Somewhere Safer

by Lauren Ferebee
Directed by Deborah Wolfson

“You wanna make people sing for you, get at the thing that pulls them up from their guts… A journalist. A radical. A prodigy. A CEO. A wife. A star anchor. A junior aide. A great man’s brother. The woman who photographs them all. A play about how things explode in the pursuit of greatness and what happens in the aftermath.”

Featuring: Virginia Baeta, Michelle Beck*, Katlyn Carlson*, Dan Cozzens, David Crommett*, Ryan Farrell*, Michael Finnerty, Daniel Graff, Logan Tracey* & Amelia Workman*

*denotes member of Actor’s Equity Association

Monday, February 27th at 8pm

The Bridge Theatre @ Shetler Studios
244 West 54th street, 12th floor

I had the pleasure of asking Ms. Lauren Ferebee a few questions about her play; where it came from, how she works with a director at this stage & if this play will ever be finished…

Ms. Lauren Ferebee - the playwright.

With a varied background in acting and music, can you talk a bit about how you came to playwriting?

Language for me is first and foremost about sound and rhythm. I studied violin in the Suzuki method from when I was two and a half, so I learned to talk and play music by ear simultaneously. I think this had a tremendous impact on how I think about the sound of words spoken out loud and how they weave together

I started writing plays because I managed to convince my AP English teacher that reading eight Tom Stoppard plays and writing an imitation was a legitimate project in Great Literature. I still have that play. It features Jack Kerouac, Carl Sandburg, and Pablo Neruda among others.  I’m relieved not be eighteen anymore. At the time I thought I was getting away with something; I think in truth I ended up putting in way more time on that project than I would have on a paper.

Can you talk a bit about your past relationship with On the Square and how did OTSP come to find Somewhere Safer?

OTSP has been instrumental in my development as a playwright: This is the second reading of my work they’ve produced. It’s incredibly rewarding to collaborate with the same team many times: they’ve has seen my work in every possible form. I remember sending Deborah around 20 pages of Somewhere Safer back in September  – which was really just a series of character sketches – with a sort of hopeful note about the plans I had for the play and how much I wanted to write it.  At the time, I knew OTSP only accepted full scripts, so I was thrilled when Deborah emailed me in November to say they wanted to develop it in the way they did – it was more than I had imagined happening.

Why this story for you as a storyteller?

Sometimes it’s hard to know why you’re telling a story until you’re on the other side of it.  That’s not really an answer. I’m terribly fickle when it comes to stories, because I see them everywhere, and often it’s a real matter of discipline to keep myself focused on the story at hand. There are so many stories worth telling.

That being said, the play does pose questions about our responsibility is as citizens of this country, which are becoming increasingly relevant, I think – or rather, hope.  They are for me, anyway.

The helpless anger I felt at the state of our country was really the impetus to begin writing.  The first bit I wrote was Bill’s speech from the beginning. I think I wrote it right around the time of the debt-ceiling crisis, when I became totally disillusioned about our government as a representative entity. I suddenly saw that it had become a marriage of the worst of liberalism and the worst of conservatism, that it had lost every positive, hopeful quality and instead simply pursued destruction for the sake of power.

I had a couple of other secondary interests that then influenced the characters I chose as lenses for the issues. I was, and continue to be, fascinated by the cultural phenomenon that is Fox News, which has essentially institutionalized lying and popularized ignorance to the point where they have largely succeeded at demonizing education. I wanted to understand how fear can be used as a tool for whipping up patriotic fervor – how far people will go to feel safe.

I’m also utterly appalled by the women who garner the most attention in politics and media and I wanted to find out what these fields do to strong and interesting women – why it is that women like Ann Coulter, Michele Bachmann and Sarah Palin, who have little to no interest in advocating for women, are at the forefront of our national consciousness, and what it says about our national attitude toward women in power.  I don’t think it’s funny. I think it’s horrifying. I think it’s no coincidence that we’re putting these women’s ideas everywhere and simultaneously having to-retread women’s rights.

Do you have any background in politics? Protesting? Speech-writing?

I’ve done some marching and meeting but would by no means dare call myself an activist. To be honest, when [Occupy Wall Street] began (well after the first pages of the play were written) I made a conscious decision to stay a bit distant from it because when I get involved in things, I tend to go (as we would say in Texas) ‘whole hog’ and I wanted to keep my head in all the worlds of the play until I had at least a draft.

I believe strongly that art is a political vocation. Art, unlike politics, has real potential to change people’s minds.  Stella Adler, where I studied acting, continues to be one of the great proponents of artist-as-citizen; I’m proud to have studied in a heritage that has its roots in The Group Theater, which produced some of the greatest political artists of the 20^th century. I believe – as Stella herself once said – that theater belongs in its Greek etymological roots as “the seeing place…the place people come to see the truth about life and the social situation.”

Research:

At the moment, reading and talking to people. I went through a big phase where I was listening to a lot of Rush Limbaugh. I’ve also spent a fair amount of time looking at photographs of all kinds, mostly from war zones. Right now (looking around on my living room floor) I’m reading Saul Alinsky, Jack Newfield, Thucydides, Bernie Sanders, Plutarch and Chris Hedges. Also Tom Jones, but that’s not for the play, that’s for my own amusement. I owe a great debt of gratitude to a coffee-filled hour with the unmatchable artist Monica Hunken, whose passion for activism made me fall in love with the First Amendment all over again. Google her. She’s doing some of the most courageous work I know.

 Are you ever totally surprised and learn new things from the readings? Or are you “rarely surprised” like Annabella?

I often put pieces of the puzzle together during readings – by hearing things threaded together I’ll realize where scenes belong or what happens in a moment that’s not yet happening.  I also often realize things about my characters – what lies at the heart of their motivations – when I have people reading, lines will pop out at me in a different way. I leave readings with a thousand ideas ricocheting around my head.

Which relationship do you find the most challenging to write for in this play? Which has really grown within the play and even surprised you – the playwright?

I think they’ve all had moments of being difficult and easy, and I’m constantly surprised.  I honestly didn’t even want Melody to be in the play at first, but she kept sort of knocking at the door.  The first scene I wrote with her that worked was with Annabella, and it was the first time I knew that understanding her was imperative to making the story of the play work.

Can you talk a little bit about working with a director at this stage? (Does the director help to lead and guide? Does the director help to lead and guide? Do you ever get a totally new perspective from the director?)

I’m very lucky that I know Deborah and we share a common vocabulary of talking about plays. In the development process so far, she’s been incredibly supportive.  In the early stages, it’s very delicate, how feedback is given and received, especially with such a new piece, and she’s been incredibly sensitive to that every step of the way. Mostly, when we have meetings, I leave with a bunch of questions she’s asked that I don’t have answers to yet – it’s a great encouragement, when people are asking the right questions for what’s next and provoking you to think about the potential of what’s on the page.

I’m only five months into the process of writing this play; I think my dream is to have a place to develop it further, and keep figuring out what happens next.

What are you hoping to get out of the reading on the 27^th? What are you hoping to see?

That’s a tough question. In any reading, no matter where it is, I’m hoping to see where the play is, and where it could go.  I am looking forward to having a cast that’s had some time to breathe with the script and talk about it.  I imagine I’ll learn a lot about the play.

Is a play ever finished? Do you ever hit ‘save’ and think, ‘yep, that’s done now?’

Only in my dreams. And even then, it’s a rare experience. I’m an actual perfectionist. Nothing is ever done. I have learned to accept this.

Beginning TODAY February 4th through February 14th, we will kick off our Ten Days of Love Campaign! Everyone who donates to On the Square during this time will receive a special shout out from OTSP. The person who donates the highest amount that day, will receive a special personalized SURPRISE gift from one of our fabulous company members- Rob, Logan, Michael, Deborah, Rachel, or Jackie! Donations can be made via the Pay Pal widget on our website (www.onthesquareproductions.com)

So c’mon and celebrate Valentine’s Day with us! Remember EVERY donation, no matter how big or small makes a huge difference. We love all of our donors! Let’s show each other some love!

For OTSP, 2012 starts off with a thrilling first! On January 30^th, we’ll be hosting our very first wine tasting and photo show, Views of Queens! Featuring live music, hors d’oeuvres, artisanal wines and a silent auction of original photography, this event will benefit On The Square and their upcoming production of The Minervae this summer. As this exciting evening approaches, I sat down with photographer Duane Tollison to find out what’s in store. Stay tuned at the end of the interview to find out more about our host, Moore Brothers Wine Company, and how to get your tickets. I hope you’ll be there AND be Square! – Michael Swartz

MS: How long have you been taking photos?

DT: I remember my dad buying a Minolta camera at Wal-Mart when I was very young, about 10 years old, and that was the same camera I used when my 6th grade class decided to start a school newspaper, The Chatterbox, to raise money for a class trip from Minnesota to Chicago. I was the school photographer. After that, I didn’t really keep up with photography, but I must have spent a fortune on disposable cameras, taking literally thousands of pictures. People used to call me “the tourist”. Finally, after I moved to New York, I bought a cheap Phoenix camera and began taking photography seriously.

MS: Why did you choose Queens for this project?

DT: Well, the simple answer is: It’s where I live. It’s also where On The Square Productions is headquartered. But it’s a really dynamic area with a rich variety things and places to appreciate and photograph, from something like the mythic Hell Gate Bridge, to the iconic Silvercup Studios sign. One of my favorite things to do is walk down 36^th street in Astoria. People on that street in particular have such diverse and beautiful gardens and flower beds. I like to get up close for some macro shots.

MS: I LOVE the close-up of the Queensboro Bridge. How did you manage to take that photo?

DT: Well, first, this photo came out much better than I thought it would. I was moving at the time it was taken. I was on the tram from Roosevelt Island to Manhattan. It was only the second time I had made the trip… and I’m intensely afraid of heights. In fact, the first time I rode the tram I could barely look outside the car, and never let go of the railing.

MS: I think this photo is my favorite of the bunch. Why did you choose this technique for this photo?

DT: There’s something about taking something slightly out of focus that makes it timeless. It almost puts the photo in another dimension. But I think you have to make sure it’s not too cliché, and that it doesn’t look too much on purpose. But I think it makes for a very romantic photograph.

MS: How do you determine what you’re going to photograph?

DT: Well, sometimes I plan it out. I keep a notebook with me where I write down ideas as I’m out, you know, day to day, and I’ll say to myself, “Wow, the Empire State Building looks great from this angle, on the N.W. corner of 38th street, right through those buildings” or “this doorway, with this stenciled sign, at 41^st street, just yearns to be photographed,” and I’ll write it down. But mostly I’ll just take my camera out for a day and just go wandering for hours, taking photos of things that I find interesting. I mean, I rarely go out with a concrete idea of what I’m going to photograph. Like the photos in the Views of Queens, most of them were taking during one afternoon just walking from Astoria Park to Roosevelt Island to Manhattan.

MS: Have you ever sold a photo at auction before.

DT: Yes. For years I have donated a photo to amfAR and GLAAD for their respective silent auctions. I feel like it’s a good way to be charitable and also share my creativity. One photo that I’m particularly proud of is one of Bethesda Fountain after a light dusting of snow. I took that photo one morning after work. I got off at 8am and the snow was just beginning so I decided to walk through Central Park. I love the snow. I’m from Montana, so I miss it sometimes. So, I got to Bethesda Fountain and the snow was pristine. It was a light coating and not one footprint. I was probably the first one to witness the unspoiled, ethereal beauty of it. It was gorgeous. Anyway, that photo sold at the amfAR San Francisco Fall Gala for $830.00.

MS: Is there anything you would have liked to photograph that you didn’t for this project?

DT: Well, I am a huge fan of art deco and formalist/post-modern types of architecture, and also old signs. So I was sad not to get more photos of the Silvercup Studios sign in Long Island City, and of the Pepsi-cola sign at Gantry Plaza State Park. I wanted to capture more of Astoria Pool, but it was just too dark. Also, I wish I had gotten to Flushing Meadows Corona Park, the site of the 1964 New York’s World’s Fair.

MS: Why did you decide to give to On The Square Productions?

DT: I have a lot of respect and admiration for OTSP. They have a great ethic when it comes to theatre, which is a kind of rebellious and determined… performance at all costs. That is the distance between good work and great work. I am invested in seeing them grow and succeed. They put a lot of hard work and effort into everything and it always shows.

MS: Are there any photographers who inspire you?

DT: Oh, well that’s… wow, yeah. So many. Annie Leibowitz, James Nachtwey—a war photographer, Peter Lindbergh, Bernice Abbot, Ansel Adams, Laurent Nivalle, David LaChapelle… for the most part these photographers are witnesses to kinds of soft, subtle moments, and they transform them into these weighty, profound statements. I love that.

MS: What’s next for you?

DT: To keep taking photos. To never make it a job, as much as a passion.

Get your TICKETS here: http://viewsofqueens.eventbrite.com/

“Moore Brothers Wine Company is unique – we source our wines directly, working with artisan winegrowers in France, Italy, and Germany.

 Our personal relationships with these growers, and our integrated, temperature-controlled distribution model provides our customers with traditional, authentic, and natural wines that taste here in the US, exactly as they taste at the winery.”

“Hello, dear reader.

Regulars to OtSP’s newsletter and blog have seen a few references to the changes Rachel, Jackie, and I have been making to the structure of our reading series. We’re really excited about what we’ve been working on and hoped to share with you the new leaves we’re turning over for the new year.

Friends of the Square know about our Developmental Reading Series.

This has been a means for us to explore new work for production, work with new artists, and continue our dedication to original plays. As we read through the wealth of wonderful submissions, however, we started to think that it wasn’t fully answering the needs of all the talented writers who reached out to us. As it stood, the reading series was great for polished plays that, more than anything, needed to be seen. The hole we saw was for those writers whose work was not as developed, whose ideas needed more support to be fully fleshed out. And so we busted out our metaphorical pick-axe and created our institutional schism.

What had been our Developmental Reading Series is now our

Write Angle Series: finished plays in need of an audience, a chance to be heard and shown off. As in the past, we’re immensely proud not only of the quality of plays that come out of these reading, but of the people with whom we work.

So what’s new and different?

Our Square One series: Created for plays that aren’t finished, for ideas not fully set to the page, this is a private series to give writers a change to workshop their in-progress pieces. Our authors are not only hearing their words aloud for the first time with top notch actors, they get the chance to get feedback, to rework, and to come back with a new draft.

We’re delighted to be able to foster new work from it’s earlier stages and look forward to taking plays all the way through the development process.

Beginning with our first Square One! Author (and OtSP friend and favorite) Lauren Ferebee is currently working on a brand new draft of her show, which once it completes the Square One cycle will be presented as a Write Angle Reading. We’re thrilled to be working with her and to showcase more of her work, after last year’s charming success, Invisibility, or Tiny Rockets.

My resolution for 2012? To keep helping writers write. We hope to see you at our next reading!”

So Mark your calenders for February 27th – the first Write Angle Reading on 2012 – a new play by Lauren Ferebee!

See you soon On the Square!

Photo from The Minervae rehearsal – being developed into our mainstage production for the summer of 2012.

Here we have our first post of 2012!  On behalf of the team of On the Square Productions, we’d like to wish you all a Happy New Year.  We’re really looking forward to what’s sure to be a busy year.

We’ve got lots of things in store for 2012 including changes to our reading series, a wine tasting event, a actor’s trade show, a play festival, and our mainstage production in July!  We’ll also continue with our Artists’ Brunch and Cocktail Hour series.  Whew! So we’re hitting the ground running, needless to say.

We’d love to see you at all of these events!  And if you want to get involved shoot us an email at info@onthesquareproductions.com.  By all means- stay tuned to our blog, Facebook, and website for all details.

All the best,

Jackie, Rachel, and Team OTSP!

Come join OTSP at (our most favorite hangout) Bareburger for a relaxed & tasty Networking Event!

SUNDAY DECEMBER 11TH

12:30pm – 2:30pm

At BAREBURGER ASTORIA

33 – 21 31st Avenue Astoria, Queens

(click here for the very official Facebook invite)

Bring your business cards and come meet other working theatre artists

while you enjoy a fun social event.

On the Square Productions is happy to provide a place for artists to chat, network, make connections, promote their shows, and come meet the core members of OTSP.

Join us! It’s always a wonderful afternoon for everyone.

And who doesn’t love brunch at Bareburger?!

Jackie & Rachel – Executive & Artistic Directors of OTSP

Please RSVP to Michael Swartz at Michael@OnTheSquareProductions.com

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On the Square is thrilled to have Bareburger’s generous support for the 2011-2012 season.

If you are unable to attend the Artists Brunch on 11th, please make sure you check them out. With locations in Queens, Manhattan, and Brooklyn, we know there is one close to you.

Grab a burger, grab a milkshake, or maybe have some carrot cake french toast!

Tell ‘em ‘On the Square’ sent you!

Anna Marquardt, Britt Bonney, & our own Deborah Wolfson (Literary Manager) modeling some tasty Bareburger shakes.

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Bareburger in BROOKLYN – 7th Ave & 1st Street!!

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mmm… Organic products are good for our bodies & the earth!

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Jackie and some tasty-french-toast-brunch-goodness

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yep… they have beer too.

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CHECK OUT BAREBURGER!

See you soon… at Brunch on the Square!

On the Square Productions was founded & created by two amazingly talented & smart women: Jackie LaVanway & Rachel McPhee. I’m always inspired by women who create their own opportunities & take BIG risks in life. After years of friendship, Jackie & Rachel decided to make a leap of faith & create a theatre company…in New York City. Not a small endeavor by any stretch of the imagination.

People have often asked about the name “On the Square.” People ask about what kind of work we produce & about where this company came from. In a city with over 200 producing theatres, Jackie & Rachel have created a unique place for theatre artists to come together. These two women are the core of OTSP. Without their drive & energy, none of this would exist. The are both very talented, kind, generous, brilliant, & hard-working.

As we come into the holiday season, I wanted Jax and Rach to talk a little about their history. About their journey together.  There will be many more years for OTSP, but for today, here is where these ladies came from…

-logan tracey

Tell us a bit about your personal relationship. How did you meet?

Rach: Jackie and I met at UW – Madison where we both were active in the theatre and drama department. The first show we did together was The Secret Garden. I played Rose and Jackie was Alice, so we both sort of glided around reaching and being ghosts.  We also had bad wigs. Lol.

Jax: I first met Rachel at one of the monthly “TPS Dances” at college.  They were events that the LGBT student org sponsored and they were a lot of fun! Always had the best music to dance to.  I didn’t really get to know her though until we were both cast in the university’s production of “The Secret Garden” playing singing dead Victorian women, Rose and Alice.

When was the first time you knew you were real friends – and not just girls at the same school?

Jax: I think the summer after my sophomore year.  I was home in Louisiana, missing my friends, and Rachel and I kept in touch via email.  She’s a great pen pal!  Then, my junior year/her senior, we had a few classes together and hung out more socially.  She threw many infamous parties at her apartment that were always a blast. She was a huge part of my college experience for sure!  It only got better once she moved to NYC!

Rach: A couple of times stick out in my mind- but I think it was when Jackie and I worked together at the local University conference center , The Pyle Center, was when the bond was solidified. There were lots of adventures. And drinking . Also, a strip bus (story for another time). An acting class where we paid Lenny and Babe in Crimes of the Heartwhich ended in sobs and a slow clap. The list goes on…But, what really sealed the deal was becoming NYC roommates in 2006. A tiny rent controlled number on the UES with a shower in the kitchen and a toliet in the hall. So bohemian and fun! Whenever we had visitors (which were many and often), we would share a bed! We often joked about having a sitcom and joked about having shared a bed with each other more than men!

Can you talk a bit about when you came to NYC and started working in theatre? 

Rach: I moved to NYC off the back of a bad break up and finishing my postgrad program at the Drama Studio London. I hit the audition circuit right away. The first audition I had was for a production of Mad Forest by Caryl Churchill to which I announced ” this is my first audition in New York!” when I entered the room (covers face in horror!) First theatre jobs? My first job was a little number called Now That You’ve Seen Me Naked, while I wasn’t naked, the title was a great selling point. It was a cheesy little musical revue, which actually Jackie fondly remembers as her favorite performance of mine. I wrote and sang a song about an ex boyfriend in it and also had a comic orgasm on stage. It was fun though! It had all the highs and lows of indie theatre, including someone getting fired the day after we opened and getting paid in accordance to how many tickets we sold.  Also,   I met our incredible  web designer Chris J. Handley at that time. My second job, Miss Nelson Has A Field Day at Manhattan Children’s Theatre holds a special place in my heart because it’s where I met associate creative director, Michael Swartz! How funny to think that 4 years later he and his partner would be officiating my wedding!

Jax:  A truly awful show?  Let’s just say it involved me singing gospel hymns!

What was the worst theatrical experience – something stressful, embarrassing, etc. What was the last straw before founding OTSP?

Jax: I think Rachel and I just grew tired of being involved in/hearing about lack of professionalism and lack of artistic merit.  Just because you’re not MTC or The Public doesn’t mean you can’t be classy, professional, and treat other the way you want to be treated.  It’s shocking to see what some actors will do or be required to do just for a credit on their resume.  And it was even more shocking to see how low some producers will steep just to make a buck.  I think we wanted to prove that limited resources shouldn’t affect the quality of your work.

Rach: Oh man, I’ve had many rough theatrical experiences, goes with the territory and helps you appreciate the positive ones more. I think what’s the worst for me is lack of professionalism and disrespect of my time. The things people expect you do to for a project that aren’t artistically (or financially) fulfilling boggles my mind. Also – not having what I need to do my job (someone on book, a rehearsal costume piece) is very frustrating. In my mind OTSP was hatched because we thought we could bring professionalism and respect to the theatrical world. We also wanted to work with (the ever growing) extremely talented pool of people we know! Also, OTSP came at the right time, we started up right before the economy tanked. Though many jobs were taken from creatives with budget cuts in the arts, we were still able to make and give opportunities for ourselves and others, even on a small scale.

Where did the name come from? Why “On the Square?”

Jax: On the Square came from our beloved college town of Madison, Wisconsin where we went to school.  The capitol building is situated in the middle of the town square.  It’s the site of a lot of festivals, and various other cultural events.  You’d hear people say, “So what did you do today?”  “Oh we went and listened to a concert on the square.” Or “We went to the Farmer’s Market on the square.”  By the way it’s one of the best farmer’s markets I’ve ever been to, so if you’re in the Madison area, and haven’t been, by all means go!

Rach: Jax and I are obsessed with Madison- where we went to school. There is cool place on campus known as Capitol square- all the bars, restaurants are in a square surrounding the state capitol building. There were many events that happened up there tagged with “on the square” on the end. We liked it!

Can you talk a bit about the culture of OTSP? The kind of atmosphere you are wanting to create for the theatre artists that come to work with you.

Rach: We want people to have fun above all. If you aren’t having fun and loving what you are working on and who you are working with, there is no point. We also try to be very positive and are extremely respectful of people’s time. We also try to give the artists working for us as much information about a project as we can in the most timely fashion possible. We are often casting readings months ahead of time. We are insanely organized and communicative and very open minded.

Jax: I think it goes back to treating others the way you want to be treated.  We set out to create a community of artists- comprised of mutual admiration and respect.  And also- fun!  Theatre is fun.  It’s a lot of work, sure, but when it stops being fun you know something is wrong.  We want our all of the creatives we work with to feel they’re in a comfortable, nurturing, positive work environment.  Though we take the work seriously, we’re certainly not pretentious and we want to try new things.

Rach LOVES an Iced Coffee

What kind of work do you produce? How do you choose your plays?

Rach: This is an interesting question for us, which is ever evolving and now starting to become more streamlined. When we first started we chose a revival of a play called Quake to produce – it was very female-centric, language based and had a strong ensemble cast. From there, we’ve delved into Shakespeare and have finally arrived at producing  brand new works. I’m a bit of a “yes man” and get easily impassioned and excited by good projects that might not  exactly fit our mission statement! I’m learning to think more critically about how projects fit within the bigger picture and overarching mission of the company. I think that new works are where the most excitement lies.  I’m most attracted to great writing coupled with stellar characters. Due to the success of midsummer, we are also interested in creating work in unique settings and picking pieces appropriate for that.

Jax: I think the common thread in all of the pieces we’ve done is – language, the written word, the text, the dialogue etc…  We get really jazzed about strong writing, with complex characters, in challenging situations.  We’re also attracted to the humanity of the characters in a piece.  Why do they make the choices they make?  What makes them so tragic, or so triumphant?  We really pride ourselves on giving the playwright a voice in both the developmental process and the rehearsal room. I know the more open a playwright is to collaboration (however that may manifest), the more likely we are to want to work with them.

What was the most successful production OTSP has produced so far? Why was is so successful?

Rach: I have two for this one! Our biggest financial success was Midsummer Nights Dream produced in our backyard in Astoria. We had a blast, played to sold out audiences and were able to get a lot of local community support. The 2nd was In Your Image (written by my hubs Rob Benson and directed by our marvelous literary manager, Deborah Wolfson) last winter where we were lucky enough to work a 59e59, an amazing venue with an incredible staff. That show was a huge critical success for us and really solidified our new found commitment to new works and world premieres.

Jax: We measure success in many different ways with each of our productions, but I think the one that encompasses success in terms of audience response, ticket sales, and collaboration was our site specific production of A Midsummer Night’s Dream.  Every single one of our performances sold out! We even had to turn people away at the door!  A pretty amazing feat for an indie theatre company.  There was also something really magical about that piece.  Obviously, Shakespeare was a huge part of that, but the story, coupled the enchanting outdoor atmosphere, the amazing actors, and a top-notch creative team really made for a whimsical little world.  In Your Image by Rob Benson was also an incredible experience.  I think performing in a venue like 59e59 caused us to raise the bar all around.  Everything about that experience was positive.

Rob Benson – In Your Image @ 59E59

As OTSP goes through a big year of structural changes in the 2011-2012 season, what are you most excited about? What are you hoping for this year?

Rach: I love having a team of people behind OTSP. Our events are awesome with the whole group there. I love what everyone brings to the table. In terms Of the future, I’d love to get a few of these grants we’ve worked hard on writing proposals for!! LOL. I’d love to have more people know about us. I’m excited to do theatre for free in the park this summer to see what that sort of audience that brings. I want us to reach out and be active in our community and solidify the educational outreach we have brewing.

Jax: Grant money!  We’ve been hard at work trying to raise funds for our site specific summer production of The Minervae, so it’d be great to have a little bit of a financial boost.  As for what we’re most excited about, I’d say the restructuring of our reading series, which is now two-fold.  With the help of our extraordinary Literary Manager, Deborah Wolfson, we’ve created Square 1, a program for playwright’s whose work is in the very early stages of development.  We’ve also re-branded our regular reading series.  Now called the Write Angle Readings, this program will cater to writer’s whose work is ready for audience response and feedback.  I’m really looking forward to seeing this process unfold and develop.

What are the goals for the next 3-5 years of OTSP? And what is the most important over reaching goal for you two as theatrical producers? If you had one outrageous & over the top goal for OTSP, what would it be?

Jax: Becoming our own 501(c)3 is a big goal for us over the next couple years.  I think we’d love to have a subscriber base and office space at that point as well.  I would also love for us to take one of our shows on the road or internationally.  That’s a lot in 3-5 years so even just one or two of those would be a success.  It takes a village as the saying goes.  I would love for On the Square to grow and continue to assert our presence on the New York Theatre scene.  We want to be a part of that growing movement of artists who, in spite of difficult economic times, produce quality work and have something to say.  I would love for ten, fifteen years from now, for people to look back and say that we were a strong part of that movement.  Wake up New York!  There is solid, interesting, and affordable theatre all around you!  And you don’t have to go to Broadway to find it! I I had one outrageous & over the top goal for OTSP, what would it be? To win an Obie or a maybe even a Tony!  Now THAT would be outrageous!

Rach: To produce on Broadway! To win an Obie, Tony or Drama Desk ! To have our own space! I think the ultimate, ultimate ( maybe I am crazy?) thing would be to act in a show that we produce on broadway, maybe? Hey- it could happen!

What is you’re favorite thing about running OTSP? What is the thing you like least?

Rach: I love seeing a projects come together and thinking, essentially, “We made this  happen.” I love working with artists that I respect and am inspired by. I love planning for the next project, it’s all very invigorating. I suppose the thing I like least is that I wish we could be compensated financially for the work we do.  I spend hours every day (outside of my survival job, auditions, and developing my own acting career) doing administrative duties for the company and it would be nice to call OtSP my full time job. But, regardless ofthat, I love it. I have an endless amount of energy for it because I believe in the work and the company so much.

Jax: Running your own theatre company is like putting together a puzzle.  I really enjoy looking at all the elements and figure out how to best assemble them.  It’s really rewarding, to step back, and you think “Wow!  I helped put that whole thing together!”  As for things I dislike, I’d say that sinking feeling you get when you have a low turn out for an event or a particular performance.  We know it’s great, and we’ve been busting our butts trying to put it together for the past few months, so it’d be great if more people saw it!  But it’s the nature of the beast.  Not all of your shows or special events are going to have a high turn out, and you just have to make peace with the risk factors.

What is the most unexpectedly rewarding and positive experience you had had because of OTSP?

Rach: Having the opportunity to work with and get to know the group at 59e59. The whole experience was very serendipitous. My then boyfriend (now husband), the talented playwright Rob Benson, was sending  a new play out to theatres and  59e59 was interested, but said he needed to work with a company to produce it, which is where Jax and I came in. That was a professional moment of clarity for me personally. A beautiful clean space with a wonderful staff and operations team. I just thought this is where I wanna be- as a producer, actor, professional artist. I also never realized how much I enjoy producing. Its been an interesting road. I love acting in our projects and I’ve finally figure out how to negotiate those two hats in a way I feel comfortable with, which is pretty cool.

Jax: I’m always really touched when people say they’ve enjoyed working with us, and spread the word about OTSP.  That encouragement drives us to continue producing our own work and create opportunities for other artists.  It’s always really nice to hear we’re doing something right!  This past season, it’s also been really rewarding working with our five company members- Michael, Deborah, Logan, Emily, and Rob.  Each one bringing special talents and ideas to the table.  They keep Rachel and I in check for sure!  We are so grateful for their time and energy.  We couldn’t do it without them!

What are you most grateful for this holiday season?

Rach: I am really a lucky gal and have lots to be thankful for: my fantastic husband, my kitty, my incredible supportive friends and family members, having a job, good health, and also forging new artistic ground with some the best people I know.

Jax: Friends, family, and good health!

Blast from The Past… Dressed as Each Other for Hallowen!

Rach & Jax: OTSP meeting at BareBurger (just this past week!)

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Follow Us on Twitter #OTSP

See you soon On the Square!

THE  MINERVAE

Set in the dying days of the Roman Empire, The Minervae tells the story of one mythological goddess who refuses to move over for the fashionable new “cult” of Christianity. Jilted, Minerva sets out to re-convert the converted. Standing in her way are the schemes of the other Olympians: bitter Vulcan, volatile Mars, ambitious Apollo, and the enigmatic Diana. It’s a titanic clash of faith vs. revelation, with mortal Man caught in between.

The cast featured: Rob Benson, Charles Andrew Callaghan*, Colleen Horan, Christopher Kloko, Jackie LaVanway, Brad Makarowski*, Rachel McPhee*, Marnie Schulenburg*, Lavita Shaurice* & Michael Swartz
*Actors Appearing Courtesy Actor’s Equity Association

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Directed by Dev Bondarin and written by Steven Bost, The Minervae came together beautifully with only eight hours of rehearsal! The reading was a wonderful experience and we are looking forward to seeing this play thru it’s development.

It was such a pleasure for us to begin the process with Mr. Bost!

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Rehearsal Photos: Lavita Shaurice & Colleen Horan; Dev Bondarin w/Cast;

Marnie Schulenburg, Charles Andrew Callaghan & Brad Makarowski

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At the Reading: Rachel McPhee (leading the cast as Minerva); Charles Andrew Callaghan, Jackie LaVanway, Rob Benson, & Christopher Kloko; Rachel McPhee & Charles Andrew Callaghan

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One Final Photo from the TalkBack!

Led by Duane Tollison, we see Steven Bost answering questions & getting feedback.

Keep checking back here for more info on special events, holiday happenings, and more exciting work from On The Square.

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All photos you see in this post are copyright of & were taken by:

Erin Mayhugh Photography

“Erin has a unique ability to capture marketable headshots that will get you auditions and work. She knows exactly what casting directors and art directors are looking for because she is one. Erin got her start working with modeling agencies as an MUA, fashion stylist and production coordinator for commercial shoots in the Midwest. After leaving a position as an agency director for a commercial modeling agency in the Midwest, she relocated to NYC in 2005 and transitioned to become a casting director for major motion pictures, TV, print and commercials. Her credits include music videos for Dave Matthews Band, numerous commercials, TV series and films including 27 Dresses, August, Birds of America and I Am Legend.”

STAY TUNED for an awesome Headshot Special from the lovely Erin!

A Bit About the Play:

Set in the dying days of the Roman Empire, The Minervae tells the story of one mythological goddess who refuses to move over for the fashionable new “cult” of Christianity. Jilted, Minerva sets out to re-convert the converted. Standing in her way are the schemes of the other Olympians: bitter Vulcan, volatile Mars, ambitious Apollo, and the enigmatic Diana. It’s a titanic clash of faith vs. revelation, with mortal Man caught in between.

Logan Tracey, our Marketing and Social Media Coordinator, was lucky to be able to interview the playwright, Steven Bost. In this interview you see some light shed on the politics, the people, and the heart of this exciting new play…

How far along in your personal writing process are you with The Minervae?
This will be the third draft of the play, which first got on its feet for my senior project at DeSales University. In its newborn stage it was half the length with a wink-wink jokiness that didn’t really suit what I was thinking about, and even (I think) insulted my alma mater’s president, Father O’Connor. We got closer to giving it some depth in 2007 for a staged, costumed reading. Truthfully, I’d say I’m still only halfway through the task of getting it all out of my head and across to an audience.

What are you hoping to get from seeing this particular reading of the piece? Any questions you want answered now?

I can’t really say what I want to see out of this one–I’d rather ask that of the actors, particularly those who are returning or reprising their roles from four years ago. Obviously, they were provoked by it enough to want a re-do, and to hear their thoughts on why is enough to fuel my own writing. I’d be content just to learn that every actor feels his or her character is important and makes a meaningful contribution. That would certainly mark an important milestone for me on the long road of this play.
 Can you talk a little bit about working with a Director at this stage? Does the director help to lead & guide? Do you ever get a totally new perspective from the director?

To be honest, I’ve only just waded in with our director, Dev Bondarin. We’ve talked on the phone, and that was our first contact. She seemed to get a lot out of asking me some of the same questions you’re asking me here. I told her, candidly, that I’m simultaneously excited and ambivalent about having her and the dramaturg begin to challenge me on specific points in the play, but I use ‘challenge’ in its positive sense. Rationalizing why I wrote some of the things I did can be scary, especially since inevitably some of them will turn out not to make sense. This project could prove to be the first time I’m forced to prove that I’m actually wearing clothes, if you take my meaning.

How did you find On The Square?

I met Rachel first, through Michael Swartz (OTSP’s Associate Artistic Director), our mutual friend and tireless theater Renaissance man. Jackie came next, through Rachel, I think. I did stand-up comedy for them at a few variety benefits for OTSP.
What drew you to this time period? ie: language? politics?

I’ve been into mythology since elementary school, and taken it seriously since I came across a heavily tattered paperback of Edith Hamilton about 8 years ago. That book and I spent a lot of good times together. I suppose the time period appeals to me for a few reasons: the language is rich, since for over 2000 years the Greco-Roman world was the alpha and omega (see?) of allusion and reference. The politics are of course interesting, too, and not just because of the overworked cliche of comparing America today to Rome in its decline. The Romans did resemble us (in their bureaucracy and their patriotism, their proclivities in entertainment, etc.) but for much of their history practiced a religious form that is, to our 21st century minds, high fantasy. There’s enough to play with there that it could almost be its own literary sub-genre.
Can you talk a little bit about why this play? Why this story? – for you as a storyteller.

My goal is not just to have some fun with mythology. I have things to say about Christianity today. It isn’t dealt with in a sophisticated manner anymore. One side of the aisle is people terrified of authority and certainty, and the other is childish people absolutely desperate to be ordered around. But what not enough people acknowledge is that we all worship … something … eventually. Even if what we worship is denial that we worship. So, while I’m not setting out here to prove God through theatre or anything, I want to re-open a book that too many arrogant people consider closed.

Can you talk a little bit about crafting human character in a time period so different from our own? Is it any different from working with contemporary characters?

I thought so at first, but what got onto the page turned out to prove me wrong. The god characters dress up their words, which lets them feel high and mighty, but in every scene at least one of them drops the facade and just talks plain. If, by definition, the gods were as flawed as the mortals who created them, then those silly flaws would be revealed in their behavior, and indeed they are. Then there are the new Christian converts! Those people must’ve been endlessly confused, and no matter what I could think of to put in their mouths, I’m certain their actual historical counterparts said and asked things even more embarrassing. Their way of dressing may have been different, but I have no doubt they were as dizzy and daffy as we are today. Maybe moreso.

If I’m an actor in your play, what really excites you about a specific performance? Any actor pet-peeves?

It is particularly fun to hear an actor or actress deliver the sexy lines, since I’ll have no idea when they’re in my head if they’re in fact sexy or just deranged. I’ll confess that there’s a little fantasy fulfillment there. I, as a playwright, really have no pet peeves about actors. I have always trusted my directors to bring everyone to an ensemble. While listening to rehearsals, I’ve felt the temptation, like every writer, to alter a line reading so it’s bent to my meaning, but I try never to give in. Call me a doe-eyed Platonist, but if the line hews closely to its universal form, it will make sense to the actor and in turn to the play as a whole.

How do you feel seeing your work performed in the moment? where in the audience do you usually sit?

It’s the best feeling I’ve experienced, and when I do get those occasions, they’re the only time I really feel like I’ve found my calling. All of the rest of my occupations should be in service to getting that feeling more frequently. I sit in the back, one hand clenched in the other til it’s lost feeling. No need to make eye contact with the actors. By the time the play’s ready to get on its feet, I feel tranquil about it.

Is a play ever finished? Do you ever hit Save and think, ‘yep. that’s done now?’

For the goofier one-acts I’ve written, yes. For this particular play, no, I don’t think it’s ever done. It’s already 7 years old, and as I said, it’s only maybe halfway there.

Get your tickets now! FREE glass of wine is included with all Brown Paper Tickets orders!

The Minervae
By Steven Bost
Directed by Dev Bondarin

Featuring: Rob Benson, Charles Andrew Callaghan*, Colleen Horan, Christopher Kloko, Jackie LaVanway, Stephen Lin, Brad Makarowski*, Rachel McPhee*, Marnie Schulenburg*, Lavita Shaurice* & Michael Swartz

*Actors Appearing Courtesy Actor’s Equity Association

Free glass of wine included with brown paper tickets purchase.
https://www.brownpapertickets.com/event/206965