A.D. speaks with Tom Reing: Founder, Maestro, Artistic Director of Inis Nua Theatre Company as well as actors Rachel Brodeur and Liam Mulshine for Inis Nua Theatre’s "A Holy Show" at The Drake: Oct 6- Oct 24.
Read MoreCatch Liam in the US Premiere of A HOLY SHOW, through October 24th, 2021!
It’s 1981 and Aer Lingus flight 164 to London is about to board. Tina and Joe are on their honeymoon, Bun is off to meet her new granddaughter, Mary is nervously flying for the first time, and Downey is on a mission to learn the Third Secret of Fatima at any cost! Two actors play twenty characters in this whirlwind comedy based on the true story of a disgraced Australian monk who hijacked a passenger jet using nothing but holy water.
A CHRISTMAS CAROL at Walnut Street Theatre!
Liam makes his debut this month at Walnut Street Theatre as Bob Cratchit in A Christmas Carol - click here for tickets!
Liam is Delaware
Check out Liam in this commercial for Delaware Technical Community College!
"Superb" OUR FEW AND EVIL DAYS is Barrymore Recommended!
Our Few and Evil Days is now Barrymore Recommended! John Timpane of the Philadelphia Inquirer says "Our Few and Evil Days is yet another gem to be discovered by attending plays at our smaller theaters. ... Everyone is good. Amy Frear as Adele attracts great sympathy and is much sinned against, yet she, too, has the coiled will to hurt and unleashes it. Liam Mulshine is a little too good as Dennis, the hinky new boyfriend who morphs into someone else."
Acting, Distracted
Have I ever told you about one of my proudest moments onstage? No? Gather round, children, and let me set the scene. It's July 26th, 2014. Tut'Zanni Theatre Company is finishing up a thrilling couple weeks of performances of Love Letter Lost at Capital Fringe Festival in my hometown of Washington, DC. I'm exhausted but relishing hamming it up in my dual roles of Fabrizio, one of the spoiled lovers, and Capitano, the attention seeking braggart who's always a half-step behind his competition. ALi, playing a sneakily-silent Pulcinella and I have just started the strip poker scene (don't ask) and Capitano is down to his strategically-placed red scarf and little else. I'm just about to up the ante when there's a thud from the second row of the audience - someone's cellphone has fallen onto the floor, and it was loud enough for everyone in the small theatre to hear.
In a "normal" show, there's a fourth wall. There are pre-written lines. There's the assumption that the audience and actors will collectively grit their teeth through the awkward interruption and really lean into the suspension of disbelief - unplanned noise? What unplanned noise? But this ain't your normal show - this is Commedia.
In that moment, as Capitano, I can't NOT deal with the fact that I was just RUDELY interrupted. Without skipping a beat, I exclaim "Excuse me!" as I glare toward the slightly embarrassed-looking audience member. It gets a pretty big laugh! She sheepishly smiles and picks up her phone. ALi, as Pulcinella, immediately plays along, putting down her hand of cards and looking disapprovingly at the noisemaker as well. I tell the audience member to collect herself and facetiously ask for her permission to proceed with the show, and she nods that she's ready.
As I start my line again I immediately stumble over it, so of course I place the blame squarely on the noisemaker in the audience throwing me off. Again, the audience is tickled by Capitano's diva tendencies. I make like I'm resetting the entire scene in fast motion to get things on the right track, and we're finally back up and running.
What felt so fun and so true to the spirit of Commedia in that brief moment is that rather than ignoring the distraction and letting the audience cringe as I try to pretend like nothing's happened at all, I turned my full attention to what was happening, and through the lens of Capitano, let everyone know how I felt about being upstaged. Feeling free to respond in real time to what was happening in the audience kept me fully engaged and present in the moment, and hopefully reminded the audience that they're not watching a movie - that everyone in the room has the power to affect the events of the show.
Want to see it for yourself? Here's the clip of the moment I'm describing:
As we prepare to put a bunch of new work on its feet in our upcoming show development period, one of my main goals is to feel secure enough in the characters I'm playing to roll with the punches, to be thrown off course and revel in every unexpected moment. To me, watching how an actor reacts to a complete surprise is as theatre as theatre gets.
Leper + Chip in Philly Metro
More press for Leper + Chip
From the Broad Street Review:
The tale is richly complicated and brutally bloody, but also hilarious and sincere enough that we can't help but hope for a happy ending. Stahl and Mulshine make convincing drifting young adults who drink, fuck, and live by crude street ethics, yet must answer to Mum or Da if they stay out late. Their Dublin accents are appropriately thick and coarse but always understandable (dialect coach Leonard Kelly deserves praise), and Inis Nua supplies a brief glossary for the few slang terms still unclear in context.
Their performances are all the more impressive given that director Tom Reing stages Leper + Chip with audience on four sides of the small cement square of street created by scenic designer Meghan Jones. Neither actor leaves the stage, though each gets a break when the other takes over. Shon Causer's lighting illustrates the punches, kicks, slaps, stabs, and gunshots and sculpts the play as it moves through many locations and the two characters' points of view.
Coffey's wild adventure builds to a final moment that echoes Romeo and Juliet in a way that's poetic, inevitable, and right. Leper + Chip lasts only 65 minutes, but lingers long after.
LEPER + CHIP = BARRYMORE RECOMMENDED!
Rave Reviews for Leper + Chip!
From The Philadelphia Inquirer: "The language here is a mixture of dramatic dialogue and narration, so that much of the show seems to be a short story read aloud and theatrically illustrated. With the audience seated in a four-square arrangement framing the stage (not always a serviceable idea) the action—much of it physical—is choreographed impressively and performed relentlessly by actors who are agile in every way. Alternating between acting out the scene and explaining it, Mulshine and Stahl never falter, and neither do their excellent accents."
From DC Metro Theatre Arts: Liam Mulshine as Leper and Katie Stahl as Chip are nothing short of remarkable in their flawless execution of the hefty script, thoroughly believable portrayal of the gritty pair, imitations of the other troubled characters in their story (his send-up of a 50-something pick-up for a one-night stand is especially caustic), and thick Irish accents (with dialect coaching by Leonard Kelly). We see the anger and despair in their crass bravado, then the softening towards each other and themselves, as they shed their mean-spirited nicknames, reveal their true identities, and turn their hostility into understanding, tenderness, and love, all within the frenetic 36 hours since they met. These are two emerging talents to watch.
Preview #2 Tonight!
Leper + Chip = Tech
We open on Friday! Get your tickets here.
Accademia dell'Arte Alumni Spotlight
In the New York Times!
New East Coast Representation!
Liam is now proudly represented by Reinhard Model & Talent Agency for print, commercial, film, and TV.
They say you always remember your first time...
on TV!
Just shot Sex Sent Me to the ER for TLC, but I'm feeling fine. Episode to be released soon! Stay tuned.
Love Letter Lost tickets selling fast!
Tickets for Tut'Zanni Theatre Company's new show Love Letter Lost at Capital Fringe in Washington DC are going fast - get yours today!
A Shorts Short
The title says it all...
Capital Fringe Tickets Now On Sale!
Tickets are now on sale for Love Letter Lost, starring Liam and the other members of Tut'Zanni Theatre Company! Click the image for more information and to get your tickets!