6 Questions for Matt Nasser of BALKAN BORDELLO

Matt Nasser has been a member of the Great Jones Repertory Company at La MaMa for the past 15 years. Primarily an actor and singer in New York's downtown theatre scene, his other credits include productions by The Deconstructive Theatre Project, Yara Arts, The Bruce High Quality Foundation, The Inconvenience Store, and the Big Art Group. He plays Bartender/Lawyer in Balkan Bordello, which has 4 more performances in the Ellen Stewart Theatre until April 10. Tickets can be purchased here.

1. Who or what has inspired you?

Looking back on my theatre life, many passionate directors, teachers and colleagues have inspired me. From my high school musical director, Patricia Murray, to the legendary Ellen Stewart. These individuals have been strong, quick witted, loving leaders who expertly balance mentorship, their own personal relationships and great achievement in their artistic careers. Some off the top of my head: Justin Vivian Bond, Tina Landau, Kristin Linklater, Claudia Baez, Adriana Farmiga, John Kelly, Caden Manson, Andre De Shields, Alan Cumming, Mia Yoo, The Great Jones Rep, the La MaMa office, and of course, our fearless leader of Balkan Bordello, Blerta Neziraj. Also, even though fictional, Captain Janeway from Star Trek Voyager, Huge Trekkie here.

2. What can American audiences expect from these performances?

They can expect to see performances from a company that truly cares for one another. Performers who give generously to each other and put it all out there for the audience. They can also expect to get a taste of The Balkans. Although abstracted, much of the movement, music and customs in the play are grounded in the region.

3. Can you elaborate on the international collaboration that took place in developing Balkan Bordello?

It has really been quite extraordinary and I am immensely grateful to be a part of this collaboration. It was a true cultural exchange. Being able to travel to the Balkans and dive into their history and culture has deeply enriched my life. And then, to have that knowledge and be in a rehearsal room with both Serbian actors and actors from Kosovo, seeing them share with one another, eat and laugh, have each other's backs on stage and do all that for us as well, it has filled me with pride for what we have achieved and hope for our future.

4. How have the current conditions of the world influenced your creative process?

I am just continually reminded how blessed I am that I can be a part of a creative process. How sacred it is to create and how urgent it is to create understanding and tell stories that can bring people together.

5. What have you learned from working with Great Jones Repertory?

So many things! But a story comes to mind of one of my first rehearsals with Ellen and the GJR. I think I had just turned 21 and was thrown into this company of extremely talented and well seasoned performers from around the world. You can imagine how nervous and self conscious I was in that room. Ellen had literally created a song right before our eyes, which I would come to learn was commonplace for her and she asked me to get up and sing it. Not just sing it, but perform it! Nothing in my life had prepared me for this. As far as I knew, you learned a song by getting sheet music and practicing it for a while, maybe going over it with a voice coach a few times, before you would dare perform it in front of people, let alone a theatre legend. So in my mind, what she was asking was impossible. Well guess what? it's not! Especially, with what might be considered the most intense peer pressure imaginable, that leap of faith, which seems impossible, is as easy as the thought, "Yes." You can, in fact, perform a song you just heard on the spot and that muscle gets stronger and the leap gets easier the more you do it. That leap is where great performance lives. I have learned  from Ellen and the rest of the company what a miracle our minds and bodies are and the infinite potential of the human spirit. 

6. What does working at La MaMa mean to you?

It means having a family, not just here in New York, but all around the world. I can travel almost anywhere on this planet and meet someone that has been touched by La MaMa. It means being nurtured by that family, not just artistically, but in many aspects of life and then taking that gift and sharing it with others.

Photo by Ferdi Limani

La MaMa presents

Balkan Bordello

Written by Jeton Neziraj

Directed by Blerta Neziraj

March 31 – April 10, 2022

Ellen Stewart Theatre
66 East 4th Street, 2nd floor
New York, NY 10003

Thursday – Saturday at 7PM
Sunday, April 10 at 2PM

Tickets:

Adults: $25 in advance; $30 day of show
Students/Seniors: $20 in advance; $25 day of show