Beer Flight Theatre Cast: Andrew Glenn

Hello All,

Threepenny Theatre's one weekend run of one act plays will feature the works of three of the greatest modern playwrights (Edward Albee, Harold Pinter and Tennessee Williams). Today we will meet the last of our actors. Andrew Glenn has been involved with Threepenny since the company's first show A Midsummer Night's Dream. A carpenter by trade, Andrew can usually be found backstage (either here at Threepenny or at Theatre Memphis), assisting with the construction of sets and serving on the run-crews of many, many productions over the last several years. He will be making his first on-stage appearance for Threepenny this weekend, and he stops by the blog to talk about it.

Andrew Glenn - The Unnamed Man

Welcome to the blog. What is your name and what show are you performing?

I am Andrew Glenn, and I will be in Harold Pinter's "New World Order."

How did you get involved in working backstage in the local theatres and Threepenny particularly?

I first started when my friend Jeff Posson got me involved in helping over at Theatre Memphis. My first show was Oklahoma! in 2008, and I ended up working on a lot of shows there. For Threepenny, I first helped with Matt's original production of A Midsummer Night's Dream and then helped again with the remount a few years later. Every now and then, Matt needs some help and I come help him. I sort of do every backstage thing you can think of: building sets, run-crew, pin-rail, lightboard and sound op, whatever is needed.

Any on-stage roles before this weekend?

My only other on-stage role was in Glengarry Glen Ross at Theatre Memphis. Tony Isbell was the director. There was a part that I was a good for, and it was a lot of fun.

What are your thoughts on your character in "New World Order"? 

I enjoy it. I don't really have any lines, so everything I do is supposed to be about a physical reaction to what is going on around me. So that's a lot of fun. It's a strange play.

Any last thoughts on the plays or the beer or anything else?

They're not really happy plays *laughs*. I mean, they're all really, really good, engaging and everything, but they're all fairly bleak, so drink that beer, with all your might *laughs*.

Thank you Andrew. This concludes our actor interviews, Be sure to come check out Threepenny and Memphis Made Brewing Company's Beer Flight Theatre Night, opening...

TONIGHT, August 26th at Evergreen Theatre. One Weekend Only!

Remember, all shows are Set-Your-Own-Admission with a suggested donation of $15. Curtain goes up at 8pm!

Beer Flight Theatre Cast: Michael Khanlarian

Hello All,

Threepenny Theatre's one weekend run of one act plays will feature the works of three of the greatest modern playwrights (Edward Albee, Harold Pinter and Tennessee Williams). Today we will meet another of our actors. Michael Khanlarian recently appeared in Threepenny's production of Cindy Lou Johnson's Brilliant Traces. Most of Michael's recent work has been with Tennessee Shakespeare Company, where he is currently touring with the Romeo & Juliet Project and will be appearing in their upcoming productions of To Kill a Mockingbird (Bob Ewell) and Much Ado About Nothing (Leonato). We're always happy to have Michael back on our stage.

Michael Khanlarian - Jerry

Welcome to the blog. What is your name and what show are you performing?

My name is Michael Khanlarian. I am playing Jerry in The Zoo Story.

Now Michael, you have been on the blog before so we already know a little bit about you, but what have you been up to recently?

 Most recently, I've been working with Tennessee Shakespeare Company on the The Romeo & Juliet Project. We go through schools all around the Mid-South. Freshman have to read Romeo & Juliet, so we go through it with them and relate it to their lives. That story is really about teen violence, so we connect this 400 year old story to the students lives and it's always lovely to see how they react to those similarities. It's one of my favorite things that I've ever done.

How do you go about preparing for a role? 

Well, for Zoo Story it's just getting my lines *laughs*. I mean the line load is just so heavy. Other than that I don't know if I have a specific process for each one. I mean once I have the lines, I think it's like Steven said, it's about getting the lines in your head and trying to inhabit them. Though maybe not word-perfect like Steven, at least not in this show *laughs*.

*Editor's Note: Michael is referring to the Threepenny blog interview we did with Steven Brown earlier this week. Scroll down to find it


What are your thoughts on Edward Albee and The Zoo Story, particularly? 

You know, I don't know a great deal about Albee. I've heard a few stories about him. Mostly how specific he is about the way some of these lines are said. He is very specific about the blocking and some of the ellipses, and I've heard some stories about him being a quote/unquote "tyrant" about how these lines are supposed to be emoted. Interesting, but I really don't know if it's true. But this story, it's really like all stories, it's about two people connecting, or trying to find a way to connect. In Brilliant Traces it was two people stuck in a cabin who couldn't leave. In this one, there are two people stuck in a park who could leave at any time, but they choose to stay, so it's why are they choosing to stay and connect with each other. They're two vastly different people, so what is it about this moment that makes them connect?

You know it's interesting. In your shows with Threepenny, you've always been sort of coupled up, paired with another actor in a two person piece. Is that more of a challenge than a larger ensemble?

I don't know if it is more of a challenge, but it certain presents it's own unique challenge; mostly from the fact that you only have this one other person to depend on, where with a larger ensemble there are multiple people around to sort of help you if you get lost. Now with this show, it's sort of different, because it's so line heavy for me that if I get lost, I'm in trouble. Because Peter, the other character [played by Corey Parker] is a listener and I just talk and talk. I have a five page monologue at one point, that feels like a twenty page monologue to me sometimes *laugh*. So that's a big challenge

Any last thoughts on Beer Flight Theatre Night as a whole?

We were just saying, after the run-though was over that it was lovely that all the shows basically revolve around two people, one has three but that character is sort of removed in some ways, so it's all about the pairs. It's not a light evening at the theatre, I would say. And beer is wonderful, but sometimes I think we could maybe use some hard liquor at this show *laughs*. Ultimately I think these shows, like most good shows, discuss what it means to be human and what connects us as human beings. And that's the most important thing: if I can see something real on stage and something that makes me feel connected to the actor even though I know they're not really this person, then I'm happy

Thank you Michael. Check back tomorrow to meet our last performer! 

And be sure to come check out Threepenny and Memphis Made Brewing Company's Beer Flight Theatre Night, opening TOMORROW NIGHT August 26th at Evergreen Theatre. One Weekend Only!

Beer Flight Theatre Night: Corey Parker

Hello All,

Threepenny Theatre's one weekend run of one act plays will feature the works of three of the greatest modern playwrights (Edward Albee, Harold Pinter and Tennessee Williams). Today we will meet another of our actors. Today we are excited to be introducing a new face to our Threepenny company. Corey Parker has been an actor and acting teacher all over the country. He brings years of experience and artistic excellence to our stage, and we are excited to have him on the blog today.

Corey Parker - Peter

Welcome to the blog. What is your name and what show are you performing?

My name is Corey Parker.I am playing Peter in Edward Albee's The Zoo Story.

How did you start acting?

 I started acting at the age of three, after my father's death. We were living in New York, and we were going around town trying to make money. And then I started in the theatres at the age of thirteen in New York and ended up becoming a member of the Actor's Studio and the Ensemble Studio Theatre and working with Steppenwolf. I've always just loved theatre.

How did you end up finding your way to Memphis?

I met my wife in Los Angeles, and she was from Memphis. We decided to come back and raise our kid here.

How did you first encounter Threepenny?

I knew Matt. I had worked with him some. So when he created it. he told me about it. I'm also a teacher as well as an actor, so I went in and did some warm-ups and exercises with the company at some points.

How do you go about preparing for a role? 

I think it's always different, you know? I think there is always this desire to find this formula, so you can just check off the boxes and be done. You know, the most obvious thing is that you do need to learn your lines, but I think after that you can start to follow your intuition about who the character is and ask yourself "how I can find some sort of connection with him, and what is he really after, or what does he really need or want." And you start to get those connections. They can come from anywhere: from watching an animal, or a painting, or listening to a piece of music. You just follow your heart and you start to find and discover this person.

What are your thoughts on Edward Albee and The Zoo Story, particularly? 

Well, I think Albee is a pretty astounding, amazing writer. I have a high respect not only for his ability as a writer, which is mind-blowing, but also just his brain impresses me. I've watched interviews with him from the 70's, 80's and 90's. I've read interviews with him, and I just think he's an astounding writer. I also think he's a control freak. I think as he became older he just got so controlling over things. Like this play, the version we are getting to do... a professional production of this play cannot do it the way we get to do it. Albee wrote another play that goes in front of this play, and you can only do those two plays together now. So this play we're doing is from 1959, and it's an amazing creation, and I think it should be allowed to be done the way it was originally written. But, you know, it's his play, I guess he has the right to be controlling. It is an amazing play.

Editor's Note: Professional productions of The Zoo Story are also required to produce Albee's piece Homelife, which serves as a sort of Act I for The Zoo Story. Colleges and non-professional theatres (like Threepenny) are permitted to just put on the original one act.

Any thoughts about the upcoming night of one acts and what connections you see between the plays?

I actually got to see the other plays for the first time tonight, and I think the thing that is really in common here is Matt: Matt's vision, Matt's heart, Matt's creativity. And I really respect Matt a lot, and I love watching him put things together. He produces. He directs. He's a powerhouse and nothing seems to stop him, and he works very, very hard. So I think Matt is the real answer to that one

Where can we learn more about you Corey?

I have a website, http://www.coreyparkeractor.com. And I also have an actor blog, which is http://memphisactor.blogspot.com/, both of which you can check out to keep up with what I'm up to.

Thank you Corey. Check back later this week to meet another performer! And be sure to come check out Threepenny and Memphis Made Brewing Company's Beer Flight Theatre Night, opening August 26th at Evergreen Theatre. One Weekend Only!

Beer Flight Theatre Cast: David Galloway

Hello All,

Threepenny Theatre's one weekend run of one act plays will feature the works of three of the greatest modern playwrights (Edward Albee, Harold Pinter and Tennessee Williams). Today we will meet another of our actors. Today we bring you some international flair with David Galloway. Originally from Scotland, David has been designing and performing in the Memphis area for many years now. He's appeared in previous Threepenny productions such as Macbeth and Dido, Queen of Carthage. When he isn't performing theatre, he is performing with local punk band Shamefinger. 

David Galloway - Lionel

Welcome to the blog. What is your name and what show are you performing in?

I am David Galloway, and I'm playing the character of Lionel in Harold Pinter's "New World Order."

How did you start performing in theatre?

 I got started with theatre proper in undergrad. There were auditions for a show that some of my friends were doing called On the Verge, and I thought "well what the heck, I'll audition for it" and I got in and by the end of that process I was like "this is something I think I should do." So I declared my theatre major and started doing shows.

How did you first encounter Threepenny?

That was Macbeth, I'm pretty sure. Auditioned for Macbeth, played Banquo and I loved it. Had a great, great time.

How do you go about preparing for a role? 

A lot of it is research. I look into the history of the play and the specifics around my character. I'll think of other characters from other plays or mediums that are similar to my character, and research them as well, see if I can't find anything to pull in to help define who I'm playing. But mostly for me, it's all about the reading and research.

Now, you are Scottish. What are your thoughts on Harold Pinter and this play, particularly? Especially how it might relate to politics in the United Kingdom?

Ah, you see, what's weird is that during this process we haven't talked too much about UK politics, but we have talked a lot about US politics with this, given our current political climate. Pinter is an English playwright, who writes a lot about freedom of the press and freedom of speech, and I think this play, at least in his initial interpretation, is very much a tongue-in-cheek poke at that. You know, with all this PC, political correctness, this is what Pinter thought could happen: intent could overcome ethics. But at the same time, I don't think his original intent is what the play means for us today. With the crap that's going on with our current elections in this country or with the language that was used surrounding the Brexit campaign in the UK, I think we're seeing something different. We are seeing a breakdown of Truth via language. Where our newscasters can say whatever they want to say because it gets ratings up. And I think this play can sort of speak to that a little bit, and ask what defines what it true and what is right. But even more than that, I think this play deals with the moral dilemma of dehumanization and torture. What justifies getting getting to that point where you can dehumanize a person so much that it's okay to inflict excruciating pain on someone? Where is that line for you? And I think that's relevant at the moment as well, because it's in the news. Is torture alright for enemies and should we use it? I don't think so. I think it's disgusting and anyone who does it should be condemned.

How does it feel to be performing a short 10 minute piece as opposed to a long-form play.  Is it more or less pressure?

In many ways I think there is more pressure, because with a full length play you have two hours to work out all the stuff. We've got about ten minutes. It's really about 6 minutes of dialogue and about 4 minutes of other stuff. But we have to establish these characters in such a small window of time, make them relateable to the audience, make the situation explainable and relateable to the audience with a heck of a lot less than you would have in a full length play. So I think the challenge is definitely greater.

Any last words to the audience about the play or the beer or anything else?

Memphis Made is pretty damn fine.

Any other plugs?

Come see Hamlet [presented by New Moon Theatre Company, February 3rd-19th at TheatreWorks] when that comes out. Come see Shamefinger. We are playing at Murphy's this Thursday at 8pm and this Saturday at 9pm. It should be a blast.

Thank you David. Check back later this week to meet another performer! And be sure to come check out Threepenny and Memphis Made Brewing Company's Beer Flight Theatre Night, opening August 26th at Evergreen Theatre. One Weekend Only!

Beer Flight Theatre Cast: Steven Brown

Hello All,

Threepenny Theatre's one weekend run of one act plays will feature the works of three of the greatest modern playwrights (Edward Albee, Harold Pinter and Tennessee Williams). Today we will meet another of our actors. Steven Brown has been performing at multiple theatres in the Memphis area for almost two decades. His last appearance with Threepenny was in our production of William Shakespeare's Macbeth. We are delighted he will be joining us once again for Beer Flight Theatre Night.

Steven Brown - Des

Welcome to the blog. What is your name and what show are you performing in?

My name is Steven Brown, and I'm playing Des in "New World Order" by Harold Pinter

How did you start performing in theatre?

 I first got started in theatre in high school. I was one of those kids who could never decide what they wanted to be on career day, so I decided to give the acting thing a try. I took a theatre class my Freshman year, got into my first show sophomore year and just kept going after that, all the way through college and beyond.

How did you first encounter Threepenny?

The first show I did with Threepenny was A Midsummer Night's Dream. I had already been around Matt a little bit. We'd worked on a few shows together and seen each other around the community. He approached me about Midsummer, and I liked the idea and the concept of the theatre: pay-what-you-can and a focus on classics like Shakespeare and contemporary works in a sort of stripped down setting. So I did that show, and after that I told him if there were any others I would be here.

How do you go about preparing for a role? 

Well first thing I do is just read the script quite a few times, just trying to get a sense of where everyone is coming from and seeing how my character relates to everyone around them. No matter what kind of role I'm playing, I need to find that relation with the other characters. After that, I think it's all in the words. I work the lines until I have them word-perfect in my head, so no matter what rehearsal calls for, I have them down in my mind and can be adaptable with them. Because, to me, the character lies in the words. Thought gets you to where you need to be, but words are how you express that to the audience, and when you can perfectly connect the words to the thoughts behind them, that's when you have a good performance.  But in order to do that, you have to have the words. They're your constant.

What are your thoughts on Harold Pinter and this play, particularly?

I've not had an extensive background with Harold Pinter before this. I've seen a few of his plays before around, mostly in college. I'm aware of his trademarks: the "Pinter Pause" and everything. I am glad we're not sticking hard and fast to those directions and being a bit more free-form. But I really do enjoy it. I think "New World Order" has a really great economy of story. He packs a lot into a little bit, hiding things in the subtext. The words you see are the tip of this huge iceberg. There is so much subtext to be found or created. There's a freedom to that as an actor because you can find your character and your own motivations to get where you need to go.

* editor's note: Harold Pinter routinely worked moments of silence into his scripts, usually with the simple stage notes of "pause" or "silence," hence the "Pinter Pause." Actors, directors, critics and theatre scholars have long debated the artistic and technical intent behind these stage directions. Pinter himself (in later years) said they could be cut if they didn't make sense.

How does it feel to be performing a short 10 minute piece as opposed to a long-form play.  Is it more or less pressure?

Actually, no, it seems like a chance to really play. Not indulge or anything, but normally in a play it's about responding in a way to keep the action going. It's about responding on the line, there's not a lot of acting in between. But with this, with Pinter and because it is so short, there is almost a responsibility to find those moments in the character and in the story that are expressed through silence or in waiting for a response or trying to form a response and letting the audience see all that forming. So because it is so short and there is so much subtext to be packed into that small amount of time, it's almost more fun than a full-length show. So I don't feel more pressure.

Any last words to the audience about the play or the beer or anything else?

Hopefully the beer and the show and everything will be great. I think these three shows really go together in a very interesting way. They all sort of come from two people in conflict and I think that's really interesting.

Thank you Steven. Check back later this week to meet another performer! And be sure to come check out Threepenny and Memphis Made Brewing Company's Beer Flight Theatre Night, opening August 26th at Evergreen Theatre. One Weekend Only!

Beer Flight Theatre Cast: Michael Ewing

Hello All,

Threepenny Theatre's one weekend run of one act plays will feature the works of three of the greatest modern playwrights (Edward Albee, Harold Pinter and Tennessee Williams). Today we will meet another of our actors. He recently appeared in Hattiloo and Threepenny theatre's collaborative production of Free Man of Color. His appearance at Beer Flight Theatre Night will be his last performance in the Memphis area for a while, and while we are sad to see him go, we are glad to have Michael Ewing performing with us one more time.

Michael Ewing- Man

Welcome to the blog. What is your name and what show are you performing in?

My name is Michael J. Ewing and I will be playing Man in "Talk to Me Like the Rain and Let Me Listen" by Tennessee Williams.

How did you start performing in theatre?

The first thing I did was in 8th grade. I got to play Scrooge in an abbreviated version of A Christmas Carol for kids. So I got to play a lead, and I say that because it sort of kindled something there. But because I was an athlete, running track and cross country through college, theatre sort of went on the back burner. So, to shorten the complicated story, I auditioned for a play my last semester in college, and I didn't get it, but it triggered something. So, after college I moved to this little ski town in Colorado for a year and did four shows back to back to back to back, and it was great and I loved it. I moved to New York City and just got completely overwhelmed and intimidated so I went and got a "real" job for about two and half years. But eventually, after traveling a bit, I sort of had a... I guess you could call it a crisis of purpose, and I said "f*** it I'm gonna give it a shot". I was in the Philadelphia area, and I just started looking for things and I've been scrambling and scrabbling it together ever since.

How did you first encounter Threepenny?

Through you *laughs*. I first heard about it last year when I was doing The Seagull (at Playhouse on the Square). So I came over and saw Long Day's Journey into Night, and I was just blown away.

How do you go about preparing for a role? Be it a short 10 minute play or a larger one like Free Man of Color or The Seagull

For me, it's an amalgamation of approaches. To begin with, I read the play, or read it again if I'm already familiar with the work. Then I quickly try to get a sense what the director's vision is, and, from there, I try to bring my myriad of experiences and technique to the table. I did a lot of improv early on, and while I feel I'm not a great straight improvisor, what I did get from those experience is this willingness to not be afraid to fail, because failing at improv is the scariest thing in the world. Also, it created this sense of "yes, and..." when I work, that has served me really well as a regular actor because it keeps me open to what my fellow actors come up with,  and what the designers and directors decide to do. So, initially, I try and be a sponge for everything and then as the rehearsal process continues, you start to narrow things down and make clearer, more concrete choices.

What are your thoughts on Tennessee Williams and this play, particularly?

Well, I've talked to few people about this play and I think for some it's really cool and others it's a little scary because this play is kind of a tone poem. And that's a real challenge as an actor, because there is this really fine line between it being too precious and it being almost ridiculously melodramatic. In a way it's sort of a nugget of Tennessee Williams himself. I think you could make that case for almost all his works have that pull between "is it too precious/is it too strident" That's the big challenge, I think.

How does it feel to be performing a short 10 minute piece as opposed to a long-form play. Especially considering how Williams puts so much emphasis on creating a mood. Is it more or less pressure?

This is what sort of comes back to my improv "yes, and..." training. I really don't worry too much about that sort of thing, anymore, that pressure. Plus, I've already worked with Matt on Free Man of Color, and now, on this second go-around I have even more faith in putting myself in his hands and going where he wants to go. I've been doing this long enough that I don't worry. Some people will think this is really cool and for some people it won't be their cup of tea, and I have little control over that personal preference. I can just do the best I can when the performance comes.

Any last words to the audience about the play or the beer or anything else?

Be an improvisor. Be a "yes, and..." open audience member, cause it's a nice little variety of shows, and I think there is a conversation among the three pieces that is something to look for.

Thank you Michael. Check back later this week to meet another performer! And be sure to come check out Threepenny and Memphis Made Brewing Company's Beer Flight Theatre Night, opening August 26th at Evergreen Theatre. One Weekend Only!

Beer Flight Theatre Cast: Jaclyn Suffel

Hello All,

Threepenny Theatre's one weekend run of one act plays will feature the works of three of the greatest modern playwrights (Edward Albee, Harold Pinter and Tennessee Williams). Today we will meet the first of our actors. This is her second time performing for Threepenny (she previously appeared as Juno, queen of the gods in Threepenny's Dido, Queen of Carthage collaboration with the Opera Memphis's Midtown Opera Festival). She has been a member of the Memphis theatre community since relocating here from Houston, Texas in 2007. Meet Jaclyn Suffel.

Jaclyn Suffel - Woman

Welcome to the blog. What is your name and what show are you performing in?

My name is Jaclyn Suffel. I play Woman in "Talk to Me Like the Rain and Let Me Listen" by Tennessee Williams

How did you first get started performing in theatre?

In elementary school, we did these really strange, almost like canned musicals. They were musicals that were written specifically to be performed by elementary school kids. So I started with those. I played Spots the Leopard and a character just called "The Boss" in a Christmas show, which was my first taste of being a villain. I loved it, and I've never looked back *laughs*.

Where did you get your more formal training?

In Texas, there is a UIL one-act competition, which is this competitive form of theatre that we do. It's a heightened form of high school theatre that requires theatre production on a very rigorous level. So that started my training and then I went on to Southwestern University on a theatre performance scholarship and majored in theatre there.

How did you first encounter Threepenny?

All my besties are in it *laughs*. All of my good friends helped found it. The first Threepenny show I saw was A Midsummer Night's Dream and it was a phenomenal production that was done on a low budget and I was really impressed with it. What this company does is amazing.

How do you go about preparing for a role?

I spend a lot of time with my script. I believe in deep script and character analysis. I take a lot of notes and mark my script up. I really like to think characters through, practicing deliveries on my own, reading the script multiple, multiple times aloud before the rehearsal process begins. Then, when rehearsals begin, which is my favorite part of any production, I quickly want to create a relationship with the director where I can ask questions and we can go back and forth. I can learn their vision and expand mine.

What are your thoughts on Tennessee Williams and this play, particularly?

I love Tennessee Williams. I think he's one of the most amazing playwrights in existence. I think most theatre folks would say the same. Even his stage directions are poetry. The way even the most minute of his details holds weight  and has importance. And I think his ability to write about the weakness and vulnerability of humans is accessible in a way that not many playwrights can touch, probably because it so truthfully came from his own vulnerability. With this play in particular, it's a really intense and heartbreaking little one act that explores codependency and two people's codependency on one another.You just get sort of a glimpse, a snapshot of what that looks like on a daily basis and how heartbreaking it really is.

How does it feel to be performing a short 10 minute piece as opposed to a long-form play. Especially considering how Williams puts so much emphasis on creating a mood. Is it more or less pressure?

I feel a lot of pressure, but I think it mostly has to do with the arch of the story being so condensed. You have this very tiny moment to make this massive emotional journey. It means you have to be incredibly precise about everything that you do and there is no room for error and there is no room to make an unclear choice.

Any last words to the audience about the play or the beer or anything else?

I mean, plays are always awesome and plays plus beer only makes life better. In general, I think it's really important to support local theatre. This theatre was started by some local people who just had a passion for doing traditional good, solid written work. Not everyone does the kind of theatre Threepenny does, and we need them to continue producing, so for those of you who come support this and grab a beer... we appreciate you.

Thank you Jaclyn. Check back later this week to meet another performer! And be sure to come check out Threepenny and Memphis Made Brewing Company's Beer Flight Theatre Night, opening August 26th at Evergreen Theatre. One Weekend Only!