Just finished a suspiciously smooth 10 out of 12 hour tech rehearsal for This Storm Is What We Call Progress by this guy at this theatre.
We don't have any other production stills right now, but the set and lights and sound are shaping up nicely. I play Adam, a hapless third-rate actor who tumbles into a recording studio run by two mysterious Jewish women. And from thence ... a hilarious, chilling, magical journey into the heart of Kabbalistic darkness.
Remember that fad-ish collective of playwrights calling themselves Monsterists? Remember how I thought they were awesome? Well, Grote's play has that invigorating mix of spectacle the Monsterists were after. There's a little of everything here: dance, soliloquy, magic, sex on stage, knife fights, mask work ... even shadow play before it's all over. We're working double-time to get it ready for next Sunday's opening and there's a lot to tidy up before then. But I'm incredibly excited to be working on this play with Rorschach Theatre right now. In many ways, they're the best match for this story.
I remember workshopping Storm at this theatre with these folk back in March 2007. What struck me then -- and what survives now as my big pitch to y'all -- is the way Grote sets aside the boring non-dramatic dilemma of insanity-vs-reason and dares to build atop his magical world as an original drama in its own right. True, my character is an atheist hipster trying to mine his Jewish-Irish lineage for some kind of catchy pastiche bullshit called "American Shylock." And true, his father went mad and killed himself some years ago. But Grote quickly shakes off these concerns (which would ordinarily dominate other plays) and dares deeper into the terrain of religious and artistic ecstasy.
Eish. I don't know how to put it. Come see the show! We're out at Georgetown University's brand new theatre space this summer. So if nothing else, join us for AIR CONDITIONING and FINE DINING ... two things we didn't have at the beloved Casa del Pueblo.