REVIEW: Soprano-actress Christina Pecce puts her own spin on a few famous faces in fabulous ‘Witches, Bitches, and Divas!’

In a white suit and glittering heels, soprano and actress Christina Pecce may have paid homage to Beyonce (her style reminiscent of Beyonce’s suit at the Superbowl 50 halftime show), but certainly stepped into quite a few famous shoes with ‘Witches, Bitches, and Divas,’ a one night only, one woman cabaret that took place at the American Repertory Theatre’s (A.R.T.) Oberon Theatre in Cambridge, Massachusetts on Sunday, September 8.  Click here for a closer look at ‘Witches, Bitches, and Divas!’ and here to see where Christina will perform next.

Don’t be deceived by the title.  No witches, bitches, or divas actually appear in the show unless you are referring to “every woman” Christina Pecce.  Her one woman show steps into all three categories to create a partly auto-biographical and comedic musical show covering the likes of Elphaba (Witch) from the Tony award-winning hit musical ‘Wicked,’ Miss Hannigan from the classic musical, ‘Annie‘ (Bitch, if left to interpretation), and diva Mariah Carey.  She also chooses zany selections about marriage and shows off her classically-trained vocal talents performing a soaring French opera and then a tonally-deaf singer with Flanders and Swann’s A Word to My Ear.  The bottom line is Christina Pecce can sing just about anything.

Witches Bitches and Divas Oberon Cambridge

The Oberon in Cambridge, Massachusetts Photo credit to Witches, Bitches and Divas

Accompanied by a trio of powerhouse musicians which included Music Director Steve Bass on piano, drummer George Darrah, and bassist Nick Francese, Christina brings humor and personal anecdotes while adding her own spin to various medleys.  She tackles subjects like nannies, drinking, and gravity and even sneaks in an amusing little drinking game too.

From Sondheim to Nat King Cole, Christina makes her time onstage an unpredictable, interactive treat as she occasionally wanders through the crowd, serenading a few audience members.  She also left a piece of her heart onstage in a stirring rendition of Sondheim’s ‘Being Alive.’  Pecce last appeared at the Oberon in February and from the glowing reception she received when she returned, it certainly will not be her last time.

American Repertory Theatre’s Oberon is an intimate and inviting night club without a bad seat in the house that welcomes a variety of shows throughout the year.  Located at 2 Arrow Street in Cambridge, Massachusetts, the Oberon is American Repertory Theatre’s second stage for theatre and nightlife.  Click here for upcoming events at the Oberon, here to learn more about Christina Pecce, and here for more about the American Repertory Theatre.

 

 

 

REVIEW: Multi-talented Hugh Jackman wows at the TD Garden

Is multi-talented Hugh Jackman better on film or onstage?

Is it worth seeing him when he comes back to Boston?  Is he the Greatest Showman?

One thing is certain – Hugh Jackman is the genuine article.

Some actors who decide to go on tour put on self-indulgent shows of their history in show business and share their general musings about life to promote their next album or film.  They might even sing a song or two.  However, outside the studio, they can’t really sing or dance.   People cheer, even if the show isn’t what they were expecting, but they remember that guy in that film or show who was so great in those roles, and that is enough.

Hugh is one talented guy.  He is a Tony, Emmy, and Grammy award-winner as well as a Golden Globe and Academy Award-nominee.  He has also been on the other side of acting as host of the Academy and Tony Awards.  For his 50th birthday, he wished to go on a world-wide tour.

Hugh Jackman’s ‘The Man. The Music.  The Show’ will continue through October 20, 2019. Click here for show dates.  He’ll also return to Boston’s TD Garden for one more performance on Tuesday, October 1.

Hugh Jackman the Tour

Photo credit to Hugh Jackman The Show

The morning of Hugh’s appearance on Thursday, June 27 at the TD Garden, Hugh Jackman made a surprise appearance serving coffee from a coffee truck in Boston to promote his charity work with ‘The Laughing Man Cafe and Foundation.’  A loyal Bruins fan, he called performing in Boston one of his big dreams.

As superhero Wolverine (in which he demonstrated an onstage pose or two), he showed his dynamic range.  Decked out at first in a white tux, he ran the gamut of styles from flashy costumes to more casual attire with no ringleader costume in sight.  Though he reminisced about his career with a realistic look at his dogged pursuit to find success as an actor, he seemed like a humble, funny, and approachable guy.

A family friendly show, he kept the crowd moving with a broad range of music.  From reaching into an old school vibe with selections such as I’ve Got Rhythm and Mac the Knife to tap dancing to AC/DC to performing a vast selection of musical theatre including lighting up the stage with selections from ‘The Greatest Showman,’ the show had a universal appeal though especially tailored for the theatre buff.  He joined Kaley McKnight onstage to perform a stunning, powerful rendition of This is Me and a sweeping ‘Les Miserables‘ medley.  He also joined members of the Boston Children’s Chorus for a stirring rendition of You Will Be Found from the hit musical, ‘Dear Evan Hansen.’

Hugh Jackman stage

Hugh Jackman at TD Garden in Boston, Massachusetts Photo courtesy of Jeanne Denizard

The second half of the show did not outdo the first, but he demonstrated his range further in the second.  It actually became a bit trippy during his ode to his Australian idol, Peter Allen in which Hugh won a Tony Award for his portrayal as Peter in ‘The Boy From Oz.’  Peter was not only known for songs such as Don’t Cry Out Loud and Arthur’s Theme, but for his over-the-top stage performances.  He also welcomed the audience into his native Australia by recreating the outback, claiming it as one of his most out-of-this-world experiences he has ever had.

So, to answer those questions, I prefer Hugh in his epic films, but he is undeniably a wonderful performer.  The very best is a lot to ask, but his dynamic range is truly great and worth watching on tour or when he returns to Boston in October.  You will no doubt recognize the sheer talent that he has developed over decades of being a singer, a dancer, theater actor, movie star, and a hero.

Director Igor Golyak discusses the shocking and comical show, ‘Dead Man’s Diary: A Theatrical Novel’

Taking a rich, multidimensional look at love and the theatre, the Arlekin Players proudly presents Mikhail Bulgakov’s Dead Man’s Diary: A Theatrical Novel for two weekends from Saturday, March 17 through Sunday, April 1 at Paramount Center in Boston, Massachusetts.  Shocking and comical, Dead Man’s Diary:  A Theatrical Novel is written in Russian and performed by Russian actors with English audio translation, but was created in Needham, Massachusetts.  Click here for more information and for tickets.

Igor Golyak

Director Igor Golyak of ‘Dead Man’s Diary’ Photo courtesy of Igor Golyak Acting Studio

Dead Man’s Diary’s director and head of Igor Golyak Acting Studio, Igor Golyak, discusses this shocking and comical show’s fascinating background, developing the show’s unique style, and what it means to be successful.

Sleepless Critic:  What is it about this show that made you decide to take on this piece?

Igor Golyak:  I fell in love with the novel, a prose piece by Mikhail Bulgakov, which was not published until after his death as it was considered offensive to Stanislavsky and the Moscow Art Theatre. I wanted to adapt this unfinished novel for the stage because I saw it not only as satire on theatre, but as a vow of love to the theatre. Through this production, we wanted to express the conflicts and illusions around realizing oneself in the theatre through Bulgakov life’s work.

Arlekin Players Dead Mans Diary

‘Dead Man’s Diary: A Theatrical Novel’ Photo courtesy of the Arlekin Players

SC:  Arlekin Players is behind this production and they studied under the Igor Golyak Acting Studio.  Please tell me about your studio and teaching philosophy.  How can people join the Arlekin Players?

IG:  Right now, I mostly cast my students because we develop our own theatre vocabulary during the training period. This takes some time. It is a big advantage as I know the capabilities of the actors and how to challenge them. What’s most important in the theatre is the atmosphere of mutual respect and appreciation in the training and rehearsal process.  I aim to create this with the approach I take.  People can join the company by applying, coming to rehearsals, and possibly doing some scenes with company members.  Ultimately, if we mutually agree that the relationship can move forward, they join the company.  We have a family-type atmosphere in our theatre just like in life.  People get to know each other and some join the family.

SC:  This diary is written by a scorned lover.  How would you describe how the show depicts love or the lack thereof?

IG:  I am not sure if there is a better way to express the love for the theatre than through Bulgakov’s words.

The main character, Maksudov says:

‘I returned to the theater which had now become as necessary to me as morphine to an addict.” and “But more important was my love for the Independent Theatre; I was now pinned to it like a beetle to a piece of cork…’  

SC:  The show offers a new perspective on theatre and is at times shocking.  It also can be a bit haunting and bleak.  How did you develop the style of this show?

IG:  Each style of theatre for me is born out of the text, and the world of the author.

The main character says:

‘I started noticing that something colorful was emerging from the white pages.

The vision was not just a flat picture, but something three-dimensional.  As if peering into a little box, I could see the light gleaming and the figures from my novel moving about. Oh, what a fascinating game it was to observe these characters moving about the little room.’

Using this text, we decided to create a box that all the characters live in, and with them, Maksudov, the main character. What kind of box should it be?  Since the play depicts the Moscow Art Theatre in the 1920s, we decided that the shape of the walls of this box should depict the famous portrait foyer of the Moscow Art Theatre with portraits of the great artists of the time constantly staring at the author and characters inside the box.  We then decided that the audience members should portray these portraits, and thus, we have the audience seated around the box, in which characters come alive.  They are looking though their individual windows or portraits as if in a foyer of the legendary theatre.  Maksudov therefore, is forever stuck like Prometheus in the ‘magical box’ or the ‘portrait foyer’ that he loves more than anything in the world.

Arlekin Players Dead Man's Diary cast

A scene from Dead Man’s Diary: A Theatrical Novel Photo courtesy of Arlekin Players

SC:  This show also features its share of absurd comedy as well.

IG:  Correct.  In Maksudov’s eyes, the actors in the theatre hire him to write a play are from a different, exotic, and fascinating world.  It’s as if they are superhuman. The absurdity comes from the heightened level of passion of the characters and their incredible self-delusions, which at times are absurdly vulnerable and poetic, and at times absurdly cruel and self-absorbed. We recognize the faults of the human soul looking through Maskudov’s eyes as if though a looking glass, where the faults become exaggerated and ultimately comical.

SC:  It describes not only theatre, but the writer’s journey and touches upon what it really means to be successful.  What are your views on success?

IG:  My view of success is having a group of artists, a team of sorts, which is united and inspired by each other to produce a specific piece of text.  As a result, they are able to touch the souls of people in the audience.  When this happens, I feel truly successful.

SC:  What do you like most about this show and what is the best reason someone should attend?

IG:  I think the acting, directing, set design, music composition, and collaborative imagination all work together to give this piece an unusual style. We are excited to bring what we believe is a unique contribution to the Boston Theatre Scene. Also, the piece was written in Russian and is performed by Russian actors but was adapted and created here. We are a local company making new work for the last 9 years. We have already had 20 performances of Dead Man’s Diary. For those who have seen and loved it, it has grown even more over time.  See the show and you will not leave untouched.

Click here for more information and for tickets to Dead Man’s Diary: A Theatrical Novel from Saturday, March 17 through Sunday, April 1 at the Paramount Theatre in Boston, Massachusetts.  Follow the Arlekin Players on Facebook and Twitter.

Peter Josephson discusses the apocalypse, The Simpsons, and more as theatre KAPOW debuts ‘Mr. Burns, a Post-Electric Play’

Making its debut in New Hampshire, Mr. Burns, a Post-Electric Play, written by Anne Washburn, is a powerful, wildly funny musical that may offer a whole new perspective on the beloved, long-running television series, The Simpsons, all while staying true to its characters.  Directed by Matt Cahoon, theatre KAPOW proudly presents Mr. Burns, a Post-Electric Play for one weekend only Friday, March 2 through Sunday, March 4 at Pinkerton Academy in Derry, New Hampshire.  Click here for more information and for tickets.

Award-winning actor and Saint Anselm College Politics Professor Peter Josephson shares details about working with theatre KAPOW, the fascination behind The Simpsons, and becoming Homer.

Sleepless Critic:  You work as a Professor of Politics, but you are also a director, you train and teach acting workshops, and have won quite a few New Hampshire Awards for your art. It’s safe to say theatre is your other love.

Peter Josephson:  That’s true. I performed quite a lot in school and in my 20s, but left when I went to graduate school.  For almost 20 years, I didn’t perform and got back into it again almost 10 years ago.  Since I was very rusty, I sought out training and still train as well as teach.  It’s been terrific to get back to it over the last decade.

SC:  What is it like to perform with theatre KAPOW again?  I understand you have taken the stage with them a few times.

PJ:  Quite a few times and I find it valuable to go to other groups.  I have friends there and learn a lot from them.  I hope I bring something to them, but theatre KAPOW is home base for me in terms of performance.  Since my first show in 2010, I’ve typically done 2 or 3 theatre KAPOW shows a year and help lead their trainings.

Matt and Carey are wonderful human beings and have built a theatre company that is always looking for the next exploration, the next way of learning how theatre works, and what we can do with it.  Matt curates the season so we are not just doing a series of shows.  We have an idea of how shows connect and build on one another.  Last year, we did our first musical and Mr. Burns is our second.

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Nicole Viau, Emily Karel, and Rich Hurley in theatre KAPOW’s production of Mr. Burns, a post-electric play by Anne Washburn, March 2 – 4, 2018. http://www.tkapow.com. Photo by Matthew Lomanno

SC:  Mr. Burns, a Post-Electric Play is a unique opportunity to do that.  The Simpsons have been part of the pop culture landscape for decades and have made commentary on politics, entertainment, science, and current events.  What do you think draws people to the Simpsons and as a professor of politics, do you think the Simpsons are insightful?

PJ:  When The Simpsons first started, a lot of controversy surrounded the show because it seemed to snub its nose at family values and traditional morality.  Some scholars take it very seriously as a contemporary text of America.  I have had colleagues at other schools write about it and find it as a way to talk to students about serious concerns in contemporary politics.  People wouldn’t watch it if the show weren’t crazy and funny.  It helps them see more clearly what is going on in their own lives.

SC:  Lately, The Simpsons have predicted a number of things that have come to fruition.

PJ:  Unfortunately, that’s true.  Hopefully the plot of the play doesn’t come true.

SC:  Mr. Burns, a Post-Electric Play has many layers to it.  It’s about surviving an apocalypse and using stories from The Simpsons as a means for survival.

Matt and Carey brought the script to me last spring and I was really struck by how funny it was.  It’s scary, shocking and underneath all of that, it’s an interesting story about how people use culture to work through their problems and how ideas of sacred truths develop culturally.  It’s fascinating and I think Anne Washburn and the actors she worked with when she was writing the script are brilliant.

Theatre Kapow Burns_promo_Feb2018_by_Lomanno_0066_print

Rachael Chapin Longo, Rich Hurley, Nicole Viau, and Emily Karel in theatre KAPOW’s production of Mr. Burns, a post-electric play by Anne Washburn, March 2 – 4, 2018. http://www.tkapow.com. Photo by Matthew Lomanno.

SC:  You play dual roles as Gibson and Homer.  Setting up a cartoon onstage and portraying a cartoon must have been a new kind of challenge.

PJ:  Yes, it’s kind of weird and crazy.  I would expect just about everybody in the audience knows who Homer is and I’m supposed to do that in some way, which isn’t really possible.  I had to find a central trait about Homer, express that, and remind the audience who the character is.  I play Homer in Act 3 and he is put into a different, darker environment.  His response to that is what one would expect Homer’s response to be and that is everything is going to be wonderful.

SC:  Mr. Burns is Homer’s adversary.

PJ:  Yes, Rich plays Mr. Burns in Act 3 and Washburn’s script has taken the cartoon character, identified his corruption, and made that part the most essential thing.  I would guess that if a Simpsons fan sees the show and then watches The Simpsons on television, they are going to see Mr. Burns in a different way.

In the second act, two actresses debate about what we do when we perform a play and whether the primary purpose is entertainment or to express some deeper meaning.  I think Washburn’s script accomplishes both.  Having worked on this play and going back and watching The Simpsons, I don’t look at Mr. Burns the same way anymore because I am aware of what Washburn saw in him and he’s deeper than I thought.

SC:  Bringing the cartoon to life onstage is its own challenge.  Some of the masks for the show are amazing.

Yes, they are wonderful.  We’ll be using masks in late June for an original show we are working on.  It’s an interesting acting challenge.  The masks’ design elements are goofy crazy and I think we have really captured the cartoon-ish quality of the characters and the challenge is to take that quality and put it into actual living human beings.

Theatre Kapow Burns_promo_Feb2018_by_Lomanno_0012_print

Rachael Chapin Longo, Rich Hurley, and Emily Karel in theatre KAPOW’s production of Mr. Burns, a post-electric play by Anne Washburn, March 2 – 4, 2018. http://www.tkapow.com. Photo by Matthew Lomanno.

SC:  Regarding the musical element of the show, I understand it features popular songs from the last ten years.

PJ:  Lady Gaga, Britney Spears, Eminem, and Ricky Martin show up as well as some Gilbert and Sullivan.  There are three acts and in the second act, we’re following a traveling theatre troupe and part of the show features a commercial jingle that we sing and part of the show features six or seven pop hits the audience might remember from a time when we had electricity.  Act three is all singing in a peculiar operetta that is funny, crazy, and frightening.

SC:  What do you think is the best reason people will enjoy Mr. Burns, a Post-Electric Play?

PJ:  I think audiences will attach themselves to it because it speaks to something we are all looking for in wildly entertaining ways. It invites the audience in and makes them part of what is happening.  I’m confident the show will resonate deeply with the audience and keep them laughing.

Click here for more information and for tickets as theatre KAPOW presents Mr. Burns, a Post-Electric Play from Friday, March 2 through Sunday, March 4 at Shepard Auditorium at Pinkerton Academy in Derry, NH.  Follow theatre KAPOW on Facebook and Twitter for upcoming events and more.

A beloved, annual musical tradition, Reagle Music Theatre of Greater Boston presents ‘ChristmasTime’

Adorned in brightly lit snowflakes, sparkling, emerald Christmas trees and wreaths  around the Robinson Theatre stage and festively lined with wooden embroidered angels, Reagle Music Theatre of Greater Boston brings back their masterful, musical theatrical production of ChristmasTime for two weekends from Friday, December 2 through Sunday, December 10.  Click here for more information.

With an enormous cast of nearly 200 consisting of adults and children from Massachusetts representing two dozen regional towns, ChristmasTime is a musical revue accompanied by a live orchestra. The sets and costumes are adorned with festive flair and audiences will witness classic family favorites come to life such as ‘Teddy Bears Ballet’ Radio City Music Hall’s ‘The Parade of the Wooden Soldiers,’ and ‘The Living Nativity’ as well as captivating dance performances.  The show blossoms into a sweet dedication to the Christmas season.

This annual celebration has a strong following, so purchase tickets now.  Each show will be held at Reagle Music Theatre, 617 Lexington Street in Waltham, Massachusetts on Saturdays and Sundays December 2, 3, 9, and 10 at noon and 4 p.m.  One Friday evening performance will be held on December 8 at 7 p.m.

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‘Night Fever: An Evening of the Bee Gees’ January 14 Photo courtesy of Reagle Music Theatre of Greater Boston

Reagle Music Theatre of Greater Boston will kick off the New Year with Night Fever: An Evening With the Bee Gees for one day only on Sunday, January 14 at 2 p.m. Click here for more information and tickets or call 781-891-5600.  Tickets are also available at the theatre box office and Reagle gift cards make a great present for the holidays.  Make Christmastime a family holiday tradition.  Follow Reagle Music Theatre of Greater Boston on Twitter and Facebook for all their upcoming events.

NYC actress, writer, and filmmaker Stephanie Iscovitz talks film career and managing annual ‘New York New Works Theatre Festival’ in October

NYC actress, writer, filmmaker, and casting assistant Stephanie Iscovitz is no stranger to a competitive festival, having been on the winning end and a participant.  She is taking her expertise to a whole new level running the upcoming New York New Works Theatre Festival, kicking off Tuesday, October 3 and continuing through Saturday, Oct. 21 at New York City’s Duke Theatre with the final gala on Monday, Nov. 6 at Theatre 80.

With a wide spectrum of diverse, carefully chosen theatre productions from hundreds of submissions and created by Gene Fisch, Jr., the New York New Works Theatre Festival is a give back project to help the arts community.  It’s an exciting, annual event as award-winning representatives from Broadway and beyond judge the next generation’s promising talent.  Click here for the full theatre schedule, tickets, and here for panelist information.

Stephanie Iscovitz delves into her journey as a film festival participant, what to expect at the New York New Works Theatre Festival, and the message she hopes to convey through her work.  Click here for more on Stephanie and her upcoming projects.

Sleepless Critic:  Starting October 3, you are leading the management team at the New York New Works Theatre Festival.

Stephanie Iscovitz:  Yes, I’m managing the New York New Works Theater Showcase and am very passionate about including as many powerful, female and diverse voices as possible.

 The New York New Works Theatre Showcase is a theatre competition that provides aspiring writers the opportunity to present their work in a top tier theatre while being mentored by a group of Broadway, television producers, and industry leaders. The distinguished panelists are Broadway producers, Tony Award-winners, Emmy Award-winners, or industry executives that volunteer their time to help aspiring writers.  Performances take place in the 199-seat Duke Theatre on 42nd and Broadway from Tuesday, October 3 through Saturday, October 21 with the final gala on Monday, November 6.

I’m eager to take all the wonderful parts of my film festival experience while bringing some great new ideas to the New York New Works Theatre Showcase. As an actor and writer, I know what kind of opportunities I would benefit from and am humbled and excited to provide that for the participants in this year’s showcase.

SC:  You bring a broad range of experience to the New York New Works Theatre Festival, including your training at the T. Schreiber Studio and Theatre, a studio that features Edward Norton, Peter Sarsgaard, and Maria Bello, just a few of their renowned alumni.  What was that experience like for you?

 SI:  With only eleven students in the conservatory, it was an extraordinary, life-changing experience.   When you’re part of an intense, raw, and emotionally-challenging program like that, the people you experience it with become your family.  I still study there as part of their on-going scene study program continually challenged with roles I’m afraid to do.  I was most recently working on a character affected with brain damage.

T. Shreiber Studio

T. Schreiber Studio and Theatre graduate Stephanie Iscovitz T. Schreiber Photo Credit: T. Schreiber Studio & Theatre

SC:  What do you think is the most important thing that T. Schreiber has taught you as an actress, filmmaker, writer, and producer?

SI:  Terry Schreiber notoriously says that you must give yourself the permission to let yourself happen, which has become my mantra. The first couple of short films I made as an actor, writer, and producer had potential, but they weren’t great.  However, I wouldn’t be where I am today or learned as much as I did had I not made those short films, which I consider beautiful stepping stones.  Give yourself permission to fall flat on your face and be patient with yourself on this creative journey because in this business, it’s more about the journey than the destination.

SC:  Having attended a number of festivals in your career, you have firsthand experience participating in what can be incredibly competitive festivals.  What was your first film festival you attended?

SI:  The first film festival I got into was for my first film, Ladies Night, presented at a great festival I return to annually, the 2014 Big Apple Film Festival.  It’s a comedy held in a karaoke bar and I’ve learned a lot after that first film, like avoid writing a film where music rights are imperative. To my surprise, it was very well received and screened alongside Jerry Stiller in the festival program.  I had no idea what I was doing at the festival and was so nervous during the Q&A I could feel my shortness of breath while I was speaking.  It’s a comforting thought that no one really knows what they’re doing and just trying to do the best they can with what they’ve got.

Big Apple Film Festival with Jerry Stiller

2014 Big Apple Film Festival – Stephanie won for her first film, which screened along Jerry Stiller. It was a comedy called ‘Ladies Night’ Photo Credit: Stephanie Iscovitz

SC:  Recently, you went to Long Beach Island for a film festival not long ago.  What is it like for you to attend a festival where your production is featured?

SILighthouse International was the best film festival I’ve attended. Each year, the festival champions a selection of new, often unrecognized films from the US and around the world to compete in the festival and for audience award categories, which screen alongside award-winning spotlight films from Sundance, Cannes, SXSW, Toronto and Tribeca. I saw pre-released films and met other NYC filmmakers, sparking collaboration for future projects.

After the screenings, there were Q&A’s with the filmmakers.  We had our world premiere of Bruce Loves You where the shorts programmer, Chip Parham, ran a stellar screening. It was wonderful to have a captive audience interested in knowing more about our film making process and about of course, Bruce the ghost.

'Bruce Loves You' cast at Lighthouse International film fest

‘Bruce Loves You’ team at the 2017 Lighthouse International Film Festival Photo courtesy of Darin Quan

SC:  As you attend these festivals, do you feel like you get better at the process or is every festival different?  What was it like to win at the festival?

SI:  Every festival is different. We’ve started to call it ‘Game of Festivals’ where you win or die and 99% of the time you die. It’s all so subjective and such a gamble, depending upon who’s watching your submission if your submission was actually watched, at what time of day, and what the viewer’s own personal values and tastes are.  When you are actually accepted out of thousands of submissions, it feels like a real lottery win.

I met one of my closest friends and collaborators at a film festival where our film, Catslaughter had been rejected. After speaking with her, it turned out we had the same exact film except hers was about a sweater and ours was about a cat. She had submitted early and was already accepted when we submitted late.  Timing is everything. A rejection doesn’t necessarily mean your film was bad.  There are a number of factors involved and in this case, they had already programmed a similar film. However, it turned out to be a huge blessing because she and I clicked creatively and have gone on to work together on multiple projects.

Stephanie Iscovitz with Cinder Chou

Filmmaker Cinder Chou at 2016 Big Apple Film Festival Photo courtesy of Stephanie Iscovitz

SC:  What is the message that you hope to deliver through your work?

SI:  I really want to drive social change through storytelling and that begins with representation on film, particularly through the female lens and experience.  I hope to enlighten while helping audiences feel a little less alone.

Tickets are still available to this year’s New York New Works Theatre Festival.  Click here for more information and tickets.  New York New Works Theatre Festival is also on Facebook, Instagram, and Twitter.  Click here for more on Stephanie Iscovitz and her upcoming projects.

Stephanie Iscovitz new role

Stephanie Iscovitz’s new project Photo courtesy of Rutledge Customs

An avid fan of all things Disney, Sarah Kelly discusses being cast as Disney princess Ariel in Company Theatre’s ‘The Little Mermaid’

To Sarah Kelly, award-winning Company Theatre actress, Plymouth State University student, and ardent fan of anything Disney, becoming a Disney princess is another dream come true.  Sarah spent last summer on the Company Theatre stage as sunny Elle Woods in the frothy musical, Legally Blonde the Musical, calling it the best summer of her life.  She spends this summer under the sea as Disney Princess Ariel in Company Theatre’s production of Disney’s The Little Mermaid from July 28 to August 20 at The Company Theatre in Norwell, Massachusetts.  Whether portraying California fashionista turned Harvard law student or a love struck, fish out of water fork enthusiast, what Sarah shares with all of them is her ceaseless optimism.

Sarah Kelly talks about her returning to the Company Theatre, her new sidekicks, future plans, and her unconventional audition.  Click here for further information and for tickets to Disney’s The Little Mermaid.

Sleepless Critic:  You seem to fit right into your role of Ariel in The Little Mermaid just a smoothly as you did as Elle in Company Theatre’s Legally Blonde last summer, a role you won an award for.  What it was like to win for your first lead role?

Sarah Kelly:  Whenever I talk about being a part of Legally Blonde with Company Theatre, I always say it was the gift that kept on giving. It gave me the opportunity to experience leading a show as Elle Woods, work with some of the most incredible and genuine people I’ve ever met, and yes, so blessed to receive ‘Best Actress in a Musical’ from Broadway World Boston.  Receiving this award was an absolute cherry on top of the best summer of my life because I didn’t expect to be nominated at all. To be considered was prize enough and winning is one of the most amazing things that has ever happened to me.  That official validation meant so much to me.

SC:  What interested you in returning to the Company Theatre as Ariel this summer?

SK:  Last year in our interview for Legally Blonde, I talked about how Company Theatre’s family vibe and atmosphere immediately stole my heart. I saw a couple of different shows that were put up this past school year.  When I returned, I was welcomed back with open arms and felt so at home again. Company Theatre is so much fun and I treasure each day.  When I heard they were doing The Little Mermaid, I had to audition because it’s one of my favorite Disney movies and I adore Alan Menken’s work.

SC:  How was the audition process for Ariel different from last year’s and how did you prepare?

SK:  My audition was extremely different for this role because I did a video audition as opposed to last year where I attended the actual audition at Company Theatre. Unfortunately, I was away at school and auditions for Plymouth State University’s fall season were the exact same days as The Little Mermaid’s auditions and callbacks. It’s easier to show your truest colors at an “in person” audition.  Showing what you have as a human being that will make that character you’re trying for special and real is the most important part of an audition.  However, I did my best, memorized the sides that were sent to me, and the song I was asked to sing for my callback.  I guess it really paid off.

Company Theatre Flounder with cast

Colin SanGiacomo as Flounder with cast Photo courtesy of Zoe Bradford/Company Theatre

SC:  It sure did.  Rather than Bruiser from Legally Blonde, you now have a couple of new sidekicks in Flounder and Sebastian.  Please tell me what it is like to work on a Disney musical.  Is this your first one?  The Company Theatre recently completed The Lion King Jr earlier this year.

SK:  Yes, unfortunately, I wasn’t able to see their production of The Lion King Jr, but I heard wonderful things and saw some of the gorgeous costumes.  Aside from playing Kaa the Snake in The Jungle Book Jr in fourth grade, this is my first Disney show and I am living for it. I grew up purely on Disney movies and music, so to be a part of this kind of process and play a Disney princess is a dream come true. The show is so bright, alive, and magical and the direction this specific production is going does the show itself absolute justice.

SC:  I’m sure it must feel a little different to work with a cast who are playing animated characters and creatures.  Such a beautiful set!

SK:  Yes, we have some of the most passionate humans working on this show. The ever so dedicated James Valentin works extremely hard alongside our own personal superman, Ryan Barrow, who is also known as the hot UPS guy from Legally Blonde last summer.  They go above and beyond creating, building, and painting sets. Ryan is one of the many Disney fan girls in our little family and literally will not sleep until everything is perfect.   So many talented hands are helping to interpret the movie’s magic and that magic is right onstage.   It’s so beautiful.  I don’t know how they do it because these two guys are also a part of the cast.  I can’t forget the spectacular Bri Plummer, who brings her unique costume designs to life perfectly.

James Valentin with Flounder and Ariel

Colin SanGiacomo as Flounder, James Valentin as Grimsby, and Sarah Kelly as Ariel Photo courtesy of Zoe Bradford/Company Theatre

Our absolutely brilliant choreographer, Sally Forrest, has such an incredible vision for this show that people need to see to really understand. She wants the audience to believe they are watching the original Disney movie and trains us to think and be animated characters, which is a lot of fun.  The extremely specific motivation and movement direction she gives creates this beautiful and nostalgic picture both children and parents are going to be mesmerized by.

Company Theatre 'The Little Mermaid'

Ronald Vorce as Ursula Photo courtesy of Zoe Bradford/Company Theatre

SC:  Have there been any surprises in portraying Ariel?  Unexpected challenges?  It’s such a fun role.

SK:  Ariel is so much fun to portray. I don’t support all of her life choices considering she gives up her gift of a voice for a legs and a man, but that doesn’t mean she’s not a blast to play on stage. She’s sweet, spunky, lovely, and lively.  A challenge that I knew I was bound to run into with her is letting Elle from Legally Blonde pop in and out. With Elle, I had much more liberty in character choices and playing up my ‘Sarah-isms.’  Ariel is such an iconic animated figure, not to mention princess, so I really wanted to bring her to life in an organic way while staying true to the original cartoon.

Company Theatre Ariel's Royal Princess Celebration

Photo courtesy of Zoe Bradford/Company Theatre

SC:  You’ll be a part of the Company Theatre fundraiser, Ariel’s Royal Princess Celebration on Saturday, August 5 in full Disney princess mode.  I’m sure that will be exciting for you.

SK:  I’m very excited to be a part of the Princess Celebration!  I love working with kids as a day job.  Even when I was in the Hingham Parade on July 4, seeing those beautiful little faces looking up at me like I was an actual Disney princess, made me want it to last forever.  I look forward to creating some real magic for the kids right here in Norwell on August 5.

Company Theatre 'The Little Mermaid' Hingham Parade

Sarah Kelly as Ariel with Flounder at the Hingham Parade on Independence Day

SC:  What are your future plans?  Do you have new acting projects in the works after this?

SK:  My university is putting on Merrily We Roll Along this fall and I was cast as ‘Gussie.’   I’m looking forward to it.  I love a good Sondheim show and I’m portraying a super awful character, but also fun and flirty. Gussie is definitely on the crazy side, which is always a blast!  It’s also directed by one of my favorite people, Beth Daily, and assistant directed by my best friend, Val Umbro, a dynamic duo for sure. I’m also grateful to be assistant directing The Trial with Paul Mroczka in the fall.  It’ll be such a great challenge and growing experience for me.

Click here to learn more about Ariel’s Royal Princess Celebration fundraiser on August 5.  Click here or call the box office at 781-871-2787 for tickets to Company Theatre’s production of Disney’s The Little Mermaid from Friday, July 28 through Sunday, August 20 at The Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts.   Follow Company Theatre on FacebookTwitter, and Instagram for updates and more.