Q&A with Dale Davidson for October's Plus 1 Solo Show Fest - Series A

This fall, Tongue in Cheek has selected 8 solo show artists to take part in its tenth Plus 1 Solo Show Festival, which runs October 20, 21, 27 & 28.  For tickets and more, visit www.tictheater.com.

We recently interviewed Ms. Dale Davidson, which will be featured in Series A in the festival, running October 20 & 21.  Read on, and then go grab your tickets!

Who or what got you interested in doing this show?

Dale Davidson, Fearfully Funny

While doing improv and classes at the Magnet Theater, I noticed they have a Storytelling class with Adam Wade. I had listened to The Moth on radio, and had been to The Liar Show and other fun storytelling events. Many times after those shows, I thought, “I have weird, funny stories to tell.” So I signed up for Adam’s class. After completion, Adam even asked me to repeat my tale at one of his monthly “Adam Wade from NH Show” performances.

I had attended loads of solo shows, having been involved with FringeNYC for its entire 17 years – first as audience, then as a participant and also as a staff member.  It became clear that some of the best solo shows credited Matt Hoverman, he of www.createyourownsoloshow.com. I signed up and recently took his Levels 1 and 2 courses. The production here in the Plus One Solo Show Festival is a vignette of what I worked on in Matt’s classes.

Matt is a genius! He makes it easy to hone what you want to say and how to say it. The “elements” he shares of how to structure and present your material are so helpful. Matt also imparts an appreciation of everyone’s stories and how fascinating we human beings are. Part of what makes us human is empathy. Our individual tales are universal. Sharing them allows both the performer and the audience member to embrace the concept that we are not alone – an important way to combat loneliness and depression. Theatre is the art of connecting people and to sometimes present solutions to our human problems.

[Editor's note: It's true about Matt Hoverman's genius--more than half of Plus 1 Solo Show festival participants have studied with him to craft their pieces. His students' works are consistently brilliant, too!]

Who's your audience?
Action cures fear. That's one of the most powerful lessons I've learned from combatting "inner obstacles" for so many years. Here's another homily: Fear is excitement turned inward. I would love to help young people become consciously courageous and embrace confidence in a healthy way. Becoming an adult is such a challenge (not to mention all of the hormonal craziness!). Silly me, I always thought that the purpose of our lives was to improve ourselves over time. (To paraphrase myself, "I'd better be getting better!") But I'm shocked to find too many people stop growing. I believe much of what blocks them is fear.

On a political level, this country has swerved into actually stoking people's anxieties. I see media "pundits" and politicians using phobia and hatred to enhance their own careers and personal wealth. Xenophobia has given way to general negativity and The Blame Game (especially directed toward President Obama), which has leaked down to voters who are in denial of their racism.

Wouldn't it be loverly to reverse THAT trend with my little show!

Indeed!  Thanks so much, Dale -- can't wait to see you perform!

Series A of the Plus 1 Solo Show Festival runs Sunday, October 20 & Monday, October 21 at 8 pm 
@ The Bridge Theatre (244 West 54th Street, 12th Floor)

Tickets are $20 at http://www.smarttix.com/Show.aspx?ShowCode=SER9 or by calling 212-868-4444
Everything you ever wanted to know about the festival can be found at www.tictheater.com, too.

Q&A with Nora Vetter for October's Plus 1 Solo Show Festival - Series A

This fall, Tongue in Cheek has selected 8 solo show artists to take part in its tenth Plus 1 Solo Show Festival, which runs October 20, 21, 27 & 28.  For tickets and more, visit www.tictheater.com.

We recently interviewed Nora Vetter, whose piece, Unfinished Adventure, will be featured in Series A in the festival, running October 20 & 21.  Read on, and then go grab your tickets!

Nora Vetter, Unfinished Adventure-r!

What's a fun fact about you that isn't revealed in the piece? 
I was part of a clown troupe (my clown alias was Gumdrop) when I was in third grade. I even joined the circus (for a day) and to this day I can make balloon animals or rather variations on a dog.

If your piece were turned into a movie, describe the genre, ideal film director and any supporting cast or players you would cast?
It would be a comedy. And since it would be more of a coming of age type comedy the first director that came to mind would be John Hughes but alas I've missed my opportunity there. Cameron Crowe would definitely be a close second and I'm sure the soundtrack would be phenomenal! Speaking of the soundtrack though, the supporting cast would have to include the remaining members of The Monkees. Jake Johnson, Chris O'Dowd and Rebel Wilson would be on the cast wish list as well.

What do you hope to do with your piece after Plus 1?
My director, Rachel Dart, and I have already discussed the possibility of creating a separate full cast piece inspired by the completed screenplay referenced in the show. But rather than a film it would most likely start out on stage. And we are most certainly not opposed to that stage being on Broadway. :)

Awesome!  Thanks so much, Nora -- it's going to be wonderful to be a part of your adventure!

Series A of the Plus 1 Solo Show Festival runs Sunday, October 20 & Monday, October 21 at 8 pm 
@ The Bridge Theatre (244 West 54th Street, 12th Floor)

Tickets are $20 at http://www.smarttix.com/Show.aspx?ShowCode=SER9 or by calling 212-868-4444
Everything you ever wanted to know about the festival can be found at www.tictheater.com, too.

Gratitude & Anticipation: the Saturday before TIC's Fall Season Begins

It's early Saturday morning and so many thoughts are running through my head.  Errands, To Do lists, last minute production reminders.

Tongue in Cheek Theater's 24th production. Whoo wee!

But the most important item on my to do list should be: enjoy that incredible feelings of gratitude and anticipation as Tongue in Cheek's fall season officially starts this week.

When I founded TIC in early 2006, all I knew was there was this play I wanted to do, The Baltimore Waltz by Paula Vogel.

Now 8 years and 23 productions later, we are mounting Vogel's most seminal piece, How I Learned to Drive, along with 4 nights of TIC's 10th Plus 1 Solo Show Festival and a special one-night only performance of How to Behave/Places, Please.  That's 14 nights of theater across three weeks.  Hard to believe it all started with a three-person play and a cute logo I drew on the back of an envelope of a joyful penguin.

Today entails a trip to Home Depot, house cleaning, and if I'm lucky, a nap on the couch after watching NY1's Onstage.

On Sunday, we have one last rehearsal to crystallize every last entrance, exit and a bit of four-part harmony.

On Monday, my production stage manager and right hand Allison Lemel and I will load into The Bridge Theatre @ Shetler Studios.  When the actors arrive that evening, we'll run through all the transitions, light and sound cues.

On Tuesday,
website www.StageBuddyPro.com will interview me in The Bridge about running an indie theater, tips for solo show artists submitting to festivals, and casting for indie theater.  (More on those video interviews as soon as they're live!)

On Wednesday, Maeghan Donohue, TIC's production photographer, will capture our final dress rehearsal.  Can't wait to share those pics.

On Thursday, we open How I Learn to Drive, and then it's go, go, go.  Holy...

Okay: deep breath in.  Deep breath out.   This moment is pretty great.  I thank everyone who has been a part of the many auditions, rehearsals, performances, accolades and most importantly, audiences.  One more deep breath.

And now I'm off to Home Depot!

If you haven't purchased your tickets for TIC's fall run, please do!  We've already sold out 1 performance of How I Learned to Drive and would love to see your smiling face in the audience.

How I Learned to Drive by Paula Vogel runs Oct. 17-19, 24-26, 31-Nov. 2 at 8 pm at The Bridge Theatre @ Shetler Studios (244 W. 54 St., 12th Fl.).  Tickets are $18 online or call 212-868-4444.  Featuring Lynn Berg, Michael Edmund, Holland Hamilton, Jake Lipman, Shelley Little and Joan D. Saunders.  Family dysfunction and foam rubber fumbles.

Series A of the Plus 1 Solo Show Festival runs Sunday, October 20 & Monday, October 21 at 8 pm 

Tickets are $20 online or call 212-868-4444.  Series A features Aizzah Fatima, Dale Davidson, Anna Fox and Nora Vetter.  Google, fear, OCD and big dreams.

Series B of the Plus 1 Solo Show Festival runs Sunday, October 27 & Monday, October 28 at 8 pm 

Tickets are $20 online or call 212-868-4444.  Series B features Kaitlan Emery, Alan Fox, Rose Andrez and Andreanna Buccheri.  Mormons, rapping, the suburbs and big hair.

How to Behave/Places, Please by Connie Perry/Allison Lemel runs Wednesday, October 23 at 7 pm.  Tickets are $10 and include a glass of wine, go online or call 212-868-4444.  A glimpse backstage at the humor and grace involved in making magic happen onstage.

More about TIC at www.tictheater.com or on our Facebook page, www.facebook.com/tictheater.

Q&A with Anna Fox for October's Plus 1 Solo Show Fest - Series A

This fall, Tongue in Cheek has selected 8 solo show artists to take part in its tenth Plus 1 Solo Show Festival, which runs October 20, 21, 27 & 28.  For tickets and more, visit www.tictheater.com.

Performer Anna Fox

We recently interviewed Anna Fox about her piece, Our Common Deception, which will be featured in Series A in the festival, running October 20 & 21.  Read on, and then go grab your tickets!

Are there writers who inspired you to create your solo show?

On a subconscious level, Will Eno and Caryl Churchill.

I just read “Love and Information” by Caryl Churchill this past spring, and her work always reminds me to push the boundaries of what a play “can” be. I started my career by writing poetry in college, so the simplistic poetic format of her work inspired me to write my own poetic theatrical piece (as does Sarah Ruhl's work).

With Will Eno, the simplistic nature strikes me in a different way. Every time I see a work of his performed, I simultaneously want to smile and cry. It’s the worst and best feeling all at once, and I don’t think anyone else has ever made me feel that way.  I like that his voice is so distinctive and clear, and that I can only attribute that specific feeling to his work. I aspire to be that distinctive.

What inspired the topic of your piece, Our Common Deception?

Our Common Deception, which spells out OCD, speaks to our common deceptions about mental disorders, and also the deceptions people with these afflictions face. I believe the compulsive part of OCD is highlighted a lot more in society’s depictions of OCD because that part is often visible, i.e., “I notice someone washing their hands hands 27 times in 10 minutes. That doesn’t seem ‘normal.’”

Whereas some people only suffer from the obsessive part, which is invisibly occurring in the person's head, and not always physically manifested through the compulsion. This is the story of woman who has obsessive tendencies, and what goes on in her mind.

Solo shows often require actors to think on their feet and react.  Did you ever have to overcome an unforeseen obstacle onstage?

I was in a production of Cloud 9 by Caryl Churchill in my junior year of high school and I played the part of Joshua, the African servant to an affluent British Colonial Family in the mid-1800s. Caryl Churchill is known for having men play women, women play men, white people play black people, and so forth, so the part was actually meant to be played by a white man, but the white man who got cast dropped out at the last moment, thus leaving me, originally the stage manager, to step in and take on the role.

Luckily, playing a deadpan man was pretty much perfect for me, and in one scene Joshua shows a bit of emotion by singing a Christmas carol to entertain the family. I also carried a wooden gun, which was essentially two pieces of wood haphazardly nailed together, and accented my singing with thrusting the gun in varying directions.

On one particular night my gun broke in half during a particularly forceful arm jab during the song. The scene was set so that the rest of the cast had their backs to the audience to watch me, so I was the only actor facing the audience. They naturally all started cracking up, but were easily able to hide it because the audience couldn’t see them. I knew I too was going to lose it, so I immediately stopped singing, acted as though I was too embarrassed to go on, and quickly ran offstage. This only made everyone laugh more, and was definitely a good save on my part. I love unexpected improvisational moments like that onstage, it keeps me on my toes.

OK: tell us something we wouldn't know about you from your piece, Our Common Deception.
I am working on a children’s book called The ABCs of Allergies, about children who have varying food allergies/intolerances.

Food has been significantly genetically altered over the past sixty or so years, which has then led to more allergies, and subsequently more demand for alternatives, and thus these alternatives have leaked into the mainstream, which I think is great.

Because I have many intolerances, and must always choose my food wisely, I got into cooking at a young age, and I've discovered a whole world of variety within my slightly more limited options, and it feels great to know exactly what is in my food. I would love for that information to be available to young children, so they can feel similarly empowered from an early age. My one secret: coconut flour: it's fibrous, a great gluten-free alternative and pretty cheap compared to other gluten-free flour.

Thanks so much, Anna--and we can't wait to see you perform Our Common Deception in October!

Series A of the Plus 1 Solo Show Festival runs Sunday, October 20 & Monday, October 21 at 8 pm 
@ The Bridge Theatre (244 West 54th Street, 12th Floor)

Tickets are $20 at http://www.smarttix.com/Show.aspx?ShowCode=SER9 or by calling 212-868-4444
Everything you ever wanted to know about the festival can be found at www.tictheater.com, too.

TIC Hearts Paula Vogel: An Imaginary Conversation with the Playwright

Dear Ms. Vogel,

I promise I don't usually approach playwrights-slash-Pulitzer-Prize-winners when they're trying to enjoy a nice steak dinner out -- but I just have to tell you that I love your work.

Paula Vogel, playwright

When I was getting my MFA in acting, someone passed me their copy of your play The Baltimore Waltz, and I was hooked by the creativity of your storytelling.  When I founded my own independent theater company, Tongue in Cheek Theater, in 2006, The Baltimore Waltz was our first production.

Over the years, I've read other plays by you and always hoped to someday do your seminal work, How I Learned to Drive.  But for many years, I held back: the uncomfortable mix of sex and family seemed so... challenging... to stage.

But you know what, Ms. Vogel?  Can I call you Paula?  I really do love this play.  Re-reading it late last year, I felt a deep kinship with all the characters, especially the busty-and-smart Li'l Bit.  My production stage manager urged me to do it for our fall show.

So here we go: in 10 days, my production company, now on its 24th production, is staging a three-week run of How I Learned to Drive.  It feels like a brilliant way to celebrate our 8 years of shows (so far!) by returning to your work.

Just wanted to say thank you for writing it.   Enjoy your meal.

Sincerely,

Jake Lipman

P.S. What is Li'l Bit's real name?  We have a bet going that it's Elizabeth.  Or Lily?

Production Details
TIC Theater is thrilled to produce a 3-week run this fall of How I Learned to Drive by Paula Vogel, running Oct. 17-19, 24-26, 31-Nov. 2 at 8 pm at The Bridge Theatre @ Shetler Studios (244 W. 54 St., 12th Fl.).  Tickets are $18 online and 212-868-4444.

For more about the cast, crew, and Tongue in Cheek, please visit www.tictheater.com and like us on Facebook, www.facebook.com/tictheater
How I Learned to Drive is an Actors Equity-approved showcase.

Q&A with Holland Hamilton ('Aunt Mary') in HOW I LEARNED TO DRIVE

TIC Theater is thrilled to produce a 3-week run this fall of How I Learned to Drive by Paula Vogel, running Oct. 17-19, 24-26, 31-Nov. 2 at 8 pm at The Bridge Theatre @ Shetler Studios (244 W. 54 St., 12th Fl.).  Tickets are $18 online and 212-868-4444.

Winner of the Pulitzer Prize for Drama, this play follows precocious Li'l Bit's formative teenage years in rural Maryland in the 1960s.  Often at odds with her family, she admires her Aunt Mary, who seems to know how to handle any problem with dignity.

We sat down with actor Holland Hamilton ('Aunt Mary') to talk solitude in the city, singing, and sophisticated drinks.

Most of the play takes place at night, on back roads.  What's your favorite place to go to escape the city?

Holland Hamilton

Near my house, there's a pier that looks out on the hudson and further on into New Jersey. Looking out on the water and then onto another time and place has always made me feel calm. The city is always full of noise and action. When I stand in that spot and listen to the water (especially at night), I feel like I'm in my own secret world. Knowing that a quieter, calmer place is just a boat, bus or train ride away is soothing. It reminds me that I don't always have to feel cramped or overworked or tired. I can just pick up and go somewhere that's not so crazy. 

Music from 1960's figures heavily in the play.  What's your favorite song from that decade?
I love the song "Ain't No Mountain." Every time I hear it I get happy. I fell in love with the song when the two moms and kids sing it into their hairbrushes in the movie 'Stepmom.'

Later, I recorded the song with my best friend Marina and at the lyrics "My love is alive deep down in my heart although we are miles apart," we both started laughing at some inside joke. Now I can listen to that recording, no matter where she is, and feel connected to her. It's a real theme song in my life. 

If Aunt Mary were mixing a drink, what would she drink, and why?
So, at first I read this as "if your character was a mixed drink..." But the answer is the same. Cosmopolitan. Aunt Mary tries to present herself as very "good." She's grown up under her sister, "the bad daughter," and so she never wants to be like that.

Cosmos are a strong drinks that look sophisticated and taste delightful. So is Aunt Mary. 

Catch the heartfelt Hamilton as 'Aunt Mary' this fall at the Bridge Theatre @ Shetler Studios.

TIC is thrilled to have sold out its last 2 seasons of plays, so please do buy your ticket in advance.  http://www.smarttix.com/Show.aspx?ShowCode=HOW27

For more about the cast, crew, and Tongue in Cheek, please visit www.tictheater.com and like us on Facebook, www.facebook.com/tictheater

Q&A with Joan D. Saunders ('Grandma') in HOW I LEARNED TO DRIVE

TIC Theater is thrilled to produce a 3-week run this fall of How I Learned to Drive by Paula Vogel, running Oct. 17-19, 24-26, 31-Nov. 2 at 8 pm at The Bridge Theatre @ Shetler Studios (244 W. 54 St., 12th Fl.).  Tickets are $18 online and 212-868-4444.

Winner of the Pulitzer Prize for Drama, this play follows precocious Li'l Bit's formative teenage years in rural Maryland in the 1960s.  She has more in common with her bawdy grandmother than she would like to think...

We sat down with actor Joan D. Saunders ('Grandma') to talk theater, 60's music and mixed drinks.

What's your favorite place to escape it all?

My favorite escape is going to the theater. It doesn’t matter that I’m surrounded by crowds of people. I just slip into the world on the stage. I love movies, too, but theater is different — maybe because it’s living and breathing.

What's your favorite song from the 1960's?
This is really tough to narrow down, even just to the artist — Frankie Vallee, Three Dog Night, any and all Motown, I could go on and on.

But if I have to narrow it down to an artist, I would say Blood, Sweat and Tears, and from among their many great songs, I’d pick “Lucretia MacEvil” (specifically the longer version). In my case with music, it’s always about the music, not the lyrics, and as with all BS&T songs, it’s the combination of brass and guitar, blues and rock, that grabs me. But this song has FAB lyrics, too. 

If Grandma were entertaining, what drink might he fix?
She would mix a virgin Cuba Libre. She knows a girl of any age has to keep her wits about her. And it would be a Cuba Libre because it sounds sophisticated and exotic.

Grab your tickets now to see the jocose Joan D. Saunders out as 'Grandma' this fall at the Bridge Theatre @ Shetler Studios.

TIC is thrilled to have sold out its last 2 seasons of plays, so please do buy your ticket in advance.  http://www.smarttix.com/Show.aspx?ShowCode=HOW27

For more about the cast, crew, and Tongue in Cheek, please visit www.tictheater.com and like us on Facebook, www.facebook.com/tictheater