Next to Normal: Hidden Moments

When you’re watching a show, it is sometimes difficult to see everything that is happening on stage. The blocking or the lighting are designed to focus the audience’s eyes towards certain actors and moments. However, often there are moments happening in background, or off stage, that are just as interesting. I asked my fellow actors to share a few thoughts on their favorite “hidden moments” in Next to Normal:

Will Holly (Gabe) on Kristin Parker (Natalie): “One thing that audience members would be unaware of is how Kristin gets into character. She actually has a little Natalie ‘shrine’ set up underneath the smaller platform on stage left. This includes a photo strip of her as a kid and a ‘Natalie to do list’ with things such as get a boyfriend, find new parents, homework etc. Kristin also exists in this area right before the show starts, working on math problems in her workbook and getting ready for school.” Kristin Parker as Natalie in Arkansas Repertory Theatre’s production of Next to Normal.

Deb Lyons (Diana) on Will Holly: “Will’s laugh is one of pure joy. My dressing room is right across from his and when I hear his laugh it fills me with delight! Especially doing a show like this, there can never be too much laughter offstage! There’s a moment at the top of show when Will grabs some dry cereal to eat. Sometimes the cereal ends up in his mouth and sometimes some of it unintentionally ends up on the floor! I can’t focus on it or I’ll start to laugh. But my laughter would never sound as wonderful as Will’s!” Deb Lyons as Diana and Will Holly as Gabe in Arkansas Repertory Theatre’s production of Next to Normal.

Mo Brady (Henry) on Deb Lyons: “My character only interacts with Diana for a few moments in the entire show, but one of those moments fuels how I motivate Henry’s passionate dedication to Natalie. In ‘Superboy and the Invisible Girl,’ Diana sings to her daughter, ‘I love you, as much as I can.’ As Deb sings this lyric, she lightly touches her chin, as if she can’t believe the words that just came out of her mouth. As Henry, that simple action makes me realize how desperately Natalie needs his support and understanding, and drives his dedication to be ‘perfect for her.'” Deb Lyons as Diana and Mo Brady as Henry in Arkansas Repertory Theatre’s production of Next to Normal.

Peter James Zielinski (Dr. Fine/Dr. Madden) on Mo Brady: “My favorite thing about Mo is the sheer amount of energy he brings to the show….on stage and off. From the laser like precision of the choices he makes in his acting to that extra little hop in his step during set changes or dances. Mo is the caffeine for this cast and it would be a completely different show without him.” Mo Brady as Henry and Kristin Parker as Natalie in Arkansas Repertory Theatre’s production of Next to Normal.

Jonathan Rayson (Dan) on Peter James Zielinski: “Y’know, one thing about Peter James Zielinski that may not be immediately apparent in his performance is that he is quite the jokester. One of my favorite moments is when I support Dr. Madden as one of a team of masked surgical technicians. Throughout the scene, we pass around a clipboard, each ‘signing off’ on various parts of the medical procedure. Of course, in typical Pete style, he’s taken to scrawling little messages to us…messages like ‘I love you,’ and ‘I need a nap.’ Let’s just say it’s a good thing I’m wearing a surgical mask to hide my huge grin.” Deb Lyons as Diana and Peter James Zielinski as Dr. Fine in Arkansas Repertory Theatre’s production of Next to Normal.

Kristin Parker on Jonathan Rayson: “Every time I do a scene with Jonathan it truly feels like the first time, but the moment that gets me the most is at the very end of the show when he finally tackles his grief after 20 years of pushing it down. I¹m waiting in the wings to enter for ‘Light’ during the ‘I Am the One’ reprise. I¹m supposed to becoming from a really magical prom night with Henry; therefore entering in a devastated state would make no sense. It takes every bit of my will power not to lose it watching Jonathan’s work during that song. The raw pain in his voice penetrates right into my gut and when he finally utters ‘Gabe. Gabriel…’ my heart wrenches every single time.” Jonathan Rayson as Dan and Will Holly as Gabe in Arkansas Repertory Theatre’s production of Next to Normal.

Next to Normal closes at Arkansas Repertory Theatre on Sunday, May 27, 2012.

Mo Brady is originally from Seattle and made his Broadway debut in The Addams Family. He performed in the world premiere of Catch Me If You Can at the 5th Avenue Theatre in Seattle, as well as in six additional original productions at the theater. His performances inSeven Brides For Seven Brothers and Hello, Dolly! there won him a “Best of Seattle” Award from Seattle Weekly magazine. He has worked on many developmental productions and world premieres, including Villains Tonight! with Hunter Bell and Jeff Bowen for Walt Disney Entertainment, Robin Hood with Martin Charnin and Snapshots with Stephen Schwartz, both at Village Theatre in Seattle. This fall, Mo performed in workshops of two Broadway-bound musicals: The Rhythm Club, directed by Casey Nicolaw, and The Honeymooners, directed by Jerry Mitchell. He holds a Bachelor of Arts from Whitman College. Read more at www.mobrady.net. Follow @mo_brady on Twitter.

Next to Normal: Dance Captain

On our very first day of rehearsal, I asked to be considered for the position of Dance Captain for Next to Normal. So when our director/choreographer Nicole Capri told me she wanted me to have the position, I literally started to jump up and down. I’ve never been dance captain on a show before and was very excited to be taking on the position for the first time.

According to Actor’s Equity Association, a dance captain is “a member of the company who maintains the artistic standards of all choreography and/or musical staging in a production.”  Essentially, this means that I responsible for making sure that all of the actors are performing the choreography as it was intended to be performed.

Diana (Deb Lyons) does a dance with her psychopharmacologist Dr. Madden (Peter James Zielinski).

Even before the company arrived in Little Rock, I was interested in being dance captain for this production. I’ve always been quietly fascinated with the job. When learning choreography, my mind gravitates towards spacing, stage pictures and specificity – all responsibilities of the dance captain. I’ve worked with many wonderful dance captains, who have been part-cheerleader, part-taskmaster and part-confidante, and hoped I could follow in their amazing footsteps.

In a production with more movement, the dance captain would be responsible for making sure dancers’ times steps were crisp, or arabesques were at equal heights. But in a show with such economy of movement like Next to Normal, the dance captain’s work can be even more vital. The specific, precise choreography we perform in our show makes mistakes and inconsistencies even more apparent.

As we staged Next to Normal, I notated all the choreography as director/choreographer Nicole Capri taught my fellow actors and me.  At times, my job was to specify the choreography: asking the questions that others may not know to ask. I also worked to clean and clarify the movements, making sure that the choreography looked the same on each actor.

Diana (Deb Lyons) with her psychopharmacologist Dr. Fine (Peter James Zielinski) with Will Holly, Jonathan Rayson, Mo Brady and Kristin Parker.

Now that we’ve opened, I am responsible for maintaining the show’s staging. During performances, I watch the songs with choreography from the wings to make sure all the movements look clean and sharp. For the sections of choreography that I also perform, I usually keep an eye on the general picture, just to make sure we are all moving together.

I am responsible for teaching the choreography to our understudies, in the event they will have to go on during a performance. To prepare for this, understudy rehearsals are held multiple times a week. Helmed by stage manager Steve Emerson, music director Helen Gregory and myself, we spend the rehearsals slowly working through the show, teaching choreography or clarifying moments they may have missed during the rehearsal process.

For me, working as dance captain has been an exciting addition to the regular duties of an actor. As a person who enjoys keeping multiple plates spinning, I appreciate the challenge of keeping our show looking good throughout its run. If I’ve done my job right, the staging will be so crisp and clean that audiences will hardly notice the choreography, but be thoroughly invested in the story that that choreography tells.

Mo Brady is originally from Seattle and made his Broadway debut in The Addams Family. He performed in the world premiere of Catch Me If You Can at the 5th Avenue Theatre in Seattle, as well as in six additional original productions at the theater. His performances inSeven Brides For Seven Brothers and Hello, Dolly! there won him a “Best of Seattle” Award from Seattle Weekly magazine. He has worked on many developmental productions and world premieres, including Villains Tonight! with Hunter Bell and Jeff Bowen for Walt Disney Entertainment, Robin Hood with Martin Charnin and Snapshots with Stephen Schwartz, both at Village Theatre in Seattle. This fall, Mo performed in workshops of two Broadway-bound musicals: The Rhythm Club, directed by Casey Nicolaw, and The Honeymooners, directed by Jerry Mitchell. He holds a Bachelor of Arts from Whitman College. Read more at www.mobrady.net. Follow @mo_brady on Twitter.

Next to Normal: How to Make a Henry

How To Make A Henry – An Instagram Photo Blog by Mo Brady

About an hour before each performance, I wash and blow-dry my hair. Henry’s hairstyle is remarkably architectural, so using the hairdryer makes it easier to coax the hair into place once I get to the theater. As you can see, there are three distinct parts to this look: the front swoop, the middle faux-hawk, and the back spikes.

This is everything I use to get ready for the show:

 

Each actor wears two microphones, just in case there are problems with one of them during a performance. I also have laid out all of my jewelry, some makeup (lovingly liberated from the hair department of Addams Family Broadway) and my favorite: Old Spice Showtime deodorant. I like to think that its specific formula is made for the unique needs of musical theater actors like myself.

 

Once I clip and tape my microphone cables into place, I go about styling my hair. I use two products: pomade and hairspray. The pomade keeps the swoops swooping and the spikes spiking, and the hairspray makes sure that none of the structure deflates as I take my hats on and off. You can also see the guyliner I wear in this photo (as well as a little eye concealer (everyone on my Mom’s side of the family has naturally dark under eye circles, myself included).

 

Next, I put on all of my jewelry for the show. As you can see, Henry wears two necklaces and two bracelets for the entire show. Full disclosure: the bottom bracelet is actually my real life engagement bracelet! It has a leather strap and a silver bead that has “LOVE” in Sanskrit. My fiancé wears a matching one (although not onstage, of course).

 

Here is how Henry looks as he leaves the dressing room. The hair is in place and the jewelry is on. I’m wearing my Doors shirt (which I wear for most of Act I) and one of my favorite parts of Henry’s costume: the acid-washed jeans. The first time I tried on these jeans, I told  Shelly Hall (Rep costume designer) that I HAD to have them after the show closes. We’re negotiating a deal as we speak…

 

 

Once I’m dressed, I head up to the stage to check my props and costumes. From then until curtain, I usually sit in the stairwell and  read a book. As you can see, I’m currently in the middle of ABRAHAM  LINCOLN: VAMPIRE HUNTER. I can’t wait for the movie to come out next month! In this photo, please notice my Old Broadway actor trick of looping my shoelaces through themselves. This way, I can’t accidentally untie my shoes by stepping on the laces (which I have done many times in my career). It’s also a great trick for the gym!

Once “Places” is called, it’s out of the stairwell and onto the stage!

Mo Brady is originally from Seattle and made his Broadway debut in The Addams Family. He performed in the world premiere of Catch Me If You Can at the 5th Avenue Theatre in Seattle, as well as in six additional original productions at the theater. His performances inSeven Brides For Seven Brothers and Hello, Dolly! there won him a “Best of Seattle” Award from Seattle Weekly magazine. He has worked on many developmental productions and world premieres, including Villains Tonight! with Hunter Bell and Jeff Bowen for Walt Disney Entertainment, Robin Hood with Martin Charnin and Snapshots with Stephen Schwartz, both at Village Theatre in Seattle. This fall, Mo performed in workshops of two Broadway-bound musicals: The Rhythm Club, directed by Casey Nicolaw, and The Honeymooners, directed by Jerry Mitchell. He holds a Bachelor of Arts from Whitman College. Read more at www.mobrady.net. Follow @mo_brady on Twitter.

Next to Normal: To the Patron in Seat AA5

To the patron in Seat AA5:

Thank you for being a part of my performance each night. Without knowing it, your presence has been part of one of my favorite moments in Next to Normal. Let me explain:

During “Make Up Your Mind/Catch Me I’m Falling,” Kristin Parker (Natalie) and I enter on the upstage platforms, singing background vocals. From this moment until we begin our backstage concert scene, we are staged to look directly forward. And directly in front of me is a seat in the first mezzanine of the auditorium: Seat AA5. 

Allow me to share with you a brief history of me as a performer. Although I grew up acting, the experience that made me want to pursue it professionally was when I was in the ensemble of Pippin. It taught me that I love being part of a theatrical family. It taught me that I love shows with darkness about them. But most of all, it taught me that I love singing and dancing with other talented people.

For me, there is something very visceral about ensemble singing and dancing. I get a strong sense of fulfillment from creating stage pictures: matching my body to others in time to create a story. The same goes for choral singing: I love the physical feeling of singing in harmony with others. For me, there’s nothing else more exciting.

I made my Broadway debut last year in The Addams Family, performing in the ensemble and covering one of the lead roles. While I loved the thrill of performing a principal on Broadway, I felt more fulfilled when performing my ensemble track. I loved singing that big, choral music and performing that creepy, kooky choreography every night.

I’ve never dreamed of being a star; my dreams are about being part of a team of incredible performers. My bucket list of shows I want to do includes Godspell and Parade: shows with big scores, filled with thrilling ensemble music.

I share this with you to impart that my favorite moments in Next to Normal are not my solos, but the group numbers. Singing the lush harmonies in the finale “Light” fills me with a joy that no words can fully describe. I get a kick out of matching vowel sounds and dynamics with Jonathan Rayson (Dan) during “A Promise.” And I love the warm, full sound the cast creates in “Make Up Your Mind/Catch Me I’m Falling.”

During this song, as I stare at Seat AA5, I allow myself to step out of the character of Henry for a moment. Focusing on this person sitting directly in front of me, I project all of the gratitude I can towards them: gratitude that I get to sing this amazing score, gratitude that I get to make my living as an actor, gratitude towards this audience member for attending our show and being part of the performance that night.

Maybe you’ve sat in Seat AA5. Maybe you’ve noticed me staring at you during this song and smiling. Maybe you didn’t think anything of it. But I want to tell you that I noticed you, and I thank you for being a part of our show.

Mo Brady is originally from Seattle and made his Broadway debut in The Addams Family. He performed in the world premiere of Catch Me If You Can at the 5th Avenue Theatre in Seattle, as well as in six additional original productions at the theater. His performances inSeven Brides For Seven Brothers and Hello, Dolly! there won him a “Best of Seattle” Award from Seattle Weekly magazine. He has worked on many developmental productions and world premieres, including Villains Tonight! with Hunter Bell and Jeff Bowen for Walt Disney Entertainment, Robin Hood with Martin Charnin and Snapshots with Stephen Schwartz, both at Village Theatre in Seattle. This fall, Mo performed in workshops of two Broadway-bound musicals: The Rhythm Club, directed by Casey Nicolaw, and The Honeymooners, directed by Jerry Mitchell. He holds a Bachelor of Arts from Whitman College. Read more at www.mobrady.net. Follow @mo_brady on Twitter.

Next to Normal: Henry’s iPhone

On our first day of staging, we were shown our props for the first time. The first thing I noticed was a stack of iPhones, which caused a smile to grow across my face. But when I picked up one of the phones, I realized they were not real but incredible replications. Even when you are holding one, it looks and feels like the real thing.

As we began to rehearse the show, I incorporated the use of a phone into Henry’s staging: checking his Facebook as I walk into Natalie’s practice room for the first time in “Everything Else,” or texting my Mom to let her know I’d be staying at the Goodmans for dinner in “It’s Gonna Be Good.”

While I figured Henry is an iPhone kind of guy, I didn’t think that the clean, blue phone cover it had was very true to his character.

When I was in high school, I remember doodling on EVERYTHING: my binder, my textbooks, even my converse shoes. I figured that an artistic, thoughtful guy like Henry would probably do the same.

So, when I came in this morning and saw Lynda J. Kwallek (our properties designer) in the rehearsal room, I asked her if I could draw on the iPhone cover. Luckily for me, she said I could mark it up however I wanted. And that’s exactly what I began to do.

My first act was to tag the phone as Henry’s. I drew a big “H” on the cover with a silver Sharpee, complete with a diagonal stripes. As a kid, I was fascinated with perspective drawings, so I made sure to shadow the “H” with a black Sharpee.

At the front of the Next to Normal script, playwright Brian Yorkey describes Henry as: Musician. Romantic. Stoner. Slacker. Philosopher King.

I wanted to add something to the phone cover that would reflect Henry’s romantic and philosophic sides. So I googled “romantic philosophy” and found some beautiful quotes by Jean Jacques Rousseau. One of these quotes seemed to reflect Henry:

“Take the course opposite to custom and you will almost always do well.”

Henry is a passionate, brave and driven young man, who indulges in experiences that are off of the beaten path. I figured this was a great mantra for him, so I wrote the quote along the edges of the phone cover.

Next, I decided to mess up the cover a bit. I added a bunch of shapes: squares, circles and a few spirals, in honor of the Fibonacci Sequence (and Henry’s nerdy side). I wanted the phone cover to look busy, as if I’d been drawing on it for months. My hope is that during the weeks before opening night, the markings on the cover will begin to fade and acquire a weathered look.

Creating this phone cover allowed me to dig a little deeper into Henry’s character. Thinking about what Henry would draw helped me to understand him in ways that will make my performance more fully realized.

When you see the show, check out the phone cover. Hopefully, it will bring a bit more reality into the world of Next to Normal for you as well.

Mo Brady is originally from Seattle and made his Broadway debut in The Addams Family. He performed in the world premiere of Catch Me If You Can at the 5th Avenue Theatre in Seattle, as well as in six additional original productions at the theater. His performances inSeven Brides For Seven Brothers and Hello, Dolly! there won him a “Best of Seattle” Award from Seattle Weekly magazine. He has worked on many developmental productions and world premieres, including Villains Tonight! with Hunter Bell and Jeff Bowen for Walt Disney Entertainment, Robin Hood with Martin Charnin and Snapshots with Stephen Schwartz, both at Village Theatre in Seattle. This fall, Mo performed in workshops of two Broadway-bound musicals: The Rhythm Club, directed by Casey Nicolaw, and The Honeymooners, directed by Jerry Mitchell. He holds a Bachelor of Arts from Whitman College. Read more at www.mobrady.net.

Next to Normal: Game On

As I alluded to in last week’s blog, the first rehearsals with an unfamiliar group of actors are a unique experience. Imagine starting a new job and being expected to immediately connect with your co-workers on a personal level. It’s our job to be able to tap into these emotional places easily and truthfully. However, even the most skilled actor can appreciate a little assistance in connecting with their fellow performers.

Our first week of rehearsal was filled with music and staging. We’ve already learned our vocal parts for the entire show, as well as the staging for most of Act I. That first act was already beginning to take shape when we ran it on Sunday afternoon. The company is showing glimpses of the beautiful work that will be part of our performances– from Peter James Zielinski’s awe-inspiring riffs to Jonathan Rayson’s masterclass in acting when he performs “I Am The One.” But for me, one of the most valuable pieces of this week’s rehearsal took place outside of work: Game Night.

On the evening before our day off, I invited the cast and crew over to my apartment for a relaxing night of food, drink and games. We spent the evening playing two rousing games of Telephone Pictionary (if you don’t know how to play, you can find instructions here: www.greatgroupgames.com/telephone-pictionary.htm.) It’s a very simple game to learn, but a challenging game to master. And the attempts to play it well are almost always hilarious.

You see, games just make you laugh, and last night’s festivities were no exception. I can’t remember the last time I laughed that much (It was probably the last time I hosted a Game Night). And with a show as heavy as Next to Normal can be, it is important to let all of that emotional weight go. The opportunity to relax with these new-found colleagues builds an innate sense of understanding and trust between us that wouldn’t be present if we only discussed the show.

After two rounds of Telephone Pictionary, Conly Basham (our Natalie understudy) shared with the group that she moonlights as a handwriting specialist. She spent the next hour analyzing each of our handwriting, talking about creativity v. structure, optimism v. pessimism and, perhaps most pertinently to Next to Normal, family relationships.

On our very first day of rehearsal, our director Nicole Capri told us “We are defined by our relationships.” Hearing Conly talk about each person’s handwriting, and what it may or may not reflect about their own relationships, was illuminating for our work both onstage and off.

Game Night allowed us to see each other outside of our work environment as more than colleagues – as people. We learned things about our co-workers we wouldn’t know solely discussing our work. And that additional knowledge and compassion will somehow reflect back on what we bring to the stage in next week’s rehearsal.

Mo Brady is originally from Seattle and made his Broadway debut in The Addams Family. He performed in the world premiere of Catch Me If You Can at the 5th Avenue Theatre in Seattle, as well as in six additional original productions at the theater. His performances inSeven Brides For Seven Brothers and Hello, Dolly! there won him a “Best of Seattle” Award from Seattle Weekly magazine. He has worked on many developmental productions and world premieres, including Villains Tonight! with Hunter Bell and Jeff Bowen for Walt Disney Entertainment, Robin Hood with Martin Charnin and Snapshots with Stephen Schwartz, both at Village Theatre in Seattle. This fall, Mo performed in workshops of two Broadway-bound musicals: The Rhythm Club, directed by Casey Nicolaw, and The Honeymooners, directed by Jerry Mitchell. He holds a Bachelor of Arts from Whitman College. Read more at www.mobrady.net.

Next to Normal: In Rehearsal with Mo Brady

Hello fans of the Rep! My name is Mo Brady, and I am playing Henry in the upcoming production of Next to Normal. The folks at the Rep have asked me to share some insights on the show from behind the scenes. As a lover of blogs, Twitter, Instagram and all things Internet, I am more than happy to oblige.

Next to Normal is my first show here at the Rep. In fact; it’s my first time ever in Little Rock. Traveling to a new city for a theater job is often a whirlwind. Usually, it involves flying half way across the country to an airport you’ve never been to. From there, you are picked up by someone you’ve never met and then whisked away to an apartment you’ve never seen but is now your temporary home.

Just about twelve hours later, you find yourself at the first rehearsal. Often it’s the first time you’re introduced to much of the cast and production team – people that will become your surrogate family for the run of the show. These first rehearsals usually are full of introductions, discussions of concepts, reviewing of schedules – and today’s first rehearsal was no exception.

However, at today’s rehearsal, I was struck at how grateful everyone was to be working on this show. Nicole Capri, our director, spoke passionately about this play. And she is not alone – Next to Normal is a piece that most actors are passionate about, as well. It’s something about the story – the struggle of a contemporary family, attempting to connect – set to a thrilling rock score that draws in actors, directors and audiences alike.

Next, Nicole leads us on a tour of the The Rep’s building. She points out where to find coffee in the morning (very important), and where we can get a drink after the show (also very important). My favorite part of the tour is seeing the auditorium itself, because it introduces us to the space that we will be sharing with you – the audience. This is the first time I’ve seen the theater, and I am surprised that there are not one, but two balconies. I love this, because it allows us to be closer to you in performances.

Following the tour, we jump into our first music rehearsal. Next to Normal features some beautiful, but complicated melodies. Often, all six actors are singing different words and different notes, all at the same time. It’s a thrilling score to sing – once you’ve learned it. But at first, it can be overwhelming to figure out how the pieces fit together. We learn the basics of two group numbers, knowing that we have a lot of homework tonight to review our newly learned vocal parts.

The full cast rehearsal is followed by a music rehearsal for just Kristin Parker and me. Kristin, who plays Natalie, and I share four brief, but beautiful songs in the show. These songs essentially define our relationship from start to finish, and they’re full of delicious acting nuggets. Last fall, I had the pleasure of auditioning with Kristin, before either of us were cast in the show. In that audition, I was struck at how fearless and open she was. I hoped that we would get to perform this material together. Today, I found myself feeling grateful to be singing with her again.

The most exciting part of my first rehearsal day was the costume fitting. I’m naturally a pretty straight-laced guy, so playing a stoner is a fun acting departure. The first thing I saw on the costume rack was a hoodie, which made me smile. Every time I imagine Henry, I picture him wearing a hoodie. As I tried on the various skinny jeans and porkpie hats, Shelly Hall (our costume designer) and I bounced ideas off of each other – What if we leave this shirt unbuttoned? Do I wear my hair up or down? What about guyliner? It was fun to see how Henry will look, as it will inform how I create the character in tomorrow’s rehearsal and the weeks to follow.

I’ll be posting to the blog each week, to give you the inside scope at how the production is coming together. I look forward to sharing this experience with all of you!

Mo Brady is originally from Seattle and made his Broadway debut in The Addams Family. He performed in the world premiere of Catch Me If You Can at the 5th Avenue Theatre in Seattle, as well as in six additional original productions at the theater. His performances in Seven Brides For Seven Brothers and Hello, Dolly!  there won him a “Best of Seattle” Award from Seattle Weekly magazine. He has worked on many developmental productions and world premieres, including Villains Tonight! with Hunter Bell and Jeff Bowen for Walt Disney Entertainment, Robin Hood with Martin Charnin and Snapshots with Stephen Schwartz, both at Village Theatre in Seattle. This fall, Mo performed in workshops of two Broadway-bound musicals: The Rhythm Club, directed by Casey Nicolaw, and The Honeymooners, directed by Jerry Mitchell. He holds a Bachelor of Arts from Whitman College. Read more at www.mobrady.net. Follow @mo_brady on Twitter.