The Joy of Teaching

Will Windsor Erwin, the author of the following post, is currently leading a Young Actors Workshop class and will be teaching the Young Actors Company class that is enrolling now.

“Boppity Bop Bop Bop!”
“Zip! Zap! Zop!”
“Teapot. One, Two, Three!”
The combination of words may sound odd to some, but these are just some examples of the strange games played within Montgomery Theater’s youth theatre classes… and I couldn’t be more thrilled to help lead them.
After spending the last two years earning my MA in Theatre, up to my ears in theatre theory, writing, acting, and defending a thesis, and applying all I’ve learned in actual practice I was burned out. I spent all-nighters creating production histories, visual files, annotated bibliographies. I wrote papers, papers, and more papers.
I didn’t hate graduate school. I loved it, in fact. I made some amazing friends, worked with talented professors, designers, and directors. I participated in a play that took place in and around a water-filled pool. I even shaved my head.
All in the name of theatre.
And after the whirlwind was over, after all the Pomp and Circumstance, after the degree arrived (much mangled) in the mail, I felt like a piece was missing. And suddenly… the piece arrived.
My time at Montgomery Theater has reawakened everything about theatre I thought I’d lost. I am free to imagine again and can play these games with a refreshed view and vigor. And it has come to me through the excitement of the children I work with in Montgomery’s youth classes.
I have two rules when I teach a class:

1) NO NEGATIVES.

2) HAVE FUN.
I implement these rules because I want to create a positive learning atmosphere. How can ANYONE let go and be free in the fear of someone laughing at them? With so much negativity out there, theatre is the one safe space I have left… and I wanted to make sure the space was there for the young ones willing, eager, and able to learn.
As much as I try to teach my students about the aspects of theatre:
about vocal control, working as a team, about being fearless to try new things, and, most importantly, about OWNING POSITIVE SELF ESTEEM… they have taught me more.

I had forgotten what it was like to let go of everything. I had forgotten what it was like to first learn about theatre. What it was like to let my imagination run wild. What it was like to be a kid.
I cherish the time here at Montgomery because I am constantly surprised at the students’ continued wonderment within each class I teach. I am inspired to see the shy student break out, or the “bossy” student take the step back into the ensemble. And I am empowered knowing that every ounce of self esteem I have helped plant and nourish will aid my students in every step of their lives.

- Will Windsor Erwin

How Not to be a Doctor

By Kristin Heckler, Production Associate/Box Office Manager


I can’t remember a time when I didn’t love theater. Like most people involved in theater, I started as a performer and have always been involved in any school activity remotely related to drama. In middle school and high school, my closest friends were my friends from the musicals or choir. I always felt happiest when working on a show, rehearsing or performing.

I attended Duke University and began as a Pre-Med student. I wanted to be a doctor for a long time and although my parents supported my love of theater, they always insisted it was a hobby. That didn’t stop me from getting involved in theater at Duke and soon after arriving, I auditioned for Hoof ‘n’ Horn, Duke’s completely student run musical theater organization. It was very exciting to get back into the theater scene and I quickly found my true friends among their ranks. As soon as I joined Hoof ‘n’ Horn, my happiness with Duke increased dramatically (no pun intended) and I knew I would invest a lot of time in the organization.

The spring show that year was Guys and Dolls, which I had already performed in at Pennridge. As fun as the show is, I wasn’t looking forward to wearing an ugly dress and singing “Follow the Fold” for the rest of the semester, so I volunteered to be the Props Mistress for the show. It was a very difficult and thankless job, but it was the first real exposure I had to working behind the scenes and I liked it better than I thought I would. I was just focused on my part of the production running smoothly and fastidiously checked the prop table before each performance.

Although I do not aspire to a life in props, this job is an important part of my story because it was the first time I realized I was good at work behind the curtain. I also learned to appreciate all of the designers, run crew, stage managers and everyone else that contributed to the production. Well eventually I left Pre-Med and wandered around through my Spanish and Women’s Studies classes for a couple more years, never really feeling at home or spurred to start my career in any specific field.

Fall semester of senior year, several things happened at once. First, I was in a musical theater class. The professor (whom I developed a wonderful relationship with) assigned the class to create a musical revue of the history of musical theater, rather than having a final exam. Although my fellow students were not performers and we had limited time for rehearsals, I dove right into the project and contributed more hours than anyone else in my class. Working on the revue never felt like work. I found myself putting off my other class work just to make schedules and coordinate between producers, writers, accompanists and performers. It never felt like work and I could spend hours on it without even realizing time had passed. The second thing was planning my following semester. I was planning to audition for a show, costume design the Hoof ‘n’ Horn spring show and direct a cabaret for Hoof ‘n’ Horn. I realized all of my time was going to be spent working on shows and it excited me and sort of confused me. I still wasn’t planning to work in theater and yet I would be spending all my time there? The third thing happened to me while I was home on Thanksgiving break. I saw I Love My Wife at Montgomery Theater and decided during intermission that I wanted my career to be in theater (basically aspiring to be Tom Quinn, watch out TQ!) and I would love to be involved in a theater like this one.

Well, six months later I was graduated, jobless, relatively unconcerned about it and my dad and I had lunch with Tom Quinn to discuss how he got to be the Artistic Director of Montgomery Theater. At lunch, Tom mentioned they would be having a job opening as Production Associate/Box Office Manager. Well that sounded pretty great to me since I was spending every minute looking for unpaid internships in New York. So I applied and the rest is history. Here I am, Production Associate/Box Office Manager and loving every minute!

Everybody Loves Sets

Hi everyone, Cameron here, Technical Director for MT



It’s been a little while since we spoke (Bless me Father, for I have sinned. It’s been….”
Anyway, since I last posted, there have been a couple of interesting sets, with their own interesting challenges to face and overcome. Everybody Loves Opal comes to mind. At face value, a rundown Victorian-style house, described by the playwright as an “ode to the jigsaw”. That means lots of scrollwork, intricate moldings and the like.


A challenge in itself. BUT. Add the topper at the end of Act one, when the second floor comes crashing down in a Rube Goldberg/Mousetrap kind of sequence of events, depositing about 200 pounds of debris on the stage floor. There’s a musical carousel, a winding string, a pulled pin, a careening wagon on the stairs, a toppled support post, a cracked header beam, and a torrent of falling items from “upstairs” including yellowed newspapers, an old iron that swings like a hanged convict, handfuls of clattering silverware and an unfurling oriental rug that manages to conceal the secret escape of Opal, who we all assume is buried under the pile of rubble.
If this works, there should be a link to the youtube video of a rehearsal of this event. http://www.youtube.com/watch?v=R835TCdGiAo Trust me, when we got it up to full speed, with all the real debris falling, and the precision timing, it was awesome to see. And it took about three miles of rigging rope, about 25 pulleys, springs, lynch pins, synchronized communication on headsets and a LOT of faith from the director, Tony Braithwaite. Oh, and there was a lot of experimentation to get the right “falling dust” effect. Too dusty, and it would form a cloud that would hang for an hour. We ended up with a mixture of scoopable kitty litter and baking soda sprinkled on top of everything that fell, so there was a nice rain of dust for realism. Ultimately, I stayed on to crew with the ASMs to make sure it ran flawlessly every night. So, for four weekends, my social life consisted of sitting in a dark hallway, whispering off-color jokes and singing through a headset to my friends Nancy, Tom, Tina and sometimes Brian who just couldn’t stay out of the booth.
It was one of the best times of my life. (inside joke: How deep is your well?)

Cameron Purdy
March, 2011

Trailer Park Party

This post by Montgomery Theater Board member and hostess extraordinaire Laura Heckler illustrates perfectly her talent for bringing the excitement with her wherever she goes. I hope you enjoy reading about the memorable Trailer Park after party.

Did you know that you can rent the upstairs rehearsal hall at Montgomery Theater for private parties? When I heard that MT was producing “The Great American Trailer Park Musical”, I was inspired. We had to have a Trailer Park Cook-off! I would invite my guests to get a ticket to the show and afterward we would go up for a tasting of some “fabulous” food. You know… those kinds of recipes made with Velveeta, Cream of Anything Soup, Jello or Lipton Onion Soup.

I thought that it would be fun if everyone dressed the part. Guys could wear flannel shirts, camouflage, work boots or anything with a NASCAR logo. Women should wear anything tight & made up of a flammable, polyester material with tons of blue eyeshadow and mall chick hairdos. Fantastic prizes would be awarded in many categories.

Last Sunday the big day arrived. Over 60 friends hooted and howled at the uproariously funny “Trailer Park Musical” and then headed upstairs to continue the fun. The stairway was posted with “Top Ten Ways To Tell If You Are In A Trailer Park”. (My personal favorite was number 1 “If you let your 12 year old daughter smoke at the dinner table in front of her children.”). The room was decorated with a clothesline full of hunting clothes and gaudily colored lingerie. The mirrors were framed with glowing Luau Flip Flop lights. Mismatched napkins left from bygone Birthday, Easter and Christmas parties were handy on every table. Trash bags and duct tape served as tablecloths. We had a blow up “Ducky” pool Filled with Boone’s Farm, Budweiser and Mad Dog 20/20 on the bar. The Jell-o shots were lovely shades of lime green, electric raspberry, glow in the dark blue and school bus yellow.

The food, boy was there food. Guests were really into finding the perfect recipe for the competition. Aluminum sterno trays were laden with everything “Tan”. Potato Chips topped chicken and cheese casseroles. We had the old favorite green bean casserole, broccoli soufflé, sloppy joes, and pulled pork. Some of the more unusual entries were: Frito Pie made with Hormel chili, cheese and…Fritos; Henny Penny Chicken Salad made with Old English Cheddar Cheese (yes it comes in a jar); “Is it really better than sex?” cake – some said yes!; and the grand prize winner, Kitty Litter Cake. It was hilarious, the cake came in a kitty litter pan with a scoop and tootsie rolls on top. It took a while for people to be brave enough to try it!

Next were the prizes. The maker of the pretzel jell-o salad (made by sautéing the pretzels in butter before adding the jell-o) won a redneck wine glass – a mason jar on a stem. She happily exclaimed “Look it has a lid so it can be a to-go cup!” Another guest won a camouflage six pack holder/fanny pack. He was seen on the way out wearing it fully loaded with Budweiser. Another coveted prize was the floating, flamingo wine coasters. Everyone agreed that this was the best way to beat the winter blues!

Laura's right - if you want to throw your own party (for a birthday, an anniversary or just for the fun of it), you can rent the upstairs rehearsal hall after a show. Call (215) 723-9984 x11 for more information.

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