by Linda Plank Montgomery Theater Board Member and Development Committee Chair
Montgomery Theater performances take me back to my childhood!
I remember at age 10 being taken to a performance of Yul Brynner in “The King and I.” Watching a stage performance was mesmerizing and I still feel the same way about live theater.
My professional life has been all about non-profit organizations. I love the way that the best non-profits become such a part of the community that you can’t imagine the town without them. That’s what I want for Montgomery Theater. As a board member and subscriber, I believe that MT is important to the quality of life in our area. “The Arts” add such a human and entertaining touch to Main Street!
As the Development Chair, I am proud to say that we have launched a 3-year operating support campaign for the theater. Please consider joining us in raising $320,000 over the next three years. These operating funds will strengthen the theater’s financial position and stabilize our plans to produce the very best local theater.
The best time to raise funds is when things are going great! I’m thrilled to say that we are in a positive position to move forward boldly. Attendance is at record levels, the renewal of subscriptions is extremely high and the board is engaged and leading the charge that will continue into our 20th anniversary year.
Rob Wonderling and Binny Silverman are the campaign co-chairs and represent the best of Bucks and Montgomery Counties. Their enthusiasm alone will help us reach our goal!
As we approach the 25% mark, I am planning on following up with many of our friends who have received information about the campaign. If you have questions, please give me a call (215-345-2122).
Friday, July 15, 2011
Monday, June 27, 2011
And The Winner Is. . .
I know everyone has been waiting with bated breath since I announced the finalists for Montgomery Theater Too’s Adaptation Competition last March. Well, it’s June now and as promised we’ve got a winner: Fairy Tale High School by Bill D’Agostino! Bill isn’t exactly new to the MT community - he served as Tom’s dramaturg on last year’s production of Alice in Wonderland – but this is the first time he’s lending us his playwriting skills. So without further ado, ladies and gentleman I give you an interview with Bill...
Q: What is your hometown?
A: Chappaqua, NY, a New York City suburb. It used to be known (when it was known) as the worldwide home for Reader’s Digest. Now it’s where the Clintons live.
Q: Current Town?
A: Byrn Mawr, PA.
Q: Tell me about Fairy Tale High School.
A: Fairy Tale High School imagines what it would be like if all your favorite fairy tale characters - Cinderella, Sleeping Beauty, Jack, etc. - were all in high school together, taking classes and getting into trouble. The witch teaches students to cook children who eat their house, the track team run laps around a beanstalk, and everyone (predictably) lives happily ever after.
FTHS began life as a sketch for a class of youngsters I taught in Harrisburg, when I was a company member for Gamut Theatre Group. The kids at the time were obsessed with High School Musical, and I wanted to write them something they’d be excited about reading. At the same time, I was also performing in funny and quick fairy tale adaptations with the company.
When Montgomery Theater announced its playwriting competition this year, I knew it was time to expand that initial germ of an idea until it became a full-fledged disease.
The play also owes huge debts to Stephen Sondheim's musical Into the Woods, which was one of the first Broadway shows I ever saw.
Q: Who is Bill? Are you an actor? Playwright? Performer? All of the above?
A: I’m just the boy who can’t say no - to theatre, that is.
I got my BA from Brown University with a theatre concentration and my master's degree in theatre from Villanova University. For theatres across the country, I've acted (mostly playing clowns and pompous anti-heroes), directed (mostly new plays), taught and written.
Currently, my day job is the Communications and Education Director for Act II Playhouse in Ambler, where I also serve as dramaturg for many of the productions. That means I help do research, gathering background material to inform the work of the director, actors and designers. Last year, I was the dramaturg for Montgomery Theater's production of Alice in Wonderland, helping director Tom Quinn with his adaptation, and I’ll also be dramaturg for Montgomery Theater’s upcoming comedy Big Boys.
I was also a professional journalist for seven years, which I mostly did because I wanted to know more about the world to write better plays.
Q: How did you start writing?
A: My freshman year at Horace Greeley High School, I fell in love with theatre while playing Wally Webb in Our Town. Later that year, I asked my mom to enroll me in a summer theatre camp for high school students at SUNY Purchase. In selecting classes, I had to choose between musical theatre and playwriting. Since I couldn’t sing, I chose the playwriting class, and a new lifelong obsession was born. So really, I owe my love of writing to the fact that I’m tone deaf.
Q: If you could change one thing about theater, what would it be?
A: The fact that most of my friends in theatre can’t afford to pay off their college loans. Theatre is chronically underfunded in this country, which is why in curtain speeches we are constantly thanking our generous donors.
Q: Who are or were your theatrical heroes?
A: In no particular order: Tony Kushner, John Guare, Anton Chekhov, Paula Vogel, Suzan Zeder, Bertolt Brecht, William Shakespeare, Michael Hollinger, Charles Ludlam, Thornton Wilder, Oscar Wilde, Moises Kaufman and Tectonic Theatre Project, Samuel Beckett, Tom Stoppard, Mary Zimmerman and a bunch of others I'm probably forgetting right now.
Q: What kind of theater excites you?
A: Theatre that’s original and fun. Theatre that gets my pulse beating. Theatre that's REALLY well constructed. Or really messy and exciting. Theatre that questions why things are the way they are.
Q: What advice do you have for playwrights just starting out?
A: See lots of theatre. You learn just as much from bad plays as good ones. In fact, the bad ones will probably boost your confidence as you think, “I can write something better than this.”
Q: Plugs, please. Any other upcoming projects?
A: I’ll be serving as dramaturg for Act II’s Fall production of Sylvia by A.R. Gurney, directed by Harriet Power. It happens to be starring the lovely and talented Jessica Bedford, Montgomery Theater’s Director of Education and a classmate at Villanova University’s Masters of Theatre program. She plays an adorable stray dog. (For reals!) So I’ll be driving up to Souderton for Fairy Tale High School rehearsals while she’ll be riding down here to Ambler for Sylvia performances. We’ll probably pass and wave on Route 309.
Monday, June 20, 2011
Funny
by Tony Braithwaite
Growing up, I learned that nothing is ever, "merely," funny. To my family, funny is a commodity, funny is an ace of trump, funny is a defense mechanism, funny is a gift, and funny is a life force. Then, and even now, my family members and I don't say I love you to one another very often. Rather, we try to make each other laugh. If we can make each other laugh, we can make each other feel loved. In short, we say, "I laugh you."
When I was a little boy my mom and dad came home from seeing Neil Simon's Brighton Beach Memoirs and said I should play Eugene Morris Jerome one day. When I was in 8th grade I saw my first Broadway non-musical, The Odd Couple (Female Version) with Sally Struthers and Rita Moreno. And when it was clear during my adolescence that I was a hypochondrical neurotic neat freak, I realized that Neil Simon had written the role of Felix Ungar for me 17 years before I was born.
Prisoner of 2nd Avenue marks the 4th time in my career that I have actually been in one of Simon's plays. In the fall of 1997 I was in Biloxi Blues at the Hedgerow Theatre in Media (where I did get to tackle Eugene Jerome, albeit in Brighton's sequel); a year later I played Lenny in Rumors at the same theatre; and just 2 years ago at The Kimmel Theatre I played Felix Ungar at last (having done scenes from The Odd Couple in college and a reading of it for 1812 Productions).
In short, I've been a huge fan of Neil Simon for many years.
I laugh his plays a lot.
Every time I am lucky enough to be in a Neil Simon play I am always struck by the same things: how relatable and familiar his characters feel (is it any wonder that Jack Lemmon, known for decades as the American Everyman, played so many Simon roles?), how perfectly crafted his writing seems (It's often compared to symphony music), and of course how damn hilarious he is.
I'd venture to say that no one in the history of the American Theatre has written as many laugh lines as Neil Simon. There's just been no one funnier. Theatre snobs often decry Simon's plays as trite populace fare, "merely," because he's funny. (Ironically they're often the same people who often ascribe to the theatre mantra, "Dying is easy. Comedy is hard.") This always amazes me because no one would ever look at Jerry Seinfeld or Johnny Carson and say the same thing - that they were, "merely," funny. In fact, when Seinfeld 's tv show went off the air it was uniformly lauded for being so ground-breaking and successful even though it was, "just a bunch of neurotic New Yorkers sitting around an apartment; just a show about nothing." The New York Times helpfully countered by pointing out that Neil Simon had been writing plays of that exact ilk for years.
From Vaudeville on, so much in American comedy is based on rhythms. A lot of American comedy today (stand-up, sit coms, and even things like South Park) is based on not only on the comedic situations involved but, perhaps more importantly, on the economy of words and the rhythm of the punch lines. There's a science to this, and Simon gets that. Too many syllables and the joke falls flat. Change just one word in the sentence and it triggers a laugh not present before. Simon has even said that some words may be considered inherently funny. Consonant plosives - that is words that start suddenly or "explosively" - p, b, t, d, k, and g - are often considered the funniest sounds in the English language. In the 1996 video Caesar's Writers, Simon discusses writing for Sid Caesar's Your Show of Shows, and a skit in which Imogene Coca places a bet on a roulette wheel. For an hour the writers tried out various numbers before deciding "32" was the funniest number Coca could say. With such craftsmanship, how could any of that be considered merely funny?
In that great tradition Prisoner of 2nd Avenue is very non-merely funny, in part because it's also surprisingly moving and very timely. You'll see echoes of The Out of Towners, The Odd Couple, and maybe even Barefoot in the Park, and you'll also see some of the darker themes present in Simon plays like Lost in Yonkers and The Dinner Party. At its heart, Prisoner is about the struggle of a man and his wife to cope with the pressures of the day - finances, employment, marriage, family, and even noisy slash nasty neighbors. The couple uses humor as one of their great unitive resources and as one of their best defenses.
That's something I imagine many of us relate to.
I know I laugh it a lot.
Growing up, I learned that nothing is ever, "merely," funny. To my family, funny is a commodity, funny is an ace of trump, funny is a defense mechanism, funny is a gift, and funny is a life force. Then, and even now, my family members and I don't say I love you to one another very often. Rather, we try to make each other laugh. If we can make each other laugh, we can make each other feel loved. In short, we say, "I laugh you."
When I was a little boy my mom and dad came home from seeing Neil Simon's Brighton Beach Memoirs and said I should play Eugene Morris Jerome one day. When I was in 8th grade I saw my first Broadway non-musical, The Odd Couple (Female Version) with Sally Struthers and Rita Moreno. And when it was clear during my adolescence that I was a hypochondrical neurotic neat freak, I realized that Neil Simon had written the role of Felix Ungar for me 17 years before I was born.
Prisoner of 2nd Avenue marks the 4th time in my career that I have actually been in one of Simon's plays. In the fall of 1997 I was in Biloxi Blues at the Hedgerow Theatre in Media (where I did get to tackle Eugene Jerome, albeit in Brighton's sequel); a year later I played Lenny in Rumors at the same theatre; and just 2 years ago at The Kimmel Theatre I played Felix Ungar at last (having done scenes from The Odd Couple in college and a reading of it for 1812 Productions).
In short, I've been a huge fan of Neil Simon for many years.
I laugh his plays a lot.
Every time I am lucky enough to be in a Neil Simon play I am always struck by the same things: how relatable and familiar his characters feel (is it any wonder that Jack Lemmon, known for decades as the American Everyman, played so many Simon roles?), how perfectly crafted his writing seems (It's often compared to symphony music), and of course how damn hilarious he is.
I'd venture to say that no one in the history of the American Theatre has written as many laugh lines as Neil Simon. There's just been no one funnier. Theatre snobs often decry Simon's plays as trite populace fare, "merely," because he's funny. (Ironically they're often the same people who often ascribe to the theatre mantra, "Dying is easy. Comedy is hard.") This always amazes me because no one would ever look at Jerry Seinfeld or Johnny Carson and say the same thing - that they were, "merely," funny. In fact, when Seinfeld 's tv show went off the air it was uniformly lauded for being so ground-breaking and successful even though it was, "just a bunch of neurotic New Yorkers sitting around an apartment; just a show about nothing." The New York Times helpfully countered by pointing out that Neil Simon had been writing plays of that exact ilk for years.
From Vaudeville on, so much in American comedy is based on rhythms. A lot of American comedy today (stand-up, sit coms, and even things like South Park) is based on not only on the comedic situations involved but, perhaps more importantly, on the economy of words and the rhythm of the punch lines. There's a science to this, and Simon gets that. Too many syllables and the joke falls flat. Change just one word in the sentence and it triggers a laugh not present before. Simon has even said that some words may be considered inherently funny. Consonant plosives - that is words that start suddenly or "explosively" - p, b, t, d, k, and g - are often considered the funniest sounds in the English language. In the 1996 video Caesar's Writers, Simon discusses writing for Sid Caesar's Your Show of Shows, and a skit in which Imogene Coca places a bet on a roulette wheel. For an hour the writers tried out various numbers before deciding "32" was the funniest number Coca could say. With such craftsmanship, how could any of that be considered merely funny?
In that great tradition Prisoner of 2nd Avenue is very non-merely funny, in part because it's also surprisingly moving and very timely. You'll see echoes of The Out of Towners, The Odd Couple, and maybe even Barefoot in the Park, and you'll also see some of the darker themes present in Simon plays like Lost in Yonkers and The Dinner Party. At its heart, Prisoner is about the struggle of a man and his wife to cope with the pressures of the day - finances, employment, marriage, family, and even noisy slash nasty neighbors. The couple uses humor as one of their great unitive resources and as one of their best defenses.
That's something I imagine many of us relate to.
I know I laugh it a lot.
Wednesday, May 25, 2011
Working With the Guys and Dolls of Montgomery Theater, Too
by Nora Algeo
When one thinks of gambles, sinners, and hotbox dancers it’s doubtful that the image of a 12 year-old comes to mind. However, with sincerity, determination, and a light-hearted spin the cast of Guys and Dolls Jr. has proven to me that young actors could actually run New York City! When Tom Quinn offered me the role of General Cartwright I was so excited to get back to work at Montgomery Theater. Little did I know that at my ripe old age of 22 I would become over-powered by a slew of extremely talented youngsters. These kids can do it all, and then some! The most rewarding part of this experience was watching the kids grow and evolve as they developed their own individual characters. We all learned so much throughout the rehearsal process and in the end we truly came together as an ensemble. Aside from the back-stage shenanigans (we are kids after all), what you see on stage is wonderful and unique product that is never to be seen again. There’s an old saying in theater that one never wants to work with kids and animals. Yet, I couldn’t image better working conditions.
Thursday, May 19, 2011
Montgomery Theater, Too
If you read our brochure this year you might have noticed that Montgomery Theater, Jr. is now Montgomery Theater, Too. Yes, that means we're growing up, but it doesn't mean the essence of what we do has changed. Just like MTJ before it, MTT offers opportunities for young people to perform in professionally-produced musicals and plays. No matter what the name is, you always know when one of our Project Stage musicals is about to open because our office staff becomes prone to breaking out in song and the green room is filled every afternoon with rambunctious adolescent performers. The energy of these student actors pervades the whole building and reminds everyone why it's so much fun to watch young actors work. The enthusiasm and excitement these kids exhibit can't be matched by the most trained actor in the world. And following a young person through the years as she develops her skills and turns into a polished performer is hugely satisfying.
As Guys & Dolls is set to open, I've been hearing snippets of "Fugue for Tinhorns" (I had to look up the title, but I'm sure you know the song), "Sit Down You're Rocking the Boat" and of course "Adelaide's Lament" as people walk by my office. I can't wait to hear the real thing this weekend. I hope you'll join me!
Wednesday, May 11, 2011
You Don't Have to Go to Philadelphia for Quality Theater
by Bonnie Rankin, Montgomery Theater Board Member
When my employer transferred me back to the Delaware Valley a few years ago after a sojourn in New York, I was ecstatic to be returning to my family and friends, and thrilled to be back at our corporate headquarters. I was grumpy, however, that that the only way to see professional theater would now mean a night-time, hassle-laden trek into Philadelphia.
Or so I thought…
You see, theater and the arts (and travel, actually, except for post-work jaunts on the Schuylkill) are my great passions. Growing up in Doylestown, shows at the Bucks County Playhouse were a huge part of my life, and in college I acted in a dozen plays, travelling with friends to see dozens more. In New York, of course, there were countless opportunities, including road trips to the Stratford Festival and the Shaw Festival in Ontario, Canada. As this potential theatrical void loomed, evidently I became a bit whiney.
That’s when a dear friend (thanks, Pat!) mentioned that we should go see a play at Montgomery Theater. And so we did. I wasn’t sure what to expect. I did not realize back then that Montgomery Theater is a professional playhouse which hires Equity Actors, as opposed to being a “community theater.” Anyway, after thirty minutes in this jewel box of a theater, my heart was full again. What talent! What a venue! What positive energy! I was hooked.
The next day I phoned Tom Quinn and asked what I could do to help the theater. I remember my heart sinking when he asked if I could sew costumes. No. Or paint scenery. Umm, no… No talents in either of those areas. But I do know business and marketing and organizational development, and I know how to formulate strategies and make things happen. Might any of those things be useful? And so I was invited to join Montgomery Theater’s Board of Directors.
Now, four years later, it turns out that being involved with Montgomery Theater has become one of the great joys of my life. I’ve made wonderful, creative friends who share that sense of building something that matters. I’ve had the opportunities to help select a new Managing Director (the wonderful Allegra Ketchum) and to lead the Board and staff in the creation of a new three-year strategic plan. It’s incredibly rewarding to see our strategic initiatives in education and marketing forging ahead nicely. Currently I’m assisting in the revamping of our website so that Montgomery Theater’s image to the outside world is more like the first-class operation that we already are. And, I am working with another Board member to build an Ambassador program that will better leverage the energies of our loyal fan base in the coming years.
I describe Montgomery Theater to friends and neighbors as a little jewel in our midst, and tell everyone what a privilege to be part of this high quality organization. And I mean it. Encore!
When my employer transferred me back to the Delaware Valley a few years ago after a sojourn in New York, I was ecstatic to be returning to my family and friends, and thrilled to be back at our corporate headquarters. I was grumpy, however, that that the only way to see professional theater would now mean a night-time, hassle-laden trek into Philadelphia.
Or so I thought…
You see, theater and the arts (and travel, actually, except for post-work jaunts on the Schuylkill) are my great passions. Growing up in Doylestown, shows at the Bucks County Playhouse were a huge part of my life, and in college I acted in a dozen plays, travelling with friends to see dozens more. In New York, of course, there were countless opportunities, including road trips to the Stratford Festival and the Shaw Festival in Ontario, Canada. As this potential theatrical void loomed, evidently I became a bit whiney.
That’s when a dear friend (thanks, Pat!) mentioned that we should go see a play at Montgomery Theater. And so we did. I wasn’t sure what to expect. I did not realize back then that Montgomery Theater is a professional playhouse which hires Equity Actors, as opposed to being a “community theater.” Anyway, after thirty minutes in this jewel box of a theater, my heart was full again. What talent! What a venue! What positive energy! I was hooked.
The next day I phoned Tom Quinn and asked what I could do to help the theater. I remember my heart sinking when he asked if I could sew costumes. No. Or paint scenery. Umm, no… No talents in either of those areas. But I do know business and marketing and organizational development, and I know how to formulate strategies and make things happen. Might any of those things be useful? And so I was invited to join Montgomery Theater’s Board of Directors.
Now, four years later, it turns out that being involved with Montgomery Theater has become one of the great joys of my life. I’ve made wonderful, creative friends who share that sense of building something that matters. I’ve had the opportunities to help select a new Managing Director (the wonderful Allegra Ketchum) and to lead the Board and staff in the creation of a new three-year strategic plan. It’s incredibly rewarding to see our strategic initiatives in education and marketing forging ahead nicely. Currently I’m assisting in the revamping of our website so that Montgomery Theater’s image to the outside world is more like the first-class operation that we already are. And, I am working with another Board member to build an Ambassador program that will better leverage the energies of our loyal fan base in the coming years.
I describe Montgomery Theater to friends and neighbors as a little jewel in our midst, and tell everyone what a privilege to be part of this high quality organization. And I mean it. Encore!
Thursday, May 5, 2011
A Day in the Life of a Typical Montgomery Theater Assistant Stage Manager
by Paul McEntegart
What a lot of people don’t consider when they come to see a show at the Montgomery Theater is what goes on behind the scenes or back stage during the show. So let me take you through a typical night at the Montgomery Theater. First of all, let’s assume nothing goes wrong. I won’t forget to set any props, and there won’t be any wardrobe malfunctions. It’s a Friday evening. I arrive at the theater at 7:00--an hour before curtain. Now it’s time to make the coffee. When it’s done brewing, I pour it into a large percolator that is placed stage right on top of what appears to be a heater. Next to that, I place eight cups. A stack of four, a stack of two and a single cup by itself for Joe. Typically, I would have already set the trash on the desks, taped Charlie’s paper to the blackboard, and wrote “Welcome Parents” on it, reset Mary’s desk, and reset the crayons and field trip activity papers after the last show. It is during this time that I make sure that I haven’t forgotten anything. I check to make sure that two catechisms are placed upstage in the first stage left desk, as well as the first center stage desk, a bag of pistachios is placed backstage left, Mary’s note for her students is placed in the right pocket of her jacket located back stage center, and Mother Regina’s green folder is placed backstage right. The flowers and violin are always located backstage right, because after each show, one of the first things I do is retrieve them from the desks that they end up on. Before I am done, I set a coconut glazed donut into a donut box located on a stage right desk. Something a lot of people don’t realize is that everything is set exactly the same every night, even the trash on the desks. On one of our dress rehearsals, I took pictures of the trash on my phone, in order to make sure that every cup and napkin is placed in the exact same position it was the night before. Now I make my way up to the dressing rooms. I wipe off the chalk marks on Joe’s jacket, blazer and pants, so as to create the illusion that Joe has never had any contact with the blackboard located in Mary’s classroom. During the show it is my job to strike the donut box, cups, napkins, plates and coffee percolator after the first scene. I signal Father Stanley to enter during scene two, just before Mary and Joe kiss (they don’t kiss). I strike Father Stanley’s janitor jacket, mop, and erase the blackboard during intermission. I signal Mother Regina to enter in scene one of act two, and place (spoiler alert!) Mary’s suit cases center stage just after the first scene in act two. That’s it. Honestly, anyone could do this. It’s probably one of the easiest jobs I ever had, but I wouldn’t trade it for anything. I feel like I have a family at the Montgomery Theater, and although the stage has transformed from a kitchen, to a trailer park and now to a classroom in the time that I’ve worked there, it will always be my home.
What a lot of people don’t consider when they come to see a show at the Montgomery Theater is what goes on behind the scenes or back stage during the show. So let me take you through a typical night at the Montgomery Theater. First of all, let’s assume nothing goes wrong. I won’t forget to set any props, and there won’t be any wardrobe malfunctions. It’s a Friday evening. I arrive at the theater at 7:00--an hour before curtain. Now it’s time to make the coffee. When it’s done brewing, I pour it into a large percolator that is placed stage right on top of what appears to be a heater. Next to that, I place eight cups. A stack of four, a stack of two and a single cup by itself for Joe. Typically, I would have already set the trash on the desks, taped Charlie’s paper to the blackboard, and wrote “Welcome Parents” on it, reset Mary’s desk, and reset the crayons and field trip activity papers after the last show. It is during this time that I make sure that I haven’t forgotten anything. I check to make sure that two catechisms are placed upstage in the first stage left desk, as well as the first center stage desk, a bag of pistachios is placed backstage left, Mary’s note for her students is placed in the right pocket of her jacket located back stage center, and Mother Regina’s green folder is placed backstage right. The flowers and violin are always located backstage right, because after each show, one of the first things I do is retrieve them from the desks that they end up on. Before I am done, I set a coconut glazed donut into a donut box located on a stage right desk. Something a lot of people don’t realize is that everything is set exactly the same every night, even the trash on the desks. On one of our dress rehearsals, I took pictures of the trash on my phone, in order to make sure that every cup and napkin is placed in the exact same position it was the night before. Now I make my way up to the dressing rooms. I wipe off the chalk marks on Joe’s jacket, blazer and pants, so as to create the illusion that Joe has never had any contact with the blackboard located in Mary’s classroom. During the show it is my job to strike the donut box, cups, napkins, plates and coffee percolator after the first scene. I signal Father Stanley to enter during scene two, just before Mary and Joe kiss (they don’t kiss). I strike Father Stanley’s janitor jacket, mop, and erase the blackboard during intermission. I signal Mother Regina to enter in scene one of act two, and place (spoiler alert!) Mary’s suit cases center stage just after the first scene in act two. That’s it. Honestly, anyone could do this. It’s probably one of the easiest jobs I ever had, but I wouldn’t trade it for anything. I feel like I have a family at the Montgomery Theater, and although the stage has transformed from a kitchen, to a trailer park and now to a classroom in the time that I’ve worked there, it will always be my home.
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