Order the original cast album	The Last Session A Musical by Steve Schachlin and Jim Brochu

Slide Show

The Last Session Web Page

Steve Schachlin's Web Page

Steve Schachlin	Jim Brochu	Carl D. White	Jamie Cesa	Michael Alden

Ronda & Kim Espy

The Last Session  by Amy Coleman

It all started for me in the spring of 1997. I had just broken up with my all female band, Sweet Potata. It had been a pretty ugly divorce...We had recently recorded a C.D. and were getting local and regional radio play. We were getting great reviews for the C.D. and picking up more gigs, when we all started hating each other, or to put it more accurately, we all began to openly admit that we hated each other. In the tradition of many a good band, just as things were looking good, we broke up. Needless to say, I was not happy. I had spent a lot of time and money on the band and now I had to pick up the pieces and start all over again. So one day, soon after the breakup, when I was deciding whether to live or die or go to social work school, my manager called me with an audition. The conversation went something like this...Manager: Amy I have an audition for you next Saturday. Its a showcase, but the producers are pretty sure its gonna go into a mini contract. It's called "The Last Session".Amy: So theres no money?Manager: Not at firstAmy:(long Pause)Well, next Saturday I have a gig and I can't cancel it, but if they can see me another time...?" I didn't think I'd ever hear from "The Last Session" again, but to my surprise they called to set up another audition. Now being a veteran of showcases, the idea of doing another one was somewhat less than appealing, but also being "just a girl who can't say no", I went to the audition. It turned out to be a lot of fun (believe me having fun at an audition is not the norm for me). I walked into a small rehearsal room stuffed with writers producers and casting directors. They all seemed very friendly and informal which relaxed me immediately. And as every student of method acting knows relaxation is key to performing well. So things were looking good. I sang "House of the Rising Sun." Steve Schachlin, the composer accompanied me because all I had was a half assed lead sheet with chords scribbled on it, which confused the very young pianist they had hired to play the audition. So Steve being a veteran of bands and scribbled lead sheets, played passionately behind me. I finished the song and did a scene from the script with Jim Brochu, the book writer. I left feeling the audition had gone well. As I walked out into the early spring air of New York City, I remember having a very strong feeling that this project would be special and I remember saying to myself, "Amy if you get this gig, don't screw up...learn your lines and don't bump into the scenery ." Well I did get the gig. It was the beginning of a magical mystery tour that had a profound impact on my life in a variety of ways. I have always had two loves ,music and theater, but when I say music I don't mean Musical theater music, I mean get down nitty gritty, the real thing music. It is very rare to get an opportunity to sing real music and do real acting , in a "musical". The Last Session gave me that opportunity...It also gave me the opportunity to be in a show that truly made a difference in peoples lives. Rarely have I seen audience members so affected by a show. A man came up to me one night after one of the shows ..and told me that he had been living with aids for years. Six months before he had come to the end of his rope and decided to kill himself. His sister talked him out of it which he had resented. But he said that after seeing the show he understood for the first time the effect his suicide would have had on his sister, for as Tryshia says to Gideon near the end of the play when its revealed that Gideon is going to kill himself "when you kill yourself, the pain is over for you but its just the beginning for the rest of us. We'll live the rest of our lives wondering what we could have said or what we could have done." Then this man hugged me and told me that he was glad that he had stayed alive . He said that seeing The Last Session had helped him understand that he was not alone in his struggle . It had made him feel that life was still worth living...There are so many stories like this one and everyone involved in "The Last session" has been privy to them. Throughout my two years with the show, I have experienced a unique relationship between the audience and the cast and crew of "The Last Session". The show seems to have melted away boundaries so that everyone of us involved became part of a shared experience that transcended categories such as actor, producer, writer, audience, and instead participated in the struggle of the shows characters , the struggle to embrace the best qualities of humanity, such as compassion, acceptance, growth and love. What I've always loved about the theater is it's potential to inspire people to think and feel in ways they haven't, or haven't let themselves before. Unfortunately I rarely see a show that can do that. With The Last Session I not only saw this happen , I got to perform the material that was inspiring these transformations, meet and work with extraordinary people and get paid for doing it . How cool is that?" P.S. The show not only went from a showcase to a mini contract, it then went Off-Broadway to The 47th Street Theater, then to The Laguna Playhouse, a Regional Theater in Southern California, and finally to L.A., where it ran for six months at the Tiffany Theater winning numerous awards.

     The original cast of The Last Session, 47th Street Theater, New York
              (l-r) Stephen Bienske, Grace Garland, Bob Stillman, and Amy Coleman

CAST

(in order of appearance)

Gideon	BOB STILLMAN
Jim	DEAN BRADSHAW
Tryshia	GRACE GARLAND
Vicki	AMY COLEMAN
Buddy	STEPHEN BIENSKIE

Time: Tonight Place: A Recording Studio

THERE WILL BE A TEN-MINUTE INTERMISSION

BETWEEN ACTS I AND II

 

MUSICAL NUMBERS

ACT I

"Save Me a Seat"	Gideon
"The Preacher and the Nurse"	All
"Somebody's Friend"	Vicki
"The Group"	Vicki, Tryshia & Gideon
"Going It Alone"	Buddy

ACT II

"At Least I Know What's Killing Me"	Gideon
"Friendly Fire"	All
"Connected"	Gideon
"The Singer and the Song"	Tryshia & All
"When You Care"	All

WHO'S WHO IN THE CAST

STEPHEN BIENSKIE (Buddy). After a string of workshops and readings (About Face, Onward Victoria, Kings Crossing, Underworld), Stephen joined TLS last March. He was also seen as Jake in the Off-Broadway show Zombie Prom and in the first national touring company and the European premiere of The Who's Tommy. Other credits include Chuck in Avenue X, Franny in Balm in Gilead, Alan Strang in Equus and Lysander in A Midsummer Night's Dream. He did his growing up as a singer/songwriter in several rock bands and holds a B.F.A. from Montclair State University. Much thanks and love to his family, Anthony, the Deadbeat Club, The Junta, Vincent, John and Dana (for giving me my voice back) and most of all...God. His performance is dedicated to the memories of Eleanor and Rose Pasquariello and Bill Clayton.(top) DEAN BRADSHAW (Jim). Most recently, Dean appeared at Currican Theatre as Rev in Richard Thompson's Hunting Humans and James Ewing in Penn Jillette's Recreation. His regional and international credits include Thomas Cromwell in Man for All Seasons, Pale in Burn This, Peter in Prelude to a Kiss, John Merrick in The Ele-phant Man, Orin the sadistic dentist in Lit-tle Shop of Horrors and Bobby in American Buffalo, among many others. Love and thanks to the memory and friendship of Allan Everett Stevens.(top)

AMY COLEMAN (Vicki). Recent theatrical credits include a staged reading of the never-produced Tennessee Williams play Spring Storm, the lead in The House of Nancy Dunn at La MaMa and the role of Pythonis in the original production of Sheba at ATA, Janis Joplin in the original production of Beehive at the Village Gate and Angel in La MaMa's production of Kiss Me When It's Over, directed by Andre DeShields. In collaboration with the late Brian Lasser, she created the crit-ically-acclaimed cabaret piece Face to the Wall for which she won a Best Singer of the Year Award in Backstage Magazine. You can catch her band The Flamin' Amy Coleman Band at New York's top clubs. Her CD Soul Kiss can be heard on college and regional radio stations. She has toured extensively throughout Europe. This performance is dedicated to the memory of Brian Lasser.(top)

GRACE GARLAND (Tryshia) is a true Diva and proud! For three seasons, Ms. Garland was a member of the sketch comedy ensemble on "The Apollo Comedy Hour," where she parodied everyone from Tina Turner to Hillary Rodham Clinton. Avid fans of "All My Children" will remember her as Vera Vanderbilt. She's Lorraine Power in the film Juice starring Tupac Shakur. Her voice-over work includes countless radio and TV commercials, and film looping for Malcolm X, Philadelphia and Ransom. Her band The G-Spot opened for Martha Wash, Debbie Gibson and Joan Jett. She thanks her Friends and dedicates her performance to her angels: Gayle L, Erma C, Neal N, P. Hyman and Uncle Albert.(top)BOB STILLMAN (Gideon) has appeared on Broadway as Molina in Kiss of the Spider Woman (opposite Vanessa Williams), as Erik in Tommy Tune's Grand Hotel, and as Peter Allen's kid brother in Legs Diamond. Other stage credits include Whistle Down the Wind (Hal Prince! Andrew Lloyd Webber); the title role in Candide (Goodman Theatre, Jefferson Award norn.); Tony in West Side Story (with the Minnesota Orchestra); The No-Fri/is Revue (M. Charnin) and the piano-playing roles in Oil City Symphony and Pump Boys and Dinettes. He recently completed his first film, March 29, 1979. Bob can be seen every morning as Reed on Nickelodeon's "Allegra's Window," for which he has also written many songs. Recently he wrote and co-produced the popular spin-off music videos "Reed's Sound Jars." As a singer/songwriter Bob has performed in many New York venues, and his songs are often performed by other artists around town. He is a graduate of Princeton University.(top)JIM BROCHU (Book and Direction). A native of Brooklyn, New York, Jim has been writing shdws since the age of 13. His published (Samuel French) and pro-duced (nationally and internationally) plays include A Short Circuit, Cookin' with Gus, The Lucky O'Learys, Fat Chance and The Lady of the House, as well as the books for the musicals A Won-derful Worldful of Christmas, Maiden Voyage and Club Indigo Revisited. In 1990, Jim had his first book published by William Morrow and Company, Lucy in the Afternoon, an intimate biography of his friend Lucille Ball. As a director, Jim has helmed over 25 productions, including Can-Can starring Yvonne DeCarlo at the Tropicana Hotel in Atlantic City and The Barrymores starring Perry King at The Pasadena Playhouse. Jim is an active member of the Dramatists Guild and Authors' League of America. Jim would like to thank the late Davy Burns for his love and support.(top)

STEVE SCHALCHLIN (Music & Lyrics). Steve is a songwriter, musician and performer who is living with AIDS and is currently on Evening Star Records out of Los Angeles. Theatrical credits include sev-eral revues at Dallas' Grand Crystal Palace; and Startime and A Wonde~l Worldfi~l of Christmas (Samuel French), both with partner Jim Brochu. His website, "The Steve Schalchlin Survival Site" (http:// www.geocities.com/Broadwayll 173), fea-tures a unique on-line diary, and is dedicat-ed to exposing intolerance and bigotry. He tours colleges across the country including a recent lecture at Harvard University, and he has one album currently out called Liv-ing in the Bonus Round.(top)

JOHN BETTIS (Additional Lyrics:"When You Care") has written songs that have sold more than 180 million records. In 1967 John was a founding member of The Carpenters. He and Richard Carpen-ter wrote 38 songs recorded by them, and he continued his success with a string of number one country songs. John has received 30 awards for performance of his work on radio and television. He has been nominated for three Emmys and received an Emmy and a Grammy nomination for Whitney Houston's "One Moment in Time." John was nominated for an Oscar and a Golden Globe for "Promise You'll Remember" from The Godfather Part III, sung by Harry Connick, Jr. He wrote the musical Lunch.

MARIE CAIN (Additional Lyrics:"Friendly Fire") is a veteran of film, stage, television, clubs and records, working with such comedy masters as Robin Williams, Lily Tomlin, Steve Martin and Billy Crystal. She has also earned a Clio for her national Coca-Cola jingles and two gold records for original songs recorded by Helen Reddy and Laura Branigan. She has co-authored a play with Shel Silverstein, and her musical The King and Me is currently being workshopped in the New American Musical Series sponsored by ASCAP, Disney and Stephen Schwartz.

JOHN KRONER (Musical Director). On Broadway, Off-Broadway and regionally, Mr. Kroner has conducted and/or arranged Tapestry: The Music of Carole King, Lit-tle Shop of Horrors, Forbidden Broadway, Alice Through the Picture Tube and Canterbury Tales. As a composer, his spe-cial material and original songs have been sung by Debbie Gravitte, Randy Graff, Mimi Hines, Karen Mason, Vicki Lewis, Karen Ziemba, Charles Busch and dozens of other cabaret and theatre artists. He won the L.A. Weekly Theatre Award for his music in An Elephant Never Forgets (An Evening of Trunk Songs). He has also written the scores for Wondeiful Life! The Musical and Rabbit Sense, and is currently at work on a new musical, The Showgirl of 72nd Street.

MICHAEL D. GAYLORD (Vocal Arrangements). Michael's arrangements have been premiered by the New York City Gay Men's Chorus at Carnegie Hall, the West Point Military Academy Band and the Gay Gotham Chorus, among oth-ers. He orchestrated the Off-Broadway revival of Boy Meets Boy and created orchestrations and vocal arrangements for the newly-released musical on CD History Remembers. He has arranged for Roslyn Kind as well as the a capella groups Sons & Lovers and Mollyboy. Michael dedicates his work on The Last Session to the memory of Rick B. Farwick.

ERIC LOWELL RENSCHLER (SetDesign). Off-Broadway: The Quick-Change Room, Miracle Mile (Lab Theatre Co.), Scaring the Fish (Intar, Circle Rep), Antigone (Pearl), Yepeto (Puerto Rican Traveling Theatre) among others. Region-al: Chautauqua Opera, Sharon Stage, Colonial Theatre, Hangar Theatre, New Harmony Project. More than two dozen Circle Rep Lab productions, including William M. Hoffman's Riga and Lanford Wilson's Trinity. Assistant Set Designer: Chicago (Broadway, London and two national companies). Numerous film, video and commercial projects. Member of Lab Theatre Company.

MICHAEL GOTTLIEB (Lighting Design) designed the original production of The Last Session at the Currican Theatre, where he also designed Penn Jil-lette's Recreation. Other New York cred-its include The Impostor, starring Austin Pendleton and Calista Flockhart; Sacrifice to Eros (Theatre at St. Peter's Church); S.S. Glencairn: Four Plays of the Sea (Willow Cabin Theatre Co.) and The Occupation (Theatre Row). He designed the architectural lighting for the SoHo bar Spy and directs lighting for remote loca-tions on "Saturday Night Live." Mr. Got-theb is a graduate of Vassar College.MARKAS HENRY (Costume Design). Off-Broadway (scenery and costumes):Old Wicked Songs, Promenade Theatre. The Barrow Group (scenery and cos-tumes): Good, Old Wicked Songs, Women of Manhattan, Trust, Greetings, Tales From Hollywood, Lonely Planet, Ghost in the Machine. Additionally, designs for The Geffen Playhouse, Circle Repertory Co., Capital Repertory Co., The Blue Heron Theatre, Williamstown Theatre Festival, The Univ. of Alaska/Anchorage and The Juilliard School. Broadway (asso-ciate/assistant costume designer): The Life, Busker Alley, Grease!, St. Joan, Beauty and the Beast and The Tempest starring Patrick Stewart. Currently cos-tume designer for NBC's daytime television drama "Another World."MIKE NOLAN (Sound Design) is a com-poser and sound designer for theatre, film and television. His work has been heard at many New York and regional theatres, including the Public Theatre, Yale Rep, Williamstown Theatre Festival and the Westside Theatre. Recent work includes Him by Christopher Walken; Nixon's Nixon by Russell Lees; Between the Sheets, a new musical by Eduardo Machado; Demonology by Kelly Stuart at Play-wrights Horizons; Second-Hand Smoke by Mac Wellman at Primary Stages and Stevie Wants to Play the Blues at Williamstown Theatre Festival.CHARLES ROSEN & ANNETTE KUREK (Casting Directors). Clio Award winner Charles Rosen, with Annette Kurek, have cast, in NYC: Gender Wars (Samuel Beckett); Devotion (La MaMa); Red Rabbit, Recreation and The Last Session (Currican/Playful Productions); RIP, a musical (staged reading). Regionally:the '95-'97 summer seasons for Pittsburgh Civic Light Opera; 1776 and Hello, Dolly! (Riverside Theatre, Vero Beach, FL); Murder By Chocolate (Josephine Theatre, San Antonio) and Bare Knuckle (Philadelphia Festival Theatre). Most recent film credit: Christmas Eve in New York, for European distribution. THOMAS CLEWELL (Production Stage Manager). Off-Broadway, Tom has stage managed the musical Smoke on the Moun-tain at the Lamb's Theatre; The Film Soci-ety by Jon Robin Baitz, directed by John Tillinger at Second Stage and the Boston tryout of Snoopy!!!. For Lincoln Center, he stage managed A Leonard Bernstein Song Celebration (A 70th Birthday Salute), Ann Magnuson's You Could Be Home By Now and Ossie Davis and Ruby Dee, among others. His regional credits include produc-tions for the Kennedy Center, Huntington Theatre Company, American Stage Festival and the George Street Playhouse, where he has been resident stage manager for the past six years.

CARL D. WHITE (Producer) began his producing career at the age of 18 when he co-founded The Golden Theatre in Los Angeles, producing stich acclaimed pro-ductions as the L.A. premiere of Baby; the revival of Noises Off (L.A. Weekly Award); Rue McClanahan' 5 Oedipus, Shmedipus; the smash hits Club Indigo (L.A. Drama Critics' Award, LA. Weekly Award) and Club Indigo Revisited and many standard revivals. Upon relocating to New York, Carl was hired as the pro-ducing associate on The Best Little Whorehouse Goes Public, then as the associate company manager on Busker Alley. Most recently, Carl served as the producing associate on the Off-Broadway hit Full Gallop, The Santaland Diaries and The Diary of Anne Frank, all for pro-ducers David Stone and Amy Nederlander-Case. To my partners Jamie, Jay, Michael; Nancy, Ronda and Kim and "Uncle Don": You have been a rock for me to stand on. Thank you for unending commitment, passion and friendship; to Jimmy & Steve: Thank you for believing and trusting me with your baby; to Bobby and all of my close friends: Thank you for being patient and loving; to my mother and father: I dedicate my work on TLS to you-I love you.(top)

JAMIE CESA (Producer) recently formed Martian Entertainment with his partner Carl White for the purpose of developing work for the stage. Over the past three years he has worked on the Broadway and national tour productions of Victor/Victoria, Grease!, Busker Alley and My Tiung of Love, Off-Broadway's Minor Demons and the workshop of Not a Well Woman, produced by Tony Adams and Liza Minnelli, which he general man-aged. Prior to that he was the box office/house manager at the Grove Street Playhouse for three years, while simulta-neously serving as an accountant for Planned Parenthood, NYC. He is a 1987 graduate of the University of Maryland with a B.A. in television production. A heartfelt thanks to Jim & Steve for having the courage to share their experience with us, and to Carl, Nancy, Michael, Jay, Ronda, Kim and Don for the honor of being part of The Last Session. He thanks his family for the kind of love and support that makes all the difference.(top)

MICHAEL ALDEN (Producer), together with partner Jay Cardwell, recently formed Alden-Cardwell Entertainment (ACE), developing a number of projects for the stage including John Stothers original musical Pilgrim. Prior to relocating to New York six years ago, Mr. Alden served as a studio executive for Cannon Films, Pathe and MGM. Independently: executive producer for the award-winning Mother, Mother with Piper Laurie and Polly Bergen; associate producer for Warner Bros.' Just Cause with Sean Con-nery; and producer of the highly-acclaimed Miramax docu-comedy Unzipped. Mr. Alden is slated to produce the Bill Veeck Story with Bill Murray in the spring of 1998, followed by the Sara-jevo-based The Forgotten Voices. He is honored to be a part of The Last Session and thanks Mssrs. Cesa and White, Brochu and Schalchlin for their invitation and partnership. Also thanks to the Espys and Nancy Gibbs for the light, and to The Last Session Company for saving a seat for KC, Steve D, Bill W. and Joey P.(top)

JAY CARDWELL (Producer) began his producing career with the original compa-ny of Nunsense, running over nine years in New York. As the executive producer for Pilgrim by John Stothers, and as a partner in Alden-Cardwell Entertainment, heis proud to bring new works to the stage. He wrote the commissioned book Inside Broadway: The Missing Profits for Dentsu, Inc., and worked on the TV series "Planet Fashion" and "Tilt 23-1/2" which both aired in over 60 countries. To the entire TLS company: thanks for the love, laughter and tears. Mom, Dad, Jim, Chan-dler and countless friends and family: I could not do it without you, and God-please save me a seat next to other loved ones not here tonight.KIM & RONDA ESPY/BOB-A-LEW MUSIC (Producers). Bob-A-Lew is owned by the Espys, formed in 1986, and has signed Grammy-winning songwriters Bruce Hornsby, Bonnie Raitt, Rita Coolidge, Phil Everly and Huey Lewis. Among the talent they have worked with during their 25-year careers are Pat Benatar, Blondie, Frank (Jekyll and Hyde) Wildhorn, Susan Anton and John Schnei-der. Active in NARAS, Kim is a National Trustee and Ronda is an L.A. Officer and past Governor. Former Texans, the Espys and their daughter Mindy have called Cal-ifornia home since 1972. TLS is their labor of love, bringing many blessings with the association. They dedicate this performance to their Loved Ones who have battled illness with grace and dignity and to everyone who "Cares."(top)NANCY NAGEL GIBBS (Producer/General Manager) celebrates 20 years in the New York theatre community. Gener-al Manager: Full Gallop, The Santaland Diaries, jon and jen, Smoke on the Moun-tam, Opal and Gifts of the Magi for the Lamb's Theatre Company and Elmer Gantry and A Christmas Carol at Ford's Theatre. Associate Producer: Give My Regards to Broadway at Carnegie Hall. Ms. Gibbs is proud to be a member of the TLS team. To Harry Schanker, David Shook, David Bell, Howard Ashman, Car-olyn R. Copeland and Drew Scott Harris for generously sharing and revealing the infinite possibilities of musical theatre.DONALD L. KIRKPATRICK (Associ-ate Producer), a broadcast, marketing and public relations professional, is the recipi-ent of the Advertising Club's "Addy" Award, the Award for Excellence in tele-vision journalism from the State Bar of Texas; the Texas Association of Broad-casters' Douglas MacArthur Award and the George Washington Honor Medal from the Freedoms Foundation at Valley Forge. Mr. Kirkpatrick wrote and pro-duced the film El Paso: City By the Rio Grande, which has been seen by over sev-enty five million people worldwide.JEREMY KOCH (Associate Producer) is president of Sound One Corp. New York, one of the nation's leading motion picture post-production facilities. He is honored to be affiliated with The Last Ses-sion and dedicates this, his first stage pro-ducing effort, to David McGee and to all the others who left us before the songs could be written.CURRICAN I PLAYFUL PRODUCTINS (Originating Production) presents an annual season of four original full-length plays. Its mission is to cultivate and produce new plays by both new and established playwrights, providing a forum for drama-tists to shape, change, rewrite and develop their work. They have produced over 30 new plays in the form of full productions, readings and tours. Recent productions include Recreation by Penn Jillette and Hunting Humans by Richard Thompson.

 

Information in "Who's Who in the Cast" is provided by the production. Where opinions are expressed, they are those of the players, not necessarily those of PLAYBILL Magazine.

OPENING NIGHT: OCTOBER 17, 1997

RAVES FOR THE L.A. PRODUCTION

LOS ANGELES TIMES CRITICS CHOICE

"Screamingly funny...yet love is everywhere. Individually, the cast are vocal dynamos but singing in harmony they are heaven on earth...the audience joins in a chorus of sniffles. Written from the heart, Schalchlin's gospel tinged pop songs exert a rare emotional pull. Again and again, a fierce drive overtakes the tunes melodic strains. It is life taking hold again - hope rising on powerful wings."

-Los Angeles Times

"PASSIONATE!"

"No ifs and or buts, you have to get yourself to The Last Session - a raucous cacophony of morals, music, religion, life and love with ten powerful musical routines that will blow you away. Be prepared for dialogue that is quick, witty, wicked and wonderful. Through a variety Of musical styles - gospel, rhythm and blues, rock and roll and pop - The Last Session is so rousing, heart warming, full of life and healing (also uproariously funny) that it had the.openlng night audience. on its feet for a full five minutes."

- Long Beach Press 7eIegram

"A MUST SEE!"

The Last Session is funny - hysterically funny - but it's also deeply moving so keep those tissues handy. The power of love and friendship keeps the audience on a roller coaster. The passion of the music has tons of heart and the lyrics are sheer poetry - poignant, humorous and fervent. The colorful and multilayered performances are superb. Extraordinary!

- LA NightLife

"SHEER JOY!"

"Lo and behold - here's a musical that puts the word originality back into the phrase 'orginal musical.' With a rousing and tuneful score and glorious vocals, it's funny, poignant, exhilerating entertainment. 'The Last Session' is a passionate and entertaining show that pumps life into the moribund genre of musical theatre. You can revel in the sentimental pleasures of this jubilant crowd pleaser without feeling guilty the next morning."

-FRONTIERS

"RECOMMENDED!"

"The premise is simple but the characters are rich, the script crackles with wit, the songs are stirring and the cast is terrific. Composer Schalchlin provides soaring anthems and stinging satire while wnter-director Brochu keeps the energy high and laughs frequent."

-LA. Weekly

"A LIFE-AFFIRMING CELEBRATION!" . .... .

"An intimate and joyous feel-good musical with impressive dialectical fireworks and exceptionally enjoyable songs."

-Orange County Register

"HILARIOUS AND HEARTBREAKING!"

"The Last Session is not your average musical. The audience didn't know what hit them."

-OCMetro

"INSPIRING!"

"The story unfolds with a brilliant blending of naturalistic style and theatrical imagery - a hilarious, poignant and ultimately very moving play."

-Coastline News

"UPLIFTING!"

"Brochu and Schalchlin use a remarkable blend of music and humor to offer a memorable tribute to plain and simple courage - The Last Session is a moving testament to the power of love, loyalty and friendship."

-Backstage West/Drama-Logue

 

 

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