Today we’d like to introduce you to Perrin Post
Thank you so much for sharing your story and insight with our readers. To kick things off, how did you get started?
My story starts like so many other actors. I began acting in musical theater when I was twelve (The Music Man); I continued performing in high school, Wright County Arts Association summer musicals until I went to the University of Minnesota. I ventured into community theater in the Twin Cities when I wasn’t cast at the U of M (resume available). I began working professionally with Troupe America, Mixed Blood, Chanhassen Dinner Theater, Penumbra, History Theater, and MN Festival Theater until I moved to New York in 1993. My New York experience led me to write and produce my musicals and plays. My contacts were mainly in Minnesota, so I moved home to start Buffalo Gal Productions. Investors in my first show (Ten Years Later- an interactive play with music) were my classmates, teachers, and hometown folks from Buffalo, MN – hence Buffalo Gal Productions. At Buffalo Gal Productions, our mission is clear and unique. We strive to produce and create original and rarely-seen Broadway and Off-Broadway works by, for, and about women. Our aim is to create opportunities for artists and audience members alike to participate in new theatre experiences, fostering a diverse and inclusive environment that empowers women in theater.
About: Buffalo Gal was founded by performer, director, and producer Perrin Post in the spring of 1996 and was incorporated in 2001. In the fall of 2000, Buffalo Gal Productions negotiated to reopen the Loring Theater space, bringing in Theater Latte Da and others as a shared venue for various companies.
With a strong focus on works that amplify the female voice and presence, Buffalo Gal Productions has achieved remarkable success. We have proudly produced seven shows to date at a variety of Twin Cities area venues, many of which were so well-received that they prompted five encore productions. This success is a testament to our commitment to quality and our audience’s enthusiasm, fueling our excitement for future productions.
BUFFALO GAL PRODUCTIONS: ARTISTIC DIRECTOR / DIRECTOR / WRITER / AEA ACTOR / PRODUCING / DIRECTING
CREDITS: Sweet Land, the Musical (BGP workshops / History Theatre world premiere) is based on the film Sweet Land (Ali Selim) and the short story, A Gravestone Made of Wheat (Will Weaver). Sweet Land is a poignant, lyrical celebration of land, love, and the American immigrant experience. In 1920, Inge Altenberg journeys to America to marry a bachelor farmer, sight unseen. But after WWI, Inge’s German heritage turns her new neighbors against the match. Under cathedral skies, the determined young immigrant and her stoic farmer fight for their lives, facing their misgivings and the harshness of an unforgiving land. A lyrical celebration of hard-won independence and a reflection of generations past, Sweet Land reminds us of who we are — and where we came from.
Reviews: “Sweet Land, the Musical is an occasion for cheers! This new musical is based on the same-named 2005 film based on Will Weaver’s short story “A Gravestone Ade of Wheat.” Perrin Post and Laurie Flanigan Hegge adapted the story for the stage, with Flanigan Hegge writing lyrics for songs composed by Dina Maccabee. The result is a beautiful work of musical theater. The Book is literate, rich in warmth and humor, and creates fully formed characters who speak in the voice of their place and time. Maccabee’s lovely folk-flavored music captures the essence of rural life in 1920 Minnesota, with rising swells that convey the deep emotions at the heart of the story.
Co-author Perrin Post also serves as the show’s director, and she brings just the right blend of love story and history lesson, wisely giving the edge to the former. She seamlessly transitions between scenes and fluidly moves the ensemble in and out of the story. Of the cast of thirteen, six ensemble members also appear as the show’s orchestra. As called for, they step away from their instruments or carry their instruments with them, playing minor roles or joining a choral or dance piece as one of Olaf’s neighbors. The effect of this is to meld the music and the on-stage community together, making the music an organic part of the story.” Review by Arthur Dorman – Talkin’ Broadway
Broadway’s Legendary Ladies (Ordway McKnight Theater, Loring Playhouse, 13 State Tour). Broadway’s Legendary Ladies is only one of Ms. Post’s original concept revues that she has become known for in the Twin Cities. Review: Broadway’s Legendary Ladies captures the spirit of Broadway’s grand dames, in other words, pure entertainment!” Broadway’s Legendary Ladies- captivates as only divas do. You don’t win a Tony Award just for being a great actor on Broadway- you also have to possess the pipes to put a musical on the map. All of Broadway’s Legendary Ladies do, and so do the women who portray them in Perrin Post’s latest production.”
Producing/directing credits include Original concept shows, including Hormel Girls (History Theatre), Monsters, Witches & Freaks, Martinis, Girls & Guns (Loring Playhouse), Vixens (Loring Playhouse, Fringe Festival), Ten Years Later (Hopkins House) as well as directing and producing James Valcq & Fred Alley’s, The Spitfire Grill (Loring Playhouse, Jon Hassler Theater) and Valcq’s, Zombies from the Beyond (Bryant Lake Bowl). Ms. Post directed & created the opening numbers for the Twin Cities Ivey Awards from 2006-2012. Acting credits include Chanhassen Dinner Theater, The Ordway, History Theatre, Troupe America, Mixed Blood, Penumbra, and Minnesota Festival Theater.
Please talk to us about the challenges and lessons you’ve learned. Looking back, has it been easy or smooth in retrospect?
It could have been a smoother road over the years. The theater business is fickle – all actors, directors, and writers experience this. You have to want a career in theater to make it work for you. When I would get into a long-running show like Mixed Blood, “A, my name is Alice,” or Troupe America’s “Pump Boys & Dinettes,” or a musical at Chanhassen Dinner Theater – I could breathe a sigh of relief for a few months. I never trusted making money in theater only. I always had a day job – waitress, house painter, box office manager, and Trader Joe’s. When I moved to NYC, I was at an audition in a room full of women who looked like me and were up for very few roles. From experiences like those, I chose a different route for myself – creating new shows focusing on women and creating new roles for women (especially older ones). Fundraising has always been hard for me. I’ve often used my money to try and get a show on its feet. Grants are a crap shoot; sponsorships also raised money through GoFundMe for a couple of shows (Sweet Land & Protest). Even when you have proven yourself – successful shows with great reviews- I still have to prove that my new show idea is a worthy venture. And let’s face it, as a 61-year-old woman, I’m discovering ageism exists.
As you know, we’re big fans of you and your work. For our readers who might need to be more familiar with what you do, what can you tell them about what you do?
At this stage of my life, I’ve developed a deep love for research. When I stumble upon a story that captivates me, I delve into it, initiating a writing process that can span several years. I’m constantly juggling multiple projects, each at a unique stage of development.
PROTEST, a Revolutionary Rock Opus, has had many levels – create, research, find songwriters (wait for songs to be written), and record each song. I decided to produce an Artist album to use for promotion and find producers for a large-scale production (Local or Off-Broadway). Nowadays, producers want to hear the music (with a CD in hand) before considering putting money behind the show. The next step for PROTEST is a multimedia concert/dance revue, bringing the audience to each Protest event through the original rock music created. The next step is turning PROTEST into a book musical.
The other shows I’ve written – “Sweet Land, the Musical” (is available for more professional stages), “Big Island” (musical) the music is being composed right now, and “Eloise & Me” (a play with music) needs workshopping and a theater to produce it. https://www.buffalogalproductions.com
I’m known for my persistence in making my shows happen and for great casting! It’s hard to say which show I’m most proud of; it’s like asking a mother who’s your favorite child. And just like children’s growing pains, each show had those too. I’m used to the phrases “expect the unexpected” and “roll with the punches.”
What sets me apart from others is that I need a staff (except for Bridgette, a website and social media designer). Friends who believe in me and my projects usually hop on board in many aspects because they want to see the show come to fruition as much as I do. I will always try to pay people for their work, but I need ticket sales unless funding, sponsorship, worship, or other commissions come through.
Is there a quality that you most attribute to your success?
I’m a very hard worker, determined, kind, and have a sense of humor. I’m also very prompt; I answer all my emails daily and focus on the task at hand. You’ve heard of women & men in the theater business called “divas” before. The so-called “divas” have ended up being some of the hardest workers in my shows and ended up my best friends. It’s all about communication!
Pricing:
- Donations (go to BGP website)
- Sponsorships (packet can be sent by me)
- Investors – contact Perrin at BGP
Contact Info:
- Website: https://www.buffalogalproductions.com
- Instagram: https://www.instagram.com/buffalogalproductions
- Facebook: https://www.facebook.com/perrinleighpost
- Twitter: https://twitter.com/buffalogal_
- Youtube: https://www.youtube.com/results?search_query=-+buffalo+gal+Productions
- Soundcloud: https://soundcloud.com/search?q=Protest%20a%20Revolutionary%20rock%20opus
- Other: https://music.apple.com/us/album/protest-a-revolutionary-rock-opus/1696865496
