Check out this interview I did with the fantastic Erin McIntyre for broadwayworld.com - we discussed my upcoming shows in Allentown and in Montpelier, as well as Doppelskope.  Speaking of which, Ora and I just had a successful run at The Tank of An Existential Sing-Along.  Here is an awesome review!

In September I also helped Andy Sapora pull off a surprise edition of tinyDANGEROUSfun to surprise John Leo for his impending nuptials.




Andy ended up breathing fire outside during intermission, and I may have taken my clothes off in the second act...

In the beginning of October, Doppelskope went to Allentown to perform and teach during a brief artist residency at Muhlenberg College.  I can't stress enough what a wonderful experience this was.  Everyone at Muhlenberg is so positive, intelligent and talented - faculty, staff and students alike!  We performed our signature show - An Existential Sing-Along - and it was amazing to realize how directly this show speaks to college students!

This was a really great step for us as a company.  We're now very excited about the idea of touring around to more colleges!

We recently brought the Sing-Along back to NYC, performing it at the Tank last week.  Next month we're premiering The Apocalypse Show at the Tank - and in February we're doing a full weekend run of the Sing-Along at the Tank as well.  


This poster is hanging in my room now....

Right after I finished my second production of Irma Vep, I went off to play in my second production of A Midsummer Night's Dream!  Last time I was Demetrius; this time I was Oberon and Theseus - at the Millbrook Playhouse in Pennsylvania!  Millbrook is an awesome theatre and I'm so happy that I was there.  The Playhouse is very popular and people come out in droves to see the plays.  There are usually productions up and running in both of their theaters (a main stage and a black box) with another play rehearsing at the same time - so the Playhouse, an old converted barn, is a beehive of industry - and a wonderful, positive community.  I frequently found myself walking past an actor from another show in a hallway and we'd ask each other about our respective projects.  And with so many artists, designers, carpenters, directors and technicians, our communal dinner times were always a blast.

I'm very proud of our Midsummer.  Teresa assembled a very strong cast. I especially loved working with my scene partners, Ariel as Puck/Philostrate and Mary as Titania/Hippolyta.  We aimed to create as restrained and refined Athenian characters as possible, to create the greatest contrast to our dark and wild fairy characters.  We wanted the fairies to be animalistic and physical - Puck and Oberon would signal each other with animal noises, climb all over the set and could smell characters before they entered.  Titania and Oberon's relationship was very sexual and visceral, with an intense emotional core expressed through prowling, violent physicality.  It was a total treat  to commit so fully to our scenes and then spy on the other characters as Oberon while "invisible," as well as to watch the mechanicals' ridiculous clowning at our wedding in Act V. 

All of the actors lived together in a large dorm complex at Lock Haven University.  I had limited access to the internet there, which I LOVED.  Without facebook et. al. as a distraction, I had more time to spend with my castmates - we'd often stay up late talking.  I would go to the university's gym most mornings, and often some of us would go to the local coffee shop together, or walk along the nearby river.  After shows we would all go out together to get VERY inexpensive drinks.  There was also an opening night party every week, which would involve a fancy gala at the playhouse.  And every Saturday post-show the playhouse has a cabaret that audience members would stay for and that we'd all perform in.  I hosted it the second week with Jonathon (my roommate, who played Demetrius) and we had more fun than should be allowed.  The third week was themed "Christmas in July" - and I dressed up as a Christmas elf and gave a PSA about Krampus, the Christmas Devil (a real German tradition - look it up!) 

Summary: I made many friends, had a great time and got to be a part of a magical, beautiful play in an awesome place.  Yes, please, any time, thank you!

I thought it would be fun to post photos from both of my productions of Irma Vep side by side - I played Nicodemus and Lady Enid last year at Cortland Repertory Theatre last year and I played Jane and Lord Edgar this year at Lost Nation Theater.  The styles and designs of the two shows were quite different - between that and playing opposite tracks, the whole process was an awesome challenge for me.

Before we get to the pictures, I should post our reviews from the more recent LNT production!

Jim Lowe of the Times Argus said we "played off each other with an intimacy & discipline with the depth of a theater version of chamber music…. It was joyous fun and sidesplittingly funny….several audience members were sure there were more than two actors performing until they were told otherwise at intermission.”  You can read Jim’s whole review here – and you can also read the interview he did with us during our rehearsals here.

OH and you can WATCH an interview with us – spliced together with some rehearsal footage!  Here it is!

Alex Brown of Seven Days wrote “Scheer is equally adept at wordless clowning and mile-a-minute dialogue, and he turns his limber body into a comic instrument in itself.”  She also used words like “lithe,” “acrobatic,” “graceful,” and “androgynous”!  She ends the piece by saying “Love and Scheer connect so well onstage that they remind us of what only live, collaborative theater can do. As tightly rehearsed as this show is, the actors never telegraph a moment. Each exchange blooms up fresh before us, with all the hard work concealed and all the fun conveyed.”  You can read her whole review here.

You can read reviews from last year’s Cortland production on my reviews page.

And NOW – the PICTURES

One More!

Christopher Scheer and Eric Love (Scheer Love, as it were)

Sometime last week I decided I would write a blog post about gratitude, even at the risk of sounding like a New Age facebook status update.

I’m in Montpelier, doing what I love for my job.  April Fools’ Day marked the 4 year anniversary of having no day jobs.  My singular day job was a few months at Starbucks, after my contract with New York Circus Arts ended and before I got a job offer from Theater of the American South.

When I’m not acting, I clown and coach and model – I’m always creatively engaged.  Last year I did three major out of town projects on my own and two tours with Doppelskope.  This year I got rave reviews for King Executioner at Theatre for the New City, slowly grew an underground NYC following with Doppelskope, and booked two summer gigs.

Both of these are favorite shows of mine that I get to do again – playing different characters!  I’m playing the other track in Irma Vep, which is a fascinating experience.  I can now say that I’ve played every character!  And after Irma closes I’ll go on to my second Midsummer, this one at the Millbrook Playhouse.  I played Demetrius two summers ago at Lost Nation, and this time I’ll be playing Theseus and Oberon!

There were a lot of exclamation marks in that paragraph.  I’ll delete none of them.

I’m so grateful that I get to keep experimenting and pushing the boundaries of clown and theatre with Doppelskope.  I’m so grateful that I can take my experiences working with the Jim Henson Company on X-Tink-Shun and use them in my new puppet projects.  I'm so grateful for the communities I've found in the underground clown, theatre and puppetry scenes of NYC - and that I can explore the world and come back to them.

And again, I get to experience these feelings in Montpelier, surrounded by trees and mountains, sore from the gym, from the chiropractor and sore from picking up Eric in every conceivable way.  These are all good hurts.  I’m surrounded by great people here – and it’s a small town, like the one I grew up in.  I get to walk everywhere.  I get to feel like I’m home.

Woo hoo!  Did I express gratitude?

I'm at one of those relaxing times when I have plenty of work in the upcoming months.  Here's an upcoming performance schedule, with listings through OCTOBER!

April 18th at 8PM: Shrink: Puppet Therapy at the PIT! 
http://thepit-nyc.com/show/doppelskope-presents-shrink-puppet-therapy-7/

May 4th at 9:30pm: The Existential Variety Hour at the Tank! 
http://www.thetanknyc.org/comedy/5-the-existential-variety-hour/

May 16th at 8pm: Shrink: Puppet Therapy, back at the PIT!

June 6th - 23rd: The Mystery of Irma Vep at Lost Nation Theater in Vermont (playing Jane and Edgar this time)

July 12th - 21st: A Midsummer Night's Dream at Millbrook Playhouse in Pennsylvania (as Oberon and Theseus this time - I was Demetrius two years ago at LNT!)

October 7th - 10th: Doppelskope performs (An Existential Sing-Along) and teaches at Muhlenberg College!

There are still spaces to fill in, of course, and as always there are irons in the fire.  Stay tuned...

 

Accidental Dialect Coach

Without promoting at all, I found myself with a lot of new dialect coaching gigs in the late spring and early summer!

In NYC I coached Bosnian and Italian for Nora’s Playhouse’s production of The Fallen, and I coached Dad Doesn’t Dance, a wonderful one-woman show for the Edinburgh Fringe.  I also had a bunch of private clients!

New Puppet Reel!!!

I can't embed a vimeo clip, so HERE is the link! http://vimeo.com/55887706

“Some who stood out to this audience member include Christopher Scheer as Rosencranz and Eric William Love as Guildenstern; like their compatriots, Scheer and Love played other characters as well, but they came across as especially loveable as the comic relief and pals to Hamlet. Scheer also shone as Laertes, Polonius’s son.” - Cassandra Brush, Montpelier Bridge

“[Hamlet] enjoyed the most exciting fight scene in memory.  Christopher Scheer gave Laertes, Ophelia's brother, dimension as he sought revenge for his father's death…. And Dan Renkin's fight choreography was genuinely exciting.” – Jim Lowe, The Times Argus

“The dynamic acting was sometimes a bit overwhelming as I don't usually sit in the first row. I kept on getting sucked into the story and forgetting it was a play.

I really liked how connected you made Laertes to his family. Even though he's physically absent for the middle of the play, his ties to Ophelia and Polonius resonated throughout. You made him completely believable as the angry avenger because you had set up those relationships so strongly.

Perhaps it was because the action happened right at our feet, but I was completely struck by the enormous shift I could feel when Laertes is wounded by the envenomed blade. It was as if his entire worldview pivoted and all the consequences struck home. I can't point to what you did that conveyed that, but it was like an avalanche!

I choked up (again!) when Laertes begs forgiveness of Hamlet but I think I got a better grasp on why this time. The plea is so desperate and so genuine that you can't help but respond.” – Morgaine, audience review

“1. How do you make your voice so dark chocolate-rich and intense? Utterly luscious. 2. As Laertes -- How much fun is it to die with that much style and depth of feeling?” – Sarah Andrews Squier, audience review

“Scheer’s strong Laertes stands out.” – Alex Brown, Seven Days