Wednesday, December 7, 2011

5 Stars for Pinocchio!

Photo by Joe Williams, 2011
Mike Spain of Maryland Theatre Guide gives The Commedia Pinocchio 5 stars:

"If the purpose of The Fun Company at the Maryland Ensemble Theatre is to create fun on stage then they got it right in their production of The Commedia Pinocchio. The talented cast turns this production – geared for younger audiences – into pure entertainment for the entire family. From the moment the show begins – the audiences sees that the entire ensemble is having a great time and it makes the experience even more enjoyable."

The Commedia Pinocchio only has 3 performances left! We run this Saturday and Sunday at 2pm and closes next Saturday at 2pm, so order your tickets through the box office: 301-694-4744 or through the MET website!

Wednesday, November 16, 2011

The Commedia Pinnochio opens next Saturday!

Taking my nose off the grindstone for a moment here to let you all know my next show, "The Commedia Pinocchio" opens next Saturday, November 26th at 2pm at the Maryland Ensemble Theatre.  You can order your tickets online or call the MET box office at 301-694-4744.

Rehearsing for this has been hilarious- since we're doing it in a commedia dell'arte style, we as a cast have really taken our characters to silly heights, which is what we hope to do while at the same time communicating the moral of this classic tale.  Also... there is a puppet (!) and it's not the character you may think it is... ;)

The show runs Saturdays & Sundays, Nov. 26th through Dec. 17th at 2pm.  All performances take place at the Maryland Ensemble Theatre, 31 W. Patrick Street, Frederick, MD.  Parking is available on the street (metered on Saturdays, but free on Sundays), and in the Court Street Garage across from the theatre.

Also, you may have noticed a new banner across the top of the blog!  Yep, I got new headshots from the awesome Johnny Shryock.  You can see the rest of my shots by clicking on "Headshots" on the navigation bar up top.



Friday, October 7, 2011

A B C... Pinocchio!

Torture's over and I made it through alive (ba-dum-bum-ching!) - from scarfing down fresh homemade french toast to working with a talented cast to discussing the implications of the show with audience members, it was a great experience. :)

Coming up next for me at the MET is a bit of a change of pace from my latest work there. I'll be playing Arlequino in The Commedia Pinnochio as part of the MET's Fun Company season.  Imagine Pinnochio as performed by a ragtag group commedia dell'arte players, with masks and puppets!  We start rehearsals soon and I'm thrilled to get into some movement work... be sure to check back here for when tickets go on sale online!

Still credit: Max Cook, Jason Horowitz
In the meantime, "A B C," a short film by Rob Parrish that I did makeup for this past April was an official selection at this year's DC Shorts Festival.  You can check out the film on Rob's Next to Heaven site by clicking here.

The film features Bryan Norrington and Joey Ibanez, who I performed with in "Clockwork Orange" and "Why Torture is Wrong and the People Who Love Them."

Be sure to check back here for more updates to come!


Wednesday, September 28, 2011

Thought-provoking "Torture" Closes This Weekend!

Photo by Joe Williams
"Torture" closes this weekend! We have 4 performances left: Thursday through Saturday at 8pm and Sunday at 7pm!

Check out some of the reviews we've gotten for this dark comedy:

Larry Bangs of The Gazette writes:

"The play turns out to be an emotional roller coaster ride that spits you out with some things worthy of reflection. And it does so very well. There are strong performances from a uniformly excellent cast... The strength of MET is in its ensemble. Even in a play like this with very clearly drawn, individual characters, Director Gené Fouché keeps the very disparate character elements together in a cohesive whole. This play is not for the meek of heart. It is for anyone who enjoys good theater and being challenged to 'think outside the box.'"

(Read the rest of The Gazette review here)

We were also reviewed by J. Wynn Rousuck on "Maryland Morning" on WYPR 88.1FM:

"[Torture] uses humor to make you think, and at it's best, squirm... [The character of] Felicity believes 'you can choose to be your better self'; Durang clearly wants to believe this can also be true of governments. It's a notion that Maryland Ensemble Theatre puts across with humor and hope."

(Listen to the rest of the broadcast here)

And our most recent review, from Charlie Smith of

"Director, Gené Fouché, manages the farcical chaos and hairpin turns of the script without resorting to sitcom cliché, treating the subject matter with a seriousness and intention that is considered and intelligent... It made all of us think. It made all of us question our own beliefs and behaviors and for that, the MET is to be congratulated. Theatre should provoke and inspire debate and, even sometimes, discomfort, which seems to be what Durang intended with the show, and what the MET has achieved."

(Read the rest of the Want2Dish review here)

You can purchase tickets online, or call the MET box office at 301-694-4744

Hope to see you at the MET this weekend!

Thursday, September 15, 2011

First "Torture" Review!

Opening weekend of "Torture" has been wonderful.  Audiences have been very responsive and we were fortunate to have some great press for this week.  Mike Spain of Maryland Theatre Guide gives "Torture" 4 out of 5 stars!

"A quite funny and outrageous show...  a dark comedy which will make you think long after the performance... Director Gené Fouché directs a talented cast... The Maryland Ensemble Theatre is a wonderful place to see a show. The seating is intimate without a bad seat in the house."

This week, we run Thursday-Saturday at 8pm and Sunday at 2pm.  You can purchase tickets online, or call the MET box office at 301-694-4744
Photo by Joe Williams

Come out and support "Torture!"  Um... you know what I mean...


Friday, September 9, 2011

Torture Gazette Interview and Opening!

Torture has opened! Click the image above to purchase tickets online, or call the MET box office at 301-694-4744

An article from the Gazette was released yesterday to coincide with preview night. It features some insight from director Gene' Fouche' and actors Tim Seltzer and myself:

"Torture may be wrong, but as seen through the eyes of The Maryland Ensemble Theatre (MET), starting Thursday — it’s also darkly funny. Just prior to the 10-year anniversary of the terrorist attacks of Sept. 11, 2001, the MET will tackle a production of “Why Torture is Wrong, and the People Who Love Them,” a comedy by Christopher Durang.

The play’s heroine, Felicity, wakes up after a night of drinking to find Zamir, a strange man of an indeterminate ethnicity, in bed with her. Having no memory of how she met him, and due to his erratic behavior, she concludes that he must be a terrorist. Felicity goes to her parents for help, and things get worse when she learns that her father, Leonard, is a member of a shadow government who decides to take the situation into his own hands by torturing Zamir into a confession. As things spiral out of control, Felicity wishes more and more for a rewind button, but the outcome is more likely to leave the audience in stitches rather than cowering in fear, says director Gené Fouché."
Hope to see you sometime during the run!

Tuesday, August 16, 2011

10 days into "Torture"

Don't let the title or my puns mislead you; rehearsing for "Why Torture is Wrong and the People Who Love Them" has been great so far!

I've never done Durang before, as I always had a stigma against him, having been told my entire adult acting life: "Never do Durang! It's overdone!" so I veered away from his work every time I came across his name. Now I'm diving headlong into Durang territory and it's been pretty rewarding. As a cast, we're at the point in the rehearsal process where we're making discoveries about the characters that aren't apparent just by reading a scene on paper. I'm sure before I know it we'll be making the next changeover from blocking to realizing the world with costumes, a set, and props, and tech week is only 3 weeks away!

It's been satisfying to figure out Felicity bit by bit- every time I visit the script or work a scene, something new is revealed to me. Different facets of her are becoming more apparent and I'm piecing together her idiosyncracies, her strengths, her vulnerabilities and how she communicates.

I like plays. :)


Friday, July 29, 2011

Create the work you want to see

For the past month, I've had the chance to catch a bunch of shows... I think I've seen more shows this July alone than I've seen in the past year. Of course as is the case with artists, when they're busy with their own work, it's hard to get out to see the work of others, but when I have the chance, I love to go and support. Plus, I'm usually inspired by what's out there, what other people are doing, and why.

I won't claim to be a critic, just someone with opinions, a knowledge of theatre, and a good awareness of the kind of shows I tend to enjoy, so rather than write out long reviews, I've been wanting to give at least short[ish?] paragraphs about some of the past few shows I've seen:
Stillpointe Theatre Initiative's "Titus Andronicus;" Photo by Vanessa Strickland

Impressionable Player's "Pandora: A Tragicomic Greek Romp" [CapFringe 2011]:
This wonderfully-written show, containing comedy ranging from Judd-Apatow-esque humor to more stark, simplistic dramatic moments was bolstered by the strong and polished acting and direction by the entire Impressionable cast. Even coming in and seeing the set, and then the overall demeanor and intention of the group screamed "Maryland" to me, and in a great way, because I know UMCP for their tenacity to professionalism and their ability to create quality work. The show included several stylistic elements which had me in the palm of their hand, including a gigantic puppet head of Zeus, operated by several people, and the scene with a mythological monster donned in a black bodysuit with a day-glo skeleton outline painted on the surface, which in itself was a puppet of sorts once the stage went dark and the UV lights went on. Just goes to show you can get GREAT results with simple effects that help propel the story. The acting was awesome; emotions and tactics switching on a dime, but most importantly, they were filled with honesty. I was thrilled when Niko and Pandora almost kissed, but at the same time, my heart went out to Eris, Niko's fiance. The actor's emotional exploration of these seemingly archetypal characters naturally had me invested in them. They're running their production of "Romeo & Juliet: Choose Your Own Ending," in New York soon, and I'm excited to see what this group brings to the table next.

Flying V/Wayward Theatre's "Incurable" [CapFringe 2011]:
As soon as I heard the Pixies playing in the first transition in this production, I knew someone had their priorities straight. Biased, I know, but with that, I hoped the rest of the production be consistent in tone and style. And for me, it absolutely was, in the way that any auteur creates a mark on their work. The show centralizes around the fears and insecurities of the main character, Dale, and every aspect of the production helps reveal to us Dale's character: from the music to pop culture (and art history!) references in the script, and clever nerd/geek in-jokes hidden within the dialogue (i.e. Diesel Sweeties, "Kill Bill," "Inception," etc.). The cast for this show was very specific with their characters, and really made the wordiness of the dialogue come off as natural, which was a great foil for the more vulgar dialogue and sex stories, which were also treated with an unforced, straightforward fearlessness that allowed me to believe not only were these characters intelligent, but their sexcapades were totally plausible and not pushing for shock value (think "Clerks"). This was a show after my own heart, but it was executed so well. I've seen shows that completely hinge on reference-after-reference, where it feels like scenes were written just to get around to the one-liner, but this show created a great, fun, and at times, unexpectedly touching story without relying on those devices; rather they were already ingrained into the characterization in such a way that only served to enhance bringing the audience into Dale's perspective.

Molotov Theatre's "Fat Men In Skirts:"
I've seen a few Molotov shows in the past year, and although this one does not necessitate the usual poncho, I still found myself sickened, laughing, sympathizing, and compelled by what I saw. I'd read "Fat Men" back in high school, and perhaps it was my young brain, but somehow I envisioned the show playing out very stoically and seriously. Molotov is excellent at changing up any expectation you might have. From the onset I was giggling at the childlike acrobatics of Bishop as he expounded on his penchant for Audrey Hepburn, and within 15 minutes found myself quietly discomforted when he made a proclamation about his "concrete dick," and shoved his hand inside his zipper hole; in the only way that a young boy emerging from a plane crash on a lonely island with an overbearing, but vapid mother could would know how. His evolution was frightening, and I believed every moment of it. Then later as the play came to a close, those child-like tendencies and vulnerabilities re-emerged in his characterization, and I still felt sympathy for this cannibalistic, mysoginistic murderer. Likewise, his mother, Phyllis, evolved nearly the opposite of Bishop: seemingly an emotionless monster (through no fault of her own, or is it?) goes off the deep end and returns with morality and sympathy, even if it is for her own survival, which ultimately she willingly lets go of as well. Through her character choices, Phyllis clearly had a wall up to keep her from feeling, and as I witnessed her descent, she herself became the child, and Bishop her caretaker; all expressed beautifully by the actors. As for the seemingly more "well-adjusted" characters: Pam/Popo, and Howard/Nestor, the way the actors fought for some kind of stability and love in their own worlds was palpable, their commitment to their less-than-sane counterparts genuine and unconditional. Not without their own foils, Pam/Popo and Howard/Nestor were willing to put themselves through hell to make up for the hell Bishop and Phyllis experienced. I love when a show can expose you to the ugliest aspects of a person and at the same time reveal their humanistic side in such a way that you root for them. I think that's something we all can relate to as people; and this show succeeds with this greatly.

Stillpointe Theatre Intitiative's "Titus Andronicus:"
It amazes me how 10 miles south of my parents house is a bustling city, yet 10 miles north, I can be in the middle of nowhere. I think this sense of displacement definitely helped solidify my experience at "Titus Andronicus." Driving into a field and giving some gypsy bards $12 to plop down and see Shakespeare performed on the back of a rustic, truck bed with antiques appliqued all over it is my idea of a pretty great night. With Raine Bode at the helm and a few fellow actor friends involved, I had great expectations. It was definitely an experiential show, which I think is how I tend to approach art in general: I WANT to be immersed. From the lace on the cuffs of the Emcee to the crimson tassels decorating Lavinia's severed hands, the visual style was clear. The performances too evoked a ragtag group of players from a bygone time; definitely the kind of people that would probably have been performing Shakespeare in a past era. These "actors" playing the characters in Titus had their own respective personalities, which gleaned through every now and then and gave the production some additional humor. Something that specifically stood out to me as being very distinct was the singing of the actor who played Aaron. Periodically his lines would be sung in the style of a slave songs and spirituals, which burst out of him at intense emotional moments. It was really lovely and served well to accent the show. Likewise, I appreciated the unapologetic way the performers portrayed grand-scale moments: the choice of having the entire cast curl their hands into fists and bounce along while the pianist hit out a trotting rhythm was a great solution to working in such a small space, and I could sense the joy of "playing pretend" that these performers had, and it helped to transport the audience into the "actors" world and carry the show.

What all of these shows have in common is each made great work from minimal means and resources. In light of the current economic state (yep, I'm using buzzwords), artistically, I'm seeing people do more with less, and it impresses me to no end. It lets me know that art is something that will always, ALWAYS be present. There will always be an audience, you just have to have the faith and the gall to do what you want. To create the work you want to see.


Wednesday, July 27, 2011


Wow! What a crazy July... I survived Cap Fringe and managed to actually see 5 other shows while performing in two (read: three) of them. Yep, I know I initially said two, but at the last minute, I jumped in as a replacement for "cloudism" for their last performance. GREAT experience, although it was a short one. I had "seen" the show the week prior, so I had some familiarity with how it ought to play out. Both "I Like Nuts! (the Musical)" and "Pascal's Aquarium" both opened to great reviews and lots of positive comments from audience members.

As times presses on into fall, I'm happy to announce that with the change of weather, I'm welcoming new changes: I've been inducted into the Maryland Ensemble Theatre as a company member! I've been working with them on and off since 2009 and I'm excited to be able to work more regularly with them. I'll be posting my next show here soon, which is with the MET, so keep checking back for updates. :)

As a friend of mine always closed her journal: "Mahalo,"


Friday, July 15, 2011

Fringe reviews are in!

I'm excited to say that several reviews are in for both I Like Nuts! (the Musical) and Pascal's Aquarium. You can check them out below:

Lauren Honeycutt of MD Theatre Guide gives "Pascal's Aquarium" 5 stars:

"Standout actors/puppeteers in the show are Joey Ibanez who plays both King Prawn Akanahe and Jean-Christian de la Table, each of whom has a very funny and distinctive accent, and Jobari Parker-Namdar, who portrays the outgoing, gossipy seahorse Manelle. My favorite puppet was definitely the Shrimp Herd, which were 10 sparkly shrimp on the end of the fingertips of Vanessa Strickland, and I was also incredibly impressed by the puppet of the large catfish Le’nard, which needed an extra person (Guen Spilsbury) just to control the tail. The amazing puppets created by Eric Brooks and Don Becker are truly a sight to behold. Director Colin Grube wisely chose for the fish to be constantly moving, as real fish do!" - (Read the rest of the review here)

Jessica Pearson of DC Theatre Scene gives "Pascal's Aquarium a rating of 4/5:

"Pascal’s Aquarium is an unexpectedly fun little puppet musical; it stays away from the oft-imitated Avenue Q style of shock puppetry, but still manages to appeal to adult audiences with its twisted “Finding Nemo“-like concept and dark humor... Pascal’s Aquarium is, above all, really fun. The puppets are beautifully made and put to good use by the actors, the songs are very good (if not sheer perfection), and there are several laugh-out-loud moments. While it’s not for everyone, if you are in the market for a musical puppet comedy about fish, this one is close to perfect." - (Read the rest of the review here)

Further reviews of Pascal's Aquarium can be found at:
- Washington CityPaper's Fringe & Purge


Andrew L. Baughman of MD Theatre Guide gives "I Like Nuts!" 5 stars:

"Writers Greek and C.T. Davenport have perfected the hat-trick of making comedy dangerous without being blatantly crass or offensive to anyone (massive innuendos aside, of course)... Director Heather Gaither-Greek and music director/guitarist Josh Speerstra have drawn a ridiculously polished performance out of their talented cast... With four years of solid Fringe comedy under their belt, hopefully these Nuts will start producing theatre year-round. Our city needs more theatre that doesn’t take itself too seriously." - (Read the rest of the review here)

Andy Hart of DC Theatre Scene gives "I Like Nuts! (the Musical) a rating of 3/5:

"A wise woman once told me that the Fringe Festival is all about taking risks and having fun. This applies to everyone from the performers, writers, directors, and even the audience members. Well, cast and crew of I Like Nuts! (The Musical): mission accomplished." - (Read the rest of the review here)

Further reviews of "I Like Nuts! (the Musical)" can be found at:
- 100 Play Project

Get your tickets now, this year's Capital Fringe Festival ends on July 24th!


Wednesday, July 6, 2011

2011 Capital Fringe Festival (with nuts & puppets!)

Ever since Clockwork closed, I've been engulfed in the force that is Capital Fringe. Although it's made for a pretty hectic few weeks, I'm proud to say I'll be making my performance debut this year at Fringe in not just one but TWO shows!

Oh, and both of the performance venues have air-conditioning! :)

I Like Nuts! (the Musical) is an irreverent comedy about a young man's journey to learn "the knowledge of the nut." Part SNL-comedy, part educational, and mostly full of double-entendres, this show returns to Fringe in the silliest way possible.

"I Like Nuts! (the Musical)"
at the Studio Theatre's Mead Theatre, 1501 14th Street NW, DC (venue map)

Join Horatio, a Robot, a Pirate, a Vampire and two Squirrels on a quest for the knowledge of the nut. Quirky & packed with all the Norwegian fish balls you can stomach. Back, bigger, better but mostly just a little longer. Runtime: 90 minutes

July 7th 8:30 pm
July 12th 10 pm
July 16th 12 pm
July 19th 9:30 pm
July 24th 2 pm

BUY TICKETS ONLINE or call 866-811-4111

Pascal's Aquarium showcases a collection of aquatic puppet beings who sing, swim, and sass their newfound crustacean friend out of his shell. But what happens when the lobster gets cocky? A world premiere musical, Pascal's Aquarium brings adult humor and wit to a seemingly kid-friendly genre. I've had the pleasure of working again with fellow friend, Eric Brooks of the Puppet Co. on this show and am stoked to see how it unfolds.

"Pascal's Aquarium: An Aquatic Musical"

at the Mountain at Mount Vernon United Methodist Church, 900 Massachusetts Ave. NW, DC (venue map)

Witness the miraculous transformation of a purply-blue fuzzy lobster! Augustine must learn about life before transcending his environment. Experience a 12 puppet musical in an upscale restaurant fish tank. Submerge yourself in the sounds of The Mighty Heard! Runtime: 60 minutes - *contains profanity*

July 8th 8:30 pm
July 9th 3 pm
July 15th 10:30 pm
July 17th 7:15 pm

BUY TICKETS ONLINE or call 866-811-4111

In order to gain full admission to a Fringe show, you need to have a Fringe button ($7) as well as a ticket ($17). The Fringe button need only be purchased once. By clicking the dates and times below, you can purchase tickets directly from the CapFringe website.

Happy Fringe-ing!


Friday, June 17, 2011

Gazette.Net review: "MET's Clockwork Orange a pleasant surprise"

Maybe I'm a touch biased, but I feel the following is a very perceptive, descriptive, and encouraging review for A Clockwork Orange. Sometimes it's difficult to know how a show is being recieved when you're in the midst of it for so long, but from speaking with audience members, this review confirms that it's striking the right chords. An ode to joy, indeed. :)

"Burgess wrote it as a “play with music,” and the MET creative staff and acting ensemble have done an innovative job of integrating not just a stunning variety of music, but their own voices at once grunting and groaning as a chorus and then exploding into blended rhythmic chants and, when required, finding the musical quality in the strange “Nadsat” slang language Burgess invented. At first, it was disturbing that I could understand maybe 25 percent of what the characters were saying in the early scenes. It quickly became obvious that it didn’t matter. The sound itself and the expressiveness of the performance tell you all you need to know."

Read the rest of the article here

We close this Saturday night, which is bittersweet to me, but I am thrilled to have had the chance to work with such an amazing, ass-kicking group of people. This has been a truly unforgettable experience and my only qualm is working with them again can't come soon enough.

Bring it.


Thursday, June 16, 2011

Closing Weekend: A Clockwork Orange

Just a reminder that A Clockwork Orange closes this Saturday! Three shows left:

Thurs. 6/16 @ 8pm
Fri. 6/17 @ 8pm
Sat. 6/18 @ 8pm

We expect to sell out, so buy your tickets online or call the Maryland Ensemble Theatre box office at 301-694-4744

Photo by Joe Williams

Monday, June 6, 2011

Help produce the West Side Story Project for gang & at-risk youth outreach!

This August, Maryland Ensemble Theatre will be producing "West Side Story" in collaboration with the Frederick County Police Department. The police approached MET with the idea based on a pilot program that had been done in Seattle in 2007.

MET has an opportunity to win $25 grand to fund this project through the Pepsi Refresh Project. We can use your help to get this funding, and all it requires of you is a moment to click a few links and send a text!

You're allowed to vote for us 3 times each day in 3 different ways:

1) Text 106790 to "Pepsi" (73774) to vote via your mobile device

2) Log in to the Pepsi Refresh Project through Facebook and click "Vote for this idea" here on our page

3) Create a username and password on, login and vote directly on our page

Thanks for your consideration, with your help, MET can win this!


Thursday, June 2, 2011

Does it matter?

As part of Young Playwrights' Theater's "Does it matter?" campaign, I submitted a story-- as well as the photo below-- about how art has impacted my life.

"One of my fondest collection of memories of the presence of art in my life was when I was in preschool. By this age, I was already drawing with crayons on endless reams of paper, playing with stuffed animals and dolls as if they were real, and listening to all kinds of music, from opera to glam rock. A huge influence for me artistically as I was growing up was my father. He would show me classic movies, check out huge picture books with amazing illustrations, and have me watch and listen to ballets and operas. This introduction to opera and ballet by my father is where my favorite memories stem from."

You can read the rest of my blog article here.

If you're interested in sharing your own story, click here to find out more!


Thursday, May 26, 2011

Clockwork goes dark for Memorial Day weekend, but ho! Another review!

A Clockwork Orange is on vacation this Memorial Day weekend, but will continue with shows the first weekend of June. That hasn't stopped the Frederick News Post from releasing a review of the show, featuring some insight from director Julie Herber and our little Alex, Joe Jalette:

"Herber appreciated Kubrick's film but stayed true to Burgess' play for the MET production, despite knowing audience members would quite possibly expect something different because of the popularity of the film.

'It changes the entire story arc of the character,' Jalette said during an interview."

Read the rest of the article here: Frederick News Post: Cult Classic 'A Clockwork Orange' comes to the MET Stage

It's been a blast so far performing this show and I'm excited to get back to it, but for now, I'll try my best to enjoy a three day weekend... gee whiz! ;)

See you at the theatre!


Friday, May 20, 2011

Two Reviews for "A Clockwork Orange"

Two reviews of A Clockwork Orange from opening weekend have been released:

Charlie Smith of Want2Dish:
"Joe Jalette delivers a riveting performance as the abused and confused anti-hero Alex, bringing vividly to life his tortured psyche and search for identity. As the only character in the ensemble piece with a through-line, it falls upon his shoulders to carry the show and engage the audience in his journey."

Read the rest of this review here: Want2Dish: Theater Review: MET's Clockwork Orange

Roy Meachum of The Tentacle:
"The brilliant cast [Herber] worked with I have mainly never seen before. The actors turn in a truly ensemble performance, switching costumes and roles discriminately."

Read the rest of this review here: The Tentacle: A REVIEW: Clockwork Orange: Coming of Age

We dive into our second weekend of shows tonight! If you want to come, better call and reserve- opening weekend sold out completely and it looks as if we may be having more sold-out houses in the weekends to come! Information follows below:


May 20, 21 @ 8pm
June 3, 4 @ 8pm
June 5 @ 2pm
June 9, 10, 11 @ 8pm
June 12 @ 2pm & 7pm
June 16, 17, 18 @ 8pm

BUY ONLINE HERE or call the box office at 301-694-4744, press '1'

Adults ($23.50), Students/Seniors ($20.50), "First Friday" (All Seats $5 on 5/13 ONLY*), Thursday & Sunday Evenings (All seats $16.50). Ticket price includes a $1.50 handling charge.

No Refunds- Exchanges Only!
Please do not order tickets online after 4pm on the day of the performance you wish to attend.

Viddy you at the MET!


Friday, May 13, 2011

Frederick Gazette explores "A Clockwork Orange"

$5 Friday for A Clockwork Orange is TONIGHT!

If you're in the Frederick area, come on by the MET, hang with our horrorshow street team droogs and kupet a ticket for tonight's show! Tickets are deng only (that is, CASH only) at the door and go on sale starting at 7pm when the box office doors open. No advance reservations, first come, first served!

Performances take place at: Maryland Ensemble Theatre, 31 W. Patrick Street, Frederick, MD

For information or to reserve tickets for other dates, call the MET box office at 301-694-4744, press '1' OR order online HERE

Yesterday's issue of the Frederick Gazette featured an article for A Clockwork Orange that staff writer Jordan Edwards interviewed me for:

"This is what Alex and his droogs do for fun in 'A Clockwork Orange.' The Anthony Burgess novel and Stanley Kubrick's film adaptation that followed are notorious for their brutal depiction of violence toward women. It may come as a surprise, then, that two of Maryland Ensemble Theatre's [MET] main contributors to the company's stage production are female.

Director Julie Herber and fight captain/ensemble member Vanessa Strickland have come to terms with the misogyny. Strickland, an Olney resident who plays some of Alex's victims, says that friends and family have questioned her involvement with the show. Some even made the decision not to see it.

Read the full article here.

I couldn't be happier with how the article turned out and I'm hoping it gives some insight into our intention with this piece.

Viddy you this nochy, then, doobidoob?


Thursday, May 5, 2011

Viddy well my droogies, viddy well...

I am unbelievably excited to announce that I will be performing in Maryland Ensemble Theatre's upcoming production of A Clockwork Orange! We dive into tech next week and I'm really happy with what this show is becoming. Aside from telling Alex's story, there's an abundance of fights, dances, and songs interwoven into the text. For such an intense play (and really any play), the actors need to be able to trust each other. Rehearsals have been an exercise in trust and generosity, and speaking for myself at least, I have not been let down.

I think of how magical live performance really is... and I've already waxed sentimental about when this show closes, even though we've not opened yet. The ephemeral nature of the work is what makes the process and people involved so special. This creative amoeba comes together from the hearts of those involved, reaches out and causes others to react, and then leaves with the scattering artists and audience. A moment there and gone.

I've already received all kinds of feedback from friends, family, and colleagues about this show; varying from excitement to repulsion. As a performer in the ensemble who plays most of the characters who suffer at the hands of Alex, I have to say both reactions are completely valid. I accepted the role because of my love for the story, the theatre, and the chance to perform with a really amazing bunch of people. We want to bring you on that journey with us, through chaos and fear to eventually emerge with a new sense of hope- or at least a new perspective. Isn't that the idea?

I hope you'll join us and find out:


In future Britain, charismatic delinquent Alex DeLarge is jailed and later volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem... but not all goes as planned. Forget your memories of the cult film, this infamous darkly comic morality tale will bend your mind in a whole new way. For mature audiences only!

May 13 @ 8pm [Preview]
May 14 @ 8pm [Opening]
May 20, 21 @ 8pm
June 3, 4 @ 8pm
June 5 @ 2pm
June 9, 10, 11 @ 8pm
June 12 @ 2pm & 7pm
June 16, 17, 18 @ 8pm

Tickets: Adults ($23.50), Students/Seniors ($20.50), "First Friday" (All Seats $5 on 5/13 ONLY*), Thursday & Sunday Evenings (All seats $16.50). Ticket price includes a $1.50 handling charge.

*$5 Preview tickets are only available at the box office one hour before the performance and are CASH ONLY!

No Refunds- Exchanges Only!

Please do not order tickets online after 4pm on the day of the performance you wish to attend.


Sunday, April 10, 2011

YPT's New Play Festival 2011 Opens!

New Play Festival
7:30 PM
April 11-13, 2011

GALA Hispanic Theatre
3333 14th Street, NW
Washington, DC 20010

Admission is FREE

Three nights. Fifteen different plays. New plays each night.

Join us for this city-wide celebration of new work created by the students in YPT’s In-School Playwriting Program. Student playwrights collaborate with professional actors, dramaturges and directors to create an evening of dynamic theater.

In celebration of our fifteenth birthday, YPT will share fifteen plays, by fifteen playwrights, over three nights. We hope you will join us as we honor and celebrate the incredible work of these young people.

Call 202-387-9173 or visit to meet the playwrights and read more about the plays that will be presented each night of the Festival.

Check out this video of playwright Paul McCoyer, whose play "Money, Money, Money" premieres on Monday!


Monday, February 28, 2011

The Haunted Drive-In

Here's a quick peek at my makeup work from this past weekend's "The Haunted Drive-In" for the Fresh Produce Festival of Live Art at the Fridge:

Photo by Mary Beth Egan

I had worked with Cynthia-- err... Rob, I mean, before on his short film, Invictus. He not only creates shorts, but also re-edits stock and archival footage together and adds a completely original (and most of the time deranged) voice over narration to the shorts. His series, Next to Heaven, are the result of these experiments. I'll say the videos are, for the most part, not safe for work because of language and imagery.

More shots (including a before/after) to come soon on the Makeup page!


Saturday, February 5, 2011

"Time in a Trashcan" and "New Writers Now: From Civil War to Civil Rights"

First post of the new year! I'm excited to say I have not one, but two events that I'm involved in this upcoming week:

I'll be in attendance (in the flesh) at the GALA Hispanic Theatre in DC with Young Playwrights Theater, working my community ambassador skills. Our program for the evening, "New Writers Now! From Civil War to Civil Rights," explores the history of the district through a series of short plays written by young students and the elderly. The pre-show reception begins at 6:30 with the staged readings to follow at 7pm. Admission is free!

I'll also be in "attendance" (on the screen) for the CAmm Cine Lounge, at the Creative Alliance at the Patterson. There will be a showing of Running Storm Production's 2010 Baltimore 48 Hour Film Project, "Time in a Trashcan." This event is also this upcoming Monday, February 7th at 7pm. Our film was recognized as an audience favorite when it first premiered, and director Dean Storm will be there to field questions about the film. Admission is only $8 for non-Creative Alliance members and $3 for members.

Hope you can make it out to one or the other! :)