How did you get into theater? I was a victim of tag along syndrome. My best friend was going to the local Spring Lake community theater workshop. I tackled Albert Petersen in Bye Bye Birdie as a rotund, rambunctious 7 year old and never looked back.
VHTD usually works on shows more than once. What is the biggest challenge of revisiting a work? The constant challenge in all work is presence. That becomes harder when you work to create an arc, with a group of people, and revisit it a year later with different parts; as a different human.
What drew you most to your character or this production? I try to inspire and heal with my work. Personally, I really relate to the character of Brendan; from a direct and indirect way. Parts of Brendan are in me, my father, my uncle. I grew up the eldest of 3 in an Irish Catholic family, and there are more similarities than I care to acknowledge.
For Heaven’s Sake! is performing in Buffalo. Does that affect your performance? I think it's an incredible gift to share this work with people who LIVED this story. I hope that in some way they are touched, and can leave the theater a little more at peace.
For Heaven’s Sake! is set in 1970s Buffalo. What challenges has that given you, in terms of design, development or dialect? I think that walking out of 2015 into 1974 presents a large challenge. I'm sending this response via an IPhone; which is an extension of my arm, and myself. In 1974, connection didn't come as freely or cheaply. If people wanted to communicate; it required a level of commitment.
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