“Fruit Fly” at The Cherry Lane Theatre Written and Performed by Leslie Jordan Directed by David Galligan Reviewed by David Roberts Theatre Reviews Limited
There is nothing like a romp through an extended metaphor when Leslie Jordan has created the trope. Mr. Jordan’s brilliantly funny “Fruit Fly,” currently running at The Cherry Lane Theatre as part of The All for One Theatre Festival, extends the identification between Jordan and his mother Peggy throughout the ninety-minute extravaganza of ethos, pathos, and sheer hysterical fun.
Leslie Jordan’s testimony to the terror, trials, and triumph of coming out works because he makes it clear that he “has been there and done that” and challenged all things maternal and nurturing: boy choirs, boy camps, boys in general, and his poor mother’s frustration at understanding some of those escapades. Jordan’s appeal to authority and experience works.
“Fruit Fly” also appeals successfully to the audience’s emotions: the well-constructed script takes the audience on an emotional roller coaster and just when Jordan has the audience practically falling off their seats in raucous laughter, he quickly appeals to the depths of human emotion and holds the audience in the palm of his hand of sadness and grief. He does this so skillfully that one promises oneself not to fall into the rhetorical trap again only to be seduced into his charms yet another time.
Leslie Jordan’s authenticity and generosity of spirit make it impossible for anyone to be offended by any of the humor used as he tells story after story from his rich and varied life. It would be unfair to reveal the content of the solo performance. However, be prepared to hear true tales of growth hormones, teenage adventures at drag clubs and “off limits” clubs, younger twin sisters (Jordan only remembers one of their names), a beloved father who died at an age far too young, a mother with hysterical blindness, and escapades in Atlanta that would make the most seasoned LGBT ticketholder blush.
The question of whether gay men become their mothers might or might not be answered with certainty in Jordan’s exhilarating performance. The question of the meaning of the title, however, is answered with the grace and charm only Leslie Jordan could summon. After sailing with Leslie in the recent past on an all-gay cruise to Alaska, his mother and twin sisters (the only straight women on the ship) determined they wanted to be “fruit flies.” You must see this solo performance soon to discover why.
FRUIT FLY
Presented by the All For One Theater Festival, Inc. at the Cherry Lane Theatre. Written and performed by Leslie Jordan. Directed by David Galligan. Lighting design by Graham Kindred. Sound and projection design by Christopher Jensen.
“Fruit Fly” will be performed on Saturday September 22nd at 7:00 p.m. at The Cherry Lane Theatre, 38 Commerce Street, NYC, (west of 7th Avenue South, 3 blocks south of Christopher Street), and accessible via the A, B, C, D, F and M trains to West 4th Street or the #1 to Christopher Street. Tickets are $25.00 and can be purchased online at afofest.org/tickets or by phone at 212-352-3101 or in person at the Cherry Lane Theatre Box Office. For more information about the All For One Festival and a schedule off all Festival performances, visit AFOfest.org
Permalink | Posted by David Roberts on Friday, September 21, 2012
"The Exonerated" at The Culture Project 45 Bleecker Street
Brian Dennehy, Delroy Lindo, Stockard Channing
“The Exonerated” Written by Jessica Blank and Erik Jensen Directed by Bob Balaban Reviewed by David Roberts Theatre Reviews Limited
It has been ten years since “The Exonerated” opened in New York at the Culture Project’s 45 Bleecker Street Theatre and brought to the stage the ongoing scrutiny of the American judicial system and its inability to administer justice with exactitude and fairness. Unfortunately, not much has changed since 2002 for those who are innocent and on death row.
Arresting officers (as in the case of Sunny Jacobs), “eyewitnesses,” (as in the case of Delbert Tibbs), prison (as in the case of Kerry Max Cook), and the court system of attorneys and judges (as in all the cases in “The Exonerated”) conspire to construct a monolith that often seems weighted against the defendant in a criminal case. This is particularly odd in a legal system which claims the accused “is innocent until proven guilty.” Clearly the American judicial system is not only flawed, it is as “The Exonerated” proffers, a dangerous terrain for the accused to successfully navigate. Jim Bracchitta and Bruce Kronenberg bring the flaws of the system to frightening reality in their performances as Prosecutors 1 and 2 and April Yvette Thompson’s indifferent and passionless Judge makes one wonder if anyone is minding the judicial store.
When this mine field is complicated further by issues of classism, racism, sexism, and homophobia, it is difficult for the innocent accused to avoid a guilty verdict, or worse, the death penalty. The strength of Jessica Blank and Erik Jensen’s “The Exonerated” lies in both the stories of death row inmates who have been exonerated and in the remarkably poignant performances of the tenth anniversary production cast.
All of the exculpated featured in “The Exonerated” were wrongly arrested and falsely accused for committing murder. All received the death sentence and spent years in prison on “death row” until they were eventually freed from guilt by further investigation into their case, by the actual perpetrator of the crime coming forward and confessing, or by the presentation of DNA evidence.
Amelia Campbell (as Sandra Cook), Stockard Channing (as Sunny Jacobs), Brian Dennehy (as Gary Gauger), Curtis Mc Clarin (as David Keaton), April Yvette Thompson (as Georgia Hayes), and JD Williams (as Robert Earl Hayes) bring remarkable depth and believability to the stories they recount of those on death row and their spouses. The stories brilliantly counterpoint each other and the haunting energy of the performances creates a fugue that will play in the audience’s collective unconscious for a very long time. One of the most compelling themes in that fugue is that of Gary Gauger (played by Brian Dennehy) who was convicted of murdering his elderly parents after arresting officers forced him to tell them what the murder would have looked like “if” he had committed the crime. Those “what if” scenarios were later presented in court as Gauger’s confession to the brutal murders.
The Exonerated” ultimately puts the American Judicial System on trial, convicts it of malpractice, and delivers a death blow to its selective incompetence. Ironically, this “system” exonerates itself, relieves itself from any obligation (the second definition of ‘exonerate’) to examine its flaws and reform itself. In short, Justice is as Justice does (as opposed to being ‘blind’) and no one should travel its roads without competent legal counsel.
Delroy Lindo gives a compelling performance as Delbert Tibbs who was wrongfully convicted of murder and rape in 1974 and later became a writer and anti-death penalty activist. Mr. Lindo provides the grounding focus for the entire performance as his character consistently and compellingly reminds the audience to do what is dangerous and persistently ask ‘why’ and ‘how?’ Challenging a seriously flawed power structure like the American Justice System is indeed a dangerous thing to do but to do anything less would be unconscionable. Had someone not raised those questions for the exonerated, they would still be in prison or have been executed.
THE EXONERATED
Presented by the Culture Project (Allan Buchman, Founder & Artistic Director) in special association with The Innocence Project for a limited seven-week engagement through Sunday, November 4, 2012 at Culture Project (45 Bleecker Street at Lafayette Street). Scenic Concept and Lighting Design by Tom Ontiveros. Costume Design by Mimi O’Donnell. Original Music and Sound Design by David Robbins.
Directed by Bob Balaban, the core non-rotating company of six will include Jim Bracchitta as Prosecutor 2. Amelia Campbell as Sandra Cook, Bruce Kronenberg as Prosecutor 1, Curtis McClarin as David Keaton, April Yvette Thompson as Georgia Hayes, and JD Williams as Robert Earl Hayes. They will be joined by rotating cast members Stockard Channing, Brian Dennehy, Steve Earle, John Forté, K’naan, Delroy Lindo, Lyle Lovett, Chris Sarandon and Brooke Shields. Exoneree Sunny Jacobs, whose story is shared within the play, joins the cast for one-week, September 25 – 30.
“The Exonerated” will play the following performance schedule: Tuesday – Thursday at 8:00 p.m., Friday at 7:00 p.m., Saturday at 8:00 p.m. and Sunday at 3:00 p.m. & 7:00 p.m. Please note: there is no performance on Thursday, September 20. Weekly Post Performance Talkbacks are scheduled on Tuesday evenings hosted by Ron Tabak and Thursday evenings hosted by The Innocence Project.
Tickets are priced at $75 (Premium at $99), Sunday evenings at 7:00 p.m. at $37.50 (Premium at $50) with student tickets at $30 and available online at cultureproject.org or via phone by calling OvationTix at (866) 811-4111. $5 of every full price ticket ($75 & $99 level) will go to a fund for the exonerees. For additional information, please send inquires to info@cultureproject.org, or call (212) 925-1806.
Permalink | Posted by David Roberts on Thursday, September 20, 2012
"You Want Me To Do What?!?" at The Cherry Lane Theatre Main Stage
Mary Lou Shriber
"You Want Me To Do What?!?" at The Cherry Lane Theatre Written and Performed by Mary Lou Shriber Directed by Joe Ricci Reviewed by Joseph Verlezza Theatre Reviews Limited
An amazing opportunity presents itself to experience the wonderfully uplifting performance by Mary Lou Shriber in her new musical “You Want Me To Do What?!?” now playing at the Cherry Lane Theatre as part of the All For One Festival. There are quite a number of accomplishments to admire as you listen to Ms. Shriber reveal her past and celebrate her present through informative dialogue and heartfelt song. Granting her father’s dying wish that she become a nurse and fulfilling her own dream of a career as an actor are certainly rewarding accomplishments. Having the intelligence and personality to do both very well is notable, but to have the essence of each career collide and explode into an emotional exploration of her life is a remarkable achievement. Her compassion and respect for patients as a nurse is transferred to the stage with ease, assuring the audience of her honesty and integrity.
Ms. Shriber ‘s writing is sharp, direct and precise. The structure of her solo is strong and interesting as she seamlessly flows from dialogue to song, never losing any emotional momentum. The songs are not forced nor contrived nor erratically placed for mere entertainment, but move the story forward in a well edited fashion. Reviewing and remembering her past and connecting it to her present is an extraordinary journey traveled with confidence and intense focus as she relives each moment, sometimes being the last for many of her patients. She has learned about courage, witnessed the pain, felt the sadness, exalted in the joy of life and always with great respect treated death with dignity. All of this allows Ms. Shriber to develop a passionate tale, claiming her place on stage as a consummate, talented writer and most of all a sincere human being who understands the powerful effect of good theatre.
Musical director John Baxindine provides the keyboard accompaniment with sensible interpretation, always supporting the mood without intrusion. Joe Ricci as director lets Ms. Shriber waste no time moving through the evening at a well clipped pace, resourceful but never with indulgent empathy.
YOU WANT ME TO DO WHAT?!?
Presented by the All For One Theater Festival, Inc. at the Cherry Lane Theatre. Written and performed by Mary Lou Shriber. Directed by Joe Ricci. Musical Direction by John Baxindine. Lighting design by Graham Kindred. Sound design by Christopher Jensen.
“You Want Me To Do What?!?” will be performed on Saturday September 29th at 2:00 p.m. at The Cherry Lane Theatre, 38 Commerce Street, NYC, (west of 7th Avenue South, 3 blocks south of Christopher Street), and accessible via the A, B, C, D, F and M trains to West 4th Street or the #1 to Christopher Street. Tickets are $25.00 and can be purchased online at afofest.org/tickets or by phone at 212-352-3101 or in person at the Cherry Lane Theatre Box Office. For more information about the All For One Festival and a schedule off all Festival performances, visit AFOfest.org
Permalink | Posted by David Roberts on Thursday, September 20, 2012
"Belgrade Trilogy" at the 4th Street Theatre
“Belgrade Trilogy" at the 4th Street Theatre Written by Biljana Srbljanovic Directed by Joanna Nastassja Kastratovic Reviewed by David Roberts Theatre Reviews Limited
Being able to see and review “Belgrade Trilogy” was an important event for me. This review will be more personal than any that I have written. Normally, critical reviews are written in the third person and the critic keeps professional distance from the performance being reviewed. It is difficult to keep that distance after visiting Belgrade and driving through war-torn streets of Serbia and Croatia. It is especially difficult after sharing a meal in a Croatian home with a woman who wonders every day if her young husband will return home from his job as a sweeping and demining the landmines left from the 1991 – 1995 war. To listen to her hopes for the future, for the time when Serbian children and Croatian children would again play together and grow together has remained a daunting memory.
In 1995, almost a quarter million Serbians left Belgrade to find such a future outside of their war wracked land. Biljana Srbljanovic’s “Belgrade Trilogy” chronicles eleven fictional characters who try to find new lives in new places. Their journeys are mixed with dashed hopes and sadness: much of what they tried to leave behind follows them or awaits them in their new settings. All three parts of the play’s trilogy (and its epilogue) take place on New Year’s Eve.
Brothers Kica and Mica Yovic hope that Prague will provide a new home, jobs, and new friendships. Instead they end up as male dancers at a club still looking for the kind of employment that can sustain a decent living. Their brotherly boxing is a metaphor for the conflict that they have not been able to leave behind in Belgrade. Benjamin Watson and Sawyer Avery bring energy to this absurdist piece of theatre. And Iva Valkova is the catalyst Alena who tries to woo Mica away from his memories of his love Ana nut only succeeds in driving him deeper into despair and meaningless existence.
Two couples clash in the second part of the trilogy: Sanja and Milos have emigrated to Sydney Australia and have not found relief from battle. They argue and fight and their crying baby is a trope for the frustration and hunger they both hope for but have not found in each other or in Australia. When two friends come over – Kaca and Dule – things do not get much better and the evening ends in some chilling discoveries. Vanina Kondova, Gavin Haag, Jess Loudon, and Teodor Petelov maneuver through this second absurdist piece with skill and style.
The final part of the trilogy features two twenty-something’s searching for a new life in Los Angeles, California. This City of Angels has not brought anything they expected after leaving Belgrade. Yovan works for a moving company and has found no work as an actor. Mara is a pianist whose career is at a standstill. As they try to find comfort in each other, they are interrupted by Daca whose past collides with their present in a horrific way. Luka Mijatovic, Kate Hoffman, and Alexander Ristov blaze through this more realistic segment with ease and focus its horror with passion.
In the end, none of these young people have a life better than the one they left behind in Belgrade. Violence is as prevalent in Prague, Sydney, and Hollywood. Dreams and hopes remain unfulfilled. Relationships old and new have not brought comfort. No one has provided for these hapless few who tried to make things right in a new land. Mica was right when he said to his brother, “We are all responsible for ourselves.” Interestingly, none of the characters in the trilogy have wristwatches that function: their quest for peace is moving nowhere and time itself is not on their side.
Mica left Ana his first love behind in Belgrade. When he discovered she had married and had a child, his hopes for reuniting with her in Prague ended. But even Ana’s marriage has not brought her comfort. In the play’s epilogue, an image of Ana (Samantha Slater) is projected onto the back of the sofa on stage. The audience sees her crawling toward the gun left on the sofa by Daca after he “accidently” kills Yovan. The violence and carnage and destruction wrought by the 1991 – 1995 war continue to haunt the survivors. Perhaps there is no escape from the ravages of war for anyone? See “Belgrade Trilogy” and join the conversation.
BELGRADE TRILOGY
Presented by The WhiteListed Theatre Company at the 4th Street Theatre. Directed by Joanna Nastassja Kastratovic. Translated by Kate Hoffman and Theo Petelov.
The cast of Belgrade Trilogy features Iva Valkova, Kate Hoffman, Jess Loudon, Samantha Slater, Vanina Kondova, Benjamin Watson, Sawyer Avery, Alexander Ristov, Luka Mijatovic, Gavin Haag and Theo Petelov.
The creative team includes Alexandra Clayton (Assistant Director), Jivko Dumanov (Designer), Adriana Milanova (Original Music) and Nikoleta Despodova (Photography). Kate Hoffman and Theo Petelov serve as Artistic Directors of The WhiteListed Theatre Company and also translated the original text for this production, and Alexandra Alcocer serves as Director of Development for the company. The WhiteListed Theatre Company is a sponsored project of Fractured Atlas, a nonprofit arts service organization.
Belgrade Trilogy will run at the 4th Street Theatre (83 East 4th Street) through September 22nd with performances Tuesdays-Saturdays at 8:00 p.m. and Sundays at 3:00 p.m. and 8:00 p.m. Tickets, priced at $25, can be purchased online at www.WhiteListedTheatre.com
Permalink | Posted by David Roberts on Monday, September 17, 2012
"The Anderson Twins Play the Fabulous Dorseys!" at 59E59 Theater C
“The Anderson Twins Play the Fabulous Dorseys!” at 59E59 Theatre C Written and Directed by Pete and Will Anderson Reviewed by David Roberts Theatre Reviews Limited
Alfred E. Greene’s 1947 film “The Fabulous Dorseys” chronicles the lives of prominent jazz-swing musicians Jimmy and Tommy Dorsey. The Anderson Twins, Peter and Will, play the Dorsey brothers in an exhilarating evening of music with the same moniker as the film.
With clips of the well-known film projected on the back wall of 59E59 Theater C, Peter and Will Anderson and four other jazz musicians feature the music that made the Dorsey brothers famous. Although Pete and Will often carry over the content of the film to the band, the mock sibling rivalry pales under the power of the music performed by the twins and their invited musicians.
Joined by trumpeter Jon-Erik Kellso, pianist Ehud Asherie, drummer Kevin Dorn, and bassist Clovis Nicolas, the Anderson brothers blaze through twenty plus Dorsey band favorites, including those written by Jimmy Dorsey: “Dusk in Upper Sandusky (1938); “Hollywood Pastime” (1938); “Beebe” (1929); and “Oodles of Noodles.”
The evening started with Ray Noble’s jazz standard “Cherokee,” followed by Sy Oliver’s 1944 “Opus One” which was featured in the musical “Broadway Rhythm.” Highlights of “The Anderson Twins Play the Fabulous Dorseys!” are: Jimmy Dorsey’s 1929 virtuoso alto saxophone piece “Beebe;” the traditional African-American spiritual “Deep River” arranged by Sy Oliver; two Nikolai Rimsky-Korsakov melodies “Song of India” and Jimmy Dorsey favorite “Flight of the Bumblebee;” and Tutti Camarata’s 1941 arrangement of Victor Schertzinger’s “Tangerine.”
All of Sy Oliver’s arrangements were given appropriate care by the sextet giving each of them Oliver’s trademark full bodied “growl” sound. Oliver’s own “Loose Lid Special” was a favorite of the Tommy Dorsey Band (after the breakup of the Dorseys) and the Anderson Twins’ rendition was remarkable.
The six musicians played well together and easily gave one another opportunities to feature individual talents. Outstanding performances were given by Peter and Will as they handily maneuvered between clarinets, saxophones, and flute. The trumpet of Jon-Erik Kellso and the drums of Kevin Dorn also brought audience appreciation. “The Anderson Twins Play the Fabulous Dorseys!” is well worth the visit to the club atmosphere of 58E59 Theater C. Be sure to buy drinks before you head up the stairs as they are allowed in the theater for this performance.
THE ANDERSON TWINS PLAY THE FABULOUS DORSEYS!
Presented by Reardon-Anderson Music at 59E59 Theater C. Written and directed by Pete and Will Anderson.
The featured cast of musicians includes Pete Anderson (clarinet, saxophone, flute), Will Anderson (clarinet, saxophone, flute), Jon-Erik Kellso (trumpet), Ehud Asherie (piano), Kevin Dorn (drums), and Clovis Nicolas (bass).
THE ANDERSON TWINS PLAY THE FABULOUS DORSEYS! began performances on Tuesday, September 11 for a limited engagement through Sunday, October 7. The performance schedule is Tuesday – Thursday at 7:30 PM; Friday at 8:30 PM; Saturday at 5:30 PM and 8:30 PM; and Sunday at 3:30 PM. There are additional performances on Sunday, September 23 and Sunday, September 30 at 7:30 PM. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets are $25 ($17.50 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org.
Permalink | Posted by David Roberts on Sunday, September 16, 2012
"Asking For It" at The Cherry Lane Theatre Main Stage
“Asking For It” at The Cherry Lane Theatre Main Stage Written and Performed by Joanna Rush Directed by Lynne Taylor-Corbett Reviewed by Joseph Verlezza Theatre Reviews Limited
Joanna Rush once again captivates, entertains, and raises audience awareness in her solo show “Asking For It,” part of the All For One Theater Festival in residence at the Cherry Lane Theatre. She inhabits the life of Bernadette O’Connell as “Bernie” endures a strict Irish Catholic upbringing which, unfortunately, does not prepare her for the daunting task of becoming a Radio City Music Hall Rockette or the lurking shadows of evil that accompany this dream when alone and naïve. For that matter, her upbringing provides a sense of guilt as Bernie struggles to leap obstacles and confront demons that appear throughout her life journey. “Too fat” to become a Rockette, Bernie must lose ten pounds. In order to afford an apartment and food, she sings and dances naked Off Broadway. Bernie drives alone cross country to reunite with her only son and raises him as a single mom. Suddenly, dreams become nightmares.
What is remarkable is Ms. Rush’s ability to inspire the audience with an invigorating performance. She relies on her talent as a dancer, singer and actor to bring humor and drama to her well written script. With no props or costume changes, Rush is able to deftly transform into multiple characters with speed and agility. Her interpretations are detailed and personal, affording the audience the opportunity to become acquainted with and know the character rather than merely providing visual content. The rewarding collaboration with director Lynne Taylor-Corbett provides a unique structure of movement and humor that is thoroughly entertaining but does not distract from the importance of the material, resulting in a well paced, fluid and moving evening of theatre. This indeed is a fractured fairy tale where dreams come true but at a considerable price. Battered self esteem, emotional scars and broken hearts, escort an undying spirit that ensures a happy ending.
ASKING FOR IT
Presented by the All For One Theater Festival, Inc. at the Cherry Lane Theatre. Written and performed by Joanna Rush. Directed by Lynne Taylor-Corbett. Set design by Dean Taucher. Lighting design by Brant Thomas Murray. Sound design by Joachim Horsley.
“Asking For It” will be performed on Saturday September 22nd at 2:00 p.m. at The Cherry Lane Theatre, 38 Commerce Street, NYC, (west of 7th Avenue South, 3 blocks south of Christopher Street), and accessible via the A, B, C, D, F and M trains to West 4th Street or the #1 to Christopher Street. Tickets are $25.00 and can be purchased online at afofest.org/tickets or by phone at 212-352-3101 or in person at the Cherry Lane Theatre Box Office. For more information about the All For One Festival and a schedule off all Festival performances, visit AFOfest.org
Permalink | Posted by David Roberts on Saturday, September 15, 2012
"Hard Times: An American Musical" at the cell
Stephane Duret (L) and Almeria Campbell (R)
“Hard Times: An American Musical” at the cell By Larry Kirwan Directed by Kira Simring Reviewed by David Roberts Theatre Reviews Limited
By any standard, these times – our times – are hard times. Individuals and groups of individuals find their way through hard times in a variety of ways: perseverance, ingenuity, luck of the draw, or serendipitous surcease. Those who gathered at Nelly Blythe’s Five Points saloon needed all of those ways to overcome the racism, sexism, and classism of 1863 New York City.
Despite the tolerance, loose behavior, music and dancing of Five Points, the fabric of this fragile alliance was damaged by the riots of July 13, 1863 when the discontent over the newly enacted Draft fractured friendships and engendered a future of racism, segregation, and division. In “Hard Times: An American Musical,” playwright Larry Kirwan highlights the songs of Stephen Foster as an extended metaphor for America’s post Civil War struggle for identity and purpose.
Just as Tony Kushner was able to bring into focus his understanding of the hard times facing America near the close of the twentieth century with his “Angels in America: A Gay Fantasia on National Themes,” Larry Kirwan has been able to successfully bring into focus the issues that face twenty-first century America and threaten to damage the very core of its credo.
Just as the struggle between Irish immigrant and entertainer Owen Duignan and the free black entertainer Thomas Jefferson is an extended metaphor for the ongoing struggle between cultures and races in America and the difficulty faced by new waves of immigrants, so the presence of Nativist American Political Party Bowery Boy Michael Jenkins a well-developed trope for all the bigotry and hatred that exists in present day America.
The unresolved love between Stephen Foster and Owen Duignan beautifully displays America’s difficulty in understanding the power of love and the need for all of its citizens – straight and gay – to have equal rights and opportunities, including marriage. The strained relationship between Foster and his wife Jane is a powerful symbol of the difficulty of success in relationship especially when complicated by issues of sexual status and human need.
And entrepreneur saloon owner Nelly Blythe creates the setting for the new kind of leadership needed in America to move it forward into the next century. This is unquestioned, unparalleled writing on the part of playwright Larry Kirwan and brilliant ensemble acting by Almeria Campbell (Nelly), John Charles McLaughlin (Owen), Jed Peterson (Stephen Foster), Stephane Duret (Thomas), Philip Callen (Michael), and Erin West (Jane Foster). Director Kira Simring, the creative team, and the orchestra summon the synergy to make “Hard Times” a remarkable and memorable moment of brilliant theatre.
Stephen Foster’s songs and Larry Kirwan’s songs counterpoint each other and create a fugue for freedom and future. When Nelly and Thomas re-imagine Foster’s “Old Folks At Home,” a moment of theatrical magic happens. And a few words found on a scrap of paper in Stephen Foster’s wallet become the brilliant “Dear Friends and Gentle Hearts” that invites the audience to discover a way to attain the compassion and gentleness that will re-imagine America and re-construct community.
Jed Peterson is a soulful, contemplative Stephen Foster who broods over his character’s bereavement at the loss of his creativity and ability to give and receive deep love. Almeria Campbell’s rich understanding of Nelly Blythe brings depth and passion to Nelly’s role as reconciler, redeemer, and prophetic voice. John Charles McLaughlin creates the young Irish immigrant Owen’s rage with a craft rooted in perfection and is the perfect foil for Stephane Duret’s contrapuntal anger at the struggles post Civil War black Americans to move successfully to authentic freedom. Philip Callen’s Bowery Boy Michael is as unpleasant a character imaginable in the company of companions attempting to simply get along. Erin West’s Jane Foster bristles with doubt and depression as she tried desperately to discern “what is ailing” her distant husband. All have glorious voices that interpret Foster's and Kirwan's music with the care and conviction it requires.
Ultimately, Stephen Foster’s deep regrets about some of his early music that misrepresented the African-American culture of pre and post Civil War America morph into America’s regret and shame of not being able to resolve the human issues needed to continue to form “a more perfect union.”
Kudos to 1st Irish 2012 powered by the Origin Theatre Company for bringing Kirwan’s work to the cell and for its uncompromising commitment to celebrate the power and talent of Irish playwrights and its dedication for presenting Irish theatre to New York audiences during this fifth festival season.
Theatre Reviews Limited sees this gem in the crown of the 1st Irish 2012 moving to a stage like Playwrights Horizons or the Atlantic’s Main Stage, then a short tip to a cozy home on Broadway. In the interim, see this important piece of American theatre before September 30.
HARD TIMES: AN AMERICAN MUSICAL
Presented by the cell: A Twenty 1st Century Salon (Nancy Manocherian, Founding Artistic Director) and Jason Najjoum. By Larry Kirwan. Music by Stephen Foster and Larry Kirwan. Directed by Kira Simring. Choreographed by Joe Barros. Set Design by Dara Wishingrad. Costume Design by Sara Hinkley. Lighting Design by Gertjan Houben. Sound Design by Tommy Renino. Fight Director, Tim Eliot.
WITH: Philip Callen, Almeria Campbell, Stephane Duret, John Charles McLaughlin, Jed Peterson, and Erin West.
BAND: Andrew Smithson (conductor, piano), Jake Timm (violin), Maurice Bell (bass), Kevin Wunderlich (guitat/banjo), and Andrew Burns (drums).
All performances are at the cell, 338 West 23rd Street (between 8th and 9th Avenues). Schedule of performances: September 13-15, 8:00 p.m.; September 19 at 3:00 p.m.; September 21, 22, 24, 27, 28, 29 at 8:00 p.m.; and September 30 at 3:00 p.m. For tickets ($18.00), call the Box Office at 800-838-3006 or visit www.1stIrish.org
Permalink | Posted by David Roberts on Saturday, September 15, 2012
"New Girl in Town" at The Irish Repertory Theatre
“New Girl in Town” at The Irish Repertory Theatre Music and Lyrics by Bob Merrill Book by George Abbott Directed by Charlotte Moore Reviewed by David Roberts Theatre Reviews Limited
NEW GIRL IN TOWN
When Anna (Margaret Loesser Robinson) arrives in New York City in 1926 to visit her father Chris Christopherson (Cliff Bemis), she arrives with more than a single valise. She comes from living with relatives in Minnesota and some baggage she would rather not unpack in New York. In Anna’s song “On the Farm,” she rehearses her horrific stay with uncaring relatives that resulted in a life as a sex worker in order to survive. Her psychological baggage includes the emotional scars from that experience and an understandable mistrust of significant relationships particularly those involving men.
That dogged determination to start over without anyone knowing about her past is thwarted by Anna’s relationship with the brash sailor Matt (Patrick Cummings) who is swept of his feet by Anna’s charm, honesty, and beauty. After being able to begin trusting again, Anna accepts Matt’s overtures and falls in love with him only to have her hopes of unconditional love marooned by her father’s love interest Marthy (Danielle Ferland). Jealous of Anna’s ability to find true love, Marthy “outs” Anna to Matt who is then incapable of understanding or accepting Anna’s past.
“New Girl in Town” develops the conflict between Matt and Anna with sustained grace and beauty. The themes in this late 1950’s musical are quite contemporary: Anna is unwilling to accept Matt’s judgment of her past and insists that “people have a right to change.” She is willing to lose him instead of losing her new identity and new life in New York City: she does not need Matt or any other male in her life in order for her life to have meaning. Additionally, the musical is the right choice for revival at this time in America’s history when its Scarlet “A” is displayed on the world’s stage. There is much in our past as a nation that needs to be reexamined, forgiven, and set to rest so the metaphorical ‘Matt’s’ can fall in love with this great nation again. Taking the trope/metaphor even deeper, each and every audience member can connect with Anna and Matt is his or her struggle with self acceptance and the ability to understand the need to receive and give unconditional and non-judgmental love.
The ensemble cast of “New Girl in Town” provides a refreshing perspective on Bob Merrill and George Abbot’s enduring and engaging musical and on Eugene O’Neill’s “Anna Christie” upon which the musical is based. Kudos to the entire cast and creative team for re-energizing a musical that deserves another look by another generation. Anna tells Matt when she hopes he can accept her for who she really is, “I done wrong things and I done right things: can’t a person change?” Easily, that could be the deep question asked by anyone or any entity seeking forgiveness and a fresh start. For Anna – and for all of us – the past is finished and gone: all things have become fresh and new.
It is easier to make a musical “bigger.” It is more challenging to take a 1957 Broadway scale musical and reimagining it for a smaller performance space. The creative team at The Irish Repertory Theatre has successfully done that reimagining. The new production currently running as part of the Company’s season is as effective, perhaps more so, than the 1957 Broadway production.
Produced by Ciaran O’Reilly at The Irish Repertory Theatre. Directed by Charlotte Moore. Music Direction by John Bell. Choreography by Barry McNabb. Set Design by James Morgan. Costume Design by China Lee. Lighting Design by Mary Jo Dondlinger. Sound Design by Zachary Williamson.
WITH: Cliff Bemis, Dewey Caddell, Abby Church, Patrick Cummings, Danielle Ferland, Matt Gibson, Kimberly Dawn Neumann, Alex Puette, Margaret Loesser Robinson, Amber Stone, and Stephen Zinnato.
ORCHESTRA: John Bell (Conductor/Keyboard), Jeremy Clayton (Reeds), Don Peretz (Percussion), and Nick Russo (Guitar, Banjo). Orchestrations by John Clayton.
All performances of “New Girl in Town” are at The Irish Repertory Theatre, 132 West 22nd Street (between 6th and 7th Avenues) through September 14th. Thursday September 13th at 7:00 p.m. and Friday September 14th at 3:00 p.m. and 8:00 p.m. Tickets are $65.00 and $55.00 and can be purchased by caling the Box Office at 212-727-2737 or by visiting www.1stIrish.org
Permalink | Posted by David Roberts on Thursday, September 13, 2012
"Fly Me to the Moon" at 59E59 Theater B
“Fly Me to the Moon” at 59E59 Theaters Written and Directed by Marie Jones Reviewed by David Roberts Theatre Reviews Limited
Wee Davey McGhee’s body lies moldering in his grave (bathroom) while his caregivers Loretta Mackey and Frances Shields concoct ways to acquire and then divvy up his assets. Marie Jones’ dark comedy “Fly Me to the Moon” chronicles their capers from Loretta’s shocking discovery of Davey’s bruised dead body to Frances’ final efforts to cover up their blue collar crime.
Prior to his demise, Davey was homebound, unable to care for himself, and lonely. He was meticulous about collecting his weekly pension and passionate about betting on the horses. Davey had no scientific method for betting and he rarely, if ever, won anything. He chose his horses based on their names – the more interesting the better. His most recent pick, before his untimely death, was the horse named “Fly Me to the Moon” one of Davey’s favorite Sinatra melodies. After his demise, Loretta and Frances assume everything that was Davey’s is up for grabs and available to balance the scales of economic injustice in their favor.
The audience wonders which comes first: corporate misconduct and greed or individual misconduct and greed? For middle-class health workers Loretta and Frances, the answer is apparent. The little guy (aka Loretta, Frances, and their miserable lot) is always up against the big guy and whatever the little guy needs to do to survive is morally right. Frances’ moral dictums are tasty morsels. Whenever she and Loretta enter the world of the morally ambiguous, Frances proclaims or opines: “Don’t ask questions.” “It’s about supply and demand.” “We’re doing nothing wrong.” “This is what Davey would have wanted” (after collecting his post mortem racetrack winnings).
When Davey dies unattended in his bathroom, whatever was once his – weekly pension payment, racetrack winning, even his meals-on-wheels shepherd’s pie – is fair game for the taking and all with Davey’s blessing. Like Lucy and Ethel before them, Loretta and Frances dig themselves deeper and deeper into moral debt as “Fly Me to the Moon” progresses. Their attempt to cover up one misdemeanor with another crime lands them squarely into a moral quagmire.
Despite the occasional “moral intervention” of the ring of the mobile phone, the pair cannot make the necessary confession to begin to get them out of trouble – deep trouble. Veteran actors Tara Lynne O’Neill (Loretta) and Katie Tumelty (Frances) mesmerize the audience with their ability to maneuver through Marie Jones’ captivating script. Under Jones’ meticulous direction, O’Neill and Tumelty successfully lead the audience into an unexpected examination of the rapid demise of both individual and corporate moral fiber.
Marie Jones’ challenging play “Fly Me to the Moon” is not just about two women struggling to make ends meet in tough financial times. This significant piece is a trope, an extended metaphor, about culpability and responsibility for the disintegration of all that we have held dear.
Can what matters be salvaged or does it all have to be burned down and given a new start? Are we phoenix like or will the immolation simply destroy what is extant? Loretta and Frances attempt a walk through a refining fire and determine that they cannot keep any of wee Davey’s assets. But is their choice one of moral integrity or is it a choice made to protect them from the long arm of the law? Only time will tell whether this pair are truly reformed or not. At play’s end, they promise “to tell the truth, the whole truth, and nothing but the truth.” They -- one Catholic, one Protestant -- make their promise not only to one another but to God. If only they had gotten to work at the same time as usual. If only if had not rained. If only Loretta had not had the full responsibility of wheeling wee Davey to the toilet. If only. If only. The dilemma of Frances and Loretta is the dilemma of post-modern global citizens. Their lot is ours. See this provocative play and choose your side before it is too late.
FLY ME TO THE MOON
FLY ME TO THE MOON is presented by The Origin Theatre Company as part of 1st Irish 2012 at 59E59 Theaters (59 East 59th Street, between Madison and Park Avenues). Produced by Martin Lynch. Written and Directed by Marie Jones. Designed by Niall Rea.
The cast features Tara Lynne O’Neill (the film adaptation of Disco Pigs) and Katie Tumelty (The Billy Trilogy and Remembrance at Arts Theatre Belfast and Irish Tour).
FLY ME TO THE MOON began performances on Wednesday, September 5 for a limited engagement through Sunday, September 30. The performance schedule is Tuesday – Thursday at 7:15 PM; Friday at 8:15 PM; Saturday at 2:15 PM and 8:15 PM; and Sunday at 3:15 PM and 7:15 PM. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets are $35 ($24.50 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org.
Permalink | Posted by David Roberts on Wednesday, September 12, 2012
"Silent" at The Irish Arts Center Donaghy Theatre
Playwright and Performer Pat Kinevane
“Silent” at The Irish Arts Center Donaghy Theatre Written and Performed by Pat Kinevane Directed by Jim Culleton Reviewed by Joseph Verlezza Theatre Reviews Limited
When the precise and poetic movements of a tattered blanket soiled with a life story are revealed by the glow of a spotlight and surrounded by the depths of silence, it captivates your eyes, kidnaps your mind and holds your heart ransom. As silky white patches of human flesh dance slowly from beneath their shroud you are suddenly immersed in a mystery of evolution. A face appears, beautiful, striking, and haunting, with eyes that pierce your soul with the glimmer of truth. A voice behind a story that dissects a being, peeling away the layers of emotion and mental anguish until you are left with transplanted vital organs that give you a new understanding of life.
In the current production of “Silent,” written and performed by Pat Kinevane, we spend a little more than an hour with Tino, a homeless man surviving on the streets of County Cork. Tino’s path to homelessness (and ultimately suicide) begins with the self-inflicted death of his brother Pierce. Memories of his abusive mother and wife, neither who care about him or about Pierce’s death, counterpoint Tino’s guilt and result in his downward spiral. However, the path to being homeless can also be short and effortless. There are no specific directions: everyone takes a different route but usually arrives at the same destination. The amazing part of this theatrical experience is that it all makes sense; you suddenly are in the same place as Tino, in his skin, knowing he is anyone and everyone. It is disheartening but never depressing.
Mr. Kinevane is a multifaceted performer who understands the astonishing effect of illusion, which can only be achieved with the seamless fusion of word, movement, sound and the moments when he allows silence to breathe, affirming an unequaled isolation. As actor, dancer, and vocalist he is intelligent, fluid, honest, intense and poignant, but foremost, he wraps his spirit around the human element, hypnotizing the audience almost compelling them to surrender their emotions. He is a master at his craft; modest, unpretentious, skilled, and focused, never preaching but offering clear opportunity for discovery. Nothing is lacking in this production and the collaboration with director Jim Culleton is perfection only enhanced by the sound composed and designed by Denis Clohessy. Too many superlatives exist to describe the work of Pat Kinevane and are superfluous. What is obligatory is to thank him for sharing his incredible gift and providing an opportunity to experience a master at work in the theater.
SILENT
Produced by Fishamble, the New Play Company, in association with Georganne Aldrich Heller at the Irish Arts Center. 80 minutes. Directed by Jim Culleton. Composed and Sound Design by Denis Clohessy. Lighting Design by Pat Kinevane and Jim Culleton. Costume styled by Catherine Dowling.
All 14 performances from September 6 to 23 will be at the Irish Arts Center, 553 West 51st Street in New York, New York. The performance schedule is Wednesday – Saturday at 8 p.m., and Sunday at 3 p.m. September 12, 13, 14, 15 @ 8 p.m.; September 16 @ 3 p.m.; September 19, 20, 21, 22 @ 8 p.m.; and September 23 @ 3 p.m. Tickets are $18 for adults and $12 for students/seniors and can be purchased online at http://www.NewOhioTheatre.org or by calling SmartTix at 212-868-4444. For more information visit http://www.NewOhioTheatre.org.
Permalink | Posted by David Roberts on Monday, September 10, 2012
"The Eyes of Others" at The New Ohio Theatre
Playwright Ivan Dimitrov
“The Eyes of Others” at The New Ohio Theatre By Ivan Dimitrov Directed by Samuel Buggeln Reviewed by David Roberts Theatre Reviews Limited
In Ivan Dimitrov’s “The Eyes of Others,” The First Man (Evan Zes) and the Second Man (Michael Frederic) spend their one-hour lunch break together downtown on the Square avoiding food and, instead, using the time to ponder the meaning of existence. Their absurdist conversation brings into sharp focus the realities of the somewhat meaninglessness of work, leisure, economy, and future. They chat about moving forward and the importance of being right and how disastrous a hideous death would be. What really concerns these “Everymen” however is the thought of being anonymous.
The Second Man asks, “Haven’t you ever felt small and anonymous? Just another guy in line at the store, just another guy walking down the sidewalk, just another guy. And all that while the newspapers and magazines can’t stop talking about what the celebrities are doing. It has a pretty depressing effect. Let them say what they will about modern man’s problems. About alienation, isolation, virtualization. About world hunger, ecological destruction, and global warming. Modern man’s problem is anonymity. Thirty-odd years ago being anonymous wasn’t the end of the world, there was even a sort of charm in it. But today it’s truly a nightmare to be anonymous amidst this whole flow of information. To be anonymous on the Internet. To be anonymous at home, to be anonymous on the street. Better to be anything else, as long as it’s not anonymous.”
The struggle to avoid anonymity drives the plot of “The Eyes of Others” from the play’s exposition through its resolution. First Man is anonymous even when he visits the salesperson (Zoe Winters) in the new underwear store on the Square on the day his friend is home sick. His plaintive cry, “Aren’t you going to pay attention to me?” is the universal human cry for significance. When the salesperson confronts him about why he is wasting her time, he replies, “I just want to look around, to warm up, to chat a bit.” He wonders why they can’t just “keep each other company.” Even when Second Man is home with his wife Jackie (Danielle Skraastad), he feels unnoticed and spends his time chatting with his friend on the phone.
In order to avoid being anonymous, the friends create a totem: the Voyeur. In the fashion of the mythopopetic men’s movement, First and Second Man create meaning through the one who watches them every day on the Square: a psychological totem that has special meaning to them because he is always watching them. He knows who they are and that they exist. He might be “an odd duck” but he is still useful “in small doses.” If nothing else, the one who watches them “silently confirms that things will remain the same.” Think stability in global and economic chaos.
During one lunch break, the two friends notice their Watcher, their Voyeur has died. On his demise, they realize the importance of their mythopoetic construct: “Happiness is possible only through the eyes of others.” They cannot survive without that construct and realize they have to reconstruct it. One of them agrees to be the new “eyes of others” for the other. This is a powerful decision: they take responsibility for removing the fear of anonymity from their universe. They take charge. In fear and trembling unto death, they take on universal loneliness and angst. They understand – and they invite the audience to understand – that “the only thing we have is ourselves.” That was not easy for First and Second Man to realize. But they did and every audience member needs to arrive at that same conclusion as well.
Under Samuel Buggeln’s exacting and perfect direction, the ensemble cast brings “The Eyes of Others” to a haunting reality. In particular, Evan Zes and Michael Frederic’s timing is spot on and Zoe Winters creates a character working in a meaningless job with dynamic precision.
The absurdist lens is the clearest of lenses. The absurdist writer observes what is absurd in the world – he or she does not create absurdity. Ivan Dimitrov’s compelling “The Eyes of Others” gives the audience a rare glimpse into the absurdity of modern humankind’s existence and proffers an “alternative” to the slow death of anonymity.
THE EYES OF OTHERS
“The Eyes of Others” is a Bug Company Production (Carlynn Houghton and Simon Pratt) presented by The New Ohio Theatre. Translated from the Bulgarian by Angela Rodel, the play is directed by Samuel Buggeln. The design team includes David Arsenault (Set Design), Anna-Lee Craig (Sound Design) and Max Doolittle (Lighting Design).
With: Matthew Frazier, Michael Frederic, Danielle Skraastad, Zoe Winters, and Evan Zes.
The Eyes of Others runs from September 6 - 28, 2012 in a limited engagement at the New Ohio Theatre, located at 154 Christopher Street between Greenwich and Washington Streets in New York City. Performances are Wednesdays - Saturdays at 7:30pm with additional performances on Sunday, September 23 at 3pm and Tuesday, September 25 at 7:30pm. Tickets are $18 for adults and $12 for students/seniors and can be purchased online at www.NewOhioTheatre.org or by calling SmartTix at 212-868-4444. For more information visit www.NewOhioTheatre.org.
Permalink | Posted by David Roberts on Monday, September 10, 2012
"Canon in D Minor" Selected for Fringe Encores Series at SoHo Playhouse
Photo Source: Stacey Boag
CANON IN D MINOR has been selected for the Fringe Encores Series following its New York premiere in the New York International Fringe Festival. Out of the 187 productions in this year’s festival, CANON IN D MINOR is one of just 19 chosen for the series. The production will run at SoHo Playhouse for an additional five performances beginning Sept 15th.
CANON IN D MINOR stars Eryn Murman (Broadway’s Spring Awakening), Suzy Jane Hunt (Stratford Shakespeare Festival's Twelfth Night), and Brittany Parker (St. Ann's Warehouse's Stop the Virgens). Two violinists complete the ensemble.
“The three actors, Suzy Jane Hurt, Eryn Murman, and Brittany Parker brilliantly navigate the stage with precise, purposeful, and intelligent choreographed movement. They are directed, conducted, and inspired by Rachel Slaven who deftly exposes the profound and sensitive work written by Jessica Liadsky….. engaging our minds, touching our hearts and reminding us how powerful the experience of the theatre can be.” - Theatre Reviews Limited
CANON IN D MINOR is a gripping, poetic new play with music. After her best friend takes her own life in their final year of school, Beth searches for a way to forgive herself for what she might have done to prevent it. She glides the bow of her violin through the music that connected them in this tender and stirring story of friendship and forgiveness.
The 2012 FringeNYC production marked the play’s New York premiere. The play originally premiered in Toronto’s SummerWorks Theatre Festival. CANON IN D MINOR is written by Toronto based playwright/actor and LAMDA graduate Jessica Liadsky. This production is directed by Rachel Slaven (assistant director to Daniel Sullivan on Broadway’s The Columnist, Good People, Accent on Broadway, assistant director of Jersey Boys second national tour and Des McAnuff’s Twelfth Night at Stratford Shakespeare Festival). The play is produced by Emily Hammond (Assistant to the Executive Producer, Barry Grove, at Manhattan Theatre Club). Lighting design is by Amanda Clegg Lyon, sound design is by David Corsello.
CANON IN D MINOR will be presented at SoHo Playhouse (15 Vandam Street, NY, NY 10013). The performance schedule is as follows: Saturday 9/15 @ 8pm, Saturday September 22 at 8 p.m., Thursday September 27 at 7 p.m., Saturday September 29 at 5 p.m., Saturday September 30 at 5 p.m.
Permalink | Posted by David Roberts on Sunday, September 9, 2012
"Two for the Road: Shaynee Rainbolt and Donn Trenner" at The Metropolitan Room
“Two for the Road: Shaynee Rainbolt and Donn Trenner” at The Metropolitan Room Reviewed by David Roberts Theatre Reviews Limited
It is perhaps risky to entitle a cabaret performance “Two for the Road.” Stanley Donen’s 1967 British comedy-drama by that name includes themes that challenge the viewer, themes that include personal growth: characters examine debilitating insecurities and fears and, at film’s end, are transformed into characters capable of examining and living a new future. The audience connects with these themes and is invited to experience growth as well. Henry Mancini’s title song, with lyrics by Leslie Bricusse, counterpoints the film’s powerful thematic material and has earned an important place in the American Song Book.
Unfortunately, “Two for the Road” at The Metropolitan Room does not provide a vehicle that lives up to its title. Despite the combined talents of the award-winning vocalist Shaynee Rainbolt and her legendary accompanist Donn Trenner, the evening is riddled with unnecessary, rambling patter which detracts from the performances. This duo clearly understands the power of music and the power of lyrics. It is puzzling to understand why they would spend so much time not doing what they do best: performing.
There are many performance highlights in “Two for the Road.” Ms. Rainbolt’s rendition of “In the Glow of You” featured interesting phrasings and interpretive nuances. Mr. Trenner’s piano was brilliant, effortless, fluid, and captivating. Similar success is apparent in the pairing of Lennon-McCartney’s 1965 “Yesterday” and Jerome Kern and Otto Harbach’s “Yesterdays” from “Roberta.” The Michael Legrand pairing was well executed; however, the comedic patter prior to “I Will Wait for You” stole the energy from the song. Cabaret is not stand up comedy. The exquisite control this duo possesses is diminished by comedic intrusions into the evening’s program.
This promising cabaret offering is crying out for direction. Hopefully, some of the issues can be resolved before the remaining performances. For now it would help to completely eliminate all patter unless it is essential to the program. Mr. Trenner needs a piano solo. Ms. Rainbolt needs to engage the audience. Her task is to sing to the audience, not to Mr. Trenner. They are already on the road together; they simply need to engage the audience enough to take its members along to their new future. In the meantime, sitting in The Metropolitan Room and listening to Donn Trenner enliven the keyboard in exhilarating ways as he accompanies Shaynee Rainbolt’s interpretations is worth the trip. If the issues are resolved, the trip becomes a must.
TWO FOR THE ROAD
Shaynee Rainbolt and Donn Trenner appear at The Metropolitan Room Fridays in September at 9:30 p.m. (September 14, 21, and 28). The Metropolitan Room is located at 34 West 22nd Street in Manhattan. There is a $25.00 per person Music Charge and a Two Drink Minimum with a $5.00 discount for MAC/Industry Members. For further information on the performers, visit www.shayneerainbolt.com and www.donntrenner.com
Permalink | Posted by David Roberts on Saturday, September 8, 2012
"Auditions, Zoe's Auditions Part 2" at The Drilling Company Theatre
“Auditions, Zoe’s Auditions, Part 2” at The Drilling Company Written and Performed by Suzanna Geraghty Reviewed by David Roberts Theatre Reviews Limited
Zoe Brown’s journey is one from her “not to be” assessment of herself to understanding that all she needs to do is “be who she is” and “live in the moment.” Zoe has a thankless job at a theatre where everyone is incompetent (except Zoe): the actors are horrid, the product is stale, and no one seems to care much about anything. So Zoe dreams and makes some attempt to better her lot. She hires an agent whose contacts are “mostly dead.” Zoe goes on auditions and rarely takes responsibility to do the right thing: she whines a lot and blames the actions of others for her lateness, her appearance, and her lack of talent. And all of this is precisely what is wrong with Suzanna Geraghty’s “Auditions, Zoe’s Auditions Part 2:” it is difficult to feel compassion for Ms. Geraghty’s character Zoe (played by Ms. Geraghty).
The character’s appeal to pathos fails because much of her predicament is self-inflicted. One cannot feel for an actor who, when she auditions for “River Dance,” clashes into the musicians and ends up wearing bagpipes for a hat! Nothing ever “goes as planned” for this aspiring actor and that is simply all her fault.
Despite her agent Betty’s efforts, Zoe cannot measure up and, after the ubiquitous and mandatory dream sequence, Zoe comes off the audition circuit, returns to the theatre of the incompetent only to discover all the actors are caught in a storm and cannot perform “A Christmas Carol.” However, despite said storm, the audience has managed to show up anxious for a performance. Zoe, with the help of the audience, performs an abbreviated version of the Dickens’ masterpiece and Zoe subsequently achieves nirvana and delivers iambic pentameter like nobody’s business. She has arrived at the zenith of self-awareness and self-acceptance.
All of this takes far too long: one hour and ten minutes plus a ten minute intermission. There is no reason for an intermission. And the audience participation simply does not work: it is intrusive, annoying, and completely unnecessary.
Ms. Geraghty is clearly an actor of merit and talent. However, she needs to take a hard look at “Auditions.” The play needs to be re-imagined, shortened, and performed without audience participation. Only then can the audience sincerely care about the Chaplin-esque Zoe Brown.
AUDITIONS, ZOE’S AUDITIONS, PART 2
Presented by the Be You, All Others Are Taken Company in Association with The Drilling Company as part of 1st Irish 2012. Written and Performed by Suzanna Geraghty. Directorial and Movement Consultation by Andy Crook. Set design by Maree Kearns; lighting design by Miriam Nilofa Crowe; sound design by Alexis Nealon.
All performances of “Auditions” are at The Drilling Company Theatre, 236 West 78th Street (between Broadway and Amsterdam) in New York City. “Auditions” runs from September 5 through September 22. Performance time Wednesday through Saturday is 8:00 p.m. and the Sunday matinee performance is at 3:00 p.m. To order tickets at $18.00 each, call the Box Office at 212-868-444 or visit www.1stIrish.org
1st Irish, the first and only festival in the world dedicated to Irish playwrights, is organized by Origin Theatre Company. Running from September 5 through October 1, 1st Irish 2012 presents the work of eleven contemporary Irish playwrights (plus Eugene O’Neill), in productions from Belfast, Dublin, Boston and New York. For festival information, visit www.1stIrish.org
Permalink | Posted by David Roberts on Thursday, September 6, 2012
Interview with Playwright Chris Phillips (FringeNYC 2012 "Pieces")
Interview with Chris Phillips, Playwright of FringeNYC 2012 “Pieces” David Roberts and Joseph Verlezza Theatre Reviews Limited
Chris Phillips’ acclaimed new play “Pieces” recently completed its successful run at the New York International Fringe Festival and has been chosen to be part of the FringeNYC 2012 Encore Series. This prestigious Series is curated by a group of seven professional theatre producers led by Darren Lee Cole, Artistic Director at Teatro Jaco and SoHo Playhouse/Huron Club. Chris Phillips received the FringeNYC 2012 Overall Excellence Award for Playwriting. We sat down with Chris recently. What follows is our conversation:
David/Joseph: After seeing “Pieces” at FringeNYC, have you considered making any changes in the script?
Chris: All of my plays are works in progress. I’m still editing the first play I wrote. I am adding a short scene to “Pieces” as a result of conversation with the cast. Some felt the relationship between Rory (Jonathan Gibson) and Jonathan (Paolo Andino) remains unresolved at the end of the play and the new scene will attempt to resolve that.
David/Joseph: Do you typically collaborate with your cast and creative team about your scripts?
Chris: Yes. Although as the playwright, I have ownership of my work, I understand the script from my point of view only. It is important to experience the script from other points of view as well. Feedback is good. I know when it is helpful and when it is not.
David/Joseph: How would you describe your relationship to the cast and creative team of “Pieces?”
Chris: We are a family. We collaborate; we share our feelings about the work and about performances. We get along. When we were working on “Pieces,” we spent a great deal of time sharing our feelings about the content of the play. At one point, after discussing the different communities within gay culture, we were able to collectively “let go” of our stereotypes about gay men. A play like “Pieces” is inherently political and the politics surrounding the relationship between the straight community and the gay community and the differences that exist within the gay community itself need to be honestly addressed.
David/Joseph: Has “Pieces” received mixed responses from audience members?
Chris: Most of the response has been positive. However, there have been a few negative responses. I invite criticism of my work. Audience members briefly claim the play as their own for the brief time they choose to sit in the dark and contract to allow their disbelief to be suspended.
David/Joseph: Finally, Chris, how is living in Manhattan? Do you like the East Coast?
Chris: New York City and Manhattan in particular are inspiring me to work full time on the most challenging of my four works in progress. I love my neighborhood, I love where I live. Living in New York has given me new energy to create and to write.
David/Joseph: Thank you, Chris. We look forward to attending an Encore performance of “Pieces.”
All FringeNYC 2012 Encore performances of Chris Phillips’ “Pieces” take place at The SoHo Playhouse, 15 Vandam Street (6th Avenue and Varick Street) in New York, NY. Performance dates are Friday September 7th at 9:30 p.m., Sunday September 9th at 8:00 p.m., Wednesday September 12th at 8:00 p.m., Thursday September 13th at 7:00 p.m., Sunday September 16th at 8:00 p.m., and Monday September 17th at 8:00 p.m. Tickets are available at https://web.ovationtix.com/trs/pr/917443
Permalink | Posted by David Roberts on Wednesday, September 5, 2012
Interview with Actor Nina Millin (Mary Hamilton in "Pieces")
Interview with Nina Millin (Mary Hamilton in “Pieces”) David Roberts and Joseph Verlezza Theatre Reviews Limited
Nina Millin played the role of Assistant District Attorney Mary Hamilton in Chris Phillips’ “Pieces” which recently completed its run at FringeNYC 2012. Nina is reprising that role in the Encore Series run of “Pieces” at SoHo Playhouse. We conducted an email interview with Nina and share that interview below.
David/Joseph: Nina, your character Mary Hamilton consistently defends her support for gay men. Is Mary’s support honest or does it come from how she deals with her brother’s sexual status? Should she expect Shane to accept a life-in-prison plea bargain if she were truly empathic and sympathetic?
Nina: I believe Mary’s support of the gay community is completely honest AND I believe her support is very much fueled by her relationship with her brother. I don’t see these two things as being mutually exclusive, actually. I’ve always seen Mary and Billy’s relationship as extremely close knit, loving and supportive. I believe Billy and Mary play very, very important roles in each other’s life. Yes, Mary does ‘consistently defend’ her support for gay men however she also quite legitimately puts her money where her mouth is when it comes to supporting the gay community. During the restaurant scene in Act 1 where Nick interrupts Mary and Rory having a drink, Rory lists for Nick all of the incredible work Mary Hamilton does for the gay community…she’s on the Board of AIDS Services to Los Angeles, she’s organized outreach and suicide prevention for gay youth in the schools, she has a reading room with her name on it at the Gay & Lesbian Center in Hollywood based on her fund-raising efforts….this is incredible stuff this woman does. Tremendous stuff. Mary actively pursues what she believes in…she is a woman of action. This active passion of hers is one of my favorite things about her. It’s this drive that also makes her so damn good at her job. And at the end of the day, Shane being gay or straight or anything else is inconsequential to the job she is required to do. Her job as an Assistant District Attorney is to represent the state and uphold the law. Mary knows her job. She loves her job. She’s really good at her job. That’s why she goes out of her way to get assigned to this case. She wants this case because she believes she is the only one who can both do a good job at it AND control the case in such a way that the gay community comes out with the least amount of damage done. As for the life in prison plea bargain: Rory himself tells Shane that ‘all of Hollywood’ wants him on death row. Lethal injection would be the easy, sensational, popular way out of this case and Mary knows that. That being said, I see Mary as really going out on a limb to offer the life in prison plea bargain to Shane instead of the death penalty. I believe Mary exhibits deep shades of sympathy with that choice.
David/Joseph: Nina, did you do anything in particular to prepare yourself for the role of ADA Mary Hamilton?
Whenever I begin working with a character I never know what will be the key into really opening myself up to being their channel so I always start by digging around in the script. I look for anything and everything I can grab onto in order to create a space for the character to appear. And with this script….I mean, Chris Phillips is such a powerful writer. This script of his is just so juicy and ripe. It’s simply delicious. Continuously digging through the play (still to this day even!) has ended up really being the key for me with Mary. Also, I like to do a lot of outside research. With Mary, I ended up finding a lot of substance for her by researching her job and what it means to be an Assistant District Attorney. Oh, and her shoes. Once I found the right pair of shoes for Mary, things starting taking shape for me.
David/Joseph: This is an unusual question perhaps: In our review of “Pieces,” did we indicate we understood the play? Was there anything we missed?
Your review of PIECES is so wonderful because you unapologetically review the show from your very distinct point of view. You even state as much with your disclaimer in the beginning. Do I think you understood the play? Yes, I believe you absolutely understood the play. I believe you understood the play from your very personal point of view. Your ability to articulate the connection you personally made with the play allows your unique humanity to shine through. That’s really exciting to me because for me the core of PIECES is anchored in basic humanity. Each of the five characters in this play have such distinct, various points of view and personalities. By the end of the play we have watched each of them reveal so much of themselves in such complicated, messy ways that we can’t help but come face to face with the fact that we ourselves are complicated and messy. What a gift that is! It’s a gift because the admission of our complications actually allows us to loosen our grip on judgment, both of ourselves and of others. It’s a gift because this awareness that PIECES leaves us with ends up being the fuel we can use to make changes in how we navigate the world together. And why wouldn’t we want to make those changes, right?
I love what you say at the end of your review …
"The powerful and insightful voice of Chris Phillips has arrived and it is time. We need to begin to love one another without judgment and without condition."
David/Joseph: Thank you, Nina. We look forward to seeing you at The SoHo Playhouse.
All FringeNYC 2012 Encore performances of Chris Phillips’ “Pieces” take place at The SoHo Playhouse, 15 Vandam Street (6th Avenue and Varick Street) in New York, NY. Performance dates are Friday September 7th at 9:30 p.m., Sunday September 9th at 8:00 p.m., Wednesday September 12th at 8:00 p.m., Thursday September 13th at 7:00 p.m., Sunday September 16th at 8:00 p.m., and Monday September 17th at 8:00 p.m. Tickets are available at https://web.ovationtix.com/trs/pr/917443
Permalink | Posted by David Roberts on Wednesday, September 5, 2012
"Tender Napalm" at 59E59 Theater C
“Tender Napalm” at 59E59 Theater C By Philip Ridley Directed by Paul Takacs Reviewed by David Roberts Theatre Reviews Limited
Strains of the Yahwist myth of creation (garden-dwelling Man and Woman) counterpoint contemporary gaming mythos (Sony Computer Entertainment’s “God of War Saga, for example), Marvel Comic’s Super Heroes, and Grimm Brothers fairy tales to construct an understanding of the meaning of life and how to sooth its vicissitudes in Philip Ridley’s “Tender Napalm” currently playing at 59E59 Theater C in New York City.
The oxymoron inherent in the title of Ridley’s play serves as a compelling fugue throughout this fascinating and carefully developed drama. The characters – Man and Woman – tear up the miniscule playing area (approximately 80 – 100 square feet) with alternating tenderness and firebombs and the sweetness of their exchanges is as difficult to extinguish as is the horror of the wounds suffered under attack. Blake Ellis and Amelia Workman spin stories of love and of conquest that ripple throughout the audience. The audience feels the passion of deep love and the passion of stinging indifference. Buried in the fallout from these exchanges is the reason for this melee of mythic proportions: deep, enduring, and relentless loss.
Something has gone terribly wrong for this pair of humans. They have suffered a life-shattering loss and that loss has something to do with a child, a daughter. They use the memory of this daughter as a napalm flamethrower. It is important to recognize and celebrate the clear connection between the battle and the battlements of Ridley’s Man and Woman and Albee’s George and Martha. George and Martha – the quintessential “original couple” (think Washington) squabble over the meaning of existence in the mid-sixties. Ridley’s Man and Woman deconstruct the essential meaning of existence from the Garden until the Present.
Sometimes something so horrific happens that the damage, the fallout is irreparable. The post-traumatic chasm between man and woman, between two men, between two women, between any conceivable dyadic entities (human-creator, human-institution) is just too much to bear. The pain is too excruciating and the opportunities for healing and surcease are far too rare. No story-telling, no fantasy, no fairytale, no mythic construct, no now-I-lay-me-down-to-sleep-prayer can dismantle the damage.
Under Paul Takacs’s careful and thoughtful direction, Blake Ellis and Amelia Workman electrify the playing space with a range of emotion and wonderment that almost defies possibility. Unlike the characters in “Who’s Afraid of Virginia Woolf” who find a path to resolving their warfare, the Man and Woman end as they began: their warfare will continue until the end of time. At the beginning of “Tender Napalm,” Man says to Woman, “I could squeeze a bullet between those lips.” At the play’s end, after countless attempts at disarmament, Woman say to Man, “I could squeeze a bullet between those lips.” And the fugue of fractured future plays on.
The Man and the Woman repeatedly ask each other, “Have you seen the view?” On a deeper level, “Tender Napalm,” like E. M. Forster’s 1908 novel “A Room with a View,” criticizes mid-twentieth and early-twenty-first century global cultures that have consistently embraced violence as an acceptable alternative for solving international and interpersonal conflicts. That choice between rebirth and global death remains as the audience exits the theatre and returns to examine the variety of views from their real and imaginary rooms. This is a must-see performance that deserves a future on the New York stage.
TENDER NAPALM
Presented by The Shop (Midori Harris and Paul Takacs) at 59E59 Theaters (Elysabeth Kleinhans and Peter Tear). Written by Philip Ridley and directed by Paul Takacs. The design team includes Steven C. Kemp (scenic design); Dante Olivia Smith (lighting design); and Toby Jaguar Algya (sound design). The movement director is Yasmine Lee. The stage manager is Michele Ebel.
The cast for the US premiere features Blake Ellis (Man) and Amelia Workman (Woman).
“Tender Napalm” runs for a limited engagement through Sunday, September 9. The performance schedule is Tuesday – Thursday at 7:30 PM; Friday and Saturday at 8:30 PM; and Sunday at 3:30 PM. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets are $18 ($12.60 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org.
Permalink | Posted by David Roberts on Tuesday, September 4, 2012
"Shelly's Spherical Journey" at The New York International Fringe Festival
“Shelly’s Spherical Journey” Written and Directed by Cassandra Victoria Chopourian Reviewed by David Roberts Theatre Reviews Limited
This brilliant performance piece is what FringeNYC is all about: risk-taking; creating avant-garde theatre; challenging the imaginations and minds of patrons and the communities in which they live. “Shelly’s Spherical Journey,” is the surrealism of Dali coming to life on stage. Cassandra Victoria Chopourian and the Van Reipen Collective use surrealistic images, performance art, improvised movement and improvised music, well-crafted choreography, imaginative props, and a well-developed script to expose the vicissitudes of life and the psychodynamic responses to those unexpected changes of fortune.
Tired of maintaining the Sunshine Motel gifted to her by her family, Shelly decides she needs to leave behind the moth-ridden light fixtures and the plethora of dead pool animals and move on to a new life. Though there is numbing comfort at the Sunshine, namely, Mrs. Schiller the one long-term guest; the ghost of her grandmother Nane, the occasional interesting motel guest, and the tube socks she dons to communicate with Chet, who though dead, is still Shelly’s active love interest. But that comfort is not enough: Shelly burns down the motel, grabs the deed to her inherited property in Circassia, a gun, and other essentials for the journey and leaves the embers behind.
What follows is a phantasmagoric fantasy of achieving self-fulfillment and not much in this extended fantasy goes as Shelly anticipates. Anything that could possibly go bump in the night does so. Shelly’s idol Valaida Snow (“Queen of the Trumpet and Song”) gets discredited (despite Shelly’s solo trumpet performance); Chet, though still dead, decides he does not want to marry Shelly; Shelly’s deed to her inherited property in Circassia is a fake and she will never live there or become one of Circassia’s ‘beauties;’ even clicking her magic tap shoes does not transport her to someplace like a home. It is like “Metamorphosis” on speed! That’s correct; Franz Kafka is now in the mix.
Whatever else Chopurian’s important work is, it is about the health, wellbeing and future of art and all artistic endeavors. In Blue Octavo Notebooks, Frank Kafka writes, “Art flies around truth, but with the definite intention of not getting burnt. Its capacity lies in finding in the dark void a place where the beam of light can be intensely caught, without this having been perceptible before.” It is easy for artists to become distracted from their goals (their ‘moons’) and aim for what seem to be ‘bright opportunities,’ ‘bright lights of success,’ and ‘luminary status.’
Avoiding substantive self-realization did not work for the “Shell.” Her spherical journey ends as she joins the moths she once cleaned out of light fixtures at her Motel. This important work concludes with Shelly sporting moth wings and starting yet another spherical journey of self discovery which will include “wonderful joy.” Maybe this humanesque-mothesque persona will this time be able to connect with the human race in a significant way: “fly away and start again?” No regrets.
As Shelly, Cassandra Victoria Chopourian is joined by the Shelly-ettes Cari Bell and Christina Gulick and the “band” consisting of Richard Gross (guitar), Frank Marino (percussion), and Steve Wishnia (bass guitar) to make this “fantasia” work. Cari Bell eloquently provides the voice of Mrs. Shiller and Nane and Richard Gross steps off his guitar chair to portray Chet. This ensemble cast could not be more connected to one another and to the script. Kudos to all. What about Friedrich Schiller – this critic did not fail to see that connection? Like the Shell’s ongoing spherical journey, there is more about Schiller to come. For now, think of Schiller’s belief: “Deeper meaning resides in the fairy tales told to me in my childhood than in any truth that is taught in life.” Enough said for now. Keep your eye on the Van Reipen Collective.
SHELLY’S SPHERICAL JOURNEY
Presented by The Van Reipen Collective and The New York International Fringe Festival. Written and Directed by Cassandra Victoria Popourian.
For further information on The New York International Fringe Festival, visit www.fringenyc.org For more information on “Shelly’s Spherical Journey” and the Van Reipen collective, visit www.vanreipencollective.org
Permalink | Posted by David Roberts on Friday, August 31, 2012
"A Short Trip" at The New York International Fringe Festival
“A Short Trip” Written by Jason Atkinson Directed by Christopher Strafford Reviewed by Joseph Verlezza Theatre Reviews Limited
An aberrant love story is being told at the Kraine Theater as part of the New York International Fringe Festival. The title “A Short Trip” refers to the two week vacation to Rome, Italy by Rosemary, devoted wife of Harry for fifty years. The problem: Harry is not invited. Themes that might be addressed during this personal journey of half century are made available to the audience in flashbacks of important events that had occurred in the past. Their core erupts and their lives are shaken by the relentless intrusion of their differences. At the center of this turmoil is Harry’s disbelief in God, which devastates Rosemary, who was ready to begin her novitiate before their first meeting and does not discover Harry’s lack of faith until she is pregnant with their first child. Why did she stick around for fifty years? If you are a Roman Catholic you know, if not just ask one. Everything is fine. Attending church, raising good catholic children and never spending any time apart. Or is it?
Where the play ignites is in the present when all flickering conflicts unite and begin to fuel the blazing fire of independence. Forego the flashbacks and the present action requires a mere few months, a thin slice of personal lives, introspective and endearing. As Rosemary strives for independence and overcomes her fear, Harry in turn struggles and is forced to face the truth. As the relationship still evolves after fifty years, the playwright examines beliefs and excavates their deeply rooted feelings to the surface and exposes their existing souls. Rosemary and Harry are not drifting apart but are connecting, getting stronger and hopefully accepting the challenge of attaining their dreams, which takes courage at any age.
This play is not action-packed but emotionally charged with a valid core that does not succumb to the weaknesses of sentimentality. All the actors are able to sustain the material and deftly create believable characters. Lucy Cottrell and Josh Gulotta are energetic and informative in flashback scenes. It is Asta Hansen and Richard Cottrell who embody their characters so deeply that the audience feels they might be eavesdropping on their simple everyday routines but are actually peering into their precarious situation. These two actors provide character studies filled with warmth, honesty and detail that reinforce this tangible love story. This “Short Trip” is one worth taking with more than enough soul searching sights to attract most theatergoers.
A SHORT TRIP
Presented by The English Theatre of Rome and NY International Fringe Festival. Written by Jason Atkinson; Directed by Christopher Staffoord; Lighting by Amith Chandrashaker.
WITH: Asta Hansen as Rosemary, Richard Cottrell as Harry, Lucy Cottrell as Young Rosemary and Josh Gulotta as Young Harry.
Permalink | Posted by David Roberts on Monday, August 27, 2012
"Prophet in Pink" at The New York International Fringe Festival
“Prophet in Pink” By Nick Robideau Directed by Brian Sanford Lady Reviewed by David Roberts Theatre Reviews Limited
When riffing aspects of an epic like “Angels in America: A Gay Fantasia on National Themes” and an iconic playwright like Tony Kushner, the playwright, creative team, and cast of a new play venture onto very thin ice and take extraordinary artistic risks.
Those risks meet with limited success in Nick Robideau’s “Prophet in Pink” which enjoyed a successful run in this year’s New York International Fringe Festival, particularly in the engaging and touching first act. Whereas “Angels in America” is a ‘fantasia on national themes,” “Prophet in Pink,” is a fantasia about all things Brooklyn, particularly in the microcosm of Nate, Cara, and Dean’s Greenpoint apartment where relationships, jobs, and life in general are not fulfilling. Nate characterizes himself a failed artist and stand-up comedian; Cara has just lost her job; and Dean is Dean.
Zander Meisner plays the whining but lovable Nate. Ariel Reid portrays Cara whose character is less defined and seems to grasp for a clear identity in the second act. And Vincent DiGeronimo perfectly characterizes Dean as the tag-along roommate who has a crush on Nate. Nate claims to be straight. Cara is appallingly uber-straight. Nate is comfortably gay and probably the most grounded of the three. All heaven breaks loose when Julia Campanelli’s prophet in pink speaks to Nate, convinces him to visit the statue in a nearby park wherein the prophet is embodied.
After the prophet convinces Nate he is really in love with Dean, Nate accepts the message and tries Dean out. There is too much plot here to summarize and there is no need to rehearse it any further. The prophet in pink is a trope, here an extended metaphor, for the issues of sexual identity, friendship, intimacy, and hope for the future. This works well in the first act where Nate honestly questions what it means for a straight man to truly love a gay man. This is an important theme and an important question and the playwright handles it all well.
However, the second act, at least for this critic, fails to measure up. Dean decides he is indeed straight after submitting to Cara’s annoying and inappropriate badgering of her former boyfriend. Why anyone, straight, lesbian, bisexual or transgender would want to be with this horrid character is a mystery. Surely the fine actor Ariel Reid played this character as directed: if so, this is the play’s weakest link. The second acts falters and flails about as it attempts to find itself. Had the play ended with the first act and the characters using the prophet’s intervention as sign and symbol of hope as the universe moves forward, “Prophet in Pink” would have made more sense.
PROPHET IN PINK
Presented by Playsmiths (Ann Farthing) and the New York International Fringe Festival. Written by Nick Robideau; Directed by Brian Sanford Lady; Scenic Design by Jasmine Vogue Pai; Lighting Design by Ann Sitzman.
WITH: Julia Campanelli as The Prophet, Vincent DiGeronimo as Dean, Zander Meisner as Nate, and Ariel Reid as Cara.
For more information about The New York International Fringe Festival, visit www.fringenyc.org For more information about “Prophet in Pink,” visit www.prophetinpink.com
Permalink | Posted by David Roberts on Monday, August 27, 2012
"Scarlett Fever" at The New York International Fringe Festival
“Scarlett Fever” Written by Josh Duboff Directed by Ashley Rodbro Reviewed by Joseph Verlezza Theatre Reviews Limited
“Scarlett Fever, “a new play written by Josh Duboff, debuted as part of the New York International Fringe Festival at the Soho Playhouse. This is a fast paced, whirlwind of a New York comedy with an outstanding cast that certainly knows how to deliver the goods. An homage to several familiar television sitcoms following a similar format, the laughs are plentiful and the characters vivid. It is light, energetic and thoroughly entertaining, resulting in a most enjoyable relaxed theater experience. The writing and topics may be shallow but who cares: it is smart, funny and never offensive, avoiding the usual pitfalls playwrights fall into when creating this type of comedy. If anything, this critic would advise some minor editing to reduce the running time.
What really raises the bar is the cast. They are perfection turned pluperfect with the guidance of director Ahsley Rodbro. Each actor inhabits their character with skill and natural ease that makes the audience comfortable with a quick connection. The stand out here is Alex Trow who turns in a brilliant performance as Gracie, a role that almost seems to be written for her. Watch out for this dynamo because she will quickly rise to be noted as an intelligent, gifted actor with charm and appeal.
If you are looking for earth shattering, ground breaking material this will not fit the bill, but what you will be treated too is a completely fun filled entertaining time at the theater. Hopefully we will hear the voice of this new playwright in the near future.
SCARLETT FEVER
Presented by New York International Fringe Festival. Written by Josh Duboff; Directed by Ashley Rodbro; Lighting by Greg H. Solomon; Costumes by Shana R. Goldberger.
WITH: Charles Andrew Callaghan as coffee guy, Bill Coyne as Eddie, Patrick Knighton as Hunter, Jordy Lievers as Natalia, Andy Sandberg as Joey and Alex Trow as Gracie.
Permalink | Posted by David Roberts on Monday, August 27, 2012
"Twelfth Night" at The New York International Fringe Festival
“Twelfth Night” By William Shakespeare Directed by Casey McClellan Reviewed by David Roberts Theatre Reviews Limited
When the traveling troupe of actors packed their trunk at Elsinore Castle, they left behind madness, mayhem, and more than a few lifeless bodies. When the quintessential octet of actors in The BAMA Theatre Company’s production of Shakespeare’s “Twelfth Night” packs their trunk and sings the audience adieu, everyone in earshot is ready to grab whatever they brought to the theatre, leave home and belongings, and follow them.
At play’s end (as written), after the rest of the actors have left the stage, the Clown/Feste sings:
A great while ago the world begun, With hey, ho, &c. But that's all one, our play is done, And we'll strive to please you every day.
In the BAMA production, the cast reassembles on the stage and joins Feste. By anyone’s estimate, this charming and gift-graced cast has pleased this audience and will continue to please other audiences “every day.” Under Casey McClellan’s fluid direction, the ensemble cast enables the audience to understand every nuance, every mistaken identity, every line with clarity and a renewed appreciation for Shakespeare’s craft. The entire cast shines every time each steps onto the stage but it is the omnipresent character of Feste that weaves that tinge of naughty grace throughout the comedy. Nick Lawson delivers Shakespeare’s double entendres, puns, and word-plays with witty skill. A hey, ho, &c. to all.
TWELFTH NIGHT
Presented by The BAMA Theatre Company and The New York International Fringe Festival. Written by William Shakespeare. Directed by Casey McClellan. Costume Design by Lauren Anne Martin. Lighting Design by Joe Skowronski. Music Composition by The Motley Coats. Fight Choreography by Nick Lawson. Movement Coaching by Denise Gabriel.
WITH: William Brock, Greg Foro, Alison Frederick, Nathan T. Lange, Nick Lawson, Lauren Anne Martin, Matt Renskers, and Sarah Walker Thornton.
All performances take place at The Cherry Lane Theatre (Main Stage), 38 Commerce Street (7th Avenue and Hudson Street) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 2 hours and 15 minutes with one ten-minute intermission. For further information, visit www.bamatheatrecompany.org
Final Show Date: Thursday, August 23rd @ 4:00 pm
Permalink | Posted by David Roberts on Sunday, August 26, 2012
"Would" at The New York International Fringe Festival
“Would” Written by David Marx Directed by Molly Lyons Reviewed by Joseph Verlezza Theatre Reviews Limited
A new play entitled “Would” is based on the story of Barry Loukaikis, the fourteen year old who entered a classroom, killing two students and his algebra teacher, and was then given two life sentences with no possible parole. David Marx’s play is being presented at the New Ohio Theater as part of the New York International Fringe Festival. The premise of the play is the series of visitations by a psychologist conducting interviews with Daniel as a requirement for writing his dissertation for his PhD. These sessions become a double edged sword as each questions the other searching for meaningful clues, bringing revelations of their own existence to the surface. The concept of Daniel imagining what his life “would” be like through letters exchanged with a female pen pal is engaging. All the actors do a fine job depicting well defined characters. Jeremy Kahn is curious, dubious and infectious as Daniel and slowly reveals the depth of this prisoner. Dan Wilson is inquisitive, academic and caring as Bryan the psychologist. Amanda Lipinski portrays the perfect vision of the pen pal Alexa with charm, insight and intelligence never being entrapped by stereotype.
The staging is interesting, always keeping Alexa partially visible in her own space ( possibly always in the back of Daniel’s mind) and only entering the playing area when the letters are read and the fantasy enacted. The pace and timing are a bit slow, which as a constructive note, could be avoided if when the letters are being discussed Bryan remains on stage viewing the fantasy as told to him, if in fact the psychologist is actually real. This is where this critic’s mind was anointed with all possibilities, none of which are better than the other, all being valid. This reinforces that this is indeed a well crafted piece of theater if the author intended for the audience to draw their own conclusion and if not, it does not depreciate the integrity of the play.
The letters never physically appear so Bryan questions the reality of an actual pen pal communication. Then the letters stop as Daniel and Alexa’s imaginary child is about to turn fourteen, the same age as Daniel when he committed his crime. The psychologist suggests writing about something else, possibly these interviews, which would not be a bad idea since Daniel lives vicariously through the questions he asks Bryan about his personal life. This play opens with Daniel alone in his cell; during the intermission he stays on stage in his cell with Alexa visible in her own space; at the end of the play he is once again found alone in his cell with his journals. This critic began to wonder if the only way to end one story was to create another in order to survive. This option manifested only because Bryan always left the stage when the fantasy was being explained to him. Who was real and what was merely written in a journal became a valid question.
Once again, whatever the intention, this is a solid, provocative work which possibly might need some fine tuning but worthy of a future.
WOULD
Presented by Broken Ant Farm Productions and the New York International Fringe Festival. Written by David Marx; Directed by Molly Lyons; Produced by Chelsea Adams; Lighting by Jeff Glass.
WITH: Jeremy Kahn as Daniel, Dan Wilson as Bryan and Amanda Lipinski as Alexa. All performances take place at The New Ohio Theatre, 154 Christopher Street in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour 45 minutes with one ten-minute intermission. For more information visit www.brokenantfarm.com
Remaining Show Date: Saturday, August 25th @ 2:30 pm
Permalink | Posted by David Roberts on Saturday, August 25, 2012
"Ticket 2 Eternity" at The New York International Fringe Festival
“Ticket 2 Eternity” By Matthew Ethan Davis Directed by Javier Perez-Karam Reviewed by David Roberts Theatre Reviews Limited
The ensemble cast bristles with energy as Dan (Laris Macario) struggles with the vicissitudes of fame in Matthew Ethan Davis’s surreal (often absurdist) “Ticket 2 Eternity” currently playing at the Studio at Cherry Lane Theatre as part of the New York International Fringe Festival. Director Javier Perez-Karam and choreographer Carlos Neto move Macario and his fellow actors Adyana de la Torre, Brendan Wahlers, and Jay Rivera on and off the stage with the grace and agility of a seasoned dance troupe.
Portraying journalists, weird abusive parents, casting agents and their secretaries, divas, and even the divine itself, these brilliant and seasoned actors echo the words of Davis’s clever script with a devilishly absurdist quality. They are all tropes (metaphors here) for Dan’s struggle with what it means to be famous, even questioning if he really wants to be famous: “God cut the need to be famous out of me!”
What to do with one’s craft is an eternal question in the mind of an actor. “Ticket 2 Eternity” uses the often thin line between reality and fantasy to address Dan’s and each aspiring actor’s haunting questions: why am I not more successful; am I developing my craft for myself or for someone else; how much of my personal life does the public need to know?
Ultimately, Dan understands that whatever happened in his past, he is responsible for his own success and, most importantly, he must never deny his ‘self:’ “The soul ages when I deny myself.” Dan’s struggles, his dreams, his fantasies (welcomed and otherwise) encourage all who struggle with identity and purpose to “just to be ourselves sooner.” What could be less absurd than that?
TICKET 2 ETERNITY
Presented by Ticket to Eternity Productions and The New York International Fringe Festival. Written by Matthew Ethan Davis. Directed by Javier Perez-Karam. Choreographed by Carlos Neto. Set/Props Designed by Sarah Cogan. Lighting Design by Christopher D’Angelo. Sound Design by Andy Cohen. Music Composed by Maria Linares. Stage Management by David Alejandro Smith.
WITH: Laris Macario, Jay Rivera, Adyana de la Torre, and Brendan Wahlers..
All performances take place at The Studio at Cherry Lane Theatre, 38 Commerce Street (7th Avenue and Hudson Street) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour 30 minutes with no intermission. For further information, visit www.ticket2eternityproductions.com
Remaining Show Date: Saturday, August 25th @ 8:15 pm
Permalink | Posted by David Roberts on Saturday, August 25, 2012
"My Date with Troy Davis" at The International Fringe Festival
“My Date with Troy Davis” Written and Performed by Daniel Glenn Directed by Amy Surratt Reviewed by David Roberts Theatre Reviews Limited
There are only two opportunities remaining to see Daniel Glenn’s engaging “My Date with Troy Davis.” Do whatever you can to see this remarkable play before it closes.
This critic wonders why some Fringe shows “sell out” and others have to scramble for an audience. Despite relative quality, some performances turn ticket-buyers away, others sell only a fraction of available seats. Part of the reason might be that humankind would rather be “entertained” by musicals, comedies, and light drama than engage in a performance that profoundly challenges, for example, our complicity with capital punishment.
In “My Date with Troy Davis,” playwright and performer Daniel Glenn relates the true events surrounding the eventual execution of Troy Davis who was convicted of the August 19, 1989 murder of police officer Mark MacPhail in Savannah, Georgia. Although the “facts” of this important case are well-known, Daniel Glenn approaches the case and the questions that still remain about it with an incisively different point of view.
Glenn interweaves, counterpoints, collides incidents from his life from the time of the alleged crime in 1989 (when he was seven) to the day of Troy Davis’s death. Whether in a relationship with Girl X or his students, or the children he worked with in India (including Khushbu), Daniel struggles with what it means to be a good person, a person who contributes to society and what essentially is required to BE that kind of person. Some events are real events, some absurdist realities concocted from his interface with a culture that murders without admitting it does: every time a human being is put to death by the state.
Daniel Glenn invites the audience to be co-defendants for all those who are on death row or who have been victims of capital punishment, co-defendants for all urban elementary and high school students administered the lethal injection of tracking, co-defendants of the world’s children who have to learn to smile despite looking forward to short lives, co-defendants of urban youth and young adults mostly male mostly of color electrocuted by a society which beckons and baits them into a penal system where they can be imprisoned or (legally) murdered. The power of “My Date with Troy Davis” is that ultimately we are all the executioners and we are all the executed: we are one.
The play ends with Daniel, clad throughout the play in prison coveralls and handcuffed, snapping back to reality and addressing the audience:
“(Snap back to reality.)
Okay, I have one last thing I have to confess. I lied a little bit. The truth is, Troy Davis was executed on September 21, 2011. Twenty-two years, a month and two days after Mark MacPhial was killed.
But see, on the gurney, as he said his last words, he did kiss me. He said, For those about to take my life, may God have mercy on your souls. God bless you all.
(Put phone away.) I don’t need this. If I keep Troy here, and Khushbu here, and Girl X here, and hold them in my heart and let them tap dance on it, and if I look into the eyes in front of me and see myself, goodness will open up inside me like a seed; I won’t be able to stop it. And that seed will grow into a stalk that I can hold onto in this whirlwind of a world.
If they come for me now to shoot me with their chemicals, it’s okay. If lightening strikes, it’s okay. I’ve been blessed. I am blessed.
I’m ready.”
Daniel Glenn has blessed us. Troy Davis has blessed. We need to receive their blessings and learn how to pass them along “in this whirlwind of a world.”
MY DATE WITH TROY DAVIS
Presented by Daniel Glenn and the New York International Fringe Festival. Written and Performed by Daniel Glenn. Directed by Amy Surratt. Lighting Design by Daniel Winters. Sound Design by Daniel Hilton.
All performances take place at The Steve and Marie Sgouros Theatre, 115 MacDougal Street (West 3rd and Bleecker) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour and 30 minutes with no intermission. For further information, visit http://www.mydatewithtroydavis.com/index.html
Remaining Show Dates Friday, August 24th @ 2:00 pm Sunday, August 26th @ 3:30 pm
Permalink | Posted by David Roberts on Friday, August 24, 2012
"SleepOver" at The New York International Fringe Festival
“SleepOver” By Max W. Friedlich Directed by Dann Fink Reviewed by David Roberts and Joseph Verlezza Theatre Reviews Limited
[A Gay POV Review. This review is anchored in the belief that the gay community and the straight community speak two entirely different languages and participate in two radically different cultures. When gay men interact with straight men and women we “code-switch:” we adjust all of our rhetorical skills to a different set of vectors and we behave in ways that are expected of us, in ways we have traditionally learned from that heteronormative culture that is not our own. This is the belief of this critic who is a gay male making his way through the same world we are all navigating. It is not assumed this belief is shared by the writer of “SleepOver.” This belief is not meant to offend anyone or hurt anyone in either community.]
There is much to admire in Max W. Friedlich’s “SleepOver,” currently running at The Cherry Lane Theatre Main Stage as part of the New York International Fringe Festival. As theatre professionals, we support young playwrights and their energetic efforts to sustain the magic of the theatre through writing. And there is no doubt that Mr. Friedlich will have a future in theatre. This certainty comes from the young playwright’s ability to develop characters with interesting conflicts that drive a delicious plot. “SleepOver” is particularly interesting because Friedlich risks treading into absurdist realms reminiscent of Harold Pinter’s “The Caretaker.”
Theo Metayer enters Matt Brixton’s angst-ridden sophomore year in high school through Brixton’s front door and does not leave despite Matt’s protestations to his mother and to Theo. Matt’s obsession with his girlfriend Grace and his depression after their break-up is complicated by Theo’s inexplicable presence and his insistence that he is a bona fide helpmate in Matt’s times of trouble. The plot increases in absurdity as Matt’s mother Jasmine ignores Theo’s verbal and physical abuse of her son and eventually sleeps with the teenage intruder to accomplish surcease of her alcohol-enhanced loneliness. All of this plays well with the help of the cast. Brandon Reilly’s Matt Brixton finds a doppelganger in Jared Kemp’s Theo Metayer. Brandy Zarle’s Jasmine Croft (not Mrs. Brixton she quickly reminds Theo) is as clueless a mother as one could hope for when planning a party in the basement. Marcus Maurice appears in the final few moments as Theo’s father George to offer some explanation for Theo’s visit.
However, our interest in the play or its characters or their conflicts was marred by Max W. Friedlich’s incessant and offensive heteronormative and homophobic language. Here are just a few of the pejorative words and terms that too fluidly flowed from character’s mouths: “uber-gay,” love is super gay,” “sucking your own dick,” “gayness,” and far more inappropriate uses of “gay” than we could even count.
One of us taught in urban high schools and is fully aware that students talk the way Friedlich suggests. However, none of my students were permitted to use homophobic language in my classroom. Such language is abusive, bullying, and very dangerous. We hoped as Mr. Friedlich’s friends, family, and admirers stood to offer thunderous applause, there were not sitting in the audience gay young men -- perhaps struggling with their status -- listening to the abusive language coming from the stage.
Unfortunately, the potential power of this new script by a promising playwright was lessened by the author’s diction. We sincerely hope Mr. Friedlich will sincerely consider the damaging power words can have and, perhaps, even revise his script for future performances.
SLEEPOVER
Presented by SleepOver Productions (Donald Friedlich, Michael Fister, and Judy Mitchell) and The New York International Fringe Festival. Written by Max W. Friedlich. Directed by Dann Fink. Set Design by Stephen Dobay. Costume Design by Kathleen Doyle. Lighting Design by Ryan Metzler. Sound Design by John Emmet O’Brien. Stage Management by Katherine K. White.
WITH: Jared Kemp, Marcus Maurice, Brandon Reilly, and Brandy Zarle.
All performances take place at The Cherry Lane Theatre (Main Stage), 38 Commerce Street (7th Avenue and Hudson Street) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 93 minutes with no intermission. For further information, visit www.sleepoverproductions.com
Remaining Show Date: Saturday, August 25th @ 5:30 pm
Permalink | Posted by David Roberts on Thursday, August 23, 2012
"City of Shadows" at The New York International Fringe Festival
“City Of Shadows” Directed and Composed by Rachael Dease Reviewed by Joseph Verlezza Theatre Reviews Limited
You begin to lurk in the “City Of Shadows” immediately as this vocal and visual cycle begins. The words “the faces of all enter here” echo in song as portraits of mothers, fathers, brothers, sisters, children and friends are projected larger than life on a massive screen. They all seem to stare directly into your heart as your soul is massaged by the haunting voice of Rachael Dease. These are mug shots and police photos of crime scenes from turn of the last century that rhythmically appear to the accompaniment of a string quartet that is sometimes somber, at times erratic and atonal, but always teasing the audience to embrace what they are feeling. You do not recognize the faces but remarkably you imagine who they might be, for the human spirit has not changed with time. Immediately these images are no longer considered merely forensic photos, but rather works of art that with each viewing are able to evoke a different dissertation. The powerful blending of voice, words, music, and visual creates a haunting beauty that surrounds you and allows you to realize some of the horrors of society, the indifference for human life and the pain we inflict on others.
This experience is by no means exploitive nor morbid but rather mournful. You are saddened knowing someone has stopped a heart from beating or has stolen their last breath but hopeful that it has ended their pain. Rachael Dease is an accomplished artist whose compositions transcend a label. She is a poet with exceptional depth. Bold, perceptive, and endearing her hymns deliver the knowledge of awareness and sense of peace. “There is no one when giving a kiss Does not feel the smile of faceless people”
And so as this critic’s mind was kissed with the last projected image, my heart was warmed with a smile of hope and the words of a stranger. Do not miss the chance to experience the beauty and evocative sounds of ‘City Of Shadows” at the Robert Moss Theater as part of the NY Fringe Festival.
CITY OF SHADOWS
Presented by NY International Fringe Festival. Written, Composed and Directed by Rachael Dease. Musicians; Brian J Kruger, violin; Hayley-Jane Ayres, violin; Aaron Wyatt, viola; and Tristen Parr, cello.
All performances take place at The Robert Moss Theater at 440 Studios, 440 Lafayette Street, 3rd Floor (Astor Place and East 4th Street) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 40 minutes with no intermission. For further information, visit: www.rachaeldease.com
Remaining Show Dates: Thursday, August 23rd @ 9:15 pm Friday, August 24th @ 6:15 pm Saturday, August 25th @ 4:15 pm Sunday, August 26th @ 4:45 pm
Permalink | Posted by David Roberts on Thursday, August 23, 2012
"Rated M for Mature" at The New York Fringe Festival
“Rated M for Mature” By Greg Ayers Directed by Paul Dobie Reviewed by David Roberts Theatre Reviews Limited
Three boys bullied at school react to their horrifying experiences in a variety of ways. Eric intensifies his immersion in gaming, specifically increasing his skills at CTA (Call to Arms). Pete takes more drastic measures and acts out and concocts a plan to escape the bullying on a road trip. Danny scrambles between Eric and Pete hoping to find a connection. All three have become isolated; all three have lost their concentration in high school. Their feelings of tension, anxiety, and fear affect their self-esteem and their individual awareness of self-worth. Eric’s depression is exacerbated by the bullying which continues at home from his newly re-married mother who exhibits not one ounce of honest understanding of her son’s predicament.
Ben Hollandsworth (Eric), Nick Vennekotter (Pete), and Patrick Harman (Danny) embrace the traits of their three characters with a sincere depth of understanding. Not once do they drop out of character or display any discomfort in the situations Greg Ayers’ script places them in. Jamey Hood brings the anxiety-ridden Susan, Eric’s mother, to a fever pitch of plausible disdain. Her own words describe her as a horrible mother – and she is. Clumsily focused on her new husband Larry – capably played by Brian Munn – Susan misses every clue Eric and his incessantly visiting friends proffer as they cry out for someone to recognize the angst the bullying has precipitated.
Ayer’s script exposes the audience to the violence of bullying and rehearses successfully many of the results of bullying and the effects it has on its victims. Less believable are other behaviors of the boys as they attempt to cope with abuse. There is no reliable research that indicates those bullied become bullies. In extreme cases, victims do carry weapons to protect themselves or seek violent revenge. So although Pete’s vengeful behavior which explodes in his imprisonment and sexual abuse of Susan is plausible, the acts of bullying the three boys exact upon one another is less plausible.
Overall, tight direction and competent performances make “Rated M for Mature” a riveting glimpse into the lives of boys bullied to the brink of revenge. This critic just wishes there were far fewer homophobic phrases uttered by the characters, particularly by Pete. One understands that these are phrases that were used against them; however, their use in interacting with their bullied friends is not necessary and, quite frankly, offensive. Young gay boys and teens in audiences do not need to hear phrases like: “dick face,” “gay zombies,” faggot,” or “faggoty Mouseketeers,.” This language, no matter its innocent intent, is an unacceptable form of bullying. There are equally effective ways of expressing the angst of these endearing characters without lowering the self-esteem of gay audience members.
For Eric, Pete, and Danny, the world of gaming is the only place they felt they mattered. When Eric’s mother callously confiscated his CPU, she removed their last defense to the surcease of their suffering. Disaster resulted. Parents: pay attention.
RATED M FOR MATURE
Presented by Ryan Duncan (Producer) and The New York International Fringe Festival. Written by Greg Ayers. Directed by Paul Dobie. Lighting Design by Sean Linehan. Sound Design by Aaron Gonzalez. Stage Management by John Michael Crotty.
WITH: Patrick Harman, Ben Hollandsworth, Jamey Hood, Brian Munn, and Nick Vennekotter.
All performances take place at The Cherry Lane Theatre (Main Stage), 38 Commerce Street (7th Avenue and Hudson Street) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour and 30 minutes with no intermission. For further information, visit www.RatedMthePlay.com
Remaining Show Dates Thursday, August 23rd @ 7:00 pm Friday, August 24th @ 6:45 pm Saturday, August 25th @ 12:00 Noon Sunday, August 26th @ 1:00 pm
Permalink | Posted by David Roberts on Thursday, August 23, 2012
"Harrison, TX: Three Plays by Horton Foote" at Primary Stages at 59E59 Theater A
Reviewed by David Roberts Theatre Reviews Limited
Like an awkward young man hoping to find star-crossed love, or a physically challenged young man hoping to find understanding, or a love-sick young man howling at the Harvest Moon, Harrison, TX stealthily and seductively creeps up on its inhabitants demanding answers to hauntingly human questions about the vicissitudes of existence.
Horton Foote, like William Faulker, Flannery O’Connor, and Tennessee Williams, often casts place as protagonist against and through which all other characters react, all conflicts arise, and all plots develop. This refined sense of setting gives “Harrison, TX: Three Plays by Horton Foote” a delicious advantage as it examines three slices of Southern life in three Acts, two taking place in 1928, the third occurring in 1952 – all in the place and mood of Harrison, Texas.
“Blind Date” and “The One-Armed Man” were published in 1986 and 1993, respectively. “The Midnight Caller,” the earliest of the plays, was published in 1959. The mood during the writing of all three plays was one of optimism and hope, victory and celebration. As the mood of each play counterpoints with the mood of the time each was written, the themes of the kinship between family and individual, community and individual, adversity, and dissolution develop with nagging clarity.
While spending time with her Aunt Dolores in Harrison, TX, Sarah Nancy tries to maintain her independence in the midst of meeting the eligible men her aunt invites home. Desperate for a successful liaison after a series of disastrous meetings, Dolores invites Felix to meet her niece. There is a bit of Amanda Wingfield in Dolores, mostly in her Southern charm and in her desire for her niece to be married. Like Laura Wingfield, Sarah Nancy has a disability, though not a physical one: Sarah Nancy, according to Dolores, is disabled in relationship because of her poor disposition and her inability to carry on a conversation. And not unlike Amanda’s gone-missing husband in “The Glass Menagerie,” Robert (Devon Abner) cares little about his wife’s matchmaking efforts and might as well be a portrait on the wall overseeing all. Hallie Foote (Dolores) and Andrea Lynn Green (Sarah Nancy) bring their characters to vibrant reality and Evan Jonigkeit’s awkward books-of-the-Bible-reciting Felix is a perfect foil for Sarah Nancy’s hatred of all things men. In the end, the optimism of the 1980’s and the decade’s characteristic search for independence counterpoint with the pre-Depression optimism of 1928. Felix returns to Sarah Nancy after she rejects him, determined to make a connection. And he does. The lights fade on two young people who have found a way to connect: simply sitting and reading in the glow of nascent friendship.
The looming Great Depression hides behind set designer Marion Williams’ splendid staircase in “The One-Armed Man.” After losing his arm to one of the cotton processing machines in C. W. Rowe’s plant, McHenry tires of Rowe’s unwillingness to “give back” McHenry’s severed arm and kills his former boss. Jeremy Bobb’s flawless portrayal of C. W. Rowe brilliantly foreshadows all the reasons for the events of Black Thursday: greed, indifference to human suffering, racism, and the misplaced hope in the fruits of the Industrial Revolution to solve economic turmoil. Alexander Cendese brings McHenry’s frustration and anger to believability. It is fascinating to counterpoint this desperate worker’s rage with the rage exploding currently in 2012. Devon Abner’s Pinkey, underpaid assistant to C. W. Rowe, enters and exits in a beautifully choreographed “dance” that further discloses Rowe’s inability to discern human adversity.
Perhaps the most haunting Act is the play’s third: “The Midnight Caller.” Three disparate single women, Alma Jean Jordan, “Cutie” Spencer, and Miss Rowena Douglas, occupy Mrs. Crawford’s boarding house and deal collectively and individually with the addition of the establishment’s first male occupant, Mr. Ralph Johnston, and Harrison’s much talked about Helen Crews. Andrea Lynn Green (“Cutie Spencer), Hallie Foote (Mrs. Crawford), Jeremy Bobb (Mr. Ralph Johnston), and Alexander Cendese (Harvey Weems) are joined by Mary Bacon (Alma Jean Jordan), Jayne Houdyshell (Miss Rowena Douglas), and Jenny Dare Paulin (Helen Crews) for the well-directed ensemble powerhouse that electrifies the stage with Horton Foote’s script. Themes of fear and suspicion mingle with those of desperation and hope as these characters attempt to adjust to radical change and unfamiliar mores in a place formerly blessed with the Harvest Moon and the twinkling of fireflies.
Harvey Weems’ plaintive cry for his lost love Helen counterpoints Miss Rowena Douglas’ query “When is it gonna end?” They both identify with the adversity amidst the hopefulness of post-War War II America. It is Miss Rowena who seems to deliver the play’s most piercing and provocative lines and Jayne Houdyshell delivers these lines with such grace and understanding as to make them spiritual. A bridge between pre and post-World War II America, she is able to teach her boarding house “students” with the same perceptiveness and caring she once taught now-imprisoned Harvey Weems to sing “When Day Is Done.”
Miss Rowena reflects on all she has seen sitting on the gallery of Mrs. Crawford’s boarding house and laments that, “There is never any moderation.” This plaintive complaint reverberates across the decades of the 1920’s, the 1950’s, the 1980’s and the first decade of the twenty-first century and brings relevance to Horton Foote’s incisive and illuminating writing. The rhythms of conversation echoing from the living rooms, offices, and sitting rooms of Harrison, TX are the rhythms of universal conversation and, like Shakespeare’s iambic pentameter, echo the rhythms of the human heart.
HARRISON, TX: THREE PLAYS BY HORTON FOOTE
Presented by Primary Stages. Directed by Pam MacKinnon. Scenic Design by Marion Williams. Costume Design by Kaye Voyce. Lighting Design by Tyler Micoleau. Original Music and Sound Design by Broken Chord.
WITH: Devon Abner, Mary Bacon, Jeremy Bobb, Alexander Cendese, Hallie Foote, Andrea Lynn Green, Jayne Houdyshell, Evan Jonigkeit, and Jenny Dare Paulin.
WHERE: Through September 15 at Primary Stages at 58E59 Theaters. Tickets may be purchased by calling 212) 279-4200, online at www.primarystages.org
Permalink | Posted by David Roberts on Thursday, August 23, 2012
"Becoming Butch" at The New York International Fringe Festival
“Becoming Butch” Written and Performed by Vincent James Arcuri Directed by Gary Riotto Reviewed by Joseph Verlezza Theatre Reviews Limited
It is said it is best to “write what you know.” So if per chance you are brave enough to write about yourself, and you “know exactly who that is,” the chance of a successful story is certainly assured. One such specimen is exemplified with a not less than cathartic essay written and translated to the stage by Vincent James Arcuri at the Players Theater as part of the New York International Fringe Festival. It is informatively titled “Becoming Butch” and the honest content certainly does not betray its namesake. It is a story of a person not discontent with who he is, but tired and frightened of the consequences extant as he enters into a society that is judgmental, homophobic and uneducated about alternate lifestyles. One of the battles in this war of existence emerges and as Arcuri’s combative strategy plays out, he decides to become butch, leaving behind his swiveling hips and mispronounced sibilants. Humor is the weapon here and it is loaded with truth, intelligence, innuendo and clarity aimed directly at the audience, who would not want to escape from this charismatic performer’s attack. Arcuri is a slight figure with a big voice, not the deep, resonate, masculine type that his Uncle Vito would approve of but a sharp, fluid, nurturing bravura that is keen on delivery. This enables him to make his message clear.
With projections of old photos of himself and his family, he punctuates his performance with a theatrical flair that creates a tighter bond with the audience, reinforcing the revelation that he is really not that different. This performer reaches out with witty scenarios and brilliant writing. But more so, he allows you to embrace his heart. Of those who see this show, all will laugh, some will heal, others may reflect, and a few may cry; however, this critic assures that you will leave inspired by knowing what it really means to “become butch.” Thank you, Vincent James Arcuri.
BECOMING BUTCH
Presented by the NY International Fringe Festival. Written and Performed by Vincent James Arcuri. Directed by Gary Riotto.
All performances take place at The Steve and Marie Sgouros Theatre, 115 MacDougal Street (West 3rd and Bleecker) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour and 5 minutes with no intermission. For further information, visit www.becomingbutch.com
Remaining Show Dates Thursday, August 23rd @ 6:30 pm Friday, August 24th @ 8:00 pm Saturday, August 25th @ 5:45 pm Sunday, August 26th @ 12:00 Noon
Permalink | Posted by David Roberts on Wednesday, August 22, 2012
"Salamander Starts Over" at The New York International Fringe Festival
“Salamander Starts Over” Written and Performed by Armando Merlo Directed and Developed by Leigh Ann Pedra Reviewed by Joseph Verlezza Theatre Reviews Limited
An interesting addition to the New York International Fringe Festival is a solo performance at the White Box at 440 Studios bearing the name “Salamander Starts Over” which is written and performed by Armando Merlo. This is a coming of age journal observing the personal events and obstructions that enable a young man to better understand his past and move on. Salamander refers to a nickname given to Merlo by his wrestling coach at his newly inhabited all boy catholic high school, because of his slight frame and agile dexterity making him slippery and almost impossible to be pinned down by his opponents. Here this alias is reinforced by this actor as he quickly slips from one character to another darting across the empty stage. “Salamander Starts Over” is structurally sound because Merlo uses theatrical grammar to stress meaningful points, pausing briefly to sit on a school desk and embody either of his parents who have made such a profound effect on his journey. Although the timing is sometimes lacking and there is room for a sharper focus, Merlo accomplishes the task of delivering his story in a heartfelt manner.
This is a chronicle of growth and an example of how difficult it might be to experience the hardship, pain and discomfort from the obstacles encountered. Merlo provides his audience with a visual diary filled with humor and honestly to best convey his message. Spend an hour engrossed in this intimate theater experience and enjoy a very sensitive performance; you will leave inspired.
“SALAMANDER STARTS OVER”
Presented by the NY International Fringe Festival. Written and performed by Armando Merlo; Directed and Developed by Leigh Ann Pedra; Production Management by Kiki Beckles.
All performances take place at The White Box at 440 Studios, 440 Lafayette Street, 3rd Floor (Astor Place and East 4th Street) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour and 10 minutes with no intermission. For further information, visit: www.salamanderstartsover.com
Remaining Show Dates: Tuesday, August 21st @ 4:00 pm Wednesday, August 22nd @ 8:30 pm Sunday, August 26th @ 12:00 Noon
Permalink | Posted by David Roberts on Tuesday, August 21, 2012
"Bumbershoot" at The New York International Fringe Festival
“Bumbershoot” By Derek Davidson Directed by Derek Davidson Reviewed by David Roberts Theatre Reviews Limited
As well as being the name for Seattle’s famous Labor Day international music and arts festival, ‘Bumbershoot’ is also a colloquial term for ‘umbrella.” Since Ricki’s apartment is decorated with cast-off umbrellas and the program for Derek Davidson’s “Bumbershoot” sports an upside-down umbrella, one would assume the title referred more to umbrellas than to music festivals. Yet (bear with me, please), music plays a major role in this play as does the condition of the human spirit and Bumbershoot the Festival was originally formed to raise the spirits of Seattle locals amidst the economic depression after the Boeing near-collapse. But, this critic might digress. Back to Ricki.
Ricki (brilliantly played by David McGill) embraced a character and persona to protect himself from the horrors of homophobia he experienced in school. This endearing female-male persona is the umbrella which attempts to protect those whom he loves and Ricki’s “theme” plays throughout the play.
“Bumbershoot” is a complicated yet interesting play. Bits of melodrama noire mingle with who-done-it pulp fiction to serve up a mostly palpable story of friendships gone wrong, paranoia, gender identity, struggles with sexual status, and what might be the last taboo.
After finishing a gig at an Irish pub “somewhere north of Seattle,” Ricki engages Brett (Philip Estrera) and Nicole (Shauna Godwin Hamby) in a conversation about taboos. This question, it turns out, is the pivitol one and the answer to Ricki’s question crashes down onto the stage at “Bumbershoot’s” conclusion. In the middle of the play, the audience captures clues as Ricki, Brett, Nicole, and her daughter Margo (Molly Winstead) dodge police officers Jeff (Mike Ostroski) and Randy (Nathan Whitmer) in a collection of conflicts that drive the action forward.
One wishes the play could be as engaging as the live music that begins and intersects the action of “Bumbershoot.” It isn’t that this two-act play lacks interesting characters, conflicts, and plots. It is precisely that these important elements do not “play out” as cohesively and clearly as do the notes of the music of the band that results in “Bumbershoot” slightly missing the mark.
That said, “Bumbershoot” should be seen, especially by those who enjoy garnering clues and solving murder mysteries. Clues like: what is the last taboo; why does Ricki have a ceremonial Raven Mask in his apartment; why does a bloody shirt end up in an upside-down umbrella in Ricki’s apartment?
There are only two more opportunities to gather clues and solve the mystery. It is worth the visit.
BUMBERSHOOT
Presented by In/Visible Theatre and The New York International Fringe Festival. Written and Directed by Derek Davidson. Original music and lyrics by Bradford Proctor; Set Design by Drew Wallace. Costume Design by Melissa Owens. Stage Management by Erin Haggerty Wallace.
WITH: Phil Estrera (Brett), Shauna Godwin Hamby (Nicole), David McCall (Ricki), Mike Ostroski (Jeff), Nathan Whitmer (Randy), and Molly Winstead (Marlo). MUSICIANS: Derek Davidson and Tim Russell.
All performances take place at HERE Mainstage Theater, 145 Sixth Avenue (6th Avenue and Varick Street) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 2 hours and 5 minutes with one ten-minute intermission. For further information, visit: www.invisibletheatrenc.org
Remaining Show Dates: Tuesday, August 21st @ 8:00 pm Thursday, August 23rd @ 4:00 pm
Permalink | Posted by David Roberts on Tuesday, August 21, 2012
"Fortunate Daughter" at The New York International Fringe Festival
“Fortunate Daughter” Written and Performed by Thao P. Nguyen Directed by Martha Rynberg Reviewed by Joseph Verlezza Theatre reviews Limited
There is a refreshing new performance at the White Box Studio aptly titled “Fortunate Daughter,” presented as part of the New York International Fringe Festival. Recently, and in the past few years, audiences have been drowned by a deluge of “coming out” solo performances which, although containing a comical flair, perpetually spout redundant rhetoric that borders on being narcissistic. Thao P. Nguyen, who wrote and performs her piece, does NOT fall into this category; she has “come a long way, baby.” This is a story of discovery, connection, family and a belief that being comfortable with who you are will certainly affect those around you.
The journey begins as Thao takes her boss’s advice, leaving her job for a year to examine her heritage and visit family in Vietnam where she meets her grandmother for the first time. This escapade is interesting and hysterically comical because it is seen from a gay perspective and the timing and resources used to create the several family members is fascinating. Nothing seems forced. This actor trusts the material and knows it will not betray her: it is merely the truth. She has fun and shares that with the audience. She not only portrays a character for the audience members but engages them, which generates the energy that brings emotions to the surface achieving total exposition. Suddenly you find yourself thinking how insignificant it would be for her to “come out.” Never the less the confrontation with family does play out but with every conceivable consequence in exercised creating some comical situations.
In this critic’s opinion, this actor is fortunate in so many ways beyond having a loving and accepting family. She has searched her soul and has made an important discovery which she shares so eloquently with her audience. Thao P. Nguyen has written with honesty and integrity producing a finely crafted script with solid structure; and hopefully has reached out and tempted others to begin their own journeys.
FORTUNATE DAUGHTER
Presented by Meanie Productions (Nicole Maxali) and The New York International Fringe Festival. Written and Performed by Thao P. Nguyen. Directed by Martha Rynberg. Original Director: W. Kamau Bell. Lighting Programmer and Board Operator: Emma Hills.
WITH: Thao P. Nguyen
All performances take place at The White Box at 440 Studios, 440 Lafayette Street, 3rd Floor (Astor Place and East 4th Street) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour and 25 minutes with no intermission. For further information, visit: www.ThaoSolo.com
Remaining Show Dates: Tuesday, August 21st @ 6:00 pm Friday, August 24th @ 9:00 pm Saturday, August 25th @ 7:00 pm
Permalink | Posted by David Roberts on Monday, August 20, 2012
"Almost A Fantasy" at The New York International Fringe Festival
“Almost A Fantasy” By Michael Aguirre Directed by John Grabowski Reviewed by David Roberts Theatre Reviews Limited
ALMOST A FANTASY
Teaching piano in a windowless basement studio somewhere in eastern Pennsylvania does not preclude having been a world-famous concert pianist earlier in life. Taking piano lessons at seven years old in that windowless basement piano studio does not preclude studying piano for the wrong reasons. It is Youthney’s fantasy that if someone can teach him piano and he has a student recital, his agoraphobic mother might leave their house. This, it turns out, is a wrong reason. Nonetheless, it is Dolores’ fantasy that her new seven-year-old student Youthney becomes an accomplished pianist.
Although Youthney does not play any Beethoven until the end of the play, the three movements of Beethoven’s “Moonlight Sonata (Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2)” parallel the movements of Michael Aguirre’s deeply beautiful and important new play “Almost A Fantasy,” currently playing at The Robert Moss Theater at 440 Studios as part of the New York International Fringe Festival. It is important to remember, as Dolores reminds Youthney, that the original title of this sonata was “Quasi una fantasia” (Italian: almost a fantasy).
The first movement of “Amost A Fantasy” (the Adagio sostenuto of the Sonata), develops the main melody of the relationship between Dolores and Youthney and then plays it again very similar to how it was originally played. Dolores and Youthney live out their disparate fantasies through a series of piano lessons, rehearsing one another’s stories. Dolores’ (Danijela Popovic) story is well-written with proper key signatures. Youthney’s (AJ Kiehner) story when he first meets Dolores is a blank staff, scarcely a sixteenth note and certainly no key signature. Dolores’ stories of escaping east Berlin and developing a successful career as a concert pianist at first embolden Youthney and encourage him to get in touch with his own (yet undiscovered) story: in particular, why he continues to study with Dolores despite her aggressive and sometimes maniacal methods. She wants her student “to learn” piano; Youthney only wants “to be taught.” There is a profound difference and in this profundity lies the mysterious, almost haunting melody of the first movement.
The second movement, the Allegreto, is (as in the Sonata) is fast-moving and often comedic. As he grows older and more comfortable with Dolores, Youthney becomes more playful and their lessons sparkle with wit and wry humor. However, this movement concludes with a seventeen-year-old Youthney who leaves Dolores as he leaves high school.
The final movement (the Presto agitato) of “Almost A Fantasy” surprises the audience with its hard-hitting, invigorating, and powerful passages (fortissimo) and progresses rapidly to the play’s conclusion and denouement. Youthney returns to Dolores’ studio after many years to find the building in a state of disrepair and Dolores in a similar downward spiral of aging and disability and disappointment. He bristles with new-found energy and proposes that he and Dolores should go on tour. Unfortunately, it is too late for that fantasy to play out. Instead, Youthney offers to play from his “cheap” edition of Beethoven Sonatas: something he had always wished to do. He asks if he can practice first and Dolores reminds him compellingly that “one does not rehearse Beethoven here.”
Under John Grabowski’s sturdy direction, actors Danijela Popovic and AJ Kiehner use their accomplished keyboard skills to bring this dramatic almost-love story to bristling life. Youthney does not become the pianist Dolores hopes he would: his interest in piano ceased when he no longer needed to perform his mother’s way out of her dysfunction and illness. And Dolores, disappointed in Youthney and, perhaps in herself, quietly listens to Youthney play the “Moonlight Sonata” bringing into remarkable counterpoint the “almost fantasies” of these two star-crossed musicians. At the lights fade, there were few dry eyes in the audience including the tear-filled eyes of this appreciative critic. There are only three more opportunities to allow yourself to risk playing your almost fantasies in the basement studio with one amazing (though sometimes terrifying) teacher and mentor and her almost-star pupil.
Presented by Chelsea Rep Lab in Association with The Acting Studio, Inc. and The New York International Fringe Festival. Written by Michael Aguirre. Directed by John Grabowski. Set Design by Oliver Sohngen. Lighting Design by Zach Ciaburri. Costume Design by Alison Parks and Corrie Blissit. Stage Management by Julie Greeneisen.
WITH: AJ Kiehner (Youthney) and Danijela Popovic (Dolores).
All performances take place at The Robert Moss Theater at 440 Studios, 440 Lafayette Street, 3rd Floor (Astor Place and East 4th Street) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour and 25 minutes with no intermission. For further information, visit: www.almostafantasy.net
Remaining Show Date: Thursday, August 23rd @ 3pm
Permalink | Posted by David Roberts on Monday, August 20, 2012
"We Crazy, Right" at the New York International Fringe Festival
“We Crazy, Right?” Written and Performed by Jeff Seabaugh Directed by Mary Tarochione Reviewed by Joseph Verlezza Theatre Reviews Limited
WE CRAZY, RIGHT?
One of the many facts we learn from “We Crazy Right,” a new solo performance currently at Jimmy’s No. 43 and part of the New York International Fringe Festival, is that the problems and pitfalls of parenting are universal and have no boundaries. The important conclusion we can derive is the simple human element that everyone wants and needs to be loved unconditionally. The story is spun from writer and performer Jeff Seabaugh’s own life experience. Mr. Seabaugh is a talented actor who brings his audience along on the funny, real, and often moving journey of the process of adoption by a gay couple (now legally married). This monologue has all the attractions of a solo show complete with multiple well developed characters, comical situations, and enough penetrating somber moments that are heartfelt and sincere. What makes it different is the natural approach, raw and honest delivery from an actor who is not frightened to reveal himself, blemishes and all. Because of this, the audience is allowed to comfortably share the very personal situations and feelings that are divulged and can laugh with him not at him.
The writing is fluid and the structure finely crafted with seamless transitions that allow the audience a quick glimpse of animated characters pertinent to the progression of the story. Even if you are not a parent, not gay or not interested in adoption, you will enjoy this joyous tale of giving, receiving, and finding love. Join this now stay-at-home Dad and his diverse family and understand why his youngest daughter would spout the words “We Crazy Right.”
Presented by The New York International Fringe Festival. Directed by Mary Tarochione. Assistant Director and Stage Manger: Jodi Smith. Production Assistant: Laurie Himmel. Lighting Design by Aaron Porter.
All performances take place at Jimmy’s No. 43, 43 East 7th Street (Between 2nd and 3rd Avenue). Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour and 20 minutes with no intermission. For further information, visit: www.wecrazyright.com
Remaining Show Dates Friday, August 24th @ 2:30 pm Saturday, August 25th @ 8:45 pm
Permalink | Posted by David Roberts on Monday, August 20, 2012
"Magdalen" at The New York International Fringe Festival
“Magdalen” Written and Performed by Erin Layton Developed and Directed by Julie Kline Reviewed by Joseph Verlezza Theatre Reviews Limited
MAGDALEN
“Magdalen,” now playing at the Gene Frankel Theater as part of the New York International Fringe Festival, takes you on a visit to the historical commercial Magdalen Laundries in Dublin Ireland. You are first met by a neighborhood native who has recently purchased the property and building in order to create a safe haven for young boys and help gentrify his childhood community. As he describes the building as being extremely dirty and left in total neglect, he begins to unravel the mystery behind the laundries and we are introduced to the protected inhabitants consisting of misfit girls, prostitutes and unwed mothers, so called penitents imprisoned by the church and with Irish Catholic nuns acting as wardens. It is a shockingly true story that leaves you just as stunned as any of the recently broadcast horrific crimes of today. This story does not pass judgment but thoroughly exposes the weaknesses of organized religion to be able to hide behind a guise of benevolence while striking with the force of an evil hand. Stunting the growth and limiting the potential of any human being and shackling them to a label of worthlessness until they waste to nothing and disappear are appalling injustices. These women should not be forgotten.
This intriguing yet disturbing story is devised and performed by Erin Layton with skill and integrity. Her movement and expression create images and characters that breed anger, compassion, sorrow and mistrust. Their impressions are capable of raising repressed feelings and unanswered questions regardless of religious affiliation. Her performance is exact, sincere and riveting. Take advantage of this rare theatrical experience telling a compelling story with extreme clarity and ultimate simplicity, delivering an undeniable impact.
Presented by The Present Company at The New York International Fringe Festival. Developed and Directed by Julie Kline. Lighting and Set Design by Cat Tate Starmer. Costume Design by Laura Catignani. Sound Design by Janie Bullard. Stage Management by Katie Barnhard.
WITH: Erin Layton.
All performances take place at The Gene Frankel Theatre, 24 Bond Street (Lafayette and Bowery) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour with no intermission. For more information, please visit: http://magdalentheplay.wordpress.com
Remaining Show Dates: Tuesday, August 21st @ 8:00 pm Wednesday, August 22nd @ 4:15 pm Friday, August 24th @ 9:00 pm
Permalink | Posted by David Roberts on Monday, August 20, 2012
"Dogs" at The New York International Fringe Festival
“Dogs” By Ido Bornstein Directed by Shlomo Plessner Reviewed by David Roberts, Chief Critic Theatre Reviews Limited
Animals, dogs for example, can be bred and trained to exhibit a variety of characteristics: aggressiveness; gentleness; protectiveness; independence; guidance; or indifference. These characteristics are more difficult to “extinguish” than they are to “reinforce.” The brilliant new play “Dogs,” currently playing at The New Ohio Theatre as part of the New York International Fringe Festival, tackles the theme of how difficult it is to transform the human animal’s traits of hatred, prejudice, cruelty, and aggressiveness into a new character that embodies unconditional and non-judgmental love.
“Something in the singing” brings us together; helps us get along. This is an extension of the concept that those in exile (or slavery) have used since time immemorial. In exile, Jews and Palestinians sang and sing their songs of hope to keep them together and to keep them focused on deliverance. Slaves in the American South created and sang spirituals that not only kept them together but, covertly, rehearsed for the community the belief that the end of slavery and the slave-owner would ultimately not be tolerated by universal justice.
One Jewish brother convinces his brother that mounting a musical version of “Romeo and Juliet” is more important than installing a Jacuzzi in their parents’ home. He believes that music and song could not only sustain one community but reconcile that community to another (the Arabic community) which was considered to be the enemy.
The idea blossoms when the brothers include a third Jewish friend and two Arabs. But then the idea withers. The musical version of a tragedy that brings two warring families together is the perfect trope (here an extended metaphor) for the hope of reconciliation.
It is a bumpy ride for these five men caught in millennia of border wars, religious rancor, and stubborn misunderstanding. The leads of the musical do not die here. What reconciles these five men is not death but birth, escape from the debris of hatred and conflict. Powerful images of men emerging from trash bags and male actors becoming pregnant with hope make this production visually and intellectually satisfying.
This well conceived, tightly directed, and beautifully choreographed play does not re-tell “Romeo and Juliet:” it profoundly reinvents its theme. Can humanity leave mistrust, hatred, and prejudice and be reborn into a “new world” of hope? Is that optimistic? Yes. Is it unrealistic? Some would think so. Is it necessary? Absolutely – before Arab-Jew, gay-straight, black-white, male-female warring blasts us into a global exile.
DOGS
Presented by TheaterCan and The New York International Fringe Festival. Written by Imo Bornstein. Directed by Shlomo Plessner. Music by Galit Florentz. Choreographed by Ronit Ziv. Scenic design by Dana Tzarfati; costume design by Hadas Motzeri.
WITH: Benjamin David Elder (Shahar), Lavi Zytner (Gili), Mahmoud Mora (Abed), Hai Maor (Nisim), and Rami Kashy (Rabbiah).
All performances take place at The New Ohio Theatre, 154 Christopher Street in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour 30 minutes with no intermission. For more information visit www.theatercan.com
Remaining Show Dates Sunday, August 19th @ 5:00 pm Tuesday, August 21st @ 2:00 pm Thursday, August 23rd @ 8:30 pm Friday, August 24th @ 10:15 pm
Permalink | Posted by David Roberts on Sunday, August 19, 2012
"Gay Camp" at The New York International Fringe Festival
“Gay Camp” By Philip Mutz and Susan-Kate Heaney Directed by Phillip Fazio Reviewed by Joseph Verlezza Theatre Reviews Limited
If you are going to “Gay Camp” this summer currently playing at HERE Arts Center as part of the New York International Fringe Festival, pack your sense of humor and “be prepared” to be flooded and immersed in camp: it is required. It is a wild seventy-five minute ride filled with satire and stereotype (ala Charles Ludlam) that manages to create rollercoaster results of smiles, groans and a steady track of hearty laughs. It is all quick and fun and no one can take offense because everyone is offended. This is a perfect escape from the sometimes serious issues that are lampooned. It won’t make the problems disappear but provides a comfortable outlet to release some pressure; it is much healthier to laugh.
The cast of three are absolutely hysterical as they franticly switch gears, characters and costumes to portray your fellow campers and camp staff. Geeks, musical theatre divas, insipid drug laden counselors and lip-syncing drag queens all step up to the plate. Christian Mansfield, Ken Urso and Philip Mutz are talented actors fully capable of the tasks at hand and work diligently to create the style and flair needed to keep the action moving and the audience involved. At times sketches seem to be a bit too long and repetitive but may be attributed to the similarity of the material presented.
The conclusion might be that “Gay Camp” does not reach perfection at this stage of development but it is great fun, and with a little more insight and polish I believe the rough edges will be gone. Escape the city grind and heat this summer and spend a little time at “Gay Camp.” You will be happy you did.
GAY CAMP
Presented by MU Productions and The New York International Fringe Festival. Written by Philip Mutz and Susan-Kate Heaney. Directed by Phillip Fazio. Original music and lyrics by Bradford Proctor; Lighting Design by Michael Megliola; Wig Design by Kathy Urso; Wigs Styled by Amanda Duffy; Sound Design by Phillip Fazio; Stage Management by Stephanie Holmes.
WITH: Christian Mansfield, Ken Urso, and Philip Mutz.
All performances take place at HERE Mainstage Theater, 145 Sixth Avenue (6th Avenue and Varick Street) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour 15 minutes with no intermission. www.GayCampThePlay.com
Remaining Show Dates: Saturday, August 18th @ 10:00 pm Wednesday, August 22nd @ 9:45 pm
Permalink | Posted by David Roberts on Sunday, August 19, 2012
"Nocturnal: Portrait of a New York Night in Nine Movements" at The New York International Fringe Festival
“Nocturnal: Portrait of a New York Night in Nine Movements” Written and Performed by the Ensemble Directed by Laura Tesman Reviewed by David Roberts, Chief Critic Theatre Reviews Limited
Valentina (Anya Elnikova) is the somewhat mysterious street-musician that weaves through the nine movements of “Nocturnal” and knits them together in a charming and disarming foray through one (perhaps recurring) night of a particular chorus of inhabitants of New York City. In a well-organized and well directed series of flashbacks and one stunning flash-forward, the audience experiences the music made by at least twenty-eight “creatures of the night” (with thanks to Bram Stoker) as they navigate their way through the vicissitudes of human experience that aggressively challenge the achievement of success, of self-realization, of heath in relationships.
Thirteen young, energetic actors grab their own collaborative script and give it the vibrancy it fully deserves. They choose themes that are vitally important to the survival of not only the urban environment, but also the survival of our fragile and finite planet: overworked health care workers endangering the lives of their patients; human trafficking; racism; sexism; homophobia; crime; teenagers being raised by overworked and underpaid extended family members. But the themes of human endurance and unconditional, non-judgmental love win out in this “nocturne” of things that indeed do bump in the night but need not extinguish the human spirit.
Kudos to this ensemble cast. Some fare better than others in exercising their craft. Perhaps director Laura Tesman should be somewhat less forgiving of these young actors so they might do all they can to stretch themselves and hone their abilities to understand characterization and their abilities to embody these characters in a profound and believable way. And kudos to the creative team for supporting these actors as they step out in the darkness and dare to suspend the disbelief of audiences full of “creatures of the night” who are looking for hope and grace, and peace.
NOCTURNAL: PORTRAIT OF A NEW YORK NIGHT IN NINE MOVEMENTS
Presented by Pangaea Performance Ensemble with Spleen Theatre and The New York International Fringe Festival. Written and performed by The Ensemble. Directed by Laura Tesman. Scenic design by Pei-Wen Huang; costume design by Jeanette Aultz; lighting design by Hae-Jin Han; sound design by Morgan Eisen; stage management by Jessica Polanco.
WITH: Gregory Anderson-Elysee; Anya Elnikova; Dante Jayce; Hyun J. Kim; Seimi Kim; Dennis Kravstov; Salvatore Linea; Ricki Lynee; Niki Rios; Alexander Scelso; Ayo Chrysais W; Philip Weeks; and Alexander Wright.
All performances take place at The New Ohio Theatre, 154 Christopher Street (Greenwich and Washington Streets) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour and 30 minutes with no intermission. For further information visit www.PangaeaNYC.org
Remaining Show Dates: Sunday, August 19th @ Noon Wednesday, August 22nd @ 8:45 pm Saturday, August 25th @ 7:30 pm
Permalink | Posted by David Roberts on Friday, August 17, 2012
"2 Households, 2 Assholes: Shakespeare's R & J" at The New York International Fringe Festival
“2 Households, 2 Assholes: Shakespeare’s R & J Co-Created by Samuel Munoz and Aaron Munoz Reviewed by Joseph Verlezza Theatre Reviews Limited
Something is going wonderfully awry at SoHo Playhouse where “2 Households, 2 Assholes: Shakespeare’s R&J” explodes onto the stage as part of the New York International Fringe Festival. Two male actors assume twenty different roles, at lightning speed, skillfully delivering the romantic tale of Romeo and Juliet in a mere 60 minutes. Accomplished swordplay, simple economic costume adjustments, acrobatic fight scenes, and precise character changes with just a turn or quick glance inform and mesmerize the audience as they listen to the language of the tragedy’s infamous wordsmith, the Bard, spouted with ease and elegance. I was in awe.
The two actors Aaron Munoz and Sam Munoz, physically reminiscent of Laurel and Hardy, are without reserve a powerhouse. They are well trained and execute their craft with extreme care and precision, never missing a beat or the opportunity to squeeze every ounce of emotion from each character. Forget gender bending, they expose the souls of these two young lovers, at times leaving you astonished, suspended in disbelief. What more can be said? Well no credit is given to direction, choreography, or fight and fencing coach, so I will feel safe in saying these two fellows have done it all and have done it extremely well.
Do yourself a favor and waste no time getting a ticket to the remaining performance. You don’t need to love Shakespeare to enjoy this show but you just might afterward. These two theatrical entrepreneurs took a chance; you should do the same and join them on this incredible journey.
2 HOUSEHOLDS, 2 ASSHOLES: SHAKESPEARES R&J
Performed by Aaron Munoz and Sam Munoz.
Presented by Dos Munoz and the New York International Fringe Festival.
All performances take place at The SoHo Playhouse, 15 Vandam Street (6th Avenue and Varick Street) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour with no intermission. www.two-households.com
Remaining Show Date: Sunday, August 19th @ 1:00 pm
Permalink | Posted by David Roberts on Friday, August 17, 2012
"REDlight" and "Dumber Faster" at The New York International Fringe Festival
“REDlight” at The White Box at 440 Studios “Dumber Faster” at The Steve and Marie Sgouros Theatre The New York International Fringe Festival Reviewed by David Roberts, Chief Critic Theatre Reviews Limited
“REDlight” purports to be writer and performer Ryan Kipp’s solo play drawn from his time as a heterosexual stripper in the only all-male, all nude gay strip club on the Eastern seaboard. Performing this piece in front of projections of buff men in a locker room, Kipp repeatedly reminds the audience of his heterosexuality: his like of men has only to do with the issues of control and the role of “being in charge” men have. And stripping for gay men is just another job. The audience meets a variety of characters – gay and straight – from the Club, from his past, from the armed services, from the Club’s VIP room. The audience also meets Kipp’s father and mother and scenes from his life with them: at the lake and in his bedroom. Unfortunately, the costume changes and character changes needed to accomplish this task in thirty-six minutes result in a confusing palette of characters that are sometimes indistinguishable and not well-formed. It is difficult to discern the purpose of this solo work especially given the final scene. Kipp stands nude in front of the audience claiming this exposure creates true intimacy and disclosure. The audience has no difficulty with the actor’s nudity: why would they? But is this the ultimate definition of intimacy and disclosure and transparency? Remaining show times are: Saturday, August 18th @ 4:30 pm; Saturday, August 25th @ 5:00 pm; and Sunday, August 26th @ 4:00 pm.
David Mogolov’s “Dumber Faster” is a comedic romp through the maze of man versus machine or brain versus smart phone or, even, perhaps something else. One surmises that humankind is dumbing down as the result of its use of high-tech devices like smart phones. Or one might connect with Mogolov’s rehearsal of his top-ten examples of the self-defeating behavior he embraces. At times, it is not clear what the purpose of “Dumber Faster” might be. The show currently runs for fifty minutes. Cut in half with some revision, this could be a successful stand-up comedy routine. Remaining show times: Saturday, August 18 @ 8:15 pm; Sunday, August 19 @ 3:30 pm; Thursday, August 23 @ 2:45 pm; and Saturday, August 25 @ 2:30 pm.
Tickets for these shows are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10.
Permalink | Posted by David Roberts on Friday, August 17, 2012
"Hope Is the Saddest" at The New York International Fringe Festival
“Hope Is the Saddest” Written and Directed by Jeffrey Jay Fowler Reviewed by David Roberts, Chief Critic Theatre Reviews Limited
Hope (Michelle Robin Anderson) has Dolly Parton: all of Dolly’s songs are catalogued in her brain ready for retrieval at a speed that matches the fastest external hard drive. Jeffrey (Jeffrey Jay Fowler) has a somewhat boyfriend and a Zen-filled imagination. Marion (Natalie Holmwood) has a new home named Abigail and a hot car. And yet, all three seem to be living lonely lives of desperation.
These three lives intersect serendipitously at an intersection when and where Marion hits Jeffrey as he is crossing the intersection and Hope takes him home to bandage and badger him with offers of love. Marion visits Hope longing for human contact. Unfortunately, Jeffrey’s uncertainties make him vulnerable to Hope’s advances and he “experiments” with heterosexuality in a somewhat bizarre and/or surreal tryst with Marion whom he encounters at the aforementioned intersection at a later time.
Hope is the saddest when it is up against delusion, Karma and other attempts to explain the universe, and against coming to terms with who one is and being able to accept who others truly are. Jeffrey Jay Fowler’s well-constructed play explores the sadness of hope by relating “little cuts of reality” in which individuals desperately want to and need to connect to someone on some meaningful level but cannot do so because one of the parties is incapable of acceptance of who the other is.
The characters in “Hope Is the Saddest” are, of course, archetypes and symbols of those things that we all need to address on our journeys and intersections and serendipitous encounters: hope can be as hurtful as it is uplifting. Self-doubt and attempts to love others with condition and judgment conflict with acceptance of self and the other. And delusional thinking is not only problematic but potentially dangerous for persons and for nation-states.
The saddest thing is that Jeffrey allowed himself to doubt his sexual status because of the inappropriate intrusiveness of the heteronormative culture Hope insists be his as well. Jeffrey Jay Fowler embodies his character’s struggle with grace and intuitive power and that character’s death is salvific and redemptive. Hopefully Hope’s Dolly-hood and Marion’s coarse self-absorption won’t snare others into their webs of delusive loneliness. Kudos also to Michelle Robin Anderson and Natalie Holmwood who, with Jeffrey Jay Fowler, create characters capable of bringing the conflicts of this remarkable play to life.
HOPE IS THE SADDEST
Presented by Mythophobic and The Blue Room in association with The New York International Fringe Festival. Written and directed by Jeffrey Jay Fowler. Stage and production management by Emily Stokoe.
CREATED AND PERFORMED BY: Michelle Robin Anderson, Jeffrey Jay Fowler, and Natalie Holmwood.
All performances take place at The First Floor Theatre @ La MaMa, 74 East 4th Street (between Bowery and 2nd Avenue). Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour with no intermission.
Remaining Show Dates Saturday, August 18th @ 5:15 pm Sunday, August 19th @ 7:45 pm Wednesday, August 22nd @ 2:00 pm Friday, August 24th @7:00 pm
Permalink | Posted by David Roberts on Friday, August 17, 2012
"Non-Equity The Musical!" at The New York International Fringe Festival
“Non-Equity The Musical!” Book and Lyrics by Danielle Trzcinski Music and Lyrics and Musical Direction by Paul D Mills Directed by Christian Amato Reviewed by Joseph Verlezza Theatre Reviews Limited
After great anticipation and hearing the buzz from the seasoned fringe goers, I took my seat, prepared to enjoy a performance of “Non-Equity the Musical” currently appearing at the Players Theatre as part of the New York International Fringe festival: I was not disappointed. For the next hour and forty minutes, I found myself thoroughly entertained by a diverse cast of eight enthusiastic, talented (and of course) non-Equity performers. This show gives current or past non-union performers a chance to applaud their comrades as they relate to the all too familiar scenes that unfold, or perhaps bask in the fond memories of hard work, uncanny situations or valued friendships formed while reaching for the golden ring. Those not involved in “the business” get a fairly accurate, animated, comical view of how difficult it might be for inspired actors to realize and attain their dreams. Through melodic compositions, truthful lyrics and refined harmonies, these eight actors reveal their angst, inner thoughts and turmoil with a display of honestly resourced emotions. What brings this to the next level is that they are “true to the script” and have a great time loving what they do. They infect the audience with their spirit. All cast members have special individual strengths but it is as an ensemble that they shine.
On a constructive note, the material should be broader; it is a little heavy handed on the complaint side so it almost seems repetitive at times. Perhaps dwelling more on the positive aspects of the journey may produce a more well rounded script (after all, inspiration brought you this far). As a past non-Equity person and an Equity member for quite a while, this critic believes a focus on other reasons actors aspire to carry a card (other than auditions) can also be informative. Perhaps a comical musical parody, dreaming of health insurance, sanitary and comfortable working conditions, fair salary and pension. Just a thought to spark your creative minds.
What I can conclude is that whoever you might be, if you are in New York City during the Fringe Festival try to attend one of the remaining performances of this show. You will be entertained and treated to more than a few laughs as you are immersed in the lives of non-Equity performers.
NON EQUITY THE MUSICAL!
Presented by New York International Fringe Festival. Directed by Christian Amato, Musical Direction by Paul D Mills, Choreographed by Sam Doblick, Costumes by Leila Wolford, Lighting by Rachel Sevedge The Band: Paul D Mills ,piano; Chris Schultz, drums; Erik Barragan, guitar; Tommy Myers, bass.
WITH: Emily Swan, Dominic Sellers Danielle Trzcinski, Keith Antone, Lindsey Morgan, Pierce Cassedy, Joe Donnelly and Nichole Turner.
All performances take place at The Players Theatre, 115 MacDougal Street in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour 45 minutes with no intermission.
Remaining Show Dates: Tuesday, August 24th @ 2:00 pm Thursday, August 23rd @ 2:00 pm Saturday, August 25th @ 8:15 p.m.
Permalink | Posted by David Roberts on Thursday, August 16, 2012
"The Zebra Shirt of Lonely Children" at The New York International Fringe Festival
“The Zebra Shirt of Lonely Children” Written and Performed by Matthew Trumbull Directed by Matthew Freeman Reviewed by David Roberts, Chief Critic Theatre Reviews Limited
It would be easiest to see Matthew Trumbull’s “The Zebra Shirt of Lonely Children” as a grieving son’s tribute to his father’s memory although the writer-performer dispels that thought early in this solo play that is currently running at The Steve and Marie Sgouros Theatre as part of The New York International Fringe Festival. It might be easy to see the play as a condemnation of callous practices of some funeral homes and anatomy bequest programs. But that would be a rather shallow assessment of Trumbull’s deeply thoughtful play.
More difficult, but certainly more on target, would be to understand “The Zebra Shirt of Lonely Children” as a testimony to the enormity of death and the power it has over us as we attempt to fight it, embrace it, deny it, or re-define it as “a better place” as though death were a concerned travel agent.
Matthew Trumbull’s tribute to the bigness of death is much like Job’s tirade as he addressed God looking for universal answers to questions like, “Why do bad things happen to good people?” In Job’s situation, God admonishes him to stop whining and accept his fallible and finite humanness. There are no reasonable explanations for why things happen the way they shouldn’t. Things happen.
It isn’t Matthew’s job to worry where he stands in relation to his father’s commendable stature as a person and a structural engineer. Nor is it his responsibility to understand why trench-coated university students coming to transport his father’s body are so shallow and uncaring.
In the precise and polished performance of his profound script, Mr. Trumbull finds an answer to Job’s questions that is similar to the response Job gets from the creator of the universe: “Death feels larger than existence to me, in the way that the sky is larger than the ground on which you stand. The infinite versus the finite. Many more years will happen after I die than ever happened while I lived, or ever came before I was born.”
So what is humanity’s response to this awareness of our finitude and fallibility? Perhaps facing death’s persistent and unrelenting enormity, we can and must – as did Jonathan Trumbull – determine “Critical Path.” We can and must determine what is essential in this journey and in that discovery comes meaning and hope.
There is a reason Matthew Trumbull gave his meaningful script the title it has. But this critic hopes you will see this play to discover that reason. It does have something to do with the “Minnewashta Explorers,” sipping accidently poured mugs of coffee before they get cold and go to waste, and accepting our “uneven lives” as beautiful.
THE ZEBRA SHIRT OF LONELY CHILDREN
Presented by Theater Accident in Association with Blue Coyote Theater Group and The New York International Fringe Festival. Written and performed by Matthew Trumbull. Directed by Matthew Freeman. Lighting designed by Kyle Ancowitz.
WITH: Matthew Trumbull.
All performances take place at The Steve and Marie Sgouros Theatre, 115 MacDougal Street (West 3rd and Bleecker) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour with no intermission.
Remaining Show Dates Friday, August 17th @ 6:45 pm Sunday, August 19th @ Noon Wednesday, August 22nd @ 5:00 pm Friday, August 24th @ 4:15 pm
Permalink | Posted by David Roberts on Thursday, August 16, 2012
"Pulp Shakespeare" at The New York International Fringe Festival
“Pulp Shakespeare” Written by Ben Tallen, Aaron Greer, Brian Watson-Jones and Jordan Monsell (with contributions from Brian Weiss and members of the Pulp Bard Wiki) Directed by Jordan Monsell Reviewed by Joseph Verlezza Theatre Reviews Limited
There is an intriguing collision occurring at the Cherry Lane Theater and the aftermath is aptly titled “Pulp Shakespeare,” presented by Her Majesty’s Secret Players as part of the New York International Fringe Festival. Just imagine “Pulp Fiction” (the movie) written in verse. Don’t worry you don’t have to, because here it is! This plot would be right on the tip of tragicomedies penned by William Shakespeare, finding a couple of yeomen murderers, an evil king boss, his tempting elusive queen and throw in a valiant but desperate knight just to even the score. All the pivotal scenes from Tarantino’s movie are here but transferred Elizabethan England and the dialogue served up in iambic pentameter. The result is a funny, fast paced, raucous cult parody; but be forewarned that it is essential that you are familiar with the Tarantino film and for the most part would enjoy a Shakespearean production.
The cast is cohesive as an ensemble not missing a beat. At this performance the camaraderie and dialogue between Dan White as Julius Winfield and Aaron Lyons as Vincent de la Vega was a standout both being precise and illuminating characters. Also noteworthy is the work of Nathaniel Freeman in his portrayal of Lord Marcellus Wallace and Liza de Weerd in multiple roles of Meadsweet and Jody. It was great to watch well trained, competent actors having fun with an interesting and clever concept.
PULP SHAKESPEARE
Presented by Her Majesty’s Secret Players and the New York International Fringe Festival. Written by Ben Tallen, Aaron Greer, Brian Watson-Jones and Jordan Monsell(with contributions from Brian Weiss and members of the Pulp Bard Wiki). Lighting by Philip Waller; Sound Design by Brian Weiss; Costumes by Kelly Bailey; Fight Direction by Aaron Lyons; Dance Choreography by Stephanie Pease;
WITH: Brian Weiss, Liza de Weerd, Justine Woodford, Dan White, Aaron Lyons, Curtis D. Davis, David Lautman, Juan Perez, Nathaniel Freeman, Christian Levatino, Hannah Beck, Jordan Monsell and John Klopping.
All performances take place at The Cherry Lane Theatre (Main Stage), 38 Commerce Street (7th Avenue and Hudson Street) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour and 30 minutes with no intermission.
Remaining Show Dates Sunday, August 19th @ 5:30 pm Thursday, August 23rd @ 9:15 pm Friday, August 24th @ 2:00 pm
Permalink | Posted by David Roberts on Wednesday, August 15, 2012
"Pieces" at The Cherry Lane Theatre Main Stage
“Pieces” By Chris Phillips Directed by Brian Zimmer Reviewed by David Roberts, Chief Critic Theatre Reviews Limited
[A Gay POV Review. This review is anchored in the belief that the gay community and the straight community speak two entirely different languages and participate in two radically different cultures. When gay men interact with straight men and women we “code-switch:” we adjust all of our rhetorical skills to a different set of vectors and we behave in ways that are expected of us, in ways we have traditionally learned from that heteronormative culture that is not our own. This is the belief of this critic who is a gay male making his way through the same world we are all navigating. It is not assumed this belief is shared by the writer of “Pieces.” This belief is not meant to offend anyone or hurt anyone in either community.]
Can gay men get along with straight men and women when gay men cannot even get along with one another? Can straight men and women get along with gay men when straight men and women cannot even get along with one another? Playwright Chris Phillips brings these bold and important questions to the table in his impeccably perceptive and fresh new play “Pieces,” currently playing at The Cherry Lane Theatre’s Main Stage as part of The New York International Fringe Festival.
On the surface, and on several deeper levels of the play, “Pieces” is about Shane Holloway (Chris Salvatore) a young, attractive gay man who gets himself into some very serious trouble. After being kicked out of his parents’ house as a teenager because they “discovered” he is gay, Shane does what he needs to do in order to survive. [Sidebar: this is the perfect example of the content of the disclaimer that precedes this review.] Shane attends gay AA Meetings so he can crash on the venue’s couch (he is living on the street). He then accepts Darren’s (one of the Meeting attendees) offer to stay at his place which he does for about a year. Darren teaches him to garden and all about flowers (hold that fact for later). After drifting away from Darren, Shane attempts suicide. He eventually meets Jonathan Gibson (Paolo Andino) at a club who ultimately introduces Shane to openly gay Hollywood power broker Stephen who houses, feeds, clothes, and monies Shane for years in exchange for the young man’s beauty and sexual power. At the play’s opening, the audience learns that Shane has been accused of brutally murdering Stephen, dismembering his body, and disposing it in six different locations in West Hollywood.
These conflicts drive the plot of “Pieces” as Shane’s Public Defender Rory Dennis (Jonathan Gibson), who is also openly gay, tries to discover why Shane would murder his benefactor. Rory battles the Assistant District Attorney Mary Hamilton (Nina Millin), a straight woman who claims to be gay-friendly, who simply wants him to convince Shane to accept the plea bargain that will put Shane behind bars for life. And, in his battle with journalist Nick Goff (Joe Briggs), Rory discovers his deep-seated hatred of himself, his gay client, and his gay community.
Rory’s prison interviews with Shane cleverly provide all of the exposition needed by the audience to understand the characters, their conflicts, and ultimately what “Pieces” is all about. Because we gay men are a fragmented (pieced) community, either by our own choice or by emulating the isolation and social mores of straight culture, we are susceptible to being desiccated, pieced up: our strength and our ability to connect to one another and empower one another and sustain one another in non-conventional ways is compromised by our fragmentation.
[But, the reader asks, didn’t this reviewer write that this play is about a psychotic gay young man in Los Angeles who murdered and dismembered his older “sponsor?” It is about that but the meaning of “Pieces” transcends Shane’s story. So, fasten your seat belts, dear readers.]
As Shane, Rory, Jonathan, Nick, and Mary interact in real time and in flashbacks, the audience discovers how awful they are to each other, how they actually hate each other. The gay men realize there is no diversity and no tolerance in the gay community. Gay men stereotype one another, and as Nick shares with Rory, “Which comes first the self-loathing chicken or the marginalized egg?” In the midst of this, Rory realizes just how much Shane has been “broken into pieces.” In the haunting scene between Rory, Shane, and Mary – after Mary humiliates Shane into rehearsing just how awful gay men are to each other – Shane shouts, “No straight person (Mary) has any idea what I do or what I think or how we act with each other when you are not around!” That is the rub. After this exchange, Shane asks Rory for a piece of paper and returns to his cell. The next morning, Rory discovers from Mary that Shane committed suicide and left a beautiful folded-paper lily as his suicide note.
[Review Continued in Second Blog Post]
Permalink | Posted by David Roberts on Wednesday, August 15, 2012
"Pieces" Continued
“Pieces” By Chris Phillips Directed by Brian Zimmer Reviewed by David Roberts, Chief Critic Theatre Reviews Limited
[Review Continued]
Shane’s death is redemptive and revelatory. Just before his death, Rory discovers that it was Jonathan who killed Stephen when Stephen was attacking Shane. Shane dismembered Michael’s dead body to protect Jonathan, his “gay uncle” who though he introduced Shane to Michael, did in some way care for him. The paper flower is a reminder that Shane did know what he needed to do to move on with his life: he did know how to dig in the earth and create beauty. Jonathan did not really know Shane. Even they stereotyped one another and kept one another at arm’s length, afraid to connect, afraid to get close.
We have to know ourselves, define ourselves, step out, crawl out , claw our way out of the roles we have allowed ourselves to be placed in. We have a culture, we have a language. We need to get our hands in the dirt of our identity and give life to who we are: no one else (straight or gay) can or should have to do that for us.
And, from this critic’s point of view, Mary Hamilton is simply wrong. Others should have been charged not only for Stephen’s murder but for Shane’s suicide. Other leads need to be pursued before any more “geeks, trolls, pretty boys, or twinks” throw themselves off bridges real or imagined. Rory and Mary wish they didn’t have to be on opposite sides professionally or culturally. That is a comforting thought but that divide will not be easily crossed.
This cast of five actors, whether drowning in pools of light or concealed in the shadows of secrecy, are capable of articulating emotions with a mere glance or the strength of a trembling hand pressed against the back of a sorrow-filled soul. Their work is sincere and uncompromised and they are committed to the words of the playwright. They transfer his thoughts and deliver them like a hot branding iron making an indelible impression on your mind that you will remember long after you leave the theatre stunned but not confused. Concealed in this crime drama, the playwright throws some hard punches that might hurt, but you never feel beaten, rather you feel inclined to step into the ring. The powerful and insightful voice of Chris Phillips has arrived and it is time.
We need to begin to love one another without judgment and without condition.
PIECES
Presented by Resolve Productions and The New York International Fringe Festival. Written by Chris Phillips. Directed by Brian Zimmer. Sound design by James Ledesma; lighting design by Samantha Szigeti; stage management by Hannah Roth.
WITH: Paolo Andino (Jonathan Nielson), Joe Briggs (Nick Goff), Jonathan Gibson (Rory Dennis), Nina Millin (Mary Hamilton), and Chris Shane Holloway).
All performances take place at The Cherry Lane Theatre (Main Stage), 38 Commerce Street (7th Avenue and Hudson Street) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 2 hours with one 10 minute intermission.
Remaining Show Dates Wednesday, August 15th @ 6:30 pm Thursday, August 16th @ 4:30 pm Sunday, August 19th @8:00 pm
Permalink | Posted by David Roberts on Wednesday, August 15, 2012
"Mahmoud" at The New York International Fringe Festival
“Mahmoud” Written by Tara Grammy and Tom Arthur Davis Performed by Tara Grammy Reviewed by David Roberts, Chief Critic Theatre Reviews Limited
Tara Grammy’s “Mahmoud” intertwines the lives of three characters that have one thing in common: the sacred and beautiful place called Iran. Two of them call one of the world’s oldest civilizations home, and one of them is engaged to an Iranian. Currently, they all live in Canada.
If Tara Grammy fails to convey nothing else to her appreciative audiences, she powerfully conveys two things. When far too many average Americans (or other world citizens) think ‘Iran,’ they characteristically think of Ali Hosseini Khamenei, Mahmoud Ahmadinejad, development of nuclear weapon capability, Jihad, and a dangerous terrorist country. That is a fact. When those same Americans (or other world citizens) think “Iranian,” they think radical Islamic person, terrorist, dangerous person. That, too (unfortunately), is a fact.
Ms. Grammy addresses the latter of the two stereotypes in her powerfully successful “Mahmoud,” currently playing at Jimmy’s No. 43 as part of the New York International Fringe Festival. The concerns of the three characters, all played by Tara Grammy, are similar to the concerns of many Americans (and other world citizens). Mahmoud, an Iranian taxi driver, Emanuelos, a gay Spanish cologne salesperson, and Tara, a twelve-year-old Iranian-Canadian girl) are not unlike those sitting in the audience. Mahmoud is overqualified and underpaid; Emanuelos is engaged to an Iranian young man who has gone back to Iran to be with a dying family member; and Tara is beset with a barrage of adolescent angst including acceptance, body image, and hair color (and perhaps too much hair in too many wrong places).
What makes their collective angst different is that, added to the concerns common to other Canadians (or Americans, or other world citizens), they had the added burden of not being accepted for who they are: they all fall under the suspicion of the stereotypes generated by people who neither know anything about Iran or anything about the Iranian people. They are all pre-judged before they are known. This is the tragedy of “Mahmoud.”
Tara Grammy’s performance is consistently “spot on!” She delineates each of her characters carefully: each is a well-developed, round character with whom the audience can identify. Hopefully, we can come away from “Mahmoud” willing to engage all people we meet with no prejudice. That does not mean we will all like one another. One does not like taxi driver Mahmoud’s homophobia. The point is he is a human being who happens to be Iranian, who (unfortunately) is homophobic and a bit cantankerous. The latter two personality qualities have nothing to do with the former status of his humanity and his home.
Presented by The New York International Fringe Festival and Pandemic Theatre. Directed by Tom Arthur Davis. Lighting designed by Jenna Koenig; sound designed by Mike Conley.
All performances take place at Jimmy’s No. 43, 43 East 7th Street (Between 2nd and 3rd Avenue). Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour with no intermission.
Remaining Show Dates Friday, August 17th @ 2:00 pm Sunday, August 19th @ 5:30 pm Friday, August 24th @ 5:00 pm Saturday, August 25th @ 7:00 pm
Permalink | Posted by David Roberts on Wednesday, August 15, 2012
“From Busk Till Dawn” Written and Performed by Tim Intravia Directed by Rebecca Yarsin Reviewed by Joseph Verlezza Theatre Reviews Limited
“From Busk Till Dawn: The Life of a NYC Street Performer” is certainly derived from the source, written and performed solo by Tim Intravia, alias Silver Robot Man, a mime whom you might recognize on the streets of the New York City. In this quick, fast paced ramble about the trials and tribulations of “busking” on the streets of the ‘Big Apple,” we learn that all is not what it seems to be, qualifying that it just looks easy because it is done so well. Like viewing a character in a play peeling away the layers to expose their inner self and purpose, Intravia reveals just enough stream of self consciousness with his next door neighbor, Troy the garbage can, to let us know the extent of his lonely existence. The shared litanies of events that occur are delivered with calloused comedic flair played out behind a guise of bitterness. We are informed that the glory and glamour of a street performer does not necessarily translate into “I love what I do” rather than “I do this to survive.”
Although it is an enjoyable forty five minutes it is the pay off, the last couple of somber minutes of this entertaining sermon, that justifies any trace of anger displayed previously. This busker can paint himself silver and may be a great robot but more so has the ability and deep resources as an actor to capture a heartfelt moment and deliver it to his audience as the light fade to darkness.
FROM BUSK TILL DAWN
Presented by The New York International Fringe Festival. Directed by Rebecca Yarsin.
WITH: Tim Intravia
All performances take place at The Gene Frankel Theatre, 24 Bond Street (Lafayette and Bowery) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 50 minutes with no intermission.
Remaining Show Dates Sunday, August 19th @ 9:45 pm Friday, August 24th @ 5:00 pm Saturday, August 25th @ 4:00 pm
Permalink | Posted by David Roberts on Wednesday, August 15, 2012
"The Hills Are Alive" at The New York International Fringe Festival
“The Hills Are Alive” Book and Lyrics by Frankie Johnson Music by Eric Thomas Johnson Directed by Frankie Johnson Reviewed by Joseph Verlezza Theatre Reviews Limited
Currently, the historical Theater 80 on St. Marks Place is alive with laughter and applause from enthusiastic audiences of the New York International Fringe Festival, partly because of the recent arrival of a fun filled production of “The Hills Are Alive” billed as a dark musical comedy but truly being so much more. It is clever, smart, and edgy and teases the audience with nearly every conceivable slanted parallel to the incessant optimistic journey of the film musical “The Sound of Music.” If you happen to be familiar with this movie all the better, if not just sit back and enjoy the twisted tale of a family with seven children with no food or supplies, singing their way over the snowcapped Alps trying to escape the Nazis. Grab a drink at the recently restored prohibition era William Barnacle bar (housed in the same building), and join the journey of this diverse if not eccentric family. Travel with the OCD twirling matriarch Mathilde, the evil Nazi loving, wicked sister Ludwiga and the eldest son Felix with a severe Oedipus complex, as they experience challenging escapades such as backwoods mountain people (a la “Deliverance”) and mind altering poisonous berries, to name just a few.
The entire cast is nearly perfect, each in their own way, all adept vocally and physically, to make each character resonate bigger than life, providing the audience with a comical, enjoyable evening of entertainment. On a constructive note the product can be shaved to ninety-five minutes without an intermission and characters might try to get closer to the edge without fear of falling: there is room. The brilliant musical compositions are truly reminiscent of “Rogers and Hammerstein” melodies and more important reflect the structure, theme and tone of the original film “The Sound of Music.” This was no easy task but reaps the rewards of producing a parody of exceptional quality that should continue to please theatergoers hopefully for a long time. Take the time to enjoy this end of summer treat and spend a couple of hours savoring the talent served up by an amazing cast, crew and creative team of “The Hills Are Alive.”
THE HILLS ARE ALIVE
Presented by Melodion Theatre and The New York International Fringe Festival. Book and Lyrics by Frankie Johnson. Music by Eric Thomas Johnson. Directed by Frankie Johnson. Musical Direction by Eric Thomas Johnson. Choreographed by Jody Herman; costumes designed by Jennifer Ackland; lighting based on the original design by Nick Gonsman.
WITH: Ashley Ball, Katie Bland, Daniele Hager, Frankie Johnson, Skylar Saltz, Christopher Tiernan, Trenton Weaver, Maggie Wetzel, and Becky Whitcomb.
All performances take place at Theatre 80, 80 St. Marks Place (1st Avenue and 2nd Avenue) in New York, NY. Tickets are available at www.fringenyc.org or 866-468-7619. $15 in advance, $18 at the door. Senior and Fringe Junior tickets available at the door for $10. Running time: 1 hour 10 minutes with no intermission.
Remaining Show Dates Sunday, August 19th @ 1:00 pm Friday, August 24th @ 9:00
Permalink | Posted by David Roberts on Tuesday, August 14, 2012
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