BackStage Utah

The past couple of days I've stepped back and reflected on the big and small moments of my life that have meant something to me and of course theatre is a huge part of that.  I shall share mine later, after I've had time to compose my thoughts better, but I'm curious to know from everyone who reads this: what stage production have you been in any way a part of (except for maybe audience  ) that you are MOST proud of?

As an actor, hands down the HCTWVC 2004 production of "You Can't Take It With You", for the very simple reason that it's the best all around play I was ever in, and one of few performances I feel really good about.

As a director, it's harder to narrow down because they are more personal to me.

Doctor Jekyll's 13 Steps with the Hunt Mystery Theater - I discovered that I'm really good at long-form improv and would like to find more opportunities to do it.  Also, the Halloween show the next year was awesome as well, and the Spontaneous Disco-Off that worked and its failed following attempts were amazing moments for me finding my place in improv.

Also, The Utah Community Theatre Premier of Seussical The Musical is, so far, the finest show I've ever been involved in as far as the amazing visual world we created from scratch.  I am immensely proud of being part of that show and the chance I had to embody the Grinch.

Additionally, You Can't Take It With You under Jan Shelton's direction was an amazing ensemble, and the show has never been performed better, not even with Jason Robards Jr.

And finally, the other show I did with Jan Shelton, Damn Yankees - she took a chance casting me as a woman, and I feel I rose to the challenge, made something of the part, and as one of the only people to cross-dress for a SCERA show, and the only good one, it is really a unique experience I'm proud of.

Mister Grinch wrote on Jan 18^th, 2010 at 6:16pm:


I'm I right that you also played Ed?

Is there a Jason Robards jr? I'm only aware of Sam Robards. Or is the famous Jason Robards a junior and I didn't know this?

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No, I played Donald.� And Jason Robards Jr.'s filmed version was awesome, but not as awesome as mine.

Also, can you directly demonstrate that your version or the Robards version saved any human lives? 'Cuz mine did 

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Did yours have the Night of the Flying Fork, or me putting a lampshade on Gay Wellington's head?

Or me in only socks and a shorty robe playing an accordion with chopsticks, for that matter?  My bare chest is a life preserver indeed.

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Girls, we're both pretty.

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Beat me to it!

Well, I took almost an entire week away from the internet to further try and put myself back on track�wondering the whole time what posts I�d find in this thread I started when I got returned�and I can honestly say I never saw it going the way it did; though it was incredibly amusing to read it all.
Anyhow, back to the action�
Since others have divided it into acting and directing categories, I shall do likewise but also add producing into the mix as well.
Acting is my first love, truly.  I haven�t done anywhere near as much as I would have liked to, but life interferes.  Even still, I�ve done more of acting than any other kind of theatrical work and have enjoyed almost every single experience, but above all, playing Andy Ladd in �Love Letters� stands above the rest.  It was certainly a test for me as an actor and as a person to be someone else through reading letters over the course of a lifetime and to connect to another performer on such an intimate level with no eye contact and almost zero blocking.  I can still vividly see the people from the audience crying during the final moments of the play and wiping their tears away as they came up to compliment me on the show in the lobby afterwards.  It was wonderful to realize they were crying because of the emotions my performance (And A.R. Gurney�s masterful script) had elicited in them, and not because of how much they had paid to see the show.  I have to be proud of that one.
Producing wise, I would have to say it�s a tie between �Sylvia� and �Picasso at the Lapin Agile�.  With the first, I barely did anything after hiring Beth Bruner to direct and booking the performance space.  It was smooth sailing and the cast was top rate.  It felt good to show up to opening night and enjoy the bountiful fruits of so little labor.  With the latter, although behind the scenes (and I mean so far behind the scenes, the cast was likely unaware of it) things became rocky with a rogue co-producer threatening to dismantle the show, Swami was a true leader and brought out the best in the stellar ensemble cast, of which I was honored to have been a part.  It was ATG�s most successful show to date.
And as for directing, I couldn�t be more proud of how well �The Glass Menagerie� turned out.  A lot of obstacles set themselves up against the production; some I have to admit I should have avoided, but my wonderful cast/crew really stepped up to the plate and got the job done.  I owe all of them, especially Ellabella, more than I�m sure I�ll ever be able to repay.  In fact, it was looking at the photos of Menagerie on the ATG website that really made me think up this topic.
Truth is, I�ve been in a dark place lately�brought on by myself�and was wondering if it wasn�t time for me to leave theatre behind for a long time� if not permanently.  It was remembering the body of work I�ve accumulated already and all the amazing people who�ve stood by me and made that work possible�made it greater than anything I could�ve done on my own�that helped me realize theatre is not something I can ever truly walk away from.  It is part of me.
I thank everyone who has posted thus far (and enjoyed the silliness that has ensued here, back stage, at the Muppet Theater ) and look forward to reading more posts on this topic should others also decide to chime in.