How long have you been a member of Partial Comfort?
How did you initially find out about Partial Comfort? What made you decide you wanted to be a member?
I auditioned for a few shows and met Molly and Chad through those auditions. My experience with them in the audition room and then the great experience I had at their summer retreat drew me in.
When people ask you why you want to be a member of an ensemble, what do you usually tell them?
I don't get asked that question, but if I did, I would say it's because theatre is all about the group rather than the individual. Individuals thrive on stage as part of a balanced whole.
What are some projects (readings, workshops, plays) that you've enjoyed working on within the company?
I loved playing the title role in Sam Mark's Nelson. I got to link up with the talented Alex Alioto and Sam Gates and literally get my ass kicked (my choice) by Kip Fagan and Sam Marks to prep for the filming of the closing monologue. Yes, I harbor a healthy balance of masochism as well as sadism. I KNOW you aren't judging me with that stone in your eye. Love. All love. I also enjoyed working on Chad Beckim's original reading of Lights Rise on Grace with the extremely talented Maria Christina Oliveras and Michael Gladis. There was a reading of Mike Batistick's Tempo that we did one summer which I also got a kick out of.
What projects (with or outside of Partial Comfort) have you recently worked on or do you have lined up?
I just finished two films this year. One called Happy New Year directed by K. Lorrel Manning starring myself, J.D. Williams (The Wire) Monique Curnen (Dark Night, The Unusuals), Noah Mills (Sex and The City 2), and a bunch of other talented peeps. It focuses on the relationships between this small group of vets from WWII, Vietnam, and Iraq healing up in a VA hospital in the Bronx. It's from the producer of Children of Men and Wanted. I also just shot the film Certainty written by Mike O'Malley (Glee), directed by Peter Askin who is directing Hedwig and the Angry Inch on Broadway this year. The film is filled with a bunch of great up-and-coming, as well as established NY actors -- Bobby Moynihan (SNL), Giancarlo Esposito, Tony nominee Maria Dizzia (In the Next Room or the Vibrator Play) to name a few. We play couples going through Catholic pre-marital counseling. Funny stuff. In between these two projects, I performed Toshiki Okada's Enjoy with The Play Company at 59E59 Theatres in March/April. It was directed by Dan Rothenberg from the Obie-award winning Pig Iron Theatre Co. in Philly. We were extended after amazing reviews. We are actually going to perform a few minutes of the opening at the TCG Conference in Chicago (my home) next week.
Talk a little bit about the professional relationshpis you've formed as a part of this company.
The truth is, I have met and worked with so many talented people who have come through the veins of PCP. All of them are at the top of their game and I am proud to know. Guaranteed...PCP folks are all over the industry...working.
What do you find inspiring/exciting about being a company member?
I am always excited by the level of talent that comes through the annual summer retreat. It is always a good time and good work gets done.
What do you find challenging and/or what have you learned?
I think that the main challenge of any theatre company is to figure out a way to produce a steady stream of good works for all of their members to collaborate on, and for audiences to enjoy. Another challenge is obviously raising the capital to stay afloat. I give props to any theatre company who can last more than a year. AND PAY THEIR ACTORS!
What would you like people to know about Partial Comfort?
It may sound basic, but they produce good shows and bring in the best talent to work on them.
Any additional thoughts/comments about any aspect of the company/being a member/other members/NYC theater/etc?
I am excited to see what "the theatre" produces over the next few years. I think that because of the economical crunch, producers of theatre are starting to take an even closer look at "why" a play deserves a run of any kind. It won't be about a bunch of back-room handshakes anymore. Nor will it be simply about giving a production to someone just because they went to drama school. It will simply be about the best man/woman in the ring. In this "You Tube" generation, people are voting heavily with their dollars and you cannot deny their voice. The democratization of all mediums has begun.