For years, many of Orlando’s more buzz-worthy theater productions have been helmed by director Kenny Howard. The Lion Queen, Ladies of Eola Heights, and a rousing Hedwig and the Angry Inch are just a few popular shows that leap to mind. But this summer, Howard will direct no less than three plays that originated in Orlando in the biggest theater venue in the world—New York City.
Kenny Howard productions routinely come with sold out crowds, critical acclaim, and wagging tongues. The one thing you don’t hear is Howard’s name, and this suits the humble, mild-mannered director just fine.
Air Force brat
Howard was born in Merrillville, Tennessee, and almost immediately began moving around the globe —typical of an “Air Force brat.” First there was the move to Myrtle Beach, then England, then Denver, and they often came at formative times. The last move to Ft. Walton Beach took place when Howard was 17, and had a special sting because his father volunteered for the assignment.
“I spent the whole summer in complete despair,” he now laughs. “I would sit in the back of the car singing ‘Dogs in the Yard’ from Fame. My mom was mortified because it’s all about suicide. It was just horrible! It was very manipulative, but I was pissed off.”
In retrospect, Howard sees his nomadic childhood as an asset because of it’s formative lessons. For example, the frequent moves forced him to work through an innate shyness and get over being easily ruffled.
Howard filled those years with marching band and show choir— “all the stereotypical gay things”—and, of course, theater starting early in elementary school. The family moved to England when Howard was 11 the family moved to England; just a half-hour train ride to London’s West End and some of the best theater on the planet. It made an indelible impression.
Back in the states—and after the tragic relocation to Florida’s panhandle—Howard studied theater at Berry College in Rome, Georgia. Next came summer stock on Jekyll Island and an internship at Baltimore’s Centerstage before Howard had a life changing experience. Tired of schlepping stage props for $40 a week, he took a job on a cruise ship hosting karaoke as “Karaoke Kenny.”
And that’s where he met Orlando attorney Barry Miller. After a brief attempt at long distance dating, Howard jumped ship and moved to Orlando. The couple has been together since, and they have merged their lives enviably. Howard helps manage Miller’s successful title insurance business, The Closing Agent. And Miller has cultivated his love of theater. He has served on the board of the Orlando International Fringe Theatre Festival, where his organizational and fundraising skills were pivotal, and currently the serves on the board of Orlando Shakespeare Theatre.
The call to direct
It may seem that a summer directing plays Off-Broadway would take careful planning, but for Howard it came together piece-by-piece, and with some remarkable scheduling good fortune. The three plays showcase three of Orlando’s most promising playwrights, all openly gay.
John Ryan’s one-act comedy, My Pal Bette, is about a boy whose guardian angel is none other than Bette Davis. It was a surprise hit at the 2007 Orlando Fringe Festival, calling attention to the young writer’s talent. It also offered up a juicy role for actress Tammy Kopko, who played Davis. Kopko has since relocated to New York City, and is producing and starring in My Pal Bette at The Producer’s Club in the heart of Manhattan’s theater district. When Howard heard about it, he expressed his interest in directing.
Meanwhile, Howard and David Lee had been exploring opportunities for Lee’s Pie-Face!, a well-deserved indictment of Florida orange juice spokesman turned homophobic activist Anita Bryant.
“I love the message, especially now that there’s been some movement on the gay adoption front,” says Howard. With backing from Margaret Nolan’s Kangagirl Productions, they decided to apply for Fringe NYC and were accepted.
While Bette and Pie-Face were coming together, Howard and longtime collaborator Michael Wanzie decided to submit some of Wanzie’s work to the International CringeFest in New York. The festival celebrates “bad” [read off-the-wall] plays, musicals, and films. Wanzie’s Dragness of God and the Naked Holy Ghost will appear, as will A Day in the Life of Miss Sammy, a short film directed by Wanzie, filmed by Jason Piecarski and starring Sam Singhaus.
“Dragness is the easiest to mount. It’s a cross, a wastepaper basket with a dead baby in it, and a chair,” Howard says. “Like Wanzie’s Lion Queen, it’s spoof that’s over-the-top but with enough heart that it works really well. The time is right for his humor.”
Dragness has been cut to 45 minutes for CringeFest and will be paired with Grampa Hitler and Li’l Red Ridin’ Hood for an evening dubbed ‘Go Genital Into That Good Night.’
“I like camp, politics, and gay themes,” Howard says, noting the common threads in his summer New York City trifecta. “I’m a Southern choirboy homosexual who loves show tunes and all things gay. These pieces speak to me.”
And what of that low profile? In some 20 Orlando productions, Howard has only been mentioned in three reviews. That may change as his resume expands, but for now it suits him fine.
“One of my favorite things is to read a review that credits an actor for something that was influenced by my direction,” Howard says. “I’m fine with the actor being credited. There are a lot of egos to feed.
My Pal Bette
The Producer’s Club
June 18-28
www.producersclubtheatre.com
Dragness of God
International CringeFest
July 20-August 9
www.nyartists.org/festivals
Pie-Face! The Adventures
of Anita Bryant
New York International
Fringe Festival
August 14-30
www.fringenyc.org
