[thefleatheater]

From the Playwright of good friday, Kristiana Rae Colón

My play, good friday, is a provocative examination of our culture of complacency. My goal is to widen the scope of brutal patriarchal influence to include the group most susceptible to its effects—women. My production at The Flea, with its immensely talented and all female cast and creative team, is the very definition of “time’s up”.

My inspiration for this play derives from a combination of my personal and the collective grief around the mass shooting in the United States. These incidents made me pay attention to the National conversation around the topic of gun violence. On social media I constantly read “lone white shooter” and I started to think about the cycle of how news is dispersed, interpreted, re-dispersed and reinterpreted. This cycle is destructive. From this news, what assumptions do we make about the shooter? About the victims? And about the moments between gunshots?

I’m excited for audiences to experience good friday right now because culturally, politically, and environmentally we are at a moment when it’s urgent that we decide how and with whom we fight and how and with whom we build. Do women appropriate the violence and aggression of global patriarchy or do we resist the current paradigm with a culture of nurture and tenderness?

[thefleatheater]

MEET POSTELL PRINGLE OF THE Q BROTHERS COLLECTIVE

As told to Aleesha Nash, Audience Development Associate, The Flea Theater

The third and final production in our SEASON OF WOMYN series is the world premiere of ms. estrada, written by the Q Brothers Collective and directed by Michelle Tattenbaum with music direction by Postell "Pos" Pringle, one of four members of the Q Brothers Collective. We caught up with Pos to talk about his process as a writer, as well as the work he does with the Collective.

Thanks for chatting with me, Pos. Looking at the extensive work that you and the Q Brothers have done for over 20 years, translating classical text into modern contexts, do you have a favorite classical text? I get asked this question a lot and I have two thoughts. First, “What exactly is considered a classical text nowadays?” The definition tends to shift based on who you’re talking to. My second thought is that anyone who doesn’t consider August Wilson’s work classical text can get out of my house. But you must leave whatever snacks, drank or housewarming gifts you brought with you. HA! As far as my favorite classical text— I’m partial to Shakespeare’s tragedies. I also love Anton Chekhov and Henrik Ibsen’s texts. Speaking of snacks, do you have a favorite writing snack? Yes! I have my snacking down to a science. Organic rainbow carrots and hummus, chips and guac, any combination of nuts, and a green drink made from kale, bananas, and mango. Being able to produce music must be an important part of the work you do with the Qs. Every song in ms. estrada has something to love about it, but do you have a favorite? “Kick It In The Dick” is one of my favorites because the beat has a bounce to it. And I’m tickled by the idea of women kicking penises— Just as long as it’s not mine! Haha! That is a good song. Lots of symbolism. I think it’s also a call to arms for people to find what bothers them and take action to do something about it. Was there a song that presented a challenge? “When You’re A Girl” was one of the hardest songs to create. Mostly because we didn’t know what style to land on. The style and lyrics need to work together in order for the song to open up and say what we need it to. And in this case, it was: How does a man learn to walk in a woman’s shoes?” Now that the song has been written, what’s your favorite lyric? It’s hard to pick just one. I love the lyric: FEELIN’ GOOD CAUSE I’M LOOKIN’ GOOD. KILLIN’ IT IN THIS SKIRT. That’s a great lyric. I love this song because the character’s journey is clear. By the end, he learns how many women are taken advantage of and sadly, they blame it on themselves. Writing with three other collaborators, how do you narrow all the ideas down to one single idea? It’s usually us huddled up in a writing room, or in various corners of the world on a Google Doc, or on a Google Hangout. And we all have one mission: Make each other laugh. The idea that gets the biggest laugh is the one that goes into the script. You and the other Qs have been working intensely on ms. estrada since early August 2017. A project of this magnitude definitely requires lots of focus and several rewrites. What type of writing practices have you adopted over the years?

It’s important for me to get in the right headspace daily. I listen to NPR or read the news to get my brain churning and thinking about what’s happening in the world. I write early in the morning, take a small break and then return to my desk and continue to write through the afternoon. I also find that writing after midnight, when most are asleep, yields good stuff. So, you listen to NPR to get in the right mindset, but do you listen to anything while you’re actually writing? Usually, before I start writing, hardcore hip-hop music. Artists like Kool G Rap, OutKast, Geto Boys, Gangsta Boo, Run The Jewels, Lauryn Hill, Black Thought, Phonte and Ice Cube. Also, Ghostface, Redman and Method Man. While I’m actually writing, I mellow it out with various hip-hop instrumentals or classical music by artist like Zoe Keating. Once you’ve finished your writing for the day, how do you kick-back and relax? I usually turn on instrumental tracks by J Dilla, or I listen to an episode of “This American Life”, a podcast that combines journalism and narrative storytelling. I’ve usually got a bottle of dry cider or glass of Fernet-Branca, this bitter Italian liqueur in my hand, too. Now that it’s open, what’s one thing you want people to do, feel, or think after seeing ms. estrada? Ideally, I’d love for people to be more cognizant of how they operate in the world, and to be more considerate. With the various types of people coexisting, it’s important that we all consider our privilege and status, and use that privilege to allow for more voices. The unfortunate thing is for most of the people coming to see the show, it may seem like we’re preaching to the choir. So, if nothing else, I’d love for audiences to become more aware of the patriarchy, and how people with varying sexualities, races, and genders are treated. If this is the response to our show, then I’ve done my job. Before we go, what’s one thing you’d change about the theater industry? I would make more theaters produce the Q’s work!

[thefleatheater]

Meet Karsten Otto Who Plays Brother Max in ms. estrada

ms. estrada written by the Q Brothers Collective and directed by Michelle Tattenbaum is now open in The Flea’s upstairs theater, the Sam.  We sat down with members of the cast to hear about why they love this new hip-hop musical adaptation of the Greek classic, Lysistrata, and what The Flea means to them.

What do you love about the theater?

Community, the urgency, the ritual of it all!

What has acting and working in the business taught you about yourself and/ or life?

That people like creating things together. That we love stories. That I love creating magic with other people.

What’s your earliest theater memory?

Apparently, I volunteered to be Joseph in a bible story for my church when I was 4 because I thought it was to play my cousin Joseph.

What is Serials and how long have you been working with it?

The fucking best!!!!! Oh a long time, long, long time.

Was there anything funny or exciting or memorable that happened at a Serials event that would excite someone who is new to the process?

I broke Matt Stango. And locked up bitches started as a Serial. Look at the receipts, people.

What other projects are you working on at this time?

podcast: New World Sonata (check us out on apple podcasts!!!!)

gaming streaming: feminist_gaming on twitch.tv and caffeine.tv

What is your dream project? or dream role? dream playwright or director to work with?

A new Annie Baker play. Trees in their Youth by Dominic Finochiarro. The Kingkiller Chronicles (Lin Manuel bought the rights!). The Wheel of Time series. Hamlet (sorry). Waiting for Godot. Alfonso Cuaron. Greta Gerwig.

[thefleatheater]

Meet Caturah Brown who plays LIMPITA in the World Premiere of the Q Brothers Collective, ms. estrada.

ms. estrada written by the Q Brothers Collective and directed by Michelle Tattenbaum is now open in The Flea’s upstairs theater, the Sam.  We sat down with members of the cast to hear about why they love this new hip-hop musical adaptation of the Greek classic, Lysistrata, and what The Flea means to them.

Hi, Caturah! Your character LIMPITA is fierce and doesn’t take shit from anybody. What piece of advice would LIMPITA give a new actor that’s just starting out in the business?

She’d definitely let them know that this business requires persistence, patience, and a lot of passion. “Just do what makes you happy, girl!” I could hear her say. I couldn’t agree with her more. The projects that are meant for you will be there.

What do you think differs from working in the theater and film/TV?

The theater is always changing. That’s what I love about it! You could see the same production five or ten times no two shows are ever alike. The audience is different, the weather is different– so many factors. Even things, such as, the actor having a bagel right before a show versus their usual doughnut— Something that seems very trivial may impact a performance. It reminds me and keeps me very present at all times.

True. There are many factors impact the outcome of a production. Casting is also a very important aspect.

Casting is not an easy process. I’ve seen the casting process from both sides of the table. There’s a silent agreement between the two that everyone wants you to be what they are looking for, and that sense of eagerness, I feel, is very important for the beginning process of creating theatre.

How did you find The Flea?

Niegel came into my Contemporary Drama class at Marymount to speak about The Flea. A few months later, Drayton Hiers, the Literary Assistant, emailed me about the open Bat call and urged me to audition.

What do you love about working with The Flea?

I love being able to work with artists of different backgrounds and different point of views. These are people that will be tomorrow’s big producers and writers and having the opportunity to collaborate with everyone is worthwhile.

What do you hope to gain from being at The Flea? And how close are you to getting it?

What I mainly want to gain from The Flea is more relationships with passionate artists to support and collaborate with. I’ve already met many inspiring people that I can not only work with on projects beyond ms. estrada.

What do you love the most about ms. estrada?

What I love the most about the script of ms. estrada is that there is no fear in the writing. The Q Brothers Collective use their voice, through the music and dialogue, to bombard theatergoers with a reality that they may have never had to acknowledge.

What other projects are you working on at this time?

I had performed in a 15-minute production of a new play, The Coward written by Kati Schwartz, and it had won the New York New Works Theatre Festival. We are now in talks with multiple producers in hopes of being able to perform the whole play.

[thefleatheater]

Meet Malena Pennycook who plays ELIZABETH ESTRADA in the Q Brothers’ World Premiere of ms. estrada.

ms. estrada written by the Q Brothers Collective and directed by Michelle Tattenbaum is now open in The Flea’s upstairs theater, the Sam.  We sat down with members of the cast to hear about why they love this new hip-hop musical adaptation of the Greek classic, Lysistrata, and what The Flea means to them.

The work you’ve put into ms. estrada has been immense, what do you love the most about working on this production?

The raw energy in ms. estrada is addicting. It’s exciting it is to embody a story this large. And as a womyn, it's a relief to have a temporary home for my rage (which isn't always welcome in the spaces I inhabit). The writers, the Q Brother Collective and Director, Michelle Tattenbaum have done an incredible job creating an empowering rehearsal room. I hope the audience will feel that when they see the show.

Creating a safe space for actors to do great work is important. What’s your favorite aspect of working in this medium?

I love the sense of community that the theater offers (both from a performer and audience perspective). In an increasingly high-tech world, I’m grateful for the opportunity to sit in darkness with an audience who choose to lend their attention to one thing— the stage. I feel safe in the theater.  

And beyond the shared experience with an audience, what lessons have you gained from working in the business?

Saying “Yes!” That has been a fundamental lesson for me. It is scary to take the first step but great things usually come out of taking a chance on something new.

What was the first acting gig you said “yes” to?

My first job in the theater was as a counselor at my childhood Shakespeare camp when I was 16-years old. Learning how to teach from my childhood mentors was one of the greatest artistic gifts I've ever received.

Are you working on anything other than ms. estrada?

Yes! I facilitate Contact Improv Jams (a movement form) each month and I recently finished the writing and performance of a cello accompaniment for a reading that was directed by fellow Bat, Jen Parkhill.

And before we go— Do you have any advice for actors who are just starting out?

Don't take it all too seriously (it's just pretend, after all). And please, remind me to do the same!

[thefleatheater]

David A. Wallace talks The Bats, ms. estrada, and why theater speaks to him.

With ms. estrada opening in just a few short weeks, we’re sitting down with members of the cast to hear about why they love this new hip-hop musical adaptation of the Greek classic, Lysistrata, and what The Flea means to them. 

What do you love about ms. estrada, the upcoming hip-hop musical?  

I love that ms. estrada is a hip-hop musical that serves as a direct response to issues that we are grappling with as a society. I think it is relevant and it is relatable to all ages and backgrounds. Everyone will find a piece of him or herself in this production.

What kind of theater speaks to you?  

I really have an affinity for Musical Theater. Musicals such as Color Purple helped me to find myself and people who look like me on a Broadway stage. I’m a singer at heart and hearing the notes and tones these powerhouse vocalists hit, excites me. Storytelling through song requires a lot of emotional stamina to do well and I’m up for the challenge.

What ignites you about the medium of theater? 

I have always said— "You cannot fool the audience at the theater." This is my way of reminding myself that there are no trick cut-aways or fancy angles or edits that can happen in film or television. You’re live and in order to get the story across, actors have to show up fully and give 110%, if not more! You must be fully connected to your objectives, your backstory, and the world you’re serving for 90-minutes with no intermission— every night!

If you could change one thing about the theater process, what would it be?

I would change the casting process. I would love theater to be more inclusive of all ethnicities, and to shake up their "character breakdowns". How exciting would it be to see an Asian lead in Waitress? Or take the page from Frozen on Broadway and cast a Black person in a lead role.

And how did you end up at The Flea? 

I was in a scene study class at Primary Stages with The Flea’s Audience Development Associate, Aleesha Nash. After I went up to do my monologue for the class, she started telling me all about The Flea and The Bats. I never anticipated that I would actually be a member of the company so soon, however, I’m thankful to be working with a group of dedicated and energetic actors that are supportive and hardworking.

What has acting and working as a theatermaker taught you about yourself? 

Patience, tenacity, and self-reliance. I’ve been blessed to get as far as I have within the almost 4-years of pursuing my dream of becoming an actor, but patience is still required because not everything I want will happen overnight. I have to accept that. I have to accept that on a daily basis... “sometimes hourly,” he laughs.

Tenacity, because this career can be very harsh at some points and you have really know that this is what you want to do and that you will succeed.

Self-reliance comes out of a place where I’ve had experiences where people will say "I can help you!" or "We should definitely work together!” and although these encounters feel good at the moment, they may not come to fruition and the ownness is still on me to make my own way to get what I want. By creating content, networking, and being willing to hustle is what I can always count on.

What’s your dream project?

I have a lot of dream projects, dream roles and a long list of playwrights and directors I want to work with, but the entire list equates to one thing—I just really want to create PHENOMENAL work.

Beyond any list, I want to push myself and my talents to the very depths of their limits. My dream is to be to be cast in projects that will allow me to expand my capacity and develop skills that I didn’t even know I had. I love the growth process that I experience as an artist. I love having the opportunity to bring to life characters and share amazing stories. The fact that I get to do both in ms. estrada—tell stories and grow as an artist—I am completely here for it!  

To learn more about David A. Wallace, visit his website at www.davidawallace.com or follow him on Instagram @superherodaviie 

[thefleatheater]

I love that theater is both immediate and ethereal by nature. There's no editing or preserving each night's performance—the audience and the actors are experiencing the play together and then letting go together. A small community is created and destroyed each night.

Ben Schrager

Ben Schrager and Sarah Chafie in FILL FILL FILL FILL FILL FILL FILL at The Flea Theater.

[thefleatheater]

Meet Ure Egbuho, who plays FEAST in LOCKED UP BITCHES

Ure Egbuho, a member of The Flea’s Bat Acting Company, plays FEAST in The Flea’s production of LOCKED UP BITCHES written by Catya Mcmullen with original music by Scott Allen Klopfenstein. The production, directed and choreographed by our Resident Director Michael Raine, is a sweet, psychotic, queer, and outrageously funny hip-hop parody mash-up of a certain Netflix prison drama and Bernstein-Sondheim musical.

Rehearsals are my favorite part of the process. I love watching people work on things and then execute them in performance. I love working collaboratively to build a bigger picture for others to enjoy and talk about for as long as they need to.

Working with Michael is great. I am learning so much from him about how to be a leader and a visionary. Working with Scott has been EVERYTHING.  I think he is a genius. I love the music in the script. I love the crazy amazingly talented cast they have to bring this to life. Everyone is so open and committed it is inspiring to be around.

I hope audiences leave Locked Up Bitches having had a lot of fun and feeling uninhibited about saying words that they might not normally use.

I love that at The Flea, pretty much anything you can artistically dream of is within reach if you are bold enough to speak up. It is a safe place to entertain your far-out ideas and then make them a reality. Trust that here, if you bring your will, someone will help you find the way.

The Bats are special because of the sheer collective will that everyone shares to ensure that their fellow artists have a place to create. There is a true sense of family and it is evident in the work that they produce.

My first experience in theater was in the third grade when I was 8 years old in a production of Annie. Hooked. When I was in middle school I went to see Twelfth Night and I still remember I COULD NOT stop laughing when Malvolio came out in those yellow tights with red ribbons.

Working in this business I’ve learned that it is all about the work and working together. That it is possible to make a career in art without compromising all of my morals and giving up on any sense of a private life.

My advice for new actors just starting out would be: Do not give up and do not spend too much time questioning yourself. If you are not right for one part you will be for another so do not worry about what you are not. Support your fellow actors and always remember what made you want to do this business. It is right even if it doesn't seem like it is at the moment. Your time will come but you have got to work for it and continue to grow while you wait.

[thefleatheater]

Meet Juan Ortiz, Who Plays Purritza in LOCKED UP BITCHES

Juan Ortiz, a member of The Flea’s Bat Acting Company, plays PURRITZA in The Flea’s production of LOCKED UP BITCHES written by Catya Mcmullen with original music by Scott Allen Klopfenstein. The production, directed and choreographed by our Resident Director Michael Raine, is a sweet, psychotic, queer, and outrageously funny hip-hop parody mash-up of a certain Netflix prison drama and Bernstein-Sondheim musical.

I love that Locked Up Bitches is unapologetic and doesn’t try to be anything it’s not. It gets weird, hilarious, serious and ridiculous—which makes it an all-around good time for the actors as well as the audience.

All of the Bats give it their all. There are no egos involved in anything. We’re all here to put on a good show—and it shows in rehearsals.

I’ve been working in the theater, as two wise men once sang: “ALLLLLLL MYYYYYY LIIIIIFFEEE” —K-Ci & JoJo

Acting has taught me that I love attention a little too much—and when given the opportunity to entertain, I will always take it. I love performing for a live audience, feeling their reactions and feeding off of those reactions.

Rehearsals are my favorite part of the process (even though they can get tiresome) because they’re when the cast really bonds.

My advice for new actors just starting out would be: Just do it. No excuses. As Whoopi once said, “if you wake up in the morning and all you can think about is singin’, then you was meant to be a singer, girl!”

My dream project hasn’t been created yet—because I haven’t dreamt it yet. But it’d be something fusing music and comedy with me at the center of it all. Dream role? I want to play Daniela in In The Heights—Or something similar.

I will be appearing in the current season of High Maintenance, my first TV gig. I am also the co-host of the “Ladies Who Bronche” podcast, bringing the NYC Latinx voice into spaces where their perspective is often overshadowed. And FINALLY, you can always find me on SkittLeZMusicTV—my viral YouTube channel!!

[thefleatheater]

Meet Bre Northrup, Who Plays Pawsatucky in LOCKED UP BITCHES

Bre Northrup, a member of The Flea’s Bat Acting Company, plays PAWSATUCKY in The Flea’s production of LOCKED UP BITCHES written by Catya McMullen with original music by Scott Allen Klopfenstein. The production, directed and choreographed by our Resident Director Michael Raine, is a sweet, psychotic, queer, and outrageously funny hip-hop parody mash-up of a certain Netflix prison drama and Bernstein-Sondheim musical.

I often feel like an alien. Seriously. Like if you told someone I had a green ass and antennae I tuck beneath my hair I’m sure most folks would be like “oh yeah that makes sense.”

The theatre that excites me most is the bizarre, the dark, the campy, the aggressive, the aesthetically charged, the grotesque, and also like, sometimes the sad because I love a good cry.

Theatre and performance give me the permission to connect to people in profound ways—by tapping into the very core of the nervous system and moving someone. That’s fucking neat.

I also love auditioning to be honest, stressful as it may be. You are given 5 minutes to show someone yourself and that feels like a powerful exercise in knowing oneself too.

I’ve learned that people literally just want to see YOU—whatever you is. I had to wipe off the notion that acting is becoming something “other,” and instead accept that acting is a nuanced you. You at your most you. I ardently believe that the best actors must know what they look like naked, what they look like at their most broken, vulnerable, empowered, etc. You not only have to know yourself, you gotta own yourself.

I used to coerce my parents into being audience members for my vivid and thoughtful lip syncs to Barry Manilow’s Copacabana at a distinctly young age. That’s showbiz, baby.

My earliest theater memory is having a massive crush on the dude who played Jud Fry in my community theater’s production of Oklahoma. I still have his photo. Wanna see?

I worked on Chiara Atik’s “Women,” which was written for Serials, back at ye ole Sarah Lawrence College. She spoke about Serials, we were introduced to some Bats and it became clear that this company is an unmatched stepping stone for actors. So step stones I did.

The Bats are some of the most fearless and driven actors in this vile city. Because of my fellow Bats, I have developed an inspiring work ethic and a willingness to take risks. Also, everyone is very hot.

My favorite part of LOCKED UP BITCHES is the line “I eat pussy brains for fucking breakfast.”

The theatre collective I co-run, Rat Queen Theatre Company, is in the thick of developing a new musical entitled JUDY DOOMED US ALL, slated to go up the final weekend in March. It’s about Nancy Reagan, Tornados and Class Warfare. I’m writing it and am also in it.

My advice for new actors just starting out is: Write your own shit. Create your own magic. Also, befriend someone with printer access.

[thefleatheater]

Meet Alexandra Slater, Who Plays Purria in LOCKED UP BITCHES

Alexandra Slater, a member of The Flea’s Bat Acting Company, plays PURRIA in The Flea’s production of LOCKED UP BITCHES written by Catya Mcmullen with original music by Scott Allen Klopfenstein. The production, directed and choreographed by our Resident Director Michael Raine, is a sweet, psychotic, queer, and outrageously funny hip-hop parody mash-up of a certain Netflix prison drama and Bernstein-Sondheim musical.

The Flea feels like home. I love the diversity here and the energy. In this crazy city, you need a SAFE place to nurture your art and The Flea does exactly that. The staff cares about what's going and I truly believe The Flea is doing a great thing by putting a variety of voices on stage. It's a great time to be a Bat.

Michael and Catya are an actor’s wet-dream. The two of them combined are a powerhouse. They really love to go places that other artists might be afraid to and that's exciting for us as actors. Catya and Michael both are such great people to work with, they genuinely care about their actors. Hopefully, by watching LOCKED UP BITCHES, you'll be able to see that. The way they put all of us together with the help of Kerry and Scott is truly amazing. I know this is not the last time I'll be working with the both of them!

I love LOCKED UP BITCHES because of the many voices and stories at Bitchfield. I love how each character has a story to tell in the show. If you're on stage, you’re doing something. The script is active and playful.

There's a lot of love going on behind the scenes. I've truly fallen in love with every person on that stage. It helps our onstage fight since we get on and off the stage as friends.

I really would love people to walk away from LOCKED UP BITCHES thankful for their own communities and realizing how important it is to have one. We can't do this life alone and we can't do this life not knowing who we are. Take risks. Find your tribe. Love who you are.

My first theatre memory is auditioning for a solo at church. I was four. The song was "Away In A Manger." I still think about how I slayed that audition. It doesn’t matter that everyone who showed up for the audition got a part— I slayed! 

I took a year-long break in my first year of college. I was studying Biology. It was interesting, but eventually, I discovered it wasn’t for me. I also missed the theater. I auditioned for Brooklyn College, was accepted, and was able to continue pursuing my passion of being a theater artist. One of the best decisions I ever made.

What I love about theater is how intimate and fleeting it can be. There's no pillow to cover your face or fast forward button to press. You can't hide. It's in your face. And for all the moments on the stage that you fall in love with, you have to do the work to cherish them. You cannot rewind or hit pause and so the work of being in the moment is one that I love.

I also love rehearsals and getting to know the people that I’ll be working with for weeks. The relationships that are formed in the whole rehearsal process. I've met some of the coolest people through this show. So many backgrounds, but yet we all have this passion to create.

The theater has taught me P-A-T-I-E-N-C-E! The right thing will come along, but it's not always on our time. And when it's not our time—it’s time to practice, study, and put in the hard work so that I'm prepared.

[thefleatheater]

Meet Jonathon Ryan Who Plays Doug in Fill Fill Fill Fill Fill Fill Fill

Jonathon Ryan (center in gorgeous glitter jacket), a member of The Flea’s Bat Acting Company, plays DOUG in The Flea’s production of Fill Fill Fill Fill Fill Fill Fill written by Steph Del Rosso. The production, directed by our Resident Director, Marina McClure, explores how we put ourselves out there after dealing with a very public heartbreak.

I love theater that fully embraces some sort of crazy fun wacky style without sacrificing the storytelling. Where the creation and development of the piece are fundamental to the final product. Theater that rides the rails between grounded and completely unstable. Sounds easy enough, right?

What I love about theater is the urgency required. As an actor and audience member, I've always found that I get from what I give to the theater. As an actor, the more I can invest and investigate, the more vulnerability I can bring to the material. As an audience member, I try my best to welcome the experience of what I'm witnessing. I try not to be afraid or overly critical of a story's urgency.

When I first read Fill Fill Fill Fill Fill Fill Fill, I felt a lot of things. Not like the millennial phrase “feeling all the things” but in the sense that Steph’s writing has a very palpable tone from scene to scene. Her characters experience circumstances that are visceral. The play makes me FEEL FEEL FEEL FEEL FEEL FEEL FEEL.

Marina McClure's mind works in mysterious ways. Beautifully mysterious ways. In rehearsals for FillX7, there were a lot of improvisation exercises and I loved that. For myself, it helps me break habits or assumptions of what this new play is too early on in the process. Marina cares about the material so much sometimes that she can't articulate a direction with words but rather a funky dance move. As a dancer/mover, I get a kick out of that.

[thefleatheater]

Meet Monique St. Cyr Who Plays Kate in FillFillFillFillFillFillFill

I've been doing theatre now for six years in New York, ten years if I count college productions, fifteen years if I count from my first show at the local university when I was growing up. I have thoroughly enjoyed every aspect of theater, however, if I could change one thing, it would be ticket prices. The theater is becoming inaccessible to a growing number of people, especially young people because of the ticket prices.

I love table work and the conversations about the play. During the table work, we’re still learning about the characters and the playwright's intentions. I love falling in love with a play through someone else’s gaze.

I love being at The Flea because of the new works that are presented. I appreciate meeting talented writers and directors. I love hanging out with the other Bats in the company and I truly feel a strong sense of community. I love the enthusiasm and work ethic that so many of us share!

My earliest memory of acting on a stage is of playing an angel in the church Christmas play when I was about four years old. The first Broadway show I saw was Aida when I was twelve.

There's something about growth and success that people want it to be linear, but sometimes it's not terribly formulaic. And I think FillX7 investigates that notion of success and self-acceptance for a young woman in a world where little girls still grow up dreaming they'll marry a prince.

Monique St. Cyr, a member of The Flea’s Bat Acting Company, plays KATE in The Flea’s production of Fill Fill Fill Fill Fill Fill Fill written by Steph Del Rosso. The production, directed by our Resident Director, Marina McClure, explores how we put ourselves out there after dealing with a very public heartbreak.

[thefleatheater]

Meet Joseph Huffman Who Plays RAY in Fill Fill Fill Fill Fill Fill Fill

Joseph Huffman (right), a member of The Flea’s Bat Acting Company, plays RAY in our upcoming production of Fill Fill Fill Fill Fill Fill Fill written by Steph Del Rosso. The production, directed by our Resident Director, Marina McClure, explores how we heal a broken heart.

I am currently working on Fillx7. I pretty much love everything about it. It’s a monster of a play. I go into rehearsal every day wondering how we are going to pull it off, and that is exciting.

My first reaction when I read the script was “how the hell are they going to stage this?” The dialog was so fast paced and the transitions were so intense that it didn’t seem possible without a huge budget.

I like theater that doesn’t play it safe. Maybe it’s the subject matter, the acting, the setting, but I like when risks are taken. Honest storytelling is key.

Acting has taught me how to listen to other people. Actors are typically labeled as “selfish” but acting itself has the capacity to be very humbling and selfless. Good acting involves listening to the other person on stage. When I’m up there on stage, I usually couldn’t tell you what I’m doing, but I sure as hell can tell you what the other actor is doing. It’s all about the other person.

I love the rehearsal process. It’s about figuring out what the play “is” with the people you have in the room. You get to experiment and see what works and what doesn’t. It’s a difficult, but joyful experience. You get up there and try things out and they don’t always work. There is something extremely gratifying about that “aha!” moment when a scene finally clicks.

I love the sense of community The Flea provides. I spent a long time out there on my own without a sense of place. The Flea has become my “home base.” Whether it’s readings, mainstage shows, or Serials, I get constant opportunities to do what I love and with people I respect. Every artist struggles, but at The Flea we struggle together and give each other support.

My advice to new actors just starting out is to find a group that you connect with and stick together. It can be a cold business and unless you can find some kind of artistic community to connect with, you don’t stand a chance. Also, don’t try to give people what you think they want. Stay true to your own artistic integrity.

[thefleatheater]

Meet Roland Lane - NOAH of the Fill Fill Fill Fill Fill Fill Fill Cast

Roland Lane, a member of The Flea’s Bat Acting Company, plays NOAH, the wanderlust heartthrob in our upcoming production of Fill Fill Fill Fill Fill Fill Fill written by Steph Del Rosso. The production, directed by our Resident Director, Marina McClure, explores how we heal a broken heart.

Roland originally from Philadelphia, currently resides in Brooklyn, New York. Unlike his character—NOAH in FillX7—doesn’t play games when it comes to courting a woman. “I don’t use pick-up lines. It’s easier to start with ‘hi’ and start a conversation from there.”

I’ve been a professional actor for eight years and I’ve loved every moment. As soon as “action” or “curtain” is called, I feel alive. This alive feeling elevates as when I first step into my character's costume. I have a very special connection to every performance because of the audience. Each audience brings a very special energy to the room and I connect with that on a very individual level.

When I was a sophomore, I was in our high school’s production of Anything Goes and that was my first experience being in a stage play. The show was great. Looking back, I cannot believe how much that one production changed my life and set me on my current path.

I first learned about The Flea and the Bats a few years ago from my friend, Abraham Makany, who was associated with the theater at the time. Seeing the projects he was working on I wanted to be a part of the company too. The energy that’s in the new space is energizing and refreshing. It’s been great being a part of this artistic community and especially working with Niegel. It’s been nothing short of great! I appreciate every direction and suggestion he makes. It only helps to heighten the quality of my storytelling and craft.

Outside of FillX7, I can be seen in “Brooklyn. Blue. Sky.” on BET’s digital platform and on the Bet Now app. In this web series, I play Duncan. Duncan is very similar to Noah in that they go where their hearts’ lead them. They both love to love, but also love themselves and are truly unaware of how their actions affect those around them. That is where I differ from my characters— I love to love, however, I am constantly aware of the energies around me and do my best to check in with those I love.

My advice to those who want to pursue any dream is—build your squad! You cannot do this on your own. People I would love in my squad that I currently do not know are Andre Braugher, Jeffrey Wright, and John Malkovich.

The skill that has attributed the most to my success is definitely patience.

You can follow Roland on Instagram @ROROSL4 and visit his website at http://www.rolandlaneacting.com/.

[thefleatheater]

Hard at work in tech for Fill Fill Fill Fill Fill Fill Fill! 

Breakups. Threesomes. Cheese Plates. Experience it all in Fill Fill Fill Fill Fill Fill Fill. Previews start in less than two weeks. Find out how we learn to live fully in our own skin. bit.ly/FillFlea

[thefleatheater]

Check out this teaser for our next show, Fill Fill Fill Fill Fill Fill Fill!

A bad breakup might leave someone with the feeling of “a hole in their heart.” The loved one breaking up the relationship leaves empty the precious spot they occupied in their partner’s chest. But if two people have spent years together, might they begin to grow into more of each others’ bodies than just the heart? When one partner breaks out of the relationship, ripping themself out of their partner’s body, that might leave holes in more than just the heart. And what is the other partner to do with all those holes? Fill Fill Fill Fill Fill Fill Fill by Steph Del Rosso explores this question, as, after her boyfriend Noah breaks up with her, Joni feels holes all over her body; for example in her brain, her backbone, the soles of her feet, and especially her knee.

Joni tries various tactics to fill in these holes as the play progresses, but can she use other people to fix the damage Noah caused her? Fill Fill Fill Fill Fill Fill Fill masterfully explores our attempts to fix ourselves after a bad breakup leaves us feeling empty all over. Moments and scenes bleed into each other without sharp transitions, recreating the feeling of wandering through a suddenly unfamiliar world after losing a huge part of one’s life. Other characters accurately represent how friends, couples, and potential new lovers are experienced by someone in Joni’s position while she frantically tries to make things better. But is filling in all the holes the way to fix the problem, or does Joni need to try something else entirely?