Following “An Evening for Ukraine: Art Exhibition & Conversation,” an event she organized that was held on April 11 in Bedford, Ukrainian-American artist Katya Roberts of Bedford talked about her ongoing efforts to raise awareness and funds to help people affected by the war in Ukraine.
What’s your personal connection to Ukraine?
I was born and raised in Kyiv, which is the capital of Ukraine. My family immigrated to San Francisco, California, when I was 12.
What was going through your mind during the invasion of Ukraine in February?
When I went to bed the night of Feb. 23, knowing armed forces from Russia were … beginning to cross over [into Ukraine] and bombings were starting to happen, I was just devastated. I cried myself to sleep. I fully expected I’d check the news in the morning and it’d say Ukraine is back to what it used to be, when it was part of the U.S.S.R. and under Russia’s control. I thought, ‘This is it. I’ll never be able to go back to my home country. I’ll never be able to take my kids there.’ I grieved. It’s hard to explain the feeling your homeland is as good as gone … but it’s been amazing and miraculous to see how Ukrainians have defended their homeland and are fighting for the future of their children. … I’ve gone from feeling absolute despair to feeling really proud of the Ukrainian people.
What are your main efforts?
The realization there could be no Ukraine one day terrified me, and I thought, ‘No. That’s not an option. I can’t stand still. We have to do something.’ First, I wanted to get information out there so people know what’s actually happening. … I can speak and understand Ukrainian and Russian. … There’s an online message board internal to Ukraine … and I’m translating and sharing that information … and stories from the ground on social media. … Secondly, I wanted that information to empower people here in the U.S. who want to help … so I’ve been sharing specific things people can do … like reaching out to our government representatives, voicing what the Ukrainians are dealing with, what they’re asking for and what we want to be done. The third thing I’m doing is helping raise funds for refugees. … I’ve been in contact with Inna Sovsun … who’s a Ukrainian parliament member in Kyiv … [to find out] how we can donate so [funds go] directly to people who are actually on the ground.
What’s next for you?
Combining art with a call to action is going to continue being my formula going forward. I have something in the works [to take place] probably in June. Another thing I’m working on is the idea of an ‘adopt-a-family.’ My family members in Ukraine have identified families whose stories they know intimately who are struggling. Their homes are gone, and even if they returned to the areas they came from, there’s nothing there; they have to start over. Some have family members who passed away due to war or illness because they were no longer able to receive [medical] treatment. Financial hardship is a story we’re hearing over and over; someone’s line of work is no longer viable, or they’re living in another country now that has a much higher cost of living, and they can’t find a job. … I want to take [donated funds] and send them over for [struggling families] to access directly so they can pay for food and lodging. … I’m testing this on a small scale with trusted individuals in my life … and I’ve found someone in my neighborhood … who’s also interested in doing this, so I’m going to partner with them … and pull our efforts together with other people who are thinking along the same lines so we can do this on a larger scale.
How can people join your efforts?
I’ve created a website … which I’ll be constantly updating with my current efforts and ways people can contribute. In the coming days, for example, there’ll be information on there about how to contact members of Congress, along with some sample letters. … It’ll be a great resource for people. … I’m going to limit it, though, and keep it really simple. I want to make things as easy as possible for busy people who mean well and want to help. … There’s so much being thrown at us all the time, and it’s overwhelming. Part of my work is sorting through everything and taking out a few things to bring to people’s attention. I think that’s more effective than trying to include everything.
To follow Katya Roberts and her local efforts to help Ukraine, visit katyaroberts.com/ukraine.
Elizabeth Hurst is the community program director at Warde Senior Living in Windham.
Explain your job and what it entails.
I manage the independent living apartments, and I also oversee the life enrichment programs for our entire senior community. Our life enrichment program is resident-driven … and aims to improve the quality of life for the residents in our community. I stay busy coming up with creative and fun programs for our residents and making sure the diverse needs of our residents are being met.
How long have you had this job?
I’ve been at Warde for nearly nine years.
What led you to this career field and your current job?
Even when I was a kid, I loved helping others and volunteered in many different settings. I always knew I wanted to have a meaningful career and work with people. After graduating high school, I became a licensed nursing assistant in Warde’s nursing home. I enjoyed working with the seniors, and instantly knew this was the population I was passionate [about working] with. I worked my way up through three different positions, which led me to my current position as the community program director.
What kind of education or training did you need?
I’m certified as an activity director and did the required training, education and practical hours to become certified. I also have a bachelor’s degree in business and health care administration, and I’m currently in graduate school for my MBA in health care management.
What is your typical at-work uniform or attire?
I always like to look professional. My workplace is our residents’ home, so I keep my attire business casual.
How has your job changed over the course of the pandemic?
Senior communities have faced many challenges throughout the course of the pandemic. It was really hard in the beginning of the pandemic when all the senior communities were closed to visitors and to the public. I had to learn to be flexible and how to adapt quickly. As the coordinator for life enrichment and activities, I needed to be very creative in order to keep our residents engaged during the different restrictions.
What do you wish you’d known at the beginning of your career?
Everyone is on their own timeline. A lot of young professionals are in a hurry to figure out career choices quickly and compare themselves to other professionals, but everyone is on their own speed in life, so take your time and achieve your goals when it feels right.
What do you wish other people knew about your job?
That it’s more than bingo. When people hear about activities and life enrichment in a nursing home, bingo is usually the first thing that pops in their mind. Life enrichment is so much more than just bingo and games. All of our residents are unique, and I’m here to make sure there are meaningful activities keeping their lives enriched every day.
What was the first job you ever had?
My first job was when I was in high school, working at a small family-owned restaurant.
What’s the best piece of work-related advice you’ve ever received?
My parents always told me to do something I’m going to enjoy, and I’m glad I listened to them. It doesn’t feel like work when you enjoy what you’re doing, and I can honestly say I love what I do.
Five favorites Favorite book: Harry Potter Favorite movie:I don’t have one favorite. Chances are, if it makes me laugh, it’s in my top five. Favorite music: Folk and classic rock. Neil Young is my favorite. Favorite food: Homemade mac and cheese! Favorite thing about NH: I love how I’m within driving distance to the beaches, mountains and the city.
The latest from NH’s theater, arts and literary communities
• Artistic exploration of the White Mountains: Writer Howard Mansfield and composer Ben Cosgrove present “A Journey to the White Mountains in Words and Music” at the Bank of NH Stage (16 S. Main St., Concord) on Thursday, April 14, at 7:30 p.m. The show, which is based on a chapter from Mansfield’s recent book Chasing Eden: A Book of Seekers and on Cosgrove’s landscape-inspired music, explores the impact that the discovery of the White Mountains has today. “Pioneering artists in the 19th century taught Americans how to look at the wilderness,” Mansfield said in a press release. “Americans were eager for the lesson and … followed the artists. Their art created a market for the views, filled hotels with tourists, and laid the bounds for national parks across the country.” Tickets cost $24. Visit ccanh.com.
• Diverse female authors panel: The New Hampshire Writers’ Project will present a virtual panel discussion, “Speaking Of: Women of Color,” on Saturday, April 16, from 4:30 to 6 p.m. Six female authors of diverse origin and culture will discuss their work and how their backgrounds led them to start writing as a form of self-expression and education. The authors include Brinda Charry, an immigrant from India to the U.S., fiction writer and specialist in British literature with a focus on English Renaissance literature and Shakespeare; Christine Nih’shaw Almstrom, children’s book author of Blackfeet/Onondaga Iroquois descent; Gledè Browne Kabongo, an author of psychological thrillers, originally from Dominica in the Eastern Caribbean; Hanh Bui, a children’s book author who came to the U.S. with her family at age 8 as a refugee escaping war-torn Vietnam; Loretta LC Brady, an author and a licensed clinical psychologist, professor of psychology and the director of the Community Resilience and Social Equity Lab at Saint Anselm College; and Masheri Chappelle, a playwright, novelist and intuitive consultant of African American and Native American descent. Rosa Marie Bell, Afro-Panamanian educator, multicultural moderator and executive producer of a weekly broadcast “Cafecito Cultural,” will moderate the panel. The event will take place over Zoom and is free for New Hampshire Writers’ Project members and $20 for non-members. Visit nhwritersproject.org to register.
• Ancient photography: The Currier Museum of Art(150 Ash St., Manchester) has an exhibition, “Appeal of the Real: 19th Century Photographs of the Ancient World,” on view now through June 12. It features photographs of the ruins of ancient Egypt, Greece and Rome, taken prior to when tourists could take their own photographs, often at the request of wealthy European and American tourists. Museum admission costs $15 for adults, $13 for seniors age 65 and up, $10 for students, $5 for youth ages 13 through 17, and is free for children under age 13 and museum members. Current museum hours are Thursday, from 10 a.m. to 8 p.m.; Friday through Sunday, from 10 a.m. to 5 p.m., closed Monday through Wednesday. Call 669-6144 or visit currier.org.
• Opportunity for teen writers: Under the Madness, a new New Hampshire-based teen creative writing magazine, is accepting submissions now through Friday, April 15, for its second issue. The magazine is designed and managed by an editorial board of New Hampshire teens under the mentorship of New Hampshire State Poet Laureate Alexandria Peary. It features creative writing by teens ages 13 to 19 from all over the world, including poetry and short fiction and creative nonfiction. “It speaks to the confusing whirlwind faced by teenagers [due to the] pandemic, political polarization, global warming, inequity and unrest,” Peary told the Hippo earlier this year, “[and to] writing and creative expression as a way to set a foot on the ground when the adult-made sky seems to be spinning.” Submissions are open for future issues on an ongoing basis. All writing must be written in or translated into English and must be previously unpublished. Visit underthemadnessmagazine.com for full submission guidelines and to read the first issue.
ART
Exhibits
• “STITCHED TOGETHER – ELEMENTS OF NATURE FROM TEXTILE FRAGMENTS” New Hampshire Art Association exhibition features the textile collages of Cheryl Miller, inspired by the colors in nature. On display now through April 15. Greater Concord Chamber of Commerce Visitors Center. Regular gallery hours are Monday through Friday, from 8:30 a.m. to 5 p.m. All work is for sale. Visit nhartassociation.org or call 431-4230 for more information.
• “APPEAL OF THE REAL: 19TH CENTURY PHOTOGRAPHS OF THE ANCIENT WORLD” exhibition features photographs taken throughout the Mediterranean to record the ruins of ancient Egypt, Greece and Rome. The Currier Museum of Art (150 Ash St., Manchester). On display now through June 12. Museum admission costs $15 for adults, $13 for seniors age 65 and up, $10 for students, $5 for youth ages 13 through 17 and is free for children age 12 and under and museum members. Current museum hours are Thursday, from 10 a.m. to 8 p.m.; Friday through Sunday, from 10 a.m. to 5 p.m., closed Monday through Wednesday. Call 669-6144 or visit currier.org for more information.
• “WARHOL SCREEN TESTS” In the mid-1960s, American multimedia artist Andy Warhol had shot more than 400 short, silent, black-and-white films of his friends at his studio in New York City. Warhol referred to the films, which were unscripted and played in slow motion, as “film portraits” or “stillies.” The exhibition will feature 20 of those films, provided by the Andy Warhol Museum, in loops across four large-scale projections. The Currier Museum of Art (150 Ash St., Manchester). On display from March 31 through July 3. Admission is $15 for adults, $13 for seniors age 65 and up, $10 for students, $5 for youth ages 13 to 17 and free for children age 12 and under and museum members. Current museum hours are Thursday, from 10 a.m. to 8 p.m.; Friday through Sunday, from 10 a.m. to 5 p.m., closed Monday through Wednesday. Call 669-6144 or visit currier.org for more information.
Local actors, directors and other theater artists discuss bringing their productions to life
A detective thriller, a parody about a certain wizarding school and children’s tales with a macabre twist are just a few of the shows coming to New Hampshire theaters this spring. Actors, directors and other theater personnel talked about their respective shows, what makes them unique and what it takes to get them stage-ready.
Anna Mae Murphy, actor
Puffs, or Seven Increasingly Eventful Years at a Certain School of Magic and Magic, presented by Cue Zero Theatre Co., at Granite State Arts Academy (19 Keewaydin Drive, No. 4, Salem), with showtimes on Friday, April 29, and Sunday, May 1, at 7:30 p.m., and Sunday, May 1, at 2 p.m. Tickets cost $15 ($16.25 with fees). Masks and proof of vaccination or a negative Covid test taken within three days of the performance are required. The show is also available to livestream for $15. Visit cztheatre.com or email [email protected].
What attracted you to this show?
I found out about this show just a couple of days before auditions through a Facebook group I’m in for theater in New Hampshire. I hadn’t heard of Puffs before, but I quickly fell in love with it during my research and thought it would be a lot of fun to audition for something again after a few months.
Describe the character you’re playing.
The character I’m playing is Megan Jones, who puts on a tough act but is a big softie at heart. When you first meet her, she really rejects her family’s long lineage of Puffs and idolizes her mom, who became something greater in her eyes by working for the Dark Lord and ended up in Wizard Prison because of it. Megan’s big dream is that her mom will break out and come rescue her from this school she feels has failed her. At first, Megan does everything she can to reject being a Puff. But her friendships with Wayne and Oliver lead her on a journey of embracing her identity as a Puff and realizing her house and the Puffs around her are incredibly special. When I think of Megan, I think of someone who has a lot of layers, a lot of self-love to learn, but also someone who cares deeply about her friends and is way goofier than she’ll ever admit.
What have you been doing to prepare?
Preparing myself for this character began early on in one-on-one rehearsals with Christie [the director] where we got to have a long discussion and really dissect this character and create a solid foundation to build upon. When I came across something I didn’t really understand about Megan’s character, whether reading lines alone or rehearsing with the group, I worked to see it in the big picture of who Megan is and understand the context behind it. That’s really helped me to build her [character] even more. It’s also been so fun to build her further through rehearsing with the other people in this cast, and all the fun little moments we’ve created for our characters. Seeing the characters and their relationships to each other blossom has been so cool and often leads to some hysterical moments. One more thing I’ve done to prepare is I made a Megan Jones playlist with songs that remind me of her, and I like listening to it to help get into character.
What are you looking forward to most about bringing this show on stage?
I’m looking forward to people seeing this super funny show. I never get tired of these jokes, and everyone in this cast is hilarious. They’re always improvising new things, and they get funnier each time we’re all together. Everyone has worked so hard, and I can’t wait to hear all the laughter from the audience. It’s going to be amazing finally sharing this with people.
Why do you think this is a show audiences will enjoy right now?
I think audiences will enjoy this show because it’s a familiar story with a unique twist. While new stories are always fun, it’s nice to sometimes return to what is familiar and find appreciation for it in new ways. People will recognize many of the major plot points, and I think they’ll really enjoy seeing it from this new perspective. It’s nostalgic and truly hilarious, and finding things that bring a smile to our faces has been so important these past couple of years.
Connor Forbes, actor
Puffs, or Seven Increasingly Eventful Years at a Certain School of Magic and Magic, presented by Cue Zero Theatre Co., at Granite State Arts Academy (19 Keewaydin Drive, No. 4, Salem), with showtimes on Friday, April 29, and Sunday, May 1, at 7:30 p.m., and Sunday, May 1, at 2 p.m. Tickets cost $15 ($16.25 with fees). Masks and proof of vaccination or a negative Covid test taken within three days of the performance are required. The show is also available to livestream for $15. Visit cztheatre.com or email [email protected].
What attracted you to this show?
I’ve been a fan of a certain boy wizard for a long time, so getting to finally be a part of that world in one way or another has always been a goal of mine. First hearing about this show back in 2018 or 2019, I knew it was a show I wanted to be in.
Describe the character you’re playing.
Wayne is an optimist and a dreamer. He has these big plans for himself and how he’s going to change the world, however cruel the world may be to him, or whoever stops him from fulfilling the goals he has for himself.
What have you been doing to prepare?
For one, I’ve definitely been practicing my wand techniques, but, in all seriousness, I’ve gone back to reread the books set at a certain school of female magic and male magic, including any spinoff material to immerse myself back into that world. I’ve also been consuming a fair amount of retro media, as my character Wayne is very much immersed in the pop culture of the ’80s and ’90s.
What have rehearsals been like?
Christie, the director, has made the rehearsal process such a blast. It’s been such a fun environment to be a part of, and everyone involved in this show, from the cast to the production team to the crew and everyone in between, has been incredible to work with.
What are you looking forward to most about bringing this show on stage?
I’m very much looking forward to bringing a new perspective to those seven years at magic school — an underdog perspective. The Puffs, as a group, are the ones who’ve never been destined for anything, and for there to be a story that’s all about them truly warms my heart.
Why do you think this is a show audiences will enjoy right now?
I think audiences need a break from reality, even if it’s only for two hours. Movies and television are a thing that can provide that, but I’ve found that nothing brings that sense of wonder to a person like live theater does. Plus, this show is heartfelt, action-packed and just plain funny. Even if you aren’t a fan of that certain boy wizard, this show is a laugh-out-loud good time.
Genevieve Aichele, director
An Inspector Calls, presented by New Hampshire Theatre Project at West End Studio Theatre (959 Islington St., Portsmouth) from May 6 through May 22, with showtimes on Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Tickets cost $30 ($33.26 with fees) for general admission $26 ($29 with fees) for seniors, students and veterans and must be purchased in advance. Masks are required in the theater. Visit nhtheatreproject.org or call 431-6644.
What attracted you to this show?
I’ve been wanting to produce this show for several years now. It’s a well-paced, clever play with excellent dialogue and great roles for actors, and its theme of social responsibility is more important than ever. For a piece written in 1945, it’s astonishingly pertinent today.
How are you interpreting the show as a director?
The only change I’m making is that we’re not using British accents. I wanted the play to feel very accessible and contemporary.
What have rehearsals been like?
A joy. I have a solid professional cast. … Each of them brings thoughtful character interpretations to their role, and everybody is fully prepared for rehearsals.
What is the biggest challenge of directing this show?
Trying to stay true to the period stylistically while making the themes accessible to contemporary audiences. This play is written like an Agatha Christie-type mystery, so keeping the pace taut and heightened without descending into melodrama is also a challenge.
Monique Foote stars in An Inspector Calls. Photo by Ben Bagley
What are you looking forward to most about bringing this show on stage?
The process of creating a piece for the stage with a collaborative team is what I love most about directing. Not just working with the excellent cast, but also [with the] costume designer, set designer and lighting designer, discovering things together. For instance, I really wanted to cast against type and have a woman play the title role of the Inspector, even though it might be anachronistic, but [the costume designer], in her costume research, discovered that there actually were female police officers in England at the time the play takes place in the early 1900s. This changed our approach to the character.
Why do you think this is a show audiences will enjoy right now?
The script is excellent, the characters are fascinating and the story is absolutely pertinent to our world today. There are even lines that echo eerily; they could be spoken in 2022 instead of 1912. [The Inspector says,] ‘We don’t live alone. We are members of one body. We are responsible for each other.’ In an era of instant global communication and connection, these issues seem even more important [today] than they were 75 years ago.
Steve Short, company manager, co-producer and sound designer
The Play That Goes Wrong, presented by the Manchester Community Theatre Players at the Manchester Community Theatre Players Theatre, located at the North End Montessori School (698 Beech St., Manchester), with showtimes on Fridays, May 13 and May 20, and Saturdays, May 14 and May 21, at 7:30 p.m. Tickets cost $20 and must be purchased in advance. Masks and proof of vaccination are required to enter the theater. Visit manchestercommunitytheatre.com or call 327-6777.
What attracted you to this play?
Having been involved in community theater for 17 years, I’ve seen a lot of mishaps and blunders, both on and off stage. This will be our third production in this genre, about a theater company putting on a play that goes horribly awry.
How are you interpreting the play?
Some of the sound effects are pretty simple, but some require some imaginative editing. I can’t go into more detail; you’ll have to come see the show.
What have rehearsals been like?
We’re pretty early in the rehearsal process. The cast has mostly been laughing hysterically, as putting the script into action on stage has been pretty funny.
What is the biggest challenge of this play?
It can be difficult to stage many of the set failures that are found in the script without a Broadway bankroll. The Manchester Community Theatre Players can be quite imaginative within the confines of a community theater budget.
What are you looking forward to most about bringing this play to the stage?
Audiences are desperate to see theater on stage rather than in Zoom boxes, and theater companies love the feedback that audiences provide.
Why do you think this is a play audiences will enjoy right now?
It’s a very funny show.
Billy Butler, writer, composer and director
Children of the Grim, presented by Bitter Pill at the Players’ Ring Theatre (105 Marcy St., Portsmouth) from May 13 through June 5, with showtimes on Fridays at 7:30 p.m., Saturday at 2:30 and 7:30 p.m., and Sunday at 2:30 p.m. Tickets cost $28 for adults and $25 for seniors age 65 and up and students. Masks and proof of vaccination or a negative Covid test are required. Visit playersring.org or call 436-8123.
What inspired you to write this show?
When I was a child, in the old timey days before cable TV and the internet, my mother used to read to me a lot — classics like The Wizard of Oz books and the Narnia chronicles, as well as Grimm, Native American mythology, Mother Goose, Aesop, Edward Gorey and, my favorite, campfire ghost stories. Bitter Pill generally plays to an adult audience, and I began to notice a lot of families at our concerts. We started editing our set lists to be more accessible for those shows. I wanted to create something an out-of-the-ordinary family would enjoy within the aesthetic of our band, so I started writing Children of the Grim inspired from my childhood stories. There are so many wonderfully dark, strange and bizarre tales from all over the world. It’s funny how those macabre stories used to be totally acceptable for children; there was a time when we knew that the universe is a dark and dangerous place. Even the early days of Disney had such dark overtones. We’re using some verbatim tales as well as nursery rhymes set to original music. I also wrote my own tales and songs. There’s no through-line, but there are definitely themes, all told in a series of vignettes and songs. I’m not sure how to describe it in theatrical terms, but maybe it’s a song-cycle meets a scene-cycle.
Describe the music. What does it add to the show?
The music is folk and played on all stringed instruments — acoustic guitars, mandolin, banjo and cello. Most of the show is original music, but [there are] also some traditional songs that may have been long forgotten. Music is what feelings sound like, and we present them in a way that isn’t banging people over the head with too many theatrics. Some of our songs create all the imagery needed simply by just singing them, without the fancy choreography or flashy lights.
Children of the Grim. Photo by Gina Bowker.
What have rehearsals been like?
After our first rehearsal at the beginning of March, two of our actors contracted Covid. We lost a little more than a week’s worth of work. I knew this was a possibility and scheduled the process keeping in mind that Covid would very likely rear its ugly head. They went into quarantine, and we all tested multiple times before getting together again. Everyone got healthy very quickly, and we got right back to work. Since then, we’ve had a great time putting it together — a lot of laughs and plenty of goofiness.
What is the biggest challenge of directing this show?
Learning a new show is always challenging since there’s no reference point. There are no cast recordings or videos. It’s one of the reasons I love doing new work, whether [it’s] my own or others’. There are no expectations, and the creative process of bringing something new to life is frighteningly exciting. The biggest challenge, however, is that it’s been three years since I’ve directed anything, so the insecurities are hitting harder than usual. I’m second guessing, doubting myself and feeling the impostor syndrome here and there. These are all very normal [feelings] in a normal world, but in this new abnormal [world], things are much more elevated. Navigating it is tricky, but everyone involved is so 100 percent committed that I walk away from each rehearsal with more and more confidence. That’s how collaboration works — lifting each other and embracing the good and bad.
What do you hope the audience will take away from your show?
Humming a tune, and a bittersweet taste in their mouth.
What are you looking forward to most about seeing your show on stage?
It’s always a pleasure to see your work come to life before an audience for the first time. I imagine even more so these days. I look forward to being in the same room, breathing the same air, feeling the same feelings. Some say theater, music and arts are an escape; I don’t agree. People go to a concert or see a play or a movie to feel something, to sit in the dark and be reminded that we’re luminous beings. I know I always walk away from art feeling lighter and maybe even a little enlightened.
Why do you think this is a show audiences will enjoy right now?
It’s not a typical play or musical, especially for families. Nothing is sugar-coated, and it’s dark, but also quite funny and poignant. It’s also short — a little more than an hour with no intermission. These old and new tales are an important reminder to embrace the dark, because, without it, how do we find the light?
Christie Conticchio, director
Puffs, or Seven Increasingly Eventful Years at a Certain School of Magic and Magic, presented by Cue Zero Theatre Co., at Granite State Arts Academy (19 Keewaydin Drive, No. 4, Salem), with showtimes on Friday, April 29, and Sunday, May 1, at 7:30 p.m., and Sunday, May 1, at 2 p.m. Tickets cost $15 ($16.25 with fees). Masks and proof of vaccination or a negative Covid test taken within three days of the performance are required. The show is also available to livestream for $15. Visit cztheatre.com or email [email protected].
What attracted you to this show?
I was attracted to this show at first as a fan of the fandom and, second, as a Puff myself. I had the privilege to see it off-Broadway as part of my sister-in-law’s bachelorette party and fell in love with the message that behind this seemingly misfit group are loyal, caring, hardworking individuals, and I connected with those characteristics.
How are you interpreting the show as a director?
As a director, my interpretation is to keep the heart, soul and lighthearted nature. This show has a lot of heart, and, once you lose that then it’s disingenuous.
What have rehearsals been like?
Rehearsals have been so collaborative and respectful. I honestly got very lucky with this cast.
What is the biggest challenge of directing this show?
The sheer amount of props, costume pieces, sound cues and lighting. This show has well over 100 props. I got very lucky with two productions finishing before mine, so many of my props are borrowed from Powerhouse Theatre or Manchester Central High School. In addition, the sound cues and timing of wand- and spell-making and that coordination will be important.
What are you looking forward to most about bringing this show on stage?
I’m looking forward to getting this in front of an audience. This is a funny show, and the talent in the cast is undeniable. We worked on improv skills, building community and fostering ideas from the cast, and I hope it’s noticeable. Each actor had a one-on-one session with me, and seeing how each character holds their wand and casts spells is so subtle, but I hope that, in the small theater, it’s a detail that’s appreciated.
Why do you think this is a show audiences will enjoy right now?
If people are a fan of the fandom and are looking for a light-hearted comedy in a stressful world, this is the show to see. Also, sitting in the front row has some advantages in this show. What exactly are those advantages? You’ll just have to come and see.
Emily Karel, actor
An Inspector Calls, presented by New Hampshire Theatre Project at West End Studio Theatre (959 Islington St., Portsmouth), from May 6 through May 22, with showtimes on Friday and Saturday at 8 p.m., and Sunday at 2 p.m. Tickets cost $30 ($33.26 with fees) for general admission, $26 ($29 with fees) for seniors, students and veterans, and must be purchased in advance. Masks are required in the theater. Visit nhtheatreproject.org or call 431-6644.
What attracted you to this show?
First and foremost, the subject matter. The play deals with the struggle between individualism and collectivism and the disparity between those in the upper class and those in the lower class. With this work, Priestley asks us to reflect on how our actions affect those around us. Though the events of the play take place in 1912, these themes remain painfully relevant.
Describe the character you’re playing.
Sheila is the daughter of Arthur and Sibyl Birling. She fits into her parents’ carefully curated world of taste and refinement, but only just. She has a hot temper and is more intelligent than her family or fiance give her credit for. Her discomfort with the social and societal role she’s expected to play becomes evident fairly early on and only intensifies as the events of the play unfold.
What have you been doing to prepare? What have rehearsals been like?
In terms of preparation, I like to learn my lines as soon as possible. I feel it’s nearly impossible to do the work I need to do to build my character and support my castmates in the rehearsal room if I’m glued to the page. I like to come into the first rehearsal as close to off-book as possible. This play is a period drama, so I’ve been spending time outside of rehearsal researching the time period in which the events of the play take place. Also, in addition to making decisions about Sheila’s inner life, I need to find her psychically. BBC period dramas have been helpful research tools. Watching the characters on screen can help me get a sense of how young women in that time period moved and held themselves. The first season of Downton Abbey is especially useful since it takes place during the exact same time period as Inspector.
What are you looking forward to most about bringing this show on stage?
I’m looking forward to hearing what audiences take from the show.
Why do you think this is a show audiences will enjoy right now?
I’ve been in this show before; I played Sheila in college. My experience of the play this time around is quite different, having come out of two-plus years of the Covid pandemic. I can’t help but be struck by the enormous class divide that exists in this country and how it has only been exacerbated by the pandemic. We’ve been divided into those who can stay home, stay safe, order our groceries in and implore others to do the same, and those who simply cannot. Some jobs can’t be done remotely. Some of us weren’t afforded the luxury of staying safe. The sad truth is that many of us … have quite a lot in common with the Birlings. We think we’re doing the right thing, taking care of ourselves and those we love, but we’ve been blind to our own immense privilege. My hope is that the experience of this play, whether from the stage or the audience, will encourage all of us to step outside of ourselves a bit more.
Featured photo: From left to right, Anna Mae Murphy playing Megan, Connor Forbes playing Wayne, and Noah Greenstein playing Oliver in Puffs, or Seven Increasingly Eventful Years at a Certain School of Magic and Magic. Photo by Paula Trout.
Seacoast-based author, editor and writing coach Jeff Deck discussed his latest project, We Got This, Kids: A real-time and raw glimpse of alcoholism, depression, and loss during a search for more sunrises.
What is your literary background?
I collaborate with writers to help them get their books done. Though my new service is focused on fantasy novels, I’ve worked with authors of both fiction and nonfiction. My own works include several novels, a nonfiction book called The Great Typo Hunt that I co-wrote with Benjamin D. Herson and holiday romances under a pen name.
What is We Got This, Kids about?
We Got This, Kids is the story of one ordinary person, Andy Marsjanik, and his lifelong struggle with addiction, recovery and depression. It’s based on the half-finished memoir that Andy left behind when he died by suicide and filled in with the voices of those closest to him, his family and friends. Andy wanted to live —he makes that very clear in his writing — but he lived and worked alone and undertook his struggles alone, and, during a temporary low point, he made a decision he couldn’t take back.
How did you first hear of Andy’s story?
A friend connected me with Andy’s sister, Amy Marsjanik Law, just a couple of months after Andy died. Amy was living in Newmarket at the time, and we were able to meet in person; this was shortly before the pandemic. She was intensely grieving, but had a powerful determination to carry on her brother’s story, as well as his mission to help people going through similar struggles.
What compelled you to take on this project?
Normally, fiction projects call to me the strongest, both in terms of collaboration with clients and for my own work, but when I started reading the document that Andy had left behind, I could immediately see two things that drew me in: first, his sharp, acidly humorous voice reminded me of George Carlin or Dennis Miller in his prime and absolutely needed to be shared with the world, and, second, this was someone describing his mental health and addiction battles in real time, which I thought could be of immense help to others.
What was the process like?
Collaborating with Amy to honor Andy’s words was the heart of the process for this book. Amy saw her brother’s original vision and knew how to bring it to fruition, as well as whose other voices would be necessary to bring into the story. I did my best to preserve what Andy had written, tweaking only for clarity and organization, moving fragments around to best convey the picture that Andy had originally intended. To minimize my intrusion into this family and their story, I saw my primary role as an editor rather than a co-author or ghostwriter. That also literally became my ‘character’ in the book — ‘The Editor,’ who steps into the footnotes to explain and elucidate the many obscure references that Andy included. The Editor also comments on any significant additions, deletions or rearrangements of the text in the footnotes to make the process we went through as transparent as possible. I interviewed Amy and other family members and friends not just to fill in the pieces that Andy never got to write, but to show the resonance of his life on the people around him. Everyone speaks in the first person, as close to their original words when I talked with them as possible, and mirroring Andy’s intimate narrative.
How does Andy’s writing connect with you personally?
I could feel his heart directly communicating with mine through his words. He’s blunt and funny and painfully self-aware. That’s the power of his writing and why it’s an incredible loss that we won’t get to see any more books from him. Andy is speaking in minute detail about his own experience as one individual working as a real-estate appraiser in upstate New York, but his struggles are universal. I’ve felt the darkness of depression, too, though, thankfully, to a much lesser degree, and my own life has been affected by a close relative in the grip of alcoholism.
In what way do you believe this book could help people?
It’s hard to find someone who hasn’t had to deal with mental health issues or addiction, either themselves or in the case of a loved one. Unfortunately, these struggles are nearly universal now, but most of the memoirs about these issues that are published today are from a celebrity’s point of view. I think people need the opportunity to see themselves reflected in a story of addiction, recovery and profound mental trials. Andy wasn’t famous or wealthy; he was an extraordinary person, but he was living an ordinary life much like so many other Americans, so when an average person picks up We Got This, Kids and recognizes themselves in Andy, my hope and Amy’s hope is that they immediately seek out the help they need. Remember that Andy’s action during that terrible night came from temporary desperation, but its consequences were irreversible. We Got This, Kids urges its readers to hold on for the next sunrise, and the one after that too.
— Angie Sykeny
We Got This, Kids is currently available on Amazon in paperback and Kindle.
Featured photo: We Got This, Kids. Courtesy photo.
Dina Akel is the fashion director and owner of Preowned Gowns, a boutique in Nashua selling overstock, discontinued and gently used designer dresses.
Explain your job and what it entails.
We sell overstock and discontinued luxury dresses for a discount. My job is to make sure that every client who comes through our doors finds the perfect dress for whatever their occasion is. As a stylist, I get to gauge clients by asking about their preferred silhouette, fabrics, colors and budget so that I can properly recommend dresses for them. I make sure to provide a fun and comfortable experience to make sure everyone feels extremely special and taken care of.
How long have you had this job?
The business was started in 2020, solely online. We just opened up our [brick and mortar] store in mid-November 2021.
What led you to this career field and your current job?
I was actually in the bridal industry for about five years prior. … Most [wedding gown] shops have to carry all the newest fashion trends, and rarely do they sell 100 percent of what they purchase every year. I noticed that, over time, discontinued dresses would pile up in storage. … The longer dresses stay in storage, the more likely they are to yellow and become completely unwearable. I thought that was a waste. … I knew there had to be a more sustainable process for the formal-wear industry to turn over their stock.
What kind of education or training did you need?
I’ve always had a knack for project management, research and event planning. … I learned a lot while working at the bridal boutique; I would ask the brides questions to find out what was important to them when looking for a dress. … I took part in an entrepreneurship foundation to help me understand the ins and outs of running a business. … I even worked as a wedding planner for two years; I told myself that, in order to be the best at my job [selling gowns], I needed to fully immerse myself in the wedding industry so that I could understand all perspectives.
What is your typical at-work uniform or attire?
Not super-formal, but not casual; I like to dress fashionable and wear trendy clothes.
How has your job changed over the course of the pandemic?
The pandemic didn’t affect us negatively. A lot of [weddings] weren’t being held during the pandemic, but a lot of brides started planning during that time … so the wedding industry started moving forward more quickly and growing after [the height of] the pandemic had passed.
What do you wish you’d known at the beginning of your career?
Having a work-life balance and taking time for yourself. I’m a very ambitious soul, and sometimes I need to remember to slow down a bit.
What do you wish other people knew about your job?
[The store] is a safe and fun space to find a dress. … We’re not pushy salespeople. We always say that, even if you don’t find a gown with us, you’ll leave here learning something new about your style or what you’re in search of.
What was the first job you ever had?
I worked at the Nashua Public Library as a page.
What’s the best piece of work-related advice you’ve ever received?
Something my band teacher in high school would say at practices … was, ‘When you walk through these doors, you leave all your troubles and worries behind you. Focus, and be present.’ That really stuck with me for a long time and has made me so productive and focused in whatever I’m doing.
Five favorites Favorite book: Robert B. Parker books. Favorite movie:The Mummy and Shrek Favorite music: Jazz and house Favorite food: Kafta, which is a meat dish, and bacalhau, which is a Portuguese cod dish Favorite thing about NH: The mix of city and suburban life
