People go to shrinks for lots of different reasons – from those who go simply to download their gripes, thoughts, disappointments and vexations on a weekly basis to a nonjudgmental party, to those who are grappling with some serious disorders such as acute stress, obsessive-compulsive disorder, addictions of all sorts, panic attacks . . . the list goes on and on.  When we meet Tom Blander (Ryan Tramont) we find that his reasons for coming to Dr. Fine (Brad Fryman) are a little different.  Tom is convinced he’s possessed by a demon – and please don’t confuse this for the hallucinations of schizophrenia or the multiple personalities of a Dissociative.  No . . . Tom is convinced he has a real, living, fulling autonomous demon egging him on to do Bad Things.  So begins Christopher Stetson Boal’s Order (directed by Austin Pendleton) now playing at The Kirk @ Theatre Row.

Order (Fryman, Tramont, Bettio)

Tom is, aside from this “possessed by a demon” thing, a pretty decent guy.  Maybe he lets a little too much pass him by, like opportunities to connect with his wife, Maisy (Amanda Plant) who finds reading and re-reading the Harry Potter canon far more interesting than relaxing at the end of the day snuggled up with her husband to review the day’s events over a glass of mid-priced wine.  Tom also opts out of taking the opportunity to stand up to his ridiculously high-strung boss, Adam Jacoby (Mac Brydon).  Rather, he wordlessly sits at his desk as his manic boss fires high octane insults at him in rapid succession before finally hurling a cup of coffee at him.   Hell, Tom is so meek that when he’s greeted every day by the same homeless man (James Washington), he’s brow-beaten into giving the man not just some spare change, but the exact amount that the man demanded.

Is it any wonder than when the demon, who we come to find out is known as “Bathug” (Gabe Bettio), makes his presences known in Tom’s life, there’s plenty of room for him to move in?   Bathug – claiming to be an ancient creature who has always been part of humanity – seems to be the only one on Tom’s side; Dr. Fine (Brad Fryman) can only use their weekly therapy sessions to twist everything around and make it about himself, and even Tom’s good friend Joe (James Edward Becton) pokes at Tom’s simple ways, small happinesses and quiet hobbies (Tom’s biggest passion seems to be collecting old tie clips that were once worn by railroad conductors – - and then making up back-stories for these items).   So when Bathug starts whispering in Tom’s ear and nudging him towards “Power”, Tom – a little reluctant at first – really has nothing to lose by following his demon’s instinct.  Of course, the way he goes about getting that power is a little surprising.  Let’s just say – he takes “you are what you eat” to a whole other level.

Order is one part Little Shop of Horrors (Feed me!), one part Network (I’m Mad As Hell and I’m Not Gonna Take It Anymore!) and one part Sweeney Todd (because it’s cannibalism, but it’s FUNNY cannibalism, you see).  With enough black humor to keep you chuckling throughout the play, some of the stronger themes that Boal is illustrating go down much easier.

Pendelton’s direction allows for broad acting which keeps this play more wink wink than horrifying which – after all – is what you’d want from your demon plays.  Tramont’s Tom plays both sides of the scale convincingly; watching his transformation from meek yes-man to fast talking soulless wonder is easy to believe, and when he hugs his wife at the end you can feel his motivation surging through his new found persona.

Quirky, dark and a bit frantic at times, Order is a fun play that will have you questioning the possibility of your own inner demon.

~~~

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• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 2
• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain
• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 4
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Austin Pendleton (photo by George Hartpence)

In the fourth and final installment of our Oberon Theatre Ensemble Rep Interview Series, we’ve got a treat – actor, director, and teacher Austin Pendleton. With a body of work on stage and screen that has spanned several decades, Austin is a vocal and active member of the Off-Off-Broadway community, who has championed the need to recognize the importance of theatre at all levels. Austin is the director of Order, now extended until July 3rd at Theatre Row.

Austin took some time out of his insanely busy schedule to answer some questions about his work both with Oberon and his long career.

Austin, the first time I saw you on stage was in “Doubles” back in the 80’s with my parents as a youngster. I’ve known your work and followed your career throughout the years, and one thing that always sticks out as a wonderful aspect of who you are is that you are always fighting for the little guy – in respect to theatre. You always strive to embrace the needs of the Off-Off Broadway community and promote the recognition of its importance as a lifeblood. What was something that happened in the course of your career that made you champion that cause?

I think what happened with me and off-off-Broadway was that at a place in my work when I’d sort of lost my way as an actor I found  myself asked to play some very great roles with fine actors and directors there, and with great freedom, roles I never expected to be asked to play.  Great Shakespearean roles, for example: Hamlet, Shylock, Richard III, Richard II, Claudius and the Ghost (in Hamlet).  Stuff like that.  And I realized the value and excitement of off-off-Broadway, and how that exact value and excitement could not be found anywhere else.

What is it about a play that draws you to it to the point that you feel you MUST be involved?

I have no idea what draws me to a play and what doesn’t.  I just know when I’m drawn, somehow.

Order (Brad Fryman, Ryan Tramont, Gabe Bettio)

How well did you know the members of Oberon Theatre Ensemble before coming on board? You have worked with or trained some of them before, have you not?

I’d worked with Ryan Tramont and William Laney in Richard II, at Frog and Peach.  And I’d seen (because of these guys) some Oberon shows, including Eric Parness’s beautiful staging of A Winter’s Tale.

What was it like being able to work with this stalwart of the Off-Off community, and bring your knowledge to the table?

It was wonderful working with Oberon. They are completely supportive, and they get what you’re trying to do.

What were some of the things that drew you to Order and allowed you to play and have fun with the piece?

Order is fun to play with because it’s so boldly all over the place.  It tries all these different approaches into its scorching subject matter.  You have to be very flexible with it.  I like that.  Also, it’s brilliantly written.

What do you think is the most important link between the two plays in Oberon’s Rep, Othello and Order, and how do they relate to the state of the human condition?

Both Order and Othello are about what happens to you if you meet the wrong Demon for you.

I was fortunate enough to see an earlier reading of this play, and it is quite different now. What has the collaborative process been like between you and playwright Christopher Stetson Boal?

It’s been an amazing collaboration with Chris.  It’s never felt like there were hidden agendas.

Do you see Order as more of a dark comedy or more of a tragedy about a man who is run over by everything in his life, and why?

I see it as either a dark comedy or a funny tragedy.  I like to give the audience a little room to figure which of those ways they would like to go with it.

Who are your greatest inspirations in the industry – regardless of medium?

I’ve got about a hundred inspirations in the industry.  Almost everything I’ve ever worked on has had at least one.

If you had to pick a character from a play, book, or film to be for a day, who would it be?

My God.  Who?  Whatever I’m working on at any given moment, that’s who I’d like to be.

What’s next on your agenda? Do you have a play or project brewing that we’ll be lucky enough to see? We would expect nothing less from a man who is involved with everything in the theatre industry and gives it his heart and soul.

I’m directing a new play, Detroit, by Lisa Damour at Steppenwolf, in August.  I’m playing Kroll in Ibsen’s Rosmersholm, at the Pearl Theatre here in NY, this fall, directed by Elinor Renfield.  I’m directing Three Sisters this winter at CSC here in NY with a lot of great people in it.  And I’m involved in a new musical called A Minister’s Wife, music by Josh Schmidt (Adding Machine), which was done last year at Writers’ Theatre in the Chicago area (Glencoe), a theatre that commissioned me to write the script for the show (based on Shaw’s play Candida), and which will be done next year by Lincoln Center in the Newhouse Theatre.  Also, I’m still teaching (acting) at HB Studio here in NY.

* * *

That sounds like a great line-up. I hope we get a chance to see some of his work this coming year! Order runs through July 3rd at Theatre Row’s Kirk Theatre.

Related Posts:

• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 2
• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain
• Everything Is In “Order”
• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 3
• Delving Into DARK WATER With Diánna Martin

Order - Ryan Tramont as Tom Blander and Amanda Plant as Maisy Blander

Next up in our Oberon Theatre Ensemble Rep interview series is Brad Fryman, the Artistic Director of this esteemed theatre company, who produces the shows, and who essentially decides what will be running season after season. Not only is Brad producing two shows simultaneously at Theatre Row, he is also co-starring in Order, as the anything-but-sane psychotherapist, Dr. Fine. Having co-starred in numerous theatrical productions year after year with an impressive body of work, Fryman continues to strive toward providing the public with thought-provoking theatre, and if this season is any indication, then provoking the senses and minds of audiences are definitely a given.

I had a chance to catch up with Brad in between shows to find out his thoughts on this Summer Rep season and working on Order with Austin Pendleton and Christopher Boal. Here’s what he had to say:

Oberon Theatre Ensemble has been around for more than 13 seasons, with a long list of wonderful productions that have earned awards, recognition, and respect from the theatre community. What do you look for in picking your shows – and your talent?

First of all, I like working on something that I would enjoy seeing. That sounds like a no brainer. But it is seriously where I try to begin. A compelling story or, maybe something I haven’t seen before, is what initially grabs me. This season we have exactly that with a terrifically compelling story in Othello and an equally compelling story in Order that is told in a completely different way. That is what started the ball rolling as we looked at our options.

Then there have to be people that strongly want to tell these different stories. This is important because at this level those people have to give up so much, everything one might say, in order to finally bring these productions to life.

All the while, the talent we have available is always in our minds as to who might we have that might be perfect for a certain role. It is all part of the selection process.

What inspired you to include these specific plays in your Summer Rep for 2010? Are there any interesting stories behind your reasoning?

We’ve done a lot of Shakespeare and Othello was at the top of the remaining list. It is just an easier story for me to understand and I think one of Shakespeare’s tightest tragedies. I thought we could tell it in a simple, fresh and compelling way.

As Cara and I were discussing the season it was a play she was very interested in being involved with. It also just so happened that, all the while, Chris Boal and I had been discussing his play Order that shares a number of similar themes.
I feel that both plays deal with our personal “demons.” Iago’s envy, Othello’s jealousy and Tom Blander (ORDER) who had issues with his personal “demon” with its insatiable appetite for power are all aspects of these different “demons” told in these incredible stories.

Chris and I had been talking about working together for a long time and we were just waiting for the right project to come along at the right time. It just so happens that Order fit into the wheel well of the company as well its being a very original, compelling piece of theatre.

What do you think is the most important link between the two plays in Rep, and how do they relate to the state of the human condition?

As I talked about in the previous answer the plays are dealing with our “demons” in obviously completely different ways.

What drew you to the role of the therapist in Christopher Stetson Boal’s Order? Do you find it incredibly challenging to act in a play while you are producing it?

Dr Fine in Order is essentially your therapeutic nightmare. I have a background in psychology and knew immediately who this person was. I would never say this type of therapist is prevalent in the industry, but a number of folks have shared stories from their own experiences with me. It’s all very interesting. And I also think the play about a man trying to make a difference in small meaningful ways could maybe be a metaphor for all the folks trying to work and tell stories in the theatre. But, that’s a different article.

When a production is running smoothly and everyone is at the top of their game, it’s pretty easy to wear a couple different hats. When there are complications it can sometimes get difficult.

Order - Ryan Tramont as Tom Blander; William Laney as Detective Arlow; Gabe Bettio as Bathug

Do you see Order as more of a dark comedy or more of a tragedy about a man who is run over by everything in his life, and why?

I absolutely think it’s both. It’s a seriously funny tragic story of a man trying to do everything he can to make the world a better place and getting beaten down every step of the way until finally his “demon” takes over with an insatiable appetite for power.

What was it like being directed by Austin Pendleton?

Austin has been great. Every step of the way, he has surprised me with his incredible connection to the theatre. Whether it’s a brilliant note that gives an actor an entirely new and exciting path to take his character, or an idea for a specific moment on stage, or his ability to enable the actors to have the faith to fully embrace their characters. His adjustments with actors are often so insightful it’s frightening. His understanding of the play was immediate and intense. From day one, he was so fully committed to the text it was astounding and his freedom to play with theatrical conventions was refreshing.

These are pretty intense words, but I feel it has been a real gift and an honor to work with Austin. His energy and passion for American theater is something to be treasured.

What are one of your favorite aspects of Cara Reichel’s interpretation of Othello?

Cara’s direction and design within this space is brilliant. Her use of music always supports the action of the play moving it forward in complex and refreshing ways.

I think Cara is an exceptional storyteller and I am amazed with what she was able to do with Othello. I follow her work with Pete Mills and the Prospect Theater Company where they produce some of the most compelling new musicals in the country. Not to over do it but it has been fantastic working with Cara!

Having incorporated The Bard’s plays in your Reps, season after season, what would you say is your favorite Shakespeare play (if we had to twist your arm for one)?

Having just done this incredible tragedy, I am, sort of, in the mood for something quite a bit lighter. Maybe even A Midsummer Night’s Dream!

What’s up next for Oberon? I hear Duncan Pflaster’s play about Chekov in space is around the corner …

We did a reading of Duncan’s The Starship Astrov last year in our Oberon Originals Reading Series and truly enjoyed hearing this play. It is a hilarious ride. The audience had such a great time. Yes sure it is essentially, Chekov in Space, but really so much more, too. If anyone is a fan of Chekov or Star Trek, they are in for an incredible treat. If they are a fan of both, well, they won’t want to miss a single performance. Did I mention that tickets to ALL these shows are on sale NOW at ticketcentral.com???

Duncan’s script is incredibly sharp and finding actors who can handle both of those facets has been an interesting challenge. It’s going to be a great production directed by Eric Parness in the Beckett at Theatre Row in July.

Related Posts:

• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain
• Everything Is In “Order”
• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 4
• The Starship Astrov: Best Of Both Worlds (Midtown International Theatre Festival 2010)
• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 3

One theatre company very near and dear to my heart is Oberon Theatre Ensemble, now celebrating its 13th season bringing invigorating theatre to New York City. Their M.O. is usually a Rep that involves both a play by The Bard and an original piece or revival. The last few years they have been doing their Reps at Theatre Row.

This year is very exciting for the company; they are again on 42nd Street, and they bring us Othello, directed by Prospect Theatre’s Cara Reichel (yes, THAT Cara Reichel), and Order, by Christopher Stetson Boal (of 23 Knives fame), directed by Austin Pendleton (yes, THAT Austin Pendleton – is there any other?). The pairing of these two plays is perfect; both involve men that strive to do good, but end up committing the most atrocious of crimes – both with their dearest “friends” whispering in their ear to bring about their own end. Only in Order . . . one must be careful not to mix friends with demons . . .

The plays have been doing great – Order just got an extended run due to audience demand – and are such a joy. Over the next week I’ll be interviewing some of the people who are bringing these amazing works to us, providing not just a play on stage; but an event.

Up first: Christopher Stetson Boal, playwright and author of Order. Chris is the critically acclaimed author of Crazy for the Dog, and 23 Knives as well as many other plays; he has also won an audience award at the Edinburgh Fringe Festival.

Chris, I had an opportunity to see 23 Knives, directed by Eric Parness, last year and thought it was one of the best plays I’d seen the whole year. Now we have another fascinating character study and tale of men who are not whom they seem – but completely and utterly different. Where do you get the inspiration for your work?

Christopher Stetson Boal: It’s hard to say – ideas for my plays almost always come from some weird found source. In the case of “knives” it was a forward in the book “Corpse” – a fascinating tale of forensic science. There was a section that mentioned Antistius and I just never shook it. This play came out of a therapy exercise where I started writing in a different language. That intrigued me so I just went with it.

Piggy-backing off the last question, what were the most important turning points for your while you wrote Order – and when did you realize that this was going to be a play that truly, truly pushed the bar?

Well, I didn’t set out to do that, honestly. But I did kind of tap into the id of these characters, and the worse they behaved the more obsessed with the play I became. I mean, I really think people act this way. We really do eat each other all the time, don’t we?

Ryan Tramont as Tom Blander and Mac Brydon as Adam Jacoby

What do you think is the most important link between the two plays in Oberon’s Rep, Othello and Order, and how do they relate to the state of the human condition?

It’s nice to be linked thematically with Shakespeare, but I think it’s because he basically covered all the themes you could think of! But I suppose both plays deal with the theme of inner demons and wages of listening to them too closely.

How did you get involved with the Oberon gang?

Well I think Oberon is made up of some of the most talented actors around. We did a few readings of the play but I think I got Brad Fryman to finally agree to produce it after we’d both been drinking for a few days.

Did you know Austin Pendleton beforehand as well?

Yes, I’d shown the play to Austin last year, but he was unavailable at the time. Luckily for us his schedule freed up and he agreed to direct it. He’s really quite the master.

I was fortunate enough to see an earlier reading of this play, and it is very different now. What has the collaborative process been like between you and Austin? Do you see eye to eye on many things? What were his reactions to some of the “darker” and more “melodramatic” aspects of the play?

This would be an utterly different play without his involvement and I believe it’s a much better one than it started out as. He saw things in the text I was quite unaware of, but latched onto pretty eagerly as we began to discover what we had. I’d work with him again in a heartbeat. Hear that, Austin?

Do you see Order as more of a dark comedy or more of a tragedy about a man who is run over by everything in his life, and why? One of my favorite lines is still the “Steve Buscemi” line – and despite the suffering the protagonist (played so well by Ryan Tramont) must endure, I always laugh.

It’s both, depending on what night you see it. But then again, comedy is pain, right?

What has your career been like over the last two years? There’s been a lot going on, hasn’t there – both in theatre and film?

Mostly theater. This production came on the heels of “23 Knives“, and I have a play opening in August as part of the SummerShorts festival. I wrote a short screenplay for Ridley Scott Associates for a video game as well, that was fun!

Who are your greatest inspirations as a playwright?

Other playwrights; Austin Pendleton, Arthur Giron, David Hirson, Eddie Baker, Romulous Linney, to name a few.

If you had to pick a character from a play, book, or film to be for a day, who would it be?

Oh, hell, James Bond. Or Indiana Jones. No, definitely Bond.

* * *

Well, I can vouch for the touch of genius – and madness – that is rampant throughout Order, and it’s great to get the voice of the playwright heard. We’ll continue this several-part interview as we delve into Othello as well. In the meantime, go check out these plays! They’re playing at Theatre Row from now until June 26th (July 3rd for Order). For information and times click here.

Related Posts:

• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 2
• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 4
• Everything Is In “Order”
• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 3
• “I Am Not What I Am” – Othello