I Was "Someone in a Tree"

Click here for a PDF of “I Was ‘Someone in a Tree’” as printed in Everything Sondheim Magazine (Vol. 01. Issue 02. April-May 2017)

The Drowsy Chaperone at The Cape Playhouse


“JoAnne Worley and her servant Underling (a delightful James Dybas) are great fun together, swinging through numbers including the zesty “Love is Always Lovely.” -Barnstable Patriot

“Worley teams up with James Dybas who is perfect as the proper butler Underling, for a funny Vaudeville-style spitting routine.” -Patriot Ledger

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Hug the moment, make it last – 50-years later, actor James Dybas reflects on Do I Hear A Waltz?

Stephen Kitsakos / The Sondheim Review/ Vol.21, No.2, Spring 2015

“It just transports me back to that time,” James Dybas tells me as we flip through photographs from his Broadway debut in Richard Rodgers, Stephen Sondheim and Arthur Laurents’s Do I Hear a Waltz? (marking its 50th anniversary in March 2015). “There I am, barely 21 years old,” he says, “my first Broadway show, with Steve and Arthur Laurents and Mr. Rodgers. The Créme de la créme. You have to pinch yourself every now and then,” He laughs a little and then spontaneously sings the phrase, “I was younger then …” from “Someone in a Tree.” Not entirely unexpected from the buoyant and affable performer who also originated the role of the Old Man in Pacific Overtures 11 years later.Full Article

Club Magic Moment

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James Dybas co-stars in the short film Club Magic Moment. Check out photos and video on the film's Facebook page.

Club Magic Moment is a gritty, absurd crime comedy about recession-era desperation. It centers on Bill Ellis, an unemployed businessman overwhelmed with exorbitant debt.  After having his car repossessed, Bill is contacted by a hiring agent offering a dream job - this is the work of Lou Mullin (Dybas) a con man living out of strip mall and grifting a small, recession-ravaged community by selling them on nonexistent careers.

What follows is a series of tense, humorous, and atmospheric scenes: a heist planning sequence with unemployed and unenthusiastic neighbors; several conversations with a sketchy lawyer; and Bill's sophomoric attempts to get his money back - scenes that explore the nature of unemployment, the hopelessness of the modern job market, and one man's breaking point.