Class Notes: John Millican from In the Unlikely Event of an Actual Emergency

Summary

BroadwayRadio Podcast Summary: “Class Notes: John Millican from In the Unlikely Event of an Actual Emergency
Release Date: March 24, 2025

---

Introduction

In the March 24, 2025 episode of BroadwayRadio, host Lauren Fasshneider engages in a compelling conversation with John Millican, the talented playwright and performer behind the critically acclaimed play, In the Unlikely Event of an Actual Emergency. As part of this season’s New York City Fringe Festival, John shares insights into his creative process, the journey of his play, and his personal experiences that shaped the narrative.

---

1. Play Overview and Adaptation for New York Fringe

Lauren begins by outlining the premise of John’s play: Arturo, a guarded airline passenger, is thrust into a life-altering event when turbulence escalates into disaster, transporting him into an in-between space where he must confront his past, let go of guilt, and survive what the airlines refer to as “an airline incident” (00:20). John discusses the adaptation process required for the New York Fringe Festival, which imposes a 60-minute performance limit compared to the original 80-85 minutes of the play.

“We’ve had to trim certain sections of the play, especially Arturo's journey through the airplane incident. So what New York is going to get is an abridged version of the full play, but it’s going to be a very intense 60 minutes, and I’m super excited.” (00:53)

John emphasizes the creative challenge of condensing the play without losing its emotional depth, expressing enthusiasm for the fresh storytelling approach this restriction necessitates.

---

2. Securing a Spot in the New York Fringe Festival

Lauren highlights the prestige and competitiveness of the New York Fringe Festival, prompting John to elaborate on how his play was accepted. John credits his producer, Andrea Michelle, for encouraging him to apply.

“My producer, Andrea, said, ‘John, if you want to get to New York, I think it would be important for you to really try to apply to New York City Fringe.’ And this is my first Fringe... I applied, and we had finished our LA run towards the end of October. A week later, two weeks later, I heard from New York Fringe saying, congratulations, you’ve been accepted.” (02:05)

He expresses immense gratitude and excitement for the opportunity to showcase his work on such a prominent platform.

---

3. The Role of Producer Andrea “Mama Bear” Michelle

John delves into his professional relationship with his producer, Andrea Michelle, affectionately known as “Mama Bear.” Andrea’s role is pivotal in overseeing the production and ensuring the well-being of the cast and crew.

“She really takes care of me and the company and has a great eye overseeing the entire production with our cast of seven and our director, Ricky Pete. I always feel taken care of, which is very, very important.” (02:49)

John underscores Andrea’s ability to manage the complexities of production, allowing him to focus on his dual roles as playwright and performer.

---

4. Inspiration and Personal Connection to the Play

When Lauren inquires about the inspiration behind the play, John reveals its deeply personal roots. The narrative is autobiographical, drawing from a real-life plane crash survival experience at age 19—a story he has kept private for decades.

“During COVID, I lost my mother, and I realized that the most challenging experience I’ve ever had was surviving that plane crash and never talking about it. I finally had the courage to put pen to paper and honor my parents, who were both artists and always told me to channel my issues into art.” (04:00)

John connects his personal trauma and recent loss to the universal themes of survival, guilt, and the healing power of art, illustrating how personal adversity can fuel creative expression.

---

5. Future Plans and Screen Adaptation Potential

Lauren points out John’s multifaceted career, including his roles as a WGA writer, actor, and creative director for major companies like Walt Disney. This leads to a discussion on the potential for adapting his play for the screen.

“It’s an extremely theatrical and very moving true story... I know it would be great on film.” (05:39)

John expresses confidence that the play’s strong narrative and emotional core would translate effectively to a cinematic format, highlighting the universal appeal of its themes.

---

6. Collaboration with Director Ricky Pete

John describes his working relationship with director Ricky Pete, emphasizing Ricky’s critical role in refining the play’s dialogue and pacing.

“He will say, ‘John, this bit of dialogue isn’t quite right,’ or ‘This doesn’t quite work,’ and he makes me defend my choices. But he is in charge, and we have a great shorthand. When he says something, I listen because he’s usually right nine times out of ten.” (07:38)

This dynamic showcases the collaborative nature of theater production, where constructive feedback is essential for enhancing the storytelling.

---

7. Casting and Performing as Arturo

A significant revelation comes when John discusses his decision to portray Arturo himself—a move that surprised many in his personal circle.

“I have to play this role of Arturo. Much to the shock and surprise of my husband and friends, I decided to act in my own play. But I did my job, and the reviews have been great.” (08:15)

John explains that his deep personal connection to Arturo made him feel compelled to embody the character, adding authenticity to the performance.

---

8. Bringing the LA Cast to New York

John confirms that the entire LA-based cast will accompany him to New York, a testament to their strong rapport and unified vision.

“We call ourselves the Unlikely Family, and we’re thrilled to bring that to New York and share it.” (09:34)

Maintaining the original cast ensures continuity and preserves the chemistry that has been instrumental to the play’s success thus far.

---

Conclusion

As the episode wraps up, Lauren expresses excitement for the play’s New York debut and encourages listeners to attend the performances. John provides resources for more information, directing interested parties to unlikelyplay.com for details on the Fringe Festival run.

“Please come. If anybody has any questions about the play, you can go to unlikelyplay.com.” (10:27)

John’s journey from personal trauma to acclaimed playwright and performer highlights the transformative power of art and the importance of storytelling in navigating life’s challenges.

---

Notable Quotes with Timestamps

• On Adapting the Play: “We’re now starting at a six or a seven to get to a nine or a ten.” (00:53)

• About Producer Andrea: “I always feel taken care of, which is very, very important.” (03:36)

• On Performing as Arturo: “If you’re the playwright and you have something to say, and maybe you are the only person who can say it this way, do it.” (08:15)

---

This episode of BroadwayRadio offers a profound look into John Millican’s artistic process, the heartfelt origins of his play, and the collaborative efforts that bring his vision to life on stage. For theater enthusiasts and aspiring playwrights alike, John’s story serves as an inspiring testament to the resilience and creativity inherent in the arts.

Transcript

[A]

Hi, I'm Lauren Fasshneider with Fast Notes for Broadway Radio. I'm here with John Mullikan, the playwright and a performer in an unlikely event of an actual emergency as part of this season's New York City Fringe Festival. Welcome.

[B]

Thank you so much. It's a. It's an honor to be here.

[A]

Well, Arturo, a guided airline. Oh, boy. Arturo, a guarded airline passenger, is traveling to settle his late mother's estate when turbulence turns into disaster, sending him into the in between space. He's challenged to confront his past, let go of guilt, and survive what the airlines call, quote, an airline incident. So the play has had great success in la. And with your upcoming run in New York, have you made any changes?

[B]

Well, with the interesting thing for New York Fringe, our challenge is that New York Fringe has a maximum 60 minute performance time and my play is about 80, 85 minutes. So we've had trim certain sections of the play of Arturo's journey through this airplane incident down. So what New York is going to get is an abridged version of the full play, but it's going to be a very intense 60 minutes, and I'm super excited. And I knew from the beginning that was going to offer myself and our company a different way of telling the story and going back into rehearsals. It's been really fun because we are usually, you know, you ramp up at, you start at a three and you get up to an eight. We're now starting at a six or a seven to get to a nine or a ten. And as an artist, it's been very exciting and we're just thrilled to be able to bring it to New York City.

[A]

Oh, that's fantastic. The New York Fringe Festival is so prestigious and competitive. How did you get your piece accepted into the festival?

[B]

You know, I applied my producer, Andrea. She, she said, you know, John, if you want to get to New York, I think it would be important for you to really try to apply to New York City Fringe. And this is my fringe. This is my first Fringe. I've never done a Fringe festival. And I was like, oh, okay. And so I applied and we had finished our LA run here towards the end of October. And then a week later, two weeks later, I heard from New York Fringe saying, congratulations, you've been accepted. So I got to tell the whole company, hey, we're going to New York. We're going to New York in the spring.

[A]

So, yeah, that's great. You've referred to your producer, Andrea. Tell us a little bit about that relationship and how that works in a new and developing piece.

[B]

You know, it's a good question. I call her Mama Bear because she really takes care of me and the company and really has a great eye overseeing the entire production with our cast of seven and with our director, Ricky Pete. And she really understands what she. What she is in charge of, because I'm. I also perform in the play, so I have to step back and let them guide me as playwright and as an actor, both my director and producer. But Andrea is incredible at understanding the nuance of. Of the situation and what needs to happen, whether it be rehearsal, whether it be a dress rehearsal or a. Or a performance, I always feel taken care of, which is very, very important.

[A]

Absolutely. And what's Andrea's last name?

[B]

Michelle. And he. Yeah, Michelle.

[A]

Okay, great. Now for you with your writer hat on. Where did the germ of the idea of this play come from?

[B]

Well, this germ of. I've been with this. I mean, this. This is based on my. My True Story, autobiographical. And it happened when I was 19 years old, and I'm now 62. So I've been holding onto this story my entire life. But it really wasn't until Covid, when the world stopped and we were thrown into a very strange place. And during COVID I lost my mother, and I was like, oh, this has been. This is an extremely difficult time. I think it was difficult for the entire planet. And I said, you know, but what's really been hard on me my entire life has been surviving this plane crash and never talking about it. So I finally just had the courage to put pen to paper and in many ways, to honor my mother and my father, who were both artists, who always told me that whenever you had an issue or a problem, you should go to your art. And I've worked mostly in corporate America, but it wasn't until I became a caregiver for my mother and I quit my job that I began to understand. Understand that. That there is. That art does hold the answers. So I just started writing it. It took me a year to write it. I got up on its feet a year ago, and this is now our third. We did a workshop production of it then we opened officially last fall, and now we're going to New York Fringe. So it's been an incredible journey.

[A]

And. And what an honor for. To your mom.

[B]

Oh, yes, very much so.

[A]

You work as a WGA writer, an actor, and an agency art director and a creative director for the Walt Disney Company, among others. Do you see adapting your play for the screen?

[B]

Oh, Absolutely. I could see that happening very easily. It's an extremely theatrical and very moving true story about art life and the choices we make in any given situation, be it a family or be it literally trying to survive an airplane crash. There are the same themes of moving forward, of love and forgiveness with family. And sometimes the only way that we can really survive such a traumatic event is to make peace with it and to honor that. And you have to choose. Life is a choice. And the character of Arturo in the play, he realizes he's going to have to make a choice about how he is living his life. And so, yeah, it's been an incredible process, and I know it would be great, great on film. Absolutely.

[A]

It sounds that way. Now, you've mentioned Ricky Pete, who's the director. How do you leave your writer's hat out of the room when Ricky is working with you as an actor in the room?

[B]

Oh, you know, he, he's tough. He's very, he's been very tough, but he's great. He, he will say, you know, John, this bit of dialogue isn't, is a little clunky, or this doesn't quite, you know, he makes me defend my choices, which as an artist, I think is, is paramount that we all have to be really clear on our moments and the beats. And when he's, when he's directing, he's directing. I am the actor and I am the playwright, but he is in charge. He has the vision of it that I have surrendered to. And we have a real, real great shorthand. So when he, when he says something, oh, I, I sit up straight in my chair and I listen because he's usually right nine times out of ten.

[A]

Let's talk about casting for a moment. I'm, I'm guessing from the conversation. So you had in mind that you would be casting yourself as Arturo.

[B]

Well, that's the interesting thing is that I've, you know, I've worked as a writer mostly, and when I finished this play, you know, this, this is such a true story for me. And, you know, I went to Emerson College. I, I, I know theater. I know how to act, but I haven't acted in a while, but I was like, I want to finished the play first. I finished the play. And, you know, this story has been such a part of me that I said, oh, my gosh, I have to play. I have to play this role of Arturo. Much to the shock and surprise of my husband and all of our friends that are like, wait, you wrote the play and now you're Acting in it. I'm like, yes, I am. And they all thought I had lost my mind. And. But it was. I'm really glad I did that. I have a certain shelf life with the project. I feel like that I don't want to continue to perform it forever. But for right now, as a playwright, I think that that has really been an extremely valuable lesson for me, is that if you're the playwright and you have something to say, and maybe you. You are the only person who can say it this way, do it. And, you know, I did some research, and there are a lot of. There are playwrights that will perform their own works in their own works. And I found that really inspiring and very, very, very courageous. But it has definitely been a surprise. But fortunately, people have really responded and we got great reviews here in la. So I was like, woo, okay. I did my job.

[A]

Oh, that's great.

[B]

Yeah.

[A]

And with regard to others in the cast, is the whole LA company coming, or are you also engaging New York actors?

[B]

No, the entire LA company is coming. Which is. Which is really a real blessing. We had to kind of make a decision like, is, are people really going to be able to and willing to do this move to move to New York for a month to participate in the festival? And everybody said yes. And I am just beyond thrilled and excited because we've been now been performing this play for over a year, and we have a shorthand. We call ourselves the Unlikely Family. And we're just thrilled to be able to bring that to New York and share it.

[A]

Well, that's terrific, John. I thank you for your time and we look forward to having you on the New York stage.

[B]

Yes. Please come. And if anybody has any questions you can about the play, you can go to unlikelyplay.com has all the information there about our fringe performances.

[A]

Terrific. All right, I'm Lauren Claus Schneider with John Milliken, the playwright and performer in an unlikely event of an actual emergency as part of this season's New York City Fringe Festival. Thank you.

[B]

Thank you.