Author: zachsorrow

  • Lecture

    You know, I don’t think you’re really in it to win it. If you were, you’d be up earlier. You’d be watching less stupid ass YouTube videos. You’d probably be smoking less too, but you know what, none of that bothers me. What bothers me is the way you talk about it, like you’re the pinnacle of commitment, like you’re the boss, on his way to achieving greatness. But I think you’re full of it. You don’t say anything that I haven’t heard before from some schmuck who thinks he’s got the world at his fingertips, and acts like he doesn’t have to do anything to win the game. But you do. You gotta practice, and you gotta compete, and you gotta feel like every second that you’re not fighting the good fight that you’re gonna lose it all. Nothing is free, you hear me? You hear what I’m trying to say?

    I guess.

    I feel like you’re not listening, like you tuned me out the second I started speaking. Like you think what I got to say isn’t as important or as valuable as whatever the hell daydream you’re wandering around in, like I don’t really know what I’m talking about so why should you listen to me. But you know what, I know a couple things. I’ve been through the ringer a few times, I’ve figured out what it means to get knocked down and struggle to get back up again, to rediscover what it’s like to stand on my own two feet. I know a thing or two.

    Yeah, I know.

    Yeah, you know. Sure. But there’s a difference between knowing and just saying you know, you know?

    I guess?

    What are you trying to do, huh? You wanna make me shut up? You want me to go away? You want me to leave you alone so you can get back to whatever the hell you’re doing in here, like I’m interrupting some important meeting, like you gotta get back to business, like the second I leave here you’re NOT just gonna go back to trolling Reddit and commenting on some other asshole’s comment about some OTHER asshole’s comment, right?

    Uh…

    You want me to go? Because that’s the difference here, I’m waiting for you to hear me and then get to WORK, like, MAKE something, doesn’t matter what, just stop consuming and consuming every second of the day. Take the potential that’s sitting somewhere in there and spark it up, learn what it feels like to turn nothing into SOMEthing.

    Can I have that toilet paper please?

  • The Bottom of the Sea

    Deep in the darkest bluest ocean trench there once lay a single urchin. His name was Ben.

    “Hi.”

    Ben wasn’t always the first choice for social company.

    “That’s right!”

    He got made fun of a lot for his awful spines.

    “They’re very sharp.”

     The other sea-dwelling creatures often pretended they didn’t know his name.

    “Wanda calls me Tyler.”

    But one day, Ben had a big idea.

    “Fuck this place!”

    Ben took his little urchin spines that everybody hated so much and he packed up all his deep-sea belongings and set out for somewhere better.

    But first he had to say goodbye to Ma.

    “MAAAAAA.”

    Ma was also an urchin, obviously. She was proud of her spines.

    “WHAAAAT.”

    Ben stood before her, covered in his belongings, each skewered on a separate spine.

    “Ma, I’m goin’.”

    “Bring a snack.”

    And with that, he took a big about-face and marched his lil’ urchin ass out the door.

    Ben took a train. The kind of train that apparently exists down at the bottom of the ocean, stop asking questions.

    After a long time out on the rails, Ben came across a new place. A new home. A refuge, from all the slightly socially-awkward interactions he’d accumulated back at the Ol’ Trench that clung to him like cellophane.

    “I’m here!”

    It was also a Trench, he wasn’t like tryin’ to go to Miami or some shit, he just didn’t like being bullied by Wendy. But this Trench had a Plaza.

    He waved goodbye to the Conductor Fish, who gave him a big fishy thumbs up! Aw yeah! And then he scooched himself off the train.

    The Plaza surrounded him, all the hustle and bustle of deep sea life, Neon signs, unabashed carnivorous hunting, street performers, the works. Ben tried to breathe it all in.

    “Hey, watch it bub.”

    A little shelled critter he didn’t recognize had careened off his spines, the armor deflecting his understated barbs.

    “Sorry!”

    Ben wandered the Plaza, taking in the sights and sounds, but not the smells. It kinda smelled like shit.

    Off at the far end of the courtyard, he spotted her.

    Van.

    Van was also an urchin. I dunno, call it a lack of creativity, I just think it makes the most sense. Boy urchin, girl urchin, it’s fine.

    She was sharp, he could tell, oh yeah. Something about the way she just kinda stood still there in the light of the neon “OPEN 24/7” sign, created this aura around her, Ben was captivated. He found himself sliding in her direction and didn’t notice the Souvlaki Stand right beside him.

    “Heeeeey, I’m woikin’ here!”

    Ben came to, and somehow Van left his mind.

    Souvlaki Steve was there in front of him, holding a Pita in one hand, and in the other, the most fantastic pair of tongs Ben had ever seen.

    I mean seriously, he couldn’t believe it. Ben had always appreciated spatulas and even carving knives, but he knew there was nothing more effective for clamping down on something that’s too hot to hold in your bare hand than a pair of tongs, and these were like really nice.

    Souvlaki Steve wielded his tongs with precision, with grace. He would never stuff a pita without a perfect pinch of souvlaki steak. Ben watched him jab it into the vat of shaven meats and nestle it into the sauced pita without even breaking a sweat.

    “Whoa.”

    “Oh yeah motherfucker.”

    Spotlight on Souvlaki Steve. The world drifted away. Ben could tell something extraordinary was happening. What was once day had become night, the sun (yeah whatever, bottom of the ocean, sue me) was overtaken by instant darkness, except for Steve, stuffing pitas in the limelight, with an audience of Ben.

    “Could I get one o’ those buns?”

    Souvlaki Steve, drenched in drama, soaking in the light, spoke through the mist, with a reverberant echo that stretched beyond the walls of the Plaza.

    “Yeah buddy I got your bun right here.”

    Without batting an eye, Souvlaki Steve flashed out with his tongs and pinched exactly $4.57 off one of Ben’s skewer spines.

    Instantly, the light of day returned, the fever dream cut short at Souvlaki Steve’s receipt of his due compensation.

    “Here ya go!”

    The pita outstretched across the stand, Ben’s eyes grew wide, wide as, like, they were fuckin’ big. He took the pita, ate it in one bite, and that was the end of that.

    By the time Ben returned his attention to Van at the other end of the Plaza, stock still beside the “OPEN 24/7” sign, she had already been approached by another urchin from out of town who was instantly in love with her and had wooed her into spending their lives together living it up in the Big City.

    Ben tried to remember the flavor of his Souvlaki. He struggled to recall if he’d actually enjoyed it or if something really weird had just happened with that Souvlaki Steve guy.

    “How did I know his name?”

  • Calling Back – Chapter One

    I tried to make the call almost a dozen times before I could hang on past the third ring. They said this would happen. I’m sure they learned pretty quickly that the company policy of only charging for answered calls would keep skittish customers like myself from feeling like I’d blown a bunch of money on nothing.

    It was meant to feel like any other phone call: just open the app, put in the exact date and time, and enter the phone number like normal. Clearly all the complex processing was happening in some server somewhere, but all I needed was a regular ol’ data plan.

    My therapist begged me not to do this. I mean, maybe “beg” is a bit heavy, but she wasn’t shy about her deep philosophical belief that this was a bad thing in just about every way; bad for the callers, bad for the recipients, bad for the universe writ large. She said it was a kind of “dwelling”, that it was antithetical to the process of moving on and letting go, that making just one of these calls would have unforeseen consequences that outweighed the potential benefits by a kiloton.

    Evelyn, on the other hand, was the reason I’d even considered this in the first place. She said it was the greatest decision of her life, and now she was making two or three calls a week. Truth be told, it was just about all she wanted to talk about these days. Which I get. I think.

    The day I made the call is honestly a little hard to remember at this point. I think maybe I was standing at the kitchen counter, like I’d just made a coffee or something and figured I’d give it a go? 

    It rang and rang and the sound of the ringing surprised me, it took me back. I knew exactly what day to call, it was very meticulous. I know my hand was trembling, I think I put in an earpiece so I could put the phone down. Which he couldn’t do. He?

    The fourth ring was a milestone for me, and the closer I got to having to speak the more treacherous the first words seemed. But finally, an answer.

    “Hello?”

    He sounded very different than I expected.

    They were very clear in their language that I should think of him as him. As someone else. They said it was vital to my understanding of what was happening, and how it might affect me and the world around me. They said that if it was “me”, I’d have some recollection of the call, that it would be some kind of loop playing out, but they insisted this was different. The technology depended on a reality in which this is the first “time” the call is happening, that nothing about my life could be changed, avoided, amended, it’s not like that. It’s just a call.

    My throat shut. There weren’t any words to say now. I had so many. So much that I had practiced in the mirror, so much time I’d invested to prepare, and it all crashed.

    I know that time has its way with all of us, but you don’t usually get faced with your own unwound entropy in action, no, in an interaction.

    “Hello?”

    I don’t know if it had been three or thirty seconds but the repetition slapped me to consciousness. “Uh yeah, hi! Is this…Arthur?”

    “Yeeeeees?”

    “Um, wow, you sound different than I remember.”

    “Uuuh who is this?”

    This was the hard part, the thing they always mentioned in the documentation about the process: you can tell the truth. You don’t have to pretend you’re some made up uncle in the U.P. who hasn’t been in touch for ten years, you can just be honest. It was basically the biggest selling point.

    “Well this is gonna sound crazy, but I’m you. I’m calling from the future.”

    Now I’d had about a hundred nightmares of this exact moment, the silence, the rejection. I’d heard about this. The company obviously tries not to make a big deal out of the possibility but you know how people get online, there was no shortage of negative outcomes.

    I thought I could hear him breathing for a moment, like he was about to speak but couldn’t find the words. They also talked about this, about how to help get past this.

    “It’s ok, I know it’s crazy. It’s pretty crazy for me too.”

    “But how could…”

    “Can I prove it to you?”

    I tried so hard to imagine what this moment would be like for him, what he must be thinking, what I would have been thinking if it were…me? Because it…was? But not exactly.

    “Is this a prank?”

    “No no no, I promise you this is real as could be, and I’m not trying to scare you. I know things are crazy right now.”

    “I just don’t understand…”

    “May… I ask you a couple questions.”

    “…like what?”

    “Well, uh, ok. Can I ask how you’re doing right now?”

    “What do you mean?”

    “How are you? Has anybody asked you that today?”

    “Uh…yeah, my mom asked me that a little while ago, but…”

    “Buddy is your dad in the hospital right now?”

    A silence. Then he said,  “You kinda sound like him.”

    He made me smirk. “No man, you sound a lot like him, and that’s not gonna stop.”

    Another silence, this time a little longer, a little different.

    “How are you calling me?”

    “Uuuh, that’s really hard for me to say. I am calling you through…an app on my phone that lets me call any phone number on any specific day in time.”

    “Yo what?”

    I couldn’t not laugh; hearing it out loud made it sound so insane, but here it was, working. Just like all the ads. “Yeah! Isn’t that crazy?”

    “Ok hold on, I’m not trying to like grill you, but…”

    “You need proof.”

    “I mean, yeah, I…what you just said sounds insane, but I could believe it.”

    “But it could also equally be bullshit, absolutely.”

    “Right, you can’t think I’m just not gonna ask questions…”

    “Yeah, for sure, I get you,” I said. So casual? Is that weird?

    “How old are you?”

    “Uh…. I’m 38.”

    “On shit, you’re not that old!”

    “You’re goddamn right.”

    “So like…this time travel shit is gonna happen, like, soon?”

    This is not on the agenda, but they said to be truthful, I guess. “Yeah, well, I hadn’t thought…ok, so there was an AI revolution in 2028. I can tell you all the…details? But I’m not an expert at all, I’m honestly just a customer. I don’t know how it works, but you gotta believe that if you’re skeptical right now, I’m utterly convinced.”

    “Do you remember this conversation?”

    “I…don’t, and it’s hard to say why. I think we live on different timelines or something? Some multiverse shit they discovered when quantum computers really went mainstream about…two years ago?”

    “Yo.”

    “Yeah, I’m telling you, we’re both going through this right now.”

    “Why did you call me today?”

    The gravity of the situation returned. “Well, I knew…”

    “You knew about Dad.”

    “Where are you right now?”

    “Uh…I’m in the theater.”

    “Where?”

    “At school.”

    “Oh dude, what time is it?”

    “I think it’s like 5:30. It’s been pretty quiet in here.”

    “Yeah, no rehearsal?”

    “Wrong season.”

    “Ah, gotcha.”

    “Yeah, damn. So it was your birthday last week too?”

    “Uhhh, yeah.”

    “Fuck.”

    “Yeah.”

    By this point I had made it to the sofa. This was not what I expected. I came with this plan, and it wasn’t working. This was so…easy? So friendly, like we were buds. I felt…I don’t know, it’s weird. The way that I felt right then was…seen? But of course I did, it’s like having somebody else tell you your own thoughts, that validation was…shocking.

    “How is Dad?”

    “Uh…yeah, he’s ok. He’s still in the hospital, it’s been a bit but he’s doing a lot better. I think they said it was a stroke, but it was like not that straightforward for some reason? I don’t really know. But yeah. We have so much food in the house. Hitchcock people went crazy.”

    “Oh yeeeeah, I remember that. It’s weird, I feel like now I wouldn’t be able to eat any of that stuff.”

    “Wait what?”

    I wasn’t sure how much to divulge, but I guess I was opening up.

    “You’re probably gonna be surprised to hear this, but I’ve been vegan for about four years.”

    “Wait really?”

    “Yeah, I cut out meat and dairy first, but then there was a massive bird flu pandemic, and it just became necessary to cut out everything else for long enough that I didn’t miss it.”

    “That’s CRAZY.”

    “It IS fuckin crazy. But I can’t believe that we all took so long to see it.”

    “I don’t get it.”

    “No no no, don’t worry about it, I don’t want to preach to you, look. This stuff can’t be changed. I don’t know how this call works but the long and short of it is that I’m not trying to warn you, or convince you to do anything. You just live your life. I’m nervous to tell you too much stuff about the future because—“

    “Are you fucking kidding me?” He definitely had that anger I recognized. Still recognize.

    “Yeah, the point is…”

    “The point? There’s a point?”

    “Look, no, that’s not what I mean. I can’t…change your life, I can’t…stop Dad from falling. I can’t make you break up with Katie sooner, I can’t tell you to start coding right away, it doesn’t make a difference. I can’t rescue you from the shit. I can’t stop you from fucking up again and again because that’s not how this works. But I can talk to you. You have to live YOUR life. I already lived that part of mine.”

    That silence came back, re-gestating. The years between us seemed to stretch further apart like stars in an expanding universe, with swelling vacuums in between. I had gone too far. This wasn’t right, this wasn’t the way.

    “Who’s Katie?”

    Oh man, he really had no idea.

    “Look, I don’t even know if it’s all going to play out the same for you, but I know that right now you feel really fucking lonely.”

    He was silent, and it hurt so much, because I finally understood how much it had always hurt to be on the receiving end. But I knew he was trying to decide what to say: ruminating on whether the words he was bursting to release would help or hurt; would the repressed thought bound right behind his lips go too far; would the fear that his heart couldn’t speak truly ever go away?

    “Hey what are you thinking?”

    “I don’t know! I’m…this is the most fucked up thing that’s ever happened, and it’s happening RIGHT NOW.”

    “Yeah I know I know, I didn’t call to make this harder for you, I…”

    “So why did you call? Was this just for you? To make you feel better after you’ve already been through the shit?”

    “No, please, that’s not it at all. The shit is the best part. If I told you all the secrets, you’d just follow the road map, but you wouldn’t live.”

    “That doesn’t make any sense!”

    “Yes it does, and I can only tell you that in hindsight. I’m happier than I’ve ever been. I’m calling to tell YOU that. I’ve been dreaming that I could see the light for the first time again. The dark time is a necessary step, everything without it is meaningless. It’s what makes you.”

    The silent refrain. Processing.

    “This is terrible though. I feel so helpless.”

    “Are you still at the theater?”

    “Yeah, I haven’t moved.”

    “Go outside.”

    I was sitting up now, electricity in my hands. I was there with him, walking uphill to the back of the auditorium, leaning on the door handle with a forearm, shouldering into the hallway, bee-lining it for the glass portal outside.

    “Ok. I’m here.”

    “Breathe.”

    Breathe.

    I said, “You don’t ever have to be alone.”

    I could hear my heart, and his breath. Slow.

    “Can you call again?”

  • MDQ Has Opened!

    It’s happened!

    Look, I know this show has been around for nearly 15 years, and the music in it is far older than that, but something pretty special is happening with this new production in Aurora.

    I feel like we’re approaching a new age in “Immersive Theatre”, where audiences are given more than just a show, but a three-dimensional experience, where the attention to detail goes far beyond the props on stage. Paramount has done this pretty damn well with the new Stolp Island Theater, and I am so happy to be a part of it.

    The Stolp Island Theater has 98 seats. For the record, the Paramount Theater has just over 1800 seats. To compensate for this, MDQ had an entire weekend of opening performances, 5 in total, and that still only amounts to about a quarter of the number of butts that can fit in a single typical Paramount “Broadway” opening night. Wild.

    But this did something really cool that I didn’t expect. Normally, that one, big opening performance has all the excitement and anxiety of having family, friends, colleagues, and the press all at one show. Instead, at the Sunday night “Company Opening”, I got to experience the show after all the stress and anxiety had burned off, and this fantastic cast just got to play for their loved ones. It was exhilarating, and I hope that this kind of energy can persist throughout this unnaturally-long run.

    In other news, I got to play Carl Perkins for 3 previews last weekend, stepping in to the lead guitar role for a day and a half. What can I express but gratitude? It’s not like most other musicals where the challenge is to nail all the lines and blocking, but here, in MDQ, an understudy is a new bandmate, a new organ in the body of the show, and the ebb and flow of each interaction has to be completely renegotiated by everyone on stage. I am SO grateful to have Alex, Bill, Garrett, and Madison (and especially Jake and Dan) to play with, for making my version of Carl feel right at home. (And, of course, I’m grateful to Chris, whose Carl has been so fun to emulate, and who I know will welcome me with the same generosity in the event I’m playing Elvis.)

    Now that the show is open, I expect to spend a lot less time at the theater, which is a blessing and a curse; it’s always nice to be granted some additional time for myself, but the question of will I/ won’t I be going in for someone an hour from now is always a delicate emotional balancing act.

    For now, it’s guitar practice, Elvis wiggling practice, Lizzie Time, and Foster Cats.

    If you’re interested, get tickets HERE.

  • Talk

    It usually starts with somebody saying something, a bit of dialogue already in progress.

    Something like, “Teri, you’re not listening, this is important to me.”

    Or, “Uuuuuuh I think he went that way, but that was like an hour ago.”

    Or, “If I wanted you to know where I’ve been I would’ve told you.”

    But this time it started with silence. The scene was already well underway, but Marla and Grace didn’t have anything to say.

    They’d both been sitting in their respective dining chairs for about ten, fifteen minutes, not a word uttered, each intently focused on the other. Eyes locked.

    Grace could see the moisture in Marla’s eyes, but she knew how dry her contacts could get, so she wasn’t ready to lay the blame on any potential emotional turmoil. Not yet.

    Marla’s fountain pen rested across her middle finger and thumb, her index finger hooked over the top. She often held it like this, soaking in the placebo effect of writing, without the writing part.

    She loved that pen. It had accompanied dozens of book signings, and she’d even gone viral at one point for dipping the tip into her little ink pot before making her mark — her signature signature, if you will.

    The air had thickened, like invisible smoke, too heavy to breathe, too dense to break the tension with something stupid like words.

    Grace hated that pen. She couldn’t really explain why, but she internally characterized her distaste as the same kind of resentment you might feel toward someone who keeps their childhood teddy bear at arm’s length, despite being well beyond the expected years. The pen was a security blanket, a crutch for discomfort, and it made Grace feel something that here they were, together, in the home they built, and something was happening under the hood that glued that obnoxious, outdated pen to her partner’s hand.

    And still, no talk.

    Marla’s stories often imagined a future that she liked to call “Post Tech”, where humans had progressed far enough so as not to need the devices we all rely on today. But of course there was tech, it was just biological modifications that could connect a person’s brain to the Net directly, so nothing external was necessary. No desktops, no phones, no screens. This is where Marla dreamed of being, where her curiosities about Grace’s mind could be investigated beyond words, where the neurological activity of emotions could be directly shared, without losing anything to translation. No need for words, never again.

    But here am I, shackled to the present, where words comprise the entire utility belt of understanding, and I carry the lens to the place where Marla wishes to go.

    Interestingly enough, Marla isn’t welcome inside Grace’s mind. They’d been together for over twelve years, seen all the clichéd ups and downs, weathered many storms. They were good. Naturally, Grace read everything Marla had ever published, dating back to all the silly periodicals in the Harvard Gazette that Marla kept in that oversized portfolio in the attic. She’d climbed up one January with the Christmas Lights and literally stumbled upon the old folio. Before she knew it she’d lost two hours to the deep dive on Marla’s past, feeling somewhat naughty for having discovered the works on her own, and more intimate for reasons she struggled to describe.

    Words were not Grace’s thing.

  • Heading into tech for MDQ

    We start tech for MDQ on Tuesday, and I am ready. Of course, I’ll still mostly be watching, but man, this thing is coming together so well. Truth be told, we are desperate for an audience, and it’s amazing to remember that we’ll have one in just over a week.

    Our team had the rare (honestly, I’ve never experienced this before) opportunity to spend our last week of rehearsal in the space, where we got to run the show, rehearse as normal, and work out a bunch of the audio idiosyncrasies that make this kind of musician-focused musical an above-average challenge, a whole week before our official tech process begins.

    This theatre Paramount has built is incredible. There is a strong feeling of immersion that will smack every guest across the face the moment they enter, and it carries through the entire show. I’ve never seen anything like it, and I don’t think the people of Aurora are ready. It’s essentially a show inside Sun Records, and it feels like it.

    That said, it’s a brand new space, and I am so grateful that we were gifted extra time to iron out some inevitable kinks before we really feel the deadline approaching.

    I am honored and humbled to serve as an understudy for this show. The entire cast is brilliant, and I’m learning so much from sharing the space with everyone here. And I’m going on for Carl Perkins a few times, which is sweet!

    If you want to see MDQ, this is the place for tickets. Get on it though, they are selling fast.

  • Million Dollar Quartet at Paramount

    At long last, I am finally starting rehearsals for Million Dollar Quartet at Paramount Aurora’s new Stolp Island Theater. Years ago I had the joy of playing Elvis at Theatre at the Center, but this time around I’ll be understudying both Elvis and Carl Perkins. Let’s just say I’ve been putting in a bit of time with my electric guitar since 2019.

    We’ve got an incredibly talented cast, and I can’t wait to start jamming. I can only imagine what it will feel like in this new space, but the renderings on the Paramount website have got me quite excited. It looks like it’s going to be a fully immersive experience for audiences as they arrive. I’ll have more updates as the process goes forward.

    It’s weird, my entire theatrical upbringing seemed to highlight the importance of training as an actor/singer/dancer, but I’ve found that as a working professional, there is a strong divide between what it means to be an “actor” and being a “musician.” I wish that my education had been structured to include a little more integration between these two worlds, because most of the work I’ve done over the last five or six years has involved my musicianship in a way I never anticipated. The Fortunate Sons have introduced me to the live music industry, which is completely different from theater, and at the same time, the last decade of musical theater has seen a huge increase in actors playing instruments on stage. Is it a budget thing? Probably, but there’s something to be said for having an instrumental skill. I’d put it on par with voice lessons, to be honest.

    Either way, come see MDQ. It’s going to be fantastic.

  • Mr. Zach’s Patreon

    I’ve just launched my Patreon! Is it long overdue? Absolutely! Is it free? Yep!

    Check it out HERE. Any new videos, livestreams, or behind the scenes content will make its way there.

  • Personal Training

    STRETCH. STRETCH. DON’T GIVE UP, YOU ARE ALMOST THERE.

    It’s easier when somebody else is doing the thinking for me, because in the meantime, my own brain is thinking GET OUT RUN THIS SUCKS. But it’s all a trick, you see, not so much a war between myself and my body but myself and the future. Time is this crazy sumbitch, completely uninterested in what we’re thinking, feeling, doing, or being, and the only way to make peace with that is to see time differently. And sometimes it helps when Gary is shouting at me.

    COME ON, THREE MORE.

    Thanks, Gary. This is why I pay you the big bucks. What’s crazy to me is that Gary lives an entire life outside of SporTime Fitness. I suppose I know a couple things about him, he’s got a sister, a kid, but I have no idea what his husband does. Or even what neighborhood they live in, for that matter. And what’s crazy too is that the life Gary lives outside of here is exactly as long as mine. He will live the same number of seconds as me before I see him again, like we’re running parallel on the same track, but we’re also running at exactly the same pace, even though he’s guaranteed to look way better in those running shorts. I’m probably in khakis. Whatever.

    TWELVE. ELEVEN. TEN.

    Lat pull-downs now. These are always sort of a fun little distraction from the rest of the workout, cause in between reps I can pretend for a fraction of a second like I’m floating off my seat, which is probably a sign that Gary’s pushed the weight a little high, but it’s worth it. I do wonder if this is Gary’s career or his side hustle. He could do lots of stuff, he’s got the charisma, the looks for sure, but he’s got this something about him that says this is his true passion. I dunno, it’s unfair for anybody to be treated like they’re living in a side quest, but I’m sad at the idea that anybody’s dream is to help rich assholes feel like they’re being healthy.

    HOLD IT. HOOOOOOOLD IT.

    Cause who am I? Sure, I’ve got enough vanity to spend the money on personal training, but it’s not because I’m swimming in cash, I feel like I really do care. I want to do well with the time I have at the gym, and whenever I tried working out on my own I just spent 5 minutes scrolling Instagram by the locker room before wandering to the elliptical that I know won’t force me to go above level 3 resistance. You know, it looks like you’re working a lot harder than you are on that thing, and there’s a TV. See what I mean? Thus, Gary.

    NICE JOB, AND REST.

    Oh ho hooo, Gary, that I can do.

  • The Inaugural About Me Post

    Why not start this off with an overly-detailed autobiography?

    There’s something inherently weird about the autobiographical “About Me” page. Do I give you my life story, or is it silly to presume you’re interested in all that? Is this where I give you my Mission Statement, a little glimpse into my general ethos? Is that already happening with this weird, meta introduction? Whatever. We’re all trying our best.

    I’d like to call myself an Artist. I have a lot of thoughts about what it means to connect through performance, through writing, through my work, and through developing relationships. I hope you understand how sincerely I appreciate that you’re here, and that you’ve read this far, and that maybe we share an idea of how we’d like to leave an impression on the world.

    My Story – The Short Version

    I’m a native New Yorker, but I’ve been in Chicago for about 12 years. I came to study Theatre at Northwestern, and I fell pretty hard for Chicago.

    I’ve spent the last decade performing around Chicago and the Midwest, with two years in the middle there spent aboard cruise ships with Disney and Royal Caribbean.

    In 2016, I met the love of my life, Lizzie, and immediately left my heart in London. We married in 2019 and she moved to Chicago in 2021.

    Since 2019, I’ve been a member of the The Fortunate Sons, Chicago’s premiere tribute to Creedence Clearwater Revival, where I’ve played all around the Midwest, and a few stints touring the Netherlands (Dutch people love Creedence!).

    In 2023 I created Mr. Zach’s Beatbox Factory, my one-man live-looping street performance, where “You Come Along and He Makes A Song!” Check out Mr. Zach on my YouTube channel.

    Ok, the long version is…. long….

    My Story – The Long Version

    Way back when I was just a little bitty boy, living in a box under the stairs in the corner of the basement of the house half a block down the street from Jerry’s Bait Shop…. wait, that’s Weird Al’s “Albuquerque.” Sorry, I got confused there for a second.

    I was born in White Plains, New York, a pretty typical white, suburban upbringing in the early 1990s. My parents, Donna and Steve, are two perfect examples of dream-seeking Americans who left their home towns in search of something grand, who found themselves in the Big Apple, and fell in love like anybody else used to: working at Orbach’s department store. I have to take their word for it, because Orbach’s was long out of business by the time I was born.

    My performance background goes all the way back to singing in church choir when I was four, and it only grew from there. Little me had guitar lessons and piano lessons and whatnot, and when I was in Kindergarten, I put on a tiny tuxedo and sang “When I Was Seventeen” at my Elementary School talent show. I’ll throw a video over there somewhere; it’s pretty cute, wrapped up in that classic 90s home video VHS nostalgia that studios spend thousands of dollars to reproduce.

    In sixth grade I ran for Middle School Treasurer. My campaign included printing and handing out hundreds of little masks with my face on them, taped to popsicle sticks, and boy did that work. Apparently I gave a good speech because the choir teacher told me I should audition for the musical. Ms. Davila, thank you. You changed my life. Little three-foot-tall Zach played Mr. Applegate in Damn Yankees that year, and thus began a life-long excursion of seeking unreciprocated attention from a stage. There’s nothing like it. It’s fitting, I think, that my theatrical debut was literally playing the Devil. Little has changed.

    I spent the rest of my formative years engrossing myself in theatre. My Dad likes to tell people about when his seventh grade son had to break the hard news that he didn’t want to play baseball anymore (and honestly, I probably didn’t want to play baseball long before that, but don’t tell my Dad, he doesn’t need to suffer the heartbreak a second time). My after school activities were split between the plays at my high school and performing with The Play Group Theatre, the most fantastic children’s theatre company that is still changing lives today.

    When I was 13, I made my TV debut on As The World Turns, the record-breaking soap opera, as the ghost of a long-dead character named Bryant, haunting his father with guilt during a psychotic episode. The next year I played a Peeping Tom Boy Scout on Law & Order: SVU, spying on a woman from a Manhattan rooftop with a telescope. I think that episode is on Netflix. I met none of the stars, but what can you do? A couple years later I was back on As The World Turns as “Dylan” a.k.a. a “bad influence.” That was fun. I wore my own jacket and a lot of hair product. I’ve got clips of that too, it’s fun. My friends still harass me about my line “Girls drinking beer!” Yeah. Cool kid.

    After high school, I made the big leap out of New York and moved to Evanston, IL, to study Theatre at Northwestern University. I’d considered several programs, of course, but my visit to Northwestern’s campus instilled in me the kind of excitement that you might reserve for certain coming-of-age films, where a youthful idealist sees himself instantly at home. Granted, visiting Evanston in October is a very different experience from living in Evanston come January, but I digress…

    My time at Northwestern was monumental. I’ve never been busier (to this day, I think), visiting classes in between rehearsal for a show each quarter, work-study, and A Cappella rehearsals with Freshman Fifteen A Cappella. If you’ve heard any of Mr. Zach’s Beatbox Factory, you can probably guess that F15 had an outsize impact on how I express myself through music. And not to mention, those have continued to be some of my closest friends more than a decade later. F15 was actually an All-Male A Cappella group for its first 20 years, but has since made the switch to being Northwestern’s Only All-Bowling-Shirt A Cappella group. I couldn’t be more proud.

    Anyway, at Northwestern I was also involved in several historic institutions like the Waa-Mu Show (the largest student-written musical in the country, for which I served as writer, assistant director, and cast member for 3 years), the Dolphin Show (the largest student-produced musical in the country), and many other productions with StuCo, the Student Coalition of entirely student-produced theatre.

    My time at Northwestern made me hungry to pursue performance in any respect, and taught me that being an actor isn’t about becoming famous; it’s about using stories and relationships as a means of truly connecting with other people, whether they’re in the audience or they’re sharing the stage with me.

    When I graduated, I made the literal last-minute decision to stay in Chicago. I’d always had this idea that I’d return to New York, live with my parents, and save some money while I could commute into Manhattan to audition and start my career, but the very weekend of my graduation, my family took a trip to the Upper Peninsula of Michigan to visit some relatives, and on the drive back, it dawned on me that I wanted to stay in Chicago and make my own way. I had this feeling that I’d become complacent or something, and regardless of how “right” I was at the time, I am so grateful I made this decision, because I wouldn’t be where I am today if I hadn’t taken that risk.

    I moved out of Evanston into Chicago proper, into an apartment with two of my closest lads in West Lakeview, a place we called The Attic. I got my first job at the W Hotel, checking in guests at the Welcome Desk in an all-black suit provided as my uniform, which I still have, because it fits, and it’s got this sick W-brand pink lining on the inside. Who cares what it’s made of, am I gonna throw it out? You’re crazy.

    A few months into my stint at a day-job (which was really more like an afternoon job, since I was usually there for the afternoon check-ins until about 11pm), I booked a role in The Sound of Music at the Lyric Opera of Chicago, as Rolf, everyone’s favorite “You are 16 going on 17, wait it’s Act 2 and I’m a Nazi now, but don’t worry I’m still a good guy.” Stunning production, stunning theatre, can’t recommend highly enough.

    My time at the Lyric Opera opened the door to meeting Gray Talent Group, one of the hardest-working, loyal representatives an actor could ask for. They’ve seen me through every bit of the last decade with an unwavering support that will always make me grateful.

    Soon after Sound of Music I was whisked away by the Mouse, where I was “friends with” Aladdin in the Aladdin Musical on board the Disney Fantasy. I spent a year away, and I couldn’t wait to get back to Chicago, where I promptly blew all my savings and booked another cruise gig with Royal Caribbean.

    Now, to say I was unprepared to leave Chicago for another full year is an understatement, but after moving everything I owned to my parent’s house in Florida, I joined the inaugural cast of Grease on the Royal Caribbean Independence of the Seas as Doody, and I promptly met the most incredible Frenchy on the planet. That was Lizzie.

    A year at sea with Lizzie changed everything, and after two years of a long-distance romance between Chicago and London, we got married in the company of our parents and siblings at the Orlando County Courthouse. Then, after a Global Pandemic and two more years of long distance, Lizzie joined me in Chicago where we could finally start writing the story of our future together.

    In the midst of all this long-distance pining, my professional life took a turn when I joined The Fortune Sons, Chicago’s premiere tribute to Creedence Clearwater Revival. The band was in need of a new singer for an upcoming tour of The Netherlands, and I managed to eke my way in. Now, we’ve gone to Holland together four times, and the songs still haven’t gotten old. True story: remember that Elementary School talent show? When I was in third grade, I played and sang “Bad Moon Rising”, my first public performance with the Fender Stratocaster I still play now. (Don’t worry, I’ve changed the strings a couple times since then…)

    The last few years in Chicago have stretched my skills in so many directions, from understudying Elvis in the short-lived Heartbreak Hotel, to finally playing Elvis in Million Dollar Quartet at the beloved Theatre At The Center in Munster, IN (shout-out to Munster Donuts!), to swinging in the Goodman Theatre’s historic production of The Who’s Tommy, and to playing Perchik in Fiddler on the Roof at Drury Lane Theatre, one of the most gratifying artistic experiences of my life.

    And all this time, I was spending my free time making crazy music with my voice and a loop station. After years of stalling, I finally debuted Mr. Zach’s Beatbox Factory in 2023, a street performance that takes my love of improvised music, a cappella, beatboxing, and a complete and utter lack of shame to the streets of Chicago. I don’t think there’s ever been a more exciting part of summer than knowing that soon, somewhere in Chicago, a man in a big suit is gonna make some songs on the spot with the help of strangers.

    That brings us the to the present. Now, every day is in pursuit of the next story, the next adventure, the next chance encounter. There’s always guitar practice, journaling, wondering, learning lines, reading. I’m always craving inspiration, and finding it in the smallest moments, always falling in love, with Lizzie, with work, with Chicago, always hoping that today will be a day to remember, and knowing that it’s up to me to make it so.

    I’ve said it before and I’ll say it again: I’m so glad you’re here. Let’s make something.