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.
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.
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.
