To direct from the stage, rather than off, is not impossible but it is hard to close your eyes as the writer and director when you are onstage as an actor. When you wear that many hats people will continue to turn to you should any problem arise. In 2011, I wrote, directed and acted in “Parker & Dizzy’s Fabulous Journey to the End of the Rainbow” for the New York International Fringe Festival. Hurricane Irene was approaching. When the first act ended I walked offstage, and was notified that our final show was canceled and that we needed to strike our show after the second act in order to get out before the storm hit. I literally had minutes during intermission to figure out how to get vans over to the theater and then still walk onstage for act two and perform as if none of that craziness existed. Needless to say, it’s much less stressful to wear a few less hats. How does it differ to direct your own work versus someone else's? Is one less stressful/ enjoyable than the other? It feels very natural for me to direct my own work because I have already visualized the production from a writer’s point of view. I actually watch the play in my mind and then transcribe it. Call it a kind of channeling if you will. I approach other playwrights’ works in a visually similar way. If you read the play carefully enough, you will start to hear the playwright’s heartbeat and pulse. Before you know it, you’re watching the play in your mind, and you begin to discover a blueprint for your own unique production. There’s no room for stress. Theater is live and everchanging. I live by the mantra, “It will be what it is meant to be.” You've written both musicals and plays. How are they different, and which do you like better? I love musicals because I get to work with my writing partner, Damon Maida, allowing the collaboration process to start much earlier, although I still hole myself up to write lyrics and book. There’s something magical about taking words and turning them into song. There is a very specific timing involved and every word becomes very important to the musicality. Writing musicals greatly helped me as a playwright. It really forces you to become very specific with word choice and intention. But I like writing EVERYTHING. Comedy, drama, musicals. You name it, I want to tackle it. Who are some actors and writers that inspire you? When I was blocking “One Love,” I just kept praying for the spirit of Mike Nichols for inspiration. Brilliant director. Woody Allen is an ultimate writer/director inspiration. Harvey Fierstein’s plays and inventiveness greatly influenced me, especially with this current play. Mel Brooks. George Lucas (as anyone who has seen my apartment can attest to.) The list of actors is endless. When I was an unemployed actor in the 90s and I was writing plays while temping on the job, I had an odd idea of writing to my favorite actors thanking them for inspiration. It started with Betty White. Then Whoopi. Robin Williams. Shirley MacLaine. Bob Hope. And they all wrote back! I have a wall of pictures in my kitchen and books of correspondence. Just from writing a letter of thanks. You can do a lot when you put thought to paper. I am attracted to anyone who dares to tell a story and does it in the most personal and daring way. If someone asked you why they should come see your show, what would you say? Because my mother said so. And you don’t want to make Mother mad. OR you can come because you will see a play with a little comedy, a little drama, a little fantasy, an original musical number and a cavalcade of characters that will make you smile and think. Is there somewhere you like to go in Astoria to write and be creative? Well, I have written every play or musical in the bedroom of my Astoria apartment. But I do get the most inspiration in the bathroom of the apartment. Not sure what that means. What would you like people to take away from this story? What do you hope they say as they walk out of the theater? I think people will walk away from “One Love” realizing that one person’s problem can affect a village of people. Hunter has the problem but it affects everyone around him in varying ways. Sometimes it’s even safe to keep the loveless around to make you feel better about your own problems. I hope people walk out of the theater saying, “Wow. That was some hell of a production! It had everything. Let’s get some pizza.” TO PURCHASE TICKETS: www.theaterforthenewcity.net PERFORMANCE DATES: May 5th-22nd, 2016 Thursdays, Fridays & Saturdays at 8:00 p.m. Sundays at 3:00 p.m. PERFORMANCE LOCATION: Theater for the New City 155 First Avenue (btwn 9th and 10th Streets) 22 I BOROMAG.COM I MAY 2016 NIGHTLIFE + ENTERTAINMENT
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