• Increase font size
  • Default font size
  • Decrease font size

Flying Solo

E-mail Print

Nathan Gunn’s beautiful voice and corn-fed good looks made him a natural for the operatic stage. But it was his sculpted chest and pecs, displayed in roles like Britten’s Billy Budd, that started a whole new category of vocalist – the barihunk. A blatant display of skin was rare for male singers when Gunn began his career. But today, gym-toned baritones and basses vie with each other to be chosen as Mr. September in the barihunk calendar.

Gunn retains his shirt for the entirety of his new one-man show, Flying Solo, though you will see his knees when he dons a kilt. But Gunn is more than eye-candy, as the fact that he’s been chosen to create a number of leading roles in high-profile new operas will attest. With Flying Solo, his focus is very much centered on his family.

Hershey Felder who knows more about one-man shows than anyone since Hal Holbrook moves nimbly from performer to playwright/director with this show. Using his solo shows on musicians as a template, Felder leads Gunn on an easygoing autobiographical journey. Starting with his Midwestern upbringing, and his father’s pride in his Scottish heritage, the musically gifted youngster moves from voice lessons to leading roles while still in his teens. Moving to New York, he is hired by the Metropolitan Opera, and he struggles to balance career with starting a family.

Gunn naturally punctuates his life story with musical interludes, ably accompanied by Musical Director, Michael Bagby. From “Oh, What a Beautiful Morning” to “Largo al factotum,” and a touching rendition of “Danny Boy,” he offers solid proof of why he has had such a varied career. Though the true vocal highlight is an eloquent rendition of Korngold’s haunting "Tanzlied" from Die tote Stadt.

This production is the world premiere, and the show is both a pleasant and touching family-centered story. But it briefly blazes into another dramatic stratosphere when Gunn relates an early tale of a vocal lesson with the famous diva, Renata Scotto. A few more backstage anecdotes could not only entertain but educate audiences who have little understanding of the art of classical singing.

Laguna Playhouse    April 8 – April 22, 2018



Laguna Playhouse Announces Ellen Richard as its Interim Executive Director

May 3, 2016…Laguna Beach, Calif…Laguna Playhouse Board of Directors announced today that, later this month, Ellen Richard will be joining Laguna Playhouse as its Interim Executive Director. The Playhouse announced late last year that it was undertaking a national search guided by Arts Consulting Group (ACG) for an Executive Director to succeed Karen Wood who had held this position for the past eight years.

Commenting on the appointment Joe Hanauer and Paul Singarella, Co-Chairmens of the Board of Directors, said “In the midst of our search we encountered this wonderful opportunity to engage Ellen while we continue to seek appropriate long-term leadership. To have found someone with the extraordinary qualifications that Ellen has is thrilling. She is the recipient of six Tony Awards as producer at New York’s Roundabout Theatre Company where she was Managing Director. Ellen also has strong successes in supervising the construction of theatres in New York and also in San Francisco at the American Conservatory Theater, a rare and valuable skill set considering the contemplated major remodel and expansion of the Laguna Playhouse.” Laguna Playhouse Artistic Director Ann E. Wareham adds, “We are pleased and proud to have Ellen Richard, truly a rock-star in our field, join us as our interim Executive Director who will help guide the Playhouse during this transition.” Comments Ellen Richard, “I have quickly grown fond of Laguna Beach and the Playhouse. I embrace this extraordinary opportunity to join one of the country’s top regional theatres at this time in its remarkable 95-year history. I look forward to helping the Playhouse and working with their incredible Board of Trustees and Ann E. Wareham.”


Ellen Richard served as Executive Director of the American Conservatory Theater in San Francisco from 2010 through 2015.  During her tenure, Ms. Richard negotiated a deal to buy the Strand Theater in tech corridor of Mid-Market San Francisco, helped raise the $34,000 million to renovate and operate it and steered the design and construction for the project which opened in May of 2015. The complex featured two performance spaces and has won multiple awards.  She opened the 50 seat Costume Shop Theater, a 49-seat “black box” venue used for the company’s Master of Fine Arts students and for shows by other local companies.  Ms. Richard was also credited with expanding the company’s educational efforts, coming up with programs like the San Francisco Semester, which brings undergraduate acting students to ACT from around the world, and Stage Coach, a community theater mobile unit that reaches into diverse neighborhoods

She was also Executive Director of The Second Stage Theatre in New York City. During her tenure at Second Stage, which began in 2006 (through 2009), she was responsible for the purchase contract of the Helen Hayes Theatre, growth in subscription income of 48 percent, and growth in individual giving of 75 percent, as well as conceptualization of a highly successful gala format and “Second Generation,” a giving program through which donors enable deserving New York City youth to experience live theater. Under Ms. Richard’s leadership, Second Stage provided the initial home for the Broadway productions Everyday Rapture, Next to Normal, and The Little Dog Laughed.

From 1983 to 2005, Ms. Richard enjoyed a rich and varied career with Roundabout Theatre Company. The Roundabout that Ms. Richard joined was a small nonprofit theater company in bankruptcy. By the time she departed as Managing Director, Roundabout had become one of the country’s largest and most successful theater companies of its kind, with net assets in excess of $67 million dollars. Ms. Richard is the recipient of six Tony Awards as producer, for Roundabout productions of Cabaret (1998), A View from the Bridge (1998), Side Man (1999), Nine (2003), Assassins (2004), and Glengarry Glen Ross (2005). As producer of more than 125 shows at Roundabout, she had direct supervision of all management and marketing functions. She created Roundabout’s “Theatre-PLUS” programs, which include singles, teachers, family, gay and lesbian, wine tasting, and the 7 p.m. “Early Curtain” series, all of which grew to represent more than 10 percent of Roundabout’s 40,000 subscribers.

As director of design and construction at Roundabout, Ms. Richard was responsible for more than $50 million of theater construction for 11 projects. She conceptualized the three permanent Roundabout stages — The Broadway venues of Studio 54 and the American Airlines Theatre, and the Off-Broadway venue The Harold and Miriam Steinberg Center for Theatre She directed the location search for Cabaret and oversaw the creation of the production’s environmental Kit Kat Klub. Prior to her tenure at Roundabout, Ms. Richard served as business manager of Westport Country Playhouse, theater manager for Stamford Center for the Arts, and business manager for Atlas Scenic Studio. She began her career working as a stagehand, sound designer, and scenic artist assistant.