Step into the shadows of suspense as the 7th Street Community Theatre's dynamic trio, Ken, Flynn, and Jack, pulls back the curtain on their chilling adaptation of Alfred Hitchcock's "Dial M for Murder." Get a rare glimpse behind the scenes as Ken reveals his vision for honoring the master of suspense with a keen focus on music and ambiance. The actors chime in with enthusiasm; Flynn delves into the psyche of the scheming Tony while Jack avoids the original film to infuse Max Halliday's character with a fresh essence. If the intricate dance between character and plot intrigues you, this conversation will sharpen your appetite for mystery and drama.
The creativity brews in our second act, where we weave through the elaborate costume and prop tapestry of the upcoming "Three on the Edge Festival." Discover how a community theater's ingenuity turns budget constraints into a showcase of period-perfect ensembles and how a vintage dial phone becomes the silent star of the show. Anticipation peaks as we tease out the festival's Hitchcockian lineup, including a nod to the much-awaited stage adaptation of "The Birds." This episode is more than a mere chat; it's an ode to the artistry and camaraderie that fuels the passion play of community theater. Join us for this auditory escapade that celebrates the pulse-quickening journey from script to stage.
May 10, 23, 25 @ 8pm
May 12 & 18 @ 2:30pm
Festival tickets available at the box office now!
PLEASE NOTE: Festival passes with discounted prices ($39 student/senior and $48 general) CANNOT be purchased online - they are available by phone or at box office ONLY.
Reservations 909-590-1149
www. chinocommunitytheatre. org
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Theaters actually showed it in 2D, but we will be
doing it in 3D.
Speaker 2 (00:06):
Glasses will not be included at the door.
Speaker 1 (00:08):
That's right.
Speaker 2 (00:09):
Not needed.
The lights are on the curtain'sup.
This is Steps to the Stage.
Hello and welcome to Steps tothe Stage, the 7th Street
Community Theatre Podcast, whereI talk to the community theatre
professionals you know and love.
Today, as part of our Three onthe Edge Hitchcock special, we
are talking about Dial M forMurder.
I have the director, ken, alongwith two of our actor friends,
(00:31):
flynn and Jack.
Welcome all three of you to theshow, thank you.
So why don't you, ken, start usoff by talking about what Dial
M for Murder is?
Speaker 1 (00:40):
Well, dial M for Murder is one of Hitchcock's
best-known films.
It involves husband and wife,tony and Margo Windis.
Tony is a retired professionaltennis player and Margo is not
in love with him anymore.
Seeing an American writer,played by Jack Ingram, who's
(01:10):
here with us today, and LaurenBell plays Margo.
We also have Mark Anthony Flynnwho is playing Tony.
Well, tony decides that he'sgoing to hire, or actually
blackmail an old college friendto murder his wife the perfect
murder rarely is and this one isnot and in steps Inspector
Hubbard after the crime to solvethe mystery.
(01:33):
Inspector Hubbard is played byPhil Parker and DS Roeke plays
the part of the old collegefriend.
So we're excited to play thisfor the audiences, or perform
this for the audiences coming upvery soon.
Speaker 2 (01:47):
Yeah, it sounds very, very exciting.
Why don't you talk us through?
What about Dial M for Murderattracted you as a director.
Speaker 1 (01:53):
Hitchcock.
I love Alfred Hitchcock.
I love the suspense of hismovies.
I love the humor.
There's not as much humor inDial M.
It's more of a straight-upmystery than some of the others,
like North by Northwest or evenRear Window.
But it's a great show and thecast is brilliant.
(02:15):
We're excited to have everybodysee it.
Speaker 2 (02:16):
Yeah, I mean again, it sounds really exciting.
Why don't we talk to some ofour actors and sort of talk
about what attracted them to theshow in the first place?
Speaker 3 (02:28):
Flynn, why don't you start us off?
Well, what attracted me wasactually Ken.
So it just happened bycoincidence that myself and Ken
had worked previously together,many years ago, and he kind of
let me know that.
He's like hey, I'm doing thisshow called Dial In for Murder
and I have been a fan ofHitchcock for a very long time.
So when he told me that he wasdoing this, I really had to come
(02:52):
out and audition and I was veryhappy to be able to get to play
this part from a movie that Ihad seen before that.
I knew that was going to besomething a little bit outside
of my comfort zone, butsomething that I knew would be a
challenge that I really wantedto take on.
Speaker 2 (03:09):
Yeah, fantastic.
Speaker 4 (03:12):
Good morning.
I'm Jack Ingram.
I play Max Halliday.
Thank you for having us heretoday.
So what attracted me was well,ken had reached out to me
because they were looking forsomeone to audition for this
role, and I was always a fan ofHitchcock growing up, and Ken
and I had worked together before, so just a natural fit.
Speaker 2 (03:36):
Yeah, so all three of you are admitted, longtime
Hitchcock fans.
How would you say that you areadding your own, while remaining
true to his trademarks and hisart?
How are the three of you addingyour own originality and your
own unique spin to somethingthat people know so well?
Speaker 1 (03:48):
Then I'll go.
First.
I'm trying to pay homage toHitchcock a bit.
In fact, I'm going so far as touse the music from the movie,
which is written and composed byDmitry Tyomkin.
Hitchcock was really all aboutmood.
He was all about music, andsome of the most memorable
scenes are so music involvedthat I wanted to pay tribute to
(04:11):
them in that regard.
But beyond that, I think someof the characterizations are a
bit different than they were inthe movie.
I love what both Flynn and Jackbring to their characters.
Flynn says this is outside hiscomfort zone, but Flynn, this is
in your comfort zone.
You are amazing, you're scary,you're funny and just a really
(04:35):
brilliant cast.
Speaker 3 (04:37):
I think for me this was something when I was
watching the film, somethingthat was a little bit different.
That I wanted to bring to.
It was I wanted to bring a fearfactor from it.
So normally when people hearthat oh, it's a murder mystery
and our wonderful actor Roki isplaying our hitman, I wanted the
(05:04):
audience to be more scared ofme than they were of the hit man
.
I really wanted it to be thevillain.
Okay, um, but with he has nosympathy.
There's no uh regret about whathe is doing.
So what I really wanted to tryto do to bring something a
little bit unique to this, wasto uh portray myself almost as
(05:27):
this happy-go-lucky person inthe beginning and by the end
that the audience is very muchcurious about what's next.
What is this person reallycapable of, without ever really
showing a dark, angry side,almost like jaws you're more
scared of.
You're more scared of the sharkwhen you haven't seen it, what,
how dangerous it really is, andthat was a fun part about it
(05:50):
yeah that sounds reallyinteresting well, I actually
hadn't seen the movie um, and Iwas a little hesitant to.
Speaker 4 (05:58):
It was one of the few uh uh hedgecraft movies that I
hadn't seen and so, um, I washesitant to watch it.
I didn't want anything to kindof influence my uh delivery.
But what I really enjoy aboutit is that the kind of police
procedural aspect of it.
I don't want to give away toomuch about my character, but
there's a lot of kind of likewhodunit and little clues here
(06:18):
and there that are reallyinteresting and fun.
Speaker 2 (06:21):
Would you mind talking about the set for this
production?
Speaker 1 (06:25):
Yeah, the plot of this particular play is so set
dependent that the set really wedon't have a lot of flexibility
because there's so many aspectsof the set that are written
right into the script, writtenright into the plot, and so,
because this is part of Three onthe Edge, all three shows have
to share the set.
My show is so set dependentthat they pretty much designed
(06:49):
the set according to our needs,and then we're making minor
adjustments for the other twoshows.
So I'm really grateful to bothChris Diehl and Cameron Harris
for their willingness to sharethe stage in that way and allow
us to have what we need for ourshow.
Speaker 2 (07:04):
Yeah, and do you happen to know the set designer?
Speaker 1 (07:07):
Paul Larson.
Hey, he is absolutely amazingand he's such a generous man
with his time and his talent andwe're truly, truly grateful for
all of his contributions tothis.
Speaker 2 (07:19):
And then you said that a lot of the details of the
set are baked right into thescript.
Would you mind talking aboutthat a little bit more?
Speaker 1 (07:26):
Well, yeah, without giving away too much because
there are certain aspects of itthat we want to be uncovered as
they can.
But there are things.
There are French doors thathave to be gone into and out of,
and people have to be able togo out into what would be the
back garden, so to speak,although we never see the garden
itself but they have to be ableto go in and out those doors.
(07:49):
There's just outside the frontdoor of the apartment.
There are stairs that have tobe seen because they're part of
the plot.
Even though we don't actuallyuse the stairs, they're still
part of the plot.
So there are certain aspectsthat, as I said, are baked right
in and if we didn't have that,we would have been doing some
script rewriting and none of uswanted to go there.
If we didn't have that, wewould have been doing some
script rewriting and none of uswanted to go there.
Speaker 2 (08:11):
And then, as I understand it, this is not a
play based off of the movie DialM for Murder.
This is the play that the movieitself is based off of.
Yes, that's right.
Speaker 1 (08:21):
Yeah, it started out life as a stage play.
However, before it ever madeits first debut on the stage,
the BBC picked it up, and so itactually had its first exposure
through the BBC.
A few months later, it was onLondon's West End, and a short
time after that it made its wayto Broadway.
Warner Brothers picked it upand bought the rights to it, and
(08:43):
it seemed like a perfectvehicle for Hitchcock, and it's
also the only film that he evershot in 3D.
Speaker 2 (08:49):
Oh interesting, I didn't know that.
Speaker 1 (08:52):
Yes, it's true, most 3D had become quite popular at
the time that this movie wasbeing made, and so they talked
Hitch into making it 3D.
By the time the movie was setto be released, the infatuation
had somewhat faded, and so mosttheaters actually showed it in
2D.
Speaker 2 (09:12):
But we will be doing it in 3D.
Glasses will not be included atthe door.
Speaker 1 (09:16):
That's right, not.
Needed.
Speaker 2 (09:19):
Anything else that you would like to add about the
show.
Speaker 1 (09:23):
Why don't you guys talk about some of the other
actors in the play and some ofthe other characters and what
it's like working with them?
Speaker 4 (09:29):
Sure, so I play Max Halliday.
I'm the love interest of theactress, lauren, who plays Margo
Wendis, and Lauren and I metthis last summer here at CCT in
the production of August OsageCounty, and so her character was
originally played in the movieby Grace Kelly and she's really
(09:53):
great and she's, she's amazing.
Phil is Inspector Hubbard is.
He might be kind of my mostfavorite character, cause, I
don't know, I just like thepolice procedural aspect of it
and he just brings a lot of funto it.
Um, and uh, uh, roki uh playsthe I don't want to give away
(10:13):
too much, but you know, playsthe um the hired assassin.
Yes, yes, so there's a uh, it'sa small cast, but everybody
brings a lot to it.
Speaker 2 (10:24):
It's, it's a lot yes, would you mind talking about
the costumes?
Speaker 1 (10:31):
Yes, yes, I would mind Lauren, who's playing Margo
.
She's going to be wearing thatred dress.
It's not the exact same reddress, of course, but she's
wearing that bright red dress.
The lady in red for the openingscene she's got some
outstanding costumes.
I think she might be kind of acollector of costumes because
(10:51):
she stepped right into it andshe's dressed for the period.
And then the guys we're goingto be dressing them pretty much
period appropriate.
We are trying to keep this set.
It was set in the early 50s andwe're doing our best, you know,
within the confines of acommunity theater budget.
We're doing our best, you know,within the confines of a
community theater budget we'redoing our best to to present
that.
Speaker 2 (11:10):
Any other sort of icon other than the red dress,
any other iconic costumes thatpeople might recognize, or the
props.
Speaker 4 (11:16):
Some of the props are kind of iconic.
We've got the man our prop.
Yeah, it's a prop heavy showwhich is interesting and it
brings a lot of elements to it.
You know, for me I always enjoythe costumes.
That's kind of when I feel likeit's kind of complete when
you're in the costume.
That's when I feel likeeverything kind of gels.
But for this I feel like wecould almost do it without the
costumes, but there are certainprops that are really key to it.
(11:40):
It's a lot of fun.
It's really interesting.
Speaker 1 (11:42):
Yeah, the phone, even it's a period phone.
It looks very much like the onethat they used in the movie and
it's actually got a dial on itwhich is hard to find these days
.
They've got push buttons in theplace of the dials, but this
actually has a dial, so we willbe done.
We had to teach Flynn how todial a phone.
Speaker 3 (11:57):
Okay, so I did not know this but with dial phones
you have to pick up the receiverbefore and then dial the number
.
And so Ken has given me thisnote and I keep repeating.
I'm just like, okay, pick upthe phone, then dial M.
But yes, so I've done thatmultiple times for it.
(12:19):
I just have to remember to pickup the darn phone.
Speaker 1 (12:23):
And it makes me feel really old.
Speaker 2 (12:29):
I assure you you are not.
Would you mind telling us thedates of the Three on the Edge
Festival or when people can comeand see the show?
Speaker 1 (12:37):
Yes, let me pull out my sofa, I know, that we open
next Friday.
But let me see what that?
I turned my phone off.
What date is it?
Speaker 3 (12:47):
It's the 10th Friday the 10th, so Friday the 10th at
8 pm.
Speaker 1 (12:51):
Then two days later, on Sunday, because we're repping
, we're doing a repertoire withthe other two shows.
So we have a Sunday matinee at2.30 pm.
The Saturday after that whichwould make it the 18th, I think,
would be a matinee again for us.
And then in the final weekendwe have the Thursday night and
Saturday night shows, and so forall of the shows, all three
shows, the evening shows arealways at 8 pm and then there's
(13:13):
always going to be a matinee onSaturday and Sunday for one show
or the other, and those willalways be at 2.30 pm.
Speaker 2 (13:20):
And then would you mind talking about the rotating
wrap aspect of the festival alittle bit?
Speaker 3 (13:24):
I think what's an amazing part about this kind of
series is you kind of get alittle bit of everything.
So with Dial M you get a verythrilling kind of murder mystery
.
With 39 Stamps you get thiskind of comedic aspect of
Hitchcock that a lot of peopledon't know about about.
(13:49):
And with the Birds you getsomething that a different kind
of perspective on a film that alot of people have seen, and
it's kind of seeing it in adifferent way.
And it's one of those thingswhere it feels like when you
watch your favorite movie again,you always kind of find
something new.
So even though if you've comeand you've seen these films in
person before, you can stillcome to these amazing shows and
see these amazing casts andyou're still going to get
(14:10):
something new out of it.
And it brings a whole excitingaspect of watching Hitchcock on
stage and not from the comfortof your living room.
It's a very cool aspect ofhaving all three shows together
during the month of May.
Speaker 4 (14:23):
I will say I'm pretty excited to see the Birds
because that's a Hitchcock fan.
Maybe it's cliche, but I wasalways so captivated by that as
a kid.
It's one of those movies I liketo re-watch.
It just has such a unique lookand feel to it.
I'm really excited to see thaton the stage.
I've been tempted to look inwhen they're rehearsing back
(14:47):
here and see, but I'm like'mreally excited.
I'm very curious to see howit's going to come out and again
.
Speaker 2 (14:53):
Uh, because it's not all the same cast in the same
show, so you have the ability tosee the other shows in this
festival, which I think is areally cool way for everyone to
support each other yes,absolutely.
Speaker 1 (15:04):
And you know we're sharing the stage, we're sharing
furniture.
In some cases we can't sharefurniture, so each night we're
having to move some stuff offand have and then we'll have to
be moving other stuff on for theother shows.
So it's just really great.
The camaraderie is has beenoutstanding and the cooperation
among among the directors and, Iknow, the casts uh is is
(15:27):
essential, uh to be able to puton a, a series of three
performances, you know, oneafter the other like this.
So, uh, it's been a greatexperience in that regard.
Speaker 2 (15:36):
I I can't wait to see it.
Thank you, uh, ken Jack andFlynn for joining me today and
be sure to go see dial in for in3D.
Thank you very much for havingus.
Thanks so much, thank you.
Thank you.
Thanks for listening to Stepsto the Stage and now it's time
for the curtain call.
You can follow us on Spotify,apple, google or any podcasting
(16:00):
platform.
We have videos up on YouTubeand you can visit our website at
stepstothestagebuzzsproutcom.
And, as always, a special thankyou to our audio engineer, joey
Rice, and our producer, kirkLane.
Without the two of you, thisshow would not be possible.
Theaters actually showed it in 2D, but we will be
doing it in 3D.
Speaker 2 (00:06):
Glasses will not be included at the door.
Speaker 1 (00:08):
That's right.
Speaker 2 (00:09):
Not needed.
The lights are on the curtain'sup.
This is Steps to the Stage.
Hello and welcome to Steps tothe Stage, the 7th Street
Community Theatre Podcast, whereI talk to the community theatre
professionals you know and love.
Today, as part of our Three onthe Edge Hitchcock special, we
are talking about Dial M forMurder.
I have the director, ken, alongwith two of our actor friends,
(00:31):
flynn and Jack.
Welcome all three of you to theshow, thank you.
So why don't you, ken, start usoff by talking about what Dial
M for Murder is?
Speaker 1 (00:40):
Well, dial M for Murder is one of Hitchcock's
best-known films.
It involves husband and wife,tony and Margo Windis.
Tony is a retired professionaltennis player and Margo is not
in love with him anymore.
Seeing an American writer,played by Jack Ingram, who's
(01:10):
here with us today, and LaurenBell plays Margo.
We also have Mark Anthony Flynnwho is playing Tony.
Well, tony decides that he'sgoing to hire, or actually
blackmail an old college friendto murder his wife the perfect
murder rarely is and this one isnot and in steps Inspector
Hubbard after the crime to solvethe mystery.
(01:33):
Inspector Hubbard is played byPhil Parker and DS Roeke plays
the part of the old collegefriend.
So we're excited to play thisfor the audiences, or perform
this for the audiences coming upvery soon.
Speaker 2 (01:47):
Yeah, it sounds very, very exciting.
Why don't you talk us through?
What about Dial M for Murderattracted you as a director.
Speaker 1 (01:53):
Hitchcock.
I love Alfred Hitchcock.
I love the suspense of hismovies.
I love the humor.
There's not as much humor inDial M.
It's more of a straight-upmystery than some of the others,
like North by Northwest or evenRear Window.
But it's a great show and thecast is brilliant.
(02:15):
We're excited to have everybodysee it.
Speaker 2 (02:16):
Yeah, I mean again, it sounds really exciting.
Why don't we talk to some ofour actors and sort of talk
about what attracted them to theshow in the first place?
Speaker 3 (02:28):
Flynn, why don't you start us off?
Well, what attracted me wasactually Ken.
So it just happened bycoincidence that myself and Ken
had worked previously together,many years ago, and he kind of
let me know that.
He's like hey, I'm doing thisshow called Dial In for Murder
and I have been a fan ofHitchcock for a very long time.
So when he told me that he wasdoing this, I really had to come
(02:52):
out and audition and I was veryhappy to be able to get to play
this part from a movie that Ihad seen before that.
I knew that was going to besomething a little bit outside
of my comfort zone, butsomething that I knew would be a
challenge that I really wantedto take on.
Speaker 2 (03:09):
Yeah, fantastic.
Speaker 4 (03:12):
Good morning.
I'm Jack Ingram.
I play Max Halliday.
Thank you for having us heretoday.
So what attracted me was well,ken had reached out to me
because they were looking forsomeone to audition for this
role, and I was always a fan ofHitchcock growing up, and Ken
and I had worked together before, so just a natural fit.
Speaker 2 (03:36):
Yeah, so all three of you are admitted, longtime
Hitchcock fans.
How would you say that you areadding your own, while remaining
true to his trademarks and hisart?
How are the three of you addingyour own originality and your
own unique spin to somethingthat people know so well?
Speaker 1 (03:48):
Then I'll go.
First.
I'm trying to pay homage toHitchcock a bit.
In fact, I'm going so far as touse the music from the movie,
which is written and composed byDmitry Tyomkin.
Hitchcock was really all aboutmood.
He was all about music, andsome of the most memorable
scenes are so music involvedthat I wanted to pay tribute to
(04:11):
them in that regard.
But beyond that, I think someof the characterizations are a
bit different than they were inthe movie.
I love what both Flynn and Jackbring to their characters.
Flynn says this is outside hiscomfort zone, but Flynn, this is
in your comfort zone.
You are amazing, you're scary,you're funny and just a really
(04:35):
brilliant cast.
Speaker 3 (04:37):
I think for me this was something when I was
watching the film, somethingthat was a little bit different.
That I wanted to bring to.
It was I wanted to bring a fearfactor from it.
So normally when people hearthat oh, it's a murder mystery
and our wonderful actor Roki isplaying our hitman, I wanted the
(05:04):
audience to be more scared ofme than they were of the hit man
.
I really wanted it to be thevillain.
Okay, um, but with he has nosympathy.
There's no uh regret about whathe is doing.
So what I really wanted to tryto do to bring something a
little bit unique to this, wasto uh portray myself almost as
(05:27):
this happy-go-lucky person inthe beginning and by the end
that the audience is very muchcurious about what's next.
What is this person reallycapable of, without ever really
showing a dark, angry side,almost like jaws you're more
scared of.
You're more scared of the sharkwhen you haven't seen it, what,
how dangerous it really is, andthat was a fun part about it
(05:50):
yeah that sounds reallyinteresting well, I actually
hadn't seen the movie um, and Iwas a little hesitant to.
Speaker 4 (05:58):
It was one of the few uh uh hedgecraft movies that I
hadn't seen and so, um, I washesitant to watch it.
I didn't want anything to kindof influence my uh delivery.
But what I really enjoy aboutit is that the kind of police
procedural aspect of it.
I don't want to give away toomuch about my character, but
there's a lot of kind of likewhodunit and little clues here
(06:18):
and there that are reallyinteresting and fun.
Speaker 2 (06:21):
Would you mind talking about the set for this
production?
Speaker 1 (06:25):
Yeah, the plot of this particular play is so set
dependent that the set really wedon't have a lot of flexibility
because there's so many aspectsof the set that are written
right into the script, writtenright into the plot, and so,
because this is part of Three onthe Edge, all three shows have
to share the set.
My show is so set dependentthat they pretty much designed
(06:49):
the set according to our needs,and then we're making minor
adjustments for the other twoshows.
So I'm really grateful to bothChris Diehl and Cameron Harris
for their willingness to sharethe stage in that way and allow
us to have what we need for ourshow.
Speaker 2 (07:04):
Yeah, and do you happen to know the set designer?
Speaker 1 (07:07):
Paul Larson.
Hey, he is absolutely amazingand he's such a generous man
with his time and his talent andwe're truly, truly grateful for
all of his contributions tothis.
Speaker 2 (07:19):
And then you said that a lot of the details of the
set are baked right into thescript.
Would you mind talking aboutthat a little bit more?
Speaker 1 (07:26):
Well, yeah, without giving away too much because
there are certain aspects of itthat we want to be uncovered as
they can.
But there are things.
There are French doors thathave to be gone into and out of,
and people have to be able togo out into what would be the
back garden, so to speak,although we never see the garden
itself but they have to be ableto go in and out those doors.
(07:49):
There's just outside the frontdoor of the apartment.
There are stairs that have tobe seen because they're part of
the plot.
Even though we don't actuallyuse the stairs, they're still
part of the plot.
So there are certain aspectsthat, as I said, are baked right
in and if we didn't have that,we would have been doing some
script rewriting and none of uswanted to go there.
If we didn't have that, wewould have been doing some
script rewriting and none of uswanted to go there.
Speaker 2 (08:11):
And then, as I understand it, this is not a
play based off of the movie DialM for Murder.
This is the play that the movieitself is based off of.
Yes, that's right.
Speaker 1 (08:21):
Yeah, it started out life as a stage play.
However, before it ever madeits first debut on the stage,
the BBC picked it up, and so itactually had its first exposure
through the BBC.
A few months later, it was onLondon's West End, and a short
time after that it made its wayto Broadway.
Warner Brothers picked it upand bought the rights to it, and
(08:43):
it seemed like a perfectvehicle for Hitchcock, and it's
also the only film that he evershot in 3D.
Speaker 2 (08:49):
Oh interesting, I didn't know that.
Speaker 1 (08:52):
Yes, it's true, most 3D had become quite popular at
the time that this movie wasbeing made, and so they talked
Hitch into making it 3D.
By the time the movie was setto be released, the infatuation
had somewhat faded, and so mosttheaters actually showed it in
2D.
Speaker 2 (09:12):
But we will be doing it in 3D.
Glasses will not be included atthe door.
Speaker 1 (09:16):
That's right, not.
Needed.
Speaker 2 (09:19):
Anything else that you would like to add about the
show.
Speaker 1 (09:23):
Why don't you guys talk about some of the other
actors in the play and some ofthe other characters and what
it's like working with them?
Speaker 4 (09:29):
Sure, so I play Max Halliday.
I'm the love interest of theactress, lauren, who plays Margo
Wendis, and Lauren and I metthis last summer here at CCT in
the production of August OsageCounty, and so her character was
originally played in the movieby Grace Kelly and she's really
(09:53):
great and she's, she's amazing.
Phil is Inspector Hubbard is.
He might be kind of my mostfavorite character, cause, I
don't know, I just like thepolice procedural aspect of it
and he just brings a lot of funto it.
Um, and uh, uh, roki uh playsthe I don't want to give away
(10:13):
too much, but you know, playsthe um the hired assassin.
Yes, yes, so there's a uh, it'sa small cast, but everybody
brings a lot to it.
Speaker 2 (10:24):
It's, it's a lot yes, would you mind talking about
the costumes?
Speaker 1 (10:31):
Yes, yes, I would mind Lauren, who's playing Margo
.
She's going to be wearing thatred dress.
It's not the exact same reddress, of course, but she's
wearing that bright red dress.
The lady in red for the openingscene she's got some
outstanding costumes.
I think she might be kind of acollector of costumes because
(10:51):
she stepped right into it andshe's dressed for the period.
And then the guys we're goingto be dressing them pretty much
period appropriate.
We are trying to keep this set.
It was set in the early 50s andwe're doing our best, you know,
within the confines of acommunity theater budget.
We're doing our best, you know,within the confines of a
community theater budget we'redoing our best to to present
that.
Speaker 2 (11:10):
Any other sort of icon other than the red dress,
any other iconic costumes thatpeople might recognize, or the
props.
Speaker 4 (11:16):
Some of the props are kind of iconic.
We've got the man our prop.
Yeah, it's a prop heavy showwhich is interesting and it
brings a lot of elements to it.
You know, for me I always enjoythe costumes.
That's kind of when I feel likeit's kind of complete when
you're in the costume.
That's when I feel likeeverything kind of gels.
But for this I feel like wecould almost do it without the
costumes, but there are certainprops that are really key to it.
(11:40):
It's a lot of fun.
It's really interesting.
Speaker 1 (11:42):
Yeah, the phone, even it's a period phone.
It looks very much like the onethat they used in the movie and
it's actually got a dial on itwhich is hard to find these days
.
They've got push buttons in theplace of the dials, but this
actually has a dial, so we willbe done.
We had to teach Flynn how todial a phone.
Speaker 3 (11:57):
Okay, so I did not know this but with dial phones
you have to pick up the receiverbefore and then dial the number
.
And so Ken has given me thisnote and I keep repeating.
I'm just like, okay, pick upthe phone, then dial M.
But yes, so I've done thatmultiple times for it.
(12:19):
I just have to remember to pickup the darn phone.
Speaker 1 (12:23):
And it makes me feel really old.
Speaker 2 (12:29):
I assure you you are not.
Would you mind telling us thedates of the Three on the Edge
Festival or when people can comeand see the show?
Speaker 1 (12:37):
Yes, let me pull out my sofa, I know, that we open
next Friday.
But let me see what that?
I turned my phone off.
What date is it?
Speaker 3 (12:47):
It's the 10th Friday the 10th, so Friday the 10th at
8 pm.
Speaker 1 (12:51):
Then two days later, on Sunday, because we're repping
, we're doing a repertoire withthe other two shows.
So we have a Sunday matinee at2.30 pm.
The Saturday after that whichwould make it the 18th, I think,
would be a matinee again for us.
And then in the final weekendwe have the Thursday night and
Saturday night shows, and so forall of the shows, all three
shows, the evening shows arealways at 8 pm and then there's
(13:13):
always going to be a matinee onSaturday and Sunday for one show
or the other, and those willalways be at 2.30 pm.
Speaker 2 (13:20):
And then would you mind talking about the rotating
wrap aspect of the festival alittle bit?
Speaker 3 (13:24):
I think what's an amazing part about this kind of
series is you kind of get alittle bit of everything.
So with Dial M you get a verythrilling kind of murder mystery
.
With 39 Stamps you get thiskind of comedic aspect of
Hitchcock that a lot of peopledon't know about about.
(13:49):
And with the Birds you getsomething that a different kind
of perspective on a film that alot of people have seen, and
it's kind of seeing it in adifferent way.
And it's one of those thingswhere it feels like when you
watch your favorite movie again,you always kind of find
something new.
So even though if you've comeand you've seen these films in
person before, you can stillcome to these amazing shows and
see these amazing casts andyou're still going to get
(14:10):
something new out of it.
And it brings a whole excitingaspect of watching Hitchcock on
stage and not from the comfortof your living room.
It's a very cool aspect ofhaving all three shows together
during the month of May.
Speaker 4 (14:23):
I will say I'm pretty excited to see the Birds
because that's a Hitchcock fan.
Maybe it's cliche, but I wasalways so captivated by that as
a kid.
It's one of those movies I liketo re-watch.
It just has such a unique lookand feel to it.
I'm really excited to see thaton the stage.
I've been tempted to look inwhen they're rehearsing back
(14:47):
here and see, but I'm like'mreally excited.
I'm very curious to see howit's going to come out and again
.
Speaker 2 (14:53):
Uh, because it's not all the same cast in the same
show, so you have the ability tosee the other shows in this
festival, which I think is areally cool way for everyone to
support each other yes,absolutely.
Speaker 1 (15:04):
And you know we're sharing the stage, we're sharing
furniture.
In some cases we can't sharefurniture, so each night we're
having to move some stuff offand have and then we'll have to
be moving other stuff on for theother shows.
So it's just really great.
The camaraderie is has beenoutstanding and the cooperation
among among the directors and, Iknow, the casts uh is is
(15:27):
essential, uh to be able to puton a, a series of three
performances, you know, oneafter the other like this.
So, uh, it's been a greatexperience in that regard.
Speaker 2 (15:36):
I I can't wait to see it.
Thank you, uh, ken Jack andFlynn for joining me today and
be sure to go see dial in for in3D.
Thank you very much for havingus.
Thanks so much, thank you.
Thank you.
Thanks for listening to Stepsto the Stage and now it's time
for the curtain call.
You can follow us on Spotify,apple, google or any podcasting
(16:00):
platform.
We have videos up on YouTubeand you can visit our website at
stepstothestagebuzzsproutcom.
And, as always, a special thankyou to our audio engineer, joey
Rice, and our producer, kirkLane.
Without the two of you, thisshow would not be possible.
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