“En Avant! An Evening with Tennessee Williams” at the New York International Fringe Festival at the CSV Kabayitos Theater
“En Avant! An Evening with Tennessee Williams” at the New York International Fringe Festival at the CSV Kabayitos Theater Written and Performed by William Shuman Directed by Ruis Woertendyke Reviewed by Joseph Verlezza Theatre Reviews Limited
“I have always depended on the kindness of strangers,” is absolutely something William Shuman need never worry about when he is on stage performing “En Avant! An Evening with Tennessee Williams,” a new solo show presented as part of the NY International Fringe Festival. Mr. Shuman also penned the eighty-five minute piece with sensible and enlightening information about the idiosyncratic and fascinating author and playwright. He presents Tennessee Williams with style and grace, not withholding faults and flaws that might have contributed to his isolation.
Always quickly returning to the carafe of brandy on stage, the more he drinks the more he intoxicates the audience with stories of his mother, brother, sister and lovers: stories and experiences that haunt his loneliness and provoke his creative process. He shares his life with his characters and his liquor, as painful shockwaves from the past ignite memories that surface with a smile. Mr. Shuman has the incredible ability to capture an audience during these silent recognitive moments. As he reveals the infectious spirit for writing, his personality becomes contagious in a warm, unthreatening way. Mr. Shuman never falters as Tennessee stumbles from too much drink, but keeps a steady path to deliver a brilliant, respectable and intriguing performance as he paints a colorful yet tattered portrait of a complex character.
Look for this wonderful performance, hopefully in a future incarnation. It will satisfy and be well worth your time and certainly an enjoyable evening of theatre.
EN AVANT! AN EVENING WITH TENNESSEE WILLIAMS
“En Avant! An Evening with Tennessee Williams” is presented by The New York International Fringe Festival CSV Kabayitos, 107 Suffolk Street, 2nd Floor (Rivington and Delancey).
The final performances of “En Avant! An Evening with Tennessee Williams” took place on Saturday August 24th at 2:00 p.m. For more information about the show and the cast and creative team, please visit www.williamshuman.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Monday, August 26, 2013
“A Homecoming” at the Player’s Theatre; “Human Fruit Bowl” at C.O.W.; “Marshall’s Law” at CSV Teatro Latea
“A Homecoming” at the Player’s Theatre “Human Fruit Bowl” at C.O.W. “Marshall’s Law” at CSV Teatro Latea Reviewed by David Roberts Theatre Reviews Limited
Thursday August 22nd was another washout at the New York International Fringe Festival: not only with rain of varying intensities but also with stage performances with varying intensities from mediocre to awful.
Let us begin with awful. Joseph Beck’s dysfunctional-family-with-mother-with-dementia play “A Homecoming” boasts two strikes and a foul ball. Strike one is an unconvincing script with characters no one could possibly care about: recovering alcoholics who seem to prefer not to be recovered; a couple who should never have married in the first place; brothers who should know batter; and a sister who could not be less engaged with her family. Not one of those characters is defined with any depth or realism. The only character who warrants an honest performance is the family priest who, perhaps unwittingly, is played as a disinterested, uncaring, and useless human being. Strike two is direction which considers ear-splitting screaming tour de force performance. The foul ball is the cast itself which scrambles about the stage searching for something in the script to hold onto long enough to make a connection. And what ultimately brings the deserved strike-out is the gratuitous nudity. The audience knows one minute into the play that Lee (the mother) has Alzheimer’s: we in no way need to see mum strut the stage in complete nudity. Live-in Nurse Callahan (why did she have to be Irish?) should have kept closer watch on mums so the audience would not have to see as much of her. Performances have ended for this play.
Disappointingly, Andrea Kuchlewska’s “Human Fruit Bowl” championed mediocrity but it was far from awful. It is somewhat likely that the obtrusive and gratuitous nudity in the afore-reviewed “A Homecoming” had some deleterious effect on the appreciation of the completely acceptable and legitimate nudity in “Human Fruit Bowl.” But the problems run deeper than comparison blues. In this case the intriguing story of Beth a young nude model (a human fruit bowl –get it?) counterpointing stories about her daily agenda, her life as an artist’s model, her daily encounters with the aggressive artist who is painting her in and out of Pierre Bonnard poses and tubs, and her “art history stories” which focus on famous painters and their models, especially Bonnard and models Marthe de Meligny and Renee Monchaty is not supported by inventive direction. Even the script itself belies the possibilities of the story’s successful telling: from the introduction of the mystery painter and Beth’s creation of to-do lists during breaks, the audience knows that this painter (Alex) is moving in with Beth. The “revelation” at the end is not surprising. Harmony Stemple (Beth) does her very best to make all of this work and cannot be faulted for the production’s flaws. Performances have ended for this play.
Marshall is a boy who almost lost his life in a car accident and, in recovery from coma and PTSD, remembers exactly what happened the night of the accident and the details as recorded by the police and accepted by his mother Abby (Danielle Taddei) are not at all accurate. His biological father Zach (Shadley Grel) was not driving drunk that evening and was not responsible for his lover Roger’s death and his son’s near death. Mr. Grel’s “Marshall’s Law” and its interesting plot are driven by complicated and convoluted conflicts between characters seen (Zach and Abby) and unseen (Roger, MJ, and Doug, and Marshall). Although the plot is somewhat predictable, it could be more powerful with more careful direction. David Avcollie moves his actors in plodding and predictable ways and has them screaming and shouting explicative-not-deleted phrases to create character. These two former friends and unintentional parents would not use the language they use knowing their son is listening outside the basement door in the room where he has locked them until they hear and deal with the truth. Performances continue on Saturday August 24th at 9:30 p.m. and Sunday August 25th at 2:00 p.m.
Tickets are $18.00 at the door and $15.00 for advance purchase. For more information about the shows, running times, and the cast and creative team, please visit www.AHomecoming.com ; and www.humanfruitbowl.com. For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Friday, August 23, 2013
“Waiting for Waiting for Godot” at the Kraine Theatre; “Track Twelve” at Teatro Circulo; “The Tomkat Project” at the Player’s Theatre
“Waiting for Waiting for Godot” at the Kraine Theatre “Track Twelve” at Teatro Circulo “The Tomkat Project” at the Player’s Theatre Reviewed by David Roberts Theatre Reviews Limited
Midway through the final week of the New York International Fringe Festival, we visited three shows that were not working for a variety of reasons.
Dave Hanson’s clever “Waiting for waiting for Godot” had great potential: a good script with two great actors. Unfortunately, members of the audience (including those involved with the production) felt it necessary to “feel” for the audience and howl, hoot, and hamper any authentic energy trying to reach the audience from the stage. Couple that with what one assumes was the director taking notes on his cell phone and “Nothing happens. Nobody comes, nobody goes. It's awful” (Samuel Beckett). And that is unfortunate. Dave Hanson’s script provides often delicate and amusing parallels between the unseen performance of “Godot” and the banter between understudies Val (Mr. Hanson) and Ester (Chris Sullivan) on stage as they wait impatiently for the director to call them to replace the cast. They do Vladimir (yup, Val) and Estragon (yup, Ester) proud. Next time around, ask your noisy family, friends, and creative team to sit out a few performances so you can work your craft without interruption. “Come, let's get to work! In an instant all will vanish and we'll be alone more, in the midst of nothingness” (Samuel Beckett)! Performances continue on Friday August 23rd at 4:00 p.m.; Saturday August 24th at 8:15 p.m.; and Sunday August 25th at 2:15 p.m.
Emily Comisar’s “Track Twelve” wobbles off track more than once during its ninety-minute run at Teatro Circulo. Missing pieces and missed connections occupy the action and the dialogue of a brother and sister and a broken couple as they are stranded at Penn Station waiting for outbound trains. Simon (Leo Goodman) and Jenny (Keelie A. Sheridan) fret about the past, present, and the future wedding of their mother Mimi’s to Tom. Mike (Charlie Gorilla) and Lindsay (Sarah Sanders) bicker over broken love and business on their way to a presentation which could make or further break their company’s future. The fact that they provide employee exit management is not lost on the audience. As expected, all’s well that ends well. The actors do their best with the script but seem to tire squeezing in and out of train seats – sometimes forgetting they are there. Final performance on Friday August 23rd at 2:00 p.m.
An extended SNL skit, Brandon Ogborn’s “The Tomkat Project” riffs the life and times of Tom Cruise, Katie Holmes, The Church of Scientology, and a variety of other pop-culture iconic personages and iconic happenings, relationships, and rumors. The cast handles the comedic script well but one wonders if they might have worked harder to impersonate their characters with more authenticity. Some lines soared, others fell flatter than Ogborn might have expected. Performances continue on Friday August 23rd at 9:45 p.m.; and Saturday August 24th at 2:15 p.m.
Permalink | Posted by David Roberts on Friday, August 23, 2013
“America’s Breath of Fresh Air” at the New York International Fringe Festival at Theatre 80
“America’s Breath of Fresh Air” at the New York International Fringe Festival at Theatre 80 Written by Arnie Roman Directed by Joey Murray Reviewed by David Roberts and Joseph Verlezza Theatre Reviews Limited
One leaves the flimsy “America’s Breath of Fresh Air” currently playing at Theatre 80 as part of the New York International Fringe Festival’s 17th season asking, “What is the point” and wondering how the uninterrupted 110 minutes could have been better spent. This musical is not edgy; rather it is littered with humorless random, silly vulgarity draped over Arnie Roman’s heteronormative and sexist one-liners.
Poorly defined characters cohabit hackneyed conflicts which drive meaningless and vapid plots. Attempts at creating parody are weak and the material not all current or inventive with much seen currently or heard before.
The only reward is having the opportunity to listen to (when they can be heard over the poorly mixed sound and the blaringly obtrusive keyboard) some solid singing, acting, and dancing. The talented Howie Michael Smith attempts to create a profile for Bob Summers but is prohibited by plot and dialogue. He has a strong rich baritone with clear tone and pure delivery. Mackenzie Bell (Jen) is a pleasure to watch and hear as she also combats the obvious pitfalls of this production.
Too bad such craft is wasted on such bland and offensive product. There is simply no need to see this musical’s final performance.
AMERICA’S BREATH OF FRESH AIR
“America’s Breath of Fresh Air” is presented by The New York International Fringe Festival and Arnie Roma at Theatre 80, 80 St. Marks Place (1st Avenue and 2nd Avenue).
All performances of “America’s Breath of Fresh Air” take place at on the following schedule: Friday August 23rd at 8:15 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 50 minutes. For more information about the show and the cast and creative team, please visit www.americasbreatoffreshair.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Thursday, August 22, 2013
“Save the Date” at the New York International Fringe Festival at Theatre 80
“Save the Date” at the New York International Fringe Festival at Theatre 80 Book, Music, and Lyrics by Gregory Jacobs-Roseman Directed by Nikki Rothenberg Musical Direction by Rich Silverstein Reviewed by Joseph Verlezza Theatre Reviews Limited
Everyone is getting married except the four friends in their circle who are still NYC singles and need to attend all the blissful occasions. So this time they all take off to Santa Barbara to one of the groups ex-boyfriend’s wedding, that will also be attended by two of the others ex-boyfriends, and keeping in tow the one that never even had an ex-boyfriend, but has every detail of her wedding already planned. It could be interesting in a sit com sort of way.
“Save the Date: A Wedding Road-Trip Musical” with book, music and lyrics by Gregory Jacobs-Roseman, starts off in the right direction, then suddenly takes too many detours, not because of needed construction, but mostly from poor choices. First and foremost it needs to decide what it is. If it wants to be a concept musical, completely sung through that’s fine, if not cut the underscoring and stop endlessly vamping. Take note of the dialogue, “If I hear one more calypso I’ll die.” It is a too, too, too much music musical, that constantly repeats the same style and tempo enough to anesthetize the audience half way through the intermission less two hours. The performers are body miked and at times can still not be heard so the mix needs to be addressed or the band toned down.
The plot is thin but excusable with a fair amount of comedy and slapstick to keep things moving, and a lot of bantering and bickering, used as a form of bonding and friendship which works to a certain extent, but overused. The polished cast saves the show with amusing and somewhat real characters and pleasing vocals. They work hard to overcome the aforementioned obstacles and handle the minimal yet clever staging with ease. Kristine Reese displays her clear, sweet vocal and comedic timing as she embarks on Emily’s journey. Noah Zachary is her perfect sidekick with a fine baritone and gay characterization that touches reality with a bit of grace and just the right amount of sarcasm. Barrett Wilbert Weed tackles the grumpy Jane and manages to bring her down with raw attitude and a strong alto belt. It is hard to believe Victoria Britt is not really Tina in voice, gesture and appropriate attire, a job well done. James Penca and Andrew Kluger add their well-crafted characters of Michael and Dylan, with strong, pleasant vocals to the mix, along with a talented ensemble who help move the action along at a respectable pace. It is not a bad show, just needs the expected improvements and certainly is worth a look.
SAVE THE DATE
“Save the Date” is presented by The New York International Fringe Festival and Roadie Soadie Productions at Theatre 80, 80 St. Marks Place (1st Avenue and 2nd Avenue).
All performances of “Save the Date” take place at on the following schedule: Thursday August 22nd at 5:30 p.m.; and Saturday August 24th at 7:00 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 2 hours with no intermission. For more information about the show and the cast and creative team, please visit www.savethedatemusical.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Wednesday, August 21, 2013
“The Unfortunates” at the New York International Fringe Festival at Teatro Latea
“The Unfortunates” at the New York International Fringe Festival at Teatro Latea Written by Aoise Stratford Directed by Ryan Scott Whinnem Performed by Diana Cherkas Reviewed by David Roberts Theatre Reviews Limited
“And now these three remain: faith, hope and love. But the greatest of these is love.” (I Corinthians 13:13)
London’s Ten Bells Pub could be renamed “The Ten Bells Confessional.” On a cold night in November 1888, sex worker Mary Jane Kelly entered Ten Bells Pub and found no one in the usually crowded establishment except a man she had never met before and had never seen in the Whitechapel neighborhood. After trying her best to make some money (she was six weeks behind on her rent payments) by convincing the stranger to have a tryst or at least purchase a “Ripper keepsake,” Mary Jane settled in and shared her life’s story with the stranger from her birth in Limerick, Ireland to the present, including her witnessing the inquest of her dear friend Catherine Eddowes who had been murdered by Jack the Ripper in September 1888.
Mary Jane left Ten Bells (a bit tipsy) and was murdered in her home at 13 Miller’s Court by Jack the Ripper in the early morning hours of November 9, 1888. “Fair Emma” (as Mary Jane was also known) was believed to be the Ripper’s fifth and final victim. One wonders whether the gentleman she encountered in Ten Bells was her confessor or her murderer. After all, the man refused to take anything from Mary Jane: after hearing her story about Catherine’s inquest, he left her with Catherine’s bloody bonnet ribbon and gave her the gifts of non-judgmental and unconditional love. All for a copper left on the bar. Or was that man the Ripper confirming Mary Jane was Catherine’s friend and following her out of the pub to later murder her?
Diana Cherkas leaves no part of Mary Kelly’s core concealed. Ms. Cherkas’ performance is pure authenticity and honed honesty. This is an actor who knows her craft and knows how to engage an audience. She knows how to be vulnerable and how to build suspense. She is transparent when necessary and steely when her character needs a retreat into sanctuary. Under Ryan Scott Whinnem’s meticulous direction, Ms. Cherkas moves from one story to another, culminating in the chilling scene at Catherine Eddowes inquest.
Mary Jane Kelly was one of London’s “Unfortunates.” Poverty and lack of social capital left many young women (and probably as many young men) no choice but to become sex workers. Mary’s mantra, “You never know what’s coming,” remains the mantra of today’s unfortunates who, despite sharing their stories with confessor after confessor, often end up victims of abuse or even death. Aoise Stratford’s script confronts the audience with the question: who are today’s “Unfortunates” scrambling to survive on the world’s underbelly of “financial recovery?”
“You never know what’s coming.”
THE UNFORTUNATES
“The Unfortunates” is presented by The New York International Fringe Festival and Vertical Tasting Productions at Teatro LATEA, 107 Suffolk Street, 2nd Floor (Rivington and Delancey).
All performances of “The Unfortunates” take place at on the following schedule: Thursday August 22nd at 9:00 p.m.; and Saturday August 24th at 9:00 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 25 minutes. For more information about the show and the cast and creative team, please visit www.vertical-tasting.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Wednesday, August 21, 2013
“Someone To Belong To” at the New York International Fringe Festival at Theatre 80
“Someone To Belong To” at the New York International Fringe Festival at Theatre 80 Written by Christine DeNoon and Lorie Steele Directed by Leslie Collins Reviewed by Joseph Verlezza Theatre Reviews Limited
It is not edgy, current, ground breaking, or about dysfunctional families and it certainly is not a rock opera. “Someone To Belong To” is a new, good old fashioned musical comedy with a “sweet little love story about selling dreams and making them come true.” Something to take notice of since audiences these days seem to flock to revivals of the great musicals from the fifties and sixties. Granted, this is just the first incarnation and needs to be nurtured and developed to grow into a full scale musical comedy, but it certainly has good bones, follows the formula, is pure and simple and good insight can recognize the problems and attain a solution. The music and lyrics are delightful, clear and to the point, delivered via some catchy and soothing melodies. So refreshing to just sit back and enjoy the fabulous vocals without having to worry about subtext or undercurrent and not understanding the message. The plot is simple and at this point one would expect the book and dialogue to need extensive work.
Speaking of dreams coming true are exactly the words to describe this cast. An incredible assembly of top notch, well trained, hard working actors, singers and dancers who are completely devoted to the material, that shine as solo and sparkle as an ensemble. Chris Ware (Davis) is charming with vocals so easy on the ear. Samantha Eggers (Annie) is spirited and spot on in her rendition of the title song. Joe Colombo (Joe) has a fine baritone and creates an interesting character. Katherine Henly’s (Lois) strong, clear controlled soprano compliments her sexy persona and is welcoming. Erick Devine (Pete) brings his experience and skill to embrace the audience but we needed to hear more of his well honed vocal ability. Carla Nager (Miss Sasslebaum) and Jonathan Desley (Ted) are remarkable as comic relief exhibiting exceptional timing. David Paul Kidder (Reed), Graham Keen (Kenny), Kristen Sandler (Maggie) and Alle-Faye Monka (Candice) provide some incredible dance moves in the affordable space, thanks to choreographer Allison Plamondon.
Stepping out of bounds with some creative input, it would be nice to incorporate more trios and quartets for dramatic intensity. Annie is screaming for a cheese song and Miss Sasslebaum can certainly sing her way through the switchboard, but enough indulgence. This is a great little musical that moves at a comfortable pace with Leslie Collins at the helm. The spine of the production is the musical direction of Brandon Magid and arrangements by he and Eugene Gwozdz, it even has an overture! Try to catch this delightful musical now or hopefully sometime in the future, since it should certainly have a life after Fringe.
SOMEONE TO BELONG TO
“Someone To Belong To” is presented by The New York International Fringe Festival and DeNoon/Steele Productions at Theatre 80, 80 St. Marks Place (1st Avenue and 2nd Avenue).
All performances of “Someone To Belong To” take place at on the following schedule: Sunday August 25th at 3:30 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 20 minutes. For more information about the show and the cast and creative team, please visit www.someonetobelongto.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Tuesday, August 20, 2013
Interview with the Cast of “cal and grey”
Justin Blake Broido and Nick Martin in cal and grey. Photo by Amber Fox LaCasse
Interview with the Cast of “cal and grey” Interview by David Roberts and Joseph Verlezza Theatre Reviews Limited
On Wednesday August 14th, we sat down with playwright Becca Schlossberg and director Madeleine Rose Parsigian whose new play “cal and grey” has its final two FringeNYC performances on Thursday August 22nd at 3:00 p.m.; and Saturday August 24th at 7:45 p.m. With us also were the two actors who star in this remarkable play: Justin Blake Broido (Cal) and Nick Martin (Grey). We (hereafter: TRL) began the interview by asking:
TRL: How has the process developed since the performances of “cal and grey” began on the second day of the New York International Fringe Festival?
Justin and Nick: We have become more collaborative – as a cast and creative team. Madeleine has definite ideas about how the play should be performed but she is open to our input as actors. This collaborative spirit has been a real gift and has motivated us to further break down our characters.
TRL: Nick, you are on stage when the audience comes into the theatre: what are you doing during that time to prepare yourself and the audience for the beginning of the play?
Nick: I use the time for Grey to create his world, emptying the craters of their contents and using them to delineate my world inside the orphanage. By the time I stack the crates and sit on them, looking out the window, the space is ready – the world has been established.
TRL: What goals do you have for the play and for yourselves as the process moves forward?
Becca: I would like to share “cal and grey” with more people. I definitely want it to move forward andbe performed in the future.
Madeleine: “cal and grey” is part of a trilogy and I look forward to what follows this play. It is exciting to see this production as part of something larger.
Nick: I want to keep the momentum of the process going and the momentum of this production.
Justin: I’d like to see a more detailed set; I’d like the bathroom to be perhaps more realistic. It would be interesting to see how a different set might affect our performances and the overall feel of the piece.
TRL: What is one thing you like about this play and this particular production at Teatro Circulo?
All: We love challenging the audience, exposing them to Cal and Grey’s world, their worlds. The play is cathartic for us and for the audience. We want the audience to care about Cal and Grey and what is happening to them and how it affects them. We want to make a connection.
TRL: Thank you. We hope the remainder of the run is successful.
Permalink | Posted by David Roberts on Tuesday, August 20, 2013
“theMUMBLINGS” at the New York International Fringe Festival at Teatro LATEA
“theMUMBLINGS” at the New York International Fringe Festival at Teatro LATEA Written by Dan Kitrosser Directed by Charles Foster Cohen Reviewed by David Roberts Theatre Reviews Limited
Somewhat like Edward Albee’s George and Martha, Allen (Keith Foster) and Jodie (Lynne Rosenberg) retell stories from their past in a synergetic effort to delude the sinister scythe of truth. The unnamed and elusive child in Allen and Jodie’s disconsolate story is not disclosed through retellings of Virginia Woolf stream of consciousness banter but through Allen’s recurring retelling of his “Mumblings” story. Unlike the marriage of George and Martha wherein George’s sexual status is sometimes challenged by Martha in one of her “bellowing outbursts,” in Dan Kitrosser’s “the MUMBLINGS” Allen’s sexual status is undisputed. Allen is unabashedly gay and is married to an equally audaciously straight woman. This marriage – not necessarily of convenience – creates couple conflicts which drive sundry salacious and spiritual plots.
Allen’s belief that he can compartmentalize his life and be a significant part of Jodie’s life without “having to be gay” proves not only problematic but also pernicious. In a series of slice-of-life vignettes, Allen and Jodie rehearse the journey of their relationship from friends to a married couple to estranged and exhausted helpmeets searching for meaning in a terrain strewn with sorrow, disappointment, and avoidance.
Dan Kitrosser’s script tackles an important issue: gay men who marry straight women in an attempt to detour the important task of acquiring self-acceptance and find surcease from coming to terms with their authentic and honorable sexual status. This important play also focuses on the straight women who marry them and who often forfeit their needs for deep affection and a sense of belonging. Keith Foster and Lynne Rosenberg wear their characters’ feelings on their sleeves and deliver exquisite, honest, and authentic performances, baring the souls of two individuals in love and in marriage for perhaps all the wrong reasons.
Under Charles Foster Cohen’s deft and seemingly effortless direction, Mr. Foster and Ms. Rosenberg become their own pasts, sailing through scene after scene of “mumblings,” things that have gone bump in their individual and collective lives. Finally, like Martha, Jodie realizes that “it’s over.” She is tired of “repeating stories” and avoiding the truth. Like George, Allen, too, is ready to face the future a bit more unafraid: in his inimitable Skid-a-ma-rink style, Allen finishes Sophie’s story convincing the child there is no reason to be afraid and even less reason not to move forward.
THE MUMBLINGS
“theMUMBLINGS” is presented by The New York International Fringe Festival and the Box Colony Theatre at Teatro LATEA, 107 Suffolk Street, 2nd Floor (Rivington and Delancey).
All performances of “theMUMBLINGS” take place at on the following schedule: Wednesday August 21st at 8:30 p.m.; and Thursday August 22nd at 3:45 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 40 minutes. For more information about the show and the cast and creative team, please visit www.boxcolonytheatre.org For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Tuesday, August 20, 2013
“Our Kiki: A Gay Farce” at the New York International Fringe Festival at the Connelly Theater
“Our Kiki: A Gay Farce” at the New York International Fringe Festival at the Connelly Theater Written and Directed by Seth Tucker Choreographed by Shayla Benoit Reviewed by Joseph Verlezza Theatre Reviews Limited
The new definition of Kiki should be “a wonderful, wild ride on a raucous, rollicking rollercoaster of theatrical farce.” Sit in your seat and start the slow steady climb of exposition, all the while anticipating when the excitement will begin, and when you reach the pinnacle of the plot hold on as you plummet with lightning speed into the twists and turns of a hysterical madcap farce. No need to hold on tight because there is also enough intelligence and social comment to keep you neatly fastened to reality. It is fast, furious fun that packs plenty of laughs into the short ninety minutes with smart dialogue and hilarious physical humor. No need here to expose the plot; it would ruin all the fun.
The cast is perfect, breathing a refreshing sense of honesty into the characters they inhabit, creating a reality in the midst of the absurd shenanigans. Seth Tucker as Phil stops just short of stereotype by enforcing sincere sentiment and confidence in his deliberately stylized behavior. Peter Graham is steady and stable fostering a true Ying to Phil’s Yang. Each is likable alone but together they are lovable. Brianna Lauren manages to squeak out performances as best friend and loyal wife with the utmost confidence and a wicked spark that can ignite the fireworks. Stuart Green as George is the master of transition morphing his character like a chameleon, always staying on top of the action. Chris Costa as Andres is like the cherry on top being the last to enter the game, and ready, willing and certainly capable of leading the laughs to an even higher level. Larry Ray does well handling the toughest role almost required to observe from the sidelines until he finally is dragged into the comical fray.
The show is not perfect: its flawed, rather preachy conclusion needs to be reformed. The message is evident but the manner of delivery is weak and should be dispersed and lighter, rather than a couple of long winded, uninspired monologues that hit the brakes a bit too hard causing a superficial jolt. In closing, kudos to the entire creative team that has come together to produce a great new gem that hopefully finds a bright future celebrating life, love, and lots of laughs.
OUR KIKI: A GAY FARCE
“Our Kiki: A Gay Farce” is presented by The New York International Fringe Festival and the Hybrid Theatre Ensemble at the Connelly Theater, 220 East 4th Street (Avenues A and B).
All performances of “Our Kiki: A Gay Farce” take place at on the following schedule: Sunday August 25th at 1:45 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 30 minutes. For more information about the show and the cast and creative team, please visit www.hybridtheatreensemble.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Monday, August 19, 2013
“Big Dummy: me & my old man” at the New York International Fringe Festival at the Steve and Marie Sgouros Theatre
“Big Dummy: me & my old man” at the New York International Fringe Festival at the Steve and Marie Sgouros Theatre Written and Performed by Mary Dimino Directed by Christine Renee Miller Reviewed by Joseph Verlezza Theatre Reviews Limited
“Big Dummy: me & my old man” is a solo piece written and performed by Mary Dimino, with an honest and sincere look at her ever changing relationship with her father, along her journey through adolescence to becoming a successful comedian. The concept and subject has become a staple on the Fringe circuit but what sets this show apart is the writing and the execution which is exceptional: this is a well structured, fluid monologue. There might be some minor flaws when sugar and sentiment ooze into the script but it is certainly easy to swallow and it does not deter from the overall affect and power of the piece.
First and foremost is that from the moment Ms. Dimino appears on the stage you like her, and then she becomes your friend, sometimes telling but mostly sharing her revelations and experience. “Big Dummy” sports a full cast of characters, each vividly portrayed by the talented, confident and animated solo performer with skill and dexterity. You laugh and smile with recognition and sometimes feel a tear about to trickle down your cheek as her story unfolds. This is not the time to relinquish solo shows: treat yourself and spend some time with this remarkable actor and comedian. I am sure you will go home with a new friend.
BIG DUMMY: ME & MY OLD MAN
“Big Dummy: me & my old man” is presented by The New York International Fringe Festival and The Present Company at the Steve and Marie Sgouros Theatre, 115 MacDougal Street (West 3rd and Bleecker).
All performances of “Big Dummy: me & my old man” take place at on the following schedule: Tuesday August 20th at 4:00 p.m.; Saturday August 24th at 6:00 p.m.; and Sunday August 25th at 2:00 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 19 minutes. For more information about the show and the cast and creative team, please visit www.big-dummy.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Monday, August 19, 2013
“Blizzard ‘67” at the New York International Fringe Festival at the Robert Moss Theater
“Blizzard ‘67” at the New York International Fringe Festival at the Robert Moss Theater Written by Jon Steinhagen Directed by Kevin P. Hale Reviewed by Joseph Verlezza Theatre Reviews Limited
Four men willingly locking themselves together in a small confined space with little means of escape for about an hour every weekday; it is not a social gathering, they don’t even know each other’s first names. They are brought together for a matter of convenience and economic reasons, sharing nothing and hiding almost anything, so as not to reveal deep seeded feeling of resentment. They accept many challenges and are finally tested when confronted with danger and those ugly feelings push through and surface. Involved in an unfortunate crisis, human nature, conscious behavior and deliberate choices take control and steers them down a path of uncertain guilt and regret. It is conceivably a study of social climate carefully monitored by playwright Jon Steinhagen, as he provides the subjects with intelligent, fluent and expressive dialogue. Guided by director Kevin P. Hale, they subtly and skillfully avoid the usual potholes of melodrama and keep within a comfortable speed. When reaching the destination the results are revealed to the audience, who ultimately will make their own thoughtful judgement as they ponder the proceedings, which have been presented.
The four participants are William Franke, Graham Halstead, John Pieza and Andrew David Rubensteine. This cast is first rate with the ability to build an insidious community that is real and for that reason absolutely frightening. They create common, everyday characters that the audience relates too, never afraid to incorporate the slightest nuance to expose a bit more of their uncommitted soul. All make discerning choices, aware of physical communication and never overacting but reacting to the situation or circumstance.
The script is valid yet long and could easily be cut to ninety minutes without intermission to fuel the intensity of the moment. Time spent on extraneous information supposedly character exposition is sometimes not beneficial and pulls down the second act causing it to lose momentum. Sound by Trevor Dallier is absolutely brilliant and lighting by Jennifer Linn Wicox sets a dramatic tone. It is definitely worth getting caught up in “Blizzard 67” for a couple of hours, happening now as part of the NY International Fringe Festival.
BLIZZARD ‘67
“Blizzard ‘67” is presented by The New York International Fringe Festival and Playlab NYC at the Robert Moss Theater, 440 Lafayette Street, 3rd Floor (Astor Place and East 4th Street).
All performances of “Blizzard ‘67” take place at on the following schedule: Tuesday August 20th at 8:45 p.m.; and Saturday August 24th at 4:15 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 2 hours. For more information about the show and the cast and creative team, please visit www.playlabnyc.org For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Monday, August 19, 2013
“Peninsula” at the New York International Fringe Festival at the Robert Moss Theater
“Peninsula” at the New York International Fringe Festival at the Robert Moss Theater Written by Nathan Wright Directed by Nadia Foskolou Reviewed by David Roberts Theatre Reviews Limited
It is ironic that by refusing to go to New York City, his last opportunity to escape into freedom, protagonist Tiago (Josue Gutierrez Guerra) is murdered then pushed off a thirty-nine foot sail boat wrapped in sailcloth. He begins his descent into death’s memory vault and launches into his role as unreliable narrator extraordinaire. Tiago’s remarkable and mind-splitting postmortem narrative is corroborated real time by his most recent boss at the orchard where he worked as a migrant laborer on the quiet peninsula in Northern Michigan where Brazilian Boy Tiago ran and swam headlong into the worst apparition of the American Dream.
That phantasm is the wealthy college boy Tommy Vaughn (Kellan Peavy) and his lonely closet cougar mother Mrs. Vaughn (think Mrs. Robinson of course) who dutifully spend summers on the Peninsula hoping father-husband will visit as infrequently as possible without his flow of cash being interrupted. Boy meets boy meets mother and unabashed craving and hope spiral out of control in Nathan Wright’s impeccably crafted new play “Peninsula” currently running at the New York International Fringe Festival.
“Peninsula” is a chillingly brilliant telling of Tiego’s journey from his shanty town in urban Rio de Janeiro via Florida to the orchards on Northern Michigan. In this telling, time and narrator blur and blend and past and present coexist and collide. Tiago’s life in poverty in Rio with his girlfriend Lily (Vanessa Bartlett) is interrupted by hustler Nelson (Marc Sinoway) who sees in Tiago not just a trick but a way out of the Brazilian favela that has imprisoned him all his life. Feeding on Tiego’s narcissism and sexual openness (as do Tommy and Mrs. Vaughn in America), Nelson recruits Tiago to join him in his final “drug deal” in Rio.
This story is juxtaposed with Tiago’s life in the United States and his childhood life in Brazil – a life strewn with poverty and violence and death – to create a character and plot-driven script filled with suspense, secrets, sexuality, and serendipities rendezvous. Just as Tiago was a pawn in Rio’s socio-economic suffering, he remains a pawn in the games Tommy and Mrs. Vaughn play as they attempt to use Tiago to cope with and anesthetize their socio-economic ennui. The mother and son Vaughn are despicable soul-less characters whose racist and elitist cores are captured with surgical precision by Angela Atwood and Kellan Peavy.
As Bennett, the only character genuine character in the play, John Zdrojeski delivers an honest and powerful performance as Tiago’s boss who simply wants to connect in an authentic way with a young man to whom he is attracted with genuine concern. Vanessa Bartlett’s Lily and Marc Sinoway’s Nelson are powerful reminders of the distortions caused by poverty and loneliness. Both actors create believable and disturbingly honest characters caught in desperation.
The tour-de-force performance is delivered by Mr. Guerra who gives the audience the internal life of a beautifully handsome migrant worker who cannot escape the poverty of his home or the racism and elitism of America’s (and the world’s) one-percent. This actor creates a Tiago with depth and richness as well as with sadness and longing. He does not waste an expression, a movement, or a glance. When he captures the eyes of an audience member, that fortunate guest will see Tiago’s soul in all is splendor.
Tiago’s “crazy fish story” is one of the most well-crafted stories to grace a New York International Fringe Festival stage. Nathan Wright’s brilliant writing, Ms. Foskolou’s flawless direction, and the ensemble cast’s perfect performances combine in “Peninsula” to seduce the soul and quicken the mind of its appreciative and fortunate audiences.
PENINSULA
“Peninsula” is presented by The New York International Fringe Festival and In Absentia Productions at the Robert Moss Theater, 440 Lafayette Street, 3rd Floor (Astor Place and East 4th Street).
All performances of “Peninsula” take place at on the following schedule: Monday August 19th at 9:00 p.m.; and Thursday August 22nd at 2:30 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 45 minutes. For more information about the show and the cast and creative team, please visit www.peninsulatheplay.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org. Production photos by David Shand and Matt Dunivan.
Permalink | Posted by David Roberts on Monday, August 19, 2013
“Milk for Mrs. Stone” at the New York International Fringe Festival at the Robert Moss Theater
“Milk for Mrs. Stone” at the New York International Fringe Festival at the Robert Moss Theater Written by Charles Gershman Directed by Eli Taylor Reviewed by Joseph Verlezza Theatre Reviews Limited
“Milk for Mrs. Stone” a new play by Charles Gershman reaches to examine the behavior exemplified when a family already plagued with dysfunction is faced with an unfortunate emergency crisis. It is a battle between conservative social and political identity and authentic personal feelings and familial responsibility. The script, although striving for resolution, never really comes to terms with the problematic core. Too many extraneous conflicts and situations prohibit a focus and certainly serve no purpose in moving the plot forward.
At the center of the action is Mrs. Stone who is left physically disabled from a stroke after her husband dies and has severe speech problems. She lives alone with the exception of her live-in caregiver, who apparently is the only one who can understand her and translates, sometimes precisely and at others with her own interpretation - which eludes the desperate moment and produces some humor. After an unexpected visit from the estranged gay son who has come to ask his mother to pay for his partner’s surgery who is diagnosed with cancer, and is unexpectedly joined by his emotionally damaged, dysfunctional sister making her routine obligatory visit, the caretaker unexpectedly has to leave to see her husband who has arrived home unexpectedly. This is where the already contrived plot runs in to its most severe problems, the most confusing being if Mrs. Stone so desperately desires to communicate, even configuring letters in the air to spell words, why doesn’t she just grab a pen and some paper and write her message, a task which she seems very capable of accomplishing.
This unfortunately scars the otherwise believable and carefully nuanced performance of Colleen Smith Wallnau who captures the pride of the ill laden conservative matriarch with intelligent emotional and physical choices. Justin Bohon gives a valid attempt to portray son Daniel but the dialogue sometimes falls short leaving him stranded; but he manages to depict a non-stereotypical present day gay male in the mainstream of society. Katherine Heller serves up a broad character with dysfunctional appeal but is faced with the issue of why she is even there. As the competent caretaker, Sophia Bishop turns in a sincere effort in an underwritten role. This fine cast is just faced with too many obstacles in plot and script to overcome, in order to examine and shed light on important issues.
MILK FOR MRS. STONE
“Milk for Mrs. Stone” is presented by The New York International Fringe Festival and Proletarian Productions at the Robert Moss Theater, 440 Lafayette Street, 3rd Floor (Astor Place and East 4th Street).
All performances of “Milk for Mrs. Stone” take place at on the following schedule: Monday August 19th at 4:30 p.m.; Wednesday August 21st at 9:15 p.m.; and Thursday August 22nd at 5:00 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 30 minutes. For more information about the show and the cast and creative team, please visit www.milkformrsstone.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Monday, August 19, 2013
“Nicholas Maeve Marianne” at the New York International Fringe Festival at Teatro Circulo
“Nicholas Maeve Marianne” at the New York International Fringe Festival at Teatro Circulo Written by Matthew Stephen Smith Directed by Tim Jaclyn Biskup Reviewed by David Roberts Theatre Reviews Limited
Ego, Id, and Superego collude to sort out the raging battle between the collective conscious and the collective subconscious of the recently re-formed love triangle between college friends Nicholas (Christopher McLinden), Maeve (Rachael Lee), and Marianne (Shannon Sullivan).
After a two-year separation, Michelle heads east to Bushwick, Brooklyn to visit Maeve and the two decide to make an unannounced visit to Nicholas who, maintaining his love affair with the matrix of the subconscious, appears to be in the midst of a classic nihilistic meltdown. Marianne has clambered back into the conscious realm after a battle with her precocious Id that nearly dissolved her Ego strength. And Maeve maintains her place at the helm of the triad’s Superego: she is controlling, complex, and often condescending. After Nicholas is diagnosed as “always wanting to be an old man” the hell they experienced in their yesteryears breaks loose with a vengeance.
The reunited friends attempt to find an anchor somewhere in the spiral into community madness; however, old wounds refuse to heal and tiny bumps in the tile in Nicholas’ kitchen re-enliven nightmares. Having abandoned Marianne to a mental hospital two years ago and left Maeve, the Bushwick reunion proves to be more than he can handle in his current existentialist emptiness and he decides to move Marianne into his apartment (two large luggage bags included) and make up for lost time. Maeve and a call from home sends Marianne back west and pop goes the weasel on Nick’s brief recovery from reason.
Matthew Stephen Smith’s “Nicholas Maeve Marianne” proves to be an effective extended metaphor for not only the complexities of human relationships, but also a trope for the complexities of the human mind and the intricacies of memory. Under Jaclyn Biskup’s direction, the cast works hard – individually and as an ensemble – to bring their characters’ conflicts to the stage. Unfortunately, Mr. Smith’s writing is often unnatural, especially for these young urban young friends. Conversation becomes stilted and stale consisting of one well-constructed complex sentence after another.
Despite this, “Nicholas Maeve Marianne” is worth a visit. It is a stimulating glimpse into the minds and hearts of three old friends struggling for meaning in their brief reunion.
NICHOLAS MAEVE MARIANNE
“Nicholas Maeve Marianne” is presented by The New York International Fringe Festival and The Mill at Teatro Circulo, 64 East 4th Street (2nd Avenue & Bowery).
All performances of “Nicholas Maeve Marianne” take place at on the following schedule: Tuesday August 20th at 9:45 p.m.; and Saturday August 24th at 1:45 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 35 minutes. For more information about the show and the cast and creative team, please visit www.themilltheatre.org For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Sunday, August 18, 2013
“Brenda” at the New York International Fringe Festival at the Robert Moss Theater
“Brenda” at the New York International Fringe Festival at the Robert Moss Theater Written by Cory Finley Directed by Ashley Rodbro Reviewed by David Roberts and Joseph Verlezza Theatre Reviews Limited
Cory Finley's “Brenda” is a delectable Dean Koontz genre ghost story on steroids. After visiting his mother’s grave, Wallace’s (Sam Bolen) unconscious wish to revivify his mother gets “sealed with a kiss” and he begins to change places with his mother: Brenda (Deidre Madigan) comes back to life and Wallace takes her place in the land of the dead. The plot is complex and somewhat convoluted but focuses on his co-worker and would-be girlfriend Jen’s (Emily Kron) effort to return to the grave with Brenda and “jump” Wallace back from the grave.
The plot involves love triangles, allusions to erotic asphyxiation, and a beer-loving, sex-addicted roommate Mike who gets “jumped” by Brenda’s dead husband Cliff (Keith Herron) while on the road trip to hell.
The superb cast handles this intriguing concept with ease and provides some great humor along the way. Characters are well defined and the actors carve incredible detail into their images without creating caricatures. Bill Coyne as Mike is a perfectly delusional brawn and actual no brain persona that avoids stereotype adopting sensitive and zealous behavior as the escape. Sam Bolen is the wide eyed grieving Wallace, lonely and alone and recently orphaned, coaxing every ounce of self-pitied, confused energy from his transforming soul. Emily Kron as the recovering alcoholic Jen, teeters on the edge, always exposing her needs, insecurities and emotional turmoil and managing to take control. Keith Herron supplies all the necessary selfish, aggressive, egotistical behavior needed to capture the desperate Cliff. It is Deidre Madigan who commands the stage as she appears as Brenda, with an intelligent, diversely emotional and complicated performance. She is a tough, strong, steady, wounded individual that suffers from unintentional mental abuse. In every turn her face is flooded with pain, fear, relief, or confusion in memories that are convincingly real. The talented and cohesive ensemble delivers a delightful and interesting evening of theatre deftly directed by Ashley Rodbro.
BRENDA
“Brenda” is presented by The New York International Fringe Festival at the Robert Moss Theater, 440 Lafayette Street, 3rd Floor (Astor Place and East 4th Street).
All performances of “Brenda” take place at on the following schedule: Sunday August 18th at 7:00 p.m.; Friday August 23rd at 9:15 p.m.; and Saturday August 24th at 2:00 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 30 minutes. For more information about the show and the cast and creative team, please visit www.brendatheplay.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Saturday, August 17, 2013
“Bang Bang You’re Dead” at the New York International Fringe Festival at the Lynn Redgrave Theatre
“Bang Bang You’re Dead” at the New York International Fringe Festival at the Lynn Redgrave Theatre Written by William Mastrosimone Directed by Ralph Colombino and Dan Cooley Reviewed by David Roberts and Joseph Verlezza Theatre Reviews Limited
Bang Bang You're Dead is a one act play written by William Mastrosimone in 1999 to raise awareness of school violence and its causes and “see tragedy before it happens." According to Mastrosimone, it “is a drama to be performed by kids, for kids.” In the capable hands of the Actors Playground School of Theatre since 2008, the play continues to be “an effective vehicle for combating violence in public schools and a catalyst in preventing teen suicide.”
Mr. Mastrosimone’s script deals with the conflicts in the life of teenager Josh whose inner conflicts and the conflicts with his parents and peers leads him to murder both parents and five of his high school classmates including his ex-girlfriend and the boy she leaves him for. Like many young serial killers, Josh lives daily with multiple stressors from home, school and self and experiences a pain that “eats [his] heart, a heart that nobody knows.” This isolation engenders a crisis in identity pushing Josh “to his limit.” Identifying potential killers is extremely difficult: it is problematic to know which of our seemingly normal children is “hearing voices in their heads.”
“Bang Bang You’re Dead” allows Josh to hear the voices of his victims: he hears the “why me” and the “what I will miss” cacophony from the peers he shot dead. As a result, he “hates being alive and is afraid of being dead.” The well-crafted script invites the audience to confront and consider the complexities of Columbine, Virginia Tech, and Newtown massacres. Although Josh’s regret and the regret of other serial killers contain powerful psychological vectors, regret will not in itself stop bullying and its consequences for the living or for the dead. This production will go a long way to continue the conversation with its informed and attentive audiences.
With intelligence and sincere resolution, the ensemble cast displays extreme energy and unparalleled commitment to a script that tackles important issues. They are well disciplined and exude a quality of young professionalism that clearly spills from the stage. The constructive criticism would be that the vocal and emotional level never arcs and stays the same throughout the performance, loud and angry, almost never fluctuating. Also the constant movement without motivation destroys the focus of intense emotional scenes and causes confusion, sometimes fracturing character delineation. There is exceptional effort but flippant and poor execution. Toning down the action with a subtle approach to reaction in some scenes might produce more meaningful results.
All in all, kudos to a young and devoted company with hearts that fill the stage with unequivocal concern and emotion for a tragic problem that all too often surfaces in communities throughout this country.
BANG BANG YOU’RE DEAD
“Bang Bang You’re Dead” is presented by The New York International Fringe Festival and the Actors Playground School of Theatre at the Lynn Redgrave Theatre, 45 Bleecker Street (at Lafayette Street).
All performances of “Bang Bang You’re Dead” take place at on the following schedule: Saturday August 17th at 5:00 p.m. and Sunday August 18th at 7:30 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 15 minutes. For more information about the show and the cast and creative team, please visit www.actorsplay.com/PTP/BBYD For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Saturday, August 17, 2013
“Clown Play” at the New York International Fringe Festival at The Celebration of Whimsy
“Clown Play” at the New York International Fringe Festival at The Celebration of Whimsy Written by Paul David Young Directed by Robert Lutfy Reviewed by Joseph Verlezza Theatre Reviews Limited
A new work by Paul David Young appropriately entitled “Clown Play” currently part of the NY International Fringe Festival has a new twist on an ongoing theme on the present theatre scene. His script attempts to make a comment of sorts on the recent socio-economic crisis that has plagued the country. Jobless, homeless, mistreated, disconnected, misunderstood and medicated psychotic individuals searching for a safe haven to rest, regroup, repent, and redefine the meaning of happiness. They just happen to be a clown, or learning to be a clown, or trapped as a closeted clown, or learning to love a clown. The basic plot revolves around all these characters coming together as squatters as they search for a vacant foreclosure and are finally discovered by the past owner who has just been released from prison for killing her husband and is trying to reclaim whatever may be left of her pathetic life. Sounds like fun.
Most of the content consists of the age old art of clowning to convey different situations and feelings and to move the plot forward. Although the concept is perceptive, it fails when the art form suffers, lacking substance and detail, relying on slapstick, mugging and silly pratfalls with too much emphasis on gratuitous sexual humor. Perhaps the message trying to escape from beneath the rubble of frivolous confusion is that no matter how tough life may be or how desperate the situation is, if we learn to laugh in the face of danger and despair, we will survive. If it were transmitted in a more sensitive, sophisticated way, it would be more powerful and serve the artists attempting to deliver much better.
CLOWN PLAY
“Clown Play” is presented by The New York International Fringe Festival and Skylight Productions at The Celebration of Whimsy (The C.O.W.), 21-A Clinton Street (Houston and Stanton Street).
The final performance of “Clown Play” will take place at on Saturday August 24th at 9:30 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 10 minutes. For more information about the show, the cast and the creative team, please visit www.clownplay2013.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Saturday, August 17, 2013
“Soul Doctor” on Broadway at Circle in the Square
Photo by Carol Rosegg
“Soul Doctor” at Circle in the Square Music and Additional Lyrics by Shlomo Carlebach Book by Daniel S. Wise Lyrics by David Schechter Directed by Daniel S. Wise Reviewed by David Roberts and Joseph Verlezza Theatre Reviews Limited
“What the world needs now is love, sweet love/It's the only thing that there's just too little of.” (Hal David/Burt Bacharach, 1965)
Affirming that the world needed love in 1965 and continues to need love in the twenty-first century is a lovely thought and a fitting mantra for a world mired in ennui and daily teetering on the brink of global conflict. However, what the world has always needed is a qualified purveyor of love: the world needs someone who not only appreciates what love is but also apprehends how to share love in non-judgmental, unconditional, and prodigal ways. What the world needs is a love doctor, a soul doctor.
Rabbi Shlomo Carlebach was such a practitioner of love from his childhood in Nazi Germany until his death in 1994. The new Broadway musical “Soul Doctor” now playing at Circle in the Square chronicles the courageous life and auspicious ministry of this remarkable troubadour of agapic love. “Soul Doctor” is a flashback from Carlebach’s (Eric Anderson) appearance at a concert in Vienna City Square in 1972 through his boyhood in Vienna, his escape to Brooklyn from Nazi Germany with his family, his introduction to the Chassidim, his auspicious meeting with Nina Simone (Amber Iman), his ministry in New York City and California, his visit to Jerusalem and back to the beginning of the musical.
Throughout his life, Reb Shlomo proclaimed a “love without limit” and through his songs hoped to reach out to as many people – especially the young – as he could in unconventional yet convincing ways. Under Daniel S. Wise’s spirited direction, “Soul Doctor’s” energetic and brilliant ensemble cast enlivens Carlebach’s songs and transforms them into songs for the ages – “songs coming from above filling all the world with music and love.”
Neil Patel’s multi-purpose set easily transitions time and space and with Jeff Croiter’s sumptuous lighting creates the appropriate mood for every scene of the musical. Maggie Morgan’s costumes are exquisite and honor each period of action with dignity and refinement. Benoit-Swan Pouffer’s choreography encapsulates yet transcends tradition and brings the action into the audience whenever possible.
The plot of “Soul Doctor” is very thin if one even exists. It is rather a chronological circle of life-altering events that end where it all began, all for the sake of healing, whether oneself or others. The autobiographical stream of events is interesting but does not necessarily create a wave that forces the action into the next scene. The book may be informative about the life and career of Schlomo Carlebach but the character delineation and exposure is weak, providing no emotional connection for the audience.
What proves to be the soul of this production is Carlebach’s music which seems to be fittingly the healing force of the doctor. Eric Anderson successfully uses his clear, strong vocal quality to celebrate life’s ever changing emotional raptures as he attempts to heal the lost, confused and searching souls of his faith. Amber Iam captures a freedom in her vocals that is the essence of her character, Nina Simone. Her scene with Schlomo in the smoky piano bar where they first meet is endearing, heartbreaking and uplifting and her vocals are divine. The two hour and thirty five minute production is long but moves at a quick pace and supplies a good evening of entertainment.
SOUL DOCTOR
“Soul Doctor” is produced by Jeremy Chess, Jerome Levy, Robert Beckwitt, Edward Steinberg, Joel Kahn and Danny Boy Productions.
The cast includes Eric Anderson, Jacqueline Antaramian, Dianna Barger, Richard Cerato, Tara Chambers, Maria Conti, Alexandra Frohlinger, Afra Hines, Amber Iman, Abdur-Rahim Jackson, Jamie Jackson, Ethan Khusidman, Dillon Kondor, Zarah Mahler, Vasthy Mompoint, Ron Orbach, Ian Paget, Heather Parcells, Michael Paternostro, JC Schuster, Eric J. Stockton, Ryan Strand and Teddy Walsh.
The design team for Soul Doctor includes scenic design by Neil Patel, costume design by MaggieMorgan, lighting design by Jeff Croiter and sound design by John Shivers and David Patridge. Orchestrations and additional arrangements are by Steve Margoshes, music supervision and arrangements are by Brian Koonin and music direction and arrangements are by Seth Farber. Production photos by Carol Rosegg.
The performance schedule is as follows: From July 17 – August 17: Monday – Saturday at 8pm; Wednesday and Saturday at 2pm. Beginning August 19: Tuesday and Thursday at 7pm; Wednesday, Friday and Saturday at 8pm; Wednesday and Saturday at 2pm; Sunday at 3pm. All tickets are $135 (which include a theater facility fee) and can be purchased through www.telecharge.com, by calling (212) 239-6200, or at the Circle in the Square box office. For groups of 10 or more, please visit www.groups.telecharge.com or call (212) 239-6262 or (800) 432-7780. Circle in the Square Theatre is located at 1633 Broadway, entrance on 50th Street between Broadway and 8th Avenue. For more information, please visit www.SoulDoctorBroadway.com.
Permalink | Posted by David Roberts on Friday, August 16, 2013
“Rubble” at the New York International Fringe Festival at The Players Theatre
“Rubble” at the New York International Fringe Festival at The Players Theatre Written by Mike Reiss Directed by James Valletti Reviewed by Joseph Verlezza Theatre Reviews Limited
What one would expect from “Rubble” a new play being served up to NY audiences as part of the International Fringe Festival, penned by Mike Reiss, long time writer for “The Simpsons” is exactly what you get, with no disappointment. Assembling a celebrity status cast including Bruce Vilanch and Jerry Adler and directed by Jack Valletti contributes to the success, and only ignites the firecracker script which explodes with one-liners. The plot is weak, almost non- existent, but of no concern, for the focus is on laughter. The jokes are fast and furious, some are funny, some irreverent and others are old and tired, so if one fails, the next or the one after will certainly succeed in producing a chuckle. The pace is lightening quick and at times interrupted by short musical parodies with slick, quirky lyrics and energetic vaudeville delivery. Of course it is sit-com humor but it is entertaining and will lure a new audience into the theater.
The cast does exactly what is necessary to maximize and utilize the script with impeccable timing and exaggerated expression. Bruce Vilanch is, well, Bruce Vilanch and who could ask for anything more. The highlight of the evening was seeing Broadway veteran Jerry Adler return to the stage with a noteworthy performance. His entire role is a series of hysterical phone conversations and his deadpan delivery of the old Hollywood agent vacationing in Hawaii is remarkable and exceptional. He all but steals the show. The competent performances by Jason Jacoby, Amy Wilson, Bryan McElroy and Jeffrey Arnold Wolf complete the talented cast who add plenty of sparks to fuel this fast burning fiery farce.
RUBBLE
“Rubble” is presented by The New York International Fringe Festival and 2L2T Productions. LLC at The Players Theatre, 115 MacDougal Street (West3rd and Bleecker).
All performances of “Rubble” take place at on the following schedule: Thursday August 22nd at 9:15 p.m.; Saturday August 24th at 10:15 p.m.; and Sunday August 25th at 2:30 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 35 minutes with no intermission. For more information about the show and the cast and creative team, please visit www.rubbletheplay.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Thursday, August 15, 2013
“Truth” at the New York International Fringe Festival at Theatre 80
“Truth” at the New York International Fringe Festival at Theatre 80 Music by Paula M. Kimper and Libretto by Talaya Delaney Directed by Linda McInerney and Lori Holmes Clark Reviewed by David Roberts Theatre Reviews Limited
In 1797 Isabella Baumfree was born into slavery in Ulster County, New York. “The state of New York began, in 1799, to legislate the abolition of slavery, although the process of emancipating New York slaves was not complete until July 4, 1827. Dumont had promised to grant Truth her freedom a year before the state emancipation, if she would do well and be faithful. However, he changed his mind, claiming a hand injury had made her less productive. She was infuriated but continued working, spinning 100 pounds of wool, to satisfy her sense of obligation to him.”
Isabella (Belle) “declared herself free” and escaped in 1826 and began a journey which led her to be among the most important abolitionists and women’s rights activists in American history. On June 1, 1843, Belle responded to God’s call, changed her name to Sojourner Truth and traveled extensively to preach about the abolition of slavery.
Paula Kimper and Talaya Delaney’s “Truth” is the new opera which traces Sojourner Truth’s remarkable life and ministry from her days as a slave to her death. Act I chronicles Belle’s history from slavery to freedom; Act II narrates the education of Sojourner Truth; and Act III relates Sojourner Truth’s use of her voice to change the world. Throughout the opera’s fourteen clearly delineated scenes, soprano Mari-Yan Pringle delivers a perfect portrait of Sojourner Truth. Ms. Pringle clearly understands her character and her character’s complex conflicts and shares Sojourner’s pilgrimage with precise movement and with a beautiful soprano voice. She captures each of Paula Kimper’s notes and Talaya Delaney’s libretto with her steady and controlled voice which resounds with power and dignity throughout the theatre. As she enunciates each word and successfully tackles every phrase, Ms. Pringle brings Sojourner Truth to life with an honest and heartfelt performance.
Equally effective in their multiple roles are baritone Jorell Williams who delineates with stunning precision between Baumfree and Frederick Douglas and whose strong secure tones counterpoint beautifully with those of Ms. Pringle. Tenor Stephen Biegner has the ability to differentiate between his three disparate characters with ease. His John Dumont could not be more despicable and his Elijah Pierson more engaging. Soprano Heather Michele Meyer also handles her multiple roles with grace and exceptional craft. Boy Soprano Jaylen Fontaine makes a heroic effort to fulfill his roles at Peter and The Child. His soft soprano and his charming presence complement this formidable ensemble cast.
Under Lori Holmes Clark and Linda McInerny’s deliberate and inventive direction, the cast of “Truth” manages to bring Sojourner’s life to the stage with near perfection. It will be good to see future productions with more elaborate sets and an orchestra off stage. And it is clear to this reviewer that “Truth” will have a wonderful future. Next time, a full libretto or, at minimum, a song list would be helpful to the audience.
TRUTH
“Truth” is presented by The New York International Fringe Festival and Once in a Blue Moon Music at Theatre 80, 80 St. Marks Place (1st Avenue and 2nd Avenue).
All performances of “Truth” take place at on the following schedule: Friday August 16th at 7:45 p.m.; Saturday August 17th at 9:15 p.m.; and Sunday August 25th at 5:45 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 30 minutes. For more information about the show, please visit http://paulakimper.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Thursday, August 15, 2013
“Luke Nicholas” at the New York International Fringe Festival at Teatro Circulo
“Luke Nicholas” at the New York International Fringe Festival at Teatro Circulo Written and Directed by Tim Aumiller Reviewed by Joseph Verlezza Theatre Reviews Limited
“Luke Nicholas” is the quintessential example of what should be found at the ongoing NY International Fringe Festival. It is good theater, refreshing, new, innovative and well written, always keeping the audience engaged with surprising twists and turns. It examines the parameters of an open gay relationship testing boundaries only to realize what is required to survive the sometimes ugly, hurtful and unintentional battles. Dissected, the script is simple, the sum of its parts propels it to a complicated, and intriguing “art imitates life” or vice versa, turn of events.
The plot revolves around a playwright, his husband and a bisexual stripper. To reveal more is not necessary and would affect audience viewing pleasure. It concerns trust, truth, limits, lust, love and priorities that affect, build or destroy a relationship. It is human, real, raw and honest in depicting present day social mores.
The three cast members Sean Hankinson, Colin Key and Jason Zeren are excellent in their roles, each defining and redefining their characters and are deftly guided through the script with ease by writer director Tim Aumiller, except in a few scenes where the pace drags. They are polished, skilled actors that breathe life into the dialogue making the script more believable and capturing every moment available. One questions whether the stripper’s pole dance was purely gratuitous, albeit a crowd pleaser noticing audience reaction and certainly verifying the promotional photo advertising the show. For those timid theatergoers: do not forgo this production for this play is about so much more than sex and nudity and will surely entertain.
LUKE NICHOLAS
“Luke Nicholas” is presented by The New York International Fringe Festival and NO HOPE Productions at Teatro Circulo, 64 East 4th Street (2nd Avenue & Bowery).
All performances of “Luke Nicholas” take place at on the following schedule: Wednesday August 14th at 7:30; and Saturday August 17th at 1:45 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 50 minutes. For more information about the show and the cast and creative team, please visit www.nohopeproductions.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Wednesday, August 14, 2013
“Gertrude Stein SAINTS!” at the New York International Fringe Festival at the Ellen Stewart Theatre – La MaMa
“Gertrude Stein SAINTS!” at the New York International Fringe Festival at the Ellen Stewart Theatre – La MaMa Based on the Text by Gertrude Stein Music written by the Ensemble at Carnegie Mellon University Directed by Michelle Sutherland Reviewed by David Roberts, Joseph Verlezza, and the Ensemble at Carnegie Mellon University Theatre Reviews Limited
[The Prelude: Joseph and I believe that the thing we call theatre – from idea to performance to review and beyond – is a collaborative process. No one entity in that process is more important than another. Writers, directors, casts, creative teams, critics, audiences are all accountable to preserve the core of the dramatic process and are accountable to one another. This is our first collaborative review and we believe it should be a model for the critical process. Let us know what you believe and what you think, and what you feel about our belief.]
The Fugue: Joseph and I asked the cast to determine how they would approach their work as critics: what was important to evaluate? What should the audience expect? For a full one-and-one-half hours we listened, we responded, we queried, we answered, we laughed, and we connected. It was difficult for us to separate from these talented, dedicated, honest, lovely human beings. In the “Riffs” movement, the speakers will be The Director (D), The Cast (C), and The Critics (D/J).
The Riffs (with thanks to Leonard Bernstein):
D/J: What are the parameters for evaluating your work on “Gertrude Stein: SAINTS!” (Hereafter, “GS”)? As critics, what do you look for in your performance as an ensemble and as a member of the ensemble? Were you successful in each area you identify? Are there areas where there is room for growth?
C: We want to evaluate the process of “GS” itself. We believe we were successful in bringing together two separate casts: the all-male production of “Four Saints in Three Acts” at Carnegie Mellon University in February of 2013 and the all-female cast performing selections from “Saints and Singing.” After we studied Gertrude Stein’s dense text, it became the backbone of the new production. We worked collaboratively on all the choreography and song-writing. The process was completely egalitarian.
C: As we worked on the piece, we wanted to make sure it was inviting to the audience. The libretto is dense text and it might not be accessible to everyone in the audience. We did not want to come across as being condescending or pretentious. As we worked together, we discovered that we became more loyal to the idea of Gertrude Stein’s text than to the text itself. We stayed true to the text but focusing on being true to the idea helped us make the piece more accessible to ourselves and therefore more accessible to others.
C: As an ensemble we wanted to evaluate whether we stuck to our original vision and to our intention as established by our director Michelle and we believe we were successful here. We were under a great time constraint to bring together the two productions so there was a need to stay focused and move forward together with a single vision.
C: You (D/J) asked if we felt connected to one another and you felt that sometimes we were not. Interesting question. We have not been together long as a cast; however, we do feel we are becoming more connected to one another on stage. This has been a joyful experience for us and as we let each moment inform us, we become more connected. Obviously, the audience will benefit more from the piece if we are able to convincingly share how we connect. Our connection to one another is determined by both the process and to time and we will focus on how our characters connect to one another in significant ways. Michelle has helped us understand that we have reached a good place vertically and now we need to work horizontally and being connected is part of that process.
C: Obviously we would review our work in the traditional areas of acting, singing, and dancing. We wrote the music to all of the songs and choreographed all movement and dances and worked collaboratively with Michelle on all of the staging. The design of the show is centered on singing and dancing. This has been a very personal experience for each of us and we love the way the process has gone. The piece is amorphous and fluid and allows us to use all of our craft to make it accessible to the audience. And it is a challenge every time we step onto the stage. Jacob sets the pitch of the piece in his opening acapella number – last night we were singing really high the whole night!
D/J: We have one final question. What about Gertrude Stein’s text? Was it important that you understand the text? Is it important that the audience understands the text? Where is Gertrude Stein in your production and in your performances?
C: Our work has, in many respects, been all about searching for Gertrude Stein. Our relationship to the text is essential – the words are gorgeous. But, as Michelle helped us understand, we are the word of the play. That is Stein’s intent. And our singing is the action but we could not do what we do without the text and our idea about the text. We experience the text from different lenses: Jimmy, for example, sees it as a parable. If we have done our work well, and we believe we have, we ask the audience every performance, “Are you coming with us on this journey?”
[The Postlude: Joseph feels the performance “is like a stranger's smile: you see it, do not know who or what it is but it greets you, pulls you close inviting you to a warm safe place, providing comfort and a reason to celebrate life, humanity, and America.” David feels the actors, the saints “are inviting a response from someone, some thing: from Gertrude, from Saint Therese perhaps. Is anyone out there who can affirm our dancing and singing? We search for a ‘well done, good and faithful servant!’”]
GERTRUDE STEIN SAINTS!
The final performances of “Gertrude Stein: SAINTS!” take place on Wednesday August 14th at 4:45 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 15 minutes. For more information about the show and the cast and creative team visit www.gertrudesteinsaints.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Wednesday, August 14, 2013
“Antony and Cleopatra: Infinite Lives” at the New York International Fringe Festival at the Lynn Redgrave Theater
“Antony and Cleopatra: Infinite Lives” at the New York International Fringe Festival at the Lynn Redgrave Theater Written by J. Michael DeAngelis and Pete Barry with Original Text by William Shakespeare Music by Rebecca Kotcher Directed by John Dowgin Reviewed by Joseph Verlezza Theatre Reviews Limited
“Antony and Cleopatra: Infinite Lives” is a new work that attempts to parallel many contemporary issues we face politically and socially utilizing a Shakespearean text and the current uprising and violent unrest in the Egyptian government. Change takes time and perhaps time changes nothing seems to be the irony. Mistrust, religion and denial continue to destroy relationships. Greed, power and control still conflict with the need for democracy. Ideals and indulgences are mistaken as truths and necessities. Finally everyone still ponders that it can be better and their individual inspiration and beliefs are the paths to achievement. Ultimately this all results in downfall and destruction.
This production exemplifies this by cleverly intermingling a present day production of “Antony and Cleopatra” by a renegade avant-garde director in the Egyptian room of a museum as a fundraiser with concerns about the status of the revolution in modern day Egypt. The director’s fiancée happens to be an Egyptian expatriate escaping social repression and has a nationalist brother whom she never speaks to and has corrupt fundraising ideas for his own performance: he, of course, shows up for a surprise visit at the museum. Actually you can see where this is going and that is only one of the problems. The production is belabored, clocking in at over two hours. The Shakespearean scenes drag on after the point has been established and the deliveries are uneven. The actors fare a bit better when returning to present day. Exceptions that stand out among the cast are Dustin Karrat (Gamal El-Kahir) and Brandon Smalls (Octavius/Barry).
The production needs more polish and the script revisited in order to make a more powerful statement. For now it is a whimper when it needs to shout about this important issue. At best the show should run ninety minutes without an intermission. The effort is appreciated in hopes that the process will continue to produce a better product with a stronger structure.
ANTONY AND CLEOPATRA: INFINITE LIVES
“Antony and Cleopatra: Infinite Lives” is presented by The New York International Fringe Festival and The Porch Room at The Lynn Redgrave Theater, 45 Bleecker Street (at Lafayette Street). Rebecca Kotcher is the Composer. Justin Bolding is the Company Representative.
The cast includes Samantha Apfel, Thom Boyer, Kelsey Bramson, Catherine Cela, Tara Cioletti, Nick Imperato, Dustin Karrat, Chelsea Lando, David Mazzuchi, Devin Plantamura, Nazli Sarpkaya, Jackie Sherman, Brandon Smalls, Kyle Smith, and Thanh Ta. The creative team includes Stage Crew: Jacob Carlson; Lighting Design: Elyse Halloran; Lighting Design: Ed Pearson; Costume Design: Olivia Rutigliano; and Stage Manager: Jessica Murray.
All performances of “Antony and Cleopatra: Infinite Lives” take place at on the following schedule: Friday August 16th at 9:30 p.m.; Saturday August 18th at 4:45; and Sunday August 25th at Noon. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 2 hours. For more information about the show visit www.porchroom.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Tuesday, August 13, 2013
“Bully” at the New York International Fringe Festival at the Steve and Marie Sgouros Theatre
“Bully” at the New York International Fringe Festival at the Steve and Marie Sgouros Theatre Written and Performed by Lee J. Kaplan Directed by Padraic Lillis Reviewed by David Roberts Theatre Reviews Limited
After a full fifteen-minute intense visceral, sweaty, and well-rounded pre-curtain warm-up, Lee J. Kaplan launches into his equally intense visceral, sweaty, and well-rounded boxing match with all things bullying. Mr. Kaplan makes it clear that if one is to beat the bully at his/her own game, one needs to be in excellent shape or know someone in better shape to be at one’s back.
Extending the metaphor of boxing throughout his sixty-minute marathon performance, Mr. Kaplan rehearses his history of being bullied from his sixth grade class with Mrs. Dolittle (who literally does little to help Lee other than spew platitudes and stand at the sidelines of abuse) to his present struggles with self-esteem and self-acceptance despite his successful career as an actor and voice-over artist.
Although Lee had a supportive family and his parents affirmed daily they loved him and deemed him their friend, that support was challenged daily in the classroom, in the gym, and on the school grounds. His emotional recalling of the psychological and physical abuse he suffered occupy several “matches” in the “boxing ring” on stage as he “knocks out” what he labels “The Worm,” “The Snake,” “The Boot,” and “The Ringleader” – four experiences he and others being bullied need to face and overcome and know how to handle in the future. These matches affirm important mantras for those being bullied: don’t care about the bully; tell someone about the experiences; and do not blame yourself.
Mr. Kaplan’s script is well-intentioned and is a powerful reminder of the insidiousness of the bullying process and the harmful consequences of being bullied: teenagers (and others) not only lose self-esteem, they also commit suicide at an alarming rate. Bullying is serious. Because of its autobiographical structure, the script does not deal with more contemporary forms of bullying: cyber-bullying, sexting, and other electronic forms of bullying. Despite this shortfall, “Bully” is a convincing reminder of one of contemporary society’s most important torments.
Hopefully Mr. Kaplan’s engrossing and important play will result in action beyond audience applause. Audience members need to leave the theatre empowered to reporting cyber-bullying and committing themselves to be more than bystanders when they witness any form of bullying. For more information about bullying, please visit http://www.stopbullying.gov/.
BULLY
“Bully” is presented by The New York International Fringe Festival at the Steve and Marie Sgouros Theatre, 115 MacDougal Street (West 3rd and Bleecker).
All performances of “Bully” take place at on the following schedule: Wednesday August 14th at 6:00 p.m.; Friday August 16th at 2:30 p.m.; Sunday August 18th at 1:45 p.m.; and Wednesday August 21st at 9:15 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour with no intermission. For more information about the show and the creative team, please visit www.standuptothebully.com . For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Tuesday, August 13, 2013
“Why You Beasting” at the New York International Fringe Festival at CSV Flamboyan
“Why You Beasting” at the New York International Fringe Festival at CSV Flamboyan Written by David Don Miller Directed by Markus Potter Reviewed by David Roberts and Joseph Verlezza Theatre Reviews Limited
David Don Miller’s provocative play “Why You Beasting” tips its dramatic hat to the ongoing controversy of how to provide rich instruction in urban public high schools and provide learning environments that provide underserved students opportunities to determine what they want to learn and how they choose to learn. In the play, rookie teacher Mr. Rudy Donovan’s (Shane Zeigler) journey from finding a way to provide his students an authentic learning experience to – believe it or not – the district’s “rubber room” is populated by growing pains, disastrous classroom brawls, and a spate of administrative interventions.
Like the majority of new teachers fresh out of graduate teaching programs that often focus on content over craft, Mr. Donovan has scant knowledge of how to manage the only thing a teacher can manage: his classroom. He confuses temporary compliance to his “rules” with having “reached” his students. More detrimental to his success in the classroom is his belief that “wanting to help” will make an instant connection with urban high school students who have learned to be mistrustful of “caring” and can smell insincerity a borough away.
This lack of craft and the cynicism of veteran teacher Mr. Tom Wallace (Fletcher Shepley-McTaggart) result in Donovan’s disillusionment and growing self-doubt and after colleague Mr. Schwartz’s disintegrating ego-strength results in verbally and physically harassing his students landing him in the “Rubber Room,” Donovan decides that fate of being paid for doing nothing ad infinitum is a pleasing alternative to daily torture in the classroom he is ultimately responsible to manage and teach. His plan for getting into the Rubber Room fails miserably and he faces being fired. After his principal offers him an administrative position to keep him on the staff, a glance from one student with whom he had made an authentic connection creates an impressive plot twist: he ends up accepting the Rubber Room in order to return to the classroom.
The ensemble cast portrays convincing characters with boundless energy that push the limits of reality but carefully and intentionally avoid falling into the realm of stereotypes. The wonderfully diverse, multi-ethnic troupe brings with it a sense of honesty that almost creates an unsettling discomfort as they time and time again quickly turn humor into fear. Shane Zeigler exposes Rudy Donovan as an earnest, determined and dedicated novice teacher who falls victim to many battles before understanding victory. Fletcher Shepley-McTaggart as the already jaded, apathetic teacher Tom Wallace who plays the system is excellent as comrade and ill fated confidant to his gullible colleague. Andre Montgomery as Principal Dr. Rogelio Rubio is the perfect example of educational administration manipulation and knows how to squeeze every ounce of spite and sarcasm out of his character. Other stand outs in the well rounded cast are Desiree Rodriguez (Roberta Gonzalez), Corwin Tuggles (Tyrone Marshall Jones III), and Suzanna Guzman (Senora Esperanza Encarnacion).
The script is well structured but falls short in the second act after repetitive scenes involving Donovan getting inebriated in a bar while devising a plot, executing the plan in the classroom, and confronting the unsuccessful results in the principal’s office - all adding excessive blackouts and unnecessary visuals without any pertinent plot development. It slows the pace and would be better left to clever dialogue and informative conversation. The last scene also might need some attention with a more positive and uplifting reflection. It would also be beneficial to reduce running time to 90 minutes without an intermission.
WHY YOU BEASTING
“Why You Beasting” is presented by The New York International Fringe Festival, NewYorkRep, and Dan Irwin at CSV Flamboyan, 107 Suffolk Street (Rivington and Delancey).
The cast includes Shane Zeigler, Pulina Ruiz, Gonzalo Trigueros, Desiree Rodriguez, Corwin Tuggles, Nicolette Ellis, Fletcher Shepley-McTaggart, Doug Trapp, Susanna Guzman, Camille James, Jay Horton, Ann-Kathryne Mills, Jon E, María Pietranera, Lacroix Peeples, Taylor Carter-Jones, and Megan Merrick. The creative team includes Associate Producer: Perry Poussard, Jr.; Playwright: David Don Miller Director: Markus Potter; Production Stage Manager: Craig Rosenthal; Scenic/Lighting Designer: David Goldstein; Costume Designer: Sarafina Bush; Interns: Taylor Carter-Jones, Alex Aug, and Megan Merrick.
All performances of “Why You Beasting” take place at on the following schedule: Wednesday August 14th at 7:00; Saturday August 24th at 5:45 p.m.; and Sunday August 25th at Noon. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 2 hours and 15 minutes. For more information about the show visit www.WhyYouBeasting.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Tuesday, August 13, 2013
“Carol and Cotton” at the New York International Fringe Festival at the Kraine Theatre
“Carol and Cotton” at the New York International Fringe Festival at the Kraine Theatre Written and Directed by James Vculek Reviewed by Joseph Verlezza Theatre Reviews Limited
“Carol and Cotton,” the newly revised play that opened at the Kraine Theater as part of the NY International Fringe Festival, is a true testament to brilliant writing and carefully honed characters created by two outstanding actors. The script scrupulously examines the alleged conspirative plot of Minnesota lawyer T. Eugene “Cotton” Thompson to hire someone to kill his wife of 13 years leaving their four children motherless and creating an opportunity to pursue a relationship with his former mistress who had since married. Coyly, the script never makes definitive accusations but presents undeniable evidence that justified the jury’s guilty verdict that sentenced Cotton to prison. Currently, so much gratuitous and promiscuous violence is visually depicted in film that audiences have forgotten how powerful language, words, and excellent storytelling by skillful actors can ignite a vivid imagination and horrify a mesmerized audience. This is such the case with James Vculek’s “Carol and Cotton” which is based on the actual events of the March 6, 1963, murder of Highland Park housewife Carol Thompson.
Each of the two-member cast plays multiple roles and deftly depicts each character with slight physical changes in posture and mannerisms using virtually no props. Their transformations are clear, clean and crisp. Steve Sweere ingeniously slips in and out of his characters (Cotton, Randall, and Mastrian) with incredible speed and exactitude, always keeping stride with the ease of a chameleon changing colors. His wise economical choices in development celebrate his experience and flexibility. Catherine Johnson Justice manages to corral a thoughtful and intelligent performance which may be a bit more subtle but by no means diminished. Her characters (Carol, Patty, and Jackie) are strong, calm and substantial women who are well defined and articulated. Reality settles into every glance as they collectively fall victim to this unsettling crime. Both these actors come close to perfection. Writer and Director James Vculek has done a remarkable job and has delivered a first rate production that should be seen, heard, and acknowledged by the most fastidious theatergoer.
CAROL AND COTTON
“Carol and Cotton” is presented by The New York International Fringe Festival and Partizan Theater at the Kraine Theatre, 85 East 4th street (2nd Avenue and Bowery).
The cast includes Catherine Johnson Justice (Carol, Patty, and Jackie) and Steve Sweere (Cotton, Randall, and Mastrian).
All performances of “Carol and Cotton” take place at on the following schedule: Wednesday August 14th at 4:00 p.m.; and Thursday August 15th at 9:00 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 25 minutes without intermission. For more information about the show and the creative team visit www.carolandcotton.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Monday, August 12, 2013
“Lydia and Tom: A New Musical” at the New York International Fringe Festival at the Theater at the 14th Street Y
“Lydia and Tom: A New Musical” at the New York International Fringe Festival at the Theater at the 14th Street Y Written by Nick Parker and Composed by Solomon Hillman Directed by Alex Hare Reviewed by Joseph Verlezza Theatre Reviews Limited
The new musical “Lydia and Tom” is a refreshingly interesting concept that fuses music, dance, voice and drama to its essence and explores a complicated yet familiar coming of age relationship. Driving the plot are two major conflicts: the choice between a platonic or carnal relationship and career choices that affect the stability of that relationship and self fulfillment. The themes are nothing new or adventurous but the translation is. As Lydia and Tom speak and sing about their aforementioned woes, their alter egos exorcise their feelings through interpretive dance. The music is pure and inventive and provides the cast with melodic and dissonant echoes to explore a vast array of emotion.
Lydia and Tom the actors are played respectively by Raquel Chavez and Sam Mickel: they do a fine job creating believable characters with depth and substance. Ms. Chavez has a sweet vocal quality but lacks projection both singing and speaking. Mr. Mickel has a strong, clear vocal that resonates but tends to experience pitchy pitfalls when the melody is not evident. Rebekah Lowin and Jacob Samuels round out the cast portraying the female and male ensemble and intermittent distractions to Lydia and Tom’s search for meaning in relationship.
As their alter egos, dancers Adrianna Aguilar and Zak Jacobs are fascinating and capable. Ms. Aguilar, who also choreographed the piece, is expressive and lyric using her small frame exquisitely to harness giant emotions. Incorporating dance movements to change scenery, it would have been advantageous to involve the set pieces even more intricately, adopting them into one seamless effort. Mr. Jacobs is intriguing as nuances spill from his face to define his character’s inner thoughts. His sinewy muscles produce pain, anger, distress and joy as he attacks the deliberate movement to release his emotion. What is lacking in technique is rectified by attitude.
Under the astute direction of Alex Hare, the cast easily manages the script at a comfortable and smart pace. There are some staging issues that could be addressed that would help enhance certain scenes and some missed opportunities for additional dance sequences that might heighten the emotional content. Also there are moments that are visually confusing when mediums conflict and battle for focus.
Certainly this collaborative effort by these young artists results in a promising small chamber musical that deserves attention.
LYDIA AND TOM: A NEW MUSICAL
“Lydia and Tom: A New Musical” is presented by The New York International Fringe Festival at the Theater at the 14th Street Y, 344 East 14th Street (at 1st Avenue).
The cast includes Raquel Chavez (actor) and Adrianna Aguilar (dancer) and Tom will be played by Sam Mickel (actor) and Zak Jacobs (dancer). The cast will also be featuring Rebekah Lowin and Jacob Samuels (courtesy of AEA) as ensemble members. The creative team includes movement direction by Victoria Pollack and choreography by Adrianna Aguilar. The five-piece orchestra includes Solomon Hoffman (piano); Nicholas Perry (violin); Nick Parker (drums); Lucy Hayes (Cello); and Alex Roth (bass).
All performances of “Lydia and Tom: A New Musical” take place at on the following schedule: Wednesday August 14th at 8:45 p.m.; Sunday August 18th at 6:45 p.m.; and Saturday August 24th at 7:00 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 40 minutes. For more information about the show visit www.lydiaandtomthemusical.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Monday, August 12, 2013
“cal and grey” at the New York International Fringe Festival at CSV Kabayitos
“cal and grey” at the New York International Fringe Festival at CSV Kabayitos Written by Becca Schlossberg Directed by Madeleine Rose Parsigian Reviewed by David Roberts Theatre Reviews Limited
Cal and Grey (“with an ‘e’”) are two teenage boys considered to be expendable. They were warehoused in their post-infancy by the revolutionary regime whose takeover eliminated “all men and women” and placed all children in orphanages until they were twenty-one. With many other institutionalized children, Cal and Grey survive by adhering to a diet of strict obedience to a warden and his abusive staff who have become their dysfunctional extended family.
In the course of Becca Schlossberg’s parabolic new play “cal and grey,” Cal (Justin Blake Broido) falls deeply in love with Grey (Nick Martin) and the consummation of their affection for one another is the turning point of this remarkable play whose important themes of self-worth and survival reverberate with the honest and authentic performances furnished by the play’s focused and abstracted cast. Under Madeleine Rose Parsigian’s compliant yet discriminating direction, Mr. Broido and Mr. Martin deliver distinguished performances which detail their characters’ struggle to persevere in the midst of abuse and oppression.
Oppressive regimes (Cal and Grey’s orphanage; the Nazis; religious organizations; governments; schools) maintain power by dividing, incarcerating, slaughtering the innocent, and weakening the oppressed by forcing them (through their tyrannical systems) to focus more on minutiae than weighty matters, “to focus on details so as not to have to deal with larger things.” When Cal first meets Grey , Grey has become anesthetized by detail and has become oblivious to the horrors surrounding him. Cal’s unconditional and non-judgmental love penetrates Grey’s complacency and opens his world and his heart to transformative love. What Grey thinks might be a distraction is the deconstruction of the reality he has accepted as normative and necessary.
Outside the orphanage, the populace is in the midst of its own deconstruction of the revolution and all hell is breaking loose. Grey reiterates, “It’s the end of the world.” Cal has been selected to visit outside the orphanage and has tried to convince journalist Patrick to understand that he and his fellow orphans are “victims instead of monsters.” Cal’s desire to defy the system which oppresses him and Grey gets him into battles with one of the guards and he often returns to Grey beaten, bloodied, and most likely sexually abused.
The connections between Cal and Grey’s story and the contemporary world are endless and Ms. Schlossberg’s script equips the audience to discover Cal and Grey’s struggle for safe haven and self-acceptance in each audience member’s own life and in the lives of those who share fragile Planet earth as home. The sudden focus by School Systems on the details of “new and improved state standards,” for example, distracts parents and students (and teachers) from the glaring reality of substandard learning environments and the dangers of the increasing administration of senseless high-stakes tests. Even the highly important Supreme Court dismantling of DOMA and California’s Prop 8 has resulted in squabbling between the LGBT communities (which needs desperately to remain united) and the homophobic and often abusive majority population.
At the play’s end, Grey realizes that the fragile environment of the orphanage is about to crumble as the pressure for reform outside the institution escalates. He also comes to realize that Cal is the only hope the rest of the children have to escape before the orphanage is ambushed. After confronting Cal with his theory that Cal must be the leader of this escape, Cal refuses to leave Grey resulting in Grey’s pretending their relationship is only “a distraction” and “a mistake.” Grey decides to put himself in harm’s way in front of the same window that has given him years of comfort: what happens as a result will free Cal to assist the rest of the boys to escape lives of continued sexual, mental, and physical abuse.
Grey’s act of unconditional love is a powerful and well-crafted trope (here an extended metaphor) for all human struggles past and present whose success has depended solely upon salvific self-sacrifice. It reminds us that freedom and equality often come only after struggle and unbending commitment to recover at least a small part of paradise. Do all that you can to see this wonderful and weighty new play before the close of its run at FringeNYC.
CAL AND GREY
“cal and grey” is presented by The New York International Fringe Festival and Sunglasses after Dark Productions at Teatro Circulo, 64 East 4th Street (2nd Avenue and Bowery).
The cast includes Justin Blake Broido (Cal) and Nick Martin (Grey).
All performances of “cal and grey” take place at on the following schedule: Wednesday August 14th at 3:30 p.m.; Thursday August 22nd at 3:00 p.m.; and Saturday August 24th at 7:45 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 30 minutes. For more information about the show and its creative team visit www.sunglassesafterdark.org For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Monday, August 12, 2013
“Adam & Steve and the Empty Sea” at the New York International Fringe Festival at CSV Kabayitos
“Adam & Steve and the Empty Sea” at the New York International Fringe Festival at CSV Kabayitos Written by Matthew Greene Directed by Jerry Rapier Reviewed by David Roberts and Joseph Verlezza Theatre Reviews Limited
Friends from childhood, Adam (Topher Rasmussen) and Steve (Logan Tarantino) each need validation from the other as they move forward from graduation and decide where to spend their college years together. Adam needs to know his friend affirms his strong commitment to Mormon values and, after coming out to Adam, Steve needs to know his friend truly understands his sexual status and accepts him. An idyllic pre-Fall scenario which does not play out as planned. Mormon and gay simply do not mix.
Matthew Greene’s script folds scenes from Adam and Steve’s competitive and naïve childhood into scenes from post-high school and into the future of these two friends. After sharing his sexual status with Adam, Steve notices his friend beginning to distance himself until he discovers that Adam has decided to join a mission in Kenya. Throughout the play, the friends reconnect and seek permission from one another to simply be who they are. Their missions for self discovery and self acceptance parallel one another; however they affirm that it is “difficult to support what you cannot understand.”
Adam returns early from his mission physically and spiritually broken by an unnamed but serious illness. Steve has found and recently lost his first love relationship. As they meet, they affirm their love for one another, reminisce about years past and wonder about their uncertain future. Adam has lost some of his faith and Steve has begun to gain faith in himself and in the future. In a charming and heartfelt scene, Adam tells Steve that his only true connection while in Kenya was with a gay couple. Perhaps this is Adam’s final gift to the boy and young man whom he loved and always wanted to embrace as family.
Topher Rasmussen and Logan Tarantino are two young promising actors that possess the unique ability to command a stage when listening and remaining focused on the dialogue. They are generous and gracious performers as they explore their innate feelings and control emotions that sometimes seep through their pores and at times erupt in a fiery meltdown. They are faced with the difficult task of portraying characters as high school adolescents coming of age to mature responsible young adults, and the attempt is admirable. Mr. Rasmussen creates a dedicated Adam with explicit reactions that expose his character and inherent Mormon upbringing. He is fascinating to watch as he explores unknown territory and stumbles over surfacing obstacles along the developing path. Mr. Tarantino occupies a strong, virile, masculine athlete in Steve and reveals his concerns and fears as a gay youth with intelligence, vulnerability and sincerity. Never indulging in stereotypical behavior, he embraces his character who is determined to overcome conservative mores; as a result, he produces a stable, honest and honorable role model. Their characters’ relationship might falter but their performances never do as they each follow their journey of discovery.
ADAM & STEVE AND THE EMPTY SEA
“Adam & Steve and the Empty Sea” is presented by The New York International Fringe Festival and Plan-B Theatre at CSV Kabayitos, 107 Suffolk Street, 2nd Floor (Rivington and Delancey).
The cast includes Topher Rasmussen (Adam) and Logan Tarantino (Steve).
All performances of “Adam & Steve and the Empty Sea” take place at on the following schedule:Tuesday August 13th at 7:45 p.m.; Wednesday August 14th at 4:45; and Thursday August 15th at 9:15 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 30 mimutes. For more information about the show and its cast and creative team visit www.planbtheatre.org/fringe.htm For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Monday, August 12, 2013
“Barcode” at the New York International Fringe Festival at the Ellen Stewart Theatre – La MaMa
“Barcode” at the New York International Fringe Festival at the Ellen Stewart Theatre – La MaMa Book, Music, and Lyrics by Debbie Andrews and Mike Blaxill Directed and Choreographed by Joe Barros Reviewed by Joseph Verlezza Theatre Reviews Limited
“Barcode” a new musical which has debuted as part of the NYC International Fringe Festival attempts to affirm its claim as a “futuristic rock musical” but misses the mark. Yes it does take place in the future where Earth Corp rules and controls the 99%, a somewhat fatigued yet still pertinent theme; however, the score does not rock. Subplots drive the plot but are weak and do not create enough interest. Boy from Earth Corp family meets girl from anti-establishment group Jammers while searching for his missing father who just happens to be leader of the underground movement always lurking in the shadows. Boy and girl destroy Earth Corp, father is reunited with mother and son and everyone lives happily ever after, for a while. “Barcode” is standard musical theatre fare with no surprises.
The obstacles that the cast and creative team are facing in this current production are not insurmountable but will need substantial work and focus to overcome. Too many musical numbers use the one line title as a lyric that is endlessly repeated which does not benefit the plot or serve the character. Songs begin teasing the audience in great expectation but quickly fall short and do not deliver. It is difficult to place blame on director or cast for lack of character delineation, but most appear one dimensional. The director regards the material too seriously and the music drones in the same slow tempos even when it cries out to explode with emotion. This show needs to be brought to the edge and infused with parody, caricatures and humor, all of which will convey the important message with a powerful punch. The vocal energy and music in the songs “Barcode”,” Reckoning” and “Citizens” are a good barometer in measuring the promise of a future production. Final analysis; great effort but poor execution.
BARCODE
“Barcode”is presented by The New York International Fringe Festival and Barcode Snacks at the Ellen Stewart Theatre – La MaMa, 66-68 East 4th Street (2nd Avenue and Bowery)
All performances of “Barcode” take place at on the following schedule: Friday August 9th at 2:00 p.m.; Sunday August 11th at 7:00 p.m.; Monday August 12th at 9:30 p.m.; Tuesday August 13th at 9:30 p.m.; and Wednesday August 14th at 2:00 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 2 hours. For more information about the show visit www.barcoderockmusical.com. For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Sunday, August 11, 2013
“Freefall Frostbite” at the New York International Fringe Festival at the Ellen Stewart Theatre – La MaMa
“Freefall Frostbite” at the New York International Fringe Festival at the Ellen Stewart Theatre – La MaMa Written by Michael Fixel with Music by Marc Irwin and Michael Fixel Directed by Juliet Fixel Reviewed by David Roberts Theatre Reviews Limited
Falling from grace often results in disaster as does the freefall from reaching too far beyond one’s capabilities or corporeal limits. Whether these limits are other-imposed (the gods, or a particular monotheistic god) or self-imposed, they are boundaries that come with sanctions: eat the wrong fruit and get expelled from paradise; fly too close to the sun and bank on a fiery freefall. Set up a financial scheme that sends your family and friends into poverty (while you and your staff cavort about the office) and expect to serve serious time. Send the ninety-nine percent a-begging in the park and expect a frosty global response.
These post-the-Fall themes tumble about in Michael Fixel’s “Freefall Frostbite” with limited success. The large cast scrambles (literally) to make sense of the esoteric and often dense verse text so they might enable the audience to connect to the musical in some meaningful way. We all want some sense of home now and in some real or imagined post-mortem future. Depending on our place in line or our place around a lighted (not fiery) oil drum, that sense of home is quite different: home might be where the heart is or it might be no more than an “underwater mortgage.”
“Freefall Frostbite’s” young cast delivers a respectable ensemble performance: the Homeless (appropriately nameless and numbered 1 through 6) fare better than those privileged to be in Line. One standout performance is delivered by Jim Dadosky, a recent transplant to New York City from North Carolina, who clearly understands his character The Scholar and provides the best transition from Line to Homeless. In fact, Mr. Dadosky would have been a far better choice for the lead role of Steven. All nineteen perform the show’s pedestrian choreography well and under Juliet Fixel’s uneven direction do their best to prevent a fate of dramatic freefall.
FREEFALL FROSTBITE
“Freefall Frostbite” is presented by The New York International Fringe Festival, Parallel Universe, and Theater Resources.
All performances of “Freefall Frostbite” take place at on the following schedule: Friday August 9th at 7:30 p.m.; Saturday August 10th at 2:00 p.m.; Sunday August 11th at 9:45 p.m.; and Monday August 12th at 2:00 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 2 hours. For more information about the show visit www.paralleluniversetheaterresources.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Sunday, August 11, 2013
Saturday at the New York International Fringe Festival – August 10, 2013
Saturday at the New York International Fringe Festival – August 10, 2013 Recommendations by David Roberts and Joseph Verlezza Theatre Reviews Limited
FringeNYC’s second day was filled with well-crafted musicals and plays well worth seeing. Our reviews of these performances will be posted soon on this Blog and on our website http://www.theatrereviews.com
OUR MUSICAL PICK-OF-THE-DAY IS -
“Gertrude Stein SAINTS!” Based on the Text by Gertrude Stein Music written by the Ensemble at Carnegie Mellon University Directed by Michelle Sutherland
The sound of American music ignites this adaptation of Stein's unconventional 'saints' librettos, making for an opera experience unlike anything else. With joyful abandon these performer/saints sing through gospel, rap, jazz, rock, and country to an ecstatic conclusion.
“Gertrude Stein SAINTS!” is presented by The New York International Fringe Festival and Theater Plastique at the Ellen Stewart Theatre – La MaMa, 66-68 East 4th Street (2nd Avenue and Bowery). All performances of “Gertrude Stein SAINTS!” take place at on the following schedule: Monday August 12th at 7:30 p.m.; Tuesday August 13th at 7:30 p.m.; and Wednesday August 14th at 4:45 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 15 minutes. For more information about the show visit www.gertrudesteinsaints.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
OUR DRAMA PICK-OF-THE-DAY IS –
“cal and grey” Written by Becca Schlossberg Directed by Madeline Rose Parsigian
Cal and Grey are enemies of the state. Their bond could ignite a revolution, or be the end of all they've ever known. Through shared strength and unimaginable loss, they will learn that some fires cannot be contained. The review of "cal and grey" will be posted on Monday August 12th 2013.
“cal and grey” is presented by The New York International Fringe Festival and Sunglasses after Dark Productions at Teatro Circulo, 64 East 4th Street (2nd Avenue and Bowery). All performances of “cal and grey” take place at on the following schedule: Wednesday August 14th at 3:30 p.m.; Thursday August 22nd at 3:00 p.m.; and Saturday August 24th at 7:45 p.m. Tickets are $18.00 at the door and $15.00 for advance purchase. The running time is 1 hour and 30 minutes. For more information about the show visit www.sunglassesafterdark.org For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Saturday, August 10, 2013
“Harbor” at Primary Stages at 59E59 Theater A
“Harbor” at Primary Stages at 59E59 Theater A Written by Chad Beguelin Directed by Mark Lamos Reviewed by David Roberts Theatre Reviews Limited
“Now there is in Jerusalem near the Sheep Gate a pool, which in Aramaic is called Bethesda and which is surrounded by five covered colonnades. Here a great number of disabled people used to lie—the blind, the lame, the paralyzed. One who was there had been an invalid for thirty-eight years. When Jesus saw him lying there and learned that he had been in this condition for a long time, he asked him, “Do you want to get well?” “Sir,” the invalid replied, “I have no one to help me into the pool when the water is stirred (troubled). While I am trying to get in, someone else goes down ahead of me.” Then Jesus said to him, “Get up! Pick up your mat and walk.” - Gospel of John 5:2-8
It is difficult to encounter Chad Berguelin’s “Harbor” and not utilize significant critical psychological-mythological strategies for viewing and understanding his exceptional new play which is currently running at 59E59 Theaters as the first installment in Primary Stages’ new season. “Harbor” is all about family dysfunction, the condition agonizing the Adams and Adams-Weller families “for a long time” (see above).
All the characters in Mr. Berguelin’s drama are in some fashion “disabled” and assiduously waiting for a “savior:” someone to heal them, transform them, and lead them to healing stirred-up waters. “Harbor” is at its core a parable about choices and the healing which results from making right choices. Donna Adams (Erin Cummings) knows it is time “to get well.” She needs help into the healing pool because she is pregnant, living in a filthy van with her fifteen-year-old daughter Lottie (Alexis Molnar), and hanging onto an unrealistic dream of success as a cruise ship performer. Lottie needs help into the healing pool before her addictive mother further destroys her chance for a future. Donna drops in on her brother Kevin (Randy Harrison) and his husband Ted (Paul Anthony Stewart) admitting she “screwed up” and wants the couple to adopt her unborn child so he/she will have the “best” of opportunities. Kevin and Ted need help into the healing pool to provide surcease for their fractured and codependent relationship which has infantilized Kevin and rendered Ted useless professionally.
Kevin has learned to “want what Ted wants” and “not to rock the boat.” Randy Harrison and Paul Anthony Stewart breathe a significant quantum of authenticity and passion into these two characters balancing a relationship based, sadly, on deception and patronization. When Ted discovers that Kevin has been discussing adoption with Donna, Ted unveils his belief that he “already has a kid.” Erin Cummings provides a persuasive performance as a sibling who has learned to be manipulative and militant in her attempt to survive the curse of codependence as the child of abusive parents. And Alexis Molnar delivers the play’s bravura performance. Ms. Molnar gives the audience a penetrating glimpse into the life of a teenager struggling with the eventualities of survival and identity and the meaning of love. Ms. Molnar’s Lottie knows she teeters on the brink of placement in a foster home and she will do whatever it takes to maintain her freedom.
Donna’s visit results in all of the characters in “Harbor” having the “brick of truth” dropped on them. Donna’s decision (despite her ulterior motives) to visit Kevin and Ted (to find safe harbor) unhinges the extended family’s dysfunction and permanently alters the dynamics of the family system. Mr. Beguelin’s script develops these four rich and well-rounded characters and provides them with believable and engaging conflicts which drive an authentic and convincing plot. Under Mark Lamos’ thoughtful and respectful direction, “Harbor’s” cast exquisitely brings healing resolution and catharsis to their conflicts and the plot they drive. They move from co-dependence to the beginnings of independence. Everyone, it seems, has found their place of stillness and has begun a sincere coming of age journey. Ted and Lottie begin a father-daughter relationship based on respect and parity. And Kevin and Donna begin an epic voyage on rediscovery of self and a future without the threat of self-annihilation and vapid codependence.
“Harbor” plays a limited engagement July 23 – September 8 at Primary Stages at 59E59 Theaters (59 East 59th Street). Performances are Tuesday-Thursday at 7:00 p.m., Friday at 8:00 p.m., Saturday at 2:00 p.m. and 8:00 p.m., and Sunday at 3:00 p.m. There will be special Wednesday matinees at 2:00 p.m. on August 21 and 28. There are no performances Wednesday evening, August 21 or Sunday afternoon, September 1. Single tickets are priced at $70.00 for all performances. Tickets may be purchased by calling Ticket Central at (212) 279-4200, online at www.primarystages.org, or in person at the 59E59 Theaters Box Office. Group Tickets (10+) are $39 each for performances through August 4 and $49 each for all performances August 7 – September 8. Student group tickets are available for $39 each throughout the run. Group sales are available by calling (212) 840-9705, ext. 204. Please visit the website at www.primarystages.org, or call (212) 840-9705 for additional information.
Permalink | Posted by David Roberts on Tuesday, August 6, 2013
“Love, Genius and A Walk” at the Midtown International Theatre Festival at the June Havoc Theatre
“Love, Genius and A Walk” at the Midtown International Theatre Festival at the June Havoc Theatre Written by Gay Walley Directed by Gregory Abels Reviewed by David Roberts
“I often think: they have only just gone out,/and now they will be coming back home./The day is fine, don't be dismayed,/They have just gone for a long walk.” Gustav Mahler, “Songs on the Death of Children”
Long walks are important not only for those on foot but also for those left behind waiting for the return of (most often) the beloved. Has the one loved left them? Has the beloved perhaps come to some harm? Are they ever coming back? When they do return, will things ever be the same?
The ‘walk’ in Gay Walley’s “Love, Genius and A Walk” is an extended metaphor for the vicissitudes of human relationships as well as the metamorphoses in the individual human being. The ‘genius’ is more sophisticated than reference to the gift of high intellect of Gustav Mahler or Sigmund Freud: ‘genius’ in Wally’s well-constructed play is more about having the right stuff – in this case, the right stuff to explore human love in all its complexity and mystery.
Director Gregory Abels handily directs his cast of eleven throughout their on-stage extended group therapy session narrated by actor Silas Moores and populated by none other than the master therapist himself Sigmund Freud (Shelley Valfer) and master musician Gustav Mahler (Paul Binotto). Ms. Wally’s complex script allows time and space to collapse into irrelevance and leaves room for a party attended by guests from different centuries and many other parallel conflicts. Steve (Alexander Pepperman) and his wife – known only as “Female Writer “ (Kathleen Wallace) – struggle with the same challenges to living with a mate as do Mahler and his wife Alma (Lara Hillier). Ms. Wallace’s character is the only character without a name and one wonders why her “generic artist” needs to counterpoint Mahler’s “artist with a name.”
Particularly engaging is the Freudian dynamic extant in Steve’s relationship with his wife and Mahler’s relationship with Alma. Both couples have chosen mates based on complex layers of transference and counter-transference and a “healthy” dose of projection. Alma Mahler (cannot get much close to “alma mater!”) and her doppelganger “Female Writer” seek solace in the images of their fathers and Gustav and his doppelganger Steve long for their nurturing mothers in their spouses. As clearly as Freud makes this to Gustav, he and Steve experience the anguish of love and all four learn the importance of sublimation.
These themes intersect the lives of the other characters whose stories tumble with those of the main characters and create a story whose theme of “watching the state of our hearts” resonates with every audience member and every person who has ever been lover or beloved (thank you, Frankie Addams) – or experienced the destruction and suffering that often accompanies love.
The ensemble cast brims with confidence and craft and navigates the play’s twenty-six scenes with engaging performances and professionalism. “Love, Genius and A Walk” is not perfect (what in love and love ever is?) but this is a remarkable play with transcendent hues and delicious harmonic tones. Austrian accents wobble off course and Mr. Binotto often wears Mahler’s malaise too close to the sleeve. A quiet, sonorous tone sometimes carries more weight than a frenetic high-pitched rant which sometimes appears more nerves than nettle. In the end, “talk therapy” assists those gathered to achieve living a life they each want and begin to sort through matrices of repressed feelings and the stores of “excess energy” resulting from their collective genius. Perhaps Mahler was right: “I often think: they have only just gone out,/and now they will be coming back home./The day is fine, don't be dismayed,/They have just gone for a long walk.” It would be good to see Ms. Wally’s play in some future reincarnation.
LOVE, GENIUS AND A WALK
“Love, Genius and A Walk” is presented by Vicki Abrams and the Midtown International Theatre Festival. Director: Gregory Abels. An AEA-Approved Showcase, the cast of “Love, Genius and A Walk” features Breanna Arneson, Paul Binotto*, Jimmy Dailey, Alexandra Dickson, Lara Hillier*, Kelly Leissler, Silas Moores, Alexander Pepperman, Shelley Valfer, Kathleen Wallace* and Joshua Warr. The creative team includes Vicki Abrams (Producer), Felicia Bass (General Manager) and Jamibeth Margolis (Casting). Publicist: Judd Hollander/Bunch of People Press and Publicity. Production photos by Russ Rowland.
The Midtown International Theatre Festival (MITF)'s fourteenth season will include a slate of full-length plays and musicals, as well as Short Subjects. The Festival will run from July 15 to August 4, 2013, at the June Havoc Theatre, 312 W. 36th Street, NYC, 1st floor; the Dorothy Strelsin Theatre, 312 W. 36th Street, NYC, 1st floor; the Main Stage Theater, 312 W. 36th Street, NYC, 4th floor; and the Jewel Box Theater, 312 W. 36th Street, NYC, 4th floor. Tickets are $15 for short plays and $18 for longer plays. Tickets are available at www.midtownfestival.org or by phone at (866) 811-4111. More information about the show is available at www.lovegeniusandawalk.com.
“Love, Genius and A Walk” ended its run at the June Havoc Theatre (see above) on Sunday August 4th at 1:00 p.m. Tickets are $18.00 (see above). The running time is 90 minutes with no intermission.
Permalink | Posted by David Roberts on Monday, August 5, 2013
“Crossing Swords” at the New York Musical Theatre Festival at the Romulus Linney Courtyard Theatre
Photo by Seth Walters
“Crossing Swords” at the New York Musical Theatre Festival at the Romulus Linney Courtyard Theatre Book, Music, and Lyrics by Joe Slabe Directed by Igor Goldin Reviewed by David Roberts Theatre Reviews Limited
“Crossing Swords” is an important new musical with multilayered and interweaving plot structures driven by a matrix of well-developed, dynamic characters who share a repository of complicated plots that the audience can readily identify with and understand. Joe Slabe has created an endearing book musical with transcendent lyrics and music and powerful and redemptive themes spun by an unexpected love triangle and a seemingly impossible love affair between a Francophile and an Anglophile living in more than different cultural worlds.
In the parallel constructs of the rehearsals for “Cyrano,” the relationships between Jeremy, David, and Nicky, and the relationship between Miss Daignault and “Sir,” there is indeed the crossing of many swords: secrets are revealed from the present and the past; deep-seated conflicts about status and identity flood to the surface; and, after a surprising climax, resolutions are reached that provide needed resolution and catharsis.
The stunning cast of this musical creates an ensemble performance that is remarkable in its evenness and exactitude. Voices blend, movements mesh in sweet synchronicity, and characters are created with grace and skill. It is impossible to single out any one actor for specific mention. It is enough to affirm that Linda Balgord, Ali Gordon, Steven Hauck, Lyle Colby Mackston, and Marrick Smith, under Igor Goldin’s direction, bring “Crossing Swords” to a level of professionalism from which it can do no other than move forward in success.
There are songs that shine and should be highlighted: “On the Stage” sung by Miss Daignault (Linda Balgord), Jeremy (Lyle Colby Mackston), David (Marrick Smith), and Nicky (Ali Gordon); “For King and Country” sung by Sir (Steven Hauck), Jeremy, and David; and “My Work” a beautiful duet sung by Sir and Miss Daignault. These three showcase not only the voices of the actors but also showcase the brilliance of the entire creative team.
This is a musical with heart, mind, and soul with a message of enduring importance: there is nothing that can overcome the power of unconditional and non-judgmental love. We await its return to the New York stage and wish its cast and creative team the very best for the future.
“Crossing Swords” has garnered eight NYMF 2013 Awards for Excellence including: Excellence in Writing (Musical) – Honorable Mention to Joe Slabe; Excellence in Writing (Book) – Joe Slabe; Excellence in Direction – Igor Goldin; Outstanding Musical Direction – Micah Young; Outstanding Ensemble Performance – Honorable Mention; Outstanding Individual Performance – Steven Hauck; Most Promising New Musical – Honorable Mention; and the Theatre for the American Musical Prize.
CROSSING SWORDS
“Crossing Swords” is presented by The New York Musical Theatre Festival and the Forte Musical Guild. Director: Igor Goldin; Fight and Assistant Director: Trey Compton; Music Director: Micah Young; Assistant Music Director: Karl Hinze; Arrangements: Joe Slabe; Lighting Designer: Zack Blane; Assistant Lighting Designer: Michael Cole; Scenic Designer: Josh Zangen; Costume Designer: Martin Scgnellinger; Stage Manager: Naomi Anhorn; Assistant Stage Manager: Alyson Cermak; General Manager: Suellen Vance; Publicist: Paul Siebold; Casting: Michael Cassara, CSA; Casting Assistant: Chelsea Ignagni.
The cast includes Linda Balgord, Ali Gordon, Steven Hauck, Lyle Colby Mackston, and Marrick Smith.
“Marry Harry” played its final performance on Sunday July 28th at 1:00 p.m. at the Romulus Linney Courtyard Theatre, The Pershing Square Signature Center, 480 West 42nd Street, NYC 10036. Tickets: $25. For further information, visit nymf.org.
Permalink | Posted by David Roberts on Friday, August 2, 2013
“I Forgive You, Ronald Reagan” at The Beckett Theatre
“I Forgive You, Ronald Reagan” at The Beckett Theatre Written by John S. Anastasi Directed by Charles Abbott Preview by David Roberts Theatre Reviews Limited
Performances continue at The Beckett Theatre (410 West 42nd Street) for “I Forgive You, Ronald Reagan,” the new play by John S. Anastasi in which the present is on a collision course with the past. Opening Night was on July 30 at 7:00 p.m. In “I Forgive You, Ronald Reagan,” when it comes to air traffic, Ray Deluso has everything under control. But on the ground, his life is a struggle after a rebellious political decision in the early eighties. Twenty years later, pride, anger, and obsession threaten the only things that matter to him: his wife and daughter. Can Ray find forgiveness and gain control, even if it means letting go?
Directed by Charles Abbott, the cast features: PJ Benjamin (“Wicked,” “Damn Yankees”), Danielle Faitelson (“Honky”), Robert Emmet Lunney (“Born Yesterday”, “Mauritius”), and Patricia Richardson (“Home Improvement” – Golden Globe and Emmy Award nominee). The creative team is comprised of: Craig Napoliello (scenic design), Kristy Leigh Hall (costume design), Jeffrey Koger (lighting design), Jason Crystal (sound design) and David Bengali (projection design). Christine Catti is Production Stage Manager.
“I Forgive You, Ronald Reagan” runs through Sunday August 25 on the following schedule: Mondays and Tuesdays at 7:00 p.m.; Thursdays, Fridays, and Saturdays at 8:00 p.m.; Saturday matinees at 2:00 p.m.; and Sunday Matinees at 3:00 p.m. For tickets (at $51.50 each) and more information on the play, please visit http://forgivereaganplay.com/
Permalink | Posted by David Roberts on Thursday, August 1, 2013
“Dancing on Nails” at Theatre 80
“Dancing on Nails” at Theatre 80 By Paul Manuel Kane Directed by Allen Lewis Rickman Reviewed by David Roberts Theatre Reviews Limited
If one desired seeing someone dancing on nails, he or she could view one or more of several short videos on You Tube depicting that activity: one woman even balances pots on her head while dancing on nails. Alternatively, one could view Paul Manuel Kane’s new play “Dancing on Nails” at the wonderful Theatre 80 in St. Mark’s Place in New York City. The latter choice is preferable and certainly more rewarding.
All the characters in Mr. Kane’s delightful tragic-comedic drama are dancing on nails except, perhaps, Luba Fogel (Bryna Weiss) who shares the story of a man dancing on nails in the West Village with her acquaintance (it is not really a friendship) Sam Heisler owner of a hardware store in the Village in 1953. Sam Heisler’s bed of nails is his renewed interest in life and romance after spending time with his new employee Natalie Washington (Jazmyn Richardson). And his injuries result from his family’s abhorrence of the thought he is romantically interested in a twenty year old African American woman who thinks his only interest in her is to support her career in opera.
Natalie’s bed of nails is the healthy dose of racism extant in 1950’s America including the “liberal” lower west side of Manhattan. She is also getting in the way of Sam’s cousin Rose’s (Lori Wilner) attempt to get $15,000.00 from Sam so she and her loser husband Joe (Michael Lewis) can adopt a child. Natalie’s multiple injuries result from racist onslaughts and cruel young white men who torment and bully her as she tries to enter her grandmother’s apartment. Rose’s bed of nails is obviously Joe and Joe’s bed of nails is his life-long low self-esteem that has resulted in the often-jobless life of an alcoholic hater. Their injury is a matrix of disappointment and sadness.
The conflicts between these characters, along with their inner conflicts, drive an interesting plot which at times wobbles off its course and has difficulty regaining sense and sensibility. “Dancing on Nails” is, however, an interesting story with an ample dose of tenderness and tension. When Rose fires Natalie to get her out of the way, the plot muddles and the focus on the relationship between Natalie and Sam weakens. And this is unfortunate since this relationship is where the play’s power resides.
All of the actors deliver honest and thoughtful performances. They are confident in their roles and clearly know the heart and mind of each of their characters. Peter Van Wagner gives the audience a Sam who is tired of loneliness and will do anything to rekindle his fervor for living. Lori Wilner and Michael Lewis are brilliant in their roles as a husband and wife who have been on the brink of sadness since the day they were married. Jazmyn Richardson gives a respectable and tender performance as Natalie who is determined to find her way through the maze of racism and hatred to the success she knows belongs to her. Bryna Weiss’ Luba is sometimes too lethargic but that is an easy fix for this experienced actor.
Allen Lewis Rickman’s direction is generous and even-handed and moves the action along with decidedness and clarity. Vicki R. Davis’ set is functional and with Michael Gottleib’s lighting gives the production a realistic space to perform and create.
All of the actors are to be congratulated on their ability to stay completely focused during the cell phone debacle in the third row. I hope the patron was evicted from the theatre after she stumbled out with her phone STILL ringing.
DANCING ON NAILS
Under the direction of Allen Lewis Rickman, the cast of “Dancing on Nails” features Michael Lewis, Peter Van Wagner, Lori Wilner, Bryna Weiss, and Jazmyn Richardson. Scenic design for “Dancing on Nails” is by Vicki R. Davis, with costume design by Gail Cooper-Hecht and lighting design by Michael Gottlieb.
“Dancing on Nails” will play a limited Off-Broadway engagement through August 29th. The performance schedule is Wednesdays at 3:00 and 7:00 p.m. with special Thursday matinees at 3:00 p.m. Tickets are $55.00 and are available through www.DancingOnNails.com.
Permalink | Posted by David Roberts on Thursday, August 1, 2013
“The Violin Maker” at the Midtown International Theatre Festival at the Jewel Box Theater
“The Violin Maker” at the Midtown International Theatre Festival at the Jewel Box Theater Written and Directed by Roark Littlefield Reviewed by David Roberts and Joseph Verlezza Theatre Reviews Limited
"The views of space and time which I wish to lay before you have sprung from the soil of experimental physics, and therein lies their strength. They are radical; henceforth, space by itself, and time by itself, are doomed to fade away into mere shadows, and only a kind of union of the two will preserve an independent reality." - Hermann Minkowski, 1906
Space (by itself) and time (by itself) fade away in Roark Littlefield’s scintillating and intriguing new short play “The Violin Maker” currently running in New York City as part of the Midtown International Theatre Festival. Sixty-three year old violin maker Simon is in a coma and attempting to “rewrite” some of his past. This past includes Amy a musician he “met” when they both were in their twenties. However, Amy cannot play the violin, talks to the father she lost to death years ago, and seems to be a figment of the dying Simon’s mind. Or is she?
Just as the audience congratulates itself in having unraveled the complex and convoluted conflicts in “The Violin Maker” and feels confident that Amy is a creation of Simon’s mind, Amy declares that she “was convinced that [Simon] was not real” and that she “had made him up.”
Joseph Palazzo and Danielle Ma are two remarkable and gifted young actors who are well trained, intelligent and focused on their work. Both understand their purpose and never allow the well crafted script to control their performance which results in a sensitive and emotional bond with the audience and with each other. They are ever present in each defining moment, flooding the stage with honesty.
Ms. Ma breathes life into the character of Amy with each nuanced turn as she slowly learns of her fate and reality. Her performance is riveting. Mr. Palazzo is natural, strong yet so vulnerable and creates a Simon that is frail but fearless, bound only by the constraints of the human spirit and set free by his undying soul. He is a gracious actor adding depth and understanding who is always aware of the importance of his counterpart. They blend well together each individually inspired by the insightful script.
“The Violin Maker” is a brilliant foray into the magic of the human mind and celebrates its remarkable ability to create and re-create, imagine and re-imagine, realities that strive for survival of the spirit and transcend any obstacle death can attempt to put in the way of happiness and graciousness.
THE VIOLIN MAKER
“The Violin Maker” is presented by Titus’ Arrow in association with The Midtown International Theatre Festival. Director: Roark Littlefield. Publicist: Michelle Tabnick/Michelle Tabnick Communications.
The cast includes Joe Palazzo (Simon) and Danielle Ma (Amy).
The Midtown International Theatre Festival (MITF)'s fourteenth season will include a slate of full-length plays and musicals, as well as Short Subjects. The Festival will run from July 15 to August 4, 2013, at the June Havoc Theatre, 312 W. 36th Street, NYC, 1st floor; the Dorothy Strelsin Theatre, 312 W. 36th Street, NYC, 1st floor; the Main Stage Theater, 312 W. 36th Street, NYC, 4th floor; and the Jewel Box Theater, 312 W. 36th Street, NYC, 4th floor. Tickets are $15 for short plays and $18 for longer plays. Tickets are available at www.midtownfestival.org or by phone at (866) 811-4111.
“The Violin Maker” continues its run at the Jewel Box Theater (see above) on Saturday August 3rd at 8:15 p.m. and Sunday August 4th at 2:00 p.m. Tickets are $15.00 (see above). The running time is 45 minutes with no intermission.
Permalink | Posted by David Roberts on Wednesday, July 31, 2013
“Motel Rasdell” at the Midtown International Fringe Festival at the June Havoc Theatre
“Motel Rasdell” at the Midtown International Fringe Festival at the June Havoc Theatre Book by Christina Bracco and Danielle DeMatteo Music and Lyrics by Danielle DeMatteo Directed by Donnie Kehr Reviewed by Joseph Verlezza Theatre Reviews Limited
The new musical “Motel Rasdell” debuting at MITF has a talented cast that works enthusiastically to overcome the blatant obstacles that are set before them. This new work offers nothing new or innovative as it attempts to continue development. The music is repetitive and derivative and to use the old tired theater cliché “vamps till death” with no evident purpose. Some musical numbers may be deleted since they are not plot driven and deemed as unnecessary inventory. The book is weak and the plot thin introducing characters we have seen time and time again. Direction and choreography uses the space and limited resources well which provides some entertaining moments when the opportunity arises.
The ensemble cast for the most part is well balanced and vocally competent to skillfully handle the simple bland score. They do a fine job representing the typical all American family and the sleazy, motley crew of prostitutes and drug dealers who inhabit the motel. Better character delineation would have provided more audience attention and connection which might have helped the otherwise inferior book; however, it is difficult to place blame on the actors or the director.
These actors are certainly focused and astute, for at this particular performance electrical problems resulted in lights dimming on and off erratically, sometimes leaving them in darkness. Miraculously, these actors never missed beat. Ironically the best line in the show was when one character stated “we haven’t even paid the electric bill” and the impromptu response was “I can see that.” Stand outs in this cast were Emma Hunton as Eve and Tim Young as Matt, each giving intelligent and emotional interpretation of their characters and deftly performing vocals always reaching the audience and connecting with each other. Sami Horneff does well in her dual roles as goody-two-shoes daughter Nancy and punky prostitute Lacey. Understudy Emily Larger does fine stepping into the role Jane at this performance, competently capturing her character and being vocally satisfying. Evan Rees as musical director on keyboard and Mark Verdino on Bass are accomplished musicians that provide excellent support. Hopefully this incarnation of “Motel Rasdell” will provide some pertinent insight and information for the creative team to continue the process of development.
MOTEL RASDELL
“Motel Rasdell” is presented by Jeff Davis/Davis Productions, Cori Gardner, and the PATH Fund in association with The Midtown International Theatre Festival. Director: Donnie Kehr; Assistant Director: Jermaine R. Rembert; Musical Director: Evan Rees; Choreographer: Greg Graham; Assistant Choreographer: Alison Solomon; Scenic Designer and Props Master: Rob Bursztyn; Costume Designer: Jaime Torres; Lighting Designer: Mac Smith; Sound Designer: Devin Gee; Production Stage Manager: Charles Casano; Publicist: Michelle Tabnick/Michelle Tabnick Communications.
The cast includes Jamie Cook, John Gardner, Jonathan Hadley, Sami Horneff, Emma Hunton, Emily Larger, Justin Liebergen, Emily McNamara, Ryan Powell, Alena Watters, RJ Woessner, and Tim Young.
The Midtown International Theatre Festival (MITF)'s fourteenth season will include a slate of full-length plays and musicals, as well as Short Subjects. The Festival will run from July 15 to August 4, 2013, at the June Havoc Theatre, 312 W. 36th Street, NYC, 1st floor; the Dorothy Strelsin Theatre, 312 W. 36th Street, NYC, 1st floor; the Main Stage Theater, 312 W. 36th Street, NYC, 4th floor; and the Jewel Box Theater, 312 W. 36th Street, NYC, 4th floor. Tickets are $15 for short plays and $18 for longer plays. Tickets are available at www.midtownfestival.org or by phone at (866) 811-4111.
“Motel Rasdell” concluded its run at the June Havoc Theatre (see above) on Monday July 29th at 6:00 p.m. The running time is 120 minutes with one ten-minute intermission.
Permalink | Posted by David Roberts on Tuesday, July 30, 2013
“The Dark I Know” at the Midtown International Theatre Festival at the June Havoc Theatre
“The Dark I Know” at the Midtown International Theatre Festival at the June Havoc Theatre Book and Lyrics by Alex Eisen Music and Arrangements by John Watts Directed by Rachael Brandt Reviewed by David Roberts Theatre Reviews Limited
Alex Eisen’s and John Watts’ “The Dark I Know” chronicles the lives of two boys growing up in Frankfurt Germany during Adolph Hitler’s meteoric rise to maniacal power in post Work War I financially ruined Germany. Transported from Berlin to Frankfurt by his adoptive mother Hannah Schenck (Sabina Petra), Lukas (Johnny DiGiorgio) experiences the horrors of the Hitler Youth (Hitlerjugend) and the growing Nazi threat as he befriends his new Jewish friend Noah Freeman (Noah Parets) his new neighbor in Kauffs’ (Warren Schein) building.
A variety of intertwining conflicts drive a dark plot in this new musical and serve as an extended metaphor for the horrors of the holocaust and all movements (past and present) which attempt to break the spirits of free people and enslave them in tyranny and torture. The musical’s creator’s decision to have the young adult Lukas and Noah on stage throughout the performance is a great convention and allows the audience to “be on stage” themselves.
The actors do their best to enliven the writer’s and composer’s lyrics and score but the music is often ill-fitted to the lyrics and the vocalists sometimes struggle to complete the musical line with ease. And sometimes a potentially wonderful song loses its impact in the delivery: the “Chess” like anthem at the close of the first act falls relatively flat because the actor fails to grab the lyrics and empower them with meaning. The best songs are those recurrent baroque-style arias. Also Victor’s (Ian Brodsky) second act song “Why This Boy” cries out for a “Why This Girl” sung by Sarah (Loren Moslin) and leading into a duet.
Themes of revenge wrought by anti-Semitism and hate resound with themes of change and the secrets of the past. Ultimately, themes of hope and future and renewal lead to forgiveness and absolution that is “sweeter than honey.” More work is needed on this musical which seems more in progress than a finished project. The good news is that what is there currently deserves that concerted effort.
This cast must be congratulated on its ability to stay focused during the antics of the most rude and disruptive audience this critic has ever experienced. One patron left her seat in the front row during the first act to speak to a friend sitting midway up from the stage. She then exited and re-entered the theatre several times before she retrieved her missing partner who eventually clumped down the stairs with her – again during the performance – to regain their front-row-aisle seats! Others entered extremely late and chatted in the back of the theatre until they, too, clumped their way to vacant seats. And just as the musical was ending, a cell phone went off in the last row – an event which the offender found funny enough to actually giggle. What is worse, these were all apparently family and friends of the performers. Rule of thumb: if you cannot behave - no matter who you are - inside a theatre and respect the actors and creative team, please stay home. Your friends and family on the stage and the remainder of the audience will thank you for that courtesy
THE DARK I KNOW
“The Dark I Know” is presented by Alex Eisen and The Midtown International Theatre Festival. Director: Rachael Brandt; Musical Director: Alex Eisen; Scenic Designer: Alyssa Manfredo; Costume Designer: Brittany Merola; Lighting Designer: Megan Schaefer; Dramaturg: Sara Lyons; Sound Designer: Eric Glauber; Hair and Makeup: Eric David Kirsh; Props Master: Adrienne Call; Fight Choreographer: Jonathan Buckmaster; Production Stage Manager: Chrissy Piontek; Publicist: Michelle Tabnick/Michelle Tabnick Communications.
The cast includes Griffin Bell, Ian Brodsky, Johnny DiGiorgio, Robert Gino, James Hyland, Loren Moslin, Mike O’Connor, Noah Parets, Sabina Petra, Ben Prayz, Warren Schein, and Patrick Spencer.
The Midtown International Theatre Festival (MITF)'s fourteenth season will include a slate of full-length plays and musicals, as well as Short Subjects. The Festival will run from July 15 to August 4, 2013, at the June Havoc Theatre, 312 W. 36th Street, NYC, 1st floor; the Dorothy Strelsin Theatre, 312 W. 36th Street, NYC, 1st floor; the Main Stage Theater, 312 W. 36th Street, NYC, 4th floor; and the Jewel Box Theater, 312 W. 36th Street, NYC, 4th floor. Tickets are $15 for short plays and $18 for longer plays. Tickets are available at www.midtownfestival.org or by phone at (866) 811-4111.
“The Dark I Know” runs at the June Havoc Theatre (see above) on Wednesday July 31st at 8:30 p.m., Saturday August 3rd at 3:00 p.m. and Sunday August 4th at 8:00 p.m. The running time is 120 minutes with one ten-minute intermission.
Permalink | Posted by David Roberts on Monday, July 29, 2013
“Marry Harry” at the New York Musical Theatre Festival at the Alice Griffin Jewel Box Theatre
“Marry Harry” at the New York Musical Theatre Festival at the Alice Griffin Jewel Box Theatre Book by Jennifer Robbins Music by Dan Martin Lyrics by Michael Biello Directed by Kent Nicholson Reviewed by Joseph Verlezza Theatre Reviews Limited
Anyone who enjoys good old fashioned musical theater should certainly find comfort in a new endeavor titled “Marry Harry” which completed a successful run as part of NYMF at the Alice Griffin Jewel Box Theatre. This is a full two-hour production which tackles the impetuous plot of boy meets girl, boy loses girl, and boy gets girl with a slightly modern day twist. Accessing sorted familiar themes like family values, soul searching youth, contemporary relationships in the age of social media and single parenting, the book is relevant but serves up nothing new or exciting, settling into a tepid, pleasant musical romp. The comical, all too familiar conflicts may keep your interest but would be better served if the pace was quicker and a bit more impulsive.
What is problematic about this new production (not by audience standards) is that the cast exceeds the material, trying in earnest to transcend the sometimes bland dialogue and lyrics; and they succeed, producing sincere, honest characters. One cannot ask for a more delightful ingénue than Jillian Louis defining Sherri with strong, well controlled vocals. She excels in her delivery of the song “Almost.” Leading man Robb Sapp as “Little Harry” creates an intelligent, vulnerable, all too likeable character who wins your heart and Sherri’s with charm and vocals that possess clear, pure tonal quality. Their duets please and strike the right balance. Annie Golden as Debbie does all but steal the show: bold, brassy and extremely warmhearted, she exhibits a natural comfort that can only come from an extremely well developed actor. She attacks her vocals head on, fearless and truthful with boundless energy and emotion. Jane Summerhays as Francine and Philip Hoffman as Big Harry bring much experience and talent as they carve their characters and fill the stage with comic flair. Special kudos go to Cameron Folmar who plays multiple roles with ease including his hysterical portrayal of Xuan the Vietnamese restaurant waiter in the musical number ‘The Date.”
The entire cast and excellent musicians should be complimented for producing a very pleasant two hours of entertainment. There are a few bumps and glitches that need to be worked out, most notable being a long first act with a weak ending. Hopefully work will continue to improve this project and it finds a successful future.
MARRY HARRY
“Marry Harry” is presented by The New York Musical Theatre Festival. Director: Kent Nicholson; Music Director: Christopher McGovern; Orchestrations: Dan Martin; Choreographer: Wendy Seyb; Lighting Designer: Grant W. S. Yeager; Scenic, Costume, and Prop Designer: Martin T. Lopez; Stage Manager: Meghan Fisher; Assistant Stage Manager: Kristin Goehring; General Manager: Starry Night Productions; Publicist: Joe Trentacosta/Springer Associates. Casting: Howard Cherpakov.
The cast includes Jenna Dallacco, Cameron Folmar, Annie Golden, Philip Hoffman, Rod Lawrence, Jillian Louis, Kate Rigg, Robb Sapp, Jane Summerhays, and Katie Zaffrann.
“Marry Harry” played its final performance on Sunday July 28th at 1:00 p.m. at the Alice Griffin Jewel Box Theatre, The Pershing Square Signature Center, 480 West 42nd Street, NYC 10036. Tickets: $25. For tickets, visit nymf.org.
Permalink | Posted by David Roberts on Monday, July 29, 2013
“Safe” at East to Edinburgh at 59E59 Theater C
“Safe” at East to Edinburgh at 59E59 Theater C By Penny Jackson Directed by Joan Kane Reviewed by David Roberts Theatre Reviews Limited
The short description of “Safe” provided by the producers indicates that Penny Jackson’s play is about Nina, “an affluent prep school girl from the East [who] meets a dangerous man” and raises the question whether Nina “will be safe.” The wonderful thing about Ms. Jackson’s play is that the audience is never quite sure whether the dangerous man is suspected sex offender Phillip Goodrich (played with stunning brilliance by Nick Palladino) or Nina’s father Paul (played with the right dash of creepiness by David Lamberton). “Safe” is brimming with moral ambiguity and serves up a delicious taste of what is right and what, ultimately, is wrong.
After her mother’s forced visit to rehab in Minnesota, Nina Foster is forced to stay with her estranged father in New York City (one assumes Central Park West) and during the visit all hell breaks loose. Debby Brand gives the audience a remarkable performance as the troubled teenager who is deeply searching for someone who knows how to love her and know “what she needs.” Nina does not need her father’s inability to connect on any level and she certainly does not need her anorexic-bulimic friend Liz (Carolyn Cutillo) to bring her sister’s abandoned infant to Nina’s new digs to encourage Nina into all sorts of unsafe territory (alcohol, illegal diet drugs, etc.). What Nina seems to need is a friendship-relationship with the apparently unsafe character Phillip.
To Liz’s credit, she suspects Phillip is grooming Nina for sexual exploitation and in a wonderful over-the-top performance Carolyn Cutillo portrays a friend who will stop at nothing to seduce Nina’s new squeeze and prove to Nina he is a sex-offender. But it is never clear who really is the offender in Ms. Jackson’s play. Neither is it clear who is safe to be with and where it might be safe to be. On the day of Nina’s arrival, her father tells a caller that he can continue his call because Nina is “just the maid.” Liz accurately observes that – like her sister – “people vanish all the time!” So much for safe havens.
When Nina first meets Phillip at Starbucks, he shares with her that he “once saved a girl” while he was teaching high school math. One wonders whether this “dangerous man” had anything to do with saving Nina and helping her “get what she wants in life,” her credo after surviving an attempted suicide with Liz’s “gift” of Fen-Phen. After all, he visits Nina in the hospital, introduces himself with his real name, and gives his sports jacket to Paul to keep him warm in the overly air-conditioned hospital waiting room.
Under Joan Kane’s lustrous direction, “Safe’s” cast of four emotionally thrashes about Theater C at 59E59 and invites the audience into the real world of teenage angst with honest performances about authentic concerns. “Safe” will do well at the Edinburgh Festival Fringe and should come back to New York City with a new run.
SAFE
The cast includes Debby Brand, Carolyn Cutillo, Nick Palladino, and David Lamberton. The creative team includes Set Designer: Stefani Fallone; Costume Designer: Erica Evans; Lighting Designer: Bruce Al Kraemer; Sound Designer: Ian Wehrle; Fight Choreographer: Andrew Kenneth Moss; and Stage Manager: Kacey Stamats.
East to Edinburgh runs for a limited engagement through Sunday, July 28. The performance schedule varies. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets to each East to Edinburgh show range from $10.00 - $20.00 ($7.00 -$14.00 for 59E59 Members). “Safe” had its final performance on Sunday July 28th at 4:00 p.m. Tickets are $12.00 and can be purchased by calling Ticket Central at 212-279-4200 or online at www.59e59.org.
Permalink | Posted by David Roberts on Monday, July 29, 2013
“Miserable Lesbians” at East to Edinburgh at 59E59 Theater C
“Miserable Lesbians” at East to Edinburgh at 59E59 Theater C Written and Directed by Sandro Monetti Music by Michael Daniel Lyrics by Michael Daniel and Sandro Monetti Reviewed by David Roberts Theatre Reviews Limited
Storm the Prison for Wretched Lesbians! Free the Lezzers from the Jodi Foster Wing! So chants the well-meaning straight Nair-do-well Jean Jackman (Anthony Wemyss) as he rallies the “troops” to free imprisoned lesbians who, twenty years since the start of the French Revolution, still do not have civil rights. Surely the man who helped bring down the oppressive absolute monarchy of King Louis XVI at the infamous barricade can free a few lesbians from the local hoosegow. Does this sound like a parody of “Les Miserables?”
Parodies are meant to be thought-provokingly awful and Sandro Monetti’s new musical “Miserable Lesbians” succeeds in its delicious awfulness as it prepares to move from 59E59’s East to Edinburgh Festival to the veritable Edinburgh Festival Fringe in August.
The uber-talented cast of six works hard (despite their self-deprecation) to bring utter shame to the doorstep of the warhorse of a musical and movie it - and the short film of the same name – parodies. Cosette, for example, becomes Courgette Chapman (Katie Amess); Eponine is remodeled Eppynine (Laura-Beth Hill); Javert ripens into Gavrob (Kerstin Alm); Mme. Thenardier becomes Mme. Bonham Carter; and Marius Pontmercy converts to Marius Redmayne (Nadia Wit).
As with all parodies, “Miserable Lesbians” has an undercurrent of seriousness: the message here is that a self-proclaimed boring and awful musical (it is neither boring nor is it awful) can highlight the need for equal rights for the LGBT community and the universality of legal gay marriage despite recent legal advances witnessed in the United States, England, and Wales.
Or just perhaps “Miserable Lesbians” is just a parody of a musical, a movie, and even of itself. Either way, Edinburgh Festival Fringe audiences will have tremendous fun with this well-conceived, well- directed, and well-performed edgy new musical.
MISERABLE LESBIANS
The cast includes Kerstin Alm, Katie Amess, Laura-Beth Hill, Sandro Monetti, Anthony Wemyss, and Nadia Wit. The creative team includes Vocal Coach Summer Watson; Choreography by Tyler Jade McManus; and Executive Producers Orlando Wong, Dave Byrn,e and Heidi Byrne.
East to Edinburgh runs for a limited engagement through Sunday, July 28. The performance schedule varies. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets to each East to Edinburgh show range from $10.00 - $20.00 ($7.00 -$14.00 for 59E59 Members). “Miserable Lesbians” has its final performance on Sunday July 28th at 7:00 p.m. Tickets are $12.00 and can be purchased by calling Ticket Central at 212-279-4200 or online at www.59e59.org.
Permalink | Posted by David Roberts on Saturday, July 27, 2013
“Yesterday Iran/Today Iraq” at the Midtown International Theatre Festival at the Dorothy Strelsin Theatre
“Yesterday Iran/Today Iraq” at the Midtown International Theatre Festival at the Dorothy Strelsin Theatre By L. S. Goldberg Directed by Rebecca Etzine Reviewed by David Roberts Theatre Reviews Limited
War is a damn ugly business and it is no respecter of time, space, civilians, or soldiers. War “breeds strange circumstances.” “Yesterday Iran/Today Iraq” is a short by powerful look at these circumstances as Pvt. Steven “Stippy” Goodman, on the eve of his deployment to Iraq, finds a shoebox full of his grandfather’s World War II V-Mail which he sent to Stippy’s grandmother Belle. Young Pvt. Goodman is fresh out of Basic and Specialized Training and ready to serve, ready to obey orders, ready to make “kills.” Stippy has ingested and digested all the Army has taught him about the glory of war and the invincibility of the United States Armed Services.
As he reads the letters, Stippy’s grandfather appears and begins a dialogue with his grandson as Lt. Chester A. Goodman. Playwright L. S. Goldberg handles this collapsing of time with great skill and is not at all afraid to have these two characters from two different time periods interacting, even exchanging items. As they “converse,” the audience discovers Stippy’s disregard for his grandfather’s service and for his grandfather’s army’s lack of sophistication and “technology.” The young Goodman’s arrogance is counterpointed by the elder’s humility and their beyond space and time relationship is a wonderful trope (extended metaphor) for intergenerational conflicts and differences in world views.
The audience knows from the play’s beginning that Stippy will die in Iraq; however, that does not lessen the importance of the conflict between the two Goodmans and the plot that it generates. The scene depicting Stippy’s experience in Iraq is powerful but somehow redundant. Ms. Goldberg’s writing is so precise and so rich the audience already “knows” how this scene will play. When Stippy’s grandfather enters in real time, holding the handwritten latter his grandson wrote before he was killed in action, all of the “circumstances” of war become crystal clear.
Ms. Goldberg’s impressive writing is equaled only by the performances of Andrew Hutcheson and Blake Williams who, under Rebecca Etzine’s thoughtful direction, use their craft and generosity to enliven their characters and embody their conflicts in impassioned and touching ways. War is an ugly business and anyone who thought otherwise before seeing “Yesterday Iran/Today Iraq” will certainly have a change of heart. This critic hopes this play will enjoy a longer run in the NYC area soon.
YESTERDAY IRAN/TODAY IRAQ
An AEA-Approved Showcase directed by Rebecca Etzine, the cast of “Yesterday Iran/Today Iraq” features Andrew Hutchinson and Blake Williams. The production team consists of Victoria Sun (stage manager), Scott Epstein (set designer), Aidan Zev Meyer (sound designer), Shane Moan (lighting designer) and Judi Simon (costumes and props).
The Midtown International Theatre Festival (MITF)'s fourteenth season will include a slate of full-length plays and musicals, as well as Short Subjects. The Festival will run from July 15 to August 4, 2013, at the June Havoc Theatre, 312 W. 36th Street, NYC, 1st floor; the Dorothy Strelsin Theatre, 312 W. 36th Street, NYC, 1st floor; the Main Stage Theater, 312 W. 36th Street, NYC, 4th floor; and the Jewel Box Theater, 312 W. 36th Street, NYC, 4th floor. Tickets are $15 for short plays and $18 for longer plays. Tickets are available at www.midtownfestival.org or by phone at (866) 811-4111.
“Yesterday Iran/Today Iraq” closed its run at the Dorothy Strelsin Theatre (see above) on Friday July 26th at 7:30 p.m. The running time is 60 minutes with no intermission.
Permalink | Posted by David Roberts on Saturday, July 27, 2013
“Hollywood! Hollywood!” at the New York International Theatre Festival at the June Havoc Theatre
“Hollywood! Hollywood!” at the New York International Theatre Festival at the June Havoc Theatre Book, Lyrics, and Music by Rocco Vitacco Directed and Choreographed by Emma Canalese Reviewed by David Roberts Theatre Reviews Limited
“Hollywood! Hollywood!” is a pleasant book musical that follows a group of “young hungry hopefuls faking, taking, and making it in Los Angeles for their chance to star on the Hollywood Walk of Fame” and a pair of older successful Angelenos – Hollywood star Laura Tanner (Trudi Posey) and her agent and paramour Freddy (Robert Zanfini). Ms. Posey’s and Mr. Zanfini’s vocal and dramatic skills ground this sometimes fluffy musical and help the young cast find direction and a center for their characters. The musical has been around since 2005 and one assumes it has seen many productions with multiple casts. It is difficult for actors to find their characters during a short run. Without well-rounded dynamic characters, their conflicts become weak and drive less than engaging plots.
Relationships between former Chippendale Vincent (Ken McGraw, Jr.) and Claire (Erika S. Lee) and between Hollywood malcontent Ryan (John P. Hollingsworth) and stand-by-her-man Melanie (Meghan Ginley) are surrounded by and supported by other Hollywood hopefuls who sing and dance their way through this delightful musical replete with scenes reminiscent of “A Chorus Line,” a Busby Berkeley routine, and the Andrews Sisters (among others). The musical is heavily heteronormative and the only (possibly) gay character is clearly an outsider and often ousted from his friends’ antics and activities.
But those on the inside eventually get their man or woman and refuel their efforts to achieve success on the big screen. If Laura Tanner can “have it all” so can they. And they do: in the end, Laura and Freddy make sure everyone gets hired and receives a contract for employment. This is an “everything turns out all right in the end” musical and deserves a continued future. With some updating of the book, including more inclusive characters and conflicts, “Hollywood! Hollywood!” will continue to be a winner.
HOLLYWOOD! HOLLYWOOD!
“Hollywood! Hollywood!” is presented by Write Act Rep Eastside, John Lant and The Midtown International Theatre Festival. Director and Choreographer: Emma Canalese; Additional Choreography: Emily Vartanian; Stage Manager: Ariel Leigh Cohen; Assistant Stage Manager: Caleb Ocasio Ball; Costume Design: Sang Eun Oh; Scenic Design: James Dunn; Graphic Design: Maya Graffagna; Associate Producer: Samantha L. Vella; Festival Lighting: Eric Lam; Publicist: Erin Conlon and Michelle Tabnick/Michelle Tabnick Communications.
The cast includes Jarrod Bates, Mollie Downes, James Dunn, Meghan Ginley, John P. Hollingsworth, Tierra Kamolvattanavith, Derbail Kinsella, Erika S. Lee, Daejanae Lettman, Ken McGraw, Jr., Brian Ogston, Trudi Posey, Catie Shelley, and Robert Zanfini.
The Midtown International Theatre Festival (MITF)'s fourteenth season will include a slate of full-length plays and musicals, as well as Short Subjects. The Festival will run from July 15 to August 4, 2013, at the June Havoc Theatre, 312 W. 36th Street, NYC, 1st floor; the Dorothy Strelsin Theatre, 312 W. 36th Street, NYC, 1st floor; the Main Stage Theater, 312 W. 36th Street, NYC, 4th floor; and the Jewel Box Theater, 312 W. 36th Street, NYC, 4th floor. Tickets are $15 for short plays and $18 for longer plays. Tickets are available at www.midtownfestival.org or by phone at (866) 811-4111.
“Hollywood! Hollywood!” runs at the June Havoc Theatre (see above) on Saturday July 27th at 3:45 p.m. and Tuesday July 30th at 8:45 p.m. The running time is 90 minutes with no intermission.
Permalink | Posted by David Roberts on Saturday, July 27, 2013
“Bend in the Road” at the New York Musical Theatre Festival at the PTC Performance Space
“Bend in the Road” at the New York Musical Theatre Festival at the PTC Performance Space Book and Lyrics by Benita Scheckel Music and Lyrics by Michael Upward Directed by Benjamin Endsley Klein Reviewed by David Roberts Theatre Reviews Limited
“Bend in the Road” is a delightful character-driven musical lifted from the framework of the classic 1908 novel “Anne of the Green Gables” by Lucy Maud Montgomery. The musical - like those before it - closely follows the plot of the novel and includes all of the significant moments in Montgomery’s delightful story of Anne Shirley’s coming of age at Green Gables with adoptive parents Marilla and Matthew Cuthbert.
The action of the musical occurs primarily in Marilla’s kitchen, Anne’s bedroom, the schoolhouse and yard, Diana Berry’s home, and the “haunted” wood. Benita Scheckel and Michael Upward’s lyrics capture the spirit of the novel and their book and music bring life to the characters and their conflicts in honest and endearing ways.
Forty minutes into “Bend in the Road,” the musical warms up after a somewhat lethargic start and continues to be engaging throughout the first act. Anne Kanengeiser (as Marilla Cuthbert) and Alison Woods (as Anne Shirley) are the glue that holds this musical together and their first duet in Anne’s bedroom “The Lord’s Prayer” gives the musical grounding in authenticity and excellence. The scenes between Marilla and Anne, Anne and Diana Barry (Whitney Winfield), and Anne and Gilbert Blythe (CJ Pawlikowski) are among the best in the musical and it would be prudent to include more scenes with these characters throughout both acts. The first schoolhouse scene, for example, is much too long: it would have been better perhaps to focus on the relationship between Anne and Gil.
Kudos to Anne Kanengeiser who uses her formidable craft to develop the character of Marilla from the doubtful adoptive parent, through the process of identification with Anne, to the place where Marilla realizes she is needed more as a mother who cares than a disciplinarian to a troubled child. Ms. Kanengeiser and Ms. Woods are the perfect team and they compliment one another’s performances with generosity and skill. And kudos to Martin Vidnovic who creates a vulnerable Matthew Cuthbert who knows how to “stand back” and let Marilla go to those places he knows in his heart she will go.
As the second act evolves, things fare less well for “Bend in the Road” which has been in process for over a year. Indeed, the musical staging throughout the second act, particularly from the final school yard/graduation scene, is lackluster at best. What should be the highlight of the musical turns out to be dyads strewn across the stage in forced “conversation” as the cast attempts to bring resolution to the musicals important conflicts and feature Anne’s “Bend in the Road,” Gilbert’s confession, and Marilla’s decision to sell Green Gables. This act needs a few powerhouse duets between Marilla and Anne in addition to the plethora of ensemble numbers.
That said, “Bend in the Road” is a charming traditional musical which appeals to a broad range of ages and has the potential for continued success. It serves as a significant extended metaphor for the importance of finding places where we are wanted and where we want to be, places where are needed and where we need to be, places where imagination blossoms and enervates the spirit. Be sure to see one of its remaining performances.
BEND IN THE ROAD
“Bend in the Road” is presented by 134 West, Susan Lambert, Sarabeth Grossman, and The New York Musical Theatre Festival. Director: Benjamin Endsley Klein; Associate Director/Musical Staging: Nick Potenzieri; Music Director: Andrew Gerle¬¬¬¬¬¬¬¬¬¬¬¬; Associate Music Director: Max Mamon; Fight Director: Justin Dobies; Lighting Designer: Joel E. Silver; Video and Projection Designer: Andrew Lazarow; Scenic Designer: Lauren Helpern; Costume Designer: David Kaley; Sound Designer: A & L Sound Partners; Production Stage Manager: Alexis R. Prussack; Production Manager: Travis Bell; General Manager: Jeffrey Feola; Press Representative: Jim Randolph. Casting by Michael Cassara, CSA.
The cast includes Jordan Barrow, Mimi Bessette, Brandon Essig, Kasie Gasparini, Justine Huxley, Anne Kanengeiser, Kevin Ligon, CJ Pawlikowski, Maureen Silliman, Chelsea Stavis, Martin Vidnovic, Rachel Weintraub, Whitney Winfield, and Alison Woods. The orchestra includes Andrew Gerle (Music Director/Piano); Max Mamon (Associate Music Director/Keyboard); Ben Lively (Guitar/Violin); Danny Weller (Bass); and Rex Benincasa (Percussion).
“Bend in the Road” continues performances on Saturday July 27th at 5:00 p.m. and Sunday July 28th at 1:00 p.m. at The PTC Performance Space, 555 West 42nd Street, NYC 10036. Tickets: $25. For tickets, visit nymf.org Direct ticketing link: https://web.ovationtix.com/trs/pr/923738. Runtime: 125 minutes with one intermission.
Permalink | Posted by David Roberts on Thursday, July 25, 2013
“Margarita and Max” at the Midtown International Theatre Festival at the Dorothy Strelsin Theatre
“Margarita and Max” at the Midtown International Theatre Festival at the Dorothy Strelsin Theatre By Manuel Igrejas Directed by David Hilder Reviewed by David Roberts Theatre Reviews Limited
What could be more absurd than a talking black plastic bag once home to a six-pack of beer? Perhaps more absurd would be hearing the bag talking to Margarita Mariposa as she waits in Cedar Chips, New Jersey for the bus to Manhattan, or hearing Margarita talking to the bag and taking the bag on the bus with her to her job interview at 1515 Broadway. Conceivably, most absurd would be that the bag “becomes flesh and dwells [with Margarita] full of grace and truth (after John 1:14).”
In Manuel Igrejas’ new post-absurdist play “Margarita and Max,” that is precisely what happens. Playwriting becomes soteriology – the theology of salvation. Margarita has lost her job and her squeeze and with “restless heart” is living just “east of happiness” – just east of Eden. From the void, from nothing really, comes a plastic bag that seems comfortable “just going with it,” unencumbered by nomenclature and norms (like ‘jobless’ and ‘single-again’). The bag “likes” Margarita and engages with her playfully, drawing her from her void and drawing her into happiness. After she “claims” this moment of salvation by naming the bag Max, Margarita sees the world in a new light.
Margarita’s encounter with Max is an extraordinary surreal journey into Margarita’s psyche which leads her to an awareness best described in the character’s own words: “My name is Margarita Mariposa and here I am in the Void. The beautiful Void and I am on the cusp of everything. Maybe there was no Max, maybe there is no me, just an idea of me, as delicate and flickering as a candle’s flame. But at least I give off a little light and, if you get close enough, a little warmth. I know that one good breeze could send me soaring or a puff of breath could extinguish me, but that’s a chance I’ll take, a chance we all take, really.”
As for Max, “The wind blows wherever it pleases. You hear its sound, but you cannot tell where it comes from or where it is going (John 3:8).” The best saviors (and there are many) know when to intervene and when to withdraw. Max will be tossed about until he finds another soul just “east of happiness” and with “restless heart.” He will draw them from their void and return them to the magic in their void renewed of spirit and in the middle of their circle “open to the segment of chance.”
Kim McKean and Craig Fox are perfect in the roles of Margarita and Max: Ms. McKean understands the place of “restless heart” and conveys with spiritual transcendence what it means to transition from a void filled with sadness to a void filled with hope. It is not easy to portray a small plastic bag but Craig Fox accomplishes this task with ease making Max the bearer of “good news” that he is. Under David Hilder’s meticulous direction, these actors deliver Mr. Igrejas’ script with a comfortable passion.
Mr. Igrejas has developed a magnificent script about the very important theme of losing those things which we have allowed to define us and moving forward into new possibilities, new unknowns, unencumbered by nomenclature and norms. His writing here is honest and precise and utilizes all the rhetorical devices at his disposal to create pure persuasive magic. The action moves from reality to fantasy in a deliciously erratic manner. “Margarita and Max” is a brilliant account of the soteriology of chance.
MARGARITA AND MAX
“Margarita and Max” is presented by Emaginer, LLC and The Midtown International Theatre Festival. Director: David Hilder; Production Stage Manager: Casey Malone; Production Supervisor: Kathryn “China” Hayzer; Associate Producers: John Borek, Laura Camien, Nancy Dalva, Malena Gordon, Ian Pai, Anthony Giunta, Chris Giunta, and Dave Stillman; Photographer: Steven Rosen; Publicist: Michelle Tabnick/Michelle Tabnick Communications.
The cast includes Kim McKean (Margarita) and Craig Fox (Max).
The Midtown International Theatre Festival (MITF)'s fourteenth season will include a slate of full-length plays and musicals, as well as Short Subjects. The Festival will run from July 15 to August 4, 2013, at the June Havoc Theatre, 312 W. 36th Street, NYC, 1st floor; the Dorothy Strelsin Theatre, 312 W. 36th Street, NYC, 1st floor; the Main Stage Theater, 312 W. 36th Street, NYC, 4th floor; and the Jewel Box Theater, 312 W. 36th Street, NYC, 4th floor. Tickets are $15 for short plays and $18 for longer plays. Tickets are available at www.midtownfestival.org or by phone at (866) 811-4111.
“Margarita and Max” runs at the Dorothy Strelsin Theatre (see above) on Saturday July 27th at 6:00 p.m. and Sunday July 28th at 8:30 p.m. The running time is 40 minutes with no intermission.
Permalink | Posted by David Roberts on Thursday, July 25, 2013
“Boys Will Be Boys” at the New York Musical Theatre Festival at the Studio Theatre
“Boys Will Be Boys” at the New York Musical Theatre Festival at the Studio Theatre Book and Lyrics by Joe Miloscia Music by Kenneth Kacmar Directed by Joe Barros Reviewed by Joseph Verlezza Theatre Reviews Limited
Billed as an ‘Out-rageous Musical Revue,’ “Boys Will Be Boys” presented at the Studio Theater as part of the ongoing NYMF certainly lives up to its claim. Almost everything from concept, lyrics, characters, parodies and innuendos are completely over the top and as gay as one can possibly imagine. It is a fun romp very reminiscent in style to the gay revues produced in the 80’s and 90’s with constant sexual innuendo, musical theater parodies and sharp gay wit and slurs. There is nothing ground breaking or new except situations and language has of course been brought up to date. Most of the characters appear as stereotypes which wear thin after a short time and at times are offensive or annoying.
The cast is vocally competent and earnestly delivers every musical number with high energy and enthusiasm even when some of the material falls short. Two stand-out songs are the duet “I Want to Thank You” performed by Ryan Speakman and Seph Stanek - which is given an honest rendering accompanied by well balanced voices - and “Giant” which is interpreted and delivered by Mr. Speakman. This song may well be one of the finest gay anthems I have heard to date, being smart, sophisticated, timeless and emotional. This combined with Mr. Speakman’s clear, pure vocal tone and undeniable connection and focus makes a profound statement and provides a sincere look into the real world and unfortunate fears of the gay community.
It is campy, fun and probably entertaining to many but just falls a bit short for this critic who hopes for a better gay environment and representation in the NY Theatre scene in the future. This product can certainly find its roots on Fire Island or in Provincetown and possibly downtown but might have trouble staying afloat mainstream.
BOYS WILL BE BOYS
“Boys Will Be Boys” is presented by The New York Musical Theatre Festival, New Stages Musical Arts with Soft Old Bills May Jam Productions. Director and Choreographer: Joe Barros ; Associate Director/Choreographer: Katherine Pettit; Music Director: Alex LeFevre; ¬Scenic Designer: Timothy Hart; Lighting Designer: Dan Jobbins; Costume Designer: Jessa-Raye Court; Stage Manager: Mackenzie Meeks; Production Assistant: Leah Fong; Publicist: Sam Morris PR. Casting by Paul Hardt/SH Entertainment.
The cast includes Courtney Cowart, Jeremy Pasha, Ryan Speakman, Seph Stanek, and Rance Wright.
“Boys Will Be Boys” will play at The Studio Theatre (480 West 42nd St) on Wednesday, July 24 at 9:30 p.m. Tickets are $25.00 and can be purchased online at www.NYMF.org. Additional information on “Boys Will Be Boys” can also be found at www.BoysWillBeBoysMusical.com.
Permalink | Posted by David Roberts on Tuesday, July 23, 2013
“Color of Life” at the Midtown International Theatre Festival” at the Dorothy Strelsin Theatre
“Color of Life” at the Midtown International Theatre Festival” at the Dorothy Strelsin Theatre Book and Lyrics by Sachiko Ishimaru Directed by Sachiko Ishimaru Reviewed by David Roberts Theatre Reviews Limited
Sachiko Ishimaru’s “Color of Life” chronicles the relationship between Rachel (Shino Frances) and Kazuya (Yasuhiro Ito) a young couple who meet on a flight to the United States from Tokyo. Kazuya is a young rising Japanese painter on his way to New York and Rachel is a half-Japanese lesbian young woman on her way back from Tokyo where she was visiting her mother. They have ninety days – the length of Kazuya’s visa – to determine how they relate to one another and what kind of relationship makes sense for them.
This new musical relates Rachel’s journey from loneliness through “bewilderment, perplexity, and being shaken,” through an identity crisis, to facing a new reality and beginning “one more time” a relationship – this time with the young man she met on the airplane. There are thirteen vignettes each with a musical solo or duet which underscores the theme of the scene. For example, scene seven deals with Rachel’s identity in relationship to Kazuya and her song is “Who am I? Who are you?”
Much of Rachel’s first song “Empty Room” which introduces the musical’s important theme of nothingness is difficult to hear because the balance between vocalist and soundtrack was off. The problem was rectified after that number and the rest of Rachel’s songs were delivered with exquisite craft by Shino Frances. Her strong, clear tones complimented the power of Sachijo Ishimaru’s lyrics and Yashhiro Ito’s Sondheim-esque music. Unfortunately, it was extremely difficult to understand the gifted and talented Yasuhiro Ito when he spoke or sang. This is unfortunate since his point of view and his motivation are important to completely appreciate Sachiko Ishimaru’s engaging book and lyrics.
Despite this difficulty, “Color of Life” is a remarkable new musical from Japan which graces the Midtown International Theatre Festival with consummate grace and power. It is not an easy musical to visit: its themes, though common, are disclosed in uncommon ways. Some might find Rachel’s (who is a lesbian) choice of Kazuya as a life partner unsettling: is she denying her identity to attain happiness? Others might be wary of Kazuya’s motives: is he, as he sings, seeing Rachel as a way to get his green card?
Indeed, “Color of Life” uses the extended metaphor of painting and color to celebrate life in all its vicissitudes, in all its wonder, and in all its possibilities. After experiencing deep loss, Rachel celebrates the opportunity life gives her to begin anew with a new partner and a new adventure. Hopefully, American audiences will see more of this new musical from Japan in the near future.
COLOR OF LIFE
“Color of Life” is presented by The Midtown International Theatre Festival. Director: Sachiko Ishimaru; Composition/Arrangements: Yasuhiro Ito¬¬¬¬¬¬¬¬¬¬¬¬; Translation: Shino Frances; Lighting Designer: Ayumu “Poe” Saegusa; Paintings: Yuka Ito; Sound Designer: Yutaka Miyasato; Sound Operation: Mayu Furukawa; Stage Manager: Yoshitaka Shiraishi; Assistant Stage Manager: Kristine Schlachter; Production: Sachiko Ishimaru; Publicist: Michelle Tabnick/Michelle Tabnick Communications.
The cast includes Yasuhiro Ito (Kazuya) and Shino Frances (Rachel).
The Midtown International Theatre Festival (MITF)'s fourteenth season will include a slate of full-length plays and musicals, as well as Short Subjects. The Festival will run from July 15 to August 4, 2013, at the June Havoc Theatre, 312 W. 36th Street, NYC, 1st floor; the Dorothy Strelsin Theatre, 312 W. 36th Street, NYC, 1st floor; the Main Stage Theater, 312 W. 36th Street, NYC, 4th floor; and the Jewel Box Theater, 312 W. 36th Street, NYC, 4th floor. Tickets are $15 for short plays and $18 for longer plays. Tickets are available at www.midtownfestival.org or by phone at (866) 811-4111.
“Color of Life” completed its run at the Dorothy Strelsin Theatre (see above) on Sunday July 21st at 7:00 p.m. the running time is 90 minutes with no intermission.
Permalink | Posted by David Roberts on Tuesday, July 23, 2013
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