My final year as a part of Dreamwell Theatre, the company I founded along with my wife and two friends back in 1997, is over. What a fantastic 20 years it has been. I helped produce so many incredible shows, met so many good friends, and maybe made a few people think along the way. Not bad.

But I definitely need to exit stage left. My goal was always to create a theatre that lived beyond me. To that end, I promoted inclusivity from the start. The people making the decisions had to know that it was their theatre, too, and not just mine. That is my proudest achievement. To know that Dreamwell matters as much to so many other people as it does to me means we created something special and lasting. I want to see it grow without me. I know it will and I’m excited to watch it happen from the audience.

Sharon and I were awarded the first ever Founders Award for our dedication to the theatre at the Dreamwell Night of Stars, the annual awards celebration. It’s a sextant, which has been the symbol of Dreamwell, a theatre of exploration, for many years. To say it is my favorite gift ever is probably not much of an exaggeration.

As you might expect, I prepared a farewell speech. Sharon just spoke from her heart. You can watch the speech here:

If you want to skip all the thank yous and jump to my final message to the theatre, you can skip to 7:22 on the video. I sincerely hope that the board of Dreamwell takes my words to heart and seeks a new path forward. We must always be exploring, searching for new paths, and seeking new truths. I know the folks who remain behind will always put everything they have into Dreamwell. They always have and for that I am eternally grateful.

Here are my top eight Dreamwell show memories:

1. Of Mice and Men – The show that really started it all. I played George, one of the more emotionally draining roles I’ve ever done. Sharon directed it. We had a lot of technical challenges, most notably when the door to the barn fell off its hinges because one of the actors could never remember to pull instead of push it open. The actor playing the boss memorably showed up on stage, grabbed the door and said “Quit breaking the place, you guys!” We had a long way to go, but even in that first show, the acting showed through. Neal Leaheey played Lennie and his was a heartbreaking performance.
2. Someone Who’ll Watch Over Me – This story of three hostages in a foreign country was one of my tougher acting challenges. Fortunately I had an excellent director, Gerry Roe, and two fine actors, Matt Brewbaker and Thomas Williams, to work with. I had to perfect my Irish accent for the role, and I’m sure my ancestors appreciated my work in that area. My character is really the only one of the three who completely breaks down so once again, it was an emotionally draining, but incredibly rewarding role.
3. That Day in September – I directed this one in 2007. It was written by Artie VanWhy who survived the 9/11 attack on the World Trade Center. Originally a one-man show, I transformed the script (with Artie’s blessing) into an ensemble piece for eight actors. Each played an archetype of our society. Still very proud of what we accomplished. I think it’s one that Dreamwell ought to bring back for the 20th anniversary of 9/11.
4. All in a Day Play Festivals – These festivals (which we did with City Circle) are some of my favorite theatre events of all time. I usually write for them, though I did direct the first year. Forty or so theatre people created 6 or 7 ten minute plays in 24 hours. Such creativity and spontaneity. I won Best Play two years in a row for my writing. Dreamwell and City Circle has let this event slide the last couple of years, which is too bad. It’s so much fun.
5. Soldier’s Daughter – Soldier’s Daughter was written mostly by me in collaboration with the Doggers playwriting group and performed promenade style at Janet Schlapkohl’s farm just outside of Iowa City. Promenade style means the audience moves from one location to another as the play progresses. I will never forget the scene where Eros is chased by Psyche down this long green hill. They begin as specks in the distance and then grow larger as they race down the hill. It’s an effect that could never be created on stage. Amy White’s Moose story was particularly memorable. Such a wonderful, unique and collaborative event.
6. Fictional Murders – I directed this original play by Mike Moran, known as the Goatsinger. The reviewer was very kind: “Fictional Murders has a great plot, but the subject matter makes it difficult to portray without some innovative directing. This is where director Matt Falduto comes in. By placing the action on a traverse stage, so that two sets of audience chairs directly face each other with the action in the middle, Falduto creates a very intimate and very dynamic space to work in … The direction is done with care and the actors are very tuned in to each other; the effect is that we see the layers of fantasy and reality all onstage at the same time.” I am very proud of my work and appreciated how Dreamwell’s limited resources lead to more creativity in the direction of the show.
7. Death of a Salesman – I played Biff, though I was too old and not much of a football player. In fact, I didn’t really even audition for it at first, but we didn’t get a great turnout, so the director, David Pierce, asked me to consider reading for it. I am so glad he did and so humbled that he trusted me with the role. I worked with incredible actors on this show – most notably Rip Russell and Krista Neumann as Willy and Linda Loman. If I never act again, and I may not, this was a great way to end my acting career.
8. Antigone – I produced this one along with my good friend Chuck Dufano. Dreamwell took Mac Wellman’s version of Antigone and gave it to three directors to each create a half hour version of the show. The result was mesmerizing. Each version was totally unique and interesting – one was more comedic, one was more dramatic, and the last one was in your face confrontational. This is the sort of theatre Dreamwell needs to do more of as they plot a new course of exploration.

Dreamwell has done many great shows over the years – these are just some personal highlights for me.

Oftentimes people ask me – Where did the name Dreamwell come from? The story is simple. My very good friend, who I met when we were 11 or so, never says goodbye. He says dream well. And that sounded like a good name for a theatre company to me. Wishing someone good dreams is a beautiful sentiment, but to me it’s evolved into more than that – it means always searching for more, dreaming big, never giving up.

So what’s next? I will continue to work with Young Footliters, helping to train and inspire the next generation of actors. The truth is, those young actors inspire me all the time. I’ve loved the directing I’ve gotten to do the last few years and hope to continue to do it for many years to come.

I have written three plays for children now – Ozma of Oz, Guinevere and Arthur and Kazoo (premiering this fall at the Coralville Center for the Performing Arts). I’d like to see them all get a second production, so that will be a focus of mine as well.

Thanks to everyone who has ever supported Dreamwell Theatre over the years. May you all dream well.