BLOODY BALLAD OF BETTE DAVIS
A new Horror Musical by John P. McEneny and Rob Parker
BLOODY BALLAD OF BETTE DAVIS will perform at C Aurora Studio at Lauriston Halls & Sacred Heart Church, 28 Lauriston St, Edinburgh EH3 9DJ, UK. 18:40
18 Performances are scheduled from July 31 to August 18. 18:40 £ 13.00
Director’s Notes for The Bloody Ballad of Bette Davis
On November 25, 1979, the first television showing of Burnt Offerings aired on The CBS Late Movie. In an unexpected decision, my parents deemed this supernatural thriller suitable for family movie night, including their 9-year-old son and 7-year-old daughter. The film's haunting narrative features Karen Black and Oliver Reed as troubled parents, with memorable, crackling cameo performances by Burgess Meredith, Bette Davis, and Eileen Heckart. The chilling story includes a father nearly drowning his son, a falling chimney that kills a child, and a ghostly chauffeur with a deadly grin. This experience resulted in many sleepless nights for us and for my poor parents, as we huddled in their bed, between them under the afghan, for weeks.
Despite the immediate terror it instilled, Burnt Offerings left a lasting impression. My sister Rachel and I can still nod to each other over the terror of the chauffeur’s dangerous smile. Over the years, I grew to appreciate its dreamlike pacing, Oliver Reed’s paranoid, sweaty performance, Bette Davis’s grotesque suffering, and the earnestness that has since tipped into camp. It is also the first film I saw where a child was killed, making it feel so much more dangerous. These images matter to me.
Fast-forward to 2023. I found myself at a crossroads. After 24 years of directing countless plays and creating meaningful experiences for children, I lost a long-held teaching position due to ageism. I grappled with the transitory nature of my past work. What lasts? Why does it matter? This introspection led me back to my childhood nightmares.
The actors in Burnt Offerings were not creating a magnum opus, but despite the film's lack of significant scholarly recognition, it resonated deeply with my sister and me. The work had lasting effects on us; those images and feelings mattered.
This realization sparked an idea: what if I could craft a musical about the making of this seemingly random horror film, exploring potential behind-the-scenes dynamics? With creative liberties, we imagined Bette Davis, outed as a witch by her daughter B.D. Hyman, wielding her supposed powers to overcome career stagnation and the oppression of the Hollywood machine. Unlike the real Bette Davis, eager to move on to better projects (Escape from Witch Mountain?), our fictional Davis will find meaning in her choices during this period.
With the help of my dear friend Rob Parker, we developed a story that addresses ageism, perseverance, and finding meaning in collaborative art-making. This play aims to reflect on the value of experiences and their lasting impact, no matter how fleeting.
John P. McEneny / July 5, 2024
Composer Notes
Growing up in England through the 60’s and 70’s the world of Hollywood was the stuff of dreams and legends. In order to create the world of the show I couldn’t, as John had, rely on childhood memories for inspiration, rather I aimed to create a sonic world around the characters. A world that started from B D Hyman’s strange and improbable claims of witchcraft could not be entirely serious, and within the play, the music varies from comic to tragic as the story flows.
The greatest challenge as a songwriter (I write the lyrics as well as the music) was undoubtedly to mirror the changing moods within the script and find a balance between adding energy and adding thoughtfulness. Creating a sense of the depth of Bette’s passion for acting whilst not pretending she was showing overt sensitivity (not a trait she was known for) was interesting, as was writing a song for Oliver Reed that humanized him after his debauched drunken displays.
Music has a power over theatrical emotions and we have tried to create a balance within the piece that will take our audience on a varied journey back to the 1970s.
Rob Parker / July 6, 2024
The Film
Burnt Offerings is a 1976 horror film directed by Dan Curtis, renowned for his work in television horror and gothic dramas. Based on the 1973 novel by Robert Marasco, the screenplay was adapted by William F. Nolan and Dan Curtis, who also served as the film's producer. Filming took place in August 1975 at the historic Dunsmuir House in Oakland, California, which provided the eerie setting for the film's haunted house. With a budget of approximately $1 million, the film was shot over a tight schedule. The 1976 film Burnt Offerings grossed roughly $1.56 million at the box officeThe film opened in limited release on August 25, 1976, in Los Angeles and Buffalo, New York, and later premiered in New York City on September 29, 1976, before expanding further in October. Critics gave the film mixed reviews. Roger Ebert notably criticized it for its slow pace and lack of genuine scares, stating, "It is a film with great atmosphere but not much else," and adding, "The movie doesn't really go anywhere, and the payoff, when it finally arrives, is too little and too late." Despite Ebert's critique, he acknowledged the film's atmospheric tension, which has been a point of appreciation for many fans. The haunting score by Bob Cobert added to the film's eerie ambiance, complementing the strong performances by Karen Black, Oliver Reed, and Bette Davis. Over the years, Burnt Offerings has gained a cult following, appreciated for its atmospheric horror and the compelling dynamic among its lead actors.
When Bette met Karen Black
When Bette Davis worked with Karen Black in 1975 on Burnt Offerings, their differing acting styles and professional backgrounds likely caused some friction. Davis, a classic Hollywood studio system product, was known for her intense, theatrical performances and meticulous preparation. She embodied the disciplined, highly structured environment of the 1940s Warner Bros. era, where professionalism and control were paramount. In contrast, Black rose to prominence in the late 1960s and 1970s, a period marked by New Hollywood and independent filmmaking that celebrated naturalistic, improvisational acting. Her raw, quirky energy and method-inspired approach often embraced offbeat, complex characters. The generational gap between the two actresses further highlighted their different attitudes towards acting and the film industry. Davis's commanding presence and expectation of deference on set likely clashed with Black's more relaxed, countercultural demeanor. While both were considered unconventional beauties in their respective eras, Davis's portrayal of strong, independent women contrasted with Black's embrace of mysterious, fringe characters. This mix of old-school professionalism and modern spontaneity must have created an intriguing, if sometimes tense, dynamic on set.
California Witch Covens
The Bloody Ballad of Bette Davis unfolds in a world of magic and secret covens. During the 1970s, California became a hub for various witch cults and neo-pagan groups, mirroring the broader cultural shifts of the era. Influential groups such as the Church of Satan, founded by Anton LaVey in 1966, and the Covenant of the Goddess (CoG), established in 1975, thrived in the San Francisco Bay Area. The Feri Tradition, led by Victor and Cora Anderson, and the New Reformed Orthodox Order of the Golden Dawn (NROOGD), founded in the 1960s, gained prominence in the 1970s. Additionally, offshoots of the Hermetic Order of the Golden Dawn, established in England, influenced many California occultists. California's cultural and social environment, driven by the countercultural movement, feminism, environmentalism, and disillusionment with traditional institutions, created a fertile ground for the growth of neo-pagan and witchcraft communities. This setting, characterized by openness to new ideas and a quest for spiritual freedom, provided the ideal backdrop for Don and Bette's immersion in a secret underworld of magic that, in retrospect, appears less random and more a product of its time.
The People
Bette Davis (Aunt Elizabeth, Burnt Offerings)
Bette, one of Hollywood's most enduring icons, was born Ruth Elizabeth Davis on April 5, 1908, in Lowell, Massachusetts. With a career spanning over five decades, Davis was renowned for her intense, emotionally charged performances and commanding screen presence. She made her mark in films like Of Human Bondage (1934) and Dangerous (1935), the latter earning her the first of two Academy Awards. Her second Oscar came for her role in Jezebel (1938), further cementing her legacy.
Davis's personal life was as dramatic as her film roles. She was married four times: first to bandleader Harmon Oscar Nelson in 1932, a union that ended in 1938. Her second marriage to businessman Arthur Farnsworth in 1940 ended tragically with his sudden death in 1943. In 1945, she married artist William Grant Sherry, with whom she had her only biological child, a daughter named Barbara Davis Sherry (known as B.D.). This marriage ended in divorce in 1950. Her fourth and final marriage was to actor Gary Merrill in 1950, which lasted until 1960. During their marriage, they adopted two children, Margot and Michael.
Bette Davis's illustrious career spanned several decades, beginning in the 1930s and continuing to the late 1980s. Her work showcased a remarkable array of films highlighting her versatility and enduring impact on Hollywood. In the 1930s, Davis starred in numerous significant films, including The Petrified Forest (1936), Jezebel (1938), which earned her an Academy Award, Dark Victory (1939), The Private Lives of Elizabeth and Essex (1939), and Kid Galahad (1937). These early roles established her as a powerful presence on screen and set the stage for her later successes.
Moving into the 1940s, Davis continued her streak with acclaimed performances in The Letter (1940), The Great Lie (1941), The Little Foxes (1941), In This Our Life (1942), Now, Voyager (1942), Watch on the Rhine (1943), Old Acquaintance (1943), Mr. Skeffington (1944), The Corn Is Green (1945), A Stolen Life (1946), and Deception (1946). These films solidified her reputation as one of Hollywood's leading actresses.
The 1950s saw Davis deliver iconic performances in All About Eve (1950), for which she received widespread acclaim. Other notable films from this decade include Payment on Demand (1951), Another Man's Poison (1951), The Star (1952), Phone Call from a Stranger (1952), and The Catered Affair (1956).
In the 1960s, Davis's career flourished with roles in What Ever Happened to Baby Jane? (1962), Dead Ringer (1964), Hush...Hush, Sweet Charlotte (1964), The Nanny (1965), and The Anniversary (1968). During the 1970s, she captivated audiences with performances in Burnt Offerings (1976), Death on the Nile (1978), and the family adventure film Escape to Witch Mountain (1975). She worked alongside Gena Rowlands in Strangers: The Story of a Mother and Daughter (1979) and later with James Stewart in Right of Way (1983). Davis's career culminated with her poignant role in The Whales of August (1987) with Lillian Gish, solidifying her status as a true legend of the silver screen.
Despite facing numerous personal and professional challenges, Davis's resilience and passion for her craft never wavered. She remains a trailblazer in the film industry, inspiring countless actors and filmmakers with her legacy of strong, complex characters and unwavering dedication to her art.
1980 Sixty Minutes Interview: Bette Davis--60 Minutes Profile, Mike Wallace--1980 TV
Oliver Reed (Ben Rolf, Burnt Offerings)
Born Robert Oliver Reed on February 13, 1938, in Wimbledon, London, the English actor was a burly and oft-intoxicated figure who bore the scars of his tumultuous life. A barroom brawl in 1963 left him with a face stitched together, a testament to his rough-and-tumble existence. Yet, despite it all, he continued to grace the screen, embodying brutes, boxers, and musketeers. These men of hard lives spoke to audiences seeking authenticity in the late 1960s and early 1970s. He was no mere pretty boy, but his bloodshot blue eyes held a watery vulnerability and intensity that few women could resist, some even willing to overlook the sexist views he clung to. Shelley Winters, the fiery character actress, famously poured a drink over his head on Johnny Carson's show, her reaction to a particularly misogynistic anecdote. With his imposing physique, piercing gaze, and resonant voice, Reed became a fixture in British and international cinema, renowned for his intense and often unpredictable performances. Oliver Reed's early roles included minor parts in films and television, which helped him gradually build his career. Some of his notable early roles included small parts in The Captain's Table (1959), The League of Gentlemen (1960), and The Two Faces of Dr. Jekyll (1960), where he appeared as a bouncer. He also had a minor role in Sword of Sherwood Forest (1960), an adventure film featuring Robin Hood. Reed began to gain more significant roles in films such as The Curse of the Werewolf (1961), where he starred as Leon, a werewolf, marking one of his first significant roles in a Hammer Horror film. He continued to make his mark in Pirates of Blood River (1962) as Brocaire and in These Are the Damned (1962) as King, the leader of a gang. Oliver! (Directed by Oliver’s uncle) (1968), where his breakout role as the sinister Bill Sikes brought him critical acclaim, and Women in Love (1969), where his portrayal of the troubled Gerald Crich, directed by Ken Russell, was both haunting and powerful. In The Devils (1971), another collaboration with Ken Russell, Reed's performance as Urbain Grandier was daring and complex. He played Athos in the swashbuckling adventure The Three Musketeers (1973), a role he reprised in the sequel The Four Musketeers (1974). Reed's memorable role as Frank Hobbs in the rock opera Tommy (1975), directed by Ken Russell, added to his diverse filmography. He starred in the horror film Burnt Offerings (1976), showcasing his ability to handle suspenseful and eerie roles, and played Vulcan in Terry Gilliam's fantasy film The Adventures of Baron Munchausen (1988). Reed's performance as Jean La Bête, a trapper in the Canadian wilderness, in The Trap (1966), displayed his versatility, while his role as Dr. Hal Raglan in David Cronenberg's psychological horror film The Brood (1979) highlighted his talent for complex characters. In Castaway (1986), Reed portrayed Gerald Kingsland in the survival drama, which earned him recognition and demonstrated his enduring screen presence. Despite his professional triumphs, Reed's personal life was marked by controversy and excess. His love for the dramatic extended beyond his roles, as he became infamous for his wild lifestyle and legendary drinking bouts. Reed's off-screen antics were as storied as his acting career, often overshadowing his talent but never diminishing his on-screen magnetism. Reed married twice, first to Kate Byrne in 1959, with whom he had a son, Mark. Their marriage ended in divorce in 1969. In 1985, he married Josephine Burge, with whom he remained until his death. He also had a daughter, Sarah, from a relationship with dancer Jacquie Daryl. Reed found renewed success in his later years with roles in films such as The Adventures of Baron Munchausen (1988) and Gladiator (2000). Tragically, he passed away on May 2, 1999, while filming Gladiator, leaving the filmmakers to replace him with CGI technology. Oliver Reed's life and career exemplified classic film's bold spirit, marked by brilliance and a touch of the untamed. His grandfather, Sir Herbert Beerbohm Tree, founded RADA (the Royal Academy of Dramatic Art) in 1904 and played a significant role in the development of theatrical arts in Britain.
https://www.vanityfair.com/culture/2013/06/reed-all-about-it
Karen Black (Marion Rolf, Burnt Offerings)
Karen Black was a hippy chick who had taken mushrooms and filmed scenes from Easy Rider with Peter Fonda in New Orleans cemeteries. She found a moment in cinema history in the early seventies where her quirky face, crossed eyes, and pouting lips earned her leading roles in films by John Schlesinger, Alfred Hitchcock, Bob Rafelson, Robert Altman, and Francis Ford Coppola. It was an era, the early seventies, when the celluloid landscape yearned for genuine countenances, seeking refuge from the manufactured veneers of conventional beauty. Lily Tomlin, Shelley Duvall, Glenda Jackson, and Barbra Streisand all existed in a small window of time to challenge who was considered beautiful and, more importantly, watchable. And in that window was Karen Black, an eccentric bird who eagerly accepted the leading role of Marion Rolf, who became possessed by an evil house and watched her family being killed off one by one.
Karen Black, born Karen Blanche Ziegler on July 1, 1939, in Park Ridge, Illinois, was an actress of remarkable versatility and depth. With her distinctive voice and expressive eyes, Black brought a captivating and unconventional presence to mainstream and independent cinema, earning a reputation as one of the most intriguing performers of her generation. Black's breakthrough came with her role in Easy Rider (1969), where her portrayal of a free-spirited hitchhiker garnered critical acclaim. She solidified her status as a leading actress with her performance in Five Easy Pieces (1970), earning an Academy Award nomination for her role as Rayette Dipesto. Throughout the 1970s, Black continued to shine in films such as The Great Gatsby (1974), where she played Myrtle Wilson, and Nashville (1975), showcasing her ability to blend into eccentric characters seamlessly. Black also made significant contributions to television, most notably in the horror anthology Trilogy of Terror (1975), where her chilling performance in multiple roles, including an adulteress who is chased to her death by a Zuni fetish doll, left a lasting impression on a generation. Her other notable film roles include Night of the Locust (1974) and Airport 1975 (1974), further establishing her versatility across genres. In the 2000s, she revitalized her horror credentials by collaborating with director Rob Zombie in House of 1000 Corpses (2003), bringing her distinctive talent to a new generation of horror fans.
In her personal life, Karen Black experienced both triumphs and trials. She was married four times, first to Charles Black, from whom she took her professional name, and later to Robert Burton, L.M. Kit Carson, and Stephen Eckelberry. Black had two children: a son, Hunter Carson, and a daughter, Celine Eckelberry. Despite facing health challenges, including a battle with ampullary cancer, her passion for acting never waned. She continued working in film and theater until her passing on August 8, 2013. She captured the spirit of an era while transcending it, leaving a lasting impression on audiences and filmmakers alike.
https://www.rogerebert.com/features/karen-black-death-birth-obituary-appreciation
B.D. Hyman (Wicked Daughter of Bette Davis)
B.D. Hyman was born Barbara Davis Sherry on May 1, 1947, in Santa Ana, California, and was the daughter of Hollywood icon Bette Davis and artist William Grant Sherry. Her life, entangled with the allure and shadows of Hollywood (even appearing as the next-door neighbor in “Whatever Happened to Baby Jane,” is marked more by notoriety than by genuine achievement. Hyman grew up amidst the glitter of her mother’s stardom, a privileged upbringing that seemed to instill more entitlement than gratitude. At just 16 years old, she married Jeremy Hyman, a British film executive, perhaps seeking a way to carve out her identity while remaining tethered to the industry that defined her early life. In 1985, displaying a staggering lack of empathy, Hyman published her memoir, My Mother’s Keeper, a mere year after her mother suffered a debilitating stroke. The book accused Bette Davis, 41 years her senior, of being a monstrous figure, portraying their relationship in a lurid and unforgiving light. This act of betrayal was seen by many as a shameless attempt to profit from her mother’s misfortune, further fueled by Hyman’s later claims through her ministry that Davis was a witch capable of transforming into a demon. Hyman’s accusations and the venomous nature of her memoir created a permanent rift with her mother. In her final act of rebuke, Bette Davis left Hyman nothing in her will, a stark message that spoke volumes about their relationship. Instead, Davis bequeathed her estate to her adopted son Michael Merrill and assistant Kathryn Sermak, highlighting the extent of her estrangement from Hyman. Today, Hyman runs a ministry where she continues to spread her controversial and sensational claims. Her life, more a tale of bitterness and scandal than a personal triumph, is a cautionary story of how the pursuit of attention and grievance can overshadow the bonds of family and decency. https://bdhyman.com/
Margot Merrill (second daughter of Bette Davis)
Margot Merrill, born Margot Mosher Merrill on January 6, 1951, was adopted by legendary Hollywood actress Bette Davis and her then-husband, actor Gary Merrill. Margot's life, marked by quiet resilience, was shaped by significant developmental challenges. Diagnosed with brain damage at an early age, Margot required specialized care beyond what her famous parents could provide at home. Davis and Merrill made the difficult decision to place her in the Lochland School, a dedicated care facility in Geneva, New York. This institution provided the constant attention and medical support necessary for Margot's well-being. Despite the physical distance, Davis remained deeply involved in ensuring Margot received the best care possible, visiting her regularly and maintaining a strong connection. She resided at the Lochland School until her passing in 2022, leaving behind a legacy of resilience and the enduring love and care of her mother, Bette Davis. https://lochlandinc.org/
Dan Curtis (Director of Burnt Offerings)
Dan Curtis, born Daniel Mayer Cherkoss on August 12, 1927, in Bridgeport, Connecticut, was a visionary director and producer who left an indelible mark on the horror and gothic genres. Best known for his groundbreaking television series Dark Shadows (1966-1971), Curtis brought a unique blend of suspense, romance, and supernatural intrigue to the small screen, creating a cult classic that continues to captivate audiences. Curtis's career began in the 1950s with work in advertising and television production. However, Dark Shadows propelled him to fame, introducing iconic characters like Barnabas Collins, the tormented vampire. This gothic soap opera became a cultural phenomenon, spawning two feature films, House of Dark Shadows (1970) and Night of Dark Shadows (1971), both directed by Curtis. These films allowed Curtis to expand the eerie world he had created on television and further showcased his talent for atmospheric storytelling. The show was pivotal in the career of actor Kate Jackson.
Curtis's unique blend of horror and melodrama set his work apart in television history. He directed and produced The Night Stalker (1972), a made-for-TV movie that became a cult classic and led to the series Kolchak: The Night Stalker. Its success was followed by The Night Strangler (1973), a sequel that reinforced Curtis's ability to create compelling horror narratives for television. Curtis also brought classic literary works to the screen with adaptations like Dracula (1974), starring Jack Palance, and The Turn of the Screw (1974), based on Henry James's ghost story. Both projects were praised for their faithful yet innovative approaches to the source material. His anthology film Trilogy of Terror (1975), featuring Karen Black in three different roles, remains a standout for its chilling stories and memorable performances.
Our Fathers, directed by Dan Curtis, was a 2005 American drama TV film about the Catholic Church sexual abuse scandal. Based on David France's book, it starred Ted Danson, Christopher Plummer, Brian Dennehy, and Ellen Burstyn. The film highlighted the efforts to expose the abuse and the institutional cover-ups. It received critical acclaim for its powerful performances and was nominated for several awards, including the Primetime Emmy and Satellite Awards. It marked Curtis's final directorial work before his death.
Originally to be directed by Bob Fosse off his success with Cabaret, Curtis's only theatrical film, Burnt Offerings (1976), demonstrated his ability to create atmospheric and psychologically complex horror stories. Despite its modest financial performance, the film has since gained a cult following for its eerie ambiance and strong performances.
During filming, Dan Curtis’ daughter committed suicide, and production stopped for two weeks. https://www.findagrave.com/memorial/160594949/linda-meryl-curtis
He married Norma Mae Klein from 1952 until she died in 2006, and they had three daughters. Dan Curtis passed away on March 27, 2006, leaving behind a legacy of genre-defining works that continue to influence filmmakers and entertain audiences.
The chilling character of the chauffeur (played by the gaunt actor Anthony James) in Burnt Offerings was inspired by a personal childhood memory of director Dan Curtis at his mother’s funeral. Curtis had a recurring nightmare as a child involving a menacing chauffeur with a sinister grin, which he found terrifying. To bring an additional element of personal fear and horror to the story, Curtis incorporated this character into the film adaptation. This menacing chauffeur does not appear in Robert Marasco's original novel but was added by Curtis to enhance the psychological and visual impact of the film.
Merv Griffin (Host of The Merv Griffin Show), born July 6, 1925, in San Mateo, California, was a multi-talented American television host, entertainer, and media mogul. He began his career as a singer, achieving early success with the hit song, I've Got a Lovely Bunch of Coconuts. Transitioning to television, Griffin became a beloved talk show host with The Merv Griffin Show (1962 - 1986), which ran for over two decades. Known for his warm, engaging interviewing style, he created a relaxed atmosphere that drew candid and memorable moments from his guests. Merv is perhaps best known for creating iconic game shows like Jeopardy! and Wheel of Fortune, which have become staples of American television. He passed away on August 12, 2007.
Ted Bessell (One-time co-star of Bette Davis), born Howard Weston Bessell Jr. on March 20, 1935, in Flushing, New York, was an actor best known for his work on television during the 1960s and 1970s. His big break came in 1966 when he was cast as Donald Hollinger, the devoted boyfriend of Marlo Thomas's character, Ann Marie, on the hit sitcom That Girl. The show ran until 1971. Following the success of That Girl, Bessell continued to work steadily in television. He starred in the short-lived sitcom Me and the Chimp in 1972. He attempted to expand his dramatic range in 1973 by starring in the made-for-television horror film Scream Pretty Peggy, where he played opposite the legendary Bette Davis. Ted Bessell passed away on October 6, 1996, at 61. He was a terrible actor.
COMPANY BIOS
John P. McEneny (Artistic Director) He is the author of Mayla the Monkey Girl (published by Playscripts Inc.), Very Bad Girl Scouts, Two Houses, Grippe of October (YouthPLAYS), Cold April (Best Play Anthology 2008 Strawberry Fest), Seven monologues from The Lincoln Dress published in Applause’s 2020 Best Men’s Monologues, Smith and Krause’s 2020 Best Men’s Monologues / 2020 Best Women’s Monologues. Aposiopesis (Smith & Krause’s 2013 Best Ten Minute Plays, 2013 Best Men’s Monologues, 2014 Best Women’s Monologues; Best Audition Monologues for Young Men 2016, edited by Gerald Lee Ratliff and Patrick Rainville Dorn.) Pollywog was published in NYU Steinhardt’s New Plays for Young Audiences 25 Years Anthology in 2024. John’s 2013 adaption of Island of Doctor Moreau performed at 59E59 and Edinburgh Fringe Festival (won Broadway Baby's Bobby award.) Adaptation of Maupaussant’s Mother Sauvage toured to the University of Malta in Feb 2023. Also: The Puppet Children, Two Houses Midnight Circus, Hydra (with Rachel Rear), Frankenstein, Maddie Splinter and the Aluminum Chair Rocket Ship, Hamelin, Wendy Darling, Boy in the Iron Mask, Splitfoot (w/ Vasile Flutur) performed in Edinburgh, The Lincoln Dress performed at Siena College, and Un Teatru in Bucharest, His adaptation of Mother Sauvage toured to Malta in 2023. He wrote the books for Gulch, Billy Ragamatag, Alice in Chaos, Yarn Barn, and We Got Beth! Gorbal Wood (all music and lyrics by Rob Parker). MA Theater in Education, Steinhardt School at New York University. MA Creative Writing, Edinburgh Napier University.
Rob Parker (Composer) is a musical composer, drama, and music educator who resides in Bedfordshire, England. He has worked at the Roxburgh Hall at Stowe and the Gordonstoun School in Moray, Scotland. For Piper, he has scored The Nocturnes, Clockwork Unwound, Paint it Black, Tragedy of Lear, Billy Ragamatag, Yarn Barn, Alice in Chaos, and We Got Beth. (BA) Hertfordshire, (MA) Middlesex.
Annie Meek Montgomery (Actor) is a frequent collaborator and actor for Piper Theatre Productions. She has played the title role of Mother Sauvage, which performed at MCAST Theatre in Malta and at the Gallery Players Theatre in Brooklyn, Edith in The Lincoln Dress, which played at Un Teatru and Teatru Municipal Matei Visniec in Romania, and Siena College (NY), and Leah in Splitfoot at the Edinburgh International Theatre Festival. She was Ilga in the one-woman show Walking Toward America at the United Solo Festival (NYC) and the Springfield Contemporary Theater (MO). Other past productions include The off-Broadway production of That Ilk (Lisa) at the Hudson Guild Theatre, Anne from Man and Superman and Harper from Angels in America (Hangar Theatre), Grusha from The Caucasian Chalk Circle (Provincetown Theater, NYC), Raina from Arms and the Man (George Street Playhouse), All American Boys (The Green Space, WNYC) and the Christmas Carol (Wayside Theatre). She wrote, devised, directed, and acted collaboratively in The Red Dress, produced at University Settlement and the San Clemente Soto Velez Cultural and Educational Center (NYC). Her first short film, which she wrote and starred in, was Zoom with Me, which was accepted into 20+ international film festivals and won several awards. For more info: anniemeekmontgomery.com
Aaron Novak (Actor): An integrative artist based in Brooklyn, NY, Aaron incorporates his creative passion into Acting, Directing, Producing, Educating, and Designing. He is happily returning to the Edinburgh Fringe Festival for the 3rd time in 2024 and was previously a Co-Winner of a Bobby Award for The Island of Doctor Moreau in 2013. Aaron has collaborated with Piper Theatre in plays such as Hamlet, Splitfoot, The Lincoln Dress, and Frankenstein and helped bring productions to Scotland, Romania, and Malta. He executive produced the Television Pilot Starting Out, which won Best Pilot at the 2016 LA Comedy Festival. With a B.A. in Theatre Arts from Bloomsburg University, he has trained Actors for Medical Education at Mount Sinai, Cornell, Rutgers, and Columbia University since 2014.
Connor Delves (Actor) is an Australian-born, New York-based actor, singer, producer, and director who has worked in the US, UK & Australia—currently, Pinball: The Man Who Saved the Game with Mike Faist (Hulu). Connor starred as Mercutio in the UK premiere of Starcrossed at Wilton's Music Hall, London, for which he earned Offie and BroadwayWorld Nominations. Critical praise for his performance includes: "Connor Delves is truly fabulous...his speech at the top of act two is a masterpiece" - WhatsOnStage. Delves' electric performance" - Theatre and Other Things London. "Delves' energetic and deliciously posturing Mercutio is a thrill to watch as he minces about the stage" - London Life. "This year's discovery of blazing talent is, hands down, Connor Delves" - Curtain UP. Select Off-Broadway: Daniel's Husband (Westside), Endangered: The Musical (Davenport), Holy Day (New Ohio) & Precious Little Talent (West End Theatre). Up next, he leads The Weight of Home, an Australian film from Rookeward Cohen Productions. He is a proud graduate of The American Academy of Dramatic Arts (NY) and was a member of the 2017 NY Academy Company. He is represented in the U.S. by TalentINK Management & Metropolis Artist Agency and TTA in the UK. Connor is a Founding Co-Artistic Director & Executive Producer of The Australian Theatre Festival NYC. @connordelves, connordelves.com
Laura Dillman Frank (Actor) previously participated in the Drama Desk-nominated vaudeville Revue Exit Stage Left. She was a multi-character voice artist in Tom Tomorrow’s This Modern World web series. She’s done a few Fringe shows, been a member of various improv teams, and even dabbled in Shakespeare. She took a few years off to attempt her most rewarding role yet: motherhood. She keeps busy as an educator with Piper Theater Productions, teaching 7-9-year-olds improv and voice work while building plays from scratch. You can also catch her scratching her washboard and belting her soul out with her jug band, The Salt Cracker Crazies, at various venues across New York City. saltcrackercrazies.com
Eva Sheehy-Moss (Actor) is a rising junior at the Boston University School of Theatre. She has worked with Piper since she was ten years old. She has taken leading roles in mainstage productions of Wendy Darling and Priscilla Queen of Desert and directed a youth production of Newsies