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Meet John Nasca, the director of Beautiful Thing. And make sure you buy your tickets here today!
How long have you been working on Beautiful Thing and why was it so important to you?
I first directed a reading of the play almost three years ago. It was a remarkable experience for me because it deeply touched the audience and several people remarked that PFP should produce a full production. It took a while, but we finally had auditions last September and went into rehearsal in late October. 
I also identified with the two boys in play, Jamie and Ste. I've actually lived both of their stories at various points in my teenage years. It was very easy to tap into the boys' situations and remember how I reacted. They weren't always pleasant memories, but they helped me guide the performances. Directing the play was very cathartic and helped make the struggle of those years make sense.
What does it mean to have both a critical and box office success?
It feels great. This production was full of challenges and set backs, more so than usual. So the success is that much sweeter because it made it all worthwhile. Most of my career I've been a costumer and came to directing rather late in the game, so the success of the play has been very encouraging.
What audience reactions have you most enjoyed?
I love hearing people say that while watching the play they were laughing and crying at the same time. It's always a rush for me to hear an audience laugh, which means I and the performers have done our job.
After one performance, a woman came up to me and said that the play opened her eyes and she realized that as a Christian she needed to expand her awareness and become more accepting. That right there made it all worthwhile. At the core that is what PFP is all about, telling stories that enlighten and uplift.
 Can you talk a little bit about the process of working with actors who have such a wide range of backgrounds, from students to seasoned professionals? What are the challenges of that?
Each actor has his or her own style and process. The challenge for me is to find out what that is early on in the game. Since I don't want to change their process, I then need to adjust my direction to fit their needs. I will handle a Method actor differently than someone who relies purely on instincts.
I find the only difference between the younger actors and the seasoned pros is confidence. The younger actor may be very talented but at times lacks the confidence to be fearless and try new things. They also need to be reminded to cheat out. If I had a nickel for each time I gave that note!
You have had a long, distinguished career in Chicago. What have been the ups and downs? Do you have any favorite productions as a designer or director?
Yikes, I feel like I'm writing my own obit!
Fortunately, I've had a lot of ups and not that many downs. Early on, I worked with many a crazy person and was also ripped off and not paid for my work. I sometimes wonder why I stuck it out. But each production I've worked on brought a new set of exciting people and gave me valuable training which I would have not learned in a school.
I would say the only downside to the business is the small budgets we have to work with. Yes, I can be very creative and pull something out of nothing, but at this point I've mastered that art. It would be exhilarating to not have to worry about the money and let the creativity flow without any barriers.
But I'm lucky; I've gotten to work with Oscar, Tony, and Emmy winners, Broadway producers, trail blazers, and ex-porn stars. All were incredibly fascinating, but I have to say the ex-porn star impressed me since she pitched in and helped move scenery. Not what I expected!
The Tony winner was a diva and when she forgot the lyrics to a song on opening night, she yelled at the pianist that it was his fault, and this in front of critics.
Working on a one-man show starring Quentin Crisp was a huge highlight for me. At lunch or dinner, he would tell stories about all the greats he'd met and worked with. I love hearing stories about celebrities, so naturally I hung on every word. At that point in his life, he was in his 80s and though I admired him greatly, I also felt very sympathetic toward him. Although he had a distinct style of dress, his clothing was very old and frayed. I naturally assumed that he did not have a lot of money, so imagine my surprise when I read that after he died he left over a million dollars in the bank.
But the biggest highlight has been the people I've worked with. Many have a great sense of humor and are incredibly talented. Some have become my best friends which again has made me a very lucky guy! 
What else can you tell our PFP readers that they might not know about you?
I owe my entire career to having asthma as a child. I could not do many things the other kids were doing, so I spent a lot of time watching old movies. Those films were the best education I could have ever received. I learned so much about style, taste, and direction from the people who made those films. My idols are director George Cukor and costume designer Adrian who together made some of the best films at MGM. They were masters of their art and set a very high bar which I've yet to meet. But I'm working on it!
Make sure you buy your tickets here today! Beautiful Thing runs at The Athenaeum Theatre, 2936 North Southport, through February 17. Performances are Thursday, Friday, and Saturday at 7:30 and Sunday at 2:00.
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