A Conversation With Director Gary Lamb, "When He Was Young and Pretty" (Podcast), Open-Door Playhouse, by James Scarborough

“When He Was Young and Pretty” juxtaposes the experiences of two generations of gay men. The production blends humor with moments of vulnerability. The play’s setting - a modest apartment where an older man prepares dinner for a younger visitor - serves as an intimate backdrop for the unfolding dialogue. Lamb’s direction ensures that the conversation feels organic and deeply personal, drawing us into the characters’ shared and contrasting histories. The production provokes reflection on the shared struggles and evolving perspectives within the LGBTQ community.

JS: How did you approach directing “When He Was Young and Pretty” to ensure that the dialogue felt authentic?

GL: First, I went to the author and asked for some specific rewrites regarding his turning it into more of a radio play than one for the stage. Collin was great and being an actor/writer understood immediately and redrafted the work with that in mind. Then I worked with the actors asking them to tap into their emotions… to make each of their stories personal. It wasn’t enough to talk about someone they knew and their tragedy, but to make the stories they bring up, ones they lived through. I wanted them to make the person they talk about someone they were closer to than they let on.

JS: Discuss the challenges you faced in directing a podcast play compared to traditional stage productions

GL: Here’s an example. There’s a music box of some significance in this story, but in the first version of the script its impact was all visual. Luckily, I gave Collin ideas on how to keep the impact, by having the characters say something that would let the audience know what’s happening, and he was happy to oblige. Also, in the piece the character named only by description “Old” leaves the room several times to cook “Young” a meal. The act of doing that gives Young the opportunity to snoop a little and find the music box. On stage we’d just watch him do that, but in the recording we have to do that by adding footsteps and noises in the other room such as opening an oven door and refrigerator. I also wanted there to be distance, so I asked Old (Daamon) to step away from the mic and speak as if he were in another room and Young (Michael) when talking to Old to speak up as if Old were farther away. I find that adds to the believability rather than have the engineer add effects. Distance from the mic is definitely picked up and you can hear it in the recording.

JS: How did you work with Daamen Krall and Michael Fletcher to develop the chemistry between their characters?

GL: I’d love to take all the credit, but they were just right there from the start. Usually, because Bernadette started Open Door during the pandemic, we do most rehearsals on Zoom and the actors don’t actually meet until at the recording studio. However, Daamon and Michael were willing to come to my home and we were able to work in person. I think that helped a great deal for them to be comfortable letting some walls down.

JS: What elements of Collin Smith’s script did you find most compelling? How did you highlight these in your direction?

GL: The story Young tells about his high school acquaintance/friend who comes out to his parents about feeling more like a woman than a man was so interestingly brought out. It’s used as a tool to let Old know that having a cell phone doesn’t necessarily make people’s lives better, but it is so personal and intriguing that it takes you by surprise. At first, Michael treated it more like a story to make a point, but when I asked him to make this person a closer friend, his performance grew ten-fold. I also asked Daamon to make his lines about not being able to see a loved one in the hospital because they weren’t married, a personal experience. I wanted an emotional basis for his character since it could have also been just a reference as to how things are better for the LGBTQ community today than when he was young/Young.

JS: How do you think the play’s intimate setting contributes to its narrative and emotional impact?

GL: For Old to invite a stranger, a sex-worker, into his home can be difficult for most, but in this case there is a comfort for him.  However, for Young, there is a bit of a discomfort level. This adds to the interaction for both of them and allows a certain internal conflict for each to boil up.

JS: How did you integrate David Peters’ sound design to enhance the storytelling in an audio format?

GL: Having worked with David several times, I knew he’d understand what I was trying to achieve with different rooms and actors pulling away from the mic etc., so I didn’t have to do much… I let him go till he was happy. Bernadette sent over a really good music box tune and David modified each of the sound fx to work. It always reminds me of the Albert Brooks movie “Modern Romance,” where he plays a sound designer for films. He and his associate are adding footsteps to a scene on a space ship and they’re trying to determine what kind of flooring the ship has and they are pulling up stock sound fx. After several bad ones such as “The Hulk running” that turns out to be Hulk running a grunting, they decide to do it live and drag out a carpeted box for Albert to run on. Anyway, David was able to use sounds he had in stock for most of it with some sound engineer magic.

JS: Can you share any particular moments during the production that stood out as especially memorable or transformative?

GL: During one of the rehearsals, Michael truly internalized the emotional moment when he found out what happened to his friend. It was a difficult moment to be both unattached, yet deeply effected.

JS: How does the play align with Open-Door Playhouse’s mission to present diverse and insightful perspectives?

GL: I can’t go on about that too much because I would ramble forever. Just listen to all of the different styles, periods and uniqueness of all the scripts Bernadette has honed in on. From scripts written by incarcerated criminals, to comedies about war, to the LGBTQ experience. I’m in awe of what I alone have learned, acting in and/or directing these pieces. I directed a horror piece for Halloween and acted in a comedy/farce about soldiers not really wanting to charge the enemy at dawn (certain death). This piece became one of my favorites because of its unique way of saying things that we’ve heard or experienced or remembered in a way that makes it new to our ears and makes us think.

JS: What do you hope listeners take away from the generational exchange depicted in the play?

GL: That’s simple. Maybe we shouldn’t look at the strides made in/for the LGBTQ community without remembering how they may look like big strides but are barely scratching the surface, especially outside of the big cities. 3 steps forward, 2 steps back?

JS: How do you see the role of podcast plays evolving in the broader landscape of theater and storytelling?

GL: Not sure. I have friends who drive across country New York to L.A. every year and they listen to podcasts the whole way. I personally have had a hard time figuring out how to jump on the listening bandwagon. However, I’ve always been a fan of the short story, so I’m embracing podcasts when I don’t want to struggle through a whole “book on tape.” Our society is losing patience for long form entertainment and podcasts just might be the filler of that gap.

“When He Was Young and Pretty” is available online indefinitely. Running time is 12:54. Tickets are free. The Open-Door Playhouse is a virtual venue. To listen and donate, click here.