–Photo copyright Jessica Spencer 2008

Worcester writer’s comedic warfare

By Len Sousa

What do Romanov Russian history and scantily clad women overcoming their daddy issues have in common? These seemingly distant subjects are among the topical fodder covered in the work of 28 year-old Worcester native Seth Leary. Part writer, part director, and part performance artist, Leary stretches his toes to test the waters of many talent pools.

But don’t worry, we’ll get to the strippers in a minute.

“I was born, reared, and if you can’t tell from my grammar, educated in Worcester,” says Leary, undoubtedly hoping his sarcasm will soak its way through this article. “I would say that bitter and cold sarcasm, born of winters with no sunshine, has cornerstoned my sense of humor, which in turn informs the rest of my work, for I am always trying to be funny.”

Though writing, directing, and performing are all part and parcel for Leary, he has a hard time deciding which came first or how helpful his answers will be. “They all kind of came about at the same time. But I found acting first and directing last. I guess I could be more vague, but I’ve never really thought about it.”

Leary showcases much of his humor within a comedy project called The Prose Brothers, often performing in local coffee houses, community centers, and music venues. Describing it as “guerilla comedy,” Leary says the work tends to be more socially aware than traditional stand-up or sketch comedy.

“Guerilla comedy isn’t a performance, it’s an assault,” Leary explains. “It’s more of a short play where two characters rail against the government and preach the platform of bohemian socialism ~ only, you know, funny.” Adding, “Our CD, The Manifesto, is available in finer car trunks everywhere.”

On the other side of the entertainment spectrum, Leary recently wrote and directed a drama called The Balance. The production premiered at Bedford Off Broadway in Bedford, New Hampshire this past April. Inspired by the true story of the ZZ-bearded Russian healer Rasputin and his bizarre relationship with the Romanov Tsarina Alexandra, Leary says the story is rooted in political intrigue and examines the role faith can play in politics.

“It deals with the power behind the throne, but it’s really about faith being used to manipulate. It is loosely based on the story of Rasputin insofar as what I can recall of the story. It was the hook of how Rasputin used the desperation of the Tsarina as a weapon. I didn’t do any research because I wanted to do my own thing.”

Doing things his own way seems to be a running theme in much of Leary’s work. To date, he has directed five shows, four of which he either wrote or co-wrote. “Directing, for me, isn’t a separate endeavor,” he says. “It’s the second half of the writing and directing process. I’ve only directed someone else’s script once, and that was a while ago.”

Whether it’s determining what characters will do in a story, directing actors on stage, or attacking audiences with a social message delivered through comedy, at every turn Leary is in control. In a sense, he’s guiding the work from page to stage to rage. But it’s not to say what he offers is a one-man band. Collaboration remains a key ingredient.

“Out of all of it, I think I enjoy the interaction with all the other artists involved most. I love collaborating and theatre is the ultimate collaborative art form. Directing is a stressful gig, billions of details to arrange, but it pays off.”

Now, remember those strippers?

Leary is currently at work on a new production with music written by Brian Sampson. “Betty’s, which is the working title, is a musical about strippers,” Leary reveals. “Why? Because it will make a lot of money.”

Practical theatre production or just more of that bitter Worcester sarcasm? Perhaps, in the end, only time and ticket sales will tell.