||Amanda Sisk and Noah
Diamond are the artistic
directors of the Nero Fiddled
theatre company, and the
authors of the Nero Fiddled
They have written, directed, and
performed in all of the Nero Fiddled shows: City Under Siege, Burning Bush: A
Faith-Based Musical, Moral
Value Meal, and Life After Bush.
| NOAH DIAMOND, prior to Nero Fiddled, wrote and performed in original plays and
musicals, including Love and Cheese, The Men in Mabel's Life, and Missing Manhattan. He spent seven years working as a New York City tour guide, and his tour has been featured on NY1 and Comedy Central. In 2007, he published his first book, 400 Years in Manhattan, based on his stage show of the same name. He was a
founding member of BlogCall, a series of conference calls for political bloggers organized by Bob Fertik of democrats.com. For a world of fun, visit noahdiamond.com.
AMANDA SISK began her life when she was born and not one second before. She has been obsessed with politics and theatre ever since. Originally from a small town in Arkansas, she moved to Memphis, Tennessee as a child, and to New York, her real hometown, ten years ago. In addition to her Nero Fiddled work, Amanda's favorite roles include Squeaky Fromme in Assassins, Elizabeth in Richard III, and Tecmessa in Tecmessa. She was a co-founder of Memphis's Lanka Lounge Theatre. Amanda is dedicated to saving the world, one musical at a time. Follow her campaign at Sisk for President.
Comedy for Democracy
"Against the assault of
laughter, nothing can
stand." -- Mark Twain
It's possible to see political
implications in almost anything.
Political theatre is not a very
specific description. Some political theatre is allegorical. Some is metaphorical. And there are even some kinds of political theatre which do not rhyme with those.
The Nero Fiddled shows
are specifically about contemporary policy, politics, and politicians. City Under Siege, Burning Bush, Moral Value Meal, and Life After Bush all deal with the actions and ideologies of our representatives in Washington, and with the implications they have for the people who live in this country and on this planet.
The shows are serious, because there is nothing more serious than their subject matter. They're funny, because, the most effective humor always deals with the darkest themes.
For Mel Brooks hath said:
"The greatest comedy plays against the greatest
tragedy. Comedy is a red rubber ball, and if you throw it
against a soft, funny wall, it will not come back. But if you
throw it against the hard wall of ultimate reality, it will
bounce back and be very lively."
Like many political artists, we are sometimes accused of "preaching to the choir." We
like the standard response to this criticism -- "That's how you make them sing" -- and wish we had thought of it ourselves. We don't imagine that right-wing
conservatives are coming to see our shows and then joining the Democratic Party.
We have no illusion that a musical comedy can impact the electoral map.
What theatre can do is inspire its audience. We want to inspire our audience, through laughter and outrage, to become more politically informed and involved. Identifying oneself as a liberal is not enough; we want people who already agree with us to take the next step: an active role.
We try to deliver our ideas with as much fidelity to the art and craft of comedy and
song as to the function and welfare of society and government.
This is not art for art's sake. This is comedy for democracy.