. Actually, he appears in a dream ballet in this sequence according to reviews, but there’s no instrumental break here; I assume they just chose to skip a dance break on this recording?

11. “I’ve Got a Golden Ticket”/”Grandpa Joe” -- "Grandpa Joe” refers to the lyrics that opened “Don’cha Pinch Me Charlie” in London and are here interpolated into one of the best songs from the ‘71 film. It’s workmanlike and small (Charlie, Grandpa Joe, and Mrs. Bucket) compared to the glorious “Don’cha Pinch Me Charlie” in London and lacks the life and relative realism of its cinematic counterpart. It feels somewhat rushed and perfunctory, just checking off more boxes.

12. “It Must Be Believed to Be Seen” -- Hoo boy. This was the song that sold me on the original London production of this show and Douglas Hodge’s performance. When I first heard it the fact that it felt both familiar and new was incredibly exciting, and Hodge put everything into his performance. He really was that electrifying live too.

Again, Christian Borle is a fine singer, maybe better than Hodge technically, but he simply isn’t in the same league of characterization as Hodge. I think how he handles the opening lines (when Mr. Wonka’s pretending to be frail) sums up everything wrong with his approach to comedy -- I could see people being fooled by Hodge’s soft, wavering voice and mannerisms, but Borle goes all in on the “old man” voice and it just becomes a cartoon. Combine his unimaginative performance with what sounds like a much smaller/weaker orchestra than the London production had -- the underpowered music is a major shortcoming of this recording throughout -- and it’s not a patch on the original.

Also, having the ensemble sing along with Borle starting with “Your life’s about to change now/So don’t get left behind” makes no sense. This is Mr. Wonka’s song; he’s being the Pied Piper and selling these unsuspecting vict- I mean guests the bill of goods; they should be just following his lead.

End of Act One.

#charlie and the chocolate factory #charlie and the chocolate factory the musical #charlie and the chocolate factor broadway #CharlieChoc #willy wonka #musical theater #musical theatre #broadway #musicals

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thexwanderingxsouls · 4 years

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Munday meme --- 19, 20 and 33

19) Name 3 favorite fictional characters?

Josephine “Jo” March - Little Women by Louisa May Alcott (She was the first female character I ever encountered who wasn’t afraid to speak her mind or march to the beat of her own drum, and I took to that like a fish to water.)

Vanda Jordan - Venus in Fur by David Ives (She’s a mess, she’s audacious, she’s sexy, she’s smart and I’m always enthralled by her arc in the play and how she’s able to turn the tables on Thomas. Always a favorite whenever I see or read this play.)

Noah Shaw - The Mara Dyer Series by Michelle Hodkin (Purely for the entertainment factor with this one. I adore the way this character is written. The author has done a beautiful job of writing Noah in such a way that you can hear him in your head as you’re reading. I also love his layers as the series goes.)

20) Name 3 least favorite fictional characters?

Dolores Umbridge - Harry Potter Series by J.K. Rowling (I want to air drop this woman into the open mouth of a volcano and watch her sizzle. She is pure evil and I hate her to the depths of my soul.)

Christian Grey & Anastasia Steele - Fifty Shades of Grey Series by E.L. James (These two combine into one very unhealthy relationship that displays a manipulative and abusive arrangement to readers and calls it BDSM. This is not a good representation of consensual and ethical power exchange and generally makes me incredibly uncomfortable, especially as a kink/BDSM educator who’s passionate about the focus on safe, sane, and consensual practices within the community. Okay, stepping off of my soap box. That was a tangent.)

Bob Ewell - To Kill a Mockingbird by Harper Lee (Unashamed racist who acuses an innocent man of a heinous crime. His characters strikes too close to home for some truly horrendous people I’ve met while living in the southern bible belt.)

33) 3 interesting facts about you

At the theatre where I did a performance internship at during highschool, I performed in Rogers and Hammerstein’s Carousel alongside Ben Crawford (current Phantom on Broadway, formerly Mr. Salt in Charlie and the Chocolate Factory, and Brian D’Arcy James’ replacement as Shrek on Broadway) as well as individuals who have performed in Wicked and Les Miserables on Broadway. Former coworkers are also on tour with Phantom of the Opera, Wicked, and Hamilton.

I sing in a Hamilton concert group called Hamiltunes and have had the opportunity to sing as Eliza Schuyler-Hamilton for several of our shows. We also got to perform at the Broadway touring theatre in our city to help promote ticket sales for the Hamilton National Tour.

I speak enough German to get by in most everyday conversations! My grammar is absolute crap, though.

#answered #Anonymous #ooc

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thisislizheather · 6 years

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February Feats

So happy that February flew by this year, although with no snow in New York it felt a little sacrilegious. I think this has been the least snow I’ve ever experienced in a winter in my life and it feels awful. There’s still a few weeks left of the season, so I guess that could change but I mean snow in March? Give me a break. Here’s what went down this month.

NATHAN DID THE TONIGHT SHOW! And it was amazing. So crazy proud. I got to go with him to 30 Rock and everyone was so nice and it was incredible.

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I rewatched As Good As It Gets and what a terrible movie! No way in hell would Helen Hunt get together with Jack Nicholson. C’mon.

I started watching The Haunting of Hill House and I don’t think I’ll continue. Reasons? 1. I don’t think I like horror shows. Movies? Sure, that’s a fun time with an end date of a few hours. 2. What awful parents would keep their millions of children in a house like that? 3. Maybe it was a bad idea to start this in February, when it’s nowhere near spooky season, that might be my fault.

Saw Happy Death Day 2U with Nathan on Valentine’s Day because I wanted to see something and WOOF, what a nightmare of a movie. I knew it would be terrible, but it still shocked me.

Read Ellie Kemper’s latest book.

Finally caught up to the end of season four on Broad City and goddam is that a perfect show. Excited to start season five soon.

I rebought Essie’s Apricot Cuticle Oil because I used to love it and then finished it and forgot about it. It’s such a great product but you do have to use it at least semi-daily to see a real difference in your cuticles.

Went to Charlie Palmer Steak for a Restaurant Week lunch and even though the environment is kind of stuffy, the food was really good. I love when pasta is offered as an appetizer, it’s always the perfect amount. The tagliatelle was really good and the steak sandwich was great (if not a little too bread-y). That sandwich is also the “official sandwich of Madison Square Garden” which everyone tells you a thousand times upon entering the restaurant, so that’s something too, I guess?

CANNOT WAIT FOR THIS SHOW TO COME OUT mainly because of how amazing the book is. Airs March 15!

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Love that Trader Joe’s keeps putting out new candle scents. The Lemon Cookie one is fantastic.

Loved the Big Mouth Valentine’s Day special. Obviously over the moon pleased that the lady bug was in it.

So I tried Ree Drummond’s Caesar salad dressing recipe and I wasn’t a huge fan of her dressing itself (Teigen’s dressing is better but of course it is because of the mayo), BUT I loved the way she does her croutons. They turn out really crunchy on the outside, but still super soft on the inside, it’s genius and I’ll include how to do it below.

Ree Drummond’s Croutons recipe: Slice the (French or ciabatta) bread into thick slices and cut them into 1-inch cubes. Throw them onto a baking sheet. Heat some olive oil in a small saucepan or skillet over low heat. Crush-but don't chop-the garlic and add them to the oil. Use a spoon to move the garlic around in the pan. After 3 to 5 minutes, turn off the heat and remove the garlic from the pan. Slowly drizzle the olive oil over the bread cubes. Mix together with your hands, and then sprinkle lightly with salt. Toss and cook in the pan until golden brown and crisp. Add a little butter for more flavor.

Honestly, those croutons were so good that I had a few leftover that I put in a pappardelle tomato pasta the next day and… whoa. Have you ever put croutons in a pasta before? Holy fuck was it good. The crunch factor in an otherwise texture-less dish was unbelievable. How is this not a thing that everyone is doing? We all need to wake the fuck up.

I also made Ina Garten’s cauliflower toast and my god, IT WAS AMAZING.

A new bar opened in my neighborhood called The Huntress, so we went and it’s pretty good! It’s mostly a wings places and they were really tasty (and that’s coming from someone who does not enjoy wings - the bones are too tiny and gross and no thanks), but these were really good. They also have poutine (!) on the menu, and even though the gravy is much too salty, the beautifully authentic curds were appreciated.

I always forget about the one bottle of Tom Ford nail polish I have, but it lasts me a full week whenever I wear it. I mean, the price is stupid, but it does last a decent amount of time.

Have you heard of the site or the book Desserts For Two? Pretty self-explanatory, but it’s created by a woman who makes recipes specifically for two people. I tried her chocolate cake recipe for Valentine’s Day and it was delicious. The cake was so good, but I really didn’t care for her frosting, if you do try this one definitely find a better icing recipe online or better yet just buy the premade one they sell at grocery stores. Or even just top it with Nutella. Fuck, I’m hungry now.

Watched all of Difficult People and I mean… SUCH a great show, which everyone obviously knows by now, it just took me awhile to finally get there and see it. Other than it being a great show, I was completely in awe of Julie Klausner’s wardrobe. I wanted everything she wore.

This Lemon, Bacon, Kale, Cauliflower pasta blew my face off, I made it three days in a row.

I rewatched a lot of the last season (spoilers ahead) of Dawson’s Creek (does it sound like a don’t have a job? I do! I just don’t work very hard) and when Jen dies and then Grams says to her, “I’ll see you soon, child. Soon.” I fucking sobbed. BUCKETS. My god. I mean, see for yourself. (And if your reaction isn’t quite as strong as mine… look inside yourself, maybe.)

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I have wanted to try this Serious Eats potato recipe forever so I did and it just didn’t work out the way I wanted it to. Some of the potatoes turned out the way they were supposed to, but you’re really supposed to do this technique with a real oven and not a tiny convection one like I have. The few that came out the way they were supposed to were really good and crispy on the outside and soft on the inside, but the effort involved in this recipe was too next-level. Maybe as a Thanksgiving recipe it’d make sense?

I watched the Versace series on Netflix and holy heavenly fuck, it’s a bad one. I only lasted about three episodes before I just couldn’t go any further. SO terrible.

Had a slice at Scarr’s in the Lower East Side and it was very decent, definitely one of the most solid pepperoni slices in that area. UPDATE: Definitely don’t go late at night, they’ve been sitting around all day and they suuuuuuck right before closing.

I now know how to make a steak at home and there’s no turning back now. I’ve been forever intimidated by cooking steak at home because it seemed like such a hard thing to do properly. (I did it once a few years ago and, like, tripled the amount of cream sauce I put on top and felt so sick I didn’t ever want to do it again.) But I did it on two separate occasions this month and I think I’m maybe kind of a pro at it now? This Tasty video helped so much. The only tip I can offer is to use normal salt and not the course kosher salt that I did on steak #1, that baby was inedible because of that course salt. Oh! And for the sauce that you obviously have to serve your steak with, it’s best to grind your own peppercorns in a spice grinder. I don’t know why, but I feel like this was the most important step. I have a lot of steak thoughts. I’ll stop.

I tried the tacos at Empellon Al Pastor in the East Village and while they were pretty good, I found them slightly on the expensive side for a place on Avenue A. We can all calm down a bit.

I visited Sweet Moment in Chinatown for a latte and it was a pretty cute experience even if the service was a little salty. If we’re being real, people only come here because Instagram exists, which isn’t necessarily a bad thing. The cream art choco latte that I had was ridiculous good, which makes sense because I have a sneaking suspicion that it’s just melted chocolate in a cup.

I visited the Glossier flagship store again because I was in the neighborhood and I (finally) tried out their Boy Brow. And let’s get this straight, I tried it on even though I already had other eyebrow products on (ColourPop’s Brow Boss Pencil as well as a little Milani Easybrow) which was maybe a dumb idea, but I didn’t want to wipe my eyebrows off and try the Glossier one incase it sucked and then had to walk around the rest of the day looking like a psychopath. SO, that being said, here’s what it looked like using all three products.

They look pretty full, right? I kind of think too full. I don’t know, maybe I’m a maniac. I should’ve done a before and after photo, not just an after. I just don’t see the big deal about their products. I feel like every item Glossier sells is something you need to use in combination with something else so it’ll actually look like something’s working. In conclusion, I have no idea if this is a good product or not and that’s really irritating, even to me.

Chrissy Teigen just announced that she’s gonna start her own website with new recipes! Amazing news!

I ate the pepperoni slice at Mama’s Too on the Upper West Side and all the good reviews about it ain’t lying. Crazy good slices. Might even be better than Prince Street Pizza.

I tried the mini Thickening Spray from Bumble & Bumble in my continued attempt at hair domination (and may I suggest that you always buy the mini size of any new hair product you’re trying? It makes so much more sense and is much cheaper) and it worked out well! I’ve only used it once but I think it’s a good product, next time I’ll definitely try it on my roots as well to see what it can really do. UPDATE: Definitely don’t spray it on your roots, it works much better if you use it sparsely on the rest of your hair when damp.

I saw Waitress on Broadway and just wow. I haven’t been to a show in years and I forgot how much fun they are. This one was absolutely no exception. I went because a friend of mine that I met at the restaurant is in it, so I went to see her and not only was she phenomenal (Jessie Hooker-Bailey), the entire show was incredible. Joey McIntyre was great. Also? They had these mini pies for sale at intermission (genius) and the Salted Caramel Chocolate Pie is literally reason enough to go see this show. I need that recipe and I need it badly.

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A post shared by Liz Heather (@lizheather) on Feb 28, 2019 at 9:13pm PST

I finally ate at Sardi’s (which is something I’ve wanted to do for years) and sat at (in my opinion) the best corner booth under Dr. Ruth. And while I wish I had more to gush about, I… don’t. Ugh! I really think I just ordered bad. I only got the steak tartare and it was probably the most disappointing one I’ve ever had, which sucks considering it was also the most expensive. I knew I should’ve ordered the crab cake. That being said, I will definitely return mainly because the service was so impeccable that you’d have to return. Everyone was crazy nice and accommodating and pleasant, this one is just my fault I think. Also, I need to stop ordering streak tartare. I’ve already found the place that makes it the best (The Dutch) so why the hell am I still looking? I feel like a happily married man who can’t stop looking for something better to come along. STOP!

HELLO BEST MONTH OF THE YEAR, MARCH!

#February Feats #monthly post #this is liz heather #Liz Heather #pizza NYC

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vileart · 7 years

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Enterprise Dramaturgy: Brian Parks @ Edfringe 2017

Americana Absurdum Productions Proudly Presents

Enterprise

VENUE: Studio Two - Assembly George Square Studios, George Square, EH8 9LH

TIME: 1:35pm

DATES: 3rd -28th August (not 14th or 22nd)

PRICES: Weekend £11-£10. Weekday £10-£9. Previews @ £8

TICKETS: 0131 623 3030 / http://ift.tt/M4NaXC

AGE RESTRICTION: 14+

Originality and ‘Enterprise’ abound this August as the Fringe sets itself for the UK premiere of Fringe First winner and internationally acclaimed playwright Brian Parks’ brand-new, fast-paced and surreal comedy.

With their corporation on the brink of collapse, four panicking businessmen have one desperate night to save their futures. Emergency proposals, email hacking, animal sacrifice – will any of it work?

Landry, Owens, Sanders, and Weaver arrive at their office on what seems to be an ordinary day in their corporate skyscraper. But their morning takes a dramatic turn when Owens starts to smell—literally smell—the collapse of the company’s stock price. Soon the Board of Directors is in meltdown, and the four middle-managers band together with twenty-four hours to rescue the company, and themselves. It’s a project that takes them deep into a bizarre night that involves espionage, hypnotism, and, perhaps, an imp. But what will all their fates be the next morning?

The hour-long play is told in forty-five quick-moving scenes and takes the office comedy in a wonderfully odd new direction. Enterprise is a play in the spirit of Parks’ comedies Goner and Americana Absurdum, the latter of which helped launch the New York International Fringe Festival in 1997, where it also won the Best Writing Award. It went on to win a Fringe First award at the Edinburgh Festival Fringe, and became the first play produced by London’s Menier Chocolate Factory theatre.

What was the inspiration for this performance?

I’ve always loved the way people in business suits look onstage – there’s something very clean and sculptural about it. So I decided a while back that I wanted write a play where all the characters are wearing business suits. That general original impulse eventually became “Enterprise,” a semi-absurd comedy about four business people trying desperately to save their collapsing company overnight. We’re performing it at Assembly George Square Studio 2. It’s the fifth project I’ve had at Assembly, and I’m eager to be back.

Is performance still a good space for the public discussion of ideas?

Of course. Though I’m not sure “Enterprise” is exactly burdened with ideas!

How did you become interested in making performance?

At some point I discovered that I had a certain facility with dialogue, plus theater allowed for a kind of strangeness that I like. I also really enjoy the energy that a good play can create in a room. That’s something I’m always after both as a writer and as an audience member. The first play I ever really liked was also an inspiration: a production of “Rosencrantz and Guildenstern Are Dead” at Wayne State University in Detroit. Many years later I learned that the play was first staged at the Edinburgh Festival Fringe, so there’s a nice connection there.

Is there any particular approach to the making of the show?

My intention was to have the production by very simple physically, and then let the great comic actors have fun with it. This one is told in many brisk scenes.

Does the show fit with your usual productions?

It fits in with one wing of the plays I write: fast-paced, surreal/absurd comedy. “Enterprise” is a bit similar in style to my plays “Americana Absurdum” and “Goner,” both of which we did in Edinburgh at Assembly. Both were well-received – “Americana Absurdum” won a Fringe First. Hopefully folks will like this one too. If not, well, it’s short.

What do you hope that the audience will experience?

That they’ll come away changed people. No – scratch that. That’s creepy. Could get sued by their families if that happened.

What strategies did you consider towards shaping this audience experience?

The theater’s shape is rectangular. The audience will have a good, rectangular experience.

BRIAN PARKS (playwright) is an American playwright whose work has been produced in New York City as well as several cities across the U.S. The plays have also been produced worldwide from London to Berlin to Adelaide and beyond. His other plays include American Absurdum, Goner, American Poodle (Splayfoot) and Imperial Fizz, all of which have garnered top critical acclaim at the Edinburgh Festival.

In New York City, he has worked with various theatre companies, including the Present Company and Clancy Productions and has had his plays published; Imperial Fizz by Josef Weinberger, Ltd., London, and The Invitation in the collection Plays and Playwrights 2010 by the New York Theater Experience, Inc. He has also served as the theatre editor of The Village Voice in New York City, and as Chairman of the Obie Awards. He holds an M.F.A. in Playwriting from Brooklyn College and has been a playwright in residence in his own residences.

DAVID CALVITTO (director). 2017 marks David’s 14th Edinburgh Fringe since 2000, acting in 19 different plays and directing twice, including seven Fringe First winning-shows at the festival; Americana Absurdum (2000), Horse Country (2002), Fatboy (2004), Screwmachine/eyecandy (2005), The Exonerated (2005), The Event (2009-producer) and The Christians (2015).

Besides his on-stage work, David has directed in the US, the UK and in Australia, including two site specific immersive theatre productions: The Hunchback of Notre Damn at 900 year-old Selby Abbey in Yorkshire, and Macbeth in London at the Clerkenwell House of Detention, which is haunted and where he recorded a ghost on film. Other directing credits include The Half by Richard Dormer, Brian Parks’ American Poodle - Splayfoot, Specter, The Conversation, A Streetcar Named Desire, True West and American Buffalo.

As an actor at the Edinburgh Fringe, David has been nominated three times for The Stage Best Actor award and once for Best Solo Performer, winning best actor for his role in Horse Country in 2002. In 2011, he was named the Best Theatre Performer of the Adelaide Fringe Festival for his performance in The Event by John Clancy and was given a statue and an envelope stuffed with $500 in cash and felt like the bride at a Mafia wedding. In 2004, he starred in Guy Masterson’s production of 12 Angry Men, laughing a lot and in a bit in awe of Bill Bailey, Stephen Frost, Andy Smart, Steve Furst, Ian Coppinger, Jeff Green, Owen O’Neill, and comedian turned movie star, Dave Johns.

In 2013, David starred as Juror 2 in a completely different production of 12 Angry Men, this one in London’s West End at the Garrick Theatre with Martin Shaw, Tom Conti and the late great Robert Vaughn.

CAST

BRIAN DYKSTRA (Landry) is an actor, playwright, and HBO Def Poet. He is the only person (other than Mos Def) to appear on HBO Def Poetry and Chappelle’s Show in the same season, appearing in the premiere episode as Dave Chappelle's “White Hand Man” in the infamous “Blind Hatred” sketch. Season one is still the biggest selling DVD in history.

Acting credits include Americana Absurdum by Brian Parks, Johnny “Rooster” Byron in the first (and so far only) professional regional theatre production of Jerusalem in the U.S., Mark Rothko in Red, LBJ in All The Way, Eddie Carbone in A View From The Bridge, and Shakespeare’s Sir Toby Belch, MacDuff, Claudius, Capulet, and Benedick. He appeared on Broadway with Tom Hanks in Lucky Guy written by Nora Ephron and directed by George C. Wolfe.

As playwright, he wrote and starred in his play Clean Alternatives in four productions including the Edinburgh Fringe 2006 where the play was awarded a Fringe First Award. Other plays of his include Hiding Behind Comets, The Two of You, Strangerhorse, Forsaking All Others, A Play On Words and Silence! His latest play, Education is slated to open in NYC in March of 2018 at 59E59. He is a Lark Play Development Center Core Artist and awards include a National Theatre Conference Stavis Award, a Lester Bangs First Person Journalism Award, an End of the World As We Know It award for poetry, and was named a Distinguished Alumnus from California State University.

His political stand-up / solo-shows, Cornered and Alone, The Jesus Factor and Selling Out have been sold-out hits in NYC and LA.

http://ift.tt/2s0WieR

JONATHAN FISHMAN (Owens) has performed in and directed numerous plays over his theatrical career across the US and internationally. This production of Enterprise reunites him with Brian Parks, having appeared in the premiere production of Brian’s Vomit & Roses at NADA in New York City, and then multiple roles in Parks’ Wolverine Dream, the two one-acts that make up Americana Absurdum. Born in England but raised in the US, Jonathan spent five years as ensemble member of the Present Co., a Manhattan based theatre collective started by multiple-fringe first winners Obie Winnerand John Clancy, along with his wife Nancy Walsh, where he starred in John Clancy’s The Paper Man and Don Nigro’s evening of one-acts Nigromantia, both directed by Mr. Clancy. He is a founding member of the New York International Fringe Festival which recently celebrated 20 years as New York’s premier fringe festival. He recently appeared as Jerry in the razor-sharp black political comedy Spin by Robert William Sherwood (Women’s Theater Company, Parsippany Playhouse), Mickey in David Rabe’s Hurlyburly (UC Performing Arts Center), Charlie Fox in David Mamet’s Speed-The-Plow (Cranford Theatre) and George Hay in Moon Over Buffalo , for which he was nominated for the NJACT Perry Award Outstanding Lead Actor in a Play.

http://ift.tt/2rvDFMv

CHRISTOPHER CARLY (Sanders) starred as ‘Father Janovich’ in the feature film Gran Torino opposite Clint Eastwood and appeared in 2/3’s of Martin McDonagh’s Leenane Trilogy; first in the 1998 Broadway production of The Beauty Queen of Leenane in the role of Ray, and then off-Broadway in A Skull in Connemara in 2001. He has appeared on American television in The Crazy Ones (CBS), CSI: NY, House M.D (Fox), Law & Order: Special Victims Unit, The Sopranos (HBO), Veronica Mars and the recurring role of Jeff in the Aaron Sorkin NBC series Studio 60.

Christopher also performs stand-up comedy and will be appearing at different venues throughout the 2017 Edinburgh Festival.

Stand up: http://ift.tt/2s0GuIV (password: carley)

MATT BOSTON (Weaver)

This production marks Matt’s third collaboration with Brian Parks, having performed in the world premiere of his play, The House, and the ten-year New York Fringe Festival Anniversary production of his Americana Absurdum. He’s been seen in leading roles in most of the U.S’s top regional theatres, including the American premiere of Tom Stoppard’s The Invention of Love at A.C.T in San Francisco, the inaugural production of the Pulitzer Prize-winning play, Water By the Spoonful, by Quiara Alegria Hudes at Hartford Stage, and the premiere of Donald Margulies’ adaptation of God of Vengeance at ACT in Seattle. Most recently he originated the role of Shylock in District Merchants, a new adaptation of The Merchant of Venice by Aaron Posner at Folger Shakespeare Theatre. He was also kinda known as a child star, having appeared in over 70 episodes of the family classic Camp Wilderness on the ABC network in the 70’s. Since then he’s been clawing his way back into fame with roles on television in The Blacklist, Blue Bloods, Mysteries of Laura, Law and Order, One Life to Live and All My Children.

from the vileblog http://ift.tt/2rvOspX

#Theatre #Blogger #visual art #Edinburgh Fringe #Experimental Critique

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