PILLOWMAN Review - River Cities Reader

Pillow Talk: The Pillowman, at ComedySportz through June 3
Written by Mike Schulz
River Cities Reader

Degree of difficulty counts for a lot, so director Sean Leary and his estimable cast would earn points merely for the area existence of Martin McDonagh’s horrific fairy tale The Pillowman, the latest – and certainly riskiest – endeavor from My Verona Productions.

McDonagh’s play is, quite simply, stunning, a beautifully written, subversively funny, and frequently nerve-racking dramatic thriller. Set in an interrogation room within a fictitious totalitarian regime, author Katurian Katurian (Adam Michael Lewis) endures verbal and physical abuse at the hands of detectives Tupolski (Chris Browne) and Ariel (Tom Walljasper); two local children have been found murdered, another is missing, and as the particulars of the crimes bear a striking similarity to the imagined child-killings in stories Katurian himself writes, the detectives demand a confession. (They’re not “good cop/bad cop” so much as “pretty bad cop/really bad cop.”) What follows is a nightmare meditation on the power, and responsibility, of storytelling, fashioned by a storyteller of remarkable skill and subtlety.


The playwright has a great many things to say about childhood trauma and its effect on the artistic process – both for artist and audience – yet considering the show’s often-repellent subject matter, its themes are presented with the lightest of touches. Plenty of scenes in the work are designed to make audiences wince and recoil – the violence comes swiftly, and the threat of violence is ever-present – but just as many lull you in with an unexpected gentleness; The Pillowman has gravitas but is never oppressive, and McDonagh’s raffish humor is like a tonic. It’s the sort of magical theatrical work that audiences can simply enjoy as a spine-tingling creepshow, or, after the curtain call, excitedly discuss with friends, over drinks, for hours on end.


Leary – who, with Pillowman co-star Tristan Tapscott, serves as My Verona’s co-founder and producer – deserves props for bringing McDonagh’s 2003 play to area audiences; it’s exactly the kind of unpredictable, thrilling entertainment we’re exposed to all too infrequently and deserve far more often. Yet a work of its caliber brings with it an intimidating set of expectations – if you’re gonna do The Pillowman, you’d better be able to do The Pillowman right – and with the unique challenges faced by My Verona in its presentation of this show, it’s understandable that audiences could enter the production feeling somewhat, shall we say, leery.


ComedySportz is, oftentimes, a perfectly acceptable theatrical venue, and last season, My Verona did fine things with the limited, narrow space in Closer and The Santaland Diaries. Yet there’s not much to be done about the building’s minimal stage space and bare-bones lighting and sound systems – ComedySportz isn’t designed for the effects that would make The Pillowman as viscerally entertaining as it probably could be. (The Broadway production received Tony Awards for scenic and lighting design.) Beyond technical constraints, the weekend performances by the ComedySportz improv group itself require that The Pillowman begin at 10 p.m., so audiences shouldn’t expect to leave the building until close to 12:45 a.m., which can be a long haul even if you’re mad about McDonagh’s work. There are, I’m sure, a great many reasons for My Verona’s loyalty to the ComedySportz space, but, for this particular production, seeking another venue (and an earlier starting time) may have been appropriate.


And then there’s this mention, from last Thursday’s Rock Island Argus/Dispatch – Leary, describing the differences between the Broadway and My Verona productions of McDonagh’s work: “Ours is more of a multimedia show, using a projector during some scenes to simulate kind of a live-action graphic novel.” That description, for me at least, set off a few alarms. (The phrase “multimedia,” in relation to theatrical works, always makes me nervous, as it suggests an impatience with basic narrative tenets, and The Pillowman doesn’t really have any kind of graphic-novel sensibility – it’s more of a wicked, ghastly bedtime story.) It’s been said that if you cast your show correctly, half of your work as a director is done, and with the actors assembled for The Pillowman, Leary’s work was, to put it mildly, halfway done. What about the other half?


It’s quite good. Leary orchestrates the escalating tension with a sure, deft hand, and while the actors’ conversational rhythms are marvelously well-calibrated – particularly when Lewis’s and Walljasper’s overlapping dialogue reaches a boil – he has a terrific ear for silence, and the disquieting moments that interrupt it; when one of the detectives shakes a small white box in Katurian’s face, the light rattling of the contents within gives you the heebie-jeebies, and at one point, the full menace of Browne’s cop is crystalized with the perfectly-timed click! of his pen. The Pillowman gains in creepy, suggestive heft as it progresses, and Leary’s passion for the project is evident through his stage compositions – the interrogation room actually seems to tighten as the show nears its climax – and the breathing room he gives his sensational performers.


Chris Browne is a peerless dry comic here. He invests his line readings with a hysterical, withering incredulity, and enacts something I’m not sure I’ve ever seen on-stage before – malevolent ennui. Browne’s portrayal proves a splendid counterpoint to Tom Walljasper’s blistering, nervous energy, and the two play off each other with seasoned flair. (I could go on about Walljasper’s focused, heartfelt work here, but after last week’s Reader article on the actor, I’m not sure what more I could say without lapsing into embarrassing fan-boy gushing.)


Tristan Tapscott, who plays Katurian’s childlike brother, Michal, gives what is easily the best performance I’ve yet seen from him, and that’s saying a lot; his outstanding actor’s instincts and inventiveness in the role are a little overwhelming. And Lewis blazes through his demanding role with great enthusiasm – in the scenes of Katurian breaking down in sobs, Lewis’ physical and emotional abandon are devastating – although he does engage in a bit too much stand-up-comic blitheness during his on-stage re-tellings of Katurian’s stories. Lewis’ delivery doesn’t reveal an author’s energy so much as an actor’s energy; his Katurian tosses off the tales’ narration like a performer eager to get to the good parts, without taking the time to luxuriate in their grim (and Grimm) preambles – the entirety of the stories, and not just the gruesome punchlines, is “the good parts.”


A couple of Katurian’s tales are also slightly impeded by the staging, which is where that “multimedia” angle comes in. McDonagh’s language is so sublime, and the actors delivering the dialogue are so strong, that you don’t want to miss anything through changing points of focus – as happens when we’re looking at screened, “graphic-novel” visualizations – and watching action in both the front and rear of the ComedySportz venue, as in a demented ping-pong match. These moments, however, are only momentary lapses. My Verona’s The Pillowman is invigorating, hugely entertaining theatre. I just don’t want Leary and his organization to be afraid of simplicity; the power of a good tale well-told can, in and of itself, be exhilarating. Sometimes, less is most definitely more.


For tickets to The Pillowman, call (309)786-7733 extension 2.

PILLOWMAN Diaries: Part Three

I always hear actors talk about those moments of intense realization, amazement… those “wow” moments in their careers that really define their work. I have been lucky enough to have a few - in 2001, working on a Walljasper original that was to open on 9/11, in 2004 with Sean Leary’s Your Favorite Band, and earlier this year with WIU’s Harold and Maude directed by Ray Gabica….

The Pillowman is now on that list…

It has been one of, if not the, best experiences I have had artistically. I think it has everything - the script, the cast, the staff… EVERYTHING. Ok, maybe not a huge budget… but fuck that. Who needs it when you’re creating this kind of electricity.

I am playing Michal Katurian, a rather psyhocologically complex individual who was tortured most of his childhood. It’s truly one of the most interesting characters written for the contemporary stage in the last few years. The character is really forced to run gamut of human emotions within a span of about 50 minutes. It’s an incredible piece of work. It’s also VERY satisfying… it’s not often you get to play EVERYTHING in a play, let alone a single scene. Tears, laughter, anger, tenderness… it’s all there. It’s BRILLIANT…

It’s one of the most artistically satisfying roles I have ever played…
A role of a lifetime. (A cliché statement, I know… but work with me here!)

I am fortunate enough to have WIU alum Adam Michael Lewis playing my brother Katurian. Lewis could not be a more generous actor if he tried. He is an incredible actor. An amazing individual. He is so honest… and supportive. He’s everything you could want in a co-star. There are moments that are so real on stage that I get lost in the moment… and I have to try to remind myself “hey, we’re doing a play here… remember all of your lines!” He’s that real.. He’s that committed.

It’s performers like him that justify why I am going to WIU…

In addition to Adam, the show features Tom Walljasper, Chris Browne, Carrie Clark, and Gary Baker. Walljasper has been one of my favorites for years. He’s a very intense, very specific actor… and is always doing stuff. And as a professor of mine has said “acting is doing and there is always more to do.” This man definitely gets that. Tom is very much a stage version of Al Pacino. By that I mean he loves detail work. You can tell. He is always doing, pretending… he never lets up. Ever! He is truly one of the finest actors in the area. And Browne is really something special. Well known for his rather comical performances at Playcrafters, he has not been given too many chances to really let loose. He’s definitely let loose and is not turning back. I have always loved Chris’ work… and seeing him in this role is making me realize that I love it even more.

In addition we have Gary Baker working for us again! There is no one like him… he’s really into whatever he is working at the time and because of it does very solid work. He’s meticulous. He’s a perfectionist. And… he’s always there and ready to work. Gary is one of the best in the area.

I am really thrilled that I talked Sean Leary into directing this. He’s really taken the show to a whole new level with innovative concepts and rather laid back directing style. Sean is really what all actors want: someone who lays out the skeletal work but lets the action be fluid and natural. That’s what he’s all about. Sean was also amazingly free about letting the actors find their characters. Some directors (and those who go to WIU will know exactly who I am talking about).. Some directors enjoy giving you EVERYTHING. They know that you do this one thing well and make you use it rather than letting you explore. Sean let us explore and I think the result was a powerful exploration into the minds of these characters… and that resulted in a some VERY STRONG performances. For me, that has really helped shape what I consider to be my best work yet…

It’s all very inspiring…
It’s a good time.

Blogging ``Pillowman'' In The Spirit Of Gary Troup

Director Sean Leary gives away some PILLOWMAN details...

Blogging ``Pillowman'' In The Spirit Of Gary Troup
By Sean Leary

The first weekend of My Verona's ``The Pillowman'' is in the books, and the reaction has been very, very positive. Audiences have been quite receptive and impressed with the show, which obviously pleases us to no end.

I'm extremely happy with the show. I think the cast has been terrific. The performances are amazing and they've all been a real treat to work with -- consummate pros with great, laid-back attitudes and a palpable joy about the work they're doing. Honestly, these guys are the best.

Another great thing about it is that many people have stuck around after the show to discuss certain aspects of it. Our audiences have been a pretty sophisticated lot, picking up on a lot of the little nuances of the script and on the production side of things.

One of the things I loved about directing the show was the abundance of opportunities to throw subtle details into the staging that echo what's going on in the script. We may not have the space or budget to match the fireworks or massive props used in the Broadway or London productions, but there's plenty of room for the kind of theater-of-the-mind imaginative staging that works quite well in our theater's confined and intimate space.

McDonagh's stageplay is so rich with complexities that it's a director's dream to match them up with environmental cues. The kind that are going to have more of a subconscious effect on the audience. That's just one of the reasons this has been such a fun experience for me.

Since we're halfway through the show's run, with only two performances left -- 10 p.m. Friday, June 2 and 10 p.m. Saturday, June 3 at Comedy Sportz Theater, 1818 3rd Ave., Rock Island -- I thought I'd peel back the curtain a bit on some of the thoughts that went into staging ``The Pillowman.'' For those who have seen the show, consider this something like the multimedia stuff that the creators of ``Lost'' are always throwing out there to make the experience more intriguing. For those who haven't seen the show, consider this a form of enticement to get you out to one of the last two performances. If you haven't seen the show and don't want anything to be spoiled, STOP READING RIGHT HERE. Come back later on after you've seen it.

Anyway, here are SOME of the geeky little details I threw into the staging of the show...

* There are only two characters that leave the stage during the show. I won't offer the reason why, I'll let viewers figure it out or draw their own interpretations, but it's intentional that those two characters are the only ones to break free of that space.

* The characters' wardrobes are color-schemed not only to fit in or contrast against the darkness of the stage around them, but also in relation to one another and their roles in the play. The individual actors came up with their own wardrobes based on instructions in regard to color schemes and type of clothing.

* The only non-drab colors used in the show are green and red. The only other color that's used is a dirty light blue. Again, intentional. Again, I'll let you figure out why or come up with your own theory.

* Yes, that is the theme song of a famous children's show you're hearing in the background of Act One, Scene Two. It's in there to draw an ironic juxaposition to the material in the scene as well as the prior scene. And, it's also kind of a creepy gag. I thought of it the first time I read the script and never considered another song for that moment.

* The music accompanying the action in Act Three, Scene One (the ``L.J.'' sequence) is choreographed in time with the underlying soundtrack. The scene begins slow and sinister and builds in intensity with the music. Likewise, the frequency and intensity of the lighting varies in accordance with the action and music.

* Speaking of music, if you're familiar with the backstory of Kurt Cobain and the crux of many of his song's themes you've probably already figured out why I used Nirvana as the sole artist during the duration of the show.

* All of the sound effects were done by me and Scott Morschhauser, of Metrolites and Kabalas fame, in Scott's home studio. One of them (the one at the end of Act Three, Scene Two) involved a MalletKat xylophone with a programmed effect. Another (the one at the end of Act Three, Scene One) involved a crocodile skin suitcase. On the latter, in the background, if you listen in very carefully, you can hear muffled screams, which were done by Scott, standing across the room from the microphone, with his hands over his mouth.

* Also during that latter sequence, Gary Baker, our board op, is rolling the sound back and forth slowly between the speakers to create a sense of the audience being surrounded by the sound.

* The two multi-media slide sequences feature three different styles of art -- photographic, black-and-white graphic novel style and children's crayon drawings. (I provided all the illustrations.) Again, I'll let you figure out why each is used, but there are reasons for each of the styles in relation to the action taking place and in relation to where it lies in the realm of fantasy vs. reality.

* A few of the images used during the slide sequences were sampled from my graphic novel, ``Exorcising Ghosts.''

* There are a lot of subtle variations in lighting within scenes, set up in accordance with the characters on stage and the relationships between them. Certain characters are almost always seen in full, intense lighting. Others are almost never seen in full light.

* The lighting scheme, such as it is, during the Katurian monologues was inspired by the thought of him telling ghost stories at sleepaway camp.

* Originally my thoughts were that the police would have a very Aryan -- fair skin, blue eyes, light hair -- look to them and the prisoners would be darker in features. However, as casting evolved, that caprice took a distant back seat to being able to cast the high-caliber talent that we did.

* That said, there were some slight concerns about the physical dissimilarities between blonde, blue-eyed Tristan Tapscott and brunette, brown-eyed Adam Lewis when casting them as brothers. However, one of the reasons I thought the combination worked as brothers is because I was thinking of them as -- unbeknownst to the characters in the show -- step-brothers. The younger of the two characters undergoes a lengthy period of unpleasantness, shall we say, in the script. And while I was trying to come up with a rationale for that (aside from just general psychopathic tendencies by the parents) one of the things that came to mind was that the mother had been fooling around and once the baby was born, her infidelity was pretty obvious from the looks of him in comparison to the father and the other sibling. The resentment and hatred boiling over from that, and conversely the perverse desire to favor the older child, the father's child, to an extreme measure, was one of the factors leading to the treatment of the younger child. I have absolutely no idea if that was a factor in casting any of the other productions or was even a thought in the mind of the playwright, but it was a consideration for me (aside from the sheer talent of those involved) in justifying the casting.

* There is an obvious leitmotif in the show involving a prop that echos the title.

* The ``missing child'' posters handed out prior to the show as a geeky little prop feature the exact details from the script and a mug shot of the actress from the show. The format of the posters, as well as the actual 800 number and website on the flyers, is cribbed directly from the missing child posters that are sent out in mass mailings and are on display at the post office. A couple of people who attended the show the first weekend thought they were real. Nope. Please don't call the number.

littly tiny entries on various things!

IDOL FINALE!

i only caught the first few moments of the finale...

and, uh, hmmm... how can i say this nicely? MEATLOAF, you fucking SUCK! i am a huge fan of your early stuff... but you've lost it. mcphee scored MANY points above you. now you're just creepy.

now, i don't like paris that much... but i LOVE al juraeau. they worked VERY well together.

unfortunately, chris's stint with LIVE fell flat on my ears. something was missing.

look for more on this when i actually finish watching them...

oh, and TAYLOR HICKS WON! yaya! i love me some taylor hicks.... :)



FED EX!

have you seen the new fed ex commercial with the cave men? FUNNY SHIT. way to go. watch for it... it will make you heart happy.



RUDE BRITS?

is that really what America wants? a bunch of rude simon cowell wanna-bes? enough with the act. simon is BRILL at it... you're boring.



TALENT BASED REALITY TV?

ok, we got it. there's talented hacks in America. i LOVE idol... but all these "America's Got Talent" and "So, You Think You Can Dance?!" shows are getting a little out of hand. :) Simon, stop while you're ahead...



THE PILLOWMAN

going to be a freakin' brilliant show. if you have the time (and i know you do)... come check it out. i promise it will be a very cool experience.

The Pretender

The Pretender
Things You Should Know About – and From – the Area’s Best Actor, Tom Walljasper

Story by Mike Schulz
River Cities Reader, www.rcreader.com

“I think my forte is storytelling. I just like to pretend. And any experience that I have where I believe the actor or actors are as close to pretending as possible? That’s what gets me off, man. To me, that’s what acting’s all about.”
– Tom Walljasper

Tom Walljasper is a professional pretender. After graduating from Davenport West High School and studying film acting at Los Angeles’ prestigious Strasberg Institute, he returned to Davenport in 1986 to major in theatre at the city’s now-defunct Marycrest College. (“I never planned on going to college whatsoever,” he says. “I came back because everyone there said, ‘You need a degree. Get a college degree. We’ve all got ’em.’”) Upon returning, Tom was immediately introduced to his future wife, Shelley – “Shelley and I met in late August, we started goin’ out in September, and I believe it was March or April we found out we were gonna be Mom and Dad.”

Tom and Shelley married, graduated, raised a family – Bristy, 18, Myka, 12, and Krianna, 3 – and, from 1994 to 1999, ran a performing-arts studio for students called Ta Da. (“We were really proud of the stuff that we did,” he says. “We really pushed the envelope.”) While Shelley currently teaches music at Jordan Catholic School, Tom has forged a life as both “a stay-at-home dad” and a professional actor for the Circa ’21 Dinner Playhouse ... unsteady though a full-time performing career can be. (“Shelley deserves all of the credit in my life,” he says. “Without her, we’d be homeless, obviously.”)

Tom is nearly legendary for his loose-limbed performance as the Scarecrow in The Wizard of Oz, but he has also, since 1992, appeared in more than 40 other productions at Circa ’21, and will be seen there again this summer in On Golden Pond (opening June 30), in addition to co-starring in My Verona Productions’ The Pillowman, premiering at Rock Island’s ComedySportz venue this Friday.

Tom isn’t just an actor in the Quad Cities. He happens to be the finest actor in the Quad Cities. And while Tom explains his craft, allow others who’ve worked with him over the years to explain why.

“He does everything with such ease on stage. You know, a lot of actors have to put on a character. Tom doesn’t. You don’t really have to direct Tom. You’re like, ‘Okay, we got Tom. There’s one less person to worry about.’”
– Paul Bernier, director, performer (Catch Me If You Can, Who’s Under Where?, Father of the Bride)

Freshman year, I was doing The Lion in Winter. I came to rehearsal – like, the second or third rehearsal – and I made the mistake of going up to [director Leslie Shimmelpfinnig] and going, “What are we doing at rehearsal today?” And he said, “You don’t know what we’re doing?” I was like, “Well ... no.” He was like, “Then you need to go. And you come back tomorrow when you know what we’re doing. You’re not prepared.” And I got that pit in my stomach, like ... he’s right.

Now, to this day, I want to know what we’re doing at rehearsal tomorrow, because I will be somewhat prepared – look over the pages, the music, whatever it is that is called for tomorrow is my homework. I need to know what we’re doing at rehearsal. ’Cause if I show up unprepared, then I’m gonna let people down.

“Tom sets the bar, and you quickly realize you haven’t set your own bar nearly high enough. He is what a Method actor should be – professional, always bringing something to the table, always open, and always nice. That’s something you don’t see in a profession full of egos and suck-ups.”
– Adam Lewis, performer (The Pillowman, On Golden Pond, Grease)

It was kicked into my head very, very early about what you do and what you don’t when you’re working. You gotta practice hard, man, and you just have to give everything you have. You have to leave exhausted. If you leave singin’ and f---in’ dancing, you haven’t worked, man. You need to be ready to sit down, have a beer, smoke a cigarette, and say, “Jesus, man, I’m exhausted.” Emotionally, physically... and I don’t work with a lot of people who see it that way. My college professor, Peggy [Brinkoft], said to me that everybody exhausts and exhumes the same amount of spirit and physical energy during the show, whether they’re on stage every minute, or they have a walk-on. Everybody should – when the curtain goes down and everybody bows – everybody should feel the same. Drained. And I’ve always said, “Yeah. That’s right.”

“I have worked all over the country, and Tom Walljasper is one of the most giving, versatile, and utterly professional actors I have ever had the pleasure of working with. We all love working with actors that make us look good. Tom is one of those actors.”
– Kimberly Kurtenbach, performer (On Golden Pond, The King & I, The Three Little Pigs)

One of the things they taught us [at Strasberg] was, “You cannot be a true actor until you let all the walls down and feel free to do whatever needs to be done.” And so I kinda bought into that. No matter what it is. If a character needs to do it, it needs to be done. It needs to be said. As an actor, I feel you gotta get that embarrassment feeling out. You’ll never be able to try anything, you’ll never be able to pretend with somebody, if you feel embarrassed about it.

“I directed him in Whose Wife Is It Anyway?, and unfortunately, I’ve been acting with him ever since. I will never work with him again. He’s never prepared . ... It’s like pulling teeth to work with that guy. ... What can I say? He’s a joy. He stayed on-stage for that whole intermission. Did he tell you about that?”
– Michael Oberfield, director, performer (Almighty Bob, Aesop’s Dynamic Duo, A Christmas Carol )

The first main-stage show that I did at Circa was Whose Wife Is It Anyway? I was playing a dead body. And Denny [Hitchock, the show’s co-director] was like, “Hmmm ... how do we get you out of there without people seeing?” And I was like, “Well, I’ll just stay there.” He was like, “Really?” “Well, why not?” “You don’t want to take a break?” It’s like, “Take a break? I don’t want the audience to see me!” I didn’t want to break that illusion. So, for the whole intermission, every show, I stayed there in the window, trying to do the breathing exercises they taught us sophomore year. Breathe in, breathe out, through the nose, relax myself. ... To me, it wasn’t a big deal. In my head, that’s what you’re supposed to do.

“Tom and I have a resemblance. And when he’s in a show, customers will always tell me what I great job I’m doing up there, thinking I’m him. I always say, ‘Thank you.’ I’ve always been happy to take credit for his work.”
– Brad Hauskins, performing waiter, performer (Who’s Under Where?, Sing Hallelujah, Stuart Little)

[In The Wizard of Oz] my thought was, “It’s a dude made of straw.” So, to me, that meant there’s no balance, and there’s always movement, all the time, because there’s nothing there to sustain him. I figured he can’t stand there. He’s a straw dude!

“During our run of Annie, Tom and I shared a dressing room. Every night, Tom would sit at his station, in costume, staring at himself in the mirror ... and I always wondered, even into the 10th and 11th week of the run, why he was still doing this. But as an actor, you tell the story with your eyes. And with Tom, you can make that eye connection and know he’s giving back more than you’ll ever need. He’s just f---ing brilliant.”
– Jonathan Goodman, performer (Joseph & the Amazing Technicolor Dreamcoat, Annie, Cinderella)

I believe that with musicals, the story is most important. That’s what I love about musicals. I love trying to figure out, you know, why this scene is important to the musical. Why this song is important to the musical. It’s not about looking good and flashy and singin’ the right notes. It’s about what it does for the story.

[In Jesus Christ Superstar] I was very intimidated musically. They were all f---in’ singers – they were rock-band singers, they sounded great – and here I am an actor. But what happened by the end of the run was that I had a lot of the cast coming up to me and telling me that they could always count on me being there. And I didn’t understand, at first, what they were talking about, until Jesus said to me one night, “I can look into everybody’s eyes, but when I look in your eyes, I know that we’re there. I am Jesus. And you’re there.” And I’m like, “All right, dude.”

“Tom Walljasper brings a naturalism to the stage that is impossible to teach. His instincts and ease on the stage make him the kind of actor every director clamors to have.”
– Corinne Johnson, St. Ambrose University theatre professor, director, performer (Never Too Late, The Three Little Pigs)

It’s really hard to teach somebody how to be an actor. I think you can teach somebody how to sing. And I think you can probably teach somebody to move, too. But to pretend and to communicate and be a character? Be somebody else and really make somebody believe it? You can’t teach it, man. You either got it or you don’t. You can either be a storyteller or you can’t. I just don’t think there’s any in-between.

“I remember being in one of his original musicals that was to preview on September 11, 2001, and open the next day. I thought for sure we were going to close the show, or at the very least postpone the preview, but Tom made it very clear that what we are doing is an escape from what is happening outside. It was our job to do the show as planned, and let the 30, 40 people that were there get away from all of it. That was one of the ‘wow’ moments, you know? One of those moments where I learned that what I do is so important, not only to myself but to others.”
– Tristan Layne Tapscott, former Ta Da student, performer (The Pillowman)

I never really liked to consider myself a teacher. I always told ’em I was a coach. But I was kind of a hard-ass, too, at times. I just tried to make them respect theatre, and the etiquette of it. This is something that Peggy Brinkoft taught me. Before you walk in the theatre door, there’s a rug there. No matter what theatre you go to. New York, Alabama, f---in’ Hawaii ... there’s a rug at the theatre door, and you take your shoes and you wipe the shit off. ’Cause when you walk into the theatre? Nothing else exists except the show. The world, the characters, the relationships ... that’s all there is. Anything else has nothing to do with it. Leave it outside.

“I’ve always admired Tom’s ability. In every show I’ve seen him in, regardless of how large or small the part, he’s always made an excellent impression.”
– Sean Leary, The Pillowman director, Rock Island Argus / Dispatch arts editor

I saw an interview with Meg Ryan, and she said, “I used to read reviews but I don’t anymore. Because when they would be positive, I would think, ‘Wow, I’m really good,’ and I wouldn’t work as hard. And when they were negative, I would think, ‘God, they’re right,’ and I would push, and it wouldn’t be good.” And I started to think, “You know what? I’m the same way. I’m exactly the same way.” So I don’t read ’em. I think they’re probably more for the producers and the audience than they are for the actors. Actors wanna hear great things said about ’em. They don’t want to hear that they suck.

“More than one director with Broadway experience who has worked with him at Circa ’21 has said he should be acting on Broadway. I certainly agree. I know when Tom is in a show that his work will be impeccable, his discipline beyond reproach, and his performance will be spectacular.”
– Dennis Hitchcock, Circa ’21 producer/director

To tell you the truth, I’m not a theatre-goer. F---in’ hate it. If you would say to me, “I have front-row tickets for you for a Broadway play, a Broadway musical of your choice, or the state championship of the Idaho high-school football team. Which would you choose?” There’s no choice for me, man. No decision whatsoever. I’m goin’ to the football game. I cannot stand to go to the theatre.

I’m envious. That’s what I feel the most. I sit there the whole time wishing I was up there. “Yeah, you guys are doing great, you look like you’re having a great time, but I don’t want to be out here! I want to be up there with you! You guys get to have all the fun and I get to sit out here and applaud? Come on!”

“He is the Fred Astaire of actors. He’s the gold standard.”
– Ann Nieman, director (Grease, Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar)

I’ve never found the perfect performance. But I sure damn well try every time.

For tickets to both The Pillowman and On Golden Pond, call (309)786-7733, extension 2.

PILLOWMAN Diaries: Part Two

there will be more to come later... but...

i just wanted to note that this show is going to kick ass. and if you can make it, please give yourself the pleasure. it's a brilliant script. we have an amaxing cast. and it's fairly well executed. sean and i have some of the best working with us on this one and it shows. from our SM to our star vehicle, it's solid.

quick notes:

ADAM LEWIS
let's face it; the man is one of the best in the QC. and perhaps one of the best PERIOD. his talents are unmatched. he is ALWAYS a must-see.

TOM WALLJASPER
one of the best character actors in this business. he's created something truly special here... he's the QC's Pacino. he is always doing something. "acting is doing and there's always more to do"... he really drives that point home.

CHRIS BROWNE
browne delivers a break-out performance. the QC is used to him playing the typical i-am-a-good-father-and-oh-so-nice-to-everyone role... but not this time. he is fierce. it's VERY cool.

CARRIE CLARK
the only female in the show, she holds her own with her small stuff. she does some cool work... especially in the Little Jesus sequence.

GARY BAKER
one of the best SM's and designers in the area. as always, he's doing SOLID work with the tech. aspects of the show. he always brings in a "let's-do-it-PERFECTLY" mentality that really works for shows like this. baker also lends his vocal talents as the evil step-parents. :)

SEAN LEARY
he's at the helm... and doing one hell of a job. being an avid tarantino fan and fiction writer himself, he really digs the material and knows how to work it. it's going to be a very cool product when he is through with it.

have plenty more to write... but i gotta back to work...
3 more days before we preview and then open. it should be a GOOD TIME.

will & grace... huh?

so... i took a break from working on various PILLOWMAN related things and decided i should do my duty to canned sitcom television and watch the finale to WILL & GRACE...

i will freely admit... and have no shame in saying... that once upon a mattress i was a huge fan of the show. (do you catch my gay musical reference there?) i loved it. i thought jack and karen were brilliant creations. and rosario and beverly leslie? are you kidding? brill. but... as it is with most shows (my fave FRIENDS included) the last 2 or 3 seasons really, well, SUCK! w&g is no different. i will refrain from launching into a lenghty diatribe on the topic... but will just say that this finale BLEW! BLEW! there were few inspiring moments. so sad. this was such a cool show back in the day... and it's sad to see it come to end on such a bad note.

oh well... what can you expect...
the gays are always fun at first and then totally fucking lame and dramatic in the end. :)

oh, wait... was that mean? eh, well...

i like fake chicken from taco bell

i do... i really do. I LOVE FAKE CHICKEN FROM TACO BELL!

yeah, that's right; i said TACO BELL. their spicy chicken taco is so freakin' brilliant. i am serious. try it. you'll understand the infatuation...

for those of you that know about my insane addiction to the mcrib (they took off the menu again... thos bastards!)... you'll never believe this:

IT'S WORSE!

oh, the horror...

but seriously, try it.

is it better than sex? no. better than masturbating? perhaps. it's delic.

PILLOWMAN... real quick dribble...

PILLOWMAN... real quick...

I will elaborate when I have more time...

I am working on an intense production of THE PILLOWMAN in the QC and it is fuckin' BRILLIANT. I will say that again... BRILLIANT. I share the stage for roughly 30 pages with THE Adam Lewis... and it's incredible. He's truly one of the best actors in the area... and one of the best I have ever worked with.

It's been one hell of a ride... and we've been in rehearsal for 3 days. 8 more to go before we open on the 26th...

If you're in the area you should come check it out. It's a good time...

PILLOWMAN promo

PILLOWMAN Diaries: Part One

(What follows is the it's 4:45 a.m.-
on-Saturday-night-and-I-just-need-
to-write-because-I-am-frustrated-
and-can't-sleep-type-thing. Disregard any grammatical errors, please...)

THE SHOW
I had been following THE PILLOWMAN since it opened in New York in the spring of 2005.
I was becoming rather obsessed with the idea of this show... and I hadn't even read it. I finally got a hold of a copy in August and FELL IN LOVE. It was one of the best plays I had read in years. McDonagh is a freakin' master. I knew that someday I was going to have to do this show... and thought why not produce it?

DRAMATISTS
When the show closed on Broadway in September '05, I immediately started contacting Dramatists Play Service as to when the rights may be available. They said that I should check back in a few weeks... it didn't look like they would be available until late spring/early summer. So... I did just that. Except I checked in EVERY WEEK. I wanted this show... and I worked close to six months to lock it in. I think they got tired of me calling them and they granted My Verona (a tiny, TINY theatre company) the first independent license in the US. Not only that... but we're the first to stage the show in the Midwest. Pretty cool, eh? I think so...

DIRECTOR? CAST?
I immediately suggested that Sean take the project on. Of course, he was slightly nervous... and I guess he had the right to be... but I knew this was a play he would really dig. And he did, of course. I'm smart; I know these things. With him at the helm, we began to discuss the cast. Within minutes Sean suggested local actor Chris Browne for Tupolski. Excellent choice. We then decided that our SANTALAND DIARIES star Adam Lewis would be THE perfect Katurian. Right on. The came some interesting choices: me as the hot headed Ariel and Justin Marxen as Michal. Very bold moves. The thought was this: a younger Ariel could make an interestin dynamic with Browne's older, dryer sensibility... and this would be the first time Marxen would have been able to tackle something outside his usual canon. That's always interesting to see...

THE TALENTED MR. MARXEN
Just days before we were to have the official read thru for the much anticipated area debut of THE PILLOWMAN, the actor originally tapped to play Michal - Justin Marxen - was forced to leave the production. Disappointment. Marxen is one of the finest actors in the area... and I love working with him. He did an outstanding job for us last summer with both DB2 and THIS IS OUR YOUTH. Sean and I were really looking forward to having him on board. Sad... but the show must go on...

HELLO, MR. WALLJASPER
So... we sent out feelers and our star - THE Adam Lewis - suggested we check out Tom Walljasper. Obviously, he's brilliant. No question. Is he interested? Yes. Is he available? Yes. Can he play Michal? Tough call. What if we put him into the Ariel role? Oh hell yeah! We offered it to him... and HE ACCEPTED. Yay. We rolled with that punch and moved me into the Michal role which changed the dynamic we were originally going for with the two detectives... but for the better...

READ THROUGH
Yeah... so... this SHOW IS GOING TO BE AMAZING. AMAZING. The cast if PERFECT. Absolutely fantastic. It's gonna be a very good time...
Everyone just played the material so well... and played off each other so well. What more could ask for? Walljasper-Lewis-Browne? Um, yeah... to get these guys in the same show is incredible...

1ST REHEARSAL
We began blocking today. We finished up the entire 1st Act... and it is looking very cool. There is so much skilled work happening here. Browne and Walljasper have an excellent rapport on stage... and the stuff between Lewis and Walljasper is going to be a highlight for sure. Emotionally, Lewis is a powerhouse...And his first monologue/story is going to be creepy as hell. I can't wait to do more with this show...
It's going to go down as one of my faves.

That's all for now...
Look for another entry sometime this week.

MY VERONA Season 2006

My Verona announces 3rd consecutive season of contemporary theatre

Critics have hailed their productions as sharp, innovative, exhilarating, and simply too good to miss. Others (and even sometimes the same critics) have called other shows theyve done smug, ridiculous, and different. In a single season they've produced one of the best dramas of the year and the biggest creators-vs.-critics conflicts of the year. And just when you thought that they might have given up,the Quad-Cities' much-talked-about indie theatre My Verona is back with a full season of new works.

My Veronas third season will see the independent theatre premiere of The PIllowman by Tony/Oscar winner Martin McDonagh, the return of Joe Manetellos hilarious adaptation of David Sedaris Santaland Diaries, and a plethora of other area premieres.

The season kickied off with a one night only, standing room only engagement of Spank. One Night. One Monkey. In the vein of Triumph the Insult Comic Dog from Late Night with Conan OBrien, Spank. was an R-rated comedy by Dave and Darren from the 97 Rock morning show. It featured the famous sock monkey puppet doing a blue stand-up routine and then taking questions from the audience.

My Veronas summer will begin with the anticipated independent theatre premiere of the acclaimed 2005 Broadway hit The Pillowman. Written by Tony/Oscar winning playwright/director Martin McDonagh, the play is A brilliantly idiosyncratic, Kafka-esque exploration of the role of artists and artistic responsibility in contemporary culture. Set in a totalitarian state, a series of child murders spurs authorities to arrest and detain a horror writer, Katurian, whose works parallel the gruesome details of the murders. But did Katurian do it? That's the big question.

The Pillowman will open May 26 and run through June 3 at Comedy
Sportz Theater in the District. Shows are Friday and Saturday at 10:00 p.m.
Tickets are $12.

The Pillowman is rated R.

August will see another QC first when My Verona will present its very sincere salute to legendary playwright David Mamet. 2 actors. 75 minutes. All Mamet. Blue Hour: City Sketches and More, will feature 14 scenes and monologues by the 1984 Pulitzer Prize winning author that Mamet himself considers to some of the best writing he has ever done.

Blue Hour: City Sketches: A Night of David Mamet will run for ONE WEEKEND ONLY August 11 through August 12 at Comedy Sportz Theater in the District. Shows are Friday and Saturday at 10:00 p.m. Tickets are $12.

Blue Hour is rated PG-13.

Next up is The Non-Conformist's Double-Bill. It will feature Eric Bogosian's ``Sex, Drugs Rock N Roll'' and Bill Hicks' ``It's Just A Ride.'' Adam Michael Lewis and Jason Conner will rock the stage with the edgy works of two of the greatest comic writers of the last two decades.

Sex, Drugs, Rock N Roll and Its Just a Ride will open September 22
and run through September 30 at Comedy Sportz Theater in the District.
Shows are Friday and Saturday at 10:00 p.m. Tickets are $12.

Sex, Drugs and Its Just a Ride is rated R.

And then for something completely different... My Verona will team up with Ballet Quad-Cities to present the second annual Ballet Rocks. Combining classical dance choreographed to modern rock, alternative and pop music provided by area bands, Ballet Rocks features the music of QC favorite The Metrolites.

Ballet Rocks runs October 7 through October 15 at the Capitol Theater, Davenport. Times and ticket prices are t.b.a.

Rounding out our third consecutive season is the return of our popular holiday show, SantaLand Diaries starring Adam Michael Lewis. Joe Mantellos adapatation of David Sedaris SantaLand is a one man show about a thirtysomething aspiring soap opera star who finds himself desperate and has to work as an elf at Macy's over the holidays. What ensues is a hilarious trip through the bizarre, goofy underbelly of retail life in the Christmas season.

Directed by the lauded Michael Oberfield, My Verona's Production of David Sedaris' ``SantaLand Diaries'' was a hit in 2005! Critics and audiences raved about the ``superb'' performance of star Adam Lewis and called the show ``hilarious.''

SantaLand Diaries opens November 17 and runs through November 26 at Comedy Sportz in the District. Friday and Saturday shows are at 9:30 p.m. Sunday shows are at 7:30 p.m.

SantaLand'' is rated PG-13 for some adult language.

All My Verona performances are held at Comedy Sportz Theatre, 1818 3rd Avenue, Rock Island, Illinois. Tickets are available at the door beginning 30 minutes before show time, at the Circa 21 Box Office or by calling (309) 786-7733, ext. 2.

For more information, see www.myveronaproductions.com,
www.myspace.com/myverona, or the My Verona page on seanlaery.com.

My Verona is paid solely by its founders, Sean Leary and Tristan
Tapscott. Why? For the fun of it, for the creative experience and because
they want people to see these excellent shows. All the shows we bring in are area, if not regional or Midwest, debuts.

Slightly Philosophical Dribble: Part One.

Someone once told me “Not knowing gives me a terrible feeling inside.”

That miserable feeling? It’s part of being alive, I think. Everyone has questions… everyone is mysterious in their own way. And, you know, not everyone has to tell everything… explain everything to everybody. It’s what makes you human. An individual.

Questions are part of life. We don’t always have the answers… and sometimes we don’t even know what the question is. Sounds crazy, I know… but sometimes you know something is wrong, something is eating at you and… you have no idea what the deal is. And, of course, there are people in your life that want an answer. And the funny thing is… you can’t answer it. They expect some elaborate expose on the topic… and you can’t deliver it. That causes anger in others…. It’s funny. That is a little thing I have learned… and those questions are never gonna go away, really.

So… you learn to deal with it in your own way. And if that doesn’t make sense to others… fuck it. You gotta do what works for you. And that is an important thing to remember: there is no one scenario or rule to follow. I am me… and I have to do what works for me. In that moment. In that situation.

It’s a never ending cycle of mystery… and unanswered puzzles…

Acting, huh? Ok...

THOUGHTS ON ACTING… by Shawn Telford and others.

Keep it simple. It's only as hard as you make it, so do your homework and find the easiest way to tell the story. Listen, listen, listen, put the performance on the other person, give it away. Above all, be honest, don't "Act" it, find some way to "do" it. Product oriented work will fail you whereas process will not. So find the way....

So. What is acting?

A simple answer from method acting master Lee Strasberg: Acting is realistic behavior in imagined circumstances.

Some ways to proceed and/or guidelines toward good acting:

1 Speak your lines loudly and clearly.

Not only must you talk to the people in the scene but you must also be mindful that the people in the back rows of the theatre must hear you too. If they cannot, or anyone for that matter, they will not come into your worldthe world of the story in which you are functioning. Volume is an undeniable artifice of the theatre. You must be heard.

Speak clearly so that the words can be heard or chose specifically the places when you will throw it away. Clarity is invaluable to the actor. First, you must understand the material and your function within it. Next, you must further that understanding to others beyond yourself includingbut not limited tothe people in the scene.

2 Dont bump into the furniture.

Know where you are onstage, how to move, when to move, where to move and what the movement will mean, even the smallest movement will help you tell the story. Know what it means to not move at all. Know the stage picture you are creating with the movementhow are you shaping the larger aesthetic? How are you affecting the focus of the scene? (To know this you must know where the focus wants to beso, where does the focus want to be?)

3 Know what it means to be the person you are.
(This is intentionally twofold: first partknow thyself; second partknow your character.)

Know thyself. There is a Buddhist proverb that saysparaphrasingif you look at anything long enough you will see the universe in it. In knowing yourself, you will better understand the universe through which you live and operate. This knowledge is the unique gift you bring to the roles you play. In your search to find yourself, you will find both the character and the story. As Socrates says, there is no learning, only remembering. Its already there, inside you.

Know the character. Like you, this person is complex and the process of knowing is really an exploration. So you must continually ask, what does it mean to be this person in these circumstances and have to do and say these things as they are written? Then you must do and say these things realistically and truthfully so that the wants and desires of this person may be fulfilled.


INSPIRATIONAL QUOTES FOUND THIS SEMESTER

"Remember that acting is ego-less. There is an ancient human mystery to the exercise. Acting is not about the Actor. Participate in that mystery which is greater then the sum of it's parts. A great performance is the one that does not draw attention to itself at the expense of the greater "reality" in the play, does not get in get in the way of the script, of the total experience of the Play. Serve the Text. Try to make everybody else's ideas work first. Don't be afraid. What are they gonna do? Send you to Mazaar-E-Sharif? Become a conduit through which the ideas of the playwright may pass unhindered to those unrehearsed and willing players out front, the ones that got a baby-sitter, drove across town, paid money to get into the room where the lights go out and everyone decides to 'Let's Pretend'. And, when you know you've done a good job, don't be shy in taking your curtain call. Eat when you can and don't get caught Acting."
-DENNIS ARNDT, Actor

“Just let the scene play itself… let the play take you there. Don’t try and act it… be it.”
-RAY GABICA, Actor/Director/Designer

“Get involved, do staged readings, volunteer, audition. You’re not an actor if you’re not acting. And, please, self produce. If you’ve got a story to tell, tell it. Never wait for them to find you because they won’t. Act, write, study, if you’re not doing something, you’re not doing it for a reason, maybe you’re not an actor. Quit telling yourself that you are and get on with your life. Acting isn’t ideas, it’s doing, so go do it. Lastly, there’s no money in this. If money is important to you, think again.”
-SHAWN TELFORD, Actor

“If there's any message to my work, it is ultimately that it's OK to be different, that it's good to be different, that we should question ourselves before we pass judgment on someone who looks different, behaves different, talks different, is a different color.”
-JOHNNY DEPP, Actor

“Trust yourself. Be patient with yourself. Have faith in yourself... and listen. See where the road takes you. I know this sounds corny, but is truer than you might think. I ride motorcycles and here's why: When you drive somewhere in a car, it is all about getting to the destination--that's where the vacation begins. On a bike, it begins the minute you sit in the saddle, and the getting there becomes the best part of the vacation... Get it? But also, study your ass off. Know your craft. Looks, charisma and natural ability are all great, but they are not skill. Skill is finesse, discipline, craft. No matter what your raw talents are, always develop them further. This will give you dimension and flexibility, and knowledge is truly power. You cannot know where you are or where you are truly going without knowing where you came from. Too many
people come to NYC waiting, expecting for people to see how brilliant they are. I believe in a career, not a moment. Experience truly defines.”
-MARC KUDISCH, Actor


AND WHY DO I LOVE TO SOMETHING A TINY BIT DIFFERENT AT EACH PERFORMANCE… WHETHER IT BE A DIFFERENT INFLECTION, PHRASING, ETC…

IT’S BECAUSE OF THIS:

"I think it's an actor's responsibility to change every time. Not only for himself and the people he's working with, but for the audience. If you just go out and deliver the same dish every time... it's meatloaf again... you'd get bored. I'd get bored."
-Johnny Depp

I AGREE, DON’T YOU?

A delicate blend……

“What I find sometimes that is tricky is if actors are using too much of their own life in a picture, in a scene, they get locked into a particular way to play the scene, and it lacks an immediacy.”
-Tom Cruise

I happen to agree. Obviously, I am not a serial killer; if I were to play a serial killer, I must be able to actually play the role void of my personal morality. If I were to drown in my own personal beliefs, I would be limiting the character; therefore, lacking immediacy. However…

“With any part you play, there is a certain amount of yourself in it. There has to be, otherwise it’s just not acting. It’s lying.”
-Johnny Depp

….I believe that in everything I do there must be a part of me in it. It’s the delicate blend of the two that an actor must struggle to find…