{"id":376845,"date":"2025-09-18T22:01:34","date_gmt":"2025-09-18T22:01:34","guid":{"rendered":"https:\/\/dctarts.wpenginepowered.com\/2025\/09\/18\/steven-carpenter-on-rehearsing-the-u-s-premiere-of-the-one-good-thing-at-washington-stage-guild\/"},"modified":"2025-09-24T10:10:56","modified_gmt":"2025-09-24T10:10:56","slug":"steven-carpenter-on-rehearsing-the-u-s-premiere-of-the-one-good-thing-at-washington-stage-guild","status":"publish","type":"post","link":"https:\/\/dctheaterarts.org\/2025\/09\/18\/steven-carpenter-on-rehearsing-the-u-s-premiere-of-the-one-good-thing-at-washington-stage-guild\/","title":{"rendered":"Steven Carpenter on rehearsing the U.S. premiere of \u2018The One Good Thing\u2019 at Washington Stage Guild"},"content":{"rendered":"\n

\u201cDo you know that I\u2019m dead?\u201d<\/em> Those words, inscrutable as they are, mark the very beginning of The One Good Thing, <\/em>a new play by Joe Bravaco that is now in rehearsals for its U.S. premiere at Washington Stage Guild.<\/p>\n\n\n\n

The question, addressed by one brother to the other as they stand outside a cottage on the coast of Ireland, is left hanging, though it provides the hook for all that comes after.<\/p>\n\n\n\n

The twists and turns that follow that revelation were described by the British Theatre Guide<\/em> as \u201cunexpected, compelling and dramatically satisfying.\u201d The review appeared after the play\u2019s official opening, in April, in a part of Yorkshire where sheep, statistically, outnumber people, though people, happily, prefer plays.<\/p>\n\n\n

\n
\"\"
Steven Carpenter<\/figcaption><\/figure><\/div>\n\n\n

\u201cBut why is it set in Ireland?\u201d<\/em> I asked the director, Steven Carpenter, as we sat down for a lively video interview last week during a break in rehearsals.<\/p>\n\n\n\n

The answer, Carpenter replied, is that the playwright, Joe Bravaco, conceived it as Irish.<\/p>\n\n\n\n

\u201cAccording to Joe,\u201d he explained, \u201cthe genesis of the play was the song \u2018I\u2019ll Be Singing,\u2019 which was written for the film adaptation of John Patrick Shanley\u2019s Outside Mullingar<\/em>. The song, echoed in this production, gave rise to the story.\u201d<\/p>\n\n\n\n

Bravaco, who lives in New Jersey, is both a playwright and a librettist. He started out as a high school English teacher who taught journalism and drama.<\/p>\n\n\n\n

\u201cThe play,\u201d Carpenter continued, \u201cis full of magical ideas, endemic to the Irish. The way the brothers speak, for example, is similar to the work of Conor MacPherson or Brian Friel.\u201d<\/p>\n\n\n\n

Carpenter, who admits to \u201ca little bit of Irish blood, far back in the family,\u201d described the relationship between the brothers as one without great animosity.<\/p>\n\n\n\n

\u201cThey do a fair amount of verbal sparring \u2014 what the Irish might call \u2018takin\u2019 the piss\u2019 \u2014 <\/em>but it\u2019s mostly in fun, and is just one way they express their love for each other.\u201d<\/p>\n\n\n\n

There are many surprises in the play, which \u2014 as Carpenter warned me \u2014 cannot be revealed in this article. Audiences will have to watch the story unfold and wait till the end for answers. (One such mystery, a tantalizing clue, is the meaning of the play\u2019s subtitle, which is or “Are Ya’ Patrick Swayze?”<\/em>)<\/p>\n\n\n\n

<\/p>\n\n\n\n

When he first read the play, Carpenter \u2014 who wears many hats at WSG, including that of associate artistic director \u2014 knew immediately that it was a winner.<\/p>\n\n\n\n

\u201cI was halfway through the first act when I knew that this was a Stage Guild play,\u201d he said. \u201cOur niche, <\/em>as it were, is plays about ideas, plays in which the argument<\/em> is the action.<\/p>\n\n\n\n

\u201cIn fact, we like to say that words are the \u2018special effects\u2019 of our plays,\u201d he laughed.<\/p>\n\n\n\n

Carpenter is both an actor and director, though he thinks of himself primarily as a director-style<\/em> actor. \u201cWhen I\u2019m acting, I think about the totality of the parts, as well as the effect on the audience, both of which are directorial traits.<\/p>\n\n\n\n

\u201cAs a director,\u201d he continued, \u201cI find that the biggest challenge is communication. In a cast of six actors, I might need to find five or six different ways to speak to the actors and see which approach works best for each of them. With two actors, the job is easier.\u201d<\/p>\n\n\n\n

The two actors in The One Good Thing<\/em> \u2014 Ryan Neely and Chris Stinson \u2014 are familiar faces in the theater world, with lengthy r\u00e9sum\u00e9s listing stage and screen credits.<\/p>\n\n\n\n

\u201cBoth are smart, intuitive actors who bring a lot of their own ideas to the table,\u201d Carpenter wrote in one of our many follow-up emails. \u201cThey\u2019ve made rehearsals stimulating and fun.\u201d<\/p>\n\n\n\n

<\/p>\n\n\n

\n
\"\"
Ryan Michael Neely playing Jamie (in short-sleeved shirt) and Chris Stinson playing Tommy (in long-sleeved dark shirt) in rehearsal for \u2018The One Good Thing.\u2019 Photos courtesy of Washington Stage Guild.<\/figcaption><\/figure><\/div>\n\n\n

Turning to his early life, Carpenter fell in love with theater as a student at the University of Michigan\u2019s Flint campus. \u201cThey had a great theater department at the time,\u201d he said, and that steered him to graduate school at the University of South Carolina.<\/p>\n\n\n\n

Grad school included an internship at the Shakespeare Theatre Company, here in DC, where he worked as an extra in a season\u2019s worth of plays.<\/p>\n\n\n\n

\u201cIn nine months, I had about four lines,\u201d he quipped.<\/p>\n\n\n\n

\u201cBut the real education was being able to work with company members, such as Ted van Griethuysen, Floyd King, Ed Gero, and others. That was invaluable.\u201d<\/p>\n\n\n\n

He decided to remain in Washington, where, for several years, he worked as a freelance actor \u2014 performing many roles at WSG along with other DC theaters \u2014 before joining the company as one of its full-time managing directors when executive director Ann Norton stepped down.<\/p>\n\n\n\n

Today, Carpenter is one of the four actor-directors who manage the company. The others, all co-founders, are Laura Giannarelli, Bill Largess, and Lynn Steinmetz.<\/p>\n\n\n\n

\u201cWe\u2019re like a family, and we all wear lots of hats,\u201d Carpenter said, pointing out that, apart from his official title, he is also the casting director, the production manager, and \u2014 in one of his most memorable (and Helen Hayes\u2013nominated) performances \u2014 a sound effects creator in It\u2019s a Wonderful Life: A Live Radio Play<\/em>.<\/a><\/p>\n\n\n\n

The company, which was formed in 1986 by a group of theater professionals \u2014 most of them classmates at Catholic University \u2014 still embraces an air of collegiate idealism that is hard to find in today\u2019s largely commercial world.<\/p>\n\n\n\n

<\/p>\n\n\n\n

The One Good Thing<\/em> marks the beginning of Washington Stage Guild\u2019s 40th-anniversary season, which combines the classics with a few contemporary plays. Highlights include Samuel Beckett\u2019s Happy Days<\/em>, George Bernard Shaw\u2019s Caesar and Cleopatra,<\/em> and Patricia Milton\u2019s Accused<\/em>.<\/p>\n\n\n\n

\u201cOur motto is that we\u2019re one of the oldest theaters in America that most people don\u2019t know about,\u201d Carpenter said, adding that the company has flown under the radar for years.<\/p>\n\n\n\n

\u201cWe try to stay relevant, and we\u2019re even occasionally edgy. But the bottom line is that we\u2019re a theater that\u2019s based on words.\u201d<\/p>\n\n\n\n

On a personal note, Carpenter met his wife, Lauren Hyland, when both were working on a play in which he was the director and she was the assistant director. They have one son, a teenager who\u2019s into athletics and who is currently not the least bit interested in theater.<\/p>\n\n\n\n

<\/p>\n\n\n\n

One of the attractions of DC, when Carpenter first arrived in the mid-\u201990s, was that it had already developed a strong theater community.<\/p>\n\n\n\n

That sense of community survives, though it\u2019s open to visitors. \u201cWe welcome actors from outside, we embrace them as part of our DC family, and we enjoy seeing them again when they return,\u201d he explained.<\/p>\n\n\n\n

\u201cBut DC theater is special. To begin with, it has the smartest audience you\u2019ll ever come upon. It\u2019s an audience that\u2019s highly intelligent, savvy, discerning, and loyal. It\u2019s metropolitan in feel, but local in size.<\/p>\n\n\n\n

\u201cI don\u2019t think you get audiences like that in New York,\u201d he concluded. \u201cNew York audiences include a lot of tourists. We don\u2019t. In fact, we know many of our audience members personally. We often hang out in the lobby and talk to them after the shows.\u201d<\/p>\n\n\n\n

<\/p>\n\n\n\n

Like most of us, Carpenter is worried about the decline in government funding. However, he\u2019s hopeful about private support.<\/p>\n\n\n\n

\u201cWe\u2019ve seen an increase in individual donations ever since the pandemic. And that,\u201d he grinned, \u201cis very encouraging!\u201d<\/p>\n\n\n\n

Running Time: Approximately 90 minutes, including one 10-minute intermission. <\/p>\n\n\n\n

The One Good Thing \u2013 or \u201cAre Ya\u2019 Patrick Swayze?\u201d<\/em><\/strong><\/a> <\/a>opens in previews on September 25 and runs through October 19, 2025, presented by Washington Stage Guild<\/a>, performing at The Undercroft Theatre at Mount Vernon Place United Methodist Church, 900 Massachusetts Avenue NW, Washington, DC. All tickets are general admission and $60. Students and groups of 10 or more pay $30 each, and seniors pay $50. To purchase tickets, click online.<\/strong><\/a><\/a><\/p>\n\n\n\n

Post-show discussions: <\/strong>September 27 and October 18, both following the Saturday matinee performance.<\/p>\n\n\n\n

COVID Safety:<\/strong> Masks are recommended (not required). Washington Stage Guild\u2019s complete Health and Safety Policy is here.<\/a><\/p>\n\n\n\n

The One Good Thing \u2013 or \u201cAre Ya\u2019 Patrick Swayze?\u201d<\/em><\/strong>
By Joe Bravaco<\/p>\n\n\n\n

CAST
Jamie: Ryan Michael Neely
Tommy: Chris Stinson <\/p>\n\n\n\n

CREATIVE TEAM
Director: Steven Carpenter
Scenic Design: Brandon Roak 
Resident Lighting Design: Marianne Meadows 
Costume Design: Lily Komorow 
Sound Design: David Bryan Jackson 
Dramaturg: Bill Largess
Production Stage Manager: David Elias
Assistant Stage Manage: <\/strong>Luca Maggs <\/p>\n\n\n\n

SEE ALSO: <\/strong>
Washington Stage Guild announces 2025\/26 season<\/a><\/strong> (news story, April 22, 2025)<\/p>\n","protected":false},"excerpt":{"rendered":"

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