A Conversation with Director Andrew D. Weyman, “Fostered,” Pacific Resident Theatre, by James Scarborough

After losing his home to Los Angeles fires, director Andrew Weyman finds refuge in staging “Fostered” at Pacific Resident Theatre. This contemporary comedy marks a departure from PRT’s usual classical repertoire, offering instead a timely look at authenticity in a world of pretense.

Set during the 2016 election and its aftermath, Chaya Doswell’s play follows the Foster family of Scarsdale. Parents Karen and Sandy try to embrace change until their adult children return home with problems that derail those plans.

“Fostered” resonates through its unflinching look at the façades we construct and the freedom that comes from dismantling them. The production balances sharp wit with emotional depth, where laughter both entertains and heals.

For Weyman, whose credits range from soap operas to hit comedies like “The Big Bang Theory,” this project means more than a directorial challenge. It turns personal loss into shared healing. Through the chaotic dynamics of the Foster family, complete with vodka-fueled revelations, the play reminds us that embracing our true selves might be messy but ultimately liberating.

Below follows an email conversation with Andrew Weyman.

JS: After losing your home in the Palisades fire, you’ve mentioned needing laughter and healing. How has directing “Fostered” become part of your recovery, and which elements of the play speak most directly to rebuilding after loss?

AW: It was a big decision to move ahead with Fostered after losing our home in the fire. I’ve had to deal with FEMA, SBA, the Army Corps of Engineers, The City of Malibu, my insurance, architect, contractor, etc. The demands can be overwhelming. The trauma was real and I realized I needed to feed the creative part of my brain. Rehearsing with the cast and sharing the humor has been cathartic. I feel there’s a parallel theme in the play regarding “rebuilding.” In the play, the characters discover their authentic selves and what is really important to them. I’ve reassessed my priorities after a devastating loss.  

JS: “Fostered” examines people hiding behind facades. From your experience directing comedy for television, particularly shows like “The Big Bang Theory” and “Two and a Half Men,” how do stage comedy rhythms differ from TV when exploring authenticity?

AW: Authenticity isn’t necessarily a common theme in TV comedy. To be successful in both forms, you need to be true to the emotional underpinnings of your story. Otherwise, it’s just joke, joke, joke. Finding humor that is revealed through human behavior works well on TV, in film and on stage. Rhythms are dictated by the time you have to tell the story. A 21-minute sitcom format is different from a 90-minute, two act play. In the play form there’s time to dig down deeper into character and relationship.

JS: The play is set during the 2016 election and its aftermath. How do you balance political backdrop with family dynamics, and what challenges does this setting from nine years ago present today?

AW: The political references in the play are subtle and affect the characters attitudes but politics is never the focus of the story. The current state of our political climate mirrors that of 2017. It makes you feel like everything has changed yet nothing has changed. 

JS: Your work spans soap operas, sitcoms, and theater. How has your experience as a race car driver and writer for “Velocity Magazine” shaped your directing a play about discovering one’s authentic self?

AW: I’m 73 years old and always learning new things about myself, others, and the world in which we live. I love that! I don’t know what I don’t know. When I discover something new, it’s exciting and energizing. Interestingly, there are commonalities between directing and driving a race car. Both can be dangerous! I’ve learned a lot about myself by competing on the race track about confidence, my comfort zone and willingness to take risks. In racing, drivers always need to be looking ahead. If you screwed up the last turn, forget it. There’s another corner just ahead. How do you plan to navigate that next one? You need a plan and to be prepared for unpredictable events. You need to develop situational awareness. Then, there’s race craft which takes time to develop. It all relates to directing.

JS: Chaya Doswell’s work explores “the chaos of human relationships.” What specific collaboration did you develop with her for this production, and how has the cast contributed to the final shape?

AW: After reading the play I met with Chaya over lunch. I got to know her better and shared my thoughts about the story. I suggested some changes in the script. We’ve worked very closely and discussed character, relationships, attitudes, story points and everything else you can imagine. It’s been a wonderful collaboration. While working with the cast I discovered opportunities to illuminate the relationships among the siblings and parents. It’s been fun to explore how birth order affects expectations and behaviors. It’s thought provoking to consider the energy and inventiveness we employ to disguise who we really are. The family dynamic is unconventional to say the least. There’s so much to work with! 

JS: The press materials mention vodka as helping characters confront their authentic selves. How do you direct scenes involving alcohol as both comic device and truth catalyst without glamorizing its effects?

AW: I wouldn’t use the word “helping” in this story. Rather, the vodka serves as lubrication to allow withheld emotions to come to the fore. It’s not glamorous. It’s not the best choice. In fact, it points out the family’s inability to face who they really are versus who they pretend to be. There’s plenty of comedy to be enjoyed there.

Performances run 8pm Thursday–Saturday and 3pm Sunday through June 15, 2025. Tickets: $35-$45 with discounts for seniors and students. Pacific Resident Theatre, 703 Venice Boulevard, Venice, CA 90291. For tickets, click here.