A Conversation with Playwright/Actress Dina Morrone, “My Uterus, a Womb with a View,” Theatre West, by James Scarborough
A Conversation With Director Mike Reilly, “The Substance of Fire,” Ruskin Group Theatre, by James Scarborough

A Conversation with Director David Datz, “Balancing Act,” Theatre Forty, by James Scarborough

“Balancing Act,” written by Frank Salisbury and directed by David Datz, recounts the story of an accountant planning to escape with embezzled money, only to be interrupted by a suspicious colleague on the eve of his departure. David Datz, making his directorial debut at Theatre Forty, brings his rich background in directing, playwriting, and acting to this production. Michael Kerr and Starina Johnson star in the lead roles while Jeff G. Rack provided the set design.

JS: “Balancing Act” deals with themes of deceit and desperation. How did you manage these complex emotions within a comic framework?

DD: It starts with Frank Salisbury’s great script, which sets up comic situations, and at the same time allows the characters to be clever. The trick is never to play for laughs in either, and we’re blessed with Michael Kerr and Starina Johnson, two terrific actors who know how to focus on each other. I just try to focus on the arcs of both characters and let the comedy happen.

JS: This is your first time directing at Theatre Forty. How has this experience differed from your prior directing roles?

DD: I’ve always gotten great support from my producers, and Theatre 40, with producer and Artistic Director David Hunt Stafford, is no exception. One difference is that “Balancing Act” is a last minute substitute for “A Jukebox for the Algonquin,” which had to be pulled from production. So, we’re having to work a little faster, with a little less time, than I’m used to. Also, We’re having to use the same set as Theatre 40’s previous production, “Explorers’ Club,” but I think our great cast will keep the audience from even noticing that.

JS: Discuss your collaboration with playwright Frank Salisbury. How closely did you work with him on interpreting the script?

DD: Unfortunately I have not had the chance to speak with Mr. Salisbury at all. His script is gift enough, though.

JS: What made you want to direct this play? What made you decide this was the right project for your Theatre Forty debut?

DD: When David Stafford asked me, with little notice, to fill in on this play, after “Jukebox” had to be pulled, I had already read the play, liked it, and was confident I could do it. It has the right combination of story, characters, and jokes. Also, it was right for a short rehearsal period—only two characters, one set location, and minimal sound and light needs.

JS: How did you work with actors Michael Kerr and Starina Johnson to develop their characters?

DD: I can’t say enough about how good those two are. They developed the characters, and I just tried to steer them in directions that suited the story.

JS: How did you work with set designer Jeff G. Rack to create the production’s visual aesthetic?

DD: Jeff is a great designer and builder. In 2022 he came up with a great set for my play “Basement Folly” at Theatre 40.  Unfortunately this current production faced constraints that kept him almost entirely out of the picture.

JS: Comedy relies on timing and chemistry between actors. How did you encourage this timing and chemistry during rehearsals?

DD: Starina and Michael have the timing, naturally. And I’ll congratulate myself on casting two actors with great chemistry. After that, I just let them go.

JS: “Balancing Act” has been described as a flashback to old-fashioned fun. What elements of classic comedy did you incorporate into this production?

DD: I don’t really think in those terms. As I’ve said, it’s a great script. I just made sure the actors played off each other in each situation, rather than playing for laughs, which can be catastrophic for a comedy.

JS: As a playwright yourself, how does your experience in writing influence your directing style and choices?

DD: Actually, the influence is a little different. My acting experience has given me an understanding of what actors need, and that’s a huge influence on both my writing and directing.

JS: What particular moments or messages do you think will most resonate with audiences?

DD: I think the audience will leave with an optimistic feeling after seeing two troubled characters come together to solve their problems. And what’s great is that it’s the woman who starts from a subservient position but is bold and insightful enough to end as the leader.

Performances are Thursdays through Saturdays at 7:30 p.m. and Sundays at 2:00 p.m. from August 1 to August 25, 2024. Tickets are $35. Theatre Forty is located on the campus of Beverly Hills High School, 241 S. Moreno Drive, Beverly Hills, CA 90212. For more information, click here.

David Datz graphic