Moss developed and directed Bo Eason's Runt of the Litter at Manhattan Class Company in January 2002 and when it re-opened in November 2007 at 37 Arts Theatre. It was voted one of the top ten plays of the year by New York Daily News and was bought by Castle Rock to be made into a major motion picture.

Moss has directed Michael Raynor's Who is Floyd Stearn; Richard Kalinoski's Beast on the Moon; Jack Holmes's RFK (Drama League Award); April Daisy White's Sugar; Richard Vetere's How to Go Out on a Date In Queens; Richard Hellersen's Dos Corazones; Bo Eason's Runt Of The Litter; and the World Premiere at The Judy Bayley Theater of a new musical Jam, starring Clint Holmes. He just finished work-shopping John Osborne's Epitaph for George Dillon in New York for the first time in fifty years. He is currently directing Josh Jonas's Capture Now at the Culture project in New York. He will be directing I Love My Wife starring Jason Alexander at Reprise and a revival of John Patrick Shanley's Beggars in the House of Plenty, as well as Relative Insanity, a new movie which begins shooting next summer.

Moss coached Helen Hunt in As Good as It Gets (Academy Award); Hilary Swank in Boys Don't Cry and Millon Dollar Baby (Academy Awards); Michael Clarke Duncan in The Green Mile (Academy Award Nomination), Hank Azaria in Tuesdays with Morrie (Emmy Award), Jim Carrey in The Majestic, Tobey Maguire in Seabiscuit and Leonardo DiCaprio in The Aviator (Golden Globe Award and Academy Award Nomination); The Departed (Golden Globe Nomination); and Blood Diamond (Golden Globe and Academy Award Nomination).

Mr. Moss is one of the master teachers on Triple Sensation, whose second season begins this fall on CBC in Canada. His book on Acting, The Intent to Live, was released by Bantam Dell in 2004. Mr. Moss has been on the teaching staff of Juilliard and Circle in the Square. He is presently the Artistic Director of Edgemar Center for the Arts in Santa Monica, CA.

A Note From Director Larry Moss:

Stella Adler, my inspiration as a young actor, introduced me to the idea that good plays bring you into a specific unique world and that world brings you back in some way to your own. My work on one-person shows, has taught me that the best ones work if they have a rich textured story and if the audience is truly needed by the leading character. The character of Elijah needs you to tell his story and as you watch the world of Capture Now, you will understand why and how much.

As a performer, Kurt Peterson's career began when he was chosen by Leonard Bernstein and Richard Rodgers to play Tony in the 1968 revival of West Side Story at Lincoln Center. He then played opposite Angela Lansbury in Dear World, starred Off-Broadway as Dick in Dames at Sea, created the role of Young Ben in Stephen Sondheim's Follies, played Gabey in the revival of On the Town, and performed in By Bernstein, a celebration of Leonard Bernstein songs. He sang "Proud Lady" in the Broadway-bound The Baker's Wife and appeared in Town Hall's productions of Knickerbocker Holiday, Music in the Air, and I Married An Angel. Kurt also starred as Robert in the highly acclaimed Canadian premiere of Company as well as in the JWP - Rob Marshall Side By Side By Sondheim. Recently, Kurt played (older) Ben in several Follies concerts around the country, most noteworthy the Michigan Theatre concert where the original four young ghosts played their older selves. He was then featured with them in both celebrations honoring Stephen Sondheim on his 75th Birthday, Wall to Wall Sondheim at Symphony Space and Children and Art at The New Amsterdam Theatre.

Kurt is also the owner of New York City's The Voice Studio, home to 30 voice teachers and more than 500 students.

www.jameswilliamproductions.com

Kurt would like to dedicate his contributions to Capture Now to his late brother Bobby Peterson.

A Note From Producer Kurt Peterson:

"I'm a Musical Theatre kind of guy. You know, my last show was a children's musical," I told Josh Jonas as he sat across from me in my office. "I don't even know many rock groups let alone the songs you've put in your play." He knew, but still he sat there. And a few weeks later he returned and sat there again and told me that he knew I was the one who should produce his play.

"His play" had been sent to me a few months earlier by my old acting school roommate, Fred Deni. I read and I loved it - I mean I really loved it. But there was no way I could mount a new play with an unknown actor and author. Then I had a thought. I would send it to Larry Moss, a dear friend and a brilliant teacher and director. Larry had several award-winning one person plays to his credit and had vowed not to do another for a very long time. This was my litmus test. If he liked it ...

A month later the phone rang. "Kurt? F*#@ you!"

"You loved it, didn't you, Larry? Well, you'd better fly out here and meet Josh."

We arranged a run-through. Afterwards, Larry put his arm around Josh and said, "Thank God you didn't suck." Larry and Josh immediately bonded, started rehearsing and we began to do small presentations.

I had always wanted to work with Erin Craig who I thought a smart, savvy and passionate theatre professional. I wanted her to be my GM but I had a small problem. She was not speaking to me. A difficult set of circumstances on a prior show had left us on less than friendly terms. But I wanted her on this project. After many phone calls, e-mails and bringing her in to see the play, she agreed to join us.

I began courting Jane Bergère who I'd known for a long time but had never worked with. Jane was a very experienced producer and a smart, wonderful lady. Jane was not a fan of one-person plays and very reluctantly came to see the play in my studio living room. She sat in the front row and I had no idea what she was thinking. Long story short, Jane fell in love and after a small talk over a Greek lunch I had the co-producer I wanted. We then put together a wonderful group of creative folks to complete the team. Capture Now was going to happen.

"Who do I dedicate this play to?" My younger brother Bobby passed away in the summer of 1985, an early aids casualty. I loved him like Elijah loved Ace. Perhaps I did Capture Now for him. Maybe it was the other way around ...

A Note From Producer Jane Bergère:

About a year and a half ago, Kurt Peterson called me and said, "Jane you have to come to a reading of this new play that I think we should produce together." And as much as I adore Kurt, all I could think of was how much I don't like one-person shows and there was just no way that I was going to be producing one. I figured that I would go see the reading - at the very least, it would be a wonderful way to support Kurt, reconnect with my long time friend Larry Moss, and take a look at his latest project. After that though, I planned to decline his offer and that I thought, would be that.

But then I went to the reading ... and I fell completely in love with Elijah and Ace: like Josh describes them going crazy for each other, I went crazy for them. I signed up to produce on the spot.

As I've watched the play develop under Larry's wise and delicate direction and Josh Jonas's telling of his already brilliant story get polished and honed, my passion for this piece is unwavering. Every time I've seen it - which now must be numbering well into the dozens times mark - it sucks me in yet again. It's a story that is so accessible, so real. It reminds you to take advantage of the life you've been given and spend time with those that you love most.

I am delighted and proud to be able to share Capture Now with a larger audience and hope that you fall in love with the story just like I have.

See you at the theater!