Wednesday, September 28, 2011

New Play Lab Opportunities at Freehold by Kathryn Van Meter

Photo: Kathryn Van Meter (left) and Jane Anne Wilder

I recently had the pleasure of being involved with the New Play Lab series through Freehold and I can't wait for the opportunity to audition for the next one.

I firmly believe in the importance of developing new work and new voices and I think Freehold is doing an incredible job with their Playwriting program. I got the email for the auditions and by some miracle of scheduling, I realized I could not only attend the auditions but would be available for the performance weekend as well. It was one of the most relaxed and enjoyable audition experiences I have ever had. Erin Kraft and Meaghen Arnette, the directors of the 4 plays, were gracious and warm in the room. The playwrights had an excitement about them that was infectious. I had convinced a friend of mine to attend the auditions with me and we both commented afterwards on what a great experience it has been.

I got an email later that evening from Meaghan asking me to play the role of Patty in the piece Lily's Birthday Wish - one of the roles I had read for in the auditions. Ann Eisenberg, the playwright got a draft of the script to us right away. There were 2 rehearsals scheduled, each for 2 hours. Meaghan was wonderful in her respect of the process for both the playwright and the actors. It was really great to watch Ann hear her play in a new way and as we began to ask her questions, see the wheels turning in her head. The amount of changes she was able to make between the first rehearsal and the second was pretty amazing and a credit not only to Ann, but Elizabeth Heffron and the Playwriting program.

We met a little bit early on the night of the first presentation to finish walking through the minimal staging of the piece and I felt very prepared. I wasn't sure what to expect in terms of size of the audience and I was presently surprised to see it full! I was thrilled for the playwrights' to be able to have the experience of a full house- BOTH NIGHTS! The order was reversed from the first night to the second so we opened the show on Friday and closed the show on Saturday. From a performance perspective- I found it much easier to open the show - the energy of the audience was fresh off the street and a little easier to get right in the palm of your hand. The second night, they had already experienced the emotions of three plays and I found myself pushing the comedy at the top of the play ever so slightly ... but at least I caught myself!

All in all, it was a great experience. I continue to be impressed and grateful for the opportunities available at Freehold!


The New Play Lab class is held during Freehold's Summer Quarter with the New Play Lab Showcase occurring in September following the summer class.

Tuesday, September 27, 2011

Kudos for Freehold from Fans

Photo of some past Freehold Fans, Bob Rousseau (Seattle-ite), Jeff Woodbridge (New Yorker) and Jenn Hamblin (New Yorker) reuniting in NYC and sending Freehold a "Happy 20th" sign.

"When I walked into Freehold in 1996 I started walking up the stairs and said "I'm home!! And I was." Zoe W.

"Robin, George, Kate, Zoe, et al., you have changed my life in too many ways to name since that first Acting I class. All the best. All my love." Nathania

"Freehold touches more lives than can be measured in class attendance and audiences. Thank you for helping better our world." Eva B.

"Congrats and thanks for creating and continuing the miracle that is Freehold!" Lara S.

"Thank you, Robin for welcoming me into your class and to Freehold - it has been everything I could ask for and so much more! Words do not express what you've given me. You bring your all and ask the same of us. And thank you, CT, Gin and George! Each of you are uniquely wonderful teachers. My life is richer for it. Much love." Lucinda M.

"Freehold changed my life!" Thank you, Robin." Kiki Y.

"Freehold you rock." Love, Q.

"Some of my best moments ever were made or originated in Freehold including the moment I walked into my first Impulse and Transformation class and realized I was the only guy in the class!"

"F.H. You've got 20 more years to get this right." Jim L.

"Such vulnerable work. Such a great ride. Congrats on 20 years!" Grace

"Thank you!" Caroline

"George and Robin, So many small things you've said, in class and Rehearsal have stayed with me, changed my acting, changed my life. Your presence and heart is extraordinary." Thank you!" Amber

"LOVE Freehold! You are part of my daily life. Thank you for all the inspiration." Xan

"Dearest Robin, You're swell! George, you suck (smiley face) - oops I'm in trouble if I ever take Clown. Congrats to Freehold!" Cheers, Monica C.

"Freehold is the best! The wonderful teachers have passed their gift onto me and I couldn't thank them enough." Jake A.

"Summer 1999, Lee Eisler and Robin L. Smith, Abby Enson and Mik Kuhlman ... these women literally; gave my heart and my voice a home." Thank you.

"I started taking classes through Antioch University. I had no idea how much taking acting classes would change my life." Thank you! Kymberlee D.

Wednesday, September 21, 2011

Sandbox Radio - Worth the Wait by Paul Mullin

Photo: The Sandbox Artists Collective Radio Show Live!

A bunch of us founded the Sandbox Artists Collective a few years ago “as a place for mid-career artists to explore their craft in the company of their peers.” Unlike most assemblages of show folk, the Sandboxers weren’t in any hurry to produce publicly as a group. Most of us were already performing, writing and/or producing professionally elsewhere. We were not, however, completely quiet in our first years, hosting salons, like “Playground” in which four Sandbox playwrights wrote specifically for Sandbox actors. Finally, however — and fully to the credit of Leslie Law’s leadership — the membership felt the urge to share what happens when we put our collective mind into putting on a show. The result was last month’s Sandbox Radio Live, Episode 1, available now in podcast here.

On an individual artist’s note, Sandbox Radio Live has given me the opportunity and motivation to finally flesh out a project I have been percolating since high school. For all that time, all I knew was that I wanted to wright a nasty noir angel detective saga. Now you can listen to the first chapter of Markheim on the podcast, with the incomparable Charles Leggett starring in the title role of the reluctant semi-heavenly gumshoe. Below the fold I am posting the script in case you want to follow along.

And be sure to attend the next episode of Sandbox Radio Live on Monday, October 10th at West of Lenin, the fabulous new theatre space in Fremont, when Markheim adjusts to life in the strange city of Seattle, and begins his search for the reasons that brought him here. Special appearance by the fellow that Jesus Christ Himself once called “the Prince of the World.”

For more information about the Sandbox Artists Collective, a program of Freehold's Lab, can be found on Freehold's website.

Studio Chat with John Paulsen and John Klein

In honor of Freehold's 20th, long time Freehold student and lab members John Paulsen (Actor, Writer) and John Klein (Playwright, Director, Actor) reflect on their Freehold experience ...

John Paulsen: Hey John, I was hoping to lay down some thoughts about our time at Freehold in the 90's. Maybe we could start with how you first got there?

John Klein: Yeah, cool. Well it was the summer of 1992 and I had just moved to Seattle where I knew no one except my girlfriend who lived in Woodinville with a lot of horses. I remember getting a coffee at Cafe Paradiso and walking down the street towards Oddfellows Hall. I must have seen the letters "Freehold Theatre" or something in the window. I looked at the building and the steps and I remember thinking that I was going to spend a lot of time here. How about you?

John Paulsen: It was '91 and I was waiting tables at a Mexican restaurant called Tlaquepaque near Pioneer Square and I had this feeling that I needed to do something more with my life. So I found a book at Elliot Bay by Sanford Meisner on acting and it seemed like something I could maybe commit to. One thing lead to another and a friend pointed me in the direction of Robin Lynn Smith and Freehold where I signed up for a class called Impulse and Transformation. On the first day of class Robin and George Lewis asked us to walk across the floor and slowly let how we were feeling affect our movement. Next thing I know I was hopping around like a squid on fire and I thought, this could work for me.

John Klein: I think the first time I saw you I was watching the culmination of an Impulse project in Crow. All I remember is these swaths of movement in white, these whole crowds of actors moving across the stage like in a wedding or celebration. Claro Austria was in the heart of it, his bride was Isabelle Calais and Jadina Lillien is some kind of storyteller. And your piece had a family vacation tableaux with a suitcase and picnic. To me the whole thing was a beautiful dream and kind of messy in that way dreams are messy and illogical.

John Paulsen (turning away) and fellow students in Impulse and Transformation class

John Paulsen: Yeah I think I was wearing a dress and cowboy boots and smashing a melon on a rock to feed my kids. We had a string tied to the door between Crow and workspace and it was supposed to magically open it up to reveal a memory. But the string broke and a hand had to reach out to open it. Real dreamlike that one!

John Klein: Right! Even so, I remember knowing that's what I want to do,or be a part of, because here was a collective of people willing to search and to not know where they where going or how they were going to get there.

John Paulsen: That feeling was quite prevalent at the time. Meeting or seeing people you knew you wanted to work with and inspiring each other.

John Klein: That is what I really miss about that time in Seattle and I think Freehold was a real home for people who were trying to find their way as artists and storytellers, to make original work. We felt like we had something struggling to get out and were searching for a way to express it. I really credit Freehold for providing the space, the language and community of people willing to be on a wooden floor late at night exploring the unknown.

John Paulsen: For me the I&T class represented what I appreciated about Freehold. It was how I imagined the wild creative spirit of 60's experimental theatre but achieved with physical and emotional precision. We felt encouraged to use everything at our disposal for expression, be it voice, movement, poetry, painting, song, dance or a bucket of dirt or piles of silverware falling from the sky. Then we as artists would watch and help to chisel it away into its clearer original somethingness.

John Klein: And at some point there became the issue of actually putting something up and performing it. Light Wounds was the first piece you and I worked on in the very first Studio Series.

John Paulsen: More like a fever dream with a boy falling through a hole and meeting a wild woman in a forest.

John Klein: Exactly. And after days of stumbling around in the dark and whittling all this prose down to monosyllabic grunts and half choreographed wrestling we showed it to George. I remember him looking at me and saying firmly and kindly "Do you really want to put this up?" And I knew exactly what he meant, still leaving the door open for me either way. I said "Yes, I do" and he jumped up and said "OK" and gave us some notes. And with that he helped me put up my first original piece of theatre.

John Paulsen: I remember George telling us that the responses he would get to our work would be that it was the best the Studio Series could be, or the other.

John Klein: Nice. The funny thing is that whole piece, or at least the heart of it, found its way into the last play I wrote and directed and performed at Theatre for the New City in New York last year called Autographic Novel. When we performed it, Tony Pasqualini came to see it. He was in town to move his daughter into her apartment to start college. Kristen Kosmas came, and so did Jadina Lillien, and Claro and Isabelle with their son. And even you were in the play, or at least an actor playing you, and an actor playing me as we struggled to make our first play.

John Paulsen: And I had the good fortune to return to the suitcase image from that I&T project and develop it into a more fully realized piece called The Magnificent Quidley. It featured Ted Dowling and Brynna Jordan and we performed it at the Studio Series a couple of years ago. It sure was a nice feeling to experience that the work and efforts we birthed back then are still alive.

Thursday, September 15, 2011

Interview with John Billingsley and George Lewis

We had a chance to talk with two of Freehold's founders, John Billingsley and George Lewis. Additional Freehold founders include Robin Lynn Smith, Mark Jenkins, Ben Rankin and Tony Pasqualini, all of whom will be in attendance at Freehold's 20th Anniversary Homecoming Party on Saturday, September 24 at 7:30 pm at Washington Hall. All are welcome! RSVP's appreciated at Brown Paper Tickets.

How did all the founders (Robin Lynn Smith, Tony Pasqualini, Mark Jenkins, Ben Rankin, George Lewis, John Billingsley) come together in the first place to create Freehold and what was your hope for the organization?

We were all teaching at the old Pasqualini Smith Studio, John and I were part of Tony and Robin's faculty and the Mark Jenkins Actor Studio was holding classes there. Ben was a friend/colleague of Mark's. The lease on the space was coming up and was not likely to be renewed because all the noise we made was driving the landlord - whose computer business was under us - crazy. She said the images on the screens were literally jumping around with our jumping. Facing eviction we began talking about a larger studio that would permit us to work together. I remember a discussion about a place where people could learn to do the kind of theatre we believed theatre was capable of so that we could go to the theatre more. And that we wanted to work together making theatre.

John: I have nothing to add to what George wrote, save that he omits the info about how the two of us were only teaching at Robin and Tony's studio in the first place because Robin and Tony so graciously supported the WA State Correctional Authority's stellar 'anti-recidivist' work-release program. George and I spent a lot of years 'paying back', as t'were, by teaching people how to repeat (me) and how to climb an imaginary rope (George). Freehold, as I recall, was Robin's idea (surprise, surprise) and she had many eloquent, moving and inspirational reasons for suggesting we band together, but it's also sorta like that ol' gag "What a dog hears", cuz what I really remember most of all was the phrase "there'll be a pay raise . . . ". Why were we named Freehold in the first place, that's the question that needs to be asked, cuz we spent a looooong time picking a name (we all had to agree, you see).

Where did Freehold get its name?

George: In the initial seemingly- months of meetings in which the Founders were deciding what this new organisation (We were calling it an organism then), at least half of our time was spent discussing names. Somewhere exists a list of those rejected, including Robin's infamous "Pot Garden" (POT being the acronym for "Practice of Theatre"). Finally in one meeting we said let's stop approaching it from a mental place, and so we did sound and movement exercises for an hour, and when we sat down at the table, after a minute of silence, someone said "Free- something (I don't remember what) and then Billingsley said "Freehold". And that was that.

What were the early days of Freehold like for you as founders and as faculty members?

George: Lots of meetings ... So much so that Mark mentioned in one that the "mark of a good organization was the absence of meetings". God we talked a lot. In part because an early decision was that all decisions be made by unanimity. Changing a roll of toilet paper became a subject for debate.

I remember a meeting where we were discussing ad nauseum something that needed to be done, and who was going to do it, and how it needed to be done etc etc etc. I forget what the task was, but at one point Tony slipped out of the room for a little while, and when he returned, we were still debating it. Someone asked him where he had gone, and he said, "I just went out and did it".

The classes were great- there was so much excitement about everything. Robin and I were teaching a crazy improbable class called Impulse and Transformation, based on our extrapolation of the work Joe Chaikin was doing in the 60's. We had a full raft of Acting classes on all levels, and voice, movement, Combat, Improv, Original Performance ... Somewhere in there Tony decided to direct The Time of Our Lives, and it was a stellar cast, with Mark, John and I, Jane Jones, Myra Platt, Geof Alm, Gordon Carpenter, Jose Gonzales - just all these actors working around the city and in LA now. And we were subletting to Book-It, so there was that whole crowd, and all this cross-pollination between the two groups.

John: Yes, meetings and more meetings. George didn't have to go to Book-It meetings, at least. I would sometimes go from a Freehold meeting to a Book-It meeting, back to another Freehold meeting, back to another Book-It meeting, shoehorning in, of course, a quick lunch break, which I'd usually spend at my therapist's office . . .

There were hundreds of creative people running around, of course, sometimes at loggerheads, sometimes experiencing 'breakthroughs' of different sorts, which means that somebody was usually locked in the toilet, crying, (not infrequently Ben, who had to do the books, after all), so I learned to pee in a grape Nehi bottle (which still sits on my desk) ... I vaguely recall that bottle of pee being used in an exercise as somebody's independent activity, but I've repressed the details. Now here's a true story: a student of mine, a particularly large male child psychologist (it wouldn't be hyperbolic to say that he looked like an All-Pro inside linebacker) picked me up by the scruff of my neck and put my head through a wall when I suggested that he wasn't really allowing himself access to the full range of emotion available to him during an early stage of the Meisner repetition work. I suggested to him that this outburst was proof of my thesis ("see, if you put all that angst into repeating 'red sweater', I wouldn't have to patch this wall up now . . "). George was the Facilities Manager at the time and as I recall he hung a reproduction of Van Gogh's sunflowers over the hole. We counted pennies then. Lots of terrific memories, of course, of working with some of my favorite people in the world: Robin's magnificent direction of The Seagull; George's magnificent direction of The Jewbird (a short story by Bernard Malamud). Getting to chew the biggest wad of bubble gum imaginable and then hand it to Mark Jenkins to hold for me while I made a phone call in The Time of Your Life, and getting to listen - as a pre-show warm up - to Jose Gonzales play "In The Wee Small Hours of The Morning" on an out of tune piano, while watching George perform a pas de deux with a kitchen chair. (You had to be there). We didn't have a dressing room, so whenever we did a show in RHINO, we would all get dressed in WALT, the 'attic space' that sat above RHINO. One could go on and on and on. Ah, why did I ever leave? Can I come back? I promise I won't piss off any more child psychologists. (Really, though, I can remember thinking, YOU WORK WITH CHILDREN, BUDDY???)

Any funny Freehold stories or memorable Freehold moments?

George: Yes- most of them unrepeatable because of the people involved. A colleague who began bouncing on a mini-trampoline in the middle of a meeting because 'The meetings were too serious". Selling tickets for people to throw a pie in the face of faculty members at the first fundraiser (Robin earned the most money). Billingsley and a childrens' swimming pool full of chocolate pudding. A reading of all the obscene quotes from the acting teachers at the end of one of the ETI programs (Amy Thone won, hands down). Tony's two word response to a let-us-say demanding professional colleague asking us to fax more info to him ("Fax THIS", with an appropriate mono-digital indication). An actor in a production without shoes saying "I don't do barefoot". A student who had taken a million classes complaining about having to give one too many backrubs. A pair of Meisner students overheard repeating in the hallway, "You're being , like, all, kah" "I'm being, like, all 'kah"?
And a million more, though none involving me.

John: Well, if you cock your head and squint your eye, it was all freak'n hilarious, really. But then, I live in LA now, and make my living playing child molesters, so I can afford to be flip.

Photo: The Time of Your Life, 1992, George Lewis, Jane Jones, and Geof Alm

What was some of your favorite work that you performed and/or saw at Freehold?

George: The Time of Our Life, Mark's writing and direction of All Powers Necessary or Convenient, Tony and I doing Shakespeare's The Tempest, all these great Book-It pieces, Robin's forays into Chekhov and then Shakespeare. All this great original performance work. The annual Studio Series was becoming a place for theatre artists to cut their teeth, and some great work - and great artists - came out of that.

Photo from The Seagull

John: Well, I know George must think that it was the "chocolate pudding work" (as I like to call it) but that was one of those great ideas that kinda backfired. I vaguely remember that the jumping off point for our group's initial 'pudding improv' had something to do with addiction: pudding was a stand in for rye whiskey, perhaps, or PCP, who can recall. What really sticks in my memory is that I smelled like chocolate pudding for months (you see, having performed the initial improvisation in a swimming pool full of chocolate pudding, we were encouraged, by Robin and George, to 'elaborate' on the conceit for our end of term performance, which involved somebody in a wedding dress, an even greater amount of pudding, and an exorbitant amount of clean up after every goddamned rehearsal.) Plus, pudding was surprisingly pricey.

Photo from The Birthday Party, Marjorie Nelson and John Billingsley pictured

I look back on those years and I marvel at how many times Tony Pasqualini and I worked together. He and I seemed to be in everything together. He was always directing something, acting in something, kinda makes me wonder whether things weren't happy at home, back then, in retrospect. The Jewbird, The Seagull, Time of Your Life, The Birthday Party, Sand Mountain, The Lonesome's Ain't No Spring Picnic, and - pre-FH, actually, but still one of my favorite memories - a great Frank O'Connor story called My Oedipus Complex, in which I got to play Tony's bratty five year old Irish boy. Tony took me over his knee and paddled me, during one rehearsal, per the script's demands, and Tony's little boy, Joel, who was in the room at the time, burst into tears and couldn't be quieted down. (He's crying still, in fact, and he's now 24 years old.)

What has it meant to you to be a part of Freehold?

George: The realization of the dream that I had when I first started doing theatre of what theatre could be-a great sprawling mass of people working as an ensemble to experiment in their teaching and creation/performance, to make theatre that was exciting and which had some kind of relevance to the world.

John: Okay. Fine. Be that way.
For all of the fact that we had a lot of laughs, it was an incredible experience for me to work with a very passionate bunch of folks, who sacrificed a hell of a lot to fulfill a very beautiful mutually held dream: the dream of home. Theatre artists tend to be itinerants, and while there's something to be said for the peripatetic life, what inspired me to join Freehold, and what inspires me still, and makes me proud, is the idea that there's value in community and that being part of an artistic community is integral to the development of an artist's craft and conscience.

They say that there are no atheists in foxholes, and while I wouldn't be able to attest to that (I wish there were a few more in politics, though, damn it) I can certainly attest to this: there was one time in my life when I felt like I had true 'trench-mates' in the arts (block that metaphor, as the New Yorker says) and that was during my Freehold and Book-It Years.
On the other hand, now I get residual checks.

Reflections on Freehold turning 20 this month?

George: God I'm old.
God, I'm fortunate.
John: God, George is old. (Did I mention that I was the youngest of the Founders?)

Cast from The Time of Your Life, 1992

John Billingsley has worked extensively in theatre, television and film. John graduated Bennington College, in Bennington, VT, where he studied theatre with Nicholas Martin and literature with Bernard Malamud. John’s theatre credits include Mauritius, Candide, David Mamet’s Bobby Gould in Hell, The Seagull, The Birthday Party, Great Expectations, 12th Night and Bitter Bierce, a one man show he produced about the life and times of Ambrose Bierce. In l990, John founded a Seattle based theatre company called Book-It Repertory Theatre, which was devoted to adapting fiction for the stage and which still flourishes in the Pacific Northwest. John was involved in some Seattle-based film and TV in the ‘80’s and moved to move Los Angeles in 1995 to pursue those mediums. Credits include Nip/Tuck, Cold Case, The Closer, The Ghost Whisperer, CSI, The West Wing, Six Feet Under, The X-Files, Judging Amy, and NYPD Blue. In l999, Stephen Spielberg cast him as Prof. Miles Ballard in The Others. In 2000, Billingsley was cast as Dr. Phlox in Star Trek: Enterprise. His most recent TV credits include NCIS, The Mentalist, Outlaw, Scrubs, Leverage, Eli Stone, and Alan Ball’s True Blood, and 24. Films along the way include Out of Time opposite Denzell Washington, American Summer, High Crimes, The Glass House, White Oleander, Born to be Wild, I Love You To Death, A Cinderella Story, 12 Dogs of Christmas, The Least of These, Sironia, Losing Control, and 2012. Billingsley has just completed filming a lead role in the film Trade of Innocents opposite Dermot Mulroney and Mira Sorvino, and he has just started shooting an independent film, RedLine.

George Lewis has been working in the field of movement-based theatre for almost 40 years as an actor/performer, director, creator of original work, teacher, and producer. He has performed and toured with Omnibus in Montreal, Theatre-Mime Mirage in Boston, and the Sykes Group and threeCompany in Seattle. As a director, he has created movement driven productions of, amongst others, Shakespeare, Moliere, Thornton Wilder, Irene Fornes, and James Thurber. His favorite acting roles include Trigorin in Chekhov’s The Seagull, Joseph in Romulus Linney’s When the Lord Came to Sand Mountain, and the talentless dancer/would-be comedian in Saroyan’s The Time of your Life. He has been teaching acting and physical theatre skills, at acting studios, colleges, and universities across the U.S. and Canada. His own background includes three years of study in Corporeal Mime in Paris with Etienne Decroux, circus skills and physical comedy at the French National Circus School, and Meyerhold’s Biomechanics with Russian Master Teacher Gennadi Bogdanov, and Clown with Sue Morrison in Toronto. He divides his time between Seattle and Buenos Aires, where he teaches and has created/directed three original full-length clown performances.

Freehold's Faculty Upcoming Work

Reginald Andre Jackson and Amy Thone are playing Titania and Oberon, respectively, in A Midsummer Night's Dream for Seattle Shakespeare Company, produced at the Intiman, runs Opens October 20 - November 13. Directed by Sheila Daniels. Freehold's Ensemble Training Intensive (ETI) student Riley Neldam will be playing Flute.

Elizabeth Heffron's
full-length play Mitzi's Abortion has three upcoming productions on the East Coast, including Ithaca, NY in February, 2012. The play has been chosen by Naomi Iizuka along with Paul Mullin's play The American Book of the Dead for the 3rd edition of The Manifesto Series, published by Rain City Projects. Elizabeth's new, almost-completed, short radio play, Pipe Play will be performed for Sandbox Radio Live! At West of Lenin, on October 10.

John Jacobsen's
The Artist Toolbox, currently playing nationwide on PBS and gearing up for its second season with Helen Mirren, Jules Feiffer, Bon Jovi, Carolina Herrera, and more, also airs on Alaska Airlines' DigEplayer, so next time you fly, listen to how today's artistic mavericks create their art and follow their bliss. Both John Jacobsen's latest films are winning awards and making the rounds across the globe. Arthur just won The Action/Cut Award for Best Fiction Film, Best of Fest Award which is given to the top 5% of films in the country each year, and is playing nearby at the Maelstrom International Fantastic Film Festival this weekend at SIFF Cinema, at the Port Townsend Film Festival September 23 & 24, and the prestigious Vancouver International Film Festival October 4 & 5. You can also see it online now at and it will soon be distributed by Indieflix. Spinning, his other short, was just completed and played right out of the gate at the Columbia Gorge International Festival nearby, where audiences were lucky enough to see the great performances of Amy Thone.

John Longenbaugh's Sherlock Holmes and the Case of the Christmas Carol is going to be produced this holiday at Portland's Artist's Repertory Theatre and Neil Ferron and John Longenbaugh are up for Gregory Awards for their plays.

Marya Sea Kaminski will be participating in Red Light Nights as part of the City Arts Festival at the Paramount on the evening of October 20th. Guests will have the opportunity to experience an intimate one-on-one performance with an artist of their choice - including Tim Stackpole, The Satori Group and Marya.

George Lewis directed Le Frenchwords' Fancy Mud, featuring Ben Burris, Sachie Mikawa and Carter Rodriquez.

Paul Mullin's play Louis Slotin Sonata will receive a production at Cal State - Long Beach or "Cal Rep", on the Queen Mary. And the second episode of his noir-angel-detective story, Markheim will be part of Sandbox Radio's second edition on October 10.

Annette Toutonghi, Dan Tierney, Sarah Harlett and Gin Hammond will also be performing in the Sandbox Radio's second edition of the Sandbox Radio Show on October 10.

Tuesday, September 13, 2011

Freehold 20th Stories - "Bringing out the Playwright in Me"

Hello Freehold,

A couple of years ago I took Playwriting I,II and III with Elizabeth Hefron and New Play Lab with Paul Mullin. I wanted to let Freehold Theatre know I recently was notified my short play, Operation Sweet Dreams, is a 2011 Heideman Award Finalist. So, big thanks for their effort to bring out the playwright in me.

Congratulations on twenty years of enhancing the theatre world.

Suzanne Bailie

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If you have your own Freehold story, email us via our Contact Page using the pull down menu of "20th Anniversary Story Submissions".

COME to our 20th Anniversary Homecoming Party on Saturday, September 24, 7:30 pm at Washington Hall. It's FREE and we'd love to see you there. RSVP at the link.