Road Less Traveled Productions and Big Foot – A Killer Combo

It’s a production almost a century in the making, combining aural tradition of AM radio (first heard in WNY in 1920) and the ubiquity of Zoom, the 21st century answer to human relations during a pandemic.

Playwright Jon Elston admits to being intrigued by the late radio show host Art Bell and his call in show “Coast to Coast AM” that’s an homage to unexplained phenomena everywhere. Elston said, “I appreciate the opportunity he would get people to come on his show and given them a forum to say wild things. He let people come on his show and say whatever they wanted.   He was a right leaning libertarian with broad views.” One mystery in particular – Big Foot – is a topic, Elston said, that is “near and dear to my heart for close to 40 years.”

Elston’s fear and fascination with this creature was the inspiration for his play “Big Foot, A Live Virtual Theatrical Experience,” presented by Road Less Traveled Productions for two performances on October 2 and 9.

Yes,  Big Foot. Myth? Legend? Beast? Hoax?  Well, even science isn’t really sure.  There’s even a branch of pseudoscience – cryptozoology – devoted to the study of the existence (or not) of Sasquatch and his brethren, For Elston, the mystery (or is it suspended reality?) is part of the allure that makes for interesting theatre during these unprecedented times.

“I wanted to write about this,” Elston said, “and Scott Behrend (RLTP’s artistic director) knew this, and he has been amused by it as most people are. But desperation is the mother of invention, so he offered me the opportunity to write the play and see it become a reality online.”

For director John Hurley, that was the key: Elston wrote the play to be produced in the online environment.  “Jon wrote the play for Zoom,” said Hurley, “so we’re not trying to adapt the play to this format.”

Running only 35 minutes, the actors – Jake Hayes, Lisa Vitrano (veteran of other Elston world premieres), Robyn Horn and Peter Horn – will perform from the safety of their homes. There was only one scene shot on location. Sara Foote, stage manager, will be in the theatre, calling the show, give the prompts, and – from her position at the computer – controlling what the at-home audience will see on screen. Elston said, “I don’t think it would have been possible to do this show in the live theatre environment.

The story is set in Niagara County, as married couple Charlie and Bea (the real life married Horns) listen to a late night radio program on the paranormal hosted by Wild Doug Wilford (Hayes) with paranormal expert Earlyne Harvest Smith (Vitrano) as his subject matter expert guest. But wait? Is that….Sasquatch himself roaming the woods surrounding Charlie and Bea’s home? Elston adds to the nuance of the story by building a twist of conflict. “There’s a nice debate in the shows,” he said. “ It’s funny, there’s a kind of humor and real situation and it’s serious, too,” Elston said. If writing about giant man-animal-being isn’t surreal enough, creating theatre to be performed for an online audience, viewing it on a screen and not on a stage like the rest of our current situation: unprecedented. Elston said, “This is an exciting time and a scary time. People haven’t done this before. We’re learning in real time from each other. There’s a lot at stake here: do we just go without theatre for six months or a year or longer?”

“Big Foot, A Live Virtual Theatrical Experience,” presented by Road Less Traveled Productions for two performances on October 2 and 9, 8pm and runs a brisk 35-minutes, possibly shorter than any Zoom. Reservations at $15 and should be made prior to two hours before show time. Find details at

Theatre Review: ‘Interrogation Room’ at Road Less Traveled Theatre


John Vines as Det. Bremens grills Matt Witten as Gordon Peck as Nick Stevens as Det. Janetty listens in.

Interrogation Room written by local playwright and Road Less Traveled Theatre Productions co-founder Jon Elston debuted as RLTP’s second offering back in 2003.  It’s back in season 16, and remains a true edge-of-your-seat drama, very worthy of its 2004 Artie Award for Outstanding New Play. Frankly, it deserves more.

Set in (you guessed it) the interrogation room at the local police headquarters, this four-hander is all about the dialogue and the intense conversations between police and those accused (or not) of a horrific crime: an 11 year old girl is raped and murdered in her own home. Who would do such a thing? Her parents and older sister are white, and her older adopted brother is black. The family lives in refined neighborhood where murder doesn’t happen…and white parents adopting a black son may not always be embraced.

Mikey (played by Dave Tyrik) is the son in the interrogation room hot seat. Detective Bremen (John Vines and  Detective Janetty (Nick Stevens) are assigned to the case. Janetty is convinced that they have their man,  but Bremen isn’t sure. Mikey’s statement has some holes in it and while he’s cooperative, something isn’t coming together.

 But did Mikey murder his pretty little sister Ashley or not?

It’s all about the psychology of the investigation here; the proverbial good cop bad cop ballet where they dance to extract a confession from a question-weary subject. But Mikey has more to hide; he’s a young black man raised by white parents, afterall, and disappointing them is not something he is wont to do. But this white detective isn’t like his folks, there’s an animosity here that Mikey doesn’t understand, and the black detective – the authority figure who reminds him to sit up straight and dignified – commands his respect based on the race they have in common.

Neighbor Gordon Peck – craftily played by Matt Witten – insists on visiting the interrogation room; he  is sure that Mikey is guilty. He is certain beyond doubt that he saw the young suspect entering the home in a suspicious manner.  And he would know that declaratively, observing this on his carefully timed nightly walk around the neighborhood  he professes to love and wants to protect.

Director Scott Behrend had the winning combination here: a robust, relevant, layered  story and four solid actors who wrapped themselves around Elston’s words. Tyrick captures Mikey’s ‘I’m guilty of something but not murder’ nuances to a t. Stevens (last season’s Elvis in MusicalFare’s Million Dollar Quartet) balances Janetty’s love of family with his tough-talking streetwise need to have justice served now. Vines’ calm simmers low and slow throughout his performance. It’s amazing that he stepped into this role with only 17 days to prepare after two other actors bowed out. His occasional dropped lines and tiny fumbles are very forgivable and almost play into his character’s struggle to find the right words at the right time. His last scene is pure triumph – perfectly underplayed and extraordinarily powerful.

It’s Witten – who played Janetty in 2003 – that stands out. He is the smarmy guy you love to hate, with his entitled pedigree and smug attitude.  He’ll remind you of the way Jeremy Irons played Clau von Bulow in the 1990 film Reversal of Fortune. Like Claus, he has plenty to hide: watch his jumpy leg and twitchy pinky finger. That’s the kind of physical cues the cops observe when your words and your actions aren’t coming together.  Witten is deliciously wicked, cunning, contemptible.

Elston’s story is character- and dialogue-driven with intensity and fire. He creates a mood – against Dyan Burlingame’s stark set – that makes our need to live in a socially just world very real. We want to fight for it, like Bremen and Janetty so the Mikeys and Ashleys never have to be victims again. Interrogation Room runs until November 24. It’s an emotional two hours and some change (including intermission), and well worth it. Tickets and details here.