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The whole thing had this kind of punk rock, seat of the pants energy to it where we were using the absolute minimum to tell our stories, which were tailor made to the actor’s strengths by the playwrights and the first couple of years when the show went up-we did it on Mondays in Denver because we’d started inviting the actors that were in town doing shows to work with us and Monday was the only night they had off-there was this awesome energy in the air because nobody really knew what the hell was going to happen. Partly because the rehearsal period was so short-you can always double down on a talented actor’s sense of self-preservation to make fantastic and hilarious choices when they’re in a packed house of their friends-and partly because each of the six plays were rehearsed separately so tech and the performances were the only time we got to see one another’s work and the first few venues we performed in, there was always this sort-of-off-stage area where the whole rest of the cast was watching one another’s work and just drinking it up. That was a fantastic vibe to get not just from the crowd, but from your peers.
We were good at it and had no reason to stop, so we kept going and kept getting bigger. And I think when I left in early 2015 we’d produced something like 450 original works and collaborated with more than 500 artists. They’re still going. I’m not sure what they’re at now.
We all started doing Shotz in New York because we didn’t have other projects to work on. There have been five different Artistic Directors for Amios since we started going in 2009, so there may be some disagreement on what I say next, but I think the company was only ever intended as a placeholder for its artists-a gym to keep the acting (and writing and directing) muscles tuned-while we waited for the next project. Well, when you’re helping to run the show, the next project is always the next show, so for me at least I found myself not working as hard to find other stuff to do and Shotz and Amios became my only artistic outlet, which wasn’t healthy for me so I had to step away to find other ways to be an actor.
InViolet: What was the last piece of theater you saw that knocked you out?
Rob: “Beauty Queen of Leenane” at BAM. McDonagh remains one of my top five playwrights of all time. My Dad got me a membership there for Christmas, which was a pretty kickass gift. The Harvey’s a beautiful theater (I saw my favorite production of “The Tempest” there a couple years back), I’d love to do something on that stage one day…
InViolet: Seems like you’ve been catching lot of live music lately. That’s a very cool New Yorker thing to do. What have you been seeing?
Rob: I saw two awesome shows at Pete’s Candy Store last week. That was a super cool venue to discover. I’d say you should probably see The Lobbyists and Phil Pickens whenever you get a chance. Also Lake Street Dive, Ben L’Oncle, JC Brooks and the Uptown Sound, Pickwick, Tobacco, Gorillaz, Rostam, Maps & Atlases, and Jenni Lark.
InViolet: Word on the street is that you’re heading to Myanmar soon? What. Give us the scoop!
Rob: It’s true! My lady found a pretty sweet deal on air travel and it’s a place she’s always wanted to go, so I said fuck it, first trip to Asia, first time in a hot air balloon….I’m pretty stoked.
InViolet: What’s up next for you?
Rob: I go straight into rehearsals for this play by Sara Farrington called “CasablancaBox,” which is about the making of the film. I’m playing Peter Lorre. I’ve been involved with a couple of workshops of the piece since this time last year and the final version of the show Sara and her husband Reid, who’s directing, is gonna be something really awesome that I’m really excited to be a part of. We open April 5!
I am supposed to be at work. I have a meeting in 7 minutes. A meeting I will not be able to attend. My office is 5 kms from my couch up Mbagathi Road and down Ngong Road. On a good day it would take me 15 minutes to get to work… or 2 hours if Nairobi University is having a graduation ceremony or if the president is having friends over. It is a meeting with an insurance company. I think I will skip.
I was in Kisumu last Saturday. Stopped there for a night on my to Migori.
As I write this, ‘How to Get Away with Murder’ is playing on the telly. Episode 6 I think. I am so lost. I do not remember anything beyond the fifteenth minute of the first episode. I’d pick Scandal over this any day, Olivia Pope handling things with her trembling lips.
I hit the club at about 11pm. I start with a club called Signature. It is famous for Rhumba Saturday nights and that is what I was looking for. I think it is on the 6th floor but the elevator takes forever to get there. There is something about Kisumu elevators, they are never in a hurry.
I get a call from one of my high school friends that a different club, Buccaneers, is happening more than Signature. I get off the elevator and take the stairs down. We all know I would miss the party if I took the elevator down.
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