How does a behavioral neuroscientist end up directing some of the funniest, most successful shows on the Concord Players' stage? Read on.

Brian Kelly was born with a celestial singing voice, a knack for showmanship and an innate curiosity about what makes humans tick. No wonder he became a behavioral neuroscientist, and no surprise that he is also a gifted theatrical director. He uses his powers of observation to imagine a show from the audience point of view. So far, he has imagined flawlessly for The Concord Players.

   His first two shows, Monty Python's Spamalot and Mel Brooks' The Producers were sold-out smash hits on The Players' stage. Audiences pronounced their unequivocal approval with standing ovations every night, while casts and companies had the time of their lives under the thoughtful, collaborative style of this talented director. It's to be expected though, from a director who takes such a cooperative approach. 

   "I don't like to micromanage all aspects of the production. I like the other artistic eyes to have fun creating something they can be proud of. I have ideas and let the team run with them and develop their own," he says.

   As Craig Howard, a cast member in Spamalot, said, "It was a complete pleasure to work under the direction of Brian Kelly!  He always came in well-prepared, and clearly communicated what was expected of his actors. While he was willing to listen to thoughts from us, it was always clear who was ultimately in charge, and I think we all quickly grew to trust his ideas and instincts. His love of comedy was key in the development of our production, and Brian threw himself (sometimes literally) into the core of all elements of our zany show!"

   It all started early for Brian. As a child of six, he made Christmas videos for his grandmother, one year portraying all the characters in A Christmas Carol. Other early credits include an ensemble that included Brian with 12 or 13 cousins regaling the extended family with concerts at Christmas parties. All through elementary and middle school, Brian honed his skills with small plays and anthologies, casting himself and classmates in suitable roles. As a member of the University of Massachuesetts Theatre Guild, he continued to perform, until in graduate school something clicked. "I directed The Importance of Being Earnest and realized at that point that there is something really special about creating a story, not just playing a part in it. I have been hooked ever since." 

   Lucky for The Players that he is. His next gig for us will be Michael Frayn's Noises Off. The show is sure to live up to its reputation as "the funniest farce every written," with Kelly at the helm. His impeccable sense of comedic timing is the satisfying ingredient in the shows he directs, although he displays only modesty when talking about his approach. "It's about trial and error and trying things different ways," he tells us. "I hear things and see things in my head and, quite honestly, I am usually wrong. But I am not afraid to keep trying things or to change my mind about something. Eventually, it comes out OK!" 

   Anyone who has worked with him knows that his self-effacement is sincere, but belies both the talent and the steady hand that guide Kelly in his work. During the Players production of Spamalot, a projector broke down minutes before an important scene. Without the slides in the projector, the stage would be blank and the scene would make no sense. Brian didn't rail at the gods or the projectionist, didn't thrash about and pull out his hair, didn't even need to breathe into a paper bag. Calmly, quickly and quietly, he worked backstage with crew and costumers to find elements that actors could use to illustrate the action, all the while giving direction to the actors about how the new scene would work. Happily, the projector was fixed in time for the scene, but the episode illustrated the leadership and creativity a company needs from its director, and rightfully earned for Brian the enduring respect and admiration of all in the ensemble.

   Brian began as a performer and sometimes returns to his roots. His favorite roles include Pseudolus in A Funny Thing Happened on the Way to the Forum, Nicely Nicely Johnson in Guys and Dolls, Horton in Seussical and Harold Bride in Titanic.