WILLIAM GREVILLE (Montgomery/ Sayer) is delighted to be making his Radio Theatre NYC debut. Bill recently appeared as a downsized senior executive in Gene Ruffini’s new play Woden at the Theater for the New City, and before that as a power politician who gets dissed by his family following retirement in Relevant at the American Theatre of Actors. Bill has also performed in many Shakespeare plays at various New York venues, including the title role in Titus Andronicus.
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CASH TILTON (Dr.Moreau) is kidnapped by Adam "Batman" West and forced to create a cyborg boy band in the forthcoming Sexina: Pop Star, P.I. In commercials, you may have seen him take revenge on a malfunctioning refrigerator, attempt a one-man intervention with a Flavor Flav-obsessed hunting buddy, and discuss casino gambling with a wisecracking parrot. On the Internet, he delivers satirical news commentary as Ed E. Druckman. Stage work includes Brian in "Heart's Desire," Henry Carr in Travesties, Vince McMahon in Blitzkrieg: The Hassidic Professional Wrestling Musical, and Grumio in The Taming of the Shrew. [email protected]
ELIZABETH BURKE (Lota/Lucy/Doglady) is a graduate of the National Conservatory of Dramatic Arts and has performed on TV, film and theatre. She has performed in theatres throughout NYC, and this past year received rave reviews for her roles in Hellcab and Mrs. California. Some favorite stage roles include Lady Macbeth, Portia in The Merchant of Venice, Electra, and Elizabeth Proctor in The Crucible. You can hear her every Thursday, 8-10pm on The Alan Chan Show on www.tribecaradio.net. This is her first show with Radiotheatre and many thanks to Dan! If you can’t believe your luck and want to represent her (!) take a trip to: www.elizabethburke.com.
DAN BIANCHI has spent over 30 years in theater and film as an Independent Theatre artist which includes writing, directing, producing, set and lighting design, music and sound design, graphics, PR and whatever else is necessary to keep the ball rolling. He founded RADIOTHEATRE in 2005 and has since produced/ written/directed MADHOUSE; HARDBOILED 1; HARDBOILED 2; WAR OF THE WORLDS (Nominated 2005 NYIT Award) ; KING KONG; THE PIGMAN OF DELANCEY STREET (Nominated for two 2006 NYIT Awards); THE HAUNTING OF 85 EAST 4th STREET; THE ISLAND OF DR.MOREAU. Among his accomplishments, he's been founder/Artistic Director of four international theater companies, written and directed over 50 plays and musicals, worked as screenwriter in Hollywood, directed 7 motion pictures with members of the Royal Shakespeare Co., won three-times Best Director Off Broadway, twice The Beckett Prize, the ASCAP Musical Theater Award, Billy Rose Theater Award, the National Writers Guild Screenwriting Award, a MacDowell Fellowship, and a National Humanities Grant. He recently directed a feature THE EVIL KILLERS. He founded and ran VIDEOTHEATRE, NYC's only year round DV-dedicated indie theater. He is also a visual artist whose works have been shown in galleries and museums around the world, including Museum of Modern Art, NYC, MOMA Australia, Brazil, Germany, Museum of Non -Conformism, Russia, etc.
AARON MATHIAS (Prentice) was just cast as the lead in the feature film "The Other Kind of Balance" He recently received rave reviews for his perfomance in the acclaimed "Corps Values." A life student, he just reprised the role of Brian in "Convergence." part of the critcally acclaimed "FORCE Trilogy. " He is also appearing in the short film"Eden in The Distance" which is on the festival circuit . Aaron is very excited to be appearing in" Dr. Moreau." THis is is first time working for RadioTheatre. To Blaise a scotch and cigar always, To T love lessons and A your the one.
WES SHIPPEE (Orun/ Sound Tech) Currently in the Music Technology program at NYU, Wes has done everything from live band mixing to DJ work to roadie work. Also performing extensively as an actor/singer/pianist, he finds himself back in the theatre behind the sound board, this time playing a monster or two. His most recent role was Joseph in Joseph and the Amazing Technicolor Dreamcoat (Out of the Woods Theatre Company, Richmond, VA). He is thrilled to be working with such a fantastic cast and crew.
ROBERT NGUYEN (Boarman/ Mungo) is very excited to be performing in The Island of Dr. Moreau. This is his second Radiotheatre production, having stage managed The Haunting of 85 East 4th Street this past fall. Previous acting credits include Blood Wedding (Bridegroom), The Illusion (Pleribo/Adraste/Prince), and Valparaiso (Teddy). Rob is a graduate of Fordham University.
Here is H.G.Wells' classic story about a mad scientist wanting to become a god amongst his own creations on an island paradise that turns into a living hell. Although the novel has been adapted into three films and countless derivations through the years, you've never witnessed a terrifying live, stage version the way only Radiotheatre can deliver it...with an original orchestral score and a plethora of sound effects! Turn out the lights and turn on your imaginations!
Experience now, at the Frigid Festival, a work-in-progress of a WORLD PREMIERE scheduled to open OCT 2007 in a bigger, longer production at 59E59 theater, NYC.
PATRICK O'CONNOR (Narrator) was recently part of Aisling Arts critically acclaimed production of Force Trilogy playing Ed Riley in "Threshold". He has performed on stage in "The Playboy of the Western World" and "The Cripple of Inishmaan". Last year was a busy year as he shot a pilot for Comedy Central and shot two indy short films; "One Way" and "The New World". He made his stand up comedy debut at Stand Up NY and has performed at "Gotham"
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"As Carl Sagan once observed, science affects our everyday lives in countless ways, yet very few people understand it. The result is a world in which the cloning of Dolly the sheep can horrify people who don't think twice about their car emissions' effect on the ozone layer.
This world seems very far away from that of 1896, when H.G. Wells wrote his science-fiction horror classic The Island of Dr. Moreau, but in Radiotheatre's new staging, the tale is a fable for today. Chilling and thought-provoking, Moreau is also a superbly crafted, fast-paced, and perfectly scored piece of live "radio drama." Catch the abridged version, now playing at the Red Room Theater as part of the Frigid Festival. It's well worth seeing twice—once now and again in October and November at Radiotheatre's H.G. Wells Science Fiction Theater Festival at 59E59 Theaters.
In this adaptation, written and directed by Dan Bianchi, wholesome young American missionary and shipwreck survivor John Prentice (Aaron Mathias) washes up on the shore of an obscure island in the South Seas. He is revived by Montgomery (William Greville), an exile from San Francisco, and taken to meet Montgomery's friend and mentor, the English eccentric Dr. Moreau (Cash Tilton).
Prentice also meets the folks whom Moreau calls "the natives"—strange creatures, not entirely human, who turn out to be the products of Moreau's experiments in the extreme acceleration of evolution in nonhuman animals. Still mostly animal, they fear their creator Moreau and his "house of pain" and so follow the rules he has laid down, in which they are periodically instructed by the horn-headed Sayer of the Laws (Greville).
The actors deal admirably with the challenge of playing humans, animals, and everything in between. In particular, Elizabeth Burke portrays both Prentice's prim but gutsy fiancée and the fierce but loving islander Lota as a sharply specific pair of opposites. Robert Nguyen howls, screeches, and barks his way through his lines as Moreau's bestial henchman Mungo, and, as Moreau himself, Tilton is alternately affable and maniacal.
As Prentice, Mathias exhales some of his lines as if he's actually been running through a forest, exhausted and terrified. Wes Shippee juggles the sound and his role, the beast-man Oren, with aplomb. Patrick O'Connor's narration is clear and passionate but does not overwhelm the characters.
Originally on a mission to bring the doctrines of his church to South Seas islanders, Prentice quickly becomes confused. Should he flee Moreau's island or must he save its "natives" from their devilish god? Is his ambition to change the people of non-Christian nations into people more like himself (which seems as hubristic as Moreau's diabolical project)?
Radiotheatre tells this engrossing story in its usual style. Actors stand in front of microphones, reading from their scripts with great skill in the characterization. A complex score of sound effects and music creates background, mood, and suspense. From the heartbeat-like drums to the shrieks and yowls of the islanders to the South Seas waves, Bianchi's sound design conjures up sets and action to rival the most expensive Broadway mega-musical or a blockbuster enhanced with computer-generated imagery. And it's all in each auditor's theater of the mind.
A worthy follow-up to the same company's character-driven, chilling The Haunting of 85 West 4th Street, this is a must-see show. Or rather, a must-hear and must imagine for yourself show. " NYTHEATRE.COM
"As Carl Sagan once observed, science affects our everyday lives in countless ways, yet very few people understand it. The result is a world in which the cloning of Dolly the sheep can horrify people who don't think twice about their car emissions' effect on the ozone layer.
This world seems very far away from that of 1896, when H.G. Wells wrote his science-fiction horror classic The Island of Dr. Moreau, but in Radiotheatre's new staging, the tale is a fable for today. Chilling and thought-provoking, Moreau is also a superbly crafted, fast-paced, and perfectly scored piece of live "radio drama." Catch the abridged version, now playing at the Red Room Theater as part of the Frigid Festival. It's well worth seeing twice—once now and again in October and November at Radiotheatre's H.G. Wells Science Fiction Theater Festival at 59E59 Theaters.
In this adaptation, written and directed by Dan Bianchi, wholesome young American missionary and shipwreck survivor John Prentice (Aaron Mathias) washes up on the shore of an obscure island in the South Seas. He is revived by Montgomery (William Greville), an exile from San Francisco, and taken to meet Montgomery's friend and mentor, the English eccentric Dr. Moreau (Cash Tilton).
Prentice also meets the folks whom Moreau calls "the natives"—strange creatures, not entirely human, who turn out to be the products of Moreau's experiments in the extreme acceleration of evolution in nonhuman animals. Still mostly animal, they fear their creator Moreau and his "house of pain" and so follow the rules he has laid down, in which they are periodically instructed by the horn-headed Sayer of the Laws (Greville).
The actors deal admirably with the challenge of playing humans, animals, and everything in between. In particular, Elizabeth Burke portrays both Prentice's prim but gutsy fiancée and the fierce but loving islander Lota as a sharply specific pair of opposites. Robert Nguyen howls, screeches, and barks his way through his lines as Moreau's bestial henchman Mungo, and, as Moreau himself, Tilton is alternately affable and maniacal.
As Prentice, Mathias exhales some of his lines as if he's actually been running through a forest, exhausted and terrified. Wes Shippee juggles the sound and his role, the beast-man Oren, with aplomb. Patrick O'Connor's narration is clear and passionate but does not overwhelm the characters.
Originally on a mission to bring the doctrines of his church to South Sea islanders, Prentice quickly becomes confused. Should he flee Moreau's island or must he save its "natives" from their devilish god? Is his ambition to change the people of non-Christian nations into people more like himself (which seems as hubristic as Moreau's diabolical project)?
Radiotheatre tells this engrossing story in its usual style. Actors stand in front of microphones, reading from their scripts with great skill in the characterization. A complex score of sound effects and music creates background, mood, and suspense. From the heartbeat-like drums to the shrieks and yowls of the islanders to the South Seas waves, Bianchi's sound design conjures up sets and action to rival the most expensive Broadway mega-musical or a blockbuster enhanced with computer-generated imagery. And it's all in each auditor's theater of the mind.
A worthy follow-up to the same company's character-driven, chilling The Haunting of 85 West 4th Street, this is a must-see show. Or rather, a must-hear and must imagine for yourself show.
