Fringe Curated Series Playbill July 7 - 22 #capfringe18
Staff & Crew 95% make their home in DC,VA or MD
Julianne Brienza Lee Cromwell Farah Lawal Harris Stephen Spotswood
CEO/Founder
Festival Producer
Playwright America’sWives Playwright Andromeda Breaks Playwright The City Of… Director The City Of… Director Andromeda Breaks Director America’sWives
Matthew Capodicasa
Patrick Pearson
Nick Martin
Jared Shamberger
Jason Aufdem-Brinke
Lighting Designer Costume Designer Sound Designer
Amy MacDonald
Gordon Nimmo-Smith
Josie Felt
Stage Manager
Billie Krishawn Jeremy Hunter Louis E. Davis Karen Novack Yesenia Iglesias
Actor America’sWives & Andromeda Breaks
Actor Andromeda Breaks Actor AmericaWives Actor, AmericaWives Actor The City Of. . . Actor The City Of. . . Actor The City Of. . . Sound Board Operator
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Scott Sedar Nicklas Aliff Eric Johns
Drew Neitzey Ashley Behnke
Tech Crew
Assistant Stage Manager
X
The Actor appears through the courtesy of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
Capital Fringe Would like to Thank . . . Kathleen Kelley, Chrystal Vaughan, Kaitlyn Sakry, Betsy O’Keeffe, Karen Mayhew, Edgar Dobie, Khady Kamara, 1st Stage Tysons,Arena Stage, GadgetGrlz, Signature Theatre. The playwrights, directors, actors, designers, stage management and theatre companies for their openness and willingness to participate fully in the inaugural year of the Fringe Curated Series. Thank you to your curiosity that brought you to this production. We hope you are left with questions that lead to discussions to uncover the answers.
Program Support Provided By
SHARE FUND
O Monsters – are obsessed with their spectral father, the “Captain”, and are on a mission to uncover the details of his disappearance. Here are thoughts that haunted us as we created the piece: Sea squirts start life with a spinal column.They procreate, find suitable spots, and swim head down into the ocean bottom. They transform, consuming their own nervous systems, and become filter feeders, plant-like, never moving again. The destiny of the sea squirt is to lose mobility, agency, freedom. They seem to evolve backwards. - is the story of a haunting.The bizarre Kissimmee family – mother and triplets The human body is not just one thing. It’s a colony of symbiotic beings: bacteria, parasites, mitochondria (independent creatures that are now organelles inside cells), all crucial to sustaining human life. Our organs are bags of monsters hiding bags of monsters. Periodically, asteroids as big as aWalmart store buzz by, between the earth and the moon. If any collided with us, they would create havoc. So far this year, 33 such objects have passed near us, all misses.We barely noticed. - The job of the artist is to deepen the mystery – Francis Bacon (painter). -
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NPL thinks of theatre as a “lens of perception”. We create curious alternative worlds in order to reflect on our own world.
Whit MacLaughlin
Whit MacLaughlin ( Artistic Director ). 24 NPL works in 22 years. OBIE, Pew Fellowship in Performance Art, NEA Fellowship, Barrymore. Featured at the 2011 Prague Quadrennial. Ontological Theatre, PS 122, Walker “Out There” series, AndyWarhol Museum, Humana Festival of New American Plays. Recent: Gumshoe (immersion experience, Free Library of Philadelphia), and The Blue Hotel,Ankara,Turkey. Matt Saunders (Scenic Designer/Associate Artistic Director ) Arden, Headlong Dance, Pig Iron,Yale Rep, Berkeley Rep, Guthrie, Mark Taper Forum, Huntington, Syracuse Stage,Wilma. Off-Broadway: Pipeline (Lincoln Center),Venus (Signature), Good Person of Szechwan (Public), Futurity (Soho Rep,Ars Nova). Hodder Fellow (Princeton); Pew Fellow;Assistant Professor of Design (Swarthmore). mattsaunders.net
KC Chun ( Managing Director ) is a contemporary dance-maker, educator, somatic practitioner, and arts administrator. She has taught on the faculties of the Pig Iron School/UArts, Drexel University,Temple University, and Bryn Mawr College, and her choreography has been presented throughout Philadelphia, NewYork, and Boulder. Chris Sannino ( Production Manager ) is a Philadelphia based theater artist and technician specializing in multi-media driven immersive performance. Chris’ work has been featured in association with The Public Theater, Theatre Exile, 1812 Productions, Curio Theatre Co., BRAT Productions, Orbiter 3, New Georges,WXPN, and FringeArts amongst many other companies and music groups. Bhob Rainey ( Composer/Collaborator ) is a highly regarded composer / performer of boundary-pushing music. From the bizarre, near-silent acoustics of Nmperign, to the density and conceptual rigor of his electronic work, Rainey allows entry to uncanny forces that redefine what contemporary music can be. He has collaborated with New Paradise Laboratories since 2012. Rosemarie McKelvey ( Costume Designer ) NPL:The Adults, Prom, Extremely Public Displays of Privacy, Freedom Club, Batch, Planetary Enzyme Blues, and This Mansion is a Hole. Philadelphia:Arden Theatre, People’s Light and Theatre,Act II. Nine-time Barrymore Award Nominee and two-time recipient (2007 & 2009). Professor, Moore College of Art. rosemariemckelvey.com Maria Shaplin ( Lighting Designer ) is a Philadelphia-based designer with an MFA in Lighting Design fromTemple University. Maria works closely with Alicia Crosby ( Props Designer ) is a Philadelphia based actor, deviser, maker and clown about town.Alicia is graduate of the Pig Iron School for Advanced Performance and has recently designed props for Nichole Canuso Dance Co., Pig Iron Theatre and Lightening Rod Special. aliciacrosby.com Annie Halliday (Production Stage Manager ). Recent stage management credits include; Big Red Sun (11th Hour), CompleteWorks ofWilliam Shakespeare (Abridged) (Delaware Theatre Company), Hello Blackout! (New Paradise Laboratories), Rizzo, Having Our Say, Hand to God (Philadelphia Theatre Company). BFA University of the Arts.Thank you to the team of O Monsters. Love to Jay. many theatre companies in Philadelphia including The Riot Group, Applied Mechanics,TheWilma Theater, InterAct, and Swim Pony Performing Arts among others. She is a co-founder of Applied Mechanics.
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Kate Czajkowski ( NPL Ensemble) has appeared in NPL’s The Adults and Hello Blackout! Philadelphia Credits: In The Next Room, Our Class, Angels in America, and Don Juan Comes Home from Iraq (TheWilma Theater),TheWhale (Theater Exile), Great Expectations (The Arden). Kate has an MFA fromTemple. Julia Frey ( NPL Ensemble ) is an actor and video designer. She co-founded the new media theater duo Casual FreyDay and is an ensemble member of New Paradise Laboratories, Quintessence Theatre Group, and ComedySportz. Recent video credits: Elevator Repair Service, BAM, the Public Theater, Philly Fringe. MFA: Brooklyn College (PIMA) juliafrey.net Emilie Krause ( Ensemble Member ). Regional: HenryV in HenryV (Delaware Shakespeare), Irina,Three Sisters (Studio Theatre). Philadelphia:Arden, EgoPo, Inis Nua, Lantern Theatre, People’s Light & Theatre, Simpatico,Theatre Exile,Theater Horizon,Wilma. 2017 Independence Foundation Fellowship in the Arts. Film: Best Actress Award forWe Are Strangers, (Philadelphia Independent Film Festival, Hill Country Film Festival). Jilly Schwab ( Assistant Stage Manager ) has worked with NPL on two previous shows in the last year, Gumshoe and Spector Vivant. This is her first show working as the Assistant Stage Manager. She is a multidisciplinary performance artist in Philadelphia and holds a BFA in Drama and Theatre fromArcadia University. Matteo Scammell ( Ensemble ) NPL: 27,The Adults, O Monster,s and Hello Blackout!. Regional:The Legend of Georgia McBride (Arden), Hand To God (PTC), Buzzer, Smoke (Theatre Exile),The Hairy Ape (EgoPo), Holden (Ice Factory 2015, Fringe Arts 2015, New Ohio 2017). Band member of Red 40 and the Last Groovement. X X X X New Paradise Laboratories ( Philadelphia ) is an experimental performance ensemble that explores radical means of expression to bend and reshape conventional ideas of theatre. NPL likes performance to be a visionary experience. It uses a variety of creative strategies to realize this desire, including com-pany-devising techniques, cross-media design elements, and site-specific installation. Our pieces value accidental inspiration, sudden paradigm shifts, and shocks to the system. We support an artist-as-entrepreneur model in our organizational structure.The artists of the labora-tory tend to be multidisciplinary in their interests: designers, writers, and producers, as well as actors. newparadiselaboratories.org The Actor appears through the courtesy of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
The “Baroque” period was a dramatic, highly ornate and elaborate European style which flourished from the early 17th to mid-18th century. It then evolved into the even more extravagant “Rococo.” Our title is a portmanteau of these words.The end of this period saw the privilege enjoyed by the French Aristocracy, the 1% of their time, implode with Revolution. In Barococo we portray oblivious entitlement, elegance and excess on the brink of extinction.We found comic potential in all that structure crumbling. Within the complex and ornate style of the late-Baroque we focused on essentialized gestures, period manners and style, to create a show ready to tour the Fringe Festival circuit through support from Capital Fringe, for which we are very grateful! Gwen Grastorf ( Constance Blandford Plainview) has collaborated with Happenstance Theater since 2007, and has been a company member since 2012. She is also the Social Media Maven for Happenstance, and is an actor and performer in the DC metro area. GwenGrastorf.com Mark Jaster ( Astorio Cavalier i) Artistic Co-Director of Happenstance Theater, trained with 20th-century masters of mime Etienne Decroux and Marcel Marceau. He has appeared in all Happenstance productions receiving a Helen Hayes Award for his performance in IMPOSSIBLE! A Happenstance Circus. He’s also performed at the Maryland Renaissance Festival, Round House Theatre and Olney Theatre. MarkJaster.com Sabrina Mandell ( Olympia Stroganovskaya ) is the Artistic Co-Director andVisionary Tornado of Happenstance Theater. She is a visual and performing artist, peddler of whimsy, clown and poet who loves Art History, collecting images and stirring up sediment. She has won two Helen Hayes Awards for Outstanding Costume Design. SabrinaSelmaMandell.com We hope you will find it resonant.
Mark Jaster & Sabrina Mandell
Kristin A. Thompson ( Lighting Designer ) A freelance Lighting Designer and has designed many shows for Happenstance Theatre, including Bon Voyage!; Moxie!; Impossible!; Cabaret Macabre; andVanitas. Some other companies Kristin has designed lights for include: 1st Stage,Adventure Theatre MTC, Carrol Community College, Faction of Fools, FlyingV, Georgetown University, Howard Community College,The Hub Theatre, Imagination Stage, Round House Theatre, andVenus Theatre.When not sitting in the dark designing, she spends her time with her two favorite people: her husband Paul, and her child Grey. Evangelina M. Hakes ( Production Stage Manager ) Is happy to get to work with her favorite people at Happenstance Theater again! Her previous professional credits include Pericles,We Happy Few (Assistant Stage Manager), BonVoyage! A Happenstance Escapade, Happenstance Theater (Stage Manager), Normal/Magic, Spitball Theatre (Stage Manager), and Moxie:A HappenstanceVaudeville, Happenstance Theater (Assistant Stage Manager). Karen Hansen ( Doppio Gemelli Von Sharfenberghopf ) is the music director for Happenstance Theater. She has worked with the company since 2009. Helen Hayes award for MOXIE! A HappenstanceVaudeville (2017). In a previous incarnation, Karen played early music with Ex Umbris and several other early music ensembles. KarenHansenMusic.com the puppetry duo Alex & Olmsted which was awarded a 2017 Jim Henson FoundationWorkshop Grant. SarahOlmstedThomas.com Alex Vernon ( Leslie Pamplemousse de Citron-Pressé ) is an actor and puppeteer who has been a Happenstance company member since 2012. He is the other half of the puppetry duo Alex & Olmsted.When not performing, he enjoys repairing automata and studying mechanical movement.AlexAndOlmsted.com Sarah Olmsted Thomas ( Dauphine Marionette ) a Happenstance company member since 2012, has trained with the Pig Iron Theatre Company in Philadelphia and Le Samovar, École de Clowns, in Paris. She is one half of
L’Aly Rupalich by CPE Bach (1714-1788) Sarabande from Suite in D Minor by G.F. Handel (1650-1785) Menuet 2me from Suite in G Minor by JP. Rameau (1683-1764) The Arrival of the Queen of Sheba from Solomon by G.F. Handel Largo fromWinter in The Four Seasons by A.Vivaldi (1678-1741) Sonata in D minor by D. Scarlatti (1685-1757) And other selections of the period. The Dancing Master (1725) by Pierre Rameau Art of Dancing (1782) by Soame Jenyns Last Letters: Prisons and Prisoners of the French Revolution (1987) by Olivier Blanc Paintings of AntoineWatteau, François Boucher, ÉlisabethVigée Le Brun and Jean-Honoré Fragonard. MUSIC, REFERENCES, INSPIRATIONS & THANKS YOUS BradWaller, Caroline Copeland and The NY Baroque Dance Co., Nancy Rodrigues, Nancy Mendez, Ballard & Boyce, Leslie Swan Photography, Sharon Crissinger of Stranger Cinematics, Mansion at Strathmore,April and Jerry Blum, Lois Dunlop, Mike Platt, Marianne Ross,Alexander Colwell, Hildur V. Colot, Lucy Cross, Period Corsets, and those of provide finibancial support including the Share Fund, Morgan Fond and Nora Roberts Foundation.
Happenstance Theater Company (Washington, DC), harvests imagery from the past and re-contextualize it into performer-created visual, poetic theatre.With the simplest means they seek to elevate the moment when the performers and audience meet, to lift the encounter beyond the daily and pedestrian into the realms of dreams, poetry, and art. Meaning is often found by happenstance. Happenstance’s first production was at the inaugural Capital Fringe Festival. Since then they have developed and performed more than 25 new works and received numerous awards. happenstancetheater.com
The adage of theatre holding a mirror up to society is fitting. While is not the only medium to reveal the human condition, live theatre is aptly suited to the task. For us to gather in the same room, breathe the same air and witness someone just like us transform before our eyes and tell another person’s truth is inspiring and powerful. Stephen Spotswood (Andromeda Breaks) brings a deep sense of theatrical tension and release to a story we thought we know, the original damsel in distress. Farah Lawal Harris (America’sWives) gift at using many layers of language, poetry, prose brings a sense of deep tradition and culture to a modern, contemporary world. Matthew Capodicasa (The City Of . . .) pulls us down a rabbit hole into a world that is both scary and familiar, far off but also quite intimate as we seek what it means to remember. In all of our thirteen years, each Fringe Festival schedule always has a bit of Shake- speare and adaptations of classical texts. It is clear that DC audiences love classical texts and the wisdom they contain.With the goal to continue to adapt and evolve our programs, Fringe commissioned three new plays drawn from folklore or myth for this year’s Capital Fringe Festival.We brought together a design team, hired the directors and actors and set to collectively craft each stitch, sound, light, word, action and search for meaning. Myths are stories from ancient times. Stories of a search by human beings to find meaning.We are searching for stories of experience.We are searching to add to our story.We hope our three new play adaptations spark a story in you or enable you to remember a truth you might of lost. OLD MYTHS. NEW PLAYS. Founder/CEO
Festival Producer
Guiding Quotes & Statements Where are we starting from, and where are we going?
What’s past is prologue.
We have not even to risk the adventure alone for the heroes of all time have gone before us.The labyrinth is throughly know. . . we have only to follow the thread of the hero path. And where had thought to find an abomination we shall find a god. And where we had thought to slay another we shall slay ourselves. And where we had thought to travel outward we shall come to the center of our own existence. And where we had thought to be alone we shall be with all the world. Joseph Campbell
America’s Wives
Farah Lawal Harris Playwright
Director Jared Shamberger
Billie Krishawn - Olayemi/Iyawo Louis E. Davis - Bald Eagle Karen Novack - Mallory/Iyale
Up until recently, I felt shame over having never traveled to Nigeria and not being fluent inYoruba, the language of my ancestors.Writing and developing America’s Wives proved that my American-ness doesn’t cancel out my Nigerian-ness, nor the fact that I was born Farah Lolade Iyabode Aduke Lawal: proud daughter of Mr. Habeeb Kolawole Lawal and Mrs. Beatrice Olufunmilayo Caxton-Martins Lawal, great granddaughter of Mr. Herbert Macaulay, the founder of Nigerian nationalism and grandson to Bishop Samuel Ajayi Crowther, the first African Anglican bishop.To my parents and ancestors, ese gan—thank you so much—for your love, strength, and resilience. I also thank the director, actors, producers and creative team for treatingYoruba culture with reverence and breathing beautiful life into my play. To some,America feels like a loving husband, a faithful friend, and a dream worth chasing.To me,America often feels like an abusive husband who loves me some days and denies my humanity on others.Yet I stay married to him because like it or not, he is mine. Enjoy. Directing America’sWives has been a privilege. I hesitated--briefly--before accepting this job because I wasn’t sure if a man’s vision of this work would be appropriate given the subject matter. As I read and re-read the play, I accepted that like these characters, I also have a complicated and nuanced relationship with America.As a Black gay man,America has not always embraced me and treated me with care and yet I stay, because...where else would I go?Where else would I have the opportunities I’ve been afforded?Where else could I live my life exactly the way I choose? America is a land of success and a land of hardship; it is this dichotomy that many of us live and struggle with everyday.The cast and I had wonderful and enlightening conversations throughout the rehearsal process about how we relate to each other and how we see ourselves as Americans.This play, like most theatre that I love, holds up a mirror and asks “so now that you’ve seen yourself, what will you do differently?” It’s not a comfortable question, but I believe that discomfort is the gateway to growth. It’s ok to be uncomfortable. Farah Lawal Harris I thank the cast and production team for their wonderful work and unwavering commitment to this show.This play would not exist without Farah Lawal Harris whom I am honored to call my friend. She has found a way to make race, gender, feminism, sisterhood, greed, and patriotism funny, poetic, and relatable. Jared Shamberger
Billie Krishawn is a graduate of Drew University and Duke Ellington School of the Arts. Recent credits include The Caucasian Chalk Circle (Constellation Theatre), Emilie (WSC AvantBard) How Old is a Hero (Discovery Theatre) Greensboro Counter (Smithsonian American History Museum) and Jumanji (Adventure Theatre). She works as a teaching artist for The Manhattan Theatre Club’s education program, Tectonic Theatre Project and various others. Louis E. Davis is excited to be working with Capital Fringe for this production. Recent credits include The Frederick Douglass Project (Solas Nua) Don Juan (Taffety Punk)Word Becomes Flesh (Theater Alliance) and King Lear (WSC Avant Bard). Television credits include House of Horrors:Abducted andWho the (Bleep) Did I Marry… (Investigation Discovery Channel). Louis holds a BFA in Theatre Arts/ Acting from Howard University. “Thank you Ma for everything, I love & miss you!” Karen Novack is happy to be returning to Fringe after drowning in the Georgetown swimming pool (with Solas Nua) and murdering her coworkers at the back of the Playbill Cafe (with Molotov Theatre) in previous years. Throughout her career, Karen has also had the privilege of working withYoung Playwrights’ Theater, Keegan Theatre, Rep Stage, Everyman Theatre, Studio 2nd Stage, Spooky Action Theater,WSC Avant Bard, Scena Theatre, and Lean and Hungry Theater.
Billie Krishawn - Andromeda Jeremy Keith Hunter - Percy Andromeda BreakS Director Stephen Spotswood
Playwright
Nick Martin
The original story of Andromeda has surprisingly little Andromeda in it. Her mother boasts that her daughter is more beautiful than the sea nymphs. Her parents chain her to a rock to appease Poseidon’s jealous wrath. Perseus saves her, and not even on purpose. He just happened to pass by on his way home from slaying Medusa. We named a galaxy after her, but in her own myth Andromeda has been given no lines. She became the prototype for every damsel in distress, every woman whose sole purpose is to be saved.With this play, I didn’t want to just give her a voice, but to give her agency and power and desire--to reimagine Andromeda as a damsel who can save herself. As soon as I knew what the story needed to be, the form fell quickly into place: a crime noir tale set against myth-infused Southern gothic. In noir, heroes, victims and villains are never clean-cut. Everyone is suspect, and no one emerges unscathed. At the end of the day, this is a story of two people fighting against a corrupt Olympus.A story about complicity and compromise that asks how much you’re willing to sacrifice for justice. Or for revenge. A Southern Gothic, crime drama retelling of a Greek Myth is how Andromeda Breaks was first described to me, and upon reading Stephen’s first draft that’s precisely how I’d describe it as well.As a director I love to probe a script, with a fantastic team of collaborators, to determine exactly what the rules of the play are and how they manifest in production. Each of those three distinct facets of Andromeda Breaks is rich in this regard, and their interplay even more exciting.The script balances competing impulses with such ease that the great joy of this process has been discovering how to let this enthralling world develop in the most intuitive and organic way. Of course, much of the work of navigating the twists and turns of the script fall on the terrific actors you’re about to witness. It’s a distinct pleasure to take a deep dive into the vivid world of Stagger County with this team of artists and to facilitate the magic they can create. I hope you enjoy Andromeda Breaks as much as we did creating it! Jeremy Keith Hunter, a multi-disciplined artist focusing in theatre, writing and graphic design. Previous theatre credits include The Farnsworth Invention (1st Stage); Rabbit Summer (Ally Theatre Company);Word Becomes Flesh (us -Theatre Alliance), Hooded or Being Stephen Spotswood Nick Martin
Black for Dummies, Milk Like Sugar, andWhen January Feels Like Summer (Mosaic Theatre Company). Jeremy attended the College of Southern Maryland. iammercury.com
The City Of . . .
Matthew Capodicasa Playwright
Director Patrick Pearson
Yesenia Iglesias - Irene Nicklas Aliff - Arthur Scott Sedar - Z
This passage from Funes the Memorious, the haunting Jorge Luis Borges short story that served as the inspiration for this play, resonates deeply with me. I’m fascinated in the divide this play explores and how we process memory and truth: the danger of forgetting and the pain of remembering. “For nineteen years he had lived as one in a dream: he looked without seeing, listened without hearing, forgetting everything, almost everything.When he fell, he became unconscious; when he came to, the present was almost intolerable in its richness and sharpness, as were his most distant and trivial memories.” That’s the journey the characters, and we all, embark upon: how to see, hear and remember without getting overwhelmed by the almost instantaneous overload of information available. And given our current world in which the difference between real and fake can depend on who you choose to believe and not the actual facts themselves, it’s more important than ever that we all continue to pay attention and be fully aware, fully awake — be truly present in the moment. Patrick Pearson In The City Of…, the characters forget in front of us: but what have they forgotten? Did they notice? Did we notice?What have we missed in the telling? And who gets to tell these stories?Who gets to remember? And who gets to forget? Memory, for us, is fallible, after all.And yet, in this current moment, that fallibility is being exploited to rewrite history. We are told that our memories are wrong, that we’ve missed things, that what we remembered is not what happened. And certain basic tenets of our society seem to fall away because of it. In Funes the Memorious, an unnamed narrator recalls meeting a remarkable character in the countryside, a man who after an injury can remember literally everything he experiences.The story forces us to confront the usefulness and efficiency of memory: sure, Funes can remember an entire day from the past, perfectly, but it also takes him an entire day to do so. And his ability keeps him from the world. In the past year or so I’ve found myself returning to the writings of Jorge Luis Borges. Maybe it’s out of some strange sense of recognition. Borges’s stories, essays, and poetry depict worlds both dreamlike and frighteningly realistic; dip into tropes from genres both widely varied and yet to be named; and confront terrors from the realms of dreams, the physical, and the political. Matthew Capodicasa
Yesenia Iglesias , is grateful to be making her Capital Fringe debut! Local credits include The Legend of Georgia McBride (Round House Theatre),The Caucasian Chalk Circle (Constellation Theatre Company) A Christmas Carol (Ford’s Theatre) Hamlet and King Charles III (Shakespeare Theatre Company) and Buried Cities (Source Festival). She’s also performed with Seattle Children’s Theatre,ACT Theatre, Theatre 22, Slow Burn Theatre, Shakespeare Miami, and the Civic Theater of Puerto Rico, among others. Nicklas Aliff , The Raid (Theater Alliance), Girl in the Red Corner (The Welders), Urinetown (Constellation Theatre Co.),The Man in the Iron Mask (Synetic Theater) and Between Riverside and Crazy (U/S Studio Theatre). He works primarily in voiceover and film. He spends his free time teaching physical exam technique and maneuvers at George Washington University as a Standardized Patient Instructor. He gives his warmest thanks to Patrick and Capital Fringe for this opportunity. Scott Sedar , like the character Nunes,“was also a kid…with certain incurable limitations.” His bout with infantile paralysis left him disabled at an early age, a member of one of the last Polio generations in the US. Scott remains grateful for his compensatory gifts, especially those which have contributed to his long career on the stages ofWashington DC’s Equity theaters. Special thanks to Lee at Capital Fringe, Matthew, Patrick and the cast.
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