A Conversation With Director Gary Lamb, “Serendipitous” (Podcast), Open-Door Playhouse, by James Scarborough.

“Serendipitous,” directed by Gary Lamb, examines the shared experiences of LGBTQ individuals. Set in the confined space of a malfunctioning elevator, the play brings together a septuagenarian gay man and a young gay man, whose lives intersect in a moment of unexpected intimacy. The minimalistic setting serves as a crucible for the characters’ stories, revealing layers of vulnerability and strength. Lamb’s direction balances the touching and the comedic, allowing the natural chemistry between Franco Machado and Daamen Krall to flourish. Lawson Caldwell’s script shows both the resilience of the LGBTQ community and the generational differences that shape their experiences.

Lamb’s handling of the material underscores the importance of storytelling in bridging gaps and fostering empathy. The play’s inclusion in Open-Door Playhouse’s Pride Month programming affirms its relevance and the ongoing need for diverse voices in theatre. “Serendipitous” serves as a metaphor for the isolating journey toward self-discovery and mutual respect.

JS: How did you approach the challenge of directing “Serendipitous” within the unique confines of a podcast format?

GL: This was one of the first podcast’s that I directed. I’m a stage director and have done several short films, so this was something new. I kept thinking how do I get an audience to visualize what I see in my head. Sound fx help as well as a sense of urgency at the beginning, but the piece is about two people connecting and the intimacy we created in the recording studio with the actors near each other made all the difference.

JS: How does the intimate setting of an elevator enhance the production’s storytelling?

GL: Any time you have two people trapped together in a confined space, it forces an interaction… whether that interaction is ignoring each other or opening up. In this case, Daamon’s character is so worried about being sent to an old folks home by his daughter that he can’t help but talk out loud. Franco’s character on the other hand is calm and easy going and helps to calm his forced companion.

JS: How do actors Franco Machado and Daamen Krall bring their characters to life? What unique qualities do they each bring to their roles?

GL: There was an ease that both felt toward their characters and each other. Franco has such a positive tone in his voice that is calming. Daamon has a sweetness that comes through at all times. I wanted their performances to be natural. The piece itself has two people open up to each other quickly and that only happens when the characters are played with compassion and ease.

JS: Discuss the significance of the play being included in the Pride Month programming at Open-Door Playhouse?

GL: At the beginning it’s just two men stuck in an elevator. The older one is retired and has a granddaughter, the younger one is working in an open environment type of office space. They seem like they wouldn’t have anything in common until the younger one mentions his boyfriend. The reaction of the older one is not what you think it’s going to be and their connection grows.  The simplicity of their conversation about gay marriage and acceptance and being true to oneself is what sets this story apart. It’s normal… just two people, two strangers talking.  

JS: How do you balance the humorous and poignant elements in Caldwell’s script to maintain the play’s emotional depth?

GL: The writing is lovely. It didn’t take much work in that sense as the humor came out of the character’s differences and the poignancy was tucked in at each turn. The actors brought the warmth of their love for their partners seamlessly into the dialogue and you could really feel and get to know the people they talked about as if they were there as well.

JS: What themes do you believe resonate most with contemporary audiences, especially within the LGBTQ community?

GL: Troubles in relationships and acceptance.

JS: How does the confined space of the elevator serve as a metaphor for the characters’ emotional journeys?

GL: Well, I suppose trapped in an elevator for Daamon’s character is about the life he had when he was married and could never be his true self… trapped in the closet. Franco’s character was never in the closet, so for him it could represent how trapped he is at work that he can’t get out to be with his boyfriend.

JS: What was your collaboration process like with Playwright Lawson Caldwell?

GL: Emails and phone calls to discuss how to make clear what’s happening at every moment since it’s voice and sound FX only. He was very open to suggestions and accommodating.

JS: How does the play contribute to the broader conversation about LGBTQ representation in theatre?

GL: It’s not a story about LGBTQ per se. It’s a story about relationships and everybody can commiserate with stories about the human condition. Ever since “Tea and Sympathy” the theater has been open to LGBTQ stories and slowly the general audience is becoming more familiar with the community in their every day lives that it’s less shocking and more just a part of life.

JS: What do you want audiences to take away from the experiences and interactions of the two main characters?

GL: That these are just two people who have problems that are no different than anyone else’s problems. A sweet interaction between two men who maybe need someone to talk to that can put their problems in perspective. Two men who may seem like they could never be friends, but somehow are good for each other.

"Serendipitous" will be available online indefinitely starting June 11. Tickets are free. The Open-Door Playhouse is a virtual venue. To listen and donate, click here. Then click on the box marked "Serendipitous".