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Spotlight on: Anne of the Thousand Days

By • Jul 28th, 2006 • Category: Interviews

Listen to the talkback session with the cast and crew of Anne of the Thousand Days at Vpstart Crow [MP3 37:06 10.6MB].

Mike: Welcome to The ShowBizRadio Spotlight on Anne of the Thousand Days. Anne of the Thousand Days is being performed by Vpstart Crow in Manassas, Virginia through July 30th. On July 23rd they had a talk back session where members of the audience were invited to ask questions of the cast and crew. Vpstart Crow graciously allowed us to record that discussion.

Jay Tilley: Let me introduce myself for those who don’t know me. My name is Jay Tilley. Not only am I one of the actors here, but I’m also the director of communications and I’m on the board for Vpstart Crow. Let me start out by letting everyone introduce themselves and then we’ll get to your questions. Let me start her with this lovely young lady.

Melissa Jo York Tilley: Hello. I’m Melissa Jo York Tilley. I’m Jay’s wife. I’m also the production/stage manager for this production.

Sam McCrea: I’m Sam McCrea. I play the Duke of Norfolk. If you have any questions for me. I’m here and ready.

Ted Ballard: Ted Ballard. I play Anne’s father and Bishop Fisher.

Carl Brandt Long: Carl Brandt Long. I play Smeaton.

Don Neal: I am Don Neal. Anticipate question, no I’m not really religious. I’ve been in Northern Virginia theater for 30 years and in theater altogether for over 60.

Melissa Klein: I’m Melissa Klein. I play Madge Shelton. As the cast lovingly calls me, the wench.

Bret Bartosavage: My name is Bret Bartosavage. I play lovable Percy as well as the evil bailiff.

Abigail Wright: Hi my name is Abigail Wright. I play Mary Boleyn.

Lauren Christopher: Hi, I’m Lauren Christopher. I play Jane Seymore.

Paul Rubenstein: I’m Paul Rubenstein. I play Henry Norris, John Haughton, and the oyez guy.

Brian Crane: My name is Brian Crane. I play the really nice guy Thomas Cromwell.

Christine Lange: I’m Christine Lange. I’m the director and the interim artistic director for Vpstart Crow.

Brian Ross Huse: I’m Brian Ross Huse. I play Sir Thomas Moore and also the person who the nice guy was whipping there backstage.

Sallie Ronan: I’m Sallie Ronan. I play Elizabeth Boleyn and no, I did not win Mother of the Year this year.

Pamela Sabella: I’m Pamela Sabella. I play Anne and it’s great to be sitting down for a change.

Jay Tilley: This gentleman here is Stephen J. Cramer. He’s Vpstart Crow’s Managing Director. He’s also the owner of the building and a fine fine individual. At least most of the time. So now, the die has been cast. The gauntlet has been thrown down. Who will have the first question?

Question: A lot of new faces to Vpstart Crow. What brought you to the company?

Pamela Sabella: I had come to an audition before and then the previous show that was done here was Comedy of Errors, which was of course, Shakespeare. It was a very fun show. Which was actually directed by Ted right down there. Mr. Boleyn himself. I thought it was a great show. This is a great theater. It’s very accessible to the community as you can see. I felt I wanted to check it out. And I did. And it was great.

Sallie Ronan: Acting wise this was my first show with Vpstart. I was the Stage Manger for Comedy of Errors. Ted and I had been friends for a little while and he asked me if I was going to audition for Comedy of Errors. At first I said no, because it was a little intimidating. He said oh, come on. So I did. Then I auditioned for this show and got the part.

Brian Crane: I knew of this play for a number of years. I liked the plot of the play and the characters. So when I was given the opportunity to audition for it I jumped at the chance. I saw Sereno here a couple of years ago and really liked it. I had friends who were in that cast who had done work here. I had been interested in it for some time and working here. When I saw the audition notice the play struck my fancy, too. And here I am.

Paul Rubenstein: I’ll have to take a pass because I practically live here.

Lauren Christopher: Like the first Brian, I also familiar with this play and had appreciated it for a long time. I actually used it as my audition material. I was very excited for this opportunity. Time wise it worked out perfectly because I go to school part time during the Fall and Spring. The Summer is my free time to have fun.

Abigail Wright: I actually mostly work and study opera. This is my first straight theater experience. It’s been wonderful. I really love the play. When I heard about these auditions and the play itself, I jumped at the chance. I think it’s been worth the drive from College Park.

Bret Bartosavage: I had actually caught Comedy of Errors on a whim. Ted Ballard was my director from Rumors before. I liked a lot of what I saw working and interacting with the audience. Especially when they had cocktail tables and we were just hanging out. “Vpstart Crow. Hmmmm, very nice.” So I came and auditioned and I was here.

Melissa Klein: I’m home for summer from college. I’ve been dying to try community theater. This is a great location. I looked up the show and it looked like a lot of fun. It was very interesting and very dramatic. So I tried out.

Don Neal: I’m here for my first time because of Jay Tilley. He emailed me and said,”We’re doing Anne of the Thousand Days, you have to audition for Wolsely.” So I made the trip from Alexandria. You may not know this, but several of us come from good long distances. College Park, the District, Alexandria. A play like this will draw people from distances away.

Carl Brandt Long: I’m still new to the area. I needed to do a play and this is literally right around the corner from me. This worked out really well for me.

Sam McCrea: This is the first time on the stage for me. I was finishing one play and was looking for another play. I looked on the website and found Vpstart Crow Productions. I had never heard of them before. When I saw they were doing Anne of the Thousand Days. I had seen the movie a number of years ago with Richard Burton and Genevieve Bujold. I wanted to do this play and was lucky enough to be picked to play a part.

Jay Tilley: One thing I should mention before we go on, is Don and I did this production six years ago with the British Embassy players. He was Cardinal Wolsey and I was Mark Smeaton.

Jay Tilley: So who else has a question? Yes, maa’m. Excellent excellent question. Was it difficult to memorize all the lines? Yes.

Pamela Sabella: Ditto. We really just rehearsed it over and over again and they just become stuck in your head. You have this bank of lines and then you just listen to what the other person says to you. Something pops out and you hope it’s the right thing. Usually it is. It was difficult, but in the end it gets easier and easier.

Brian Crane: A lot of the work is figuring out who your character is and where they are at any given moment. Once you’ve got the lines down and you’re into the moment on stage. When the cue comes, when your scene parrtner says whatever it is that prompts you to say your next thing. The lines you find are just there. Just ready to come out at the right moment. So it’s not actually as hard as it might seem.

Carl Brandt Long: The hard part isn’t memorizing the lines. It’s forgetting them again. If it’s to be real at all. If it’s to come out new and fresh every single time. You need to memorize them to the point where you don’t remember them any more. They do come out like Pamela said, like Brian said: they just come out like your character’s reaction to what’s going on around them. To what’s being said.

Jay Tilley: Who else has a question? You sir.

Question: Obviously this is a very emotional play. With the death of Anne and all of the life and death situations going on. How do you keep the emotions so sharp and fresh from show to show? So that it does stay fresh. So that the emotions seem to be as roaring a week and a half into the run as it was in the first one?

Don Neal: Some of the best acting coaches in the world keep reminding us that acting is reacting. No two performances are the same. What you hear from the other actor is different every night. You react to that rather than your own way.

Pamela Sabella: I was just going to say that it’s kind of like learning the lines. After each show we forget everything. Then you come back. What’s neat about this show is, to me, it’s a series of flash backs. You have Anne and Henry in their respective places and they’re flashing back. Years pass. One of the things that Christine urged us to do was just to remember before and after each scene where we just came from and where we’re going to. Because as you can see, there’s a huge passage of time between each scene. It’s just a lot of preparation before each scene and then you just let it happen and hope that it’s spontaneous. It ends up being so. That’s how I do it.

Brian Ross Huse: For me, the person who makes it all easy is Jay. We all work as an ensemble of course. But when you’re on stage, even during rehearsal Jay is Henry VIII. We had two auditions. We had an original audition where we recited a monologue and then we had callbacks where we tried out different parts. Jay had only delivered about four words during the call back. He just had that blustering self assurance that is Henry the Eighth. I think if Jay stepped out of character or lost character it probably would affect all of us. He never has. He’s just absolutely amazing in that regard.

Paul Rubenstein: I think one of the more amazing or interesting parts of this is how we all have to react to Henry. Remembering that his emotions and his idea and thoughts could change like that. It was not a very easy time to be in. Everyone in the court was wary of his moods. He could be your best buddy one day and the next day he could be like, “Yeah, your head. Gone.” So there’s always that sense of who is he today? That really goes a lot into it.

Especially when you have to play different characters. You have to really get into that other thing. When I was playing John Houghton. I had to come in with this sense of, “I’m going to state my case. I probably won’t win this. I’m really not happy about this. I have to do this.” It’s just a matter of letting those emotions overcome me almost. It’s just a very disheartening heartbreaking thing that there’s just nothing you can do.

Brian Crane: A lot of that emotional intensity we don’t bring out of ourselves alone. It’s something we draw on each other to do. Our director has kept having as a mantra for us that this show is like a snow globe. We have to stay in the globe. What she means by that it that we are in a hermetically sealed situation. In the court we’re all wrapped in together. The intensity of that situation builds the energy. It provides the intensity for all of us to react to. Nobody acts alone. You pull on the people around you to produce the emotional intensity you need.

Lauren Christopher: It really helps when you have lead actors and actresses like Jay and Pam. Both of them have really intense stares. So when you’re up close to them. You feel it. It’s just like a dagger going right through you. I know in the scene when Henry is singing to me and them Pam comes in and she looks at me. It’s like, “Woah. I’m innocent here.” That really helps. It’s very real.

Jay Tilley: What might be a good thing now is if we heard some words from our fearless interim Artistic Director and our director Christine Lange because, I tell you something, this production would not be what it was, what it is without her guidance. So Miss Lange, tell us about your vision.

Christine Lange: Just put me on the spot there. Actually when we opened one of the most amazing things to me was that I was watching the show on stage. I was up in the booth with Melissa. We’re looking at everything. It was the realization that this show is a year in the making. We started rehearsals in May. For those of us on the production team this has ben a year in the making. Realizing that we were finally here and that we were opening and it was all there and it was amazing.

What was even cooler for me personally was looking at this group of people and realizing that I couldn’t see the line where what I had hoped to see ended and where what they brought to it began. It was so seamless. There were like one or two things that, I’ll admit that I suggested to them because I really like them. In every scene there’s this seamless blend that’s like, “Wait, I don’t remember where that came from at all.” It just grew so much out of the give and take of both sides having suggestions and following it along and seeing where it goes. It’s kind of like what they were talking about in building an emotion.

One of the things I had mentioned to both Jay and Pam was about having switches. In between the scenes, too. Knowing that there are places that you have to get to so that your show is always going to be consistent. There’s never going to be a night that you’re going to come watch this show and you’re not going to feel an emotional tension. It changes a little bit each night because the energy is different. Ultimately the journey is going to be the same way. That’s sort of what we were doing in rehearsals was experimenting and seeing where it was going. Then making sure we were finding those points within the rehearsal process were we were meeting sort of a certain goal or a certain level of intensity.

I just have to say that this cast has been unbelievable. They were actually bonding at call backs. It was really funny because, obviously at callbacks, there were people there who weren’t going to be cast. I almost felt bad because everybody got along so well. I’m sorry. I’m going to have to separate you. From the first read through on it’s really been a dream cast to work with. The dedication the amount of the intensity and the attention. It’s really just been an amazing experience working with all of you. And of course my fearless production staff. Which is Melissa. We had other help, too.

Jay Tilley: Who else has a question? Excellent, excellent question. How do we keep a straight face when we’re reciting funny lines to each other? Who would like to tackle that?

Paul Rubenstein: It’s hard. That’s the easy answer. It really boils down to practice. the first time someone says something funny, we’re all gonna crack up. It’s gonna happen. You get used to it. But you can’t get so used to it that you anticipate it. There’s going to be times sometimes and it doesn’t matter the show. It could be Anne of the Thousand Days. It could be the biggest screw ball comedy in the world. You have to stay in that moment and you have to react seriously to it. Someone once said and someone can add in the author of the statement. I can’t remember off the top of my head. Comedy is a serious business. If you’re laughing at your own joke, it probably isn’t that funny. You really have to take it as it comes. If it’s serious to the character, your character had better be serious because that’s going to totally destroy what the intent of the scene is.

Don Neal: It’s not only the funny lines that are being given to you on stage. It’s also what’s going on in the back of your mind because you’ve done the play several times. I’ll give you an example. When I am telling Henry VIII that Thomas Moore, Bishop Fisher, and John Houghton are waiting. What’s going through my mind is Larry, Curly, and Moe are here. It’s a matter of discipline. As Paul says, you get to the point where you fight off the inclination to laugh. Let the audience laugh, let them enjoy the joke. But you keep a straight face because you’re a disciplined actor.

Brian Crane: You just stay in character. It’s a matter of being focused and staying in character. To quote another playwright, Neil Simon, “Don’t make it funny. Make it real.”

Sallie Ronan: I guess this was during rehearsal. It was after the scene where Henry slaps Anne. The scene is going along and Ted whispers to me, “I’m going to be the king’s father-in-law.” I started to laugh. Luckily as I say it was during a rehearsal so I just kind of turned away laughing. It’s fun things like that that happen that help to get everybody grooving together I guess you could say. Staying in the moment.

Jay Tilley: Who else has a question?

Question: What is the one aspect of your character’s psychology that intrigued you the most?

Jay Tilley: I have a couple thoughts on that. For me it was the complexity of the character. His wanting to do good. His fighting that obsession to have a son at all costs. For me that was it. Who would like to also comment on that?

Ted Ballard: I thought it was interesting that Thomas Boleyn, even-though he had all these daughters. In the research I’ve been reading, he didn’t seem to care that much for them. They were daughters and they were there. Even though he was somewhat perturbed by the fact that Henry has made a mistress of one and now he’s coming in fact to make a mistress of another. Thomas doesn’t seem that concerned because it still keeps him in good graces with the king. He is still able to keep his grounds, his land and all the things he owns. Other than that he’d probably like another daughter in case Anne doesn’t work out.

In my character especially when I’m dealing with Jay. Since I don’t really know what the character of Thomas Boleyn felt toward the king. I had to sort of make up my own character. So I’m thinking that I don’t really like the guy. He’s 30 some odd years old and I have to do whatever he want’s me to do. I’m older than he is, but I’m beholden to him for my position in society. So when I’m on stage, I’m thinking, especially when he’s telling me why he’s coming to get Anne. I’m thinking I wish he would jump in the Thames. But at the same time, I’m also thinking I have to bow down before him. Otherwise I’m out in the woods somewhere wearing a loincloth or something.

Sam McCrea: I don’t think my take on my character was historically correct. I see myself as trying to protect Anne somewhat. To try to keep her from being beheaded, but as you know I was unsuccessful.

Carl Brandt Long: I had a slightly different approach. I wasn’t looking so much at the psychology, but what I really like about Mark Smeaton is the total contrast between joking with he king at the beginning and fearing for his life at the end. It was more Henry’s psychology. The mercilessness of Henry and his regime I guess and its effect on your average Joe in the court who sings to babies.

Don Neal: The one thing that intrigues me most about Wolsey is as an historic figure. Was his obsession with power and influence.

Melissa Klein: What I found interesting about Madge Shelton is her relationship with Henry VIII and Anne. She is Anne’s cousin and Henry’s mistress and Anne’s lady in waiting all at once. It was interesting finding Madge’s wants and needs and to move up in society. She was sleeping with the king as well. She could have a child with the king perhaps. And then also being Anne’s cousin and being part of the Boleyn family. It was very interesting meshing all those together.

Bret Bartosavage: As Percy it just intrigued me that I would actually have to play somebody in love as opposed to the evil guy which I play later on. I do evil very well. I do foofey boy not so good. Amazingly Christine pulled it out of me during this production. Obviously I love Anne. I’ll always love you. I actually found Bailiff more of a fun character to be with. I’m Percy. I respect the king. And even though I’m in love I have to give it up. but as the Bailiff I get to come back as poetic justice. Manhandle some prisoners and see how it is to work underneath Henry and his regime and be like the one who actually has to carry out the orders and have fun.

Abigail Wright: What I found most interesting about Mary is that even-thought, historically, she was a very sophisticated courtesan. Maxwell Anderson sort of make her both protective of her sister in a way, but also very affected by her past with the king. She bore his child. The most interesting thing or me in this play is when she is in court and she is among all of the other women in the court who are also Henry’s mistresses or have been his mistresses or his lovers. The play between these particular women in this production is interesting because we all are sort of looking out for each other and against each other because we all want a piece of the king. It’s very interesting.

Lauren Christopher: What I found interesting about Jane Seymour. I didn’t really have a clear understanding as to what the record was as to her intentions. It seemed a little unclear as to whether she was an innocent pawn in all of it. If it was more of her intentions of her family to try to move ahead in the court. Or if she was actually trying to actively pursue being next in line. So I went with a sort of progression. Starting off with more of the innocent getting caught up in all of it. And then by Act 2 realizing that there is interest here so let’s go with the flow.

Paul Rubenstein: As far as Henry Norris is concerned I also had kind of a progression there. At the beginning we’re al kind of chummy. There is that little bit of wariness, but mostly a really good relationship with the king, really good relationship with the Boleyn’s. It starts to get weird once Henry really starts going after Anne. Who’s the loyalty to? That really comes into play in the second act. Dancing with Anne and then all of a sudden Henry comes in and I’m like “I was just dancing with his wife. What’s going on here?” I spoke a little bit before about Houghton. As the town crier, I think he’s just a Palpatine wannabe.

Brian Crane: Thomas Cromwell was the son of a blacksmith. He wasn’t a nobleman at all. His ambition interested me. His willingness to take enormous risks. At the beginning of the play when he first comes on. He could just go long with Wolsey’s secretary and have quite a bit of prestige and influence there. He decides instead to take this enormous gamble that it if it fails he’s dead. But if he succeeds he takes Wolsey’s place. It’s quite a character that would do that. Then at the end he decides it’s him or it’s Anne. Oh, well.

Brian Ross Huse: What intrigued me most about Thomas Moore was the moral line in the sand which he was willing to draw. He ultimately paid with his life. I think all of us in our lives with our own personal values. We have principle and values which I think it’s easy to say, “oh, I will always believe in this or I would never believe in that or do that.” When it comes to literally facing death would we do it. I don’t know if I would. Thomas Moore was just one of those people who live and died by his principles which I though was very admirable.

Sallie Ronan: When I did a little bit of research on Elizabeth Boleyn, she was very ambitious. The thought going though my mind was did she marry Thomas out of love or out of ambition? Being a mother of four myself, I would never, excuse the expression; pimp my kids out. Basically that is what Elizabeth and Thomas did with their daughters to get ahead in the royal court.

Pamela Sabella: I just love that Anne never gave up on what she wants. Not only that, but she always wants something that’s really important. She’s thrown into these situations that it seems like she’s not going to be able to control it at all. It’s the king. But somehow she has herself made Queen of England. Once she has that it’s about Elizabeth. It’s about the child, this child is going to succeed her no matter what she has to do.

I love Cardinal Wolsey’s line about how some men die for their principles and others because it’s the next thing to do. I sort of felt that Anne does both. She could have run away. She has all of these opportunities to get out of this. She’s principled and she cares. It’s the next thing to do. You hear her in these private monologues speaking of the past and then speaking of Elizabeth and what will be once she’s gone. She reconciles with this and decides that it’s good thing. Another line that gets to me is when Elizabeth says no matter what you do you will live and you will make your life into something. You won’t die, which is only partly true. Dying to live. All these lines that she seems not to be listening to when they happen just kind of come back. That kind of wraps it all up for me. I just love that she has that drive through the end.

Jay Tilley: The question was, how much were we influenced by the movie? I’ll start that off. For me, actually I didn’t see the movie until after I did Anne of the Thousand Days the first time as Mark Smeaton. For me the movie is so different from the play that I try not to think of it much at all. I enjoyed the movie. I love Richard Burton. I’m a huge Richard Burton fan. I think there were a couple moments today where I was channeling him just a bit. I tried not to think about the movie because they do take a lot of liberties with the script. The basic script is there. But there are a lot of differences. For example, Catherine of Aragon is in the movie, she is nowhere to be found in the play. We just talk about her.

Christine Lange: I just had to add that the only thing that specifically came from the movie was Jay’s insistence to having fur on his collar. We actually had a production meeting where we watched the movie. A couple of us watched the movie together. I had never seen the movie actually. I was like,” Ok, we’ll see some stuff, maybe get some visual images and things like that.” And really after watching the movie my decision was no, not the movie. Part of it is because when you’re looking at the stage. If you look at our stage verses anything you’re going to see on a movie set, we went very very simplistic. We are never going to recreate what you’ll see in a movie. Even visually we had to go with a sort of totally different principle. As soon you have different people in the roles. Aside from the fact that the script is totally different. Having different people in the roles it goes in different direction. It moves in a different way. At least our intention was it was never with he movie as really anything other than hey there’s a movie, too.

Paul Rubenstein: One thing that I learned quite a long time ago when I was a freshman in high school when I took my first drama class was to avoid seeing something that I’m going to be doing because I don’t want to be a second rate someone else. I want to be a first rate me. I’ve held onto that. If I’ve learned nothing else from my high school drama that’s one thing that’s definitely the case. I’ve not seen the movie to date. I will not see it until after I’m done performing. As much as we say we’re not going to let anything effect us, if we se something that looks intriguing perhaps. there’s that tendency to want to say, “Hmmm, let me try this.” Which is a very bad thing to do in performance.

Abigail Wright: I think it depends on the person, too. I avoid recordings like the plague when it comes to singing because I know that I’ll mimic someone else’s voice. As far as this movie is concerned, I actually did see it before we even started rehearsing. I’d seen the movie before. Mary’s completely different. In the movie she’s very angry all the time. This production really gave me a chance to be somebody very different. I think most of us either haven’t seen the movie or those of us who have seen it, have modeled their characters on Maxwell Anderson and also historical facts and also what we have put into the characters rather than what we’ve seen from the movie.

Don Neal: It’s always kind of dangerous to compare a movie version and a stage version of any story. There are things about the original film that I like and dislike for a lot of different reasons. As I said in answer to an earlier question, this is a different play every night. The dynamics are different, what we get from the audience and what we do with that audience reaction is slightly different every night. So when you go modeling a stage character after a film character who has that camera close up. That is so brutally honest, and you can do as many times as you want to until you get it right. We don’t have that luxury.

Ted Ballard: To repeat what Paul said about looking at the film before the show. I had heard of Anne of the Thousand Days, but I didn’t really know all that much about it when I heard about the audition. I got confused. I thought it was Anne of a Thousand Faces. I thought it was a comedy. After I got cast my first thought was “I’ll go to Blockbuster and check out the DVD and take a look.” So I went to Blockbuster and then I started thinking that maybe this wasn’t the right thing to do. If I look at Thomas Boleyn then I might try to copy him. Maybe I shouldn’t do that, maybe I would be limiting myself. So I checked out Dumb and Dumber instead.

Jay Tilley: Miss Lange would like to add something.

Christine Lange: I just wanted to say that it’s not directly related to the movie, but some people have mentioned that they have done some historical research on their characters. One of the things that was kind of interesting and tricky about this play is that it’s actually not historically accurate. The most glaring error is the fact that Percy doesn’t die until after Anne’s trial. He is actually present at her trial. He faints and is carried out. Somehow in the play he gets killed off immediately. It’s sort of like, “We don’t know why, it makes for good theater.”

When we set out to do the play we were doing the play. It wasn’t about trying to force historical precedence onto the play. So it wasn’t Jay and Pam researching Henry and Anne, they did. It was about taking that research and trying to impose it onto the script. It was to find what was in the script and see where it could be accented by the historical realities, but also letting go of those things when the script was obviously going in a different direction.

Jay Tilley: We’re going to wrap things up now. Again, thank you ladies and gentlemen so much for taking the time to spend some time with us this afternoon coming to our talkback. I just want to say in closing on a very personal note. This is a play that after I did this six years ago with Don. This is a play and a role I’ve been wanting to do for ever since then. I’ve been wanting to do it for a long time. After shopping it around for a few years, finally Stephen J. back there gave me a thumbs up. He was serving as the artistic director at the time, a year or so ago. Gave me the opportunity to make this show a part of the season and for me to play Henry. So I want to thank Steve for that and I want to thank Christine for agreeing to direct it and putting up with me. I want to thank the entire cast and crew for making one of my theater dreams come true. I had the vision in my head all these years of what it would be like. This is actually very different. But that’s ok because it’s better. It’s better than I could have ever hoped for. So thank you. Thank you so much.

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started ShowBizRadio in August 2005 because they love live theater. They each have both performed in and worked behind the scenes in DC area productions, as well as earned a Career Studies Certificate in Theater from Northern Virginia Community College. Mike & Laura are each members of the American Theatre Critics Association, and Mike is a member of the Online News Association.

2 Responses »

  1. Thank you so much Mike and Laura for taking the time to come and record this talkback session with the audience following our July 23 matinee performance of Anne of the Thousand Days. Looks like you did a great job editing this, particularly me Mr. Windbag Host! 😉

    Jay Tilley
    Director of Communications
    Vpstart Crow Productions, Inc.

  2. Many thanks to Jay for letting us know of some corrections to our transcript. Those changes have been made, as well as fixes to some silly misspellings. The names are all correct now, we apologize to anyone we originally mis-identified.