Kirsten Vangsness - March 2005 

Kirsten Vangsness is the 2005 recipient of the LA Drama Critics Circle Natalie Shafer Award for Best Emerging Comedic Actress, which was awarded to her this past March 21, 2005 at the Coronet Theater. Currently Kirsten Vangsness is part of the ensemble THE LEARNED LADIES at the Theatre of Note, of which she has also produced. (Read the Maestro Review) She is also a ’15 Minute of Fem’ Best Actress Winner. This talented individual took some time out for a candid interview with the Maestro Arts & Reviews correspondent Adrian Rennie to speak about her latest project and then some.

Adrian: Hello there Kirsten, it's a pleasure to meet you. Currently you are cast as the nutty Belise in the Theatre of Note's production of THE LEARNED LADIES. How are you enjoying the run so far?

Kirsten: I am enjoying it enormously. If someone had told me before that the best way to learn about sit-coms is thru Moliere I don’t know if I would have believed them but I am learning so much about timing and rhythm. And the cast is like liquid soul candy and we just keep getting more and more in sync and discovering and discovering, it's like a whole different show than it was the first week, which is always the case for theatre.

Adrian: The character you play Belise is quite the off the wall person. Tell us a little about her, and how you  prepared yourself to fill her shoes.

Kirsten: Belise is that "kooky aunt" that you wish you had, or if you have one maybe you don’t wish it....she's the one whose perfectly comfortable giving her niece a vibrator for her bat mitzvah kinda chick. Very comfortable with her sexuality,  way into any and all new agey hoo-hah she can get her hands on. A victim of too much money/too little time/ not a great deal of gray matter but a whole lotta woman. I found the parts in me that were like her and ... just sat around in them. Walked around naked a lot. Started reading tarot cards. Kooky stuff. She's much more confident than I am so that was fun too, to find that. Is that enough of an answer?

Adrian: You are also involved in producing the Los Angeles Premiere of the LEARNED LADIES. How did this come about? Why chose this script?

Kirsten: The director, Larry Biederman, had approached the company with this translation and we needed a producer in order to get it done. He actually had a list of classics he was interested in but THEATRE OF NOTE including myself really wanted this . Larry had directed a play in our late night festival last year and I just dug him so much that I wanted to make the play happen. It was also great to do because I learned so much about the other side. I am usually just the "talent" so to have to single handedly do all the other things behind the scenes was crazy cool in that I learned how to fundraise and how much a set costs and actor wrangling and ego stroking and all kinds of things. I am really proud of its sensibility I love the whole Willy Wonka/Tim Burton/ wacky/laugh -in feel its got. We picked this play because it really speaks about the ‘LA self help spiritually take care of keeping yourself comfy’ vibe. And the translation was so modern and interesting and this play is so rarely done

Adrian: Got it. Tell us a little about the Theatre of Note. How long have you been involved with their company?

Kirsten: I have been an active member for about three years although I was a member for 5 and it took me two year to not be so intimidated by the energy there. It's a beautiful place where art really comes first and everyone is kind and that is rare. NOTE is a company of folks who like doing new stuff and saying new things or things in different ways. We are democratically run so the sensibility changes sometimes we are more punk rock and sometimes we are kooky and sometimes...just depends on the voice of the people....

Adrian: Any favorite moments to share with the Theatre of Note or with any past stage production ?
Kirsten: Favorite moments.....so so MANY. A brilliant actress named Stacey McQueen and I were doing our two/person one man show as a rental last summer there at the same time "EAT ME" was playing there (an amazing play written and performed by company member Jackie Wright that has been nominated for a TON of LA weekly awards) and "EAT ME" had this really frightening set. Like creepy. And it was so cool to go there and do our flighty comedy with all it's silliness and cupcakes (we really served cupcakes) and Jell-o shots and jokes on the same stage that would on other days transform into this whole other being. That’s how note is we all are different, and have different loves but the core of it is discovering new ways to say stuff or to try things....jeeze I hope that makes sense. And we have the best after parties in town. Hands down.

Adrian:  Excellent. Sounds like you really enjoy this craft. How long have you been 'an actor' ?

Kirsten: I would say ninth grade was when I realized I was good at it. My mom forced me to take an acting class because I was too shy and would not talk. It ended up being the thing that kept me not flunking out of school. I am [receiving the 2005 LA Drama Critics Circle Natalie Shafer Award] and I am totally thanking my high school drama teacher for it which is cool [because] I thought the "if I ever get an recognition for this acting stuff get I want to thank her"....

Adrian: And where do you see yourself in five years?

Kirsten: Five years....I want to...wow I feel strange writing this but here we go. I want to be at a point where I can choose what acting work I do for a living, you know? I want to get better and do more of things I haven’t yet. More films. I want to write another show and have it produced by someone else. I want to have enough clout to at least TRY and land a role in one of the Narnia sequels preferably “Voyage of the Dawn Treader". In five years I see myself being truer to what my intentions are and being very brave and having my career at a momentum that I can afford to help others more. I want to have a hybrid too.

Adrian:  Well Kristen, thank you very much for taking the time answer a few questions. Any words of wisdom to share with our readers?

Kirsten:  MY advice--follow that bliss....read "The Power of Now"...show up....know that we all feel like we don’t know what were doing sometimes and we don’t think we should be allowed to be an actor/ a writer/ a plumber/ fill in here what your dream is but we have a right. you have the right to be who you are and follow your path.
Adrian: Follow your bliss, once said by Joseph Campbell. I like that.

Kirsten: Amen!

Adrian: Thanks again Kirsten.

Kirsten: You’re welcome.

**Updates 02/2008 - Kirsten is a part of the ensemble cast on CBS' CRIMINAL MINDS! Way to go Kristen

Matt Kapuchinski is another up and coming musician/composer in the city of angels. Currently he is the lead performer in the band COOL DRY PLACE and recently helped score the independent and well-received movie WAY OFF BROADWAY. Mr. Kapuchinski graciously gave a few moments to share with Maestro Arts & Reviews correspondent Adrian Rennie for an interview regarding exciting happenings in his life and perhaps provide an insight to what qualifies him as an individual on the rise.

Adrian :  Hey Matt - thanks for taking some time out for a chat. You're a member of the band COOL DRY PLACE. How did you become involved with the group?
Matt :  I'd been performing at any coffeehouse I could find in LA with some hired guns but I was really jones'ing to get a real ensemble together.
Adrian :  So you originated it ?
Matt :  Yeah. I was looking for more of a collaborative project so I looked in a local trade magazine called The Music Connection for a drummer
since they're the most difficult to find. They're like  - the white unicorn.  So I spoke to three insane people and then the fourth was Mark since I really liked his ad. And he had just moved to LA and his band hadn't followed him.

Adrian :  So when did COOL DRY PLACE begin? 
Matt :  I'd say we officially began as Cool Dry Place around 2003
Adrian :  For our readers, who are the members of COOL DRY PLACE and what type of music do you fall into ?
Matt :  The members are Mark Nelson - drums, percussion.  Jeremy Nesse - bass, upright, Chapman stick.  Myself. and Amy Oliver  - our newest addition
on keys and voice. I'd say the best description of us is - Indie Rock/Pop.
Adrian :  Nesse was quite impressive, I remember. Who writes your songs?
Matt :  I write the songs but we're trying to be more collaborative as writers and work off each other's ideas in the future as least that's the plan.
Adrian :  Excellent. What has been your favorite song so far?
Matt :  I'd have to say I still really love performing ‘I'm Leaving For Good’ because it's so quirky and seems to get people's attention when we play it.
Adrian :  What performers/songwriters have influenced you?

Matt :  When I really look for inspiration I always go back to the artists that will always be a part of me - The Police, Peter Gabriel, David Bowie, the old classic U2, and then there's the newer stuff like The Postal Service, The Arcade Fire (which I was obsessed with), The Killers. Oh  - Radiohead, Jeff Buckley - can't forget them. Leonard Cohen for lyrics too!
Adrian :  So where can we find COLD DRY PLACE at the moment?
Matt :  We're just about to finish up a residency at a club on the Westside called the Good Hurt (http://www.goodhurt.net) where we've been playing every Monday in March, which has been fantastic.  Alec, one of the owners, has been extremely supportive and it's been such a challenge to come up with new ideas for each week's show. We've also gotten so much tighter as an ensemble.
Adrian :  Where to next ? A return engagement?

Matt :  Yes definitely - late spring or early summer - but for April we've decided to hunker down and cobble out new songs and then do a quick and dirty recording to listen to try to get some distance from the material and see what we can tweak, tighten, tinker with. It'll be another busy month!
Adrian :  Sounds great.  So how did you fall into music? Why does it appeal to you?

Matt :  My Dad played a lot of piano growing up and I think when they asked me if I wanted to take lessons, I said "I want to play guitar."  They got me a guitar which I hated to play since it was so hard and I'd throw tantrums before they'd make me practice - then after playing Hot Cross Buns for the millionth time someone played me Led Zeppelin which changed everything. I remember writing my first song at six. And I think it appeals to some part of me that really enjoys the feeling of singing and the rhythm and self-expression of the whole thing. Also I think it has to do with revealing a side of yourself to people that they wouldn't normally see and you wouldn't normally show them.

Adrian :  Tell us a little about your participation in the indie flick WAY OFF BROADWAY.
Matt :  My good friend Dan Kay wrote and directed it.  He was in New York while he was finishing it, and I was here so he had to get New York-based composers. But he ended up using a lot of singer/songwriter music which fit the tone of the film better than regular score, so I sent him my stuff that I'd been performing at coffeehouses which fit perfectly for one of the scenes. Then when he was in a pinch, I ended up scoring another scene since I knew exactly what he needed and I was able to do it on the fly.
Adrian :  The movie has been well-received. Congrats on your part.
Matt :  Thanks!  Yeah it's very exciting since LA critics are a tough crowd and they've very much embraced it.

Adrian Two more questions.  Where do you see yourself in five years ?

Matt :  I would love to be touring the US or Europe regularly which would be the absolute ideal for me.  To be able to explore a new place and then perform for the people who live there - well it wouldn't get any better than that.
Adrian :  Any words of wisdom/or advice to our readers who are out here pursuing their craft much like yourself?
Matt :  So much of it is just sticking with it and practicing your craft day-to-day.  Life will always creep in but I find that when I work hard the little bursts of creativity come more frequently because I'm open to them.  I've also found that if you stick with something long enough you're bound to get an opportunity to further your career at some point - and then it's just a matter of being ready for that opportunity .
Adrian :   Well thanks for taking the time for a chat. I'm sure we'll be seeing a lot more of you and your band in the near future. Best wishes of success.

Matt :  Thanks so much Adrian - totally my pleasure.

LOS ANGELES, CA - One of the hottest bands to hit LA is CITRUS with their music playing all over town. They can be found performing acoustically  at the Karma Coffeehouse in the heart of Hollywood and currently every Monday on stage at the GIG. Their latest album ‘io’ are can accessed on iTunes, Cdbaby, and Amazon.  On Monday May 9th, Citrus will be the featured artist on the After Show, airing on MTV.com  following the ‘Real World Road Rules Challenge (Inferno II)’ for their music participation ‘The Real World’ and ‘Road Rules’. Maestro Arts & Reviews correspondent Adrian Rennie snagged a few moments with Lead Vocalist and Guitarist Jesper Andreasson to introduce CITRUS to the Maestro Readers in our spotlight to showcase people who not only chase their dreams, but make them a reality.

Adrian : Hey Jesper, thanks for taking some time out.  First things first, congrats on your win at the Battle of Bands in San Diego. [4/13/05 - SDSU (San Diego State University) Montezuma Hall - Battle of the Bands Event]
Jesper : Thank you very much....
Adrian : For the readers who aren't too familiar, would you care to explain what that was and who was there?

Jesper :  It's a thing going on at colleges around the country, where 5 bands compete each time against a panel of people that travel around and judge them all.  The winner of each one goes on to the next level and so on...we were the only out of town band so I don't think the crowd was super pleased when they announced us as the winner.  It was a pleasant surprise to be honest.
Adrian :  Excellent! And well deserved. So who are the members of CITRUS?
Jesper :  CITRUS is Thomas Hjorth (lead guitar), Mikkel Heimburger (bass) and Norskov Kristensen (drums) and me on vocals and guitar.
Adrian :  How did your group form? 
Jesper :  We met just over 5 years ago here in L.A.  I had placed ads in a few papers and was going through the excruciatingly painful process of having through sift through people calling me on the ad.  It was like trying to find true love through a classified ad but instead of finding one, I was trying to find three...dear god.   One day Thomas called me and he seemed like such a cool guy I didn't really care at that point if he could even play.  At that point I was pretty much close to a nervous breakdown having to deal with people who either couldn't play, were in it for all the wrong reasons or more likely it was both.  It was brutal.  I went over to meet Thomas and we were wearing the exact same pants, and beyond the pants (that came out wrong) he was a really cool guy.  I knew he was the right guy before he even played me anything on the guitar...
Adrian :  And is every member of your band originally from Denmark?
Jesper :  I'm the lone Swede.  The other three are from Denmark.  Whenever I feel outnumbered, I'm quick to mention it was Sweden who ended up with more land after the Viking wars ended (laughs).
Adrian :  How are the audiences here compared to audiences over the seas?
Jesper :  Europe is more like the U.S. is once you get out of Los Angeles to play shows; people go out to see music.  And there are less bands so it's a bit easier to get noticed, at least early on.
Adrian :  Where can audiences find CITRUS performing, currently?
Jesper :  Through the end of April [editor note: extended through May 9th] we have a residency at The Gig in Hollywood.  Then in May we're back doing the acoustic thing at Karma Coffeehouse also in Hollywood.  We've also been doing little tours through Arizona, up through San Francisco, and doing some colleges.
Adrian :  That’s great! How do you compare the acoustic performing to the stage performances?
Jesper :  The acoustic thing is great because you can't hide behind anything, loud amps or a cranked p.a. etc.  All the mistakes are there for everybody to see and you have to bring the same intensity as a stage show but have to rely strictly on the music.  The acoustic shows always feel really pure.  Sometimes it's a little hard to sit still when the music takes over but it quickly makes you a much better band.  
Adrian :  So what’s your favorite song to perform?

Jesper :  It really changes from night to night.  Right now my favorite is a new song "Potential".  I also always love playing "What A Thought."  It keeps getting more and more amazing each time we play it.
Adrian :  What is 'Potential' about ?
Jesper :  Hmmm yes...I usually try to say as little as possible about the meanings of songs, not for the sake of being cryptic but I find people are usually able to personalize songs much more if they don't exactly know exact meanings.  But, if I may be awfully vague, I can say that it's always looking at tomorrow to be better than today.
Adrian :  What are your musical influences?

Jesper :  The first thing I remember hearing music-wise as a kid was Abba. I think it's Swedish Mandate that all kids must be exposed to a certain number of hours of Abba before the age of 6 or the government comes and takes your kid away (laughs).  But seriously, I remember hearing the Simon and Garfunkel song "El Condor" being played over a TV documentary on South America when I was maybe 5 or 6.  Hearing that song being played over the footage of the horrific poverty and starvation was absolutely devastating.  Devastating in a good way. It's the first time I remember feeling really sad...the song opened something inside me and that was really the start of it all.  As far as influences, I love anything as long as it's honest.  Bob Marley is a god to me, U2, Elliott Smith, Getz/Gilberto, Sunny Day Real Estate changed me...
Adrian :  How did you decide that you wanted this career as a profession?
Jesper :  It's all I've wanted to do since I started playing guitar.  There has never been an other option.
Adrian :  Where do you see yourself & Citrus in 5 years?
Jesper :  Touring the world playing shows.  The live thing is an amazing thing.  A good show can set you up for a few days...it's incredibly addicting. 
Adrian :  I know. Trust me, I know.  What advice or words of wisdom could you offer our readers and others out here pursuing their dreams?
Jesper :  Living in Los Angeles, nothing makes me more sad than when I see talented people, ones having great artistic gifts to offer the world, giving up on it.  But I guess those were never meant to keep pushing on either.  And nothing makes me happier than when I see people keeping their talents pure and guarded at any cost.  In this town, honesty is priceless.
Adrian :  I couldn't agree with you more. Jesper, thanks again for taking time out. I wish you and the band Citrus all the best.
Jesper :  Thanks Adrian very much.

Ian Kitz - May 2005

In Maestro’s quest to spotlight individuals who are not only dream chasers, but dream makers - Ian Kitz is juggling the dual roles of producing and acting in the production of THE PLAYGROUND, currently residing at the Hudson Main Stage through May 28, 2005. THE PLAYGROUND, inspired by true events, tells the stories of runaways in Hollywood. These stories are gritty, daring, and sadly realistic. Everyday while people are turning dreams into realities, there is another side of society where the harshest of life threatens the human spirit. Mr. Kitz graciously gave a few moments to share with Maestro Arts & Reviews correspondent Adrian Rennie for an interview regarding THE PLAYGROUND and an individual whose creative journey has only begun.

Adrian :  Hello Ian, thanks for taking some time out. You're producing/acting in the production of the PLAYGROUND at the Hudson. How did you become involved with the project?
Ian Kitz :  I have been producing theatre with Michael Justen since 1996.  In 1999, we continued on the same path in NYC and things were going well for the first two years. But after 2001 September 11^th, we stopped making money and times got tough and we were evicted from our apartment we could’ve gone home, but we were determined to continue achieving some goals.... we couldn't get jobs, sometimes had to steal food and started questioning how far we might go to survive. Basically questioning what we would do for money, because working at certain bars we saw guys getting picked up and other guys making offers we started seeing and hearing these stories and Michael felt they needed to have a voice to be told. He started collecting material from personal interviews and documentaries, books and films etc...Fortunately we didn't have to go through with anything [as the characters in the play] but we were living in a small one room apartment and living the tough life. It was definitely life changing and as the material was collected Michael started taking the facts and turning them into characters. Since then the script has gone through hundreds of changes. Even since last September when we produced at the Complex, the script has almost been cut in half.
Adrian :  How has this ride been for you?
Ian Kitz :  It has been a lot of ups and downs - headaches and heartaches, but the project and me as a person wouldn't be the same without the struggles.  It sounds cliché but if it don't kill you it makes you stronger. And Michael has been amazing in bringing these stories to life.
Adrian :  Tell us about the character you are portraying.

Ian Kitz :  I am portraying Andrew Stone, a kid who has been in and out of foster care and has lived on the streets for several years, following concert tours or living in squats and just surviving through the hustle, not as a prostitute but selling or stealing and hustling. He has gotten addicted to the life style and the drugs and sometimes people can't escape or have no where to escape to. "It sucks you in..."
Adrian :  Sounds like a meaty character. Why is this show such an important vehicle for you?  In reference to the Greenwich Group.
Ian Kitz :  I think it gives an insight into individuals' stories who live on the streets as opposed to homelessness as a whole.  It asks the audience to think a little about the person before they are so quick to judge.
Adrian :  Awesome. Tell us about the Greenwich Group.
Ian Kitz :  The Greenwich Group was formerly Curtain Call Productions outside of Boston and in NYC. When we arrived last January, we joined up with Michelle Kaufer and began producing here in LA. Same as before we are really focused on shocking edgy material that has the ability to teach and maybe even make a difference.  We always put a modern twist on classic shows, but in this case are lucky enough to be working on an original piece which is always the ideal...
Adrian :  So this is what you want to do with your life? Producing. Acting.

Ian Kitz :  I love being in front of an audience, I just feel comfortable that way.....I love telling stories and sometimes impacting people....And I want to be able to affect society and hopefully make a change.....Producing is a love hate relationship but being able to put together your own projects is much better than waiting to be put in someone else's..... I am lucky that I have had the experience and now the knowledge to continue working and not having to wait.
Adrian :  Where do you see yourself in 5 years?
Ian Kitz : In five years, I hope to working in film or on television, whether it is making people laugh or think. I like it all....But I will always have theatre and that will live in me forever....
Adrian :  I haven't found one person who's done theater and escaped it yet. Haha. It sorta stays with you forever.

Ian Kitz :  Hopefully acting will enable me to try and explore other fields- human and society related.

Adrian :  What advice or words of wisdom could you offer our readers or others here pursuing their dreams ?

Ian Kitz :  Hard work pays off.....not necessarily financially but it is always rewarding inside....Nothing comes easy- at least not for most of us but if you really go after something the universe will respond- so take risks- you've got nothing to lose.  And come see "THE PLAYGROUND" Haha
Adrian :  *smile* I do hope the readers do check out the PLAYGROUND.  Ian, thanks again for taking time out.  I wish you all the best in your endeavors and hope the PLAYGROUND does have impact on its audience as intended.
Ian Kitz :  My pleasure, thank you for your help - without all of the volunteers, projects like this one would not be possible.

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Daniel Henning - June 2005

LOS ANGELES, CA - What is so great about the theater community in Los Angeles are the people who give back, the people who enable others to make their dreams a reality- Daniel Henning is an individual who founded a theater company and the very successful Young Playwrights Festival, currently in its 13^th year. Playing through June 26^th, The Young Playwrights Festival has been playing to fantastic audiences at the Hudson Theater in Hollywood, CA. 

Maestro Arts & Reviews correspondent Adrian Rennie recently snagged a brief interview with Daniel Henning regarding The Young Playwrights Festival and to hopefully introduce our readers to an individual who’s deserves recognition for his ability to help others realize their aspirations.

Adrian :  Tell us about the Young Playwrights Festival?

Daniel Henning :  In June 2005, The Blank Theatre Company presents its Thirteenth Annual Nationwide Young Playwrights Festival. Since 1993, we have been encouraging young playwrights from around the country to hone and practice their craft. 

We have given 136 playwrights aged 19 and younger the opportunity to work with professional actors and directors on their scripts and then have their work presented to the public.

The Blank Theatre Company Young Playwrights Festival is the only national annual festival producing the work of young playwrights. Many of these playwrights have gone on to write successful plays and to have careers in the theatre. Several of our winners have had their plays optioned by Hollywood film companies or signed with agents as a result of our Festival. Our Young Playwrights Festival gave them the encouragement and the opportunities they needed at just the right time.

Playwrights submit their work in open competition. A hard-working team of volunteer readers selects the finalists and winners. Then, accomplished playwrights lead a team of mentors who help winning young playwrights hone their work for performance. Experienced directors work with winners during the rehearsal process. Best of all, winning playwrights see their work professionally performed by working actors.

Past mentors and directors include: Paris Barclay, Constance M. Burge, Robert L. Freedman, Jack Heifner, Winnie Holzman, Gordon Hunt, Elizabeth Hunter, Robert Iscove, Paul Lazarus, Terrence McNally, Michael Mayer, Garry Marshall, Stuart Ross, Austin Winsberg, Mark Saltzman, and Jonathan Tolins.

In order to open the experience to the greatest number of young people, the Festival has very few requirements other than that the playwrights must be 19 years of age or younger by the mid-March cutoff date. Playwrights can co-write plays, submit plays in handwriting if they do not have access to a word processor, and even submit plays in languages other than English.  Playwrights do not have to be attending school to participate in the Festival.

Of all the work we do at the Blank Theatre Company, we truly believe that it is our annual Nationwide Young Playwrights Festival that will have the greatest long-term impact on the future of theatre. For further info:  http://www.YoungPlaywrights.com

Adrian :  How did you become with The Blank Theatre Company and the Young Playwrights Festival?

Daniel Henning :  I founded The Blank Theatre Company in 1990. I wanted to raise the level of the quality of theatre in LA. I also founded the YPF [Young Playwrights Festival] in 1993. I felt a need in Los Angeles for a Festival of plays by teenaged writers, a home where they could learn from professionals as I had been given that opportunity.

Adrian :  What has been most fulfilling so far with this experience in your life?

Daniel Henning :  Wow. Tough question. Each night of the Fest is quite fulfilling. Watching the vision of these teenagers being presented on stage each night and seeing the response of the audience to their words is pretty great. Each time feels like a new time to me 

But I suppose the most fulfilling would be what’s starting to happen now. We have been doing this for 13 years now and we are starting to see real results for these young people. Our previous winners are having their plays produced by regional theatres across the nation. Many of them are playwrights and screenwriters.

There is a young man named Austin Winsberg, 28, who is the creator and executive producer of ABC’s Jake in Progress. He is a 5 time winner in our Fest. He has also directed and mentored for us in the Fest as well. He invited me to the premiere party for JAKE. I pulled him aside at the party and told him how proud I was of what he had been able to achieve and that indeed he had made my dreams come true. He asked me what I meant. I told him that 12 years ago when I started this Fest, I HOPED that we would be encouraging young people to continue to write. My dream was that we would give them a foundation for a future in the arts. That we would be responsible for giving just the right kind of push to these teens to let them know that what they dream of can be achieved with talent and hard work. And, of course, I wanted to help these kids along a career path that would include great things for them as artists. In Austin’s case we did that, as he readily admits. His success is our success. His signing a “7 figure deal” with Fox Television is certainly a success. He has made my dream come true.

Adrian :  Any memorable productions from either this year or past that you like to share with our readers?

Daniel Henning :  There have been many wonderful pieces throughout the years. By June 26, there will be 148 in all (over the years). 9 of the plays we have put on a full productions on the Mainstage. They have included 3 full blown musicals (book, music and lyrics by teens). The musicals were, of course, quite something; especially when you consider there are 50 year old writers out there who would love to write a good musical and can’t! I suppose the ones that stand out most for me are the ones that deal with particular moments in time and the issues young people are facing. THE WHY by Victor Kaufold) was in 200, shortly after Columbine. It dealt with school shootings and used satire and pathos to try to explain the unexplainable. There were 4 actors playing 28 roles. Noah Wyle and James Marsters did it for us. Victor was nominated for an Ovation Award for Best Writing World Premiere (at 19) for THE WHY.  In June 2002, we did THE WIDOWS, by then 13-year-old playwright David Watson from New York City. His play dealt with the emotional aftermath of 9/11. It was incredibly powerful and moved our audiences greatly. As a nation, we hadn’t really dealt with 9/11 emotionally and this 13-year-old kid summed it up so beautifully that there was a major catharsis for our audience. All sorts of wonderful plays with amazing actors have graced the board at the YPF. I am eternally grateful to the artists who give their time and talent to be a part of this Fest.

Adrian :  It has been utterly fantastic to see such an outlet. And giving back to the community in this fashion should be commended. What is next for yourself? And the Blank Theatre Company?

Daniel Henning :  Thank you for the commendation. Theatre is one of the only professions left where people pass down their knowledge to younger people. The world has become so much about “what’s new”, that traditions get lost. Many people taught me the ropes so I feel it is only fair to continue that tradition.

The Blank Theatre Company is opening the West Coast premiere of THE WILD PARTY, a musical by Michael John LaChiusa and George C. Wolfe in mid-September. It is a thrilling musical set in the decadence of Manhattan in the 1920s. I will be directing that. It is set to star Valarie Pettiford, Tony nominee for FOSSE.

After that I will be choosing our 2006 season to begin in February of next year. I am also heavily engaged in developing our Board of Directors. I have set a goal for The Blank to become a Regional Theatre in Hollywood. It is a long road the get there and I need dedicated Board members who are willing to help us with that journey. If any of your readers wants to help with that goal, send them along. We need all the help we can get. And as you probably got from the Fest, I sincerely believe we are all in this together. And when I say “this” I mean improving the quality of life; all of our lives, through art.

Adrian :  What advice or words of wisdom could you share to our readers who are also pursuing their dreams and goals?

Daniel Henning :  Listen to your soul. Don’t let others dissuade you from your dreams. You are the only one who can tell you whether something is “right” or “wrong”. When I started The Blank Theatre Company at 24, people thought I was crazy to start a theatre company in a town filled with “movie people”. Maybe they were right. I didn’t listen. I did what I had to do. I followed my own dream and worked hard to make it a reality. I don’t make a lot of money doing this, it is a constant struggle to pay the rent, but I am happy most of the time at work. And ultimately, if I hadn’t followed my dream I wouldn’t be in a position to help other people follow theirs. 

Sheila Callaghan - October 2005

LOS ANGELES, CA - Sheila Callaghan is an accomplished award winning playwright. Currently, she has three of her plays being performed. Scab is being seen in Seattle. The world premiere Crawl, Fade to White is performing to rave reviews at the Theatre of Note, and premiering October 8^th at the Los Angeles 7^th Annual Edgefest is Crumble (Lay Me Down, Justin Timberlake).

Maestro Arts & Reviews correspondent Adrian Rennie jumped at the chance for an online chat interview with Sheila Callaghan; regarding her work, her passion for her craft, and to get a glimpse of an individual who is making her dreams come true. The individual, who lives a life with humor, utilizes abilities, and shares wisdom with others, becomes the genuine role model.

Adrian : Hi Sheila, so nice to meet you. Thank for taking some time out to chat with Maestro. First thing first, congrats on having two plays simultaneously in Los Angeles.

Sheila : Thanks!

Adrian: How long have you been writing plays?

Sheila : Gosh.  I suppose professionally since I left grad school in '97... I wrote some really REALLY silly and derivative little things in college that my little theatre club threw up, but back then I was a lot more serious about poetry and prose than I was about writing plays.

Adrian : What made you want to be a playwright?

Sheila : It was the meeting point of my two loves... I loved writing and I loved the theatre.  I used to act a little, not very well, and so I knew I couldn't have a career in theatre ON the stage, so working behind it (or above, below, beneath) made the most sense.

Adrian :  *smile* Tell us about the first play you wrote. What was motivation behind it?

Sheila :  My FIRST play... my first SERIOUS play, or my first play? 

Adrian : The first play after college, or more specifically - the first one where you were most nervous on opening night

Sheila :  Ooh.  Those are two different plays.  My first serious play was called The Hunger Waltz.  I was reading a lot of Gertrude Stein at the time and I wanted to try to simulate a "continuous present" on stage... I was also trying to investigate the idea of sexual autonomy in a theatrical setting.  The play takes place over 600 years and follows a woman who arrives in three different centuries, each time working through her relationships with her clueless and somewhat abusive husband and her manipulative but super-sexy girl lover. In the end the woman sheds both relationships, aborts a child, and winds up on an island, alone.  Some saw it as bleak, but others viewed the woman as powerful-- finally in control of her destiny at the expense of those who loved her.  And some found it completely baffling altogether.  It's not my most produced play... :-)

Adrian :  *smile*

Sheila : The play I was most nervous about was probably Scab, because in writing it I drew a lot upon reality and it was painful/exhilarating/terrifying to watch.  THAT is my most produced play.

Adrian :  I curious to see the Hunger Waltz now. *smile* The Scab is currently being performed in Seattle. Have you traveled to that production?

Sheila :  Not that one, unfortunately... it's the first Scab I'm going to miss.  But I just could not work it in, with the two plays in LA and my two weddings this fall (one small thing in Brooklyn and one larger Greek thing in Florida)... they are taping it for me so at least I'll get to see it on the little screen...

Adrian : Weddings? Exciting! Congrats again!

Sheila : Thanks!

Adrian : What were some of the obstacles you had to encounter and overcome, in terms of playwriting?

Sheila : The biggest obstacle I find is to keep doing it.  I just wrote a little something about this actually, if you don't mind me quoting myself here...

Adrian : Please do

Sheila : And I quote:

Adrian : *smile*

Sheila : The other day I was re-visiting my original impulses for making a career out of theatre, and I thought of myself sneaking out of class and breaking into the tiny theatre in my high school and sitting on the empty stage in the darkness and just swelling with joy at all the possibilities to be carved out in that darkness. I still have that feeling sometimes, like the first time I enter a rehearsal room with a stunning group of actors, or when I walk into a theatre as the set is being built, wood sawed, flats painted... it's like falling in love. But that feeling is so fleeting, while this gnawing feeling of low-grade failure is pretty constant.

I'm trying to come to terms with it. The art of this business is not in the making of art, which is chiefly instinctual. It's in the aggressive re-discovery of one's love of magic. Because quite often there isn't much else to go on.

Adrian : I like that. I can relate. In college, I used to sneak out onto their empty theater stage too.

Sheila : I wrote it because I was maneuvering through the first round of reviews of the plays that are up now (folks always say "don't read your reviews" but I always find it impossible not to), and I got really down about the nature of the biz.  Success in the theatre is so arbitrary.  The stakes are seemingly low because there is no real money involved, but when you commit your life to something that has such low monetary reward I feel like the personal stakes get completely magnified... and so when it isn't going particularly well, the question "WHY AM I DOING THIS" can be deafening.  The reviews coming in are rather good right now, so I was mostly reacting to my vast relief and how sad the root of that relief is.

Adrian : What would you say is one of your greatest successes so far?

Sheila : I have no idea!!  Isn't that odd?  My first instinct was to say "my son" but I don't have children.  That's what folks usually say...

Adrian : That is a great success if you ask me

Sheila : So I imagine it WOULD be my son if I had one.

Adrian : I read you are teaching playwriting at the University of Rochester. How is that coming along?

Sheila : I love teaching. I really really do. I love being able to get excited about theatre in front of folks who don't have any real experience in career-theatre, because I can be totally idealistic and doe-eyed about it and no one will look at me like I'm smoking crack.

Adrian: Haha. *smile* I wish you the best on the that. I have great respect for people who have to opportunity to give back in that manner. What are some inspirations for writing?

Sheila : But again, teaching playwriting is low-stakes... I've also taught Composition to a room full of thirty adults, none of whom had English as a first language... that kind of teaching feels like survival teaching. My inspirations...Hmm..My playwright inspirations....  I have a list.  Erik Ehn.  Caryl Churchhill.  Lisa D'amour.  Mac Wellman.  Maria Irene Fornes.  I feel like this is a typical list... playwrights who are fearless with language and form. There are more.

Adrian : *smile*

Sheila : It's a strange thing to boil down though, because there are things that happen to me each day that are inspirational.  Travel inspires my work a lot.  Love and torment do.  Family.  The internet.  Vh-1.

Adrian : Where do you see yourself in five years?

Sheila : Hm.  I have two answers. 1.  Living in Los Angeles writing for an edgy, quirky HBO special that I nailed because one of my plays suddenly and unexpectedly caught the imagination of the masses and made me wildly popular without compromising my aesthetic. 2.  Living in a college town somewhere in easy commuting distance to a bigger city, working in a tenure-track position as an English professor and continuing my playwriting habit on the side. 3. I lied, there are three.

Adrian : A playwright is never done, I always say

Sheila : 3. Touring with my newly formed band (the soon-to-be infamous Sagapo) with my husband, a few stalwart musicians, and my brand new baby son named "GS" (short for "greatest success").

Adrian : *smile* Sheila, once again. It's been a pleasure to chat with you. I wish you the best of success in playwriting and in the classroom. Thank you taking the time to answer a few questions. Any words of wisdom to share with our readers?

Sheila : Hee.  Floss?  I'm such a dork.  But floss.  Everyone floss.  It's never too late for floss.

Adrian : Haha. You are far from a dork.

Sheila : Not as far as you might imagine... Thanks, this was fun!

Adrian : And hope the weddings are joyous and not too stressful. Thanks again Sheila! *smile*

Sheila : Thank you!  Those are very good wishes indeed, I shall take them. Have a lovely evening!  And good luck with the online mag and your acting...