THE STORY OF FINDING THE MICHAELS
When I stepped onto the F train Tuesday morning, September 11th, 2001, I was ready—ready to be back in New York after a three-month hiatus in North Hamptom with my mid-life crisis fling, ready to get back to teaching my arts-based conflict-resolution workshops to my students in the South Bronx, ready to finish writing my novel.  But as you might have guessed, when I stepped out of the subway and onto the sidewalk in downtown Manhattan, my morning, and perhaps the rest of my life, didn’t go as planned.  Why that burning plane in the first tower made me think of my missing Father, Michael, isn’t clear, but what is clear is that witnessing the 9/11 tragedy sent me on an extraordinary quest to understand the gaping holes in my family history, and propelling me on an unexpected path towards connection, hope, and healing.  Finding the Michaels is the story of that quest.


DEVELOPMENT
Finding the Michaels has had a fervent momentum behind it ever since I first performed it in June 2011 for a small invited audience in Oakland, California, as the final project of a self – revelatory theater workshop.  It was so well received by the audience and workshop leaders that I was encouraged to submit it to The Marsh in San Francisco, which is a premier venue for solo work in California.  That one submission lead to Finding the Michaels being produced in December of 2011 as part of The Marsh’s Rising Series. Mary Alice Fry, the Artistic Director of Shotwell Studios, saw that one-night-only performance, and subsequently chose to produce of Finding the Michaels during the first two weeks of March. With each new production, my director, Jennifer Stuckert, and I have not only further developed the script, and deepened the quality and texture of my performance, but with each production we’ve added to and built a strong creative team. Now Finding the Michaels is better than ever, and in it’s final form and ready for bookings across the country.

TECHNICAL REQUIREMENTS
Finding the Michaels is low- tech and easy to produce.  Our sound design created by Patrick Musni, a fabulous IATSE theater technician, successfully sets the stage as we move from scene to scene.  So, our “set” consists of five chairs, a shoulder bag full of props and an easily installable drop box.