New Bern Civic Theatre

Rapid Fire 20Q: Cast Members and Director of New Bern Civic Theatre’s ‘Jagged Little Pill’ Reveal Everything You Oughta Know; North Carolina Regional Premiere Opens Friday, May 8

April 29, 2026 by Jonathan

There are shows that entertain—and then there are shows that hit you square in the chest and dare you to sit with it. Jagged Little Pill , on stage at New Bern Civic Theatre May 8-23, is both. As NBCT (414 Pollock Street, New Bern, NC) prepares to launch the North Carolina regional premiere of the musical tale of a perfectly imperfect family set to the tunes of Alanis Morissette, we caught up with cast members Lee Chaix McDonough, Shalia Fuentes-Matthews, Anna Marshburn and director Bradley Moore for our signature Rapid Fire 20Q. From emotional deep dives to behind-the-scenes revelations, they’re telling it like it is… no sugarcoating, no holding back, so brace yourself and get ready to swallow it down.

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF NBCT’s JAGGED LITTLE PILL

RAPID FIRE WITH JAGGED LITTLE PILL‘s MARY JANE, LEE CHAIX MCDONOUGH

JHPENTERTAINMENT: Mary Jane is the center of a “perfect” family that is anything but. Who is she to you when the illusion drops?
LEE CHAIX MCDONOUGH: Mary Jane spends much of the show trying to be the perfect version of what others want from her, but every now and then, the mask slips. We see this for the first time during the song “Smiling,” where she acknowledges her desperate attempts to keep it together all while her life falls apart around her. I have a great deal of compassion for MJ, and though I wouldn’t describe her as a particularly likeable character, I do think she serves as a mirror, reflecting back the parts of ourselves we don’t want to see. I can certainly relate to the pressure of trying to do it all – and do it all perfectly – while being terrified of failing and being humiliated.

JHPENTERTAINMENT: This role carries some of the show’s most emotionally demanding material. How do you prepare to go there—and then leave it there?
LEE CHAIX MCDONOUGH: This is one area where my training and experience as a mental health therapist is a huge asset, because I had to learn how to create a safe container for intense emotional experiences, and that required me to develop strong boundaries. I wasn’t great at that when I was a novice therapist, and I learned the hard way that I couldn’t take my clients’ trauma home with me or I’d burn out. I think the same is true for actors – if you don’t treat the stage as a container, and if you carry your character’s pain with you at all times, you’re going to be miserable.
Journaling, meditation, and moving my body (walking and yoga in particular) help me process my thoughts and feelings, which then allows me to draw on my own personal experiences to inform Mary Jane’s inner world and emotional life. I also take a few moments right before each show to ground myself and welcome my character in, and then when the show is done, I say a silent “thank you” and let her go.

JHPENTERTAINMENT: What moment in Mary Jane’s arc challenges you most as a performer?
LEE CHAIX MCDONOUGH: My most challenging moment comes in Act Two, when Mary Jane has a fleeting but powerful conversation with Bella, a young woman dealing with the aftermath of her sexual assault. This interaction with Bella forces MJ to come to terms with her own demons, and she’s not emotionally or psychologically prepared for that. As an actor, my job is to convey MJ’s pain, despair, and regret, and while I’m grateful for Diablo Cody’s extraordinary dialogue, what I’m not saying is just as important. That’s when I really have to rely on my physical presence (body language, facial expressions, posture, etc.) and on the energy I bring to the scene.

JHPENTERTAINMENT: It’s no secret your director is a tad obsessed with this show and the original source material. Did anything in rehearsal reshape your understanding of who Mary Jane really is?
LEE CHAIX MCDONOUGH: Bradley and I share that in common – I literally wore out my cassette tape of Jagged Little Pill just driving to and from high school!
There’s a song on the album called “Forgiven” that Mary Jane sings in the show, and that song (in conjunction with “Smiling”) helped me understand both what drives her and what she’s running from. MJ longs to be loved for who she is, but she doesn’t believe she’s worthy of the very acceptance she craves. Her deepest fear is that she is uniquely and irreversibly flawed, and therefore irredeemable in the eyes of her family, her community, and ultimately, God. Everything she does is a bid for acceptance, and nothing seems to work… until she finally realizes the secret is that she has to first love herself unconditionally. Once she gives herself the love and approval she always craved from others, she needs it less from others, and then receives it even more from them. Isn’t it ironic, don’t you think? 😉

JHPENTERTAINMENT: Using only one word for each: Mary Jane at the start of the show… vs. Mary Jane at the end?
LEE CHAIX MCDONOUGH: Start: Drowning. End: Grounded.

RAPID FIRE WITH JAGGED LITTLE PILL‘s FRANKIE, SHALIA FUENTES-MATTHEWS

JHPENTERTAINMENT: Frankie lives in a world full of pressure and collision. What does she represent to you inside this story?
SHALIA FUENTES-MATTHEWS: For me, Frankie represents the frustration of being misunderstood, especially as a black girl in white-dominated spaces. Whether the misunderstandings are intentional or not, they happen and sometimes leave me frustrated. I relate to a lot of things that get said to or about Frankie in the show that I experienced in my teens, and even now as a young adult.

JHPENTERTAINMENT: You’re performing iconic Alanis Morissette material in a brand-new narrative frame. What’s that like emotionally and vocally?
SHALIA FUENTES-MATTHEWS: Vocally it’s so freeing. Alanis is known for her raw and powerful voice, and that’s exactly how I feel – raw, vulnerable, and powerful. One song in particular, “That I Would Be Good” makes me emotional every time I sing it. The lyrics hit so deep as I relate to Frankie’s worries and fears in that song.

JHPENTERTAINMENT: This show doesn’t exactly tiptoe through trauma. When taking on such demanding material, what helps you reset after maneuvering Frankie’s journey?
SHALIA FUENTES-MATTHEWS: It doesn’t tiptoe for sure. It’s right in your face. Sometimes it can be hard because of how much I’ve experienced what Frankie goes through, but the support I have from the cast and crew makes resetting afterwards easier. Taking a breath and winding down with activities and people I enjoy helps.

JHPENTERTAINMENT: What has this production revealed to you about Frankie that surprised you early on?
SHALIA FUENTES-MATTHEWS: I love that no matter the hardships, Frankie stays true to herself and what she believes in.

JHPENTERTAINMENT: If you could adapt an aspect of Frankie’s personality in your own life, what would it be?
SHALIA FUENTES-MATTHEWS: How impulsive Frankie is. She is unafraid to say what’s on her mind and make choices without regrets, although that gets her in trouble. I am always thinking about how the choices I make will affect people – a little too much sometimes.

RAPID FIRE WITH JAGGED LITTLE PILL‘s JO, ANNA MARSHBURN

JHPENTERTAINMENT: Jo often feels like the character saying the thing everyone else is avoiding. Who is she to you in this world?
ANNA MARSHBURN: To me, Jo is a reality check personified in this world. Jo is the friend who will do anything for the people they care about, but refuses to sugarcoat difficult conversations for others’ comfort. Jo’s honesty in every interaction is purposeful and necessary for her and for those she interacts with. She feels intensely and connects with her true emotions in ways other characters may struggle with throughout their journeys in the show. Jo has learned early on that, for her voice to be heard, she must demand it. She is deeply observant of others and deeply caring, even if she may seem nonchalant through her use of humor and sarcasm.

JHPENTERTAINMENT: What part of Jo’s journey feels the most uncomfortably real in today’s world?
ANNA MARSHBURN: Jo does not fit the societal mold of the community around her, which has caused hurt that extends into every area of Jo’s life. She seems to accept her role as an outsider in the community and has learned to compartmentalize her pain and use humor to cope in everyday life. Still, there is a part of her that so badly wants to be accepted and seen for who she is, regardless of how that may not meet the status quo. There is an underlying dissonance between her shameless authenticity and her desire to find someone who will love her wholly. I honestly think that we witness a grieving process in Jo’s journey related to her want for acceptance and unconditional love that is extremely uncomfortable, but authentic to today’s world. Through her journey, Jo understands that, at the end of the day, she is the only person who will have her back 100% of the time through life’s difficulties. That truth is difficult to grapple with, especially at such a young age.

JHPENTERTAINMENT: Alanis Morissette has always been a truth-teller through music—does Jo feel like a continuation of that voice?
ANNA MARSHBURN: Absolutely. There’s something about Jo’s authentic and unfiltered personality that I think really channels the rawness of Alanis Morissette’s lyricism. Jo is not afraid to say what is on her mind in the slightest, and if she does choose to hold back, there is a reason for it. She is vulnerable in a way that refuses to be swept under the rug or misconstrued, as Alanis does in her music, and I find that particularly powerful.

JHPENTERTAINMENT: What’s been your biggest discovery once Jo moved from page to stage?
ANNA MARSHBURN: My biggest discovery has been the sheer depth behind Jo’s humor and personality. Jo can definitely come across as brash and even a bit careless. Beneath that, though, is a ton of emotion–hurt, confusion, and longing to be understood. I realized very quickly that the confidence Jo portrays is really a form of protection. Jo has a slight hypervigilance in every situation. Although it is heavily veiled, I think Jo is almost always seeking reassurance in her relationships. There’s a silent cautiousness that is there, like she is waiting for the shoe to drop. Gaining a deeper understanding of Jo, behind her hard exterior, has really transformed how I approach her.

JHPENTERTAINMENT: Jo isn’t exactly built for staying quiet. What’s one moment where she surprised you in rehearsal or performance?
ANNA MARSHBURN: Actually, Jo surprised me most in her emotional maturity. One moment comes to mind in particular, where she could have very understandably become emotionally reactive toward someone who wrongs her, but instead chooses to walk away from the situation. I think this moment shows just how deeply Jo cares for the people in her life, enough to withhold her emotions and spare those she cares for, and further proves that every statement she makes is said with purpose.

RAPID FIRE WITH JAGGED LITTLE PILL DIRECTOR, BRADLEY MOORE

JHPENTERTAINMENT: Having known you for several years now, I oughta know you just might be the biggest Alanis Morissette and Jagged Little Pill fan around. How excited are you to be directing the regional premiere for New Been Civic Theatre?
BRADLEY MOORE: I mean, we have known each other since 1948, so, you got me! Ha. I’m not sure there are words big enough to capture what this opportunity means or the connection I feel to this show and this music. Jagged Little Pill has been my favorite album since the moment it came out, and over the past few years I’ve been lucky enough to see Alanis live a handful of times. Somewhere along the way, especially after the musical was born, I stopped hearing her songs as just songs. Now, they live in my brain as theatre.
I remember watching her in Charlotte in 2024 and, without even trying, I was already directing the show in my head. That’s when I knew: this wasn’t just a dream project, it was the dream project. Saying it’s been at the top of my directing bucket list from day one doesn’t even begin to cover it.
The rights happened to become available on my very first day as Executive Director at New Bern Civic Theatre. I think you can guess what the very first thing I did was.

JHPENTERTAINMENT: Alanis Morissette and Diablo Cody made it clear this is not a traditional jukebox musical. So, what are we calling this genre in polite rehearsal room conversation?
BRADLEY MOORE: Jukebox musicals tend to get a bad rap! The truth is, some of them are genuinely extraordinary. Having directed a couple myself—Mamma Mia! and American Idiot—I can say firsthand that they are absolutely not all created equal. There was a stretch when Broadway felt oversaturated with bio-jukebox musicals, and audiences started to blur them all together. But this piece is something entirely different.
From the beginning, Alanis Morissette had no interest in telling her own life story onstage. Instead, she set out to build an original, contemporary narrative where her songs function as emotional punctuation, amplifying the story rather than dictating it. Bringing in Academy Award winner Diablo Cody—who also earned a Tony for her work on Jagged Little Pill—was the turning point. Her voice and perspective gave the show its depth and authenticity.
What makes this musical so compelling is how seamlessly the music lives within the world of the play. Not a single song feels forced or out of place; they all land exactly where they should. That said, it’s a deceptively challenging piece from every angle, but insanely beautiful when it all comes together.

JHPENTERTAINMENT: This show doesn’t ease into its subject matter—in true form it swallows it down as the title tune says, like a jagged little pill. How are you guiding your cast through that level of emotional intensity for this production’s run?
BRADLEY MOORE: It’s a lot! I remember when the show was first performed pre-Broadway in Massachusetts, some critics noted that every character seemed to be going through so much. But honestly—aren’t we all? That’s exactly what makes this piece feel so urgent and so necessary.
Yes, it’s filled with so much humor and heart, but it also takes on addiction, racism, sexual assault, identity, religion—all the complicated, messy realities of everyday life. And it doesn’t shy away from any of it; it meets those truths head-on.
Our cast understands the weight and responsibility of telling this story. They’ve approached it with incredible respect and honesty, navigating the emotional depth of the piece with a level of professionalism that’s been truly remarkable.

JHPENTERTAINMENT: Doing a little social media deep-dive in preparation of our chat, I ran across more than a few of your posts about JLP. In particular, your favorite tune, “Not the Doctor”. I saw an older post where you noted that the musical uses the song in an unexpected way. Did that or any other Alanis songs hit differently for you once you were tasked with fully staging them in context rather than just listening to the Broadway cast recording or having seen it on stage on Broadway and the tour?
BRADLEY MOORE: I definitely think the songs reveal so many more layers in this context. Most are presented exactly as they were originally written, which is part of what makes them land so truthfully within the story. “Not the Doctor,” which opens Act Two, undergoes the most lyrical adaptation of any song in the show—but even with those changes, its original intention remains completely intact.
At its heart, it’s still about setting firm personal boundaries: refusing to be someone’s emotional crutch, resisting the pull to play savior or parent in a relationship, and choosing independence and authenticity instead. It’s a powerful reminder that you can care about someone deeply without taking on the responsibility of fixing them. And man, sometimes we all need to heed that advice.

JHPENTERTAINMENT: What do you hope audiences leave thinking about—after the dust settles and they’ve emotionally regrouped in the parking lot?
BRADLEY MOORE: Like any piece of theatre, our hope is simple: that the audience feels something—whatever that may be. This show offers so many points of connection that ten people could walk out with ten completely different takeaways, and all of them would be valid.
We’re not trying to present a polished, perfect picture—we’re aiming for something honest. And if even one person leaves the theatre feeling a little less alone or more seen because of what they experienced on that stage, then we’ve done something that truly matters.

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From raw vulnerability to razor-sharp honesty, Jagged Little Pill isn’t just a night at the theatre—it’s an experience. And if this Rapid Fire 20Q is any indication, New Bern Civic Theatre’s cast and creative team are ready to deliver something that cuts deep, heals a little, and lingers long after the final note. Jagged Little Pill will take to the stage at NBCT (414 Pollock Street, New Bern, NC 28560) with performances Fridays-Sundays May 8-23, with Friday and Saturday evening shows at 7:30pm and Sunday matinees at 2pm. There will also be a special sing-a-long performance on Thursday, May 21 at 7:30pm. Tickets range in price from $19 to $29 (Thursday, May 21 tickets are only $10). CLICK HERE to purchase tickets, or call the box office at 252-633-0567.

For information about Jagged Little Pill and more, visit NBCT or follow them on Facebook, Instagram and TikTok.

If you want to follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire 20Q, or for my take on the latest local and national theatre, music, movies and more, find us on Facebook, Instagram and Twitter. Got an event or show we should know about? Drop us a line via the contact tab. Until then, #GoSeeTheShow!

Rapid Fire 20Q with director and cast of ‘The Laramie Project’; at New Bern Civic Theatre September 26 thru October 5

September 23, 2025 by Jonathan

THE LARAMIE PROJECT has been a groundbreaking piece of documentary theatre since its debut in 2000, giving voice to a community forever changed by the 1998 murder of Matthew Shepard. Now, New Bern Civic Theatre (414 Pollock Street, New Bern, NC 28560) brings this powerful work to its stage under the direction of Siobhan Brewer, with a dedicated cast stepping into multiple roles to tell the story of a town grappling with grief, reflection, and hope.

As part of our Rapid Fire 20Q interview series, JHPENTERTAINMENT.com recently had the opportunity to chat with the director and members of the cast to talk about their characters, their process, and what it means to share THE LARAMIE PROJECT’s story with audiences in 2025.

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RAPID FIRE 20Q WITH CAST MEMBERS AND DIRECTOR OF NEW BERN CIVIC THEATRE’s THE LARAMIE PROJECT

RAPID FIRE WITH THE LARAMIE PROJECT CAST MEMBER CIARA BLOSSER

JHPENTERTAINMENT: You’re playing Reggie Fluty, Rebecca Hilliker, Zubaida Ula, a Newsperson, and even one of the Narrators in THE LARAMIE PROJECT. What’s been the most rewarding – and maybe the most challenging – part of juggling so many distinct voices and perspectives in one production?

CIARA BLOSSER: It’s been an incredibly rewarding experience. At first, truthfully, it was daunting knowing I would be playing so many roles, and remaining on stage the entire show. I have never done anything like this before. Once I was able to at least know what I was saying, then the fun part came — which was finding tiny movements and the posture of each person. For example, Reggie Fluty never has perfect posture, she’s a bit more laid back, whereas Zubaida is a hand talker, and Kristin Price (girlfriend of Aaron McKinney) picks at her nails, twirls her hair, and always leads with her hips.

JHPENTERTAINMENT: Rebecca Hilliker says early on, “when I first heard you were thinking of coming here…I wanted to say …Why are you doing this to me?… but then I thought you’re not doing this to me.” How has living with that line informed your understanding of the town of Laramie, and what does it reveal to you about the way people process tragedy?

CIARA BLOSSER: The way I’ve been playing Rebecca has been cheerful. Even if she’s not talking about the most upbeat things, there’s always a slight smile on her face. When I (as Rebecca) say that line “Why are you doing this to me“, there’s a smile on my face because I think often, even if we don’t realize it, we will power through tough moments through smiles and jokes. What I love about Rebecca is that she has that initial thought, which is a valid one, and then takes a moment to process, and realizes that having the theatre company in Laramie might be the best thing for the community. Theatre is a therapeutic form of art, like most art, but what’s special about acting is it’s the study of human behavior. Rebecca is the head of the theatre department at the university, so she’s aware of that. I feel like she thinks inviting actors into Laramie to meet with people of the community, and understand them in a non-judgmental way, is the best way she knows to start the healing process.

JHPENTERTAINMENT: Zubaida Ula brings a unique viewpoint as one of the younger voices in the play. What drew you most to embodying her, and how do you balance her youthful passion against the more pragmatic or weary outlook of your other characters?

CIARA BLOSSER: Zubaida has been an honor to play. I naturally gravitated towards her, even though I’m probably a decade older than her. She is so confident in herself and the way she talks, although still youthful, is extremely powerful. What I love about her is that she takes pride in holding others accountable, as well as herself, and follows up with great conviction. One of my favorite moments of the play, which is also the monologue I auditioned with, is when she’s demanding people of Laramie to own the crime, “These are people who are trying to distance themselves from the crime. We all need to own the crime”. She is a young woman who has overcome adversity in a small town, as a Muslim who is not fully understood, and she is a force to be reckoned with.

JHPENTERTAINMENT: THE LARAMIE PROJECT marks your fifth show in New Bern. For those unfamiliar with the theatre scene in the area, what would you say to encourage folks to check it out, especially this production of THE LARAMIE PROJECT?

CIARA BLOSSER: The talent in eastern North Carolina is amazing. I can’t say that enough. I’m truly grateful to be a part of this community of artists. As for the cast of THE LARAMIE PROJECT, thank you, I’ve loved getting to watch us grow as a cast and crew, and it’s been a beautiful experience telling this story. For people who have never seen a show, I can’t force you out of your home, but the moment you sit in a seat at the theatre, you’re immersed into a new world.

RAPID FIRE WITH THE LARAMIE PROJECT CAST MEMBER GINNY DORRINGTON

JHPENTERTAINMENT: You’re stepping into Allison Sears, Sherry Aenonson/Johnson, Dr. Cantaway, Doug Laws, a newsperson, and a narrator — that’s a wide range of voices to embody. Which of those characters has surprised you the most in rehearsal, and why?

GINNY DORRINGTON: As I was living in the UK at the time this happened, it wasn’t widely reported. I think the character that surprised me most was Doug Laws. I am a Christian and although I knew of the Mormon church (mainly through the Osmonds who were popular in the UK), I have been horrified at the bigotry and hate that they espouse. I had no idea and it’s made me think about all the Mormon people who are gay and how they cannot be themselves,

JHPENTERTAINMENT: In total, there are more than 50 characters represented in THE LARAMIE PROJECT. Aside from those you portray, are there any other characters within the piece you’d like to perhaps take on in a future production?

GINNY DORRINGTON: Oh I would love the part of Marge. Such a character – very straightforward and plain speaking. Also, due to my great age – there are few roles that would be fitting which is a shame. It would be different in a radio show.

JHPENTERTAINMENT: Playwright Moisés Kaufman and the Tectonic Theater Project, who first presented THE LARAMIE PROJECT, are known for their use of “moment work” — building theatre from image, movement, and juxtaposition. What has it been like to create moments in this production, and how do they help reveal truths beyond just the spoken words?

GINNY DORRINGTON: I love the idea of the Moments, but as an actor I have found that following the whole script through them difficult, because they are not necessarily sequential. Having said that, I have loved the minimalist aspect of the play, the reliance on voices and the impact that that has on the listener/audience.

JHPENTERTAINMENT: This play asks both actors and audiences to lean into empathy. As you step offstage each night, what do you hope your community takes away from hearing this story told in their own backyard?

GINNY DORRINGTON: I really, really hope and pray that we can make a difference with this play. It’s the reason I auditioned for it really. I was in Calendar Girls at the beginning of the year and that too carried a message. I love drama that does that. I think that there is still a huge amount of intolerance towards anyone who is not a white, straight person and it really bothers me. If we can get just one person to become less judgmental and hateful it will be worth it. I know it has a powerful effect on the watchers because it exposes their own thoughts and feelings – either positive or negative and that is what I love about the theater.

RAPID FIRE WITH THE LARAMIE PROJECT CAST MEMBER, JOSEPH HORTON

JHPENTERTAINMENT: You were last seen at NBCT as Dr. John Prentice in their 2024 production of Guess Who’s Coming to Dinner, now you’re stepping into multiple roles in THE LARAMIE PROJECT. How has moving from a classic drama about race and social change to a documentary-style play about intolerance and community resilience challenged you as an actor?

JOSEPH HORTON: Honestly, I hadn’t been on stage in almost 10 years when I got the role of Dr. Prentice. That in itself felt like a huge jump. I don’t think it’s off to say I felt closer to my character as Dr. Prentice, as I already had a huge connection to his situation. With TTHE LARAMIE PROJECT, I had to do my own personal research about anything I could on the subject and the people because they aren’t a creative expression. They are real people in a real town. So I had to try and honor them as much as possible as I developed each individual’s character.

JHPENTERTAINMENT: In this production of The Laramie Project you take on Shadow, Aaron Kreifels, Phil Labrie, Andrew Gomez, John Peacock, and a narrator. As you’ve explored the piece, have you found one character that you identify with most?

JOSEPH HORTON: My Director isn’t going to agree that this is the best answer. Andrew Gomez is probably the closest to base Joey you will see of me in this play. It’s the only time I just get to turn off my mind and just worry about my lines. He definitely isn’t my most impactful performance in the play, but any time I don’t have to think about how the character moves or talks, it feels like I am sailing on a wooden pirate ship with the wind in my sails.

JHPENTERTAINMENT: As one of the newer members of the NBCT family, how has this company welcomed you in, and what excites you most about growing with this theatre community?

JOSEPH HORTON: Okay, so over the past year I have done everything I can to live in this theater. After Guess Who’s Coming to Dinner, I ended up doing the fly system for Grease, spotlight for Descendants, and assistant to the stage manager for Escape to Margaritaville. I also have a potential directing spot for the 24-hour Theater Project next month. And with the lineup of shows for next year, I am going to be living on stage, count on that. It’s about to be musicals all year, and I am a far better singer than I am an actor.

JHPENTERTAINMENT: We’re now a quarter century past the events that inspired The Laramie Project. What does it mean to you to help tell this story today, and why do you think its relevance endures for audiences in 2025?

JOSEPH HORTON: I will let you know I watch debate media in my free time. This year has been NUTS!!! The amount of fear that people are cultivating for the people in this country hurts me deeply. It’s never just one group that gets attacked when things like this happen; it’s anyone who doesn’t fit “the norm.” As an African American with my own set of mental disabilities, I can never be in that norm. I am aware people are fighting to make individuals like me fit into a status quo that I was never meant to be a part of. So with this current climate in America, I think it is extremely important that we are doing a play about what it was like when Americans wanted to start accepting differences. Now that we have done so much to try and turn away from the progress we made in this country, this is the America we hope to leave behind moving toward the future.

RAPID FIRE WITH THE LARAMIE PROJECT CAST MEMBER KATHERINE ANDERSON TUTTLE

JHPENTERTAINMENT: In THE LARAMIE PROJECT you portray Marge Murray, Lucy Thompson, a Baptist Minister, a Mormon Spiritual Advisor, plus a narrator and a newsperson — such a diverse group of voices. Which role has challenged you the most to step outside yourself as a performer?

KATHERINE ANDERSON TUTTLE: Actually, the role of Sherry Johnson (wife of highway patrol man and a university admin assistant) has been the toughest to connect with. Her life experience has definitely been more narrow than mine. I had to draw on character traits and attitudes of folks I can remember from an earlier (ugly) time in America. Two of my dearest friends were victims of bigotry, hatred and vicious violence in the early 80’s. Both also succumbed to HIV. I hold them lovingly in my heart to this day. I knew there were Sherrys in the world. I hope I never was one.

JHPENTERTAINMENT: You’ve been part of the New Bern Civic Theatre family for over 15 years. Looking back, how has your journey with NBCT shaped you as an artist, and what makes this community such a lasting part of your story?

KATHERINE ANDERSON TUTTLE: NBCT has been a true blessing to me. I have opportunities to keep my performance skills sharp and mix with folks of all ages and life experiences, keeping me safe from a dull and lifeless retirement. I hope I have given as much to the local community theatres as I have gained from the connections.

JHPENTERTAINMENT: You previously worked with Siobhan Brewer in the past, including when she directed an area production of Cabaret. What has it been like reuniting with her on this production, and how has her directing style helped guide you through such complex material?

KATHERINE ANDERSON TUTTLE: I have been blessed and privileged to see Siobhan grow in confidence and ability over four productions. I love working with her. She gives me my head, so to speak, and only tugs on the reins when I ver off track. She is purposeful in her vision. Her passion drives her dedication and that is immense.

JHPENTERTAINMENT: THE LARAMIE PROJECT is often staged with a minimalist or flexible set to highlight the actors and the words. What can you tell me about this production’s set design and how it impacts the way you tell your aspects of the story onstage?

KATHERINE ANDERSON TUTTLE: In this show the only tools you really can use are you face, your eyes, your voice and your body. And you only have a few lines, or even just a word, and maybe no interaction, to convey a person,, an attitude or an emotion. And you must convey the truth. It’s definitely a workout for a performer. I switch characters over 30 times during the show. We never leave the stage. I am emotionally spent by the end.

RAPID FIRE WITH THE LARAMIE PROJECT DIRECTOR, SIOBHAN BREWER

JHPENTERTAINMENT: You’ve directed everything from The Crucible to SpongeBob the Musical, Jr., and now you’re tackling THE LARAMIE PROJECT which is a very different kind of theatrical storytelling. What has been the most rewarding — and the most challenging — part of bringing this powerful piece to the New Bern Civic Theatre stage?

SIOBHAN BREWER: THE LARAMIE PROJECT is definitely a different style of storytelling. The fact that the play is not linear and is told in a series of moments has been both challenging and really fun to work with. When I agree (or ask) to direct a show, generally it needs to be something that really speaks to me. I feel like previous shows I have directed like Cabaret, The Crucible, The Vagina Monologues, and now THE LARAMIE PROJECT are ones that evoke compelling emotion that leads to real reflection and conversation, and that is my favorite thing about theatre.

I think the most powerful thing about this play is something that Moises Kaufman has stated in interviews. He has stated that he keeps waiting for the show to become historical, but it never seems to become historical. The themes and the conversations that stem from them are still so relevant to current events, and we need to keep talking about them.

JHPENTERTAINMENT: Every director brings their own personal approach to the rehearsal process—how would you describe your style of directing and how has that influenced the way you’re guiding your cast through the emotionally powerful and ensemble-driven storytelling of THE LARAMIE PROJECT?

SIOBHAN BREWER: I really prefer to be a collaborative director, and this show lends itself fully to that. The actors on stage play a huge role in determining their characters and how to portray them and what they need. We talk about things as a cast, and I am always open to ideas from the cast. Those ideas turn into really powerful moments, because we are working collaboratively, through a variety of lenses to tell the story in an ensemble-driven manner. I also love telling a story through stage pictures, and the moment to moment style of this particular show lends itself well to that. I think the most important part of telling a story like this one is the dedication and care of the cast and crew, and that 100% happened with this show. Our cast and crew were all dramaturgs for this show: doing their own research and really learning about not only what happened in Laramie but the characters they portray as well. With 10 actors playing almost 70 roles, that’s a lot of research and dedication!

JHPENTERTAINMENT: As someone who has both directed and performed, what draws you back to directing again and again?

SIOBHAN BREWER: My own children asked me this recently, and I jokingly told them it’s because I like to be in charge. Honestly, I love seeing things from the big picture and helping to create a vision for a show. From casting to blocking to seeing the vision come to life, it is such a rewarding experience to direct. When I am in a show, it is fun to have that cast bonding and the freedom to limit my focus to just my role, but I prefer in most aspects of my life more of the big picture approach.

JHPENTERTAINMENT: THE LARAMIE PROJECT asks its cast and audiences alike to sit with difficult truths. As a director, what do you hope audiences carry home with them after experiencing this story through your company’s portrayals?

SIOBHAN BREWER: I truly hope our audiences take away the profound truth that most of what is said in this play, the themes throughout, are still very present in modern day. There are some lines from this show that I have heard being played out in the media today, so I really hope our audiences are able to see that, to make those connections, and to think about what they can do to effect some kind of change in our community and country at large. I saw an interview with Judy Shepard, Matthew’s mother, and she stated that no matter who you are, it is likely you are going to see some character on that stage throughout the production that is similar to you. I hope our audiences take the time to reflect on who they may be, who their loved ones and those in their circles may be, and how we can challenge ourselves and others to make change real and lasting. I think the show has been asking us to do this for over two decades, and I am hopeful that this production reaches our audiences, prompting that reflection and action.

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Chatting with the director and members of the cast of New Bern Civic Theatre’s upcoming production of THE LARAMIE PROJECT serves as a reminder that this show and the messages found herein remain as urgent and relevant today as it was when first created by Moisés Kaufman and the Tectonic Theater Project over two decades ago. By revisiting the words of the people of Laramie, this cast and creative team at NBCT invite audiences to reflect not only on history, but also on the present and the future we all are shaping together. NBCT’s THE LARAMIE PROJECT opens Friday, September 26 with weekend performances through Sunday, October 5. Friday and Saturday evening performances begin at 7:30pm and Sunday matinees start at 2pm. Tickets range in price from $18 to $24 with discounts available for Students and Military. CLICK HERE to purchase tickets.

After THE LARAMIE PROJECT, Encore Local Series @NBCT & The Aerie B&B present A BONAFIDE OLD-TIME RADIO SHOW, 2025 on Friday, October 10, then it’s WALK-IN BATHTUB IMPROV on October 11 and THE 24 HOUR THEATRE PROJECT on October 18. NBCT’s current theatrical season resumes with MONTY PYTHON’s SPAMALOT, onstage Friday, November 7 through Saturday, November 22. For information to theses performances and more, visit NBCT or follow them on Facebook, Instagram and TikTok.