Review Fix chats with Brady Richards, who discusses his role in the upcoming Genesis Repertory production of “Line.â€
About “Lineâ€:
Next year will mark 50 years that Israel Horovitz’s stunning surreal play, LINE, will have been performing in NYC. Beginning its life at Ellen Stewart’s LaMaMa, ETC in 1967, the play moved to the 13th Street Repertory Theater in 1974 and has remained there ever since.
The original production has seen innumerable reiterations over its five decades, but now 13th Street Rep in association with Genesis Repertory (an arts & educational organization) will revive the classic in a version similar to its original form (which included a then-unknown Richard Dreyfuss).
A connection to the original production is its director. The production is helmed by Jay Michaels, who studied with Carol Ilson, the original director of the production at 13th Street.
The cast, as it did back then, is comprised of young talented artists emerging onto the New York theatre scene. The rotating repertory includes Angelica Adams, Daniel Berger, Mario Claudio, Nina Cudic, Robert I. Gottlieb, Ben Lerner, Conor D. Mullen, Brady Richards, Andrew Schwartz, Beth St. John, and Elliot Wygoda.
The new “March to 50” production begins October 17 @ 7:30 p.m. at 13th Street Repertory Theater (Joe Battista, artistic director) in association with Genesis Rep (Mary Elizabeth Micari, artistic director) and will run Mondays.
Review Fix: What’s your creative process like?
Brady Richards: Initially, I like to tackle characters from a physical perspective, but Stephen’s intellectual life *is* so physical. He’s a brilliant bully, he ridicules and manipulates others with exuberant ease and is of the mind that he exists above the rest; he might. Stephen’s word choice and wit were good places to start exploring the character, informing much of his actual physical life since manifested.
Review Fix: What makes this different or special?
Richards: Having the privilege to, as Jay puts it, “watch yourself rehearse,†has been especially different. Watching as another person bats for the same character, exploring the same idiosyncrasies brings some groundedness to an otherwise loony play. And, of course, the nature of putting up a historic piece in a historic venue lends its own sort of pressure. Mostly exciting, though. Eustress.
Review Fix: What did you learn about yourself through this process?
Richards: It’s an ongoing discovery, but the necessity for patience, understanding and flexibility in a short, time-conscientious rehearsal period. Especially one with two casts, meaning not everyone will get the chance to go through the full thing at every rehearsal. Jay’s been really excellent about managing the crazy.
Review Fix: How does it feel to be a part of something like this?
Richards: I feel very privileged and honored to bring this work to new audiences and to add the credit to my resume.
Review Fix: What are your ultimate goals for this production and for the future?
Richards: There’s been talk of tweaking the play in even-further gonzo ways, a touring possibility and even involvement from Israel Horovitz himself. Until any of that happens, I look forward to an exciting run and makin’ some mahvelous memories with a great gaggle of people.
Review Fix: What do you think your audiences will enjoy the most?
Richards: They’ll enjoy Horovitz’ wordplay for certain and I hope they enjoy our energy. We’re real energetic.
Review Fix: What’s next?
Richards: There’s a short film I’ve just shot that’s in need of reshoots, so I’ll be returning to a beach at 4:30am. Excited about that. More work (I serve fancy Indian food), more auditions, more staying in. I’ve got it made.
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