High School

This latest entry is by the wonderful Jen Brozenske. She works in all aspects of theater, but here at MT, we know her best as a tech-savvy webmaster, an excellent voice-over artist (last heard in Over the Tavern), and an actress. Here is the story of how she found Montgomery Theater. . .

In 1995 at the tender age of 17, I joined Montgomery Theater because of a dare.
I had been involved in music and theater throughout my school years, but I wasn’t what you would call a “theater geek”. I didn’t join the Theater Club, but I was a member of the school chorus. I loved to perform in concerts, and once a year we had our own musical apart from the theater group. Whether we were rehearsing, building sets, or painting, I loved it all.
The most popular kids in school were also in my choir class. I, however, wasn’t popular. In fact, I don’t really know what you would have call me. I was weird, I had odd friends, and I was actually a very talented singer. All these things made me stand out in a not-so-good way. I was teased on a nearly daily basis, so my self-esteem wasn’t really that high. But that was going to change.
One day after the bell rang, I was called over by the ringleader. Seems there was an audition posted on the choir board. Jesus Christ Superstar at this place called Montgomery Theater Project. He said, “We’re all going to audition. Are you?” I was trapped. I had been fighting these people for years, always trying to get a leading role but always relegated to the chorus. Every time I fought for a solo, one of them got it instead. They were the Regional/State champs, and I was just the class freak. What else could I say? “Yeah! I’m gonna go, too,” I said defiantly as they sniggered. “We’ll see you there,” he called after me. It wasn’t until I was walking away, shaking with fear, that I realized I had never done any theater outside of school. I didn’t even know this show or where the theater was. I. Was. Toast.
Toast I might be, but I was also determined. I had been passed over so many times in school. I wanted a chance to show my stuff outside the bias of my choir classroom. I knew I was good; I just needed someone else to recognize it. So I prepared as best I could, and I drove myself to that fateful audition. As I walked inside, my heart sank. No one from school was there. None of them had shown up. They had convinced me to come to this place, and now I was all alone and probably about to embarrass myself terribly. It was all just a trick, or so I thought in my overdramatic teenage brain. But I was there now, and I wasn’t going to back out.
I literally had no idea what I was doing. This was my first audition outside of school. I sat in the dark and watched everyone else. I noticed what they did, and I figured I should just copy them. I sang one of the only pieces I knew from a musical, “On My Own” from Les Mis. I started moving around the stage, gesticulating when it felt right, and then the director stopped me. He actually said, “Stop!” I froze terrified. I screwed up! I offended! I was BAD! “I don’t like you walking around. It doesn’t feel right,” he said. After searching, he put down a stool and said, “Sit here.” I just stood there. “Ok, start from the beginning.” So I did.

I got through the first and second verses okay, but then my brain quit. I blanked, and I stopped singing completely. I sat there, quiet as a mouse, waiting for my brain to kick in. I had missed two lines. By the third I was back up and running, but my confidence was shot. I started to cry while I was singing. Not crazy-hysterical-crying, just silent-tears-running-down-your-face-crying. I was sure that I had sealed my fate. I finished up, and without any ceremony or delay, we moved onto the dance portion. Since I was sure I had already blown my chances at a role, I gave it everything I had left. We finished up, and I went home dejected.
Several days later, I received a call from a Mr. Thomas Quinn. He was the person who had interrupted me, and he wanted to discuss my conflicts. I stammered that I would cancel anything that was a problem, that I would move everything to another day if only he would cast me. Mr. Quinn said, “Oh no, I want to cast you. I just want to make sure I have the right dates.” What? I . . . I was cast? WOOHOO!
I went back to school with my head held high. When I was confronted by the alpha group, I told them boldly that I had gone to the audition, and I had been given a part. They were somewhat stunned, but I felt great. Some of them even came to see the show, and I owed it all to one Mr. Tom Quinn.

What I learned during JCS, I can never fully explain. So many wonderful things happened. The years have flown by, and I’ve been able to wear many hats beside just “Actor”. I’ve gained knowledge and experience that have helped me grow as an artist. I’ve made contacts that would connect me to a whole world outside my comfort zone. But best of all, it led to half a lifetime of great friends and shows.
So, come to Montgomery Theater. I dare you.

Miracle on Main Street - by Marc Weil

My name is Marc Weil and I've come to refer to The Montgomery Theater as 'The Miracle On Main Street." Because a miracle it truly is. This amazing establishment residing in a tiny Philadelphia suburb has consistently been a sort of mystical magnet pulling in some of the most astounding talent (locally) and presenting productions of such impossibly brilliant quality that one cannot help to be utterly stunned by the experience. Folks, this just doesn't happen in small regional theaters.

You may be able to count other theaters of real quality in suburban locals across the country such as this on one hand! ...Maybe!

More miraculously all of this was originally developed and engineered by just two people -Hope deFrenes- Co-founder with Tom and the MT's Director of Production. Two people I admire beyond any words I could muster.

Some weeks ago I received an email from Allegra Ketchum -The Managing Director of the theater asking me if I'd like to be involved in creating a Blog for The Montgomery Theater. "Yes", I said. "Of course, love too!" After sending back that message, I had somewhat of a panic attack as I realized I wasn't quite sure what a blog actually was even though I'd heard the term many times. I narrowed it down to - it's either some sort of elaborate, progressive editorial thingy or some gook from an alien or science film picture.

After pondering this question for quite a while I settled on "editorial." Fortunate, since not being an alien myself-(even though my wife claims I constantly alienate her) - I'm totally 'gookless' and the only alien I know is my Uncle Sid who has a levitating nose...(a definite alien give away) but that's a whole different Blog.

This 2010 season marks my 14th year association with MT and Tom Quinn (The Artistic Director) told me yesterday--just two more years and he'll let me in the theater.

Actually, truth be told, I've been doing shows at MT since 1996 and first stepped inside the theater in 1993 to see first, my two Daughters and then my Wife perform there.

I could not believe what I was seeing!

I come from a Show Biz family. My wife is an actress, my two daughters are actresses, my son-in-law is an Actor/Musician, Composer and my three dogs think they are cats. So they are either great canine actors or completely insane-(I'll find out tonight when I chuck a mouse into the mix).

At that time Montgomery Theater consisted only of what is now called the 'Project Stage' which resides below the Main Stage and only seats about 70 odd people. It was a stunning revelation on many levels. And I don't just mean the thrill of my seeing Daughters suddenly mature into actors of genuine substance under Tom's gentle guidance, unparalleled passion and profound craft--but also transforming this tiny empty room with elaborate sets and atmosphere beyond belief.

Three years later I appeared in my first show at MT "All In the Timing" and since then and the subsequent shows I've worked in there hasn't been merely a joy but rather a life altering experience. Since then I have the privilege of working with some of the finest actors I've ever seen all of whom have played a major role in the quality of my performances and have been delighted by seeing so many more perform I have yet to work with--but hope to.

I've lost track of how many times I've said to Tom, "Well, I don't think you'll be able to top that one." Then the next production goes up and he does--over and over and over again.

As a fellow who has primarily built a reputation as a kooky/wacky comic, clown, comedy script writer/doctor, and comedy playwright known for making ridiculous entrances through windows, seducing tape recorders, running up walls, backflipping over tables and diving into washing machines my work with Tom and Montgomery Theater has taken me on an ongoing journey into the world of straight acting as well and performance theater experiences that will be with me for the rest of my life such as; Playing opposite my wife in "Same Time, Next Year and opposite my Daughter, Liza in "Proof."

I can't think of any other director who would take a chance of casting a clown in straight roles of this magnitude and complexities.

I owe so much to this theater far beyond what I can contribute in just appearing in MT productions over the years.

From MT, my Daughter, Liza went on to star Off-Broadway, play the lead in a feature film, appeared in supporting roles in other films, appeared in numerous network TV shows including a 7 year run on the "Gilmore Girls." and much, much more. It all began at MT with Tom and Hope.

In the 35 years I have been working as a professional in show business and worked with countless Directors and Producers in Theaters, Nite-Clubs, Art Centers/Theater Festivals, TV/Radio Commercials, Industrial films, and a bit of TV and Film all over the world--I can honestly state I've only come across what I consider 2 genuine genius's of directing--Ken Campbell, the man who discovered me and hired me at 19 for my 1st professional work in his comedy troupe based out of London which lead directly to me founding my own Comedy Theater Company--The Madhouse Company of London...and the other -- Tom Quinn.

I am constantly blown away by his innate understanding and instincts for drama, comedy and musicals. Almost all Directors can only do one of those really well. He does it all -- plus builds the sets too and on occasion--does my laundry....

All of us at MT do this work not for the money but for the pure pleasure of taking the audience away on a journey for a couple of hours providing towering tales, laughter, tears, insight and even a bit of knowledge.

Montgomery Theater is a miraculous and truly crucial organization for our communities, our world and our souls and must continue to grow and thrive.

Only a small portion of its operating costs come from ticket sales and while I urge all of you wonderful subscribers and audience members to continue to attend all of its thrilling productions, I also most humbly ask each of you to send in just the mere cost of a cup of coffee each day so this Miracle On Main Street may continue to deliver to you it's divine delights.

I sincerely thank you and look forward to seeing you all again soon.


Marc Weil

Paul Dake, Actor Extraordinaire

For our next entry, we turn to Montgomery Theater actor extrodinaire Paul Dake. Last seen in Bus Stop, Paul also works on our Marketing Committee and is generally just a presence to reckon with!
Enjoy!

For the past 10 years I have fondly referred to Montgomery Theater as my home away from home. Every time I walk through that stage door I feel comfortable, happy, excited and welcome. I get a sense of belonging when I see Tom Quinn and he smiles and says, “Hey Paulie!” You see, I view it as an honor and privilege to be part of the MT family. Over the years I have learned so much about acting for the stage, what it means to be an actor, what it means to tell the story, what true artistic collaboration is and how that experience, time and time again, is one of the most gratifying experiences of my life. Many times I have also said that I would be content to only ever work at Montgomery Theater. While still enjoyable, other theater experiences I have had simply cannot compare. At MT, artists, technical experts and staff are all viewed as equal partners in the creative process. Everyone’s individual input is valued and welcomed. The audiences continually express their satisfaction by returning again and again to experience the stories being told during what we sometimes refer to as “Magic Time.” When it all comes together – the story, the actors, the audience – it truly is magic. For there is nothing quite like a live theater performance. The actors live on the edge! No two performances are the same! No two audiences are the same! It’s a fantastic, mesmerizing, wholly gratifying event each and every time! You see, I am a 100% fully biased advocate of Montgomery Theater because my involvement there has truly changed my life.

--Paul Dake

Cameron Purdy - Technical Director -

Today's entry is from our incredibly talented technical director Cameron Purdy. Don't believe him when he says he doesn't know what he's doing. He is a wiz at bringing any and all set designs to life. In the pictures he added at the end, just remember those photos are all on the same stage - the changes are incredible!

My name is Cameron Purdy, and I have no idea what I’m doing. I don’t mean that in a cosmic, metaphysical sense, though that may also be true. More to the point, I am a technical director with no technical training, and I make it up as I go along.
Some background on me. When I was a lad, I started tinkering with bicycles, then graduated to lawnmowers, then motorcycles, and eventually cars and electronics. Somewhere in the middle of all that, lumber and power tools came into the mix. I joined a local community theater about 20 years ago, and found a home for all the fledgling skills I so wanted to explore when I was 24. The neat thing about the stage, for me, was that even if you weren’t all that great a carpenter, no one was going to see it from 40 feet away. So, I could hone my skills without the pressure or repercussions of a discriminating eye. And hone them I did. Over the next 15+ years, the miters got tighter, the doors slammed more solidly, and the designs got more intricate. Pulleys and ropes and flashpots and cantilevered platforms and battery operated carts with whirligigs and lights came and went and were torn down and disposed of. But never forgotten.
And now, I find myself technical Director for Montgomery Theater. A title that I still, to this day, am not sure applies to what I do. I build what other people draw. Sounds simple enough. But the people that design for us are very good. And they assume I am too. Well, I’m not about to show them otherwise. And every designer that comes my way teaches me something wonderful. I learned about making moldings with block foam. I learned how to simulate wood grain with latex paint. I learned about MDF, and all its wonderful possibilities. I learned how not to build and drive a 14 foot rotating platform stage. I grew brave and purchased fine woodworking tools, and laser levels, and air driven framing and finish nailers. I sculpted an entire stage with spray foam. I cut a pickup truck in half.

So, as long as I approach every day as if I know nothing, I will be a dry sponge, ready to absorb and learn and grow from anyone with skills and knowledge to impart. I am constantly humbled, and inspired by the talent, and joy I see in the people who have chosen the art of stage as their life’s work.

If this works, the next things you’ll see are a few photos of some projects I’m very proud of. Projects that scared the heck out of me, and then, somehow, fell beautifully into place.

7 Year Itch. I think this was my first time laying down a “hard wood” floor. ¼” luan plywood, with stain and latex poly topcoat. It turned out so beautifully; I wondered why I didn’t have it in my house. That is, until the first time someone dragged a chair across it and gouged it.

This is the border for 7 Year itch. It took 4 people about three days to make each piece by hand, and set them in place. This is about 500 pieces.

Batboy, the Musical. This set scared the hell out of me. I had this bright idea to sculpt the whole thing with chicken wire, and hose it down with spray foam to create a cave look. I convinced everyone else I knew what I was doing. Fools! It actually worked, but not without a lot of sleepless nights.

Bus Stop. This set was made up of so many individually made pieces, from the stones to the diagonal paneling, to the flooring. We just kept cutting and nailing and cutting and nailing and nailing!

That silhouette was so friggin’ cool! It changed color from dawn to dusk. If you look really close, you can see the telephone wires USR. The pump head CS was purchased new on Ebay, sandblasted, then sprayed with muriatic acid. In 12 hours, it looked like it had been outside for 100 years.
The house façade had a cedar shake roof.

Rounding Third. In case anyone thinks stagecraft is all about lumber. We needed the coach’s truck onstage. So, one trip to the local scrap yard, and about 45 minutes with a gas powered canine saw, and voila! Half a truck. Cut the wheels and tires in half too. Probably the most fun I’ve ever had with a junkyard truck.

Spinning into Butter. I was just so happy with the woodwork on this one. The designer really challenged me with the compound miters, and the ornate crown moldings. That’s 2” block foam, stacked with sculpted MDF. The desk is all hand made with MDF, with a really great wood grain paint effect applied by the scenic artist.
Cameron Purdy
Technical Director,
Montgomery Theater
Souderton, PA

Below you'll find our first actor-penned entry to the MT blog. Written by Liza Weil, this post is a reminder of what a great small theater can mean to an early career actor. Liza now lives in LA and has a career in film & TV (and is most recognizable from her 7 years of playing Paris Geller on the WB show the Gilmore Girls), but serves on the Montgomery Theater Board of Directors and has come back here periodically to work on our stage.
Read on. . .

I started working at Montgomery Theater in 1993, the year it opened its doors. I was 16 and knew I wanted to be an actor, but didn't have a true place to go and be one. Montgomery Theater became my safe haven. At MT, I worked with true theater artists in a community that was hungry for good stories and good storytelling. It was here that I learned what it meant to be an artist: the discipline, the passion, the work ethic, the things that Montgomery Theater has always had in spades. MT is a place where actors come to do challenging work with like-minded artists.

Although I valued my experiences there, it wasn't until I ventured to New York and Los Angeles – a step made possible by the confidence I gained working at MT – that I realized what a lucky young actor I had been. Many of my peers, from small towns and big cities alike, had never been exposed to – let alone been given an opportunity to work at – such a quality theater. There are only a handful of theaters in America that exist and thrive in small towns, let alone with such consistent excellence. Well into my life as a professional actor in film and television, I continue to find my way back to MT to work. I still consider Montgomery Theater to be my artistic home.
--Liza Weil

Montgomery Theater is blogging!

Welcome to Montgomery Theater's latest addition. In conjunction with the first performance of the 2010 season, we are inaugurating our blog, so pop out the champagne and celebrate the start of great new things here at MT!

This will be a forum for people involved in the great theater making here at MT to talk about the what, whys and hows of what they do every day. We hope it will give you insight into the behind-the-scenes process and create a richer experience for all those of you who come and watch our shows.

In February and March of 2010 we are celebrating the wonderful actors who work on Montgomery Theater's stages, so over the next few weeks we'll be posting entries from several MT actors from past and present seasons. We look forward to sharing with you!