DirectorSpeak with Boomerang Artistic Director Tim Errickson

Going back thru some old links and press in this “end of summer clean up” phase, and I came across this link to an extensive interview I did with Cat Parker about directing and life in Off-Off Broadway. Take a look and let us know what you think in the comments section!


Here’s a little sample:

CP: When you’re directing, do you start with text or movement?

TE: Text. We’ll sit at a table. I’d like to do table work. I think that in New York City unfortunately, directors don’t always allow for a ton of table work, because time is money. But we probably spend three days, four days at table and then start staging stuff. I feel like until you get people up on their feet, until they have the words tied together with spatial relationships, they don’t get a full sense of relationship. So if I’m saying that ‘I love you’ but I’m twenty feet away from you, that’s different from saying it two feet away from you, and those kinds of things start to color the staging. I want to get them in physical proximity to each other as quickly as possible so we can start moving things around.

CP: Talk to me a little bit about working with designers. Do you enjoy the  production side of things?

TE: I do. I like designers who come in with a point of view, especially because I don’t do a ton of research when it comes to things. I’m interested in what their response to something is. And I like the collaborative process of having a discussion about what the actor will be doing and what the visuals of the things should look like. I get the smartest people around me and get the fuck out of the way. I make that my rule – I don’t want to be the smartest person in the room.

CP: At what point in the process do you bring designers in?

TE: I like to have the team set pretty early, about a month before we go into rehearsal, so we can talk about what the responses are. Give people the chance to live with it a little bit. Because I think that relationship starts the moment that conversation starts. So if you were designing costumes for me, I would want us to have plenty of time to sit down and say, “Here’s what I think the play is about.”  And you say, “Great! I want that, too” or “I don’t see that.” And then we’re gonna go away with it for a little while, and that will ruminate for a little bit and you go, “Oh, you know what? I’ve been thinking about it, I’ve read it again, you’re right, but I would do this instead.” So the more chances you get to breathe, the more chance you have of getting something that’s as complex and as interesting as you want it to be.

You can read the whole thing here at

Fun Photo Collages for the Season

Hi everyone…Here at Boomerang we put together photo collages for Annual Reporting requirements (basically we send these off to people who are looking for photographic evidence we actually did things). I thought we’d share them with you, as sort of a visual summary of what we’ve been doing these last 12 months. We’re still working on the version of Love’s Labour’s Lost…

First Flight



Lickspittles, Buttonholers, andDamned



Cymbeline (4)

Sharing our applause with you!



Thank you to everyone who supported CYMBELINE in Central Park this summer. We are grateful for your attendance, your time and your love.

“Brilliantly funny, filled with music and dance and with many sensitive performance which are audible even over the usual traffic of Central Park. You can feel the dedicated teamwork and the firm, delicate directorial touch guiding the play and audience with a rare clarity.”
–Glenda Frank,

If you loved the production and wanted to vote for it, we are registered with the New York Innovative Theatre Awards. The NYIT Awards are the highest honor for Off-Off Broadway, and every vote counts. Thank you in advance!

This summer marks Boomerang’s 17th summer of free Shakespeare in New York. We look forward to seeing you in the park again next year.


Please consider showing your support of our work! Click here to make a secure donation to support The Boomerang Theatre Company.

If you’d prefer to send a check, please make it payable to Boomerang Theatre Company and send it to P.O. Box 237166 Ansonia Station, New York NY 10023

Even More Production Photos from CYMBELINE

Because the show just looks so damn good…Final performances are Saturday 18th and Sunday 19th at 2pm in Central Park. Free admission, no tickets or reservations required!

Boomerang Theatre Company's Cymbeline 5 Boomerang Theatre Company's Cymbeline 3 Boomerang Theatre Company's CYMBELINE 2 Boomerang Theatre Company's Cymbeline 4 IMG_1491  IMG_1503  IMG_1515  IMG_1529  IMG_1658  IMG_2048  IMG_2106  IMG_2179 Boomerang Theatre Company's Cymbeline 1

A Few Random Questions For…Dan Renkin

Dan Renkin is the kind of person you want as a fight choreographer…A soft spoken, patient, creative, bad-ass. Some folks may remember him onstage for Boomerang last summer in Love’s Labour’s Lost in Bryant Park (a show in which he also did the fights). Dan answered a few random questions while preparing for the final two performances of CYMBELINE this weekend (July 18th and 19th at 2pm) …

Dan Renkin (l) with the cast of Love's Labour's Lost in Bryant Park

Dan Renkin (l) with the cast of Love’s Labour’s Lost in Bryant Park

Full Name: Dan Renkin

Home town: Wait…*where* am I?

How many Boomerang shows have you done? Beyond the Horizon, Love’s Labors, Cymbeline*
(* we actually counted later, and he also worked on Anna Christie and a few others as well. The exact number has been lost to history…)

Tell us a little about your role as Fight Choreographer: Shakespeare’s story meets (director) Cailín (Heffernan)’s devised world meets The Cast. It’s teasing out how this story needs to get told, with a physical vocabulary that makes sense for our version of the world of the play. Our Cymbeline is stylized, which works beautifully for a small ensemble, and in our park performance spaces–the actors’ bodies are our architecture, and define space. In the fights, that stylization can help define emotion, too.

What is your favorite thing about working on CYMBELINE? Great words, great people. Boomerang is a family of generous and astonishing people. It’s sort of a gifted-and-talented program for professional adults. Playful and enthusiastic collaboration always makes my work easier–and better–and more fun to do.

What’s your favorite place in New York City?  The stage of the Metropolitan Opera House.  Looking out.

In keeping with the spirit economy, can you give us your 6 word memoir:  Sci-fi geek runs with pointy stick.

Cymbeline runs July 18th and 19th at 2pm in Central Park (enter at 72nd and Central Park West) Additional details can be found here. Cymbeline is free, no tickets or reservations are required.

Dan Renkin (left) with Vinnie Penna (center) and Annalisa Loeffler (right)

Dan Renkin (left) with Vinnie Penna (center) and Annalisa Loeffler (right)

A few Random Questions for…Kathryn Meister!

Kathryn “Kat” Meister is the Stage Manager Extraordinaire for Boomerang’s production of CYMBELINE. Kate began with Boomerang last summer as the Stage Management Intern on A MIDSUMMER NIGHT’S DREAM, and followed that up as Assistant Stage Manager for our production of LOVE’S LABOUR’S LOST. In addition to her work at Boomerang, she’s stage managed productions with numerous companies around NYC in her short time on the East Coast. Kat answered a few random questions while preparing for the final four performances of CYMBELINE…

Kathryn "Kat" Meister (r) with Assistant Stage Manager Daniela Gonzalez y Perez

Kathryn “Kat” Meister (r) with Assistant Stage Manager Daniela Gonzalez y Perez


Full Name: Kathryn Gloria Meister

Home town: Corona, CA​

How many Boomerang shows have you done?  This is my 3rd Boomerang show and second time working with Cailin!

Tell us a little about the job of the Stage Manager: The Stage Manager really takes care of the show from rehearsals to performance. This is done by making sure that everything stays on schedule, actors are safe, and lines of communication are kept open between the director, actors, designers and producers.  The SM is really the center spoke of a wheel to keep the show moving along, SM’s are also known to function on little sleep plus a lot of coffee.

What is your favorite thing about working on Cymbeline? The new music by Henry Aronson really gets stuck in my head in the best way and I love watching the beautiful Kabuki moments take place every performance, specifically the River sequence when Imogen must swim across a river.

What’s your favorite place in New York City? There’s a coffee shop in the Village called The Uncommons that has all kinds of board games in addition to decent coffee.

In keeping with the spirit of economy, can you give us your 6 word memoir:   LA to NY, never looked back​.

Cymbeline runs July 11th, 12th, 18th and 19th at 2pm in Central Park (enter at 72nd and Central Park West) Additional details can be found here. Cymbeline is free, no tickets or reservations are required.

A Cymbeline Q&A with Amanda Jones and Brian Robert Burns

Artistic Director Tim Errickson sat down with Amanda Jones (Imogen) and Brian Robert Burns (Posthumus) to talk about their roles in Boomerang’s current production of Shakespeare’s CYMBELINE, directed by Boomerang Associate Artistic Director Cailín Heffernan. CYMBELINE runs thru July 19th in Central Park.

Amanda Jones as Imogen and Brian Robert Burns as Posthumus in CYMBELINE

Amanda Jones as Imogen and Brian Robert Burns as Posthumus in CYMBELINE

Tim Errickson: Hi guys! We’ll start with Amanda…Amanda, you’ve worked with Cailin a few times now. How did you guys meet?

Amanda Jones: A few years ago, I was playing Marie Antoinette in a show called “The Color of Flesh.” (great title, right?)

Brian Robert Burns: Makes me think of “Silence of the Lambs”…

AJ: The director, Bob Kalfin, brought her in to teach us period manners and movement, in which Cailin is something of an expert. (She had less to teach me. Everyone else bows to the Queen; the Queen just stands there and looks grand)

TE: And then you also appeared in Love’s Labour’s Lost for us last summer that Cailin directed.

AJ: That’s right! She emailed me late one night to ask if I would be interested in replacing someone who had dropped out. I said yes right away.

TE: Had you worked together between LLL and Color of Flesh?

AJ: She’d called me in to audition…But otherwise, no. She just has an amazing memory.

TE: Brian, you had just finished up the National Tour of War Horse before this, right?

BRB: It always kinda feels* like we just got back from tour. A lot of the memories and experiences are still so fresh, and a lot of the cast has stayed in pretty frequent touch. However, we got back in late August and I think auditions were in… April?

TE: Something like that, I think. How long were you on tour?

BRB: Over two years. 800+ performances, 70+ cities. I’m very fortunate.

Amanda Jones

Amanda Jones

TE: That’s incredible. Let’s talk about Cymbeline. For both of you, what’s been your favorite thing about working on this play?

AJ: Can I say more than one thing?

TE: Sure, say anything

AJ: First, Imogen is a wonderful character. One of my professors in college just loved her, and he got me loving her, too. She’s been on my list since then. She’s such a badass, not passive, but funny and tough.

TE: Someone said this is your dream role, right?

AJ: It is. One of them, anyways. There’s a list, but it isn’t long. And second, working with Brian. And everyone else. Boomerang finds amazing people, so committed and dedicated and talented.

BRB: I discovered how satisfying it is to do Shakespeare outside. When you’re in a box, you fill the box as best you can, you hit the back wall, etc. When you’re outside, literally, the sky is the limit. When you look out, it’s into the horizon. When you look up, you look up into infinity and you can fill it with all you can muster. It’s limitless. Also, this is just a tremendous group. I’m very fortunate to be working with such talented generous people.

TE: Had either of you seen the show or worked on Cymbeline before this production?

AJ: I saw the Lincoln Center production with Martha Plimpton.

BRB: No- it’s so epic I always wondered how someone would pull it off. I had worked on a scene here and there, but I was always Pisanio or Iachimo.

TE: It’s a large play, to be sure, and I think that’s why it isn’t done as much and one of the reasons we are excited about doing it.

BRB: Except for this year! its crazy– Cymbeline is everywhere!

AJ: I know. I’m very glad we’re not overlapping with a certain other production, to escape any comparisons to a certain other Imogen.

BRB: I agree. This one is solely ours.

TE: We’ll fare just fine in any comparison.

AJ:I believe it.

Brian Robert Burns

Brian Robert Burns

TE: In the play, you two play lovers who are separated right away. How do you approach playing a relationship that’s fully in motion right from the start? Rather than playing people who meet and fall, which has already happened for your characters when we meet them in the first scene.

AJ:It’s crazy right? We have like ten lines to establish a relationship. And less than that to reconcile at the end.

BRB:In a way it’s nice to not have to show how we are with each other. And with Amanda it’s so easy.

AJ: The feeling is mutual. I think the chemistry we have certainly helps. And we were able to establish some back story during table work.

BRB: At that point when we first see them, love is easy and exciting. I feel the nature of their relationship in this play, the passion etc, comes from our behavior when we’re away from each other. That can be just as telling about the relationship as it is about the individual. How you represent your relationship to others when your partner isn’t around is quite revealing. Imogen makes Posthumus better than he is. And we see that by the way he bumbles around without her, creating fires.

AJ: I think the thing I loved discovering most – because lots of people said things like, “Why does Imogen stay with that jerk?” – is that Imogen is as quick to believe that Posthumus has betrayed her with another woman when it comes up. She gets past it more quickly, but she also has Pisanio backing her up.

BRB: Yes- proximity is, in itself, a form of security. And they’ve never been away from each other! It’s terrifying!

AJ: Right! I think there are a few examples of couples in Shakespeare who think they are Epic and Their Love Is Like No Other (as all young lovers do). And it’s wonderfully dramatic (and funny) to see them thrown off balance when they realize things are more complicated than that.

Amanda Jones as Imogen in a scene from CYMBELINE

Amanda Jones as Imogen in a scene from CYMBELINE

TE: In addition to being separated right away, you both have a lot of singing and dancing to do in the show.

BRB: And, for my part, falling apparently!

AJ: Yes! So fun!

TE: Had either of you sung or danced much in previous shows?

AJ:A bit. I did more musicals in high school and college, but I’ve always loved to dance.

TE: Brian how about you? You also have a lot of guitar playing in the show.

BRB: Not so much. There was only one show that i can think of. Similar to this one, it incorporated a lot of music, dance, and fight choreography. A lot of dance, a lot of capoeira. It was pretty cool. I enjoy it, but I rarely get the opportunity to do it. There was some community singing in War Horse too, but not any dancing. I don’t really think I’ve played guitar in a show before… this might be the first! And, man playing in a fifteen person band in public is awesome!!!

AJ: I’m so in awe of the multiple-threats in this show. Cailin really makes the most of everything everyone can do.

BRB: The amount of talent is staggering.

TE: She loves the triple threats, that’s for sure

BRB: The way Michael (Russink) and Roger (Lipson) and Hannah (Hartmann) make their transitions so seamlessly and effortlessly is incredible.

AJ: Seriously.

Brian Robert Burns as Posthumus in a scene from CYMBELINE

Brian Robert Burns as Posthumus in a scene from CYMBELINE

TE: Alright, last question….When you aren’t performing in Cymbeline, what are some of your favorite summertime NYC activities?

AJ: Midsummer Night’s Swing at Lincoln Center: So sweaty, so worth it. Movies, to cool off. Getting an ice cream and walk all the way east or west to the riverside in the evening to catch a breeze.

BRB: I live right by Astoria Park, so on the sunny days, I’ll head there and read and get some sun. Being from California, the sun and water are rejuvenating to me, and the park affords me both. I also write and record my own music and train in Mixed Martial Arts at Tiger Schulmanns. But eating ice cream is the best. Amanda, looks like we need to get ice cream…

TE: I had no idea you trained MMA, Brian. That’s incredible.

AJ: He told me I have “heavy hands” (Edit: an MMA term to describe someone who punches very hard) when we were learning our fights. I was so proud!

BRB: Better to hang on to you with, lady!  I’ve been a fight sports fan all my life and finally this year I decided to fit a mouth piece and get after it. I love it.

TE: Have you had any bouts?

BRB: Actually, I’m just starting to learn. Building a foundation. I think by the end of the year, I’ll enter an in-house tournament. But right now, I’m just learning basics and technique. Hitting pads and such. Plus, my mother would kill me if I ever actually fought!

AJ: Poor mom.

Cymbeline runs July 11th, 12th, 18th and 19th at 2pm in Central Park (enter at 72nd and Central Park West) Additional details can be found here. Cymbeline is free, no tickets or reservations are required.


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