Interview: Gary Lee Reed Directing ALL MY SONS For All His Actors & His Audiences

Wasatch Theatrical Ventures brings Arthur Miller's classic ALL MY SONS to the Lounge Theatre beginning April 6, 2019. A staple of the Los Angeles Theatre community, director/actor/designer Gary Lee Reed helms this ironically timely tale of defective aircraft tragedies. Gary spent a few moments to answer some of my quizzing questions.

Thank you for taking the time for this interview, Gary!

How did you first connect with Wasatch Theatrical Ventures?

A few years ago I met Raquel Lehrman, who runs Theatre Planners, and I wound up doing some set design work for one of her projects. It was very soon after that she asked me to direct a musical revue AND THE WORLD GOES ROUND. Now I have directed at least five shows with Theatre Planners and have had several set design jobs with them. Three years ago, Raquel introduced me to Wasatch Theatrical Ventures for THE ANDERSONVILLE TRIAL, and this is my second production with them.

Have you worked with any of ALL MY SONS cast or creatives before?

Yes. I have worked with two of the cast members, four of the designers... and the prop mistress is my wife.

How unfortunately ironic that this 1943 Arthur Miller piece based on the true story of defective plane engines would be so prevalent in today's world news. And the consequences of unethical behavior (pertaining to the current Boeing investigation). Do you think it will be quite apparent for Lounge Theatre audiences to draw the comparisons?

How can it not be? We have just begun to talk about what were the causes of the two tragic incidents. Normally I would say "accident," but it appears, from the latest reports, that Boeing knew from the first downed airplane in Indonesia what the cause was, and didn't rectify it back then. Even after the second downing in Ethiopia, Boeing still didn't ground the U.S. fleet. And I just heard yesterday two experienced American pilots flew simulators that mimicked the exact situation the two downed pilots experienced, and both crashed. So the early reports from the manufacturers that it was pilot error or lack of training is already in question. The investigation continues, and we open this show soon. I think that people will definitely make the relevant connection.

Arthur Miller's classic has been performed countless times since its creation. Have you seen any productions of ALL MY SONS in all your theatre travels?

Yes. I produced it years ago when I was the Artistic Director at Actors Co-op. I have also seen three other productions over the years and the film.

As one who's worked on both sides of the Atlantic, how would you compare the theatre communities of Edinburgh and Los Angeles (more reserved? more enthusiastic?)?

I think it would be hard to say any theatre community is more enthusiastic than the L.A. theatre scene. If you ever wonder, please go to see something at Theatre of Note, Rogue Machine, Lower Depth or The Road, just to name a few. The actors in this town are fearless, committed and talented. And don't forget the Hollywood Fringe Festival... OMG!!! I've been to Edinburgh, and except that we are so much more spread out, it rivals the Scots.

Are auditions in London basically the same as auditions in Los Angeles (formalities? protocol? auditionee attitudes?)?

It's been over twenty years since I have been in London, so I am not sure if they have experienced the same changes that we have. But it's still basically all about the work. The connection or finding a moment, discovery. Whether you are doing a self tape, reading with a casting director or a fellow thespian; it's about commitment to the work, and daring to be truthful and personal in public. Wherever you audition the space should be held as safe... almost sacred. That's pretty universal.

What aspects of a theatrical project do you look for in deciding whether or not to commit your directorial energies to? (subject? personnel?)

Does it pay? Joking aside. I have always felt theatre can be life-changing. Transformative. If only for the two hours you are in the theatre. So that is one of the first things I look for. Many pieces on their face don't seem to offer that, so I look beyond just the words and try to find if there is a deeper meaning. Perhaps even something the writer may not even know he's written. I hope that whatever I choose, it makes people talk. I don't feel like the plays need to have answers, but I look for plays that ask questions. Relevance is very important because I think if we can connect or relate to a piece, the greater the chance to be moved or changed.

Your resume includes comedies, musicals and dramas. Any preference to one genre to the other? Or do you just like to mix it up?

I do like to mix it up but... I do musicals for the audience. I do plays for the actor. Plays are better for actors, in that the journey is usually a deeper one. But there is nothing like singing when it becomes the overflow of your emotions, because music touches people like nothing else. All that being said, I hope audiences like my plays as much as my actors like my musicals.

Do you still like to exercise your acting chops between directing gigs and set designing?

Yes, I do. I am very blessed to have all three. Set design and building are my therapy. Directing is like giving birth and sending your kids off to college all within a five-week period. Musicals are just pure joy. Like manna from heaven.

I see, on your resume, credits for 'set design' and 'scenic design.' Can you distinguish the difference between these credits? Scenic sounds more encompassing, no?

I don't know if there is really much difference in the "biz." But, for me I liken scenic to painting a picture or art, and set design to building a cabinet. Which sounds like set design isn't artistic, which it definitely is. But for me, set design is a realistic copy that informs the audience of a location that fits nicely into a space or stage. Scenic is an environment that suggests a location or locations. It transforms and changes to whatever and wherever the story or the imagination take it. Ha, that all sounds so heady.

What's in the near future for Gary Lee Reed? MOMMA PEG'S KITCHEN? PERSONAL EFFECTS?

MOMMA PEG'S KITCHEN is an amazing one-woman show that the fabulous writer Deb Hiett wrote for my wife. She wrote the very successful SUPER VARIETY MATCH BONUS ROUND that Rogue Machine did a couple of years ago. So I would do anything that Deb writes. PERSONAL EFFECTS is a play I wrote about an event that happened one night in the life of my two brothers and me with our wives present. We opened the personal effects of my father who we had not seen in almost forty years. The play is about the effect parents have on their children and the personal effects that each son experienced after the things we discovered that night.

What feelings or conclusions would you be most satisfied in having the Lounge Theatre audience leave with after your curtain call?

For me, part of what is so relevant about this play is the devastating impact that lies can have on the people you love. It would be my wish that people will go home and begin to be more truthful with those we love. If it happens to one patron... that's life changing.

Thank you again, Gary! All the best with your SONS!

For ticket availability and show schedule through May 12, 2019; log onto www.onstage411.com/sons

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