Something fantastic for the theatre nerds out there--- check out this Design Presentations for Inanimate at Theater Wit! Coming to Chicago March 22. Tickets here: thwit.org/inanimate
While the show has already come to an end, I reached out to Edward Vera, head of the eponymous production company that put on Wish Upon A Star:
Hi Edward of Edward Vera Productions! You wear a lot of hats: producer, director, writer, actor... is there one you enjoy more/most of all?
That's a tough one. I'm at the point of my career where I'm making transitions but if you asked me this question earlier in the year I would have said actor without a doubt. But producing has been something I've been doing for a few years now and I naturally fall back to it when I am not interested in other projects that are currently out there. And writing is something I've wanted to do since I was a little kid, not necessarily play or script writing. However, I will stick with actor, because although producing has a worthwhile feeling of appreciation once the production is up and running, I mostly only write, direct, or produce so that I can act.
You got your start while in college in Las Vegas. What was it about Chicago, rather than, say, Los Angeles, that prompted you to continue your work here?
I had spent a few weeks a few months before I graduated auditioning for things in LA and New York to book something before my last semester ended. It was mostly touring companies and cruise ship gigs. Nothing excited me too much it was just the idea of the money I'd make that would help launch something when I did decide to move. Having not heard back from anyone, I didn't want to make the decision between those cities and I wanted to go some place where I could do what I wanted to do and still had a notable and respectable community that I can grow in while not having the pressure and the hustle of a place like LA or NY. And I remembered I had family in Chicago, my professors had wonderful things to say about the city, and I had always made it a goal of mine to practice improv -- so one year later, I'm here with Second City, and starting a production company in a city I've always loved!
Putting on a musical sketch show like this - with new lyrics to known songs as well as new pieces - seems like such a different beast compared to most sketch show productions. What was the hardest part and what was/is your favorite part of the process?
The hardest part was learning all this material in a short amount of time. There was more people cast for a small ensemble of a show so I made the decision to have our cast learn multiple roles so we can swap and play around. The entire first run in MCL provided the audience the choice on who they would like us to play. That was a concept they loved and I'd potentially bring it back again, however it did cause our cast unnecessary stress during the rehearsal process and possibly spread a few people too thin. But once they got it, they picked things up and ran with it and it was fantastic. I would play Peter Pan one day and the next I'm bouncing along as Mickey Mouse. It was exciting and scary at the same time.
My favorite part was the choreography. Being from Vegas, I love spectacle and I love a good musical number -- so throw in some good music, some kick-ass choreography and some talented vocals and you've already won me over.
Congrats on the run at MCL Chicago and Theater Wit. Is there anything currently in the works for the next production?
There are a lot of projects I am anticipating for 2015 but it'd be dumb to put it out there without knowing we can do it first. I'm hoping to put Wish Upon a Star into next years Fringe Festival and also next years Sketch Fest. And I am in the works of creating a new musical for MCL's first New Musical Festival that they just released details on. One project I am particularly excited for is a new play being written from one of my cast members, Luke Meierdiercks. Won't be released until next year fall 2015, but we're really spending time workshopping and making sure it's all it can be. Very excited!
The talented ensemble, Dacey Arashiba, Kannan Arumugam, Cristina Seo, Nic Park, Loreen Targos, Raymond Hui, and Jonald Jude Reyes are also the authors of the material which is sharp, often unafraid to be political in its satire (kindergarten games with Kim Jong Un, anyone?), with quick-witted scenes like a board meeting full of alliteration, security bank questions that lead to a Liam Neeson action movie, tight blackouts and one of my favorites: a calling up of Cthulhu* with an e-Book of the Dead that starts and stops due to buffering, “Anyone else on the wi-fi?”
Directed by Anna Lucero, some of my favorite moments were when the cast went big with choreography and action. In one scene, texting a love interest is tap-danced out on large cardboard keyboards. The rhythm changed as other characters jump in, texting our lovebirds. In another, a sleeping son and his killer fan have a fantastic fight to the death. In still another, the cast takes a satirical look at the mystery of the tenure committee that ends with a David Lynch-like rave. If you have friends in PhD programs, you’ll laugh with sympathy and if you’re in a PhD program, consider this your trigger warning.
If you think the title is just for pun’s sake, I will warn you: don’t arrive hungry. There’s a snack theme underlining the show: hot chicken, Cinnabon, tacos, and a racist sandwich at a potluck all make an appearance.
Turn Down Pho Wok is smart, funny, and tasty. Check it out if your mother’s overbearing, your father’s got a spy obsession, your aunt got you a giftcard to Radio Shack, and you’re a history nerd who loves food.
Turn Down Pho Wok by Stir Friday Night
Theater Wit
11:00pm Saturday 27 – October 11
$5 - $10
Seminar, which is a play by a relatively new company that received solid reviews, is a satisfying satire with electric writing and strong performances that stops short of being substantial. (more…)
