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Nathaniel Kohlmeier


What is YOUR theater origin story? What drew you to acting?


Oh I don’t know if I have a specific origin story. I’m lucky to have a mother who performed — including when she was pregnant with me! And her theory is that the love of theatre somehow made its way to me there, but I also grew up in a house where my mother played Golden Age screen and stage musicals, Jesus Christ Superstar cast recordings, and Gilbert and Sullivan operettas so I’m sure the appreciation grew in there somewhere. Like most people I got my start doing school plays — including memorizing the 50 States song, but was also grateful to be cast in a southern Indiana production of Larry Shue’s The Nerd as the bratty child Thor. I spent my first paycheck on a Wii. I just continued to be involved in theatre clubs in high school and minored in it in college and here we are. Nothing particularly special but during the COVID years where so many performers and workers in general were out of a job, I felt like a piece was missing without theatre in my life. No matter what else I do with my life I always come back to performing, I think like so many others. So I’m very happy to be onstage again.

 



Where else have you performed and what are some of your favorite roles?


Oh man, so many fun roles in both Chicago and Southern Indiana where I’m from. William in Punk Rock by Simon Stephens was a particularly chunky one — especially in a play that can speak so much to the American school experience with increased gun violence, despite being written by a British playwright. I thoroughly enjoyed Machinal by Sophie Treadwell directed by James Nelson, playing many different mechanical ensemble parts to the story — including the sneering lawyer. Chiron in Titus Andronicus, Him in Sarah Ruhl’s Stage Kiss. Teddy in Arsenic and Old Lace at the Beverly Arts Center. I met my beautiful and stupidly talented girlfriend playing Giri in The Resistible Rise of Arturo Ui by Bertolt Brecht directed by Liam Castellan, where she played an old man and the rest is history. There are more of course but those stand out to me.

 

Do you work primarily as a performer or do you have a ‘day job’?  

I wish haha. No I work as a videographer and video editor as my day job.

 

What do you list at the bottom of your resume as your ‘additional skills’? 

I typically list that I speak Spanish, as well as having been trained in stage combat. I also can crack a whip and ride a horse thanks to my time working at Medieval Times.

 






What drew you to auditioning for this production?

I didn’t really know the play or movie but I love the directorial team and having worked with Parker Players on Love/Sick, that experience was so precious and fulfilling I was excited to be working with them again, especially with Jenilee involved — who directed Love/Sick!

 

Tell us about who you play in Amadeus. 

I play many different ensemble roles! An ancient musical director on death’s doorstep still clinging to his position, various punk creeps sulking around the various clubs and passing Salieri information, a disgruntled driver, a preppy student. Lots of different faces!

 

Biggest challenge in playing this role? 

I don’t want to spoil anything but there may or may not be a dance somewhere in the play. I am not a dancer so I’ve had to really put my brain to work — but it’s good to have someone passable so everyone else looks good.







What sort of person is going to love this show?  

If you love music, if you were a punk in the 80s, if you enjoy theatricality; or if you’re interested in what the pursuit of fame, attempts to spite God, a toxic relationship between friends, and the selling out of morals for a chance at elevating your class position and what all of these things can do to a person — this play is for you.

Call someone out by name: who must come see this production? 

My sweet loving girlfriend Athena must come see this show. But I trust her and know she’ll be here.

 

What will the audience be thinking about in the car as they drive home after this show? 

Hopefully many things and crafting their own answers. I love plays that leave you with questions. Was this person justified? Is genius real or more valuable than power? If you believe in God, how does He select instruments? Was Mozart a punk or just putting it on out of insecurity? So many things! But I just hope they’re asking questions and relating it to their own experiences.

 

Without giving anything away, what’s your favorite line of dialogue?

“And no good bang at the end so you know when to clap.”


What’s the last thing you do before you step out on stage?

Breathe and focus.

 

Anything else you want to add? 

Hi Jennifer! (McHugh...who is editing these posts.) Also I hope folks enjoy the show!






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