A Conversation With Director Matt Ritchey, "TED," Open-Door Playhouse, by James Scarborough

Matt Ritchey’s direction comes to the forefront in an upcoming audio play written by F.J. Hartland and debuting at the Open-Door Playhouse. The narrative unfolds at a party where two men, played by Matthew Scott Montgomery and Kevin Phan, grapple with conflicting memories of a past relationship. The play’s audio format and its exploration of memory, identity, and truth present challenges and opportunities for storytelling. With over 100 directorial credits, Ritchey’s involvement promises a production that is both insightful and engaging.

JS: What drew you to direct this play?

MR: I’d worked with Bernadette on a few other Open Door projects as an actor and she inquired if I’d like to direct one – given a few choices, TED was my immediate favorite. It’s got snappy dialogue, fun characters, and very much my kind of humor.

JS: How did you approach the challenges of directing an audio-only production?

MR: Not too differently than when I direct theatre. In fact, I was directing the play PURE CINEMA for the Hollywood Fringe Festival at the same time! The most important things are making sure the actors and I are on the same page in terms of story and characters, discussions about the script, then playing and collaborating to make it come alive. There’s less blocking at Open Door, definitely. We also make a lot of unconscious gestures when we talk which gives others information about how we’re feeling and obviously, that needed to now be redirected into tone of voice, speed, clarity, volume, and pitch.

JS: Discuss the chemistry between actors Matthew Scott Montgomery and Kevin Phan.

MR: I was lucky to have Matthew suggested as Ted - he’s done many other Open Door plays – and Matthew suggested Kevin. They’ve been friends for a while and I always prefer working with people who already know and like one another. Gets the ice breaking out of the way. They were hysterical together – very connected, collaborative, and great actors.

JS: What themes in the play do you find the most compelling? How did you highlight them in your direction?

MR: Well, I don’t want to give away too much, as it’s a fast and fun piece that I want people to enjoy knowing as little as possible, but it’s all about the relationship and the ways the dramatic tension between them plays out.

JS: How does the play contribute to the representation of LGBTQ stories in theatre?

MR: One of the things I think is great about it is that it’s a story that involves LGBTQ relationships, but it’s not about LGBTQ relationships. It’s about people, about misconceptions and miscommunication. It’s a very lighthearted story that opens up and makes these themes and connections relatable to everyone – and inclusion is always key in theater… and in life.

JS: What do you want audiences to take away from the story’s unexpected conclusion?

MR: Shhhhhhhh!

JS: How did your collaboration with F.J. Hartland influence the play’s production?

MR: I actually have not met the author! The script was so clear that I’m sure we all understand what they were going for and I’m excited to hear their opinion of the result!

JS: Can you share any moments during the production that were especially challenging or rewarding?

MR: The actual recording day was tons of fun. We’d been rehearsing and were definitely ready to go, but the director stands in a room next to the editor (the great David Peters) and just listens. It’s great fun to hear finally come to life, but it’s also a real-time mental editing situation – should we get that line re-recorded a different way? Do we need a whole new take? How much can be edited? Are the sound effects subtle enough?  I’m happy to say it all worked out brilliantly. 

JS: What significance does the setting of a party have in the play’s narrative?

MR: oh…. It’s hugely significant. **smiles enigmatically in attempt to not give things away**

JS: How do you see the role of Open-Door Playhouse in the broader landscape of contemporary theatre?

MR: I’ve always loved radio plays and I think it’s fabulous that this genre of storytelling is coming back! And because it’s so vocally expressive, I think stage actors are particularly well-suited for it. I’ve read a number of these that could also be done as theatrical productions, so there’s great cross-over potential. Especially for writers to get their material heard!

“TED” is available online on June 19th and runs indefinitely. Tickets are free. The Open-Door Playhouse is a virtual venue. To listen and donate, click here.