Get to Know: Nathan Gebhard and Kris Gebhard

20% Theatre Company is thrilled to announce Q-STAGE – a new, experimental series showcasing the work of local queer artists/performing groups. As a company we recognize that “queer” can mean vastly different things to different people. To us, “queer” is a term of radical self-definition – and can relate to personal gender or sexual identity, history, presentation, artistic approach and/or content, and so much more.

Six shows were chosen out of 14 applications, and you are about to read about one of them! We reached out to Nathan Gebhard and Kris Gebhard, creators of Trust in Chaos. Here’s what they had to say.

 

What attracted you to the Q-Stage opportunity?

We’ve always come together over music, but we’ve never combined our respective talents in poetry and dance to see how they compliment, provoke and dare each other. Inspired by what Kris’s recovery has brought to each of us, we knew we had something to share.

 

What was the most surprising or exciting discovery you made during the rehearsal process?

There’s a lot of honesty in just letting yourself be.

 

If your play/performance piece had a theme song, what artist would sing/play it?

The Bad Plus

 

Describe your show in 5 words or less:

We dare you to dream.

To purchase tickets to this show or any other Q Stage production, visit http://www.brownpapertickets.com/producer/73249.

Get to Know: Anna Sutheim

20% Theatre Company is thrilled to announce Q-STAGE – a new, experimental series showcasing the work of local queer artists/performing groups. As a company we recognize that “queer” can mean vastly different things to different people. To us, “queer” is a term of radical self-definition – and can relate to personal gender or sexual identity, history, presentation, artistic approach and/or content, and so much more.

Six shows were chosen out of 14 applications, and you are about to read about one of them! We reached out to Anna Sutheim to learn about her Q Stage production of Singing Out.

What attracted you to this Q-Stage opportunity?

What artist doesn’t want to be told “hey, here’s a budget, talented production staff, a venue and 30-60 minutes of stage time- whaddaya wanna do with it”? Also, the idea of applying scared the crap out of me, so I knew I had to try.

 

What was the most surprising or exciting discovery you made during the rehearsal process?

That I can write and perform a one-woman autobiographical show and not have a heart attack or flee the country (yet, anyway).

 

If your play/performance piece had a theme song, what artist would sing/play it?

Well, the songs I’ve been listening to on repeat to encourage myself when I get terrified during this process have been Macklemore’s “Can’t Hold Us”, Janelle Monae’s “Electric Lady” and the first movement of J.S. Bach’s Cantata 82 “Ich habe genug” sung by Lorraine Hunt Lieberson. So I think those artists (including the dead ones) should all collaborate on something about pushing through fear and being yourself. That would be awesome.

 

Describe your show in five words or less:

Nervous girl loves opera, ladies.

Or, perhaps:

Singing lesbian finally chills out.

To purchase tickets to this show or any other Q Stage production, visit http://www.brownpapertickets.com/producer/73249.

Get to Know: Donn Saylor

20% Theatre Company is thrilled to announce Q-STAGE – a new, experimental series showcasing the work of local queer artists/performing groups. As a company we recognize that “queer” can mean vastly different things to different people. To us, “queer” is a term of radical self-definition – and can relate to personal gender or sexual identity, history, presentation, artistic approach and/or content, and so much more.

Six shows were chosen out of 14 applications, and you are about to read about one of them! We reached out to Donn Saylor, the writer, director and performer of Pilgrim Soul: The Life of William Haines, a Q Stage production going on now at Nimbus Theatre.

 

What attracted you to the Q-Stage opportunity?

I was attracted to Q-Stage because the wonderful folks at 20% were offering something truly unique: the room–both literally and figuratively–to develop, brainstorm, experiment, and create in a wholly supportive, nurturing environment. That is something quite rare, and I’ve treasured the experience. Also, something like Q-Stage would never have existed in Billy Haines’s time, and I think it’s something he would get quite a kick out of and find really cool.

 

What was the most surprising or exciting discovery you made during the rehearsal process?

Oh…too many to mention! Primarily this…. I don’t think it’s terribly unique for someone who has been given the opportunity to create and perform an intensely intimate piece like this to feel an allegiance with the character they are portraying. But I had no idea of just how deeply that allegiance would run. I had been researching this show for a year and a half before sitting down to actually write the thing, and I thought I knew all I could possibly know about Billy Haines. But once I started physically working on the piece–from the simple act of typing it out to the more challenging aspects of inhabiting it onstage–I was surprised at how many points in communion he and I have. Our lives couldn’t be more different on an external level, but, emotionally-speaking, a lot of his experience resonated with me. Even in instances where I really didn’t know if I could–in real life–do what he did, it emotionally rang true as something to which I wanted to aspire. I kinda want to be Billy Haines when I grow up. 🙂

 

If your play/performance piece had a theme song, what artist would sing/play it?

I like to think that it DOES have a sort-of unofficial theme song, which is played at the end of the piece: “Non, je ne regrette rien” by Edith Piaf. “No, I regret nothing.” That says it pretty beautifully, I think.

 

Describe your show in 5 words or less:

“Silence is not always golden.”

To purchase tickets to this show or any other Q Stage production, visit http://www.brownpapertickets.com/producer/73249.

Get to Know: Homo Hotdish

20% Theatre Company is thrilled to announce Q-STAGE – a new, experimental series showcasing the work of local queer artists/performing groups. As a company we recognize that “queer” can mean vastly different things to different people. To us, “queer” is a term of radical self-definition – and can relate to personal gender or sexual identity, history, presentation, artistic approach and/or content, and so much more.

Six shows were chosen out of 14 applications, and you are about to read about one of them! We reached out to Chase Burns, Ryan Patrick, Jessie Scarborough-Ghen, and Jared Zeigler of HOMO HOTDISH. Check out what they have to say about their current Q Stage production, I DO! I DO!

What attracted you to the Q-Stage opportunity?

The four of us (“HOMO HOTDISH”) worked together this summer on a separate project, and were having a terribly difficult time finding a reliable performance space. We had the energy to create new work, but didn’t have the right foundation for our projects to grow and be seen. That’s where Q-Stage entered!

Jared saw the call for artists on Facebook, and we immediately recognized that the festival was the opportunity we’d been looking for. Not only do we get the chance to produce our own work, but we’re also given the ability to collaborate and network with other fabulously queer-minded artists.

We’re happy to say that the process has been eye-opening and enriching from the very beginning.

 

What was the most surprising or exciting discovery you made during the rehearsal process?

Rolling Chairs.

 

If your play/performance piece had a theme song, what artist would sing/play it?

Has R.T. Rybak ever released an EP? Because he’d be a pretty good candidate.

 

Describe your show in 5 words or less:

Campy-Brechtian-Realism.

 

To purchase tickets to this show or any other Q Stage production, visit http://www.brownpapertickets.com/producer/73249.