Month: February 2021

By: Mandy Greenfield

The first time I read Adam Rapp’s The Sound Inside, I felt like I’d been given access to the inner thoughts and feelings of someone I’d never met but, somehow, knew and wanted to know for the rest of my life; the characters came off the page with such arresting specificity, nuance, complexity and humanity.

Reading Adam’s dramatic incantation was deeply intimate—the day of that first read, alone, at home, only I got to delight in the humor, pain, brilliance and pathos of Bella Lee Baird’s relationship with her student, with her own writing, with her student’s writing, with reading, with her body, with the bracing snow that falls each winter on the New Haven Green. I loved this play instantly, and, like Bella herself says about reading a novel, “Loving a book is kind of like having an affair, after all.”

I marveled as Mary-Louise Parker and Will Hochman, under the exquisite direction of David Cromer and in the hands of a gifted team of designers, including the brilliant Heather Gilbert and astonishing Daniel Kluger, translated the intimacy and intensity of Adam’s words on the page into three dimensional, theatrical life on our Nikos Stage in the summer of 2018. It was with a mix of elation and jealousy that I listened to one hundred and seventy people exit the theatre after the curtain call of our world premiere production: I was elated that the audience responded so demonstrably, leaping to their feet for the curtain call. I was jealous that I had to let those one hundred and seventy people share in my affair with the play..

In the fall of 2019, nearly one thousand people listened and watched nightly as Mary-Louise and Will spun this most personal, detailed and surprising tale on a platform we, frankly, feared would be too large for so quiet a story:  the stage of Studio 54, part of the Roundabout Theatre Company’s campus of midtown theatres.  Joined by the devoted audiences of Lincoln Center Theatre, the organization which originally commissioned Adam to write the play, and led by the fearless and kind commercial producer Jeffrey Richards, audiences left mesmerized by Mary-Louise’s virtuosic, endlessly gripping and inventive performance; the actors, the design, the production, the words filled that glorious Broadway theatre seemingly effortlessly; David Cromer is, after all, as skilled a magician as directors come. I was, once again, thrilled and inexplicably crushed to share this play — one of the most intimate and beautiful works of theatre I’ve encountered. 

For, the play belonged to the vast audience of Broadway now.  Since then, Audible, with whom Williamstown Theatre Festival collaborated on the entirety of our 2020 season, has released The Sound Inside on its platform.  What began as a secret love affair in my apartment, as I read Adam’s haunting, dramatic words, was now as out in the open – and in the ears of audiences world-wide — as a thing can be.

Writing this, I am put in touch with how far away all of these feelings are; I can recall them but, honestly, I no longer feel them:  the global health pandemic, the year-long shut down of theatres in this country, a renewed movement for social and racial justice, a political insurrection in Washington, focus on vaccine dissemination and endless planning for the reopening of theatres all collude to make The Sound Inside – its critical acclaim, its Broadway life, its Tony accolades — seem irrelevant, meaningless. 

And then, I think again – and I listen to the sound inside – and I am reminded by this long-lost lover that a truly great play reminds us that we are alive,  that we’re complexly human, that to live an unexamined life is not to live at all.  The Sound Inside is testament to the ancient power of theatre to provoke, move and transform us.  Just Listen, you’ll remember, too.

Mandy Greenfield is the Artistic Director of Williamstown Theatre Festival.  Prior to joining WTF, Ms. Greenfield served as Artistic Producer of Manhattan Theatre Club where she produced more than seventy-five world and American premiere plays and musicals both on and off Broadway.

By: Harry Haun

“What I think is so mysterious about this play is that it has the feeling of memory,” proffers Kluger. “The feeling it always gave me was that I don’t know when the text that I’m reading has been written and by whom. It creates a kind of inversion of the vanishing point of memory.” 

Given the abrupt brevity of the 2019-2020 Broadway season and the fact that not one new musical note made it to that marketplace before the pandemic rang the curtain resolutely down on all things theatrical, it’s rather surprising to find a Tony nominee contending for three awards.

No one is more surprised (and a bit embarrassed) by that fact than the guilty party himself: 36-year-old Daniel Kluger. In case it matters, he brought off this near-impossible feat as a hyphenate “These days, most human beings are,” asides the guy who designed the sound and wrote the original music for Adam Rapp’s riveting drama, “The Sound Inside.” He was nominated for both. 

With no Broadway musicals around this semi-season that are brand-new and nominatable, their usually neglected stepchild–incidental scores for plays–stepped up to the plate for consideration. 

Though pleased with the recognition his music has garnered, Kluger counts it a mixed-blessing. “Obviously, it’s sad that we didn’t get to experience all the musicals in the storefront last year,” he readily allows. “Most of the work that I do is on scores for straight plays. It’s actually a very different craft and art form, so I’m glad that some of that will be able to be discussed this year.”

His third Tony bid is for designing the sound for “Sea Wall/A Life,” a double bill of two one-man plays.  Reflecting his skill at this, all three stars–Tom Sturridge and Jake Gyllenhaal in “Sea Wall/A Life” and Mary-Louise Parker in “The Sound Inside”–came across loud, clear and nominated.

Kluger had his work cut out for him the minute “The Sound Inside” hit town from the Williamstown Theatre Festival, where it lifted off June 27, 2018. It settled in New York Oct. 16, 2019, in that vast barn of a theatre, Studio 54, where two characters command the audience’s attention for 90 minutes. As the show’s composer-sound designer, Kluger’s job was to create and maintain an intensely intimate ambience amid a nonstop torrent of words and literary illusions.

“We worked to amplify the voices in a natural aesthetic so it was really important that we stayed connected to the actor at all times. You need to believe that the resonance of the voice and the clarity of the words are coming directly from the human body. I believe we were able to distribute the amplification evenly around the room and calibrate it so you feel like it’s natural but you’re able to hear all the words. It’s a technique refined by Scott Lehrer. He essentially developed this method of natural amplification a whole generation of sound designers has benefitted from.”

Words are a kind of life force for Parker’s character, Bella Baird–an isolated, tenured, 53-year-old prof who teaches creative writing at Yale, trying to open young minds while coping with a cancer diagnosis. Except for when she addresses the audience, she records her activities in a notebook, as if she’s updating the story of her life. Into that life enters a troubled freshman (Will Hockman) with his own piece of fiction for her to critique and mentor. Their lives tangle tragically. Or not: Author Rapp leaves on the table the possibility we’re at the mercy of Bella’s fevered imagination.

“What I think is so mysterious about this play is that it has the feeling of memory,” proffers Kluger. “The feeling it always gave me was that I don’t know when the text that I’m reading has been written and by whom. It creates a kind of inversion of the vanishing point of memory.” 

Regardless of whether he’s providing the sound or the music for a piece of theatre, Kluger admits that his most important relationship on any show is always with the director. With “The Sound Inside,” his guide is a favorite collaborator, David Cromer. “He really is best. You can follow him wherever he will lead you. He is, fundamentally, an inspiring director who doesn’t tell you what to make. He leads you toward the deepest human level of feeling in the story that you are telling,”

They first teamed in 2012 on “Tribes,” Nina Raine’s play, which had a deaf character and another who was going deaf. There were beaucoup options for sound design. “It doesn’t always happen, but you’re lucky when you form a collaboration of trust the first time out. That was a formative experience for me because it taught me how to take certain risks in exploring as a designer.”

Discovering the sound inside for this project was not easy for Kluger. “The piece that we wound up using—let’s just say that it wasn’t the first thing that I wrote. The best collaborations with directors—and David is an excellent example of this—is when everything comes out of a need in the story, when the aesthetic impulses are coming from the writer or the character– depending on the values of the production. A good director will make those needs clear.

“Sometimes, the most successful things we make feel like surprises, like accidents. David always leaves space for experimentation. I think we tried 12 different placements of where the music should go. It’s not always premeditated if you’re trying to capture the feeling of the unconscious. In music, you must allow accidents to happen so you can find how the music relates to the text.”

Daniel Kluger received three Tony nominations this year in two different categories: two for Best Sound Design for The Sound Inside and Sea Wall/A Life, and one for Best Original Score (music) Written for the Theatre for The Sound Inside.  Other Broadway credits include Marvin’s Room, Significant Other and the 2019 revival of Oklahoma! for which he earned a Tony nomination, 2020 Grammy nomination, Drama Desk Award, and Outer Critics Circle Award.

Harry Haun has covered theater and film in New York for over 40 years. His writing has appeared in outlets such as Playbill Magazine (“On the Aisle” and “Theatregoer’s Notebook”), New York Daily News (where he wrote a weekly Q&A column (“Ask Mr. Entertainment”), New York Observer, New York Sun, Broadway World and Film Journal International.

By: Harry Haun

“Every single thing I didn’t think I was going to do again is in this play, but it was so beautifully written I said, ‘Well, I’ll do a reading of it,’” she sheepishly admits.

Coming off of three straight productions of “Heisenberg” can give a girl pause. It gave Mary-Louise Parker a firm, inflexible set of theatrical dos-and-don’ts that would steer her to her next stage outing. In Simon Stephens’ oddly romantic drama, she had just spent most of the play’s 80 minutes pursuing a man twice her age; indeed, she was—verbally– all over him like an ant farm.

Mary-Louise Parker in Heisenberg

Never again, she vowed. “I told myself I’m not going to do another two-hander, and I certainly was not going to play a character who talks that much. The one in ‘Heisenberg’ just talks and talks and talks. I thought that I wanted to try something a bit more elliptical with my next play.” 

To these two hard-and-fast rules, she added a third, which she had picked up 24 years ago doing Paula Vogel’s Pulitzer Prize-winning “How I Learned to Drive”: “I also said, ‘I’m not going to do direct address again.’ When I did Paula’s play, I just felt that it wasn’t something I excelled at.”

Then she read “The Sound Inside” and was besieged by a wave of second thoughts. Adam Rapp’s gripping stunner of a play checks all the boxes on Parker’s never-again list, but here she is nonetheless, Tony-contending with one of the season’s most haunting and anguished portrayals.

“Every single thing I didn’t think I was going to do again is in this play, but it was so beautifully written I said, ‘Well, I’ll do a reading of it,’” she sheepishly admits. “Of course, in my head, I was immediately casting other actresses, thinking ‘Oh, this person would be good at this,’ or ‘Cynthia would be great at that,’ remembering friends who would be so good at it and do such a good job.” 

Mandy Greenfield, Artistic Director of Williamstown Theatre Festival where the play premiered in June of 2018, blew the whistle on Parker’s mental re-casting. “She was, like, ‘No, I want to hear you read it.’ Sometimes, other people have more faith in you than you do. It was similar, actually, when I first read ‘How I Learned to Drive.’ I didn’t know if I was right for it so I asked to read some of it aloud. I knew as soon as I started speaking I wanted to do it. It just started to wash over me.”

Critics were extremely careful to keep the play’s secrets. Parker is Bella Baird, a creative-writing professor molding young Yalie minds. One pupil of promise, a freshman named Christopher Dunn, she takes under her wing to mentor and into her confidence to resolve her growing cancer fears. 

Will Hochman, who shared the sprawling Studio 54 stage with Parker for some of the play’s 90 minutes, makes an impressive Broadway debut in the part, and his leading lady gives him a ringing endorsement: “He was just wonderful to work with, and we’re friends to this day. He walked into the audition, and there was something about him. He had this really impressive humility, first of all, and was super-intelligent. He went out and got the closest typewriter he could to the typewriter in the play. He’d send me typewritten notes, and we shared poems back and forth.”

But Parker shoulders the bulk of the play’s verbiage. “I really love that Bella is an intellectual and an academic, that she loves words and has a passion for them. I have that. I didn’t know how strongly that would connect me to her when I first read the play aloud. I love how stubborn she is. I think that comes out of what is crushed in her when you meet her in the play—or maybe before that, because when she finds Christopher she is so struck down. She is not letting anyone in. She is not taking any risks. She has sort of sequestered herself and just made her life incredibly safe.

“When we did it at Williamstown, we sat around the table a lot and cut the play. Adam writes so freely. He’s kinda inspiring to watch—one of the most generous collaborators, if not THE most generous, that I’ve ever worked with. He’s not precious with his words, and he just listens to everyone’s ideas. And he’ll say, ‘Well, what about this?’  He’s so fluent. Terrence McNally was like that. It could just flow right out of him around the table. That was kinda thrilling to be around.”

Parker heaps plenty of praise on her director. Simply put, “I cannot envision creating this without David Cromer. He allowed for so much silence on the stage, and he gave me so much freedom in the rehearsal room. I think that if he doesn’t have affection for the characters in a play, I don’t think he would end up directing it. You can feel his affection for the characters as he’s directing.”

Prior to all the quarantine cancellations, Parker had planned a double-blast of theatre for 2019-2020, following her Tony-nominated “The Sound Inside” with a revival of her Obie-winning “How I Learned to Drive,” Vogel’s drama about an incestuous relationship. “We were just about to open,” the actress laments.  “When everything shut down, we were ready to go into the theatre.”

All is not lost, however. Lynne Meadow, for whom Parker gave a Tony-winning performance in “Proof,” has arranged to slip this pandemic-play casualty into Manhattan Theatre Club’s last slot at the Samuel J. Friedman Theater next season. It will mark the play’s belated Broadway bow.

In the meantime: “I’m hoping to do ‘The Sound Inside’ again, somewhere. Honestly. I’d do it anywhere. I love it. It’s so challenging, so arduous. In some ways, it’s the most daunting play I’ve ever done—to the point of where I think, ‘If I could just get through it, I’ll be happy.’ I just didn’t have any expectation I’d be any good. I just wanted to deliver the play because it was enormous.”

Harry Haun has covered theater and film in New York for over 40 years. His writing has appeared in outlets such as Playbill Magazine (“On the Aisle” and “Theatregoer’s Notebook”), New York Daily News (where he wrote a weekly Q&A column (“Ask Mr. Entertainment”), New York Observer, New York Sun, Broadway World and Film Journal International.

By: Marko Nobles

“The producers called the box office and let them know they would not receive any other shows from their company if I were not let in. From that point on I was let in and word got around on who I was.”

Normally when we celebrate our history or historical figures, they are people of the past who have done amazing things to help build our society to where we are today. There are also those that we watch make history as they live their lives. One of those history makers is Broadway’s longest running African American Press Agent and Producer Irene Gandy.

A conversation with Irene is an education on the theater, media, racism, changing times, the music industry and a lesson on communication and building relationships which has been the central theme of her 50+ years as a press agent. “Originally I went to NYU and I wanted to be a writer.” Says Irene of her beginnings. “My professor said I couldn’t write and I should change my major. So I was only there for six weeks and I was in Greenwich Village and I decided to be a hippie. This was in the 60’s and I was sleeping in the parks along with people like singer Richie Havens, Peter Tork of the rock band The Monkees, All of those people ended up being something including Bill Cosby who was performing regularly at the Id. 

Irene spent one day as an Actor, but her one small acting part led to a chance reconnection with a high school classmate. This chance encounter would set her on her path to becoming a Broadway Press Agent. “I ran into Fred Garrett, who I hadn’t seen in years, he was working for the Negro Ensemble Company as a company manager. He said that they had all the actors they need but they were looking for a press agent but the only candidates coming for interviews were white and we’re the Negro Ensemble Company and we want to train Black people for these jobs so would you interview for the press agent position doing an apprenticeship with Howard Atlee? I knew nothing about what a press agent does so I just went and talked to him and I ended up interviewing him about what a press agent does. I left and thought I would never get the job. Howard Atlee called me a couple days later and asked me if I could start working.”

Irene’s first major task as a press agent was to deliver a press release for a Negro Ensemble Company benefit to the New York Times for coverage. “I went to the 3^rd floor to get the release to Sy Peck and the person at the front said I’ll take it to him but I said I have to give it to Sy Peck, so I’ll wait for him. I had to wait because Howard said to give it to Sy Peck directly and I had just started. I did not want to lose my job. So eventually Sy Peck comes out wondering who’s holding up his schedule (it was deadline day). So I gave it right back to him telling him ‘Howard Atlee said I have to get this to you and as a matter of fact who are you and what do you do that’s so important that I have to wait an hour and a half?!’ He then explained what he did and took me on the floor, introduced me to everyone explaining their roles. That was the start of my good relationships with the press. That was my first real introduction to being a press agent. “   

That led to working on many shows including River Niger, Ceremonies of Dark Old Men, Hay Fever, Johnny Johnson and then she went on the road with the legendary musical Purlie! At that time there were no Black persons working on shows in that capacity. In some cities Irene wasn’t even allowed to go into the box office.  Irene called back to New York and instead of making the issue about race expressed concern for the bottom line. “The producers called the box office and let them know they would not receive any other shows from their company if I were not let in. From that point on I was let in and word got around on who I was.”

By now Irene was in the union as one of the few Black Press Agents and is the longest Black Female continuously working on Broadway over the last 50 years. Why is that? Because one needs to work continuously on Broadway for three years to be accepted in the union. “With me starting out with Negro Ensemble Company and them always having shows it allowed me to work continuously and most people only work show to show and how many shows are on Broadway for three years?” Irene also explains that the job of a press agent is not a glamorous one. “You have to be thick skinned, sometimes you are really a glorified flunky – getting cabs, going to get newspapers, holding umbrellas. But really for me being a press agent is building relationships. Going to lunch, getting a new media staff member at a tv show coffee. The relationships are key to getting stories placed.”

Over her career Irene has actually retired and unretired many times. During one of her retirements from the theater she went over to the music industry and worked with legendary artists including BB King, Patti LaBelle and The Jackson 5. 

After her time in the record industry Irene decided to move to Seattle with her daughter Mira so she could live “a normal life.” But boredom set in, theater came calling and Irene returned to New York to work on Bubbling Brown Sugar. 

“After one of my shows closed, in 1986,  I received a call from the union that Jeffrey Richards needed a press agent which began my years in his office …Ironically I worked for his mother, Helen Richards, a General Manager, on the musical Purlie when it went out on the road many years earlier.”

For 35 years she’s been with Jeffrey Richards (who she lovingly dubs her “work husband”) as the Press Agent on countless hit shows including Gore Vidal’s The Best Man, Glengarry Glen Ross, Hair, Radio Golf, Speed-the-Plow, August: Osage County, Race  and many others. She’s brought her unique relationships with media and the community to help make these shows successful. 

The next evolution for Irene was to become a producer. She first served as a producer on the show The Gershwins’ Porgy and Bess, which won the 2012 Tony Award for Best Revival of a Musical and then in 2014 Irene co-produced Lady Day at Emerson’s Bar and Grill. 

Gandy is hopeful that on Broadway she can see more Press Agents, as well as creatives, producers and managers, of color in the future. As a trailblazing Press Agent she says, “I think the producers should invest in people of color to be a press agent. Because when a show closes the press agent is immediately let go. So, there is not the opportunity to continue to work for the necessary time to be accredited as a press agent. If the producers would commit to invest in an ongoing position, then there would be the chance for that press agent to go to the next show without that gap and not have to start over to get that three years of service.” Irene also warns those looking to work as a press agent “you have to realize that you’re really behind the scenes, not trying to be backstage. This job,  it’s all about relationships and learning to work with others.”

When we talk about history it is too often in the past but there is something utterly amazing about being in the presence of history and Irene Gandy is Living History.

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Marko Nobles spent years learning, growing and becoming an experienced professional in the fields of PR, Marketing, Radio, Event Production and Entertainment. Born & raised in Harlem, Marko has worked with community organizations, non-profits, small businesses and even developed his own company, InJoy Enterprises, a multi-service business that provided consulting services in the areas of PR/Promotion, Marketing, Event Production, and Event Management & Coordination and continues to produce special entertainment events featuring independent artists.