Dennis is joined by Heather Wake, Nicole Pacent and Dulce Valencia to talk about the unique and delightful play they're currently starring in, David Mamet's Victoria Era sex farce Boston Marriage. The trio talk about how they first came across the play, why they chose to perform it in private home--the Victorian-style "European House" in Studio City--as opposed to a traditional theater, and why one of the plays most memorable lines, "The point, my dear, is not to believe but to decide," resonates with all of them. Heather and Nicole talk about their decision to produce the play themselves, the fact that they're switching parts every night and the challenges and delights of playing such broad, go-for-broke physical comedy. Dulce talks about her role as the dutiful maid, her manifesting more theatrical opportunities for herself and the enchanting mouse-like squeaks she's incorporated as part of her character. Other topics include: the pleasure of doing and relief of live theater when AI seems to be disrupting every other medium, rehearsing in front of your five year-old kid, flipping a coin before some shows to see who plays what role that night and why it's good to insert the gay agenda into your work whenever possible. 

Show Notes

Dennis is joined by Heather Wake, Nicole Pacent and Dulce Valencia to talk about the unique and delightful play they're currently starring in, David Mamet's Victoria Era sex farce Boston Marriage. The trio talk about how they first came across the play, why they chose to perform it in private home--the Victorian-style "European House" in Studio City--as opposed to a traditional theater, and why one of the plays most memorable lines, "The point, my dear, is not to believe but to decide," resonates with all of them. Heather and Nicole talk about their decision to produce the play themselves, the fact that they're switching parts every night and the challenges and delights of playing such broad, go-for-broke physical comedy. Dulce talks about her role as the dutiful maid, her manifesting more theatrical opportunities for herself and the enchanting mouse-like squeaks she's incorporated as part of her character. Other topics include: the pleasure of doing and relief of live theater when AI seems to be disrupting every other medium, rehearsing in front of your five year-old kid, flipping a coin before some shows to see who plays what role that night and why it's good to insert the gay agenda into your work whenever possible.

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