Tag Archives: acting

Middletown: There’s a lot More in Between

Dear fellow human beings; fellow breathers –

Currently playing at DalekoArts is an off-beat and heartrending play called Middletown by Will Eno. Hard to define in certain terms, I will often describe it to people as “Our Town for the 21st Century”, even though I know that that doesn’t nearly complete the picture.


While both plays tell their stories though a “slice of life” framework – depicting real people in a real community – showing life as it is now, Middletown delves so much more into the subtle and truly undefinable moments of human interaction. Characters will converse and say nonsensical things, yet understand. Characters will mumble and murmur and mouth whole lines that manage to leave the audience scratching their heads yet nodding at the same time. Some scenes take place in outer space and some scenes take place in a household kitchen. Babies are born and people die. Eno’s point in all this is to show Life through every angle he can, with every literary technique at his disposal.

What you end up watching then is a two act play that manages to charm and knock your emotional socks off by the final blackout.

Even I as the assistant director, who’s probably seen the play about thirty times, never tired from the language and the actors speaking it. Therein lies the mastery of the playwright’s talents. Will Eno is really good at what he does! Despite being a late-bloomer to playwriting, he had run in with literary art in 1996 when he was invited to tune his fiction capabilities at an Edward F. Albee Foundation workshop in Montauk, Long Island. His first commercial success in New York was Thom Pain (based on nothing) in 2005. Citing Samuel Beckett as a huge inspiration, the play is a one-person monologue about trials and tribulations of life. Charles Isherwood, in his New York Times review, says it best:

Mr. Eno’s voice is so assuredly his own, simultaneously delicate and audacious in its measurements of poetry, philosophy and Monty Pythonesque silliness, that he should be allowed to speak for himself, in full.

Thom Pain went on to be a finalist for the Pulitzer Prize (bested by John Patrick Shanley’s Doubt) and another well-known play of his is The Realistic Joneses.

Actors left to right: Joe Swanson, Sean Byrd, Tom Karki.

As for our production at DalekoArts, director Anne M. Byrd and the team has struck upon Eno’s trademark philosophy and silliness. I’m certainly happy to return to New Prague after a couple stints as an actor (Wait Until Dark and Snowed Inn), and can’t wait for audiences to laugh, cry and scratch their heads this time around.

Tickets and information can be had here.

View the playbill here.


Mr. Hannam Goes to St. Paul

The life of a theatre artist is certainly one of constant activity and at times can be a little unpredictable. One day you’re sitting in your studio, eager to finally finish the novel you’ve been chipping away at and the next you see a production call needing some stage hands. Hmm… I haven’t done that kind of work since college… hmm, but it is a company I know and directors I respect… hmm… let’s do it!

And that’s just how I got involved with Our House: The Capitol Play Project by Alan Berks and Leah Cooper, from Wonderlust Productions!

Described as such:

When a wild card new Governor is elected, the regular order on the state Capitol campus is thrown into chaos. While a chorus of activists, legislators, lobbyists, civil servants, and tour guides attempt to get their way, an idealistic new employee finds herself at the center of an unexpected controversy. Misunderstandings and mistaken identity lead to a crash course in the realities that both constrain and inspire the men and women who have devoted themselves to public service (inside a building brimming with idealism, cynicism, absurdity, significance, and power, plus more than a few old ghosts who have something to say).

Being a part of the project has not only flexed my tiny and withered production-muscles, but really has been an incredible crash course in Minnesota political history and civics. As a newly-minted citizen of the state, I must admit I have zero idea about any of that stuff. In fact, before this show, I had only been to the capitol building once and that was to seek refuge in the cold after the car I was in broke down!

Minnesota-State-Capitol-1104M LR copy_0.jpg

For those of you who haven’t had the pleasure of visiting, I would urge you to as soon as possible. Completed in 1905, the building just underwent a major restoration and is literally shining in beautiful granite, marble and gold. Once inside the building, you’re treated to vast halls with enough portraits and statues to fill any weekend and then for all you architect nerds out there, the building was designed by Cass Gilbert who also designed the U.S. Supreme Court and the Woolworth Building. It just so happens to be the second largest self-supported marble dome in the entire world, after St. Peter’s Basilica in Rome.

Interested yet? Good. Now know that since it does pride itself as being “the people’s house”, visitors are free to come and go as they please throughout the building (save for such rooms as the Senate and House chambers, of course).

The rotunda of the building. There happens to be a lot of honor paid to Minnesota’s role in the Civil War – photo by Dave Wilson.

When I decided to get involved in The Capitol Play Project, I didn’t really know what to expect. Now I’ve spent so much time in the capitol that I can’t help but be continually inspired by the quotes on the walls or the sheer grandeur of the construction. Not that I necessarily want to enter the political arena, but it does fuel my interest in being a voice for change in my community, either through activism or simply voting and making my representatives aware of my presence. That’s what the State Capitol building stands for and that’s what The Capitol Play Project brings to life so passionately.

We only run one more weekend, but for more info check it out here. 

Of Mice and Kids

Running right now at Park Square Theatre is Of Mice and Men, and it’s a show you can catch on the weekends or if you’re bold enough, every weekday morning with dozens of high schoolers!

Yep, Of Mice and Men plays just about every morning between now and mid-December to students who get to enjoy a field trip to the theatre. If you’re not familiar with Park Square Theatre in St. Paul, Minnesota, you should know that it’s kind of something they’ve earned as a reputation over the years. Steinbeck’s classic has been produced every-other-year in this fashion for at least a decade now. When I tell friends that I’m in it, they say, “Oh, I remember seeing that when I was a kid!” (For the record, I’m 26).

It seems darn near everyone takes the trip to Park Square and enjoys the show! Which I think is amazing, for so many thousands of people to share such an experience in the Twin Cities and throughout the region. I mean, the evening schedule is wonderful but I get such a unique joy from performing my role for teenagers who may never make a habit of watching theatre. I feel that’s a common sentiment among actors, but I really do take a pride in it and that’s thanks to my own field trip to see a play back in middle school.

Of Mice and Men
The cast of Of Mice and Men. Directed by Annie Enneking.  

I can’t even remember what the production company, but I remember taking a field trip in eighth grade to see a production of The Tell Tale Heart (and The Monkey’s Paw) at the Tupperware Center in my home town of Kissimmee, Florida. It was certainly a touring company of some sort, maybe even a high school production, but I remember superb production quality and the thrill of watching a man slowly lose his mind over the incessant beating of the heart under the floorboards. I wasn’t even an actor then! At that point in my life, theatre as nowhere near the forefront of my mind. It’s only now, looking back, that I can recognize it as a formative experience in my life’s chosen path.

Who knows if these students will think about this show after they get back on the bus, and back to class. I hope they do, not just for the sake of being exposed to the arts, but because the themes in Of Mice and Men are so poignant and relevant. The idea that people can only live for so long in an oppressive society. That sometimes you need action in order to make your life a better place. Surface-wise, there’s not too much hope being offered in this play, but just scratch that surface and you’ll find a wealth of courage and resolution.

This is what I hope to share with these kids.

Return of Frankenstein!

Speaking of work that gets seen by hundreds upon hundreds of people (assuming you’ve read my previous post), my touring stage adaptation of Frankenstein is once again on the road for the Hampstead Stage Company.

Frankenstein2017-1.jpgAs you remember from last year, I was charged to write this play by my bestie Jay Pastucha (Artistic Director) as they were trying to integrate more material for high schools/ young adults. The feedback was really great and with that jolt of confident (and a bigger budget), Jay and I were inspired to revamp the script and add… wait for it… a third character! And what’s more, cast a woman! What an insane concept, right? 

Jokes aside, we found that to tell a one-act version of Frankenstein with two people, for children, was a little restricting in our own creativity. We resolved, therefore, to actually write in the character of Elizabeth, rather than have her represented by hard-to-hear voice overs. To use a monster metaphor, there is just so much more meat on the bones, with characters, intentions and scenes fleshed out to a point that I can comfortably be proud of as a playwright.

Last year’s Frankenstein. Hampstead Stage Company. Directed by Austen Edwards with Robert Wright III and Patrick Sylvester.

Currently the show is being toured throughout New England and the Midwest, but not just to schools. Hampstead Stage is great in that they are willing to perform for anyone anywhere. Productions that I’m excited about were staged at the Heartwood Regional Theatre Company in Newcastle, Maine and FrankenFest in Indianapolis.

Praise to Jay and managing director, Anna Lynn Robbins, for believing in the show enough to take a risk on improving the show. In a world controlled by bottom lines, it is a beautiful thing to make art for art’s sake on such a scale. So if you’re looking for a short yet explosive adaptation of Frankenstein, let me know! I don’t know if it will hit the road again next year on tour, but it won’t be the last you’ll see of Victor and the Monster (oh, and Liz now too). 

I’m afraid Elizabeth just can’t catch a break.



“As You Wish” at the Ballpark

Life is an interesting thing sometimes, especially as an actor. Asked to portray many strange characters, we sort of grow desensitized that this can seem a little… absurd to people unfamiliar with the craft.

Well, following a get together of like-minded, absurd theatre folks, I was asked to play the character Westley from the 1987 classic, The Princess Bride. Me? Play the part Cary Elwes did so flawlessly? Why yes, I do pull of a pencil mustache, but do go on…


To sweeten the deal, it turns out this is part of “Princess Bride Night” at the ballpark of the St. Paul Saints, a pretty top-notch minor league team (owned in part by Bill Murray. Are we surprised?).

Not only will I be having a blast entertaining crowds for the home team, but I’ll be able to watch the Saints myself. Two of my favorite things – acting and baseball – coming together. How can I say no?

Not to mention I love The Princess Bride and will enjoy having to brush up on my Westley-isms. The only way this could possibly get better is if Bill Murray decides to show up…


Headed back to Almost, Maine

Almost is a town in northern Maine that most people haven’t heard of. I mean, it’s way north – hundreds of miles from any major point of civilization, where the moose and lonely-hearts roam. What the heck am I going there for? What the heck am I going back there for?

Well, because Almost doesn’t exist.

Wait. No. It does exist, but – oh, gosh…. lemme explain.

Almost, Maine is really Almost, Maine – a play by John Cariani. There, does that make more sense? I hope so, unless you don’t know what a play is and if that’s the case…

OK, so Almost, Maine is one of those whimsical, charming little gems of the theatre that is so popular that this is actually the third time I have performed in the piece. Not surprisingly, I’m even playing the same character as before. No other play holds such a distinction on my resume and when I heard the Paul Bunyan Playhouse was seeking actors, I was eager to go back.

Cast of Almost, Maine
The cast of my second stab at the play, with the Lanesboro Community Theater, co-directed with Tod Petersen. 
My first Almost, Maine was an independent student production at the University of Central Florida.

What makes this production so different from the others, however, is the fact that it will be present by a cast of four, playing all the various residents of the town: Here’s the official synopsis via Dramatists Play Service:

“On a cold, clear, moonless night in the middle of winter, all is not quite what it seems in the remote, mythical town of Almost, Maine. As the northern lights hover in the star-filled sky above, Almost’s residents find themselves falling in and out of love in unexpected and often hilarious ways. Knees are bruised. Hearts are broken. But the bruises heal, and the hearts mend—almost—in this delightful midwinter night’s dream.”

Due to the nature of the show, the cast can include as many as a dozen actors or as few as four. That’s why this time is unique, because now I’ve got the chance to relish several more of Cariani’s delightfully flawed characters. Along with, of course, my fellow actors Diana Jurand, Carol Foose and Nic Delcambre who are a joy to run around on stage with.

Another real treat is the venue of the show itself. While the Paul Bunyan Playhouse is the producing company, the space is in the historic Chief Theatre in downtown Bemidji. Opening in 1933, it was a classic Art Deco movie house before 1992 when it was renovated to serve as the home of the Playhouse. As for Bemidji, well, how can I not love the fact that I get to spend my July with Paul and Babe. So if you happen to find yourself in northwest Minnesota this month, come by and check us out. The show is directed by Jim Williams and runs July 19th-23rd and 26th-29th.

You wouldn’t have guessed it, but these two are a couple of serious theatre junkies.




Romeo: Ah, Dear Juliet…

In just a few weeks I will have the enormous pleasure to portray Romeo in Mission Theatre Company’s Romeo and Juliet!

The show is directed by Penelope Parsons-Lord and will be at the Crane Theater in Minneapolis from June 2 – 17. What excites me most about doing this show is the chance to breathe some freshness into a story we all know. We all know what “violent delights” brings at the play’s conclusion, but what I’m challenged to do as a performer, is make you completely forget that the ending is as inevitable as all that.

That is my challenge and my joy. Romeo to me is not only a young lover but the embodiment of a love we all wish we knew. Whether it’s been lost or never had, that kind of undying, passionate, over-the-moon love is so beautiful and (whether it exists or not) the idea of it is enough to make us burst with emotion. Those feelings are certainly fueling Romeo’s desires, but it’s also the very real stakes of the play that really drive it all home.

Romeo and Juliet are two characters constantly fighting for what they believe in since it seems everyone is against these two people simply being together. Their parents, the government, even the freakin’ stars. I’m simplifying, of course, but by boiling it all down to the basic “what is this about”, you really expose the absurdity those aforementioned obstacles. Why can’t people live and let live? Why can’t love just be pure and innocent? Why do people and governments feel as if they have a right to butt into other people’s private affairs?

Romeo, therefore, is a truly hopeless romantic. He is a good person, a stand-up guy who is well liked and only wants to marry the girl of his dreams and yet… he is killed, thereby causing the death of his equally innocent counterpart, Juliet. Now that is some fickle shit from ye old Fate. Nonetheless, that is life after all and the tragedy the play presents. To present a show just about two angsty teenagers who kill themselves would be absolutely unbearable to watch. No, what the play is about is why they come to the conclusion that this is the only way out. How suffocating does a situation have to become for someone to take such drastic actions? When you look at the play that way (and most plays, really) it is as compelling and riveting a story as any in the canon.

I’m so grateful to be telling this story to audiences and doing so with a truly remarkable team, both on stage and off. It may be Romeo and Juliet but they are only as good as the ensemble around them.


From Mission Theatre Company:

You think you know the story of two star-crossed lovers who took their lives… but there is so much more than the title characters; there’s something bright, attractive, and urgently relevant about this play when fearlessly performed. And that is what this production will bring to audiences. We will aim to look specifically at unending cycles of violence, at the people it affects, and that violence is NEVER self-contained; violence breeds violence. This production will be ambitious, brave, fast, funny, and relentlessly tragic.

Friday, June 2 @ 7:30pm
Saturday, June 3 @ 7:30pm
Sunday, June 4 @ 2:00pm
Monday, June 5 @ 7:30pm
Thursday, June 8 @ 7:30pm
Friday, June 9 @ 7:30pm
Saturday, June 10 @ 7:30pm
Monday, June 12 @ 7:30pm
Thursday, June 15 @ 7:30pm
Friday, June 16 @ 7:30pm
Saturday, June 17 @ 7:30 pm

Eric Balcerzak as Lord Capulet
Tyus Beeson as Tybalt
Michael Terrell Brown as Balthazar/Ensemble
Gary Danciu as Friar
Caitlin Featherstone as Ensemble/Dance Captain
Vincent Hannam as Romeo
Ashley Hovell as Benvolio
Tamara Koltes as Mercutio
Jason Kornelis as Prince/Ensemble
Bethany McHugh as Juliet
Stanzi Schalter as Friar John/Ensemble
John Stark as Paris
Anneliese Stuht as Nurse
Maggie Mae Sulentic as Ensemble/Fight Captain
Andrea Rose Tonsfeldt as Montague/Ensemble
Amy Vickroy as Lady Capulet

Technical Team:
Penelope Parsons-Lord: Director
Ellen DeYoung: Stage Manager
Tony Stoeri: Lighting Designer
Leazah Behrens: Set Designer
Steve Herzog: Sound Designer
Penelope Parsons-Lord: Costume Designer
Krista Weiss: Assistant Costume Designer
Michael Kelley: Fight Choreographer
Andrea Rose Tonsfeldt: Hair/Makeup Designer
Turi Jystad: Assistant Stage Manager