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Welcome to the Arden Theatre Company blog, where we share behind-the-scenes stories and current happenings with you. You will hear from the Arden staff as well as actors and other visiting artists, and we hope to hear from you, too. If you have an idea for a topic, please post a comment about it. We can't wait to hear what you think!

The award-winning Arden Drama School program includes some of Philadelphia’s finest theatre professionals. Learn more about our Teaching Artists for 2017’s Winter Session. 

Madison Auch graduated from The University of the Arts in 2014 with a B.F.A. in Musical Theatre, and has since been working in Philadelphia as an actor, musician, and teaching artist. Madison worked as the Assistant Director for the Arden’s production of A Year With Frog And Toad, and recent acting credits include Martha understudy in The Secret Garden (Arden), Alcyone understudy in Metamorphoses (Arden), Scheherazade in The Arabian Nights, and Ilse in Spring Awakening. She is also a co-founder of In Cahoots Theatre Company, and is currently in the process of creating a new musical adaptation of a classic children’s story. In the past few years, Madison has taught students ranging in age from preschool through late high school, and enjoys being able to teach skill development and encourage creativity in acting, music, and movement. Having grown up as a military kid, Madison was exposed to many different theatre organizations and companies across the country, and believes that the arts were essential in the development of her creativity, social skills, and imagination. She is thrilled to be able to introduce and develop these skills through games, activities, and performances in the next generation of artists. Madison believes strongly in the transformative power of theatre, and aims to cultivate an enthusiasm for art and storytelling throughout all of her classes. (Classes: Musical Theatre K-2 (Lead teacher), Musical Theatre Jam: Frog and Toad K-2)

Terry Brennan is the artistic director of Tribe of Fools theatre company. He has directed the critically acclaimed Antihero, Two Street, and Armageddon at the Mushroom Village as well as appearing in Zombies… with Guns. In 2015 Terry led Tribe of Fools to the finals on TruTV’s hit show Fake Off season 2. He has been on 5 national tours with Enchantment Theatre Company and served as company road manager for 3 years. He has also worked with The Arden Theatre Company, BRAT Productions, Simpatico Theatre Project, The Berserker Residents, EgoPo Productions, and Curio Theatre Company.  He is an acrobat and parkour athlete and a certified parkour instructor through PPK Academy. Terry currently teaches parkour and children’s circus classes at the Philadelphia School for Circus Arts. (Classes: Acting 9-12: Process and Performance)

Tara Demmy is a Philadelphia-based comedian, theatre artist, arts administrator, and teacher. She has trained in comedic improvisation at Second City Chicago, the Upright Citizens Brigade NYC, and Philly Improv Theater where she performs regularly. Tara graduated from Helikos: International School of Theater Creation in Florence, Italy where she trained in Lecoq movement-based theatre under the direction of Giovanni Fusetti. She teaches at Arden Theatre Company, Wolf Performing Arts Center, St. Peter’s School, and Philly Improv Theater – as well as working as an improv director and teaching workshops in clowning. She is a company member with Tribe of Fools, a Philadelphia-based physical theatre company. She is a writer and performer with Philly sketch group Mani Pedi. (Classes: Improv 101)

Jordan Dobson is a junior at Temple University where he studies Musical Theatre and Acting.  Aside from his academics, Jordan assists in teaching the dance audition for Temple’s Musical Theatre auditions.  He also served as the dance captain for The Merry Widow at the Boyer College of Music and Dance.  He has performed with the Arden Theatre Company, Act II Playhouse, Mauckingbird Theatre Company, and other Philadelphia companies.  Favorite roles include: “Paul” in Kiss Me Kate, “Melchior” in Spring Awakening, and “Charlie” in Brigadoon. Jordan’s strong dance background has allowed him to teach and choreograph for many students in the Philadelphia area.  Jordan is very excited to be back teaching at the Arden this season! (Musical Theatre K-2, Musical Theatre Dance K-2 and 3-5)

Emily Fernandez is so excited to be teaching at Arden Drama School for the Winter Session! After receiving a BFA in Acting from University of the Arts, she stuck around and is a proud Philly-based artist. She loves being able to help her students find their unique voice through exploration of their boundless imaginations. 

(Classes: Acting K-2: Section 2
MLK Play in a Day)


Gina Giachero is excited to be back teaching at the Arden! She has been involved in musical theater education for over 10 years and has worked with students from 1st grade to college level. She is a freelance music director and accompanist in the Philly area, working with numerous companies such as 11th Hour Theatre Company, Upper Darby Summer Stage, The Walnut Street Theatre, and more. She is also an adjunct faculty member at Temple University.  Along with being a harpist, she is proud mama of her 7 year old son, Milo, who helps keep in her the loop of what’s “hip to the scene” with the kids these days. Milo continues to be embarrassed by his mom when she uses words like “hip to the scene.” (Classes: Musical Theatre 6-8: Fundamentals Musical Theatre 9-12: Technique)

TJ Harris is excited to return to Arden Drama School for his 3rd year as a teaching artist. TJ is a Philadelphia-based musician, theatre artist, and educator. He received his Bachelor of Music in Music Education from Mansfield University where he studied the trombone and instrumental music studies. A recent graduate of the Arden Professional Apprenticeship at Arden Theatre Company, TJ just celebrated his Philadelphia music directorial debut in this past Fringe Festival with Bryant Edward’s The Vs. Series, music directing, arranging, and playing Wolfgang Amadeus Mozart in the fight round entitled Miley vs. Mozart: An Epic Poperatic Smackdown. TJ recently closed The Carols with 1812 productions, a new holiday musical, for which he was the Music Director and played a limping piano-player named Teddy. TJ is looking forward to serving as the Assistant Director of the Arden’s upcoming production of Gypsy. In addition to the Arden’s educational programs, TJ also serves as the Stage Manager and Fall Play Director for the Bala Cynwyd Middle School theatre program in the Lower Merion School District. TJ enjoys using songs, musical underscores, and movement to enhance his students’ theatrical experiences. A pianist and trombonist for over 15 years, TJ has also served as a musician for groups such as 11th Hour Theatre Company, Philly Performance Network, Quintessence Theatre, Philly Heart and Soul, and the New Voices Cabaret. TJ is looking forward to writing and telling new stories and making lively music with all of his Arden Drama School students. (Classes: Musical Theatre 3-5 Bookworms)

Matthew Mastronardi first came to the Arden as the Assistant Director to Anne Kauffman for the world premiere production of The Flea and the Professor. Soon after, he was hired as a teaching artist here at the Arden, and has been working as such for nearly six years now. Matthew has also taught for Drexel University, Walnut Street Theatre, 11th Hour Theatre Company, People’s Light, and Wilma Theater. While not teaching, he is a Philadelphia based actor/musician. He was last seen at the Walnut Street Theatre in A Child’s Christmas in Wales, where he also served as the music and vocal director for the production. Some of his favorite acting credits include: Ted in Peter and the Starcatcher (Walnut Street Theatre), Barber/Housekeeper/Cellist in Man of La Mancha (Act II Playhouse), Bunthorne in Patience (Theater at Monmouth), Mr. Fezziwig/Christmas Present in A Christmas Carol (Walnut Street Theatre), and Sir Hugh Evans in The Merry Wives of Windsor (Shakespeare in Clark Park) just to name a few. Soon Matthew will fly to Italy to appear in another production of The Merry Wives of Windsor with Teatro delle Due, this time as Sir John Falstaff. While in Italy, he will also help conduct workshops about the production and Shakespeare to local high school students. Matthew holds a B.F.A. in Musical Theatre from the University of the Arts. And he is a proud member of the Actors Equity Association. (Classes: MT Jam 3-5: Frog and Toad)

Maura Roche is a scenic designer, scenic painter, craftsperson, teaching artist, and marketing professional in the arts and culture sector of Philadelphia. Regional scenic design work includes designs for Theater Horizon (Lobby Hero, Into the Woods, Circle Mirror Transformation, Spring Awakening, I Am My Own Wife, …Spelling Bee, and more),11th Hour Theatre Company (See What I Wanna See, The Great American Trailer Park Musical, The Bomb-itty of Errors, The Winter Wonderettes, Altar Boyz), Act II Playhouse (Behind the Music: Holiday Tunes, Murray the Elf, On the Road Again, Mark Twain Unplugged, Making Spirits Bright, and more), Walnut Street Theater (Ethel), Ursinus College (God, Death Knocks) and others. With a passion for teaching and education, Maura helped develop and grow the Autism Education Outreach Program at Theatre Horizon, has taught for over 5 years with the Arden for All program in Philadelphia and Camden public schools, and for a number of theatre and arts summer camp programs throughout the past 10 years. Now, Maura spends her weekdays as the Marketing Manager at the Franklin Institute—painting, creating, and teaching in her free time. In a class with Maura, expect to collaboratively discover creative solutions to challenges, to let your imagination take flight, and to explore the ways in which you can bring a vision in your head to life! (Classes: Puppet Making K-2, and 3-5)

Jenna Stelmok is a Philadelphia-based freelance artist with a diverse background in theatre, spanning both performance and production work. She holds a B.A. in Theatre Performance from Northeastern University and has lived in Philly since 2012. Jenna has been the Acti
ng for K-2 teacher since 2013 (formerly Storycrafters). In addition to the Arden, Jenna teaches acting and playwriting for other organizations such as The Walnut, Philly Young Playwrights, and St. Peter’s School. She also works as a writer and production/stage manager, is a hiker, musician, soap and candle maker, and loves practicing yoga. All of these experiences blend together to make Acting for K-2 one of her favorite classes from start to finish. Working with students to develop actor tools, write plays, craft design elements, and come together to create a finished project is a fantastic experience, and one that she looks forward to sharing! (Classes: Acting K-2: Section 1)

Arden Drama School’s Winter Session begins Jan. 14 thru March 4, 2017. Want to learn more about Arden Drama School and all of our programming for grades  PreK-12? Visit us online at

Returning to Old Friends

by Jessica Celli

I had just turned four when I saw my first show at the Arden, A Year with Frog and Toad. It was my Christmas gift from my aunt and uncle, packing a van full of cousins and driving down to the winter children’s show at the Arden is now a tradition, and it all started with this show. Being four, I had no idea what was going to unfold before my eyes. I remember climbing into my seat and my feet not even touching the ground. I didn’t know what to expect when I sat and looked at two houses illuminated by stage lights. It was enchanting to watch, things came from the ceiling, and people came from under the floor! My four year old self was enchanted by this magic. I fell in love with theatre that day, and I haven’t looked back. I see multiple shows at the Arden every year. Now I’ve became a performer myself. I wanted to learn all of the magic, and make people feel exactly as I had.

Seeing it again was wonderful. I hadn’t even remember a lot about the show until the first song had broken out, and I began to also sing along, like I had seen the show yesterday and not twelve years ago. I brought my boyfriend and dad to see this production. Our first Arden experiences were the same show, just twelve years apart. Even being nearly seventeen and fifty five, they were just as captivated as I was all those years ago. The oldest of three younger brothers, my boyfriend knows the Frog and Toad stories by heart. He was bouncing in his seat when the cookie scene started. It was his favorite story, and he was so excited it was included in A Year with Frog and Toad.


A Year with Frog and Toad runs thru Jan. 29. Buy tickets online at, or call the Box Office at 215.922.1122.

A YEAR WITH FROG AND TOAD actor Steve Pacek reflects on his experience as in Children’s Theatre as an actor and director.

One of the first acting exercises in one of my first acting classes in college was to tell a children’s story.  We had to select a book from our childhood and bring it to life…playing every character, enacting every wild moment.  I chose The Day Jimmys’ Boa Ate the Wash and I couldn’t have been more excited!  I had always been super interested in getting to explore characters that are as different from myself as possible–the way they walk, the way they talk, how I could get my body to look completely different–it fascinated me.  I had to play a boa constrictor, every farm animal imaginable, Jimmy, his sister, a grandma, and a cow that some of my friends still ask me to do to this day.  We had to find a way to give ourselves permission to make the biggest, boldest choices while remaining true to the story–that was the purpose of the exercise.  That and be as entertaining as possible!  No small challenge.  But it was one that I gladly accepted.  And though I might not have realized it at the time, that children’s story exercise was laying the foundation upon which I’d build an awesome career in the years to come…

Flash forward a handful of years and I get cast in my first Arden Children’s Theatre show, Franklin’s Apprentice, in 2004.  In that show, I played William Franklin, the son of Benjamin Franklin.  Although my character was relatively normal (a human being, that is), our director, Aaron Posner urged us to really dig into the adventure in the story–sibling rivalries, family arguments, standing up for what you believe in, flying a kite in a lightning storm!  And it was in rehearsals for that piece that I was given a direction that I am still trying to figure out how to do to this day: to sit without sitting. Think about that for second…

After Franklin’s Apprentice, my next Arden Children’s Theatre show was the one I still get stopped on the street and asked about the most…If You Give a Mouse a Cookie.  So many people seem to remember that show so vividly and always ask, “You were the mouse, weren’t you?!?!”  That’s also the first show I got to work on with the director, Whit McLaughlin.  It was a masterclass in physical theatre and clowning.  Whit would have very specific ideas and choreography mapped out for me and Davy Raphaely, who played the boy.  But he would also give us some time to go and create some of our own bits, taking what we were learning and applying it on the spot.  That was the first time I realized how scientific and mathematical comedy is.  Through repetition, I learned how slight changes in the pitch of my voice or the tilt of my head or the length of a pause effects how the audience responds.  This was also the show that I learned the importance of not reaching for the laugh.  There was a scene where Mouse was trying to reach the milk in the bottom of a big, over-sized glass.  He would stick his whole face in the glass and try to reach down to the bottom with his tongue.  This would always get a laugh during rehearsals and during the first couple of previews, but then the laughs started fading.  I asked Whit why that was happening and he offered me some advice that was so simple, yet so profound…”Reach for the milk, not the laugh.” I had started playing the moment for the laugh instead of the the truth  of Mouse’s intention to get the milk at the bottom of the glass…

Next up was The Borrowers, again with Whit.  The challenge this time would force me to draw on my training of creating many different characters with voice and movement work.  I played a handful of characters from a friendly handy-man, to a ferocious, miniature Tarzan, to a delightfully silly long-lost cousin.  How do you make it look like you’re moving on water on a dry stage?  How do you have a battle with a giant wasp while playing both opponents?  How do you make a journey of a couple inches feel like you’re crossing the Sahara?  In The Borrowers, I learned a thing or two about adventure acting…high stakes, full-bodied story-telling.  And Whit shared with us another technique from the world of clowning: drinking tea while on the precipice.  Every moment should feel as if there is a very clear and present danger right under you, but that you are always in control.  That’s adventure acting!

Then it was Robin Hood with the director, Matt Decker.  Adventure acting at its finest–Sword fights, zip-lines, flipping over the jungle gym.  And the unforgettable clown that was Prince John…that money-loving, trumpet-playing, short-tempered, self-righteous, man-child.  An exercise in extremes, to be sure.  And a challenge to play a lovable villain…

Sideways Stories from the Wayside School again had me playing the villains, Mr. and Mrs. Gorf…but the kind you love to hate.  Also the tango teacher, Ms. Valoosh, a rat boy, a buffoon of a principal and the voice of a completely animated character, which was a first for me!

Then, I switched gears and co-directed The Cat in the Hat with Doug Hara.  Harnessing all that I had learned from performing in the Arden Children’s Theatre shows over the years and trying to pass it on, not only to the performers but also to the audience.  But working with the magnificent clowning of Charlotte Ford and Dave Johnson and the acrobatic and intellectual Doug Hara and the earnestness and curiosity of Maggie Johnson and Richard Cradle made telling one of the greatest stories ever written such a joy.

Which leads us to A Year With Frog and Toad.  I think I may be one of the only people in Philadelphia who hadn’t seen the show at the Arden the last two times they did it.  But coming to this show with fresh eyes and no expectations was delightful.  It gave me the permission to create from scratch again, which has truly become a passion of mine.  It has all the hallmarks of a Whit show…the precision deliveries, the challenging physical feats, maintaining a sense of adventure at all costs, but it also has such a wonderful ease about it.  And the music (directed by Amanda Morton) has been such gift to add into the mix.  I also do a lot of musicals, so for me, this has really been a merging of my two loves and I’m ever so grateful to be a part of it!

One of my lines toward the end of the show is “Well, here we are again folks.  Over the years, some things change and that’s good.  And some things don’t change and that’s good too.”  And over my years of doing these shows with Arden Children’s Theatre, some things do change, like the shows, the performers, the directors and the audiences.  And like we say, “that’s good.”  But other things don’t change, like the commitment to excellence, the crafting of productions that truly are fun for everyone, and the commitment to treating kids like the smart people they are, resisting ever feeling like we have to talk down to the them or overdo something so they’ll “get it.”  And that’s good too.  VERY good!  Kids get it.

I believe in the work for young audiences so much that I have devoted a large portion of my professional career to it.  I feel the palpable energy in the theatre when a group of kids are seeing their first show.  I’ve answered thousands of questions because curiosity and imagination has been peaked so keenly that they just have to know how we created that special effect on-stage.  I’ve been on the receiving end of a hug so strong that tells me someone has connected to the story so deeply and that maybe they don’t feel so alone in the world now.  There is power in the theatre.  And with that power comes responsibility.  Rest assured that those who are helping to create theatre at the Arden are in a constant state of honing their craft and learning as we continue telling stories into the future…

I hope to see you at A Year With Frog and Toad and then later in the spring at The Light Princess, which I’ll be directing!  It has truly been my pleasure.



Jessica M. Johnson in the First Rehearsal for THE LEGEND OF GEORGIA MCBRIDE.

by Jessica M. Johnson

November 2, 2016

So… Let’s begin.

I love rehearsal. More specifically, I love Day One.  “Day One” of rehearsal is more than just putting emails, and names to faces, it is about beginning a journey; it is an opportunity for a room full of designers, and directors, and actors, and every creative entity you can imagine, coming together and coming to agreement.  And what do we agree on?…

The job: We agree to work diligently, problem solve, celebrate, and keep moving forward.   Ultimately, We agree to create and to create with people we may have never met, using a text dreamed up by a person we may never meet.


[L-R] Jessica M. Johnson, Mikéah Ernest Jennings, Matteo Scammell, and Damien Wallace in the first rehearsal for THE LEGEND OF GEORGIA MCBRIDE.

I find that magical.

Sitting down to hear a play, with all its players present and on the edge of their seats, listening and learning new things that anyone can miss while reading the play alone is like starting to paint. Reading the text together is just like sitting palette prepped, brushes set, clean water poured, and easel unpacked. No one knows exactly what is be painted, how a line will be delivered, or where a laugh may land, but we are present and ready to discover, we are ready to put brush to canvas and work.



Read Jessica’s previous post, Watercolor: An Actor’s Journey.


Jessica M. Johnson as Jo and Matteo Scammell as Casey in Arden Theatre Company’s production of The Legend of Georgia McBride. Photo by Mark Garvin.

by Jessica M. Johnson

October 17, 2016

The Legend of Georgia McBride actress Jessica M. Johnson muses on the transformative process of storytelling.

What makes a show a show? Is it the text, the people, the props, the concept, the space, the light, the execution? I think on any given day what makes a play a vibrant, interesting story requires a lot of elements, but the magic of the theatre: why we still return to this ancient form of expression constitutes further personal exploration.

Ok, this will seem strange, but it is true. I see and read shows in colors. And, yes, perhaps it is all the costumes and shades of eye shadow, the shine of thousands of sequins that has heighten synesthesia. Regardless of the impetus of these sensations, please take this journey with me.


Jessica M. Johnson as Jo and Matteo Scammell as Casey in Arden Theatre Company’s production of The Legend of Georgia McBride. Photo by Mark Garvin.

Theatre, however you choose to define it, is like watercolor.  Each color, its level of saturation, the brushstrokes, colors running together to create something new and unexpected – that process is what I believe makes a production.

When we finish and take a step back to observe the work, when we rinse away the mess we’ve made, when the paint finally dries on the canvas, what we’ve created is one (hopefully) cohesive, honest, expressive work.  But I don’t think that’s the best part. My favorite part of all this, what we can easily miss in the midst of the “finishing the work”, is the journey of the canvas itself.

The canvas: a blank slate, a tabula rasa of sorts is what makes it all worthwhile: meeting your cast mates, being introduced to new ideas, learning the space, or simply addressing the stranger before a show begins. We not only witness, but experience the physical metamorphosis of a plain, flat, unassuming space.

Jessica M. Johnson as Jo in Arden Theatre Company’s production of The Legend of Georgia McBride. Photo by Mark Garvin.

Jessica M. Johnson as Jo in Arden Theatre Company’s production of The Legend of Georgia McBride. Photo by Mark Garvin.


The Legend of Georgia McBride, for me, is a journey of transformation.  We laugh, we cry, we move to the beat, we dip our brush into the work, and dab a bit of love, a broad stroke of laughter, and we begin to paint our story.  I hope in the weeks to follow you will join us.

Grab a palette, whatever color suits your temperament, bring your brush, you open your heart and join us.

Lets paint together.


Read Jessica’s next installment, Blank Canvas: Rehearsal.


Dito van Reigersberg as Miss Tracy Mills in Arden Theatre Company’s production of The Legend of Georgia McBride. Photo by Mark Garvin.

The Legend of Georgia McBride by Matthew Lopez and directed by Emmanuelle Delpech runs now thru Nov. 27 at The Arden Theatre Company on the Arcadia Stage. Tickets: Call the Box Office at 215.922.1122, visit


by Domenick Scudera, M.F.A.

Professor of Theater, Ursinus College


One of the perks of being an Arden Professional Apprentice (APA) was taking acting classes with one of the Arden’s founders, Aaron Posner.  Aaron’s class was lively and eye-opening.  If you struck a false note in a scene, he would call you on it.  For instance, if your character was trying to get out of the room, he would ask, “Are you actually actually trying to get out?” The lesson: acting is doing, not pretending.

Today, over twenty years later, I am a theater professor at Ursinus College and I find myself challenging my acting students with this same “actually actually” phrase.

I joined the Arden team after receiving my MFA in theater.  I was a part of the first class of APAs back in the 1993-94 season.  Although not a formal part of my education, my year at the Arden felt like an extension of graduate school.  It was here that I learned the most about the craft and the business of making theater.  I was surrounded by top-notch administrators, designers, technicians, and performers.  Expert actors like Greg Wood and Grace Gonglewski were employing the tools I was learning in Aaron’s class night after night in Aaron’s production of Man and Superman.  Through their performances, these actors were teaching master classes in acting – actually actually bringing the characters to life.

23 years after Man and Superman was produced, I brought my Ursinus theater students to see the Arden’s most recent production, Stupid F**king Bird.  I am teaching a course in Ursinus’ new Philadelphia Experience program. Students are living in the city for the semester and Philadelphia is their classroom.  Each week, we see a different show at a different theater, allowing the vibrant theater scene in Philadelphia to offer its lessons to us.

Returning to the Arden was a full-circle moment.  Stupid F**king Bird is written and directed by Aaron Posner and stars Greg Wood and Grace Gonglewski.  All these years later, my students were learning from the same master teachers who had taught me.


Ursinus students attend “Stupid F**king Bird” at the Arden.

It was no surprise to hear the characters in Aaron’s play asking each other if they “actually actually” were feeling their feelings.  This phrase, used once as a teaching technique, is now a life lesson: are we living in the present moment?  Are we “aware of the now” (to borrow a phrase from theater giant Robert Edmond Jones) or are we just pretending?

Stupid F**king Bird is a mature work created by mature artists.  It is thrilling to see Aaron, Grace, and Greg, some twenty years later, still at the top of their form, still making art that is both engaging and challenging.  We have all aged a bit since we first worked together in 1993 (well, except for Grace, who is still impossibly beautiful and must have an aging portrait in her attic somewhere) – and the years have produced profound and thought-provoking work.

In the play, some of the characters bemoan the fact that the world has gotten meaner, that we lack connection and shared humanity.  But you have to look no further than the Arden itself to find examples of kindness.  After the performance, Greg and Grace met with my students and shared their experiences of being Philadelphia actors and dedicated artists. They were as warm and gracious as ever.

The Arden has been supportive of my career since I first walked through its doors. It is because of the Arden that I have my job at Ursinus.  Someone on the Board of Directors at the Arden knew someone on the Board of Trustees at the college – and recommended me for a position back in 1997.  I have been at Ursinus ever since.

The characters in the play repeat the phrase, “We are here,” reminding each other (and us) to be present, to feel our feelings.  As I watched, I thought, yes, we are here: me, my students, these artists, this audience.  I am actually actually here. And I have the Arden to thank for my past and for this present moment.




Aaron Posner talks Chekhov, truth, and his role as playwright and director of his (sort of) adaptation of Stupid F**king Bird.

  1. What prompted you to adapt Chekhov’s The Seagull?

I love Chekhov and The Seagull. But the truth is… it is old and no longer speaks directly to our lives as I am sure it did a hundred and ten years ago. That does not make the play invalid—but it does make me eager to see the brilliant array of issues and complexities and relationships he crafted dealt with in a more immediate, more present manner. Look, there is no doubt: Chekhov was a great, great genius. And he has been copied, emulated and imitated by every playwright and screenwriter since he wrote. But his work—which once was radical—is now the ultimate in old fashioned and traditional.

With STUPID F**KING BIRD I was interested in seeing how I could make his stories of heartbreaking humanity a little radical again. I wanted to share my personal, current response to his masterpiece and see what would happen if I played in his playground… but on my own terms. That exploration turned into STUPID F**KING BIRD.

  1. What is it about Chekhov’s stories that are universally relevant?

They tell big stories about the small movements of our hearts and lives. His territory is territory we all recognize. It is full of everyday dilemmas and crises. What if we don’t get the person we love to love us the way we need them to? What if our family is driving us insane? What if our work fails to express our inmost souls? What if we can’t get what we truly feel we need to make us happy? These are the questions he is asking. And I think nearly everyone can relate to these kinds of questions in one way or another.

  1. When you began adapting STUPID F**KING BIRD, how do you know what to keep? What to change? What to cut?

I didn’t “keep” anything, per se. While my play is built on the bones of Chekhov’s play, there are no words from his play in my play. The characters and situations are certainly recognizable, but the characters are more like cousins, maybe, of the original characters in The Seagull. It is Chekhov’s playground, but it is my play. I use his amazing play as a jumping off place, but I wrote the scenes I wanted to see and explored the characters I was most interested in. The characters and moments that I did not find compelling I let slip away. I let go of all the things that felt of another time and place. I wrote only about those things where I had a strong personal connection and something to really say.

  1. What are you listening for when you hear a draft of your script read aloud for the first time? The second time? The third time?

The same things I am listening for whenever I hear a script, whether it is a new play by someone else or a classic like Shakespeare or Chekhov or Shaw: It is true? Is it clear? Will it take us on an engaging journey? Is the story being told worthwhile? And is the stage the right place to tell this story in this particular way? Those kinds of thing…


Photo: Aaron Posner (center) listens to the first read through of "Stupid F**king Bird," with actor Dan Hodge (left) and Assistant Director Jesse Bernstein (right).

Photo: Aaron Posner (center) listens to the first read through of “Stupid F**king Bird,” with actor Dan Hodge (left) and Assistant Director Jesse Bernstein (right). Credit: Rebecca Cureton.

  1. This is the first time you’re directing STUPID FUCKING BIRD. What are the challenges to directing your own play? 

It feels more like opportunities and pleasures than challenges. When I started to write this play I was determined to write a play that I would want to see. So while I have now seen this play maybe a dozen times at different theatres and with different casts and creative teams, I am still interested in it. Which is a very good thing… But mostly, I am loving what this exceptional group of actors and designers are bringing into it. They are sharing their own minds and hearts and spirits… and that is making the play utterly fresh again for me. When a play is trying to tell the truth about real things—and the artists approach it with real courage and generosity of spirit—then you have the possibility of something special happening on stage. This great group of artists is doing exactly that in a most wonderful way and I think we’re going to have a great production.

  1. People either love or hate the title of this play. The Arden audiences overwhelmingly love it (and so do we!), especially those who are familiar with Chekhov and The Seagull.  How do you address those who are offended by it?

For better or for worse, I have not met many of the people who don’t like it. Maybe they just don’t want to talk to me! I am very sorry if I am offending people with language, but at least I have not hidden it anywhere. One thing I like about the title is it lets people know in no uncertain terms what kind of play they are going to see. If you don’t want to hear colorful language or are not comfortable with passion and nudity and adult complexities of life… than this is, perhaps, not the play for you.

  1. Chekhov reveals his insightful observations of humanity in his characters with the hopes that his audiences would reach self-awareness and recognize their own folly and foibles. In your adaptation it is the characters who grapple with self-awareness. Did you approach this script with the goal to use this meta-theatrical convention and directly connect the actor to the audience? Or was that a happy unintentional coincidence of the process?

I am acutely interested in the actor/audience relationship, and this play seemed like a perfect opportunity to explore the boundaries of this key theatrical relationship. Because both The Seagull and SFB [Stupid F**king Bird] are partially about theatre (and new forms of theater specifically), I chose to explore things that might make this play a new form of theatre in and of itself. To be clear: I make no claim that SFB is entirely new or radical… but it is pushing on some theatrical boundaries in new and hopefully effective ways. It is exploring the actor/audience relationship in ways I have not seen done before, and it is bringing a playful, game-playing sensibility to the stage.

And yes, the journey of self-discovery and self-expression is more immediate and on the surface in my play than in Chekhov’s. He is WAY subtler than I am. But then again, subtle is hard and he is a far better writer than I will ever hope to be.

Some have said I have my characters speak all the subtext or inner thoughts of his characters, and there is some truth to that. But the fascinating truth is… no matter how much subtext you speak—no matter how much you try to say everything you are thinking or feeling, no matter how transparent you think you are being—there is always more underneath. We are all onions… layers and layers and layers.

Photo: (L-R) Cindy De La Cruz as "Nina" and Aubie Merrylees as "Con" in "Stupid F**king Bird." Credit: Rebecca Cureton

Photo: (L-R) Cindy De La Cruz as “Nina” and Aubie Merrylees as “Con” in “Stupid F**king Bird.” Credit: Rebecca Cureton

  1. What advice would you give to a young playwright interested in adapting classics for a contemporary audience?

Tell the truth. Be courageous and generous. Be smart and get good people on your team to help you. Figure out what you love about the work you are adapting, what you have to say to it, and what it has to say to you. Then give it your best shot!

  1. What insights have you learned from working on this play as a playwright? As a director?

Writing this play has changed my life and career in a number of wonderful ways. I wrote it in the full expectation that no one—or nearly no one—would ever produce it. I knew the kind of play I wanted to write, but I didn’t know if anyone would want to do it or see it. But it turns out– they do! I wrote it impulsively and without compromising, so I guess one big lesson would be that that can be a good thing. I wrote it without worrying about who would produce it—or even if anyone would produce it and that gave me a kind of freedom. And I wrote it to be the kind of play I wanted to see, and finding out that others want to see the same kinds of things I do has been very empowering.


"Stupid F**king Bird" runs September 15- October 16. For more information or tickets, visit or call the Box Office at 215.922.1122.

“Stupid F**king Bird” runs September 15- October 16. For more information and  tickets, visit or call the Box Office at 215.922.1122.

By Najyha and Isabella

The Arden gives away books every year to students who participate in our Arden For All elementary arts education program. At the end of the year, we have extra books left over that we need to give away to make room for the next season’s new books.

For the past two weeks, WorkReady Summer interns, Najyha and Isabella have been searching for a new home for extra Arden For All books. We wanted our books to go to a place where children who need a great story can read them. We discovered the Children’s Hospital of Philadelphia’s (CHOP) has a book program called Reach Out and Read. After speaking with Kiersten Rogers we decided that CHOP was the perfect new home for our books.

We packed up all our books and prepared them for transport. On Wednesday, August 3rd, Kirsten came to the Arden in her Reach Out and Read van and picked up our books. Kiersten explained how difficult it is for CHOP to get donations during the summer and how grateful she was for our contribution. This project was a highlight of our summer because the gift of a story will touch the life of every child who receives a book.

For more information on CHOP’s Reach Out and Read program, to help, donate, or volunteer your time HERE, or call 215-590-5989.

Isabella & Nakyha drop off books at CHOP!

Isabella & Nakyha drop off books at CHOP!

“Serving the Score” by Ryan Touhy, Music Director for The Secret Garden

 “Anything you do, let it come from you. Then it will be new. Give us more to see”

– Stephen Sondheim, Sunday in the Park with George

Ryan Touhy, Credit: Niki Cousineau. Passion, 2015

Ryan Touhy, Credit: Niki Cousineau. Passion, 2015

The Secret Garden marks my 6th musical at the Arden. I’ve had the great fortune during my time to work on a world premiere (Tulipomania); two Sondheim’s (A Little Night Music, Passion); a Pulitzer Prize winner (Next to Normal); and a musical with a Tony Award winning Best Original Score (Parade).

What keeps me interested in returning each season is 1) the material chosen is always first rate – The Secret Garden is no exception, with a Tony Award winning Book and a much loved, iconic score – and 2) the Arden’s dedication to making each musical they tackle a “new” production. “New” meaning that the production is conceived and crafted specifically for the Arden’s audience and artists to experience and tell the story in a completely unique way. As part of the creative team that works on bringing these musicals from the page to the stage, my goal as the music director is to serve the score through the new lens from which we are viewing our production.

Ryan Touhy at the first rehearsal for The Secret Garden.

Ryan Touhy at the first rehearsal for The Secret Garden.

Let me break it down by the numbers for some context:

In 1991, The Secret Garden opened on Broadway with a cast of 23 actors and a 24-piece orchestra. At first glance, what makes the Arden’s production “new” from a musical perspective is that we’ve reconfigured the show for a cast of 15 actors and had new orchestrations rendered for a 9 piece orchestra, with two additional orchestra members added at specific points in the score by 2 members of our cast. This is commonly viewed as a reduction of the original production. For me, when you reduce the size of a cast and orchestra, you are increasing the importance of the players you have to tell the story – each person is that much more crucial to the successful execution of the material. It also calls for some creative problem solving.

We started making decisions musically for the production over a year ago, when we began casting the show in February of 2015 (we finished casting in March of this year). The selection of each actor, for a musical that has large ensemble sequences, dramatically impacts where I utilize their voices in any given moment based on their skill set. For instance, in the opening sequence of the show, which includes large ensemble numbers such as “There’s A Girl Whom No One Sees”, “The House Upon the Hill” and “I Heard Someone Crying”, the score clearly specifies which character sang each harmony part in the original Broadway production. With the new given circumstance that I only have 15 actors available to me (less than all the characters delineated in the score) I began solving a puzzle – how could I reconfigure each section in the score with multi-voice harmonies to suit the strengths of our cast without sacrificing the musical integrity of the score?

I spent 3 months prior to our first rehearsal considering where each actor would fit to make the music have the same visceral effect as it would if 23 actors were singing. These decisions are made alone. Usually in my bedroom. Usually late at night. These early decisions are initial hunches I have about which actor would serve the score best on any given line of music. Many times those hunches prove to be true once you are in the room with the real people but there are plenty of times where they don’t work out as you may have heard them in your head. Time is then spent in the rehearsal process tweaking and refining those decisions to better serve our actors and the production (we made musical adjustments all the way up to the final afternoon rehearsal the day of our opening performance).

This timeline­­ for how much musical consideration is given in advance of being in the room with actors and musicians may come as a surprise but I would venture to say that for every minute spent in a rehearsal room with actors or musicians making music, there’s probably 4 times as much preparation we do alone as music directors giving careful consideration to how we can best serve the score. Making music feel expressive and effortless takes a lot of time.

Ryan Touhy’s work desk for The Secret Garden

Ryan Touhy’s work desk for The Secret Garden.

The amount of consideration I gave to what makes the most musical sense for this production was coupled with giving equal consideration to what makes the most dramatic sense as well. Terry, our director, was very much interested in viewing the production through the lens of Mary Lennox. Terry, Niki (our choreographer), Amanda (our conductor) and I sat down prior to rehearsals and mapped out how our decisions musically could have resonance dramatically – what would happen if we had a character or a certain combination of characters connected to Mary’s past sing a line of text in this given moment, how could that resonate with her or with us or how could that strengthen the relationships in the story. Sometimes these choices matched what was already specified in the score, many times it was a new way into the material.

Much of my time in rehearsals, beyond the initial teaching of the score’s skeletal structure (the notes and rhythms of everything the actors sing), was dedicated to bringing clarity to the communication of the musical text (the lyric). I’m obsessive about words. Every sound counts as it can have emotional resonance for both the character and the audience. Every consonant gives us the action of the word; every vowel gives us the emotion. I started a self-funded campaign in rehearsals called “No Sound Left Behind”. I wanted every word to be heard – no exceptions.

A score for a musical is meticulously crafted and honoring what is on the page is always a high priority but there are times where you will encounter decisions that were made musically for an original production that don’t necessarily serve your group or production. An example of this is tempo (the rate of speed a piece of music is played). In a dramatic sense – tempo is the rate of speed at which a thought is voiced. We took a great deal of time discovering what was the most effective rate to voice a thought in every moment of each song. Tempo is delicate because it affects breath, both of the actor singing but also of the musician playing. The rate of speed can be good for the actor but can sabotage the orchestration in any given moment so finding the balance of both worlds is an exciting creative challenge.

We brought together a remarkable group of actors and musicians for this production. Their appetite for precision, openness to try every possible musical configuration to find the most effective choice and the joy they bring to singing and playing this music brings a fresh perspective to the score. You are hearing the score for The Secret Garden in a completely new way that won’t be heard again.

Ryan Touhy conducts a music rehearsal for The Secret Garden.

Ryan Touhy conducts a music rehearsal for The Secret Garden.


by Patrick Ressler, Videographer


Every night, I have the privilege of watching The Secret Garden up close. Very close. With a video camera, I capture the world beneath the stage—a 360 degree turntable filled with miniature sets made of paper and other finely crafted materials. Throughout the show, we see Mary’s imagination flourish in a world of paper dolls and pop-up books. This conceit led co-conceivers Jorge Cousineau and Terry Nolen to the idea of filming miniature sets live and projecting the images onto a large screen onstage. As the turntable spins, the audience travels with Mary on her journey from India to England and, finally, the Secret Garden.

In "The Secret Garden", a large screen projects live video from the camera filming a turntable below the stage. (Photo: Mark Garvin)

In “The Secret Garden”, a large screen projects live video from the camera filming a turntable below the stage. (Photo: Mark Garvin)

From behind the camera, I think of myself as a storyteller filming the world as Mary remembers it. The world of miniature sets is childlike and playful. At times, the audience can see someone’s fingers in the shot, opening a gate or closing windows. Like a doll’s house, each detail has been carefully crafted to look realistic—down to miniature sconces that light the hallway. A large team of people worked to build the tiny sets, including Scenic & Video Designer Jorge Cousineau, Model Assistant Alicia Crosby, Props Master Chris Haig, and Props Intern Scott McMaster. Every second of video represents the hard work of the set, props and lighting departments.

The camera captures a shot of India.

The camera captures a shot of India, one of many miniature sets on the turntable below the stage.

My favorite moment of video storytelling is our first arrival in Colin’s room. During a storm, the camera travels down a sconce-lit hallway to a foreboding door. As the chorus swells, we see a hand open the door to reveal a bedroom with lightning flashing in the window. Onstage, Mary sees Colin for the first time. In these moments the video becomes a dramatic presence, adding suspense to the onstage action.

Live video is filmed beneath the stage. (Photo: Mark Garvin)

On the right, live video of miniature sets is captured beneath the stage. Pictured: Elisa Matthews as Lily Craven and Bailey Ryon as Mary Lennox. (Photo: Mark Garvin)

A lot of thought and energy goes into every moment of live video. For each movement of the camera, I’ve memorized specifics of how I’m moving the camera unit, panning the camera, zooming, focusing and the speed/duration of all these functions. I’m also thinking about specific moments in the music where my movement will begin and where it will end. With more and more performances under my belt, the specifics of this choreographed “dance” have become fun and familiar.

I’m grateful to be a part of the large team of people who put hard work into each moment of The Secret Garden. When it was time for our first preview performances, I was struck with just how personal and intimate it felt to invite an audience to this show. It felt like we were inviting people to come into our home and explore every room. The orchestra, crew, cast and creative team poured their energy and passion into this project—and for me, it has made The Secret Garden a much more relatable human story. From my seat, I watch Mary find belonging and empowerment every night and lend a hand to create her world. In The Secret Garden, magic is close enough to touch.

©2009 Arden Theatre Company, 40 N. 2nd St., Philadelphia, PA 19106. For tickets, call 215.922.1122.
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