| Q |
Briefly describe your background/training. |
| A |
 I studied Musical Theatre at University of the Arts conservatory in Philadelphia, and later UMCP. However, I learned the most working the Northern VA dinner theatre circuit in my early 20s, running a storefront theatre venue, and later serving as an Ensemble Member with the outstanding Maryland Ensemble Theatre of Frederick, MD. |
| Q |
How old were you when you knew you wanted to be an artist? |
| A |
I realized I was a compulsive ham when I was about 5 or 6 years old writing these epic plays in my grandma's living room. If that is "art," then I was born an artist. |
| Q |
Who is your greatest professional inspiration and why? |
| A |
That would be Mr. B. Stanley, Executive Director of DC Arts Center and Artistic Director of Theatre Du Jour. Aside from being a mentor as artist and producer over the years, the single most inspiring theatrical event I have experienced was watching B sing Weill and riff with a rock puppet for an hour in a fundraising event at DCAC several years ago. It was low-budget magic in a tiny venue, and inspiring to know that even an artist of his experience didn't take himself that seriously. |
| Q |
How do you manage wearing different 'hats' as a self-producing artist? What are your strengths? What are your weaknesses? |
| A |
I am most in my element as actor, singer and playwright. Over the years, I have developed skill as a business manager and promoter. Directing and coordination of production details is less natural for me, but I balanced that by marrying a gifted director and production professional who cared enough to work for my pay scale. |
| Q |
As a self-producing artist, what qualities make for a good show idea in your opinion, and what is typically your first step in realizing your artistic vision? |
| A |
My first thought is always for the audience: is this something that people will want to see? I then ask the hard questions: do we have the talent pool and resources to do the work justice? If the answer is yes to all of the above, then it is always something I am very excited about producing, and the audiences are excited, too. |
| Q |
How much material do you prepare for a show, and what percentage of it typically makes it into the final performance? |
| A |
For a Fringe production, I shoot for about 45-60 minutes of material. Better to leave them wanting more than overstay your welcome, I say. All of our fringe productions (Carrie Potter, Diamond Dead, Frozty) have been subsequently expanded after test run at Fringe. |
| Q |
Speaking as a spectator, what do you look for in performance? |
| A |
I love watching art of any medium or genre that is created with love, passion, honesty and originality. |
| Q |
What makes your work unique? |
| A |
Er... probably its mundanity. In a city of so much thought-provoking theatre, plays simply out to have fun really stand out. Above all else, I just want audiences to have fun. |
| Q |
What does 'success' mean to you? |
| A |
'Success' is being able to do what you love, for an audience you love, with people you love... and being able to pay your bills in the process. |
| Q |
Why are you doing the Capital Fringe Festival? |
| A |
I think Capital Fringe is the best thing that has happened for alternative theatre in Washington. With no definitive publication, awards program or critical voice to bring together audiences who love "fringe art," CapFringe has provided a common venue for Landless and so many artists of various styles whom I admire: Mark Jaster, Chris Davenport, Zehra Fazal and Shawn Northrip just to name a few. It is always an honor to be a part of it! |
