Review by Byrne Harrison
There are certain directors whose work is instantly recognizable. Having seen a few Rachel Klein productions, I would add her to this list. Klein's productions feature an otherworldly feel, highlighted by odd costume pieces, choreographed movement, and a bold, non-realistic acting style. The effect is like seeing the world through a kaleidoscope - there are things that are familiar, though bent out of shape and rearranged, and while the picture is odd and possibly unsettling, it is beautiful.
At first blush, a play based on Sir Arthur Conan Doyle's Sherlock Holmes novel, "The Hound of the Baskervilles" seems an odd choice for Klein's theatrical stylings. This Victorian mystery about a wealthy landowner seemingly done in by a hound from hell, certainly has supernatural elements that Klein's fanciful style could highlight, but ultimately this story is one in which cool, rational observation triumphs over irrational fear and superstition.
Hound, John Patrick Bray's play inspired by Conan Doyle's book, is a different story altogether, and one that is indubitably suited for Klein's direction. Bray takes the focus off the Baskervilles and Holmes, and explores the character of Dr. Watson (Cavan Hallman). This Watson is not the affable sidekick that is normally seen in Holmes stories. He is full of despair and doubt, his life shattered by the loss of his beloved wife, Mary. When Holmes (Ryan Knowles) is approached by Dr. Mortimer (Elizabeth Stewart) about the murderous hell hound and her concerns for the new Baskerville heir (Grant Boyd), Holmes sees a mystery to be tamed and truth to be uncovered. When Watson hears about the supernatural hound and the mysteries surrounding the Baskerville family, he sees a doorway to the next world and a possible way to contact his lost love.
What follows has more to do with a rational man's struggle to comprehend a world that no longer makes sense, and his flailing attempts to grab on to anything that seems to answer his unanswerable questions. The theatrical elements of Bray's play - monologues by secondary characters explaining their backstory, talking dogs that Watson can understand, use of flashback - all combine to create a world that to Watson's eye is completely off-kilter. Klein's direction and costumes underscore that alien feeling. The result is decidedly theatrical and unrealistic, but certainly entertaining.
The acting in the production is strong, and the actors, especially those whose characters are wildly over-the-top, excel at creating this surreal vision of Victorian England. Chief among these are Elizabeth Stewart as the quirky Dr. Mortimer, and Blaine Peltier, as Stapleton, the eccentric naturalist. Holmes is played with a twinkle in his eye by Ryan Knowles, a late addition to the cast. With a impressive voice and commanding appearance, his Holmes looks and sounds like those who have come before him, but Knowles captures the humor and compassion that others have missed in the cool and logical detective. Overall, it is Cavan Hallman who is given an opportunity to shine as the tortured Dr. Watson, and he takes full advantage of it, making the most of Watson's highs and lows as he navigates this unfamiliar landscape, both literal and figurative, that he finds himself in.
While those seeking a traditional staging of Arthur Conan Doyle's "The Hound of the Baskervilles" may be put off by John Patrick Bray and Rachel Klein's creation, those with and adventurous spirit and a desire to see something original will be delighted by Hound.
Hound
Written by John Patrick Bray
Directed by Rachel Klein
Stage Manager: Teresa Maranzano
Sound Designer: Sean Gill
Costume Designer: Rachel Klein
Costume Design Consultant: Emily Taradash
Make-up Designer: Anita Rundles
House Manager: Erin Trinidad
Board Op: Victoria M. Moshy
Press Representative: Emily Owens PR
Photographer: Joseph Stipek
Holmes Photographer: Rachel Adams
Model for Holmes Photograph: Evan Melancon
Graphic Designer: Danielle Bienvenue Bray
Featuring: Grant Boyd (Sir Henry Baskerville), Jack Corcoran (Mr. Barrymoore), Meredith Dillard (Mrs. Hudson/Mrs. Barrymore), Cavan Hallman (Watson), Abigail Hawk (Beryl Stapelton/Mary), Ryan Knowles (Sherlock Holmes), Blaine Peltier (Stapleton), Alyssa Schroeter (Curley the Spaniel/Toby the Dog/The Hound), Elizabeth Stewart (Mortimer), Jason R. Stroud (Mounted Officer/Boy/Seldon)
Planet Connections Theatre Festivity
440 Studios
440 Lafayette Street, 3rd Floor
Closed June 25th
Thursday, July 9, 2009
Sunday, July 5, 2009
Review - Infectious Opportunity (Nosedive Productions)
Review by Byrne Harrison
Photos by Aaron Epstein
It all begins with one lie. A simple lie of omission - not even a lie, really, just a hint at something that you neither confirm nor deny, in order to get something you want. Surely, there won't be consequences on something so tiny, so innocent. How could there be when we are all guilty of the same little lies every day of our lives?
But what do you do if that lie suddenly opens doors? If it tempts you with an easy path to splendors you have coveted, but that you would otherwise spend years trying to achieve with no guarantee of success?
For Wes Farley (David Ian Lee) - screenwriter, activist, philanthropist, and person living with HIV - his tiny lie has spiraled out of control. The tiny lie? That he has HIV. At turns awestruck and jealous of Rob (DR Mann Hanson), a fellow film student with HIV, Wes allows him to think that he has HIV, too. Oddly enough, that lie provides him with a fast track to everything he wants - a degree, teaching position, and a string of movies.
Tortured by the fear that he will be exposed right as his star is ascending, Wes finds himself haunted by Josie (Andrea Marie Smith), a character from his critically acclaimed movie, "A Shoulder For the World To Cry On." Josie is based on a woman with whom Wes had a relationship, a former HIV+ heroin addict that he met in a support group. The relationship ended badly, and now Josie plays the part of his conscience. Or at least she tries. Tortured though he is, Wes is not going to give up everything he's been handed without a fight.
It's this fight between Wes and Josie, or really between Wes and himself, that forms the core of the dramatic action in Infectious Opportunity. Really, that's to be expected; it's Drama 101 - internal struggles make good drama. What Comtois is to be commended for is creating dramatic tension in the audience. Wes is doing something that any rational person would find deeply offensive. And yet, he's so damn sympathetic. Surely he has just let things spiral out of control through no fault of his own. We've all done it, albeit not on this scale. We just know that he will do the right thing in the end, because we see a little bit of ourselves in him, and we know that we would eventually do the right thing in the same situation. Comtois enables our sympathy every step of the way. He raises our expectations and knocks them down over and over again in this well-written play. He sets up red herrings that lull us into complacency and lead us smugly to decide that we've figured out his play. Then he smacks us across the face and shows us that he still has surprises up his sleeve. Like any good roller coaster ride, Infectious Opportunity leaves the audience with a racing heart, exhilarated, and a little bit nauseated.
The acting is superb, especially on the part of David Ian Lee and Andrea Marie Smith. While Smith at times seems a little too well-adjusted for someone who spent her life on the street as a heroin addict, she is playing a Hollywood version of the real Josie, so it actually works. Lee does a marvelous job eliciting the audience's sympathy and disgust for Wes, and he strikes the perfect note in the last monologue of the play, which is one of those moments that shouldn't be spoiled by giving away too much in a review. Suffice it to say, the last two sentences of the play are chilling thanks to Comtois' script and Lee's portrayal.
Each of the other actors has a moment to shine in the play. Rebecca Comtois shines as Jenny, one of Wes' star-struck students. Hanson is marvellous as Rob, Wes' film school rival and HIV mentor. Daryl Lathon, Ronica Reddick, and Matthew Trumbull round out the excellent cast.
Pete Boisvert directs with a steady hand, keeping the action moving and choreographing tight scene changes that make use of Rebecca Comtois and Ben VandenBooms wonderfully versatile set pieces, while not interrupting that building tension of the play. Ian W. Hill's lighting design and Patrick Shearer's sound design complement the play nicely.
Although Infectious Opportunity has completed its official run as part of the Antidepressant Festival, it is one of three productions from the festival (along with Adventure Quest and Suspicious Package Rx both of which have been added to the Game Play Festival) to have been extended. The final two performances of Infectious Opportunity will be July 19th at 3 PM and July 21st at 8 PM. As part of the Antidepressant Festival, Infectious Opportunity was selling out, so buy your tickets early.
Infectious Opportunity
Written by James Comtois
Directed by Pete Boisvert
Stage Manager: Stephanie Cox-Williams
Set Designers: Rebecca Comtois, Ben VandenBoom
Sound Designer: Patrick Shearer
Lighting Designer: Ian W. Hill
Costume & Prop Designer: Stephanie Cox-Williams
Makeup Designer: Leslie E. Hughes
Composer: Itai Sol
Producers: Pete Boisvert, James Comtois, Rebecca Comtois, Stephanie Cox-Williams, Patrick Shearer
Associate Producers: Marc Landers, Ben VandenBoom
Featuring: David Ian Lee (Wes), Andrea Marie Smith (Josie), Rebecca Comtois (Jenny/Moira/Interviewer/Student), DR Mann Hanson (Mark/Rob), Daryl Lathon (Brent/Student), Ronica Reddick (Professor Hale/Amanda/Diane/Interviewer/Student), Matthew Trumbull (Professor Franklin/Dude).
The Brick Theatre
575 Metropolitan Avenue
Photos by Aaron Epstein
It all begins with one lie. A simple lie of omission - not even a lie, really, just a hint at something that you neither confirm nor deny, in order to get something you want. Surely, there won't be consequences on something so tiny, so innocent. How could there be when we are all guilty of the same little lies every day of our lives?
But what do you do if that lie suddenly opens doors? If it tempts you with an easy path to splendors you have coveted, but that you would otherwise spend years trying to achieve with no guarantee of success?
For Wes Farley (David Ian Lee) - screenwriter, activist, philanthropist, and person living with HIV - his tiny lie has spiraled out of control. The tiny lie? That he has HIV. At turns awestruck and jealous of Rob (DR Mann Hanson), a fellow film student with HIV, Wes allows him to think that he has HIV, too. Oddly enough, that lie provides him with a fast track to everything he wants - a degree, teaching position, and a string of movies.
Tortured by the fear that he will be exposed right as his star is ascending, Wes finds himself haunted by Josie (Andrea Marie Smith), a character from his critically acclaimed movie, "A Shoulder For the World To Cry On." Josie is based on a woman with whom Wes had a relationship, a former HIV+ heroin addict that he met in a support group. The relationship ended badly, and now Josie plays the part of his conscience. Or at least she tries. Tortured though he is, Wes is not going to give up everything he's been handed without a fight.
It's this fight between Wes and Josie, or really between Wes and himself, that forms the core of the dramatic action in Infectious Opportunity. Really, that's to be expected; it's Drama 101 - internal struggles make good drama. What Comtois is to be commended for is creating dramatic tension in the audience. Wes is doing something that any rational person would find deeply offensive. And yet, he's so damn sympathetic. Surely he has just let things spiral out of control through no fault of his own. We've all done it, albeit not on this scale. We just know that he will do the right thing in the end, because we see a little bit of ourselves in him, and we know that we would eventually do the right thing in the same situation. Comtois enables our sympathy every step of the way. He raises our expectations and knocks them down over and over again in this well-written play. He sets up red herrings that lull us into complacency and lead us smugly to decide that we've figured out his play. Then he smacks us across the face and shows us that he still has surprises up his sleeve. Like any good roller coaster ride, Infectious Opportunity leaves the audience with a racing heart, exhilarated, and a little bit nauseated.
The acting is superb, especially on the part of David Ian Lee and Andrea Marie Smith. While Smith at times seems a little too well-adjusted for someone who spent her life on the street as a heroin addict, she is playing a Hollywood version of the real Josie, so it actually works. Lee does a marvelous job eliciting the audience's sympathy and disgust for Wes, and he strikes the perfect note in the last monologue of the play, which is one of those moments that shouldn't be spoiled by giving away too much in a review. Suffice it to say, the last two sentences of the play are chilling thanks to Comtois' script and Lee's portrayal.
Each of the other actors has a moment to shine in the play. Rebecca Comtois shines as Jenny, one of Wes' star-struck students. Hanson is marvellous as Rob, Wes' film school rival and HIV mentor. Daryl Lathon, Ronica Reddick, and Matthew Trumbull round out the excellent cast.
Pete Boisvert directs with a steady hand, keeping the action moving and choreographing tight scene changes that make use of Rebecca Comtois and Ben VandenBooms wonderfully versatile set pieces, while not interrupting that building tension of the play. Ian W. Hill's lighting design and Patrick Shearer's sound design complement the play nicely.
Although Infectious Opportunity has completed its official run as part of the Antidepressant Festival, it is one of three productions from the festival (along with Adventure Quest and Suspicious Package Rx both of which have been added to the Game Play Festival) to have been extended. The final two performances of Infectious Opportunity will be July 19th at 3 PM and July 21st at 8 PM. As part of the Antidepressant Festival, Infectious Opportunity was selling out, so buy your tickets early.
Infectious Opportunity
Written by James Comtois
Directed by Pete Boisvert
Stage Manager: Stephanie Cox-Williams
Set Designers: Rebecca Comtois, Ben VandenBoom
Sound Designer: Patrick Shearer
Lighting Designer: Ian W. Hill
Costume & Prop Designer: Stephanie Cox-Williams
Makeup Designer: Leslie E. Hughes
Composer: Itai Sol
Producers: Pete Boisvert, James Comtois, Rebecca Comtois, Stephanie Cox-Williams, Patrick Shearer
Associate Producers: Marc Landers, Ben VandenBoom
Featuring: David Ian Lee (Wes), Andrea Marie Smith (Josie), Rebecca Comtois (Jenny/Moira/Interviewer/Student), DR Mann Hanson (Mark/Rob), Daryl Lathon (Brent/Student), Ronica Reddick (Professor Hale/Amanda/Diane/Interviewer/Student), Matthew Trumbull (Professor Franklin/Dude).
The Brick Theatre
575 Metropolitan Avenue
Thursday, July 2, 2009
Review - The Imaginary Invalid: By Prescription Only (Aliza Shane and the Planet Connections Theatre Festivity)
Review by Byrne Harrison
Think you know The Imaginary Invalid? Aliza Shane's version is not like any other you will have seen. Adapted from Molière's original, The Imaginary Invalid: By Prescription Only takes aim not only at the doctors, but at modern society and our nearly universal belief that a happy life is just a pill away.
Unlike the original play, the doctors in Aliza Shane's version aren't complete quacks; they're just greedy. In a world where insurance foots the bill, they will prescribe anything and everything that Arganne (Stasi Schaeffer) wants - and with a half dozen doctors, that's a lot of pills. In order to save a little money on her co-pays, the miserly Arganne decides to marry off her daughter Angélique (Ayelet Blumberg) to her doctor's simpleton son (Anthony Aguilar). What better thing for a hypochondriac than to have a doctor in the family? Sadly, Angélique is in love with Cléante (Chris Cronwell), a young man without means. Only with the help of the wily servant Toinette (Michelle Foytek) and her wise aunt, Béralde (Kymberly Tuttle), can she hope to avoid her fate.
Aliza Shane takes aim at the major drug companies by making sure to mention by name the various medications that Arganne is taking. The actors, those not playing the six main roles, dramatically list the various side-effect of each medication that Arganne ingests. An intriguing concept, but one that quickly grows old since so many of the side-effects are the same. In addition, Shane give this Invalid a decidedly unhappy ending. Given the breakneck speed with which modern medicine is churning out remedies for everything (Restless Leg Syndrome? Really?), Shane's vision of a country that turns to pills at the slightest misfortune seems eerily on target.
As a director, Shane uses Chanda Calentine's choreography to accentuate the dreamy feel of the piece. Stripped to a barebones set (also designed by Shane), the chorus of actors becomes scenery, never obtrusively, but always in a "Wow, that's cool" way. Shane has a good eye for stage pictures, and her production always features something interesting to watch.
Acting in the production is good, particularly Michelle Foytek as the sly maid Toinette. Ably showing off her physical comedy skills and mastery of clever retorts, Foytek's Toinette delights as she runs, schemes, and avoids the withering disdain of Arganne. Also amusing is Kevin Mitchell as Arganne's mincing gold-digger of a husband. Adding a note of quiet calm, Kymberly Tuttle plays the straight woman to all the insanity around her as Béralde, and provides a nice counterpoint to Schaeffer's cranky and distressed Arganne. Schaeffer hits all the right notes as the hypochondriac, and truly shines in her scenes with Foytek. As the young lovers, Blumberg and Cornwell lack chemistry, and make up for it by playing up the sexual innuendo. Cornwell, in particular, doesn't seem to know what to do with his character - Shane's version of Cléante is considerably different from Molière's original dashing young lover - and as a result, never seems to be fully incorporated into the play. This is a minor problem, given that most of the play focuses on the grownups.
Clever and timely, Aliza Shane's The Imaginary Invalid: By Prescription Only is a worthy adaptation of the original.
The Imaginary Invalid: By Prescription Only
Written and Directed by Aliza Shane
Based on Le Malade Imaginaire by Molière
Choreographer: Chanda Calentine
Assistant Director: Kenzie West
Assistant Director/Stage Manager: Fran Acuna
Lighting Designer: David Monroy
Costume and Set Design: Aliza Shane
Postcard and Logo Design by Duncan Pflaster
Produced by Aliza Shane, Darrell Fontenot, Dr. & Mrs. Alan and Fran Hirschman
Featuring: Anthony Aguilar (Doctor Five/Thomas Diafoirus), Melanie Bell (Doctor One/Dr. Purgon), Ayelet Blumberg (Angélique), Chris Cornwell (Cléante), Michelle Foytek (Toinette), Kevin Mitchell (Belin), Stasi Schaeffer (Arganne), Harlan Short (Doctor Two/Dr. Diafoirus), Emily Tuckman (Doctor Three/Dr. BonneFoi), Kymberly Tuttle (Béralde), Ebru Yönak (Doctor Four/Dr. Fleurant)
Planet Connections Theatre Festivity
440 Studios
440 Lafayette Street, 3rd Floor
Closed June 27th.
Think you know The Imaginary Invalid? Aliza Shane's version is not like any other you will have seen. Adapted from Molière's original, The Imaginary Invalid: By Prescription Only takes aim not only at the doctors, but at modern society and our nearly universal belief that a happy life is just a pill away.
Unlike the original play, the doctors in Aliza Shane's version aren't complete quacks; they're just greedy. In a world where insurance foots the bill, they will prescribe anything and everything that Arganne (Stasi Schaeffer) wants - and with a half dozen doctors, that's a lot of pills. In order to save a little money on her co-pays, the miserly Arganne decides to marry off her daughter Angélique (Ayelet Blumberg) to her doctor's simpleton son (Anthony Aguilar). What better thing for a hypochondriac than to have a doctor in the family? Sadly, Angélique is in love with Cléante (Chris Cronwell), a young man without means. Only with the help of the wily servant Toinette (Michelle Foytek) and her wise aunt, Béralde (Kymberly Tuttle), can she hope to avoid her fate.
Aliza Shane takes aim at the major drug companies by making sure to mention by name the various medications that Arganne is taking. The actors, those not playing the six main roles, dramatically list the various side-effect of each medication that Arganne ingests. An intriguing concept, but one that quickly grows old since so many of the side-effects are the same. In addition, Shane give this Invalid a decidedly unhappy ending. Given the breakneck speed with which modern medicine is churning out remedies for everything (Restless Leg Syndrome? Really?), Shane's vision of a country that turns to pills at the slightest misfortune seems eerily on target.
As a director, Shane uses Chanda Calentine's choreography to accentuate the dreamy feel of the piece. Stripped to a barebones set (also designed by Shane), the chorus of actors becomes scenery, never obtrusively, but always in a "Wow, that's cool" way. Shane has a good eye for stage pictures, and her production always features something interesting to watch.
Acting in the production is good, particularly Michelle Foytek as the sly maid Toinette. Ably showing off her physical comedy skills and mastery of clever retorts, Foytek's Toinette delights as she runs, schemes, and avoids the withering disdain of Arganne. Also amusing is Kevin Mitchell as Arganne's mincing gold-digger of a husband. Adding a note of quiet calm, Kymberly Tuttle plays the straight woman to all the insanity around her as Béralde, and provides a nice counterpoint to Schaeffer's cranky and distressed Arganne. Schaeffer hits all the right notes as the hypochondriac, and truly shines in her scenes with Foytek. As the young lovers, Blumberg and Cornwell lack chemistry, and make up for it by playing up the sexual innuendo. Cornwell, in particular, doesn't seem to know what to do with his character - Shane's version of Cléante is considerably different from Molière's original dashing young lover - and as a result, never seems to be fully incorporated into the play. This is a minor problem, given that most of the play focuses on the grownups.
Clever and timely, Aliza Shane's The Imaginary Invalid: By Prescription Only is a worthy adaptation of the original.
The Imaginary Invalid: By Prescription Only
Written and Directed by Aliza Shane
Based on Le Malade Imaginaire by Molière
Choreographer: Chanda Calentine
Assistant Director: Kenzie West
Assistant Director/Stage Manager: Fran Acuna
Lighting Designer: David Monroy
Costume and Set Design: Aliza Shane
Postcard and Logo Design by Duncan Pflaster
Produced by Aliza Shane, Darrell Fontenot, Dr. & Mrs. Alan and Fran Hirschman
Featuring: Anthony Aguilar (Doctor Five/Thomas Diafoirus), Melanie Bell (Doctor One/Dr. Purgon), Ayelet Blumberg (Angélique), Chris Cornwell (Cléante), Michelle Foytek (Toinette), Kevin Mitchell (Belin), Stasi Schaeffer (Arganne), Harlan Short (Doctor Two/Dr. Diafoirus), Emily Tuckman (Doctor Three/Dr. BonneFoi), Kymberly Tuttle (Béralde), Ebru Yönak (Doctor Four/Dr. Fleurant)
Planet Connections Theatre Festivity
440 Studios
440 Lafayette Street, 3rd Floor
Closed June 27th.
Monday, June 29, 2009
Avenue Q to End Broadway Run on September 13th
By Byrne Harrison
After six years of songs, laughs, and puppet-on-puppet action, Broadway's Avenue Q is set to close on September 13th. At the time of its closing, it will have played 22 previews and 2,534 performances to become the 20th longest-running show in Broadway history, surpassing Annie, Oklahoma!, and The Producers.
A musical about a group of 20-somethings living in New York City with big dreams and tiny bank accounts, Avenue Q features music and lyrics by Robert Lopez and Jeff Marx, book by Jeff Whitty, and is directed by Jason Moore. Based on an original concept by Robert Lopez and Jeff Marx, with puppets conceived and designed by Rick Lyon, Avenue Q has musical supervision by Stephen Oremus, choreography by Ken Roberson, scenic design by Anna Louizos, costume design by Mirena Rada, lighting design by Howell Binkley, and sound design by Acme Sound Partners.
The musical is produced on Broadway by Kevin McCollum, Robyn Goodman, Jeffrey Seller, The Vineyard Theatre and The New Group.
"We will miss our furry friends on 45th street, but are very proud of their longevity," stated Avenue Q producer Robyn Goodman. Ms. Goodman adds "a disappointed Rod was hoping for an Obama bailout and swore he would turn Democrat if it happened."
Beginning on Monday, July 6th, Avenue Q will welcome back original cast member Ann Harada in the role of Christmas Eve. Also joining the Broadway cast on July 6th, direct from the national tour are Robert McClure in the roles of Princeton and Rod, Anika Larsen in the roles of Kate Monster and Lucy the Slut, and Danielle K. Thomas in the role of Gary Coleman. Harada, McClure, Larsen and Thomas will join Christian Anderson, Nicholas Kohn and Jennifer Barnhart to comprise the final Broadway cast of Avenue Q.
Avenue Q will mark its 6th anniversary on Broadway on July 31, 2009. The musical began previews on Broadway on July 11, 2003, opened on July 31, 2003, and went on to win three 2004 Tony Awards for Best Musical, Best Score and Best Book of a Musical.
In addition to its long run on Broadway, Avenue Q spawned a 2005 Las Vegas production; a 2006 West End production - which concluded its run at the Noël Coward Theatre in March 2009 only to re-open at the Gielgud Theatre in June 2009; and a U.S. national tour - which recently concluded a successful two year run in May 2009.
Avenue Q continues Mondays, Tuesdays, Thursdays, Fridays at 8:00pm, Saturdays at 2:00pm & 8:00pm, and Sundays at 2:00pm &7:00pm (with added performances on Wednesday, July 1 at 2:00pm and 8:00pm).
After six years of songs, laughs, and puppet-on-puppet action, Broadway's Avenue Q is set to close on September 13th. At the time of its closing, it will have played 22 previews and 2,534 performances to become the 20th longest-running show in Broadway history, surpassing Annie, Oklahoma!, and The Producers.
A musical about a group of 20-somethings living in New York City with big dreams and tiny bank accounts, Avenue Q features music and lyrics by Robert Lopez and Jeff Marx, book by Jeff Whitty, and is directed by Jason Moore. Based on an original concept by Robert Lopez and Jeff Marx, with puppets conceived and designed by Rick Lyon, Avenue Q has musical supervision by Stephen Oremus, choreography by Ken Roberson, scenic design by Anna Louizos, costume design by Mirena Rada, lighting design by Howell Binkley, and sound design by Acme Sound Partners.
The musical is produced on Broadway by Kevin McCollum, Robyn Goodman, Jeffrey Seller, The Vineyard Theatre and The New Group.
"We will miss our furry friends on 45th street, but are very proud of their longevity," stated Avenue Q producer Robyn Goodman. Ms. Goodman adds "a disappointed Rod was hoping for an Obama bailout and swore he would turn Democrat if it happened."
Beginning on Monday, July 6th, Avenue Q will welcome back original cast member Ann Harada in the role of Christmas Eve. Also joining the Broadway cast on July 6th, direct from the national tour are Robert McClure in the roles of Princeton and Rod, Anika Larsen in the roles of Kate Monster and Lucy the Slut, and Danielle K. Thomas in the role of Gary Coleman. Harada, McClure, Larsen and Thomas will join Christian Anderson, Nicholas Kohn and Jennifer Barnhart to comprise the final Broadway cast of Avenue Q.
Avenue Q will mark its 6th anniversary on Broadway on July 31, 2009. The musical began previews on Broadway on July 11, 2003, opened on July 31, 2003, and went on to win three 2004 Tony Awards for Best Musical, Best Score and Best Book of a Musical.
In addition to its long run on Broadway, Avenue Q spawned a 2005 Las Vegas production; a 2006 West End production - which concluded its run at the Noël Coward Theatre in March 2009 only to re-open at the Gielgud Theatre in June 2009; and a U.S. national tour - which recently concluded a successful two year run in May 2009.
Avenue Q continues Mondays, Tuesdays, Thursdays, Fridays at 8:00pm, Saturdays at 2:00pm & 8:00pm, and Sundays at 2:00pm &7:00pm (with added performances on Wednesday, July 1 at 2:00pm and 8:00pm).
Friday, June 26, 2009
Review - From Russia With Angst (WorkShop Theater Company)
Review by Byrne Harrison
From Russia With Angst sounds like a familiar concept - an evening of Chekhov's one-act plays. The twist? These aren't Chekhov's plays; they are adaptations of five of his short stories. So if you're expecting The Bear, A Marriage Proposal, or The Wedding, you won't get it. Instead you'll peer into the mind of one of the world's greatest writers, through the filter of some of the WorkShop Theatre Company's talented writers. The results are mixed, but for fans of Chekhov's writing, are worth exploring.
The first act contains the least successful adaptations, in part due to Chekhov's stories themselves. A perfect example is the second adaptation of the evening, We'll Take a Cup of Kindness Yet, which was adapted by Scott C. Sickles from "Misery." The play deals with a hansom cab driver (Michael Gnat) in Central Park on New Year's Eve. Having just lost his child, he sees other's joy in the evening only through the prism of his loss and sadness. The main problem of the story is that not much happens, and the play has to fight to keep the audience's attention and involvement. Despite some lovely dialogue and good acting on the part of the cast, there is little dramatic tension, just one man's grief laid bare.
Death of a Government Worker by Jonathan Pereira has the look and feel of an absurdist play. A hen-pecked clerk (James Davies) with a shrewish wife and enormous newborn, tries to ask his boss for a raise, but only ends up sneezing on him each time he works up the nerve to ask. The boss (the wonderfully shady Stephen Girasuolo) may be having an affair with the wife. While the nonsensical and absurd aspects of the play work well, a reference to government sponsored torture seems shoe-horned in. Death is an odd little piece, but if you like absurdist comedy, it might be just your thing.
The final play in the first act, Joy by Robert Strozier, succeeds in that it touches on a timely subject, the pursuit of fame at all cost, and that it takes on a more modern feel. A young girl (Sutton Crawford) is having her moment. A YouTube video that she posted is climbing in popularity. Her parents are dismayed to discover that this is due in no small part to her singing a racy song while half-nude and drunk. Like the previous pieces, Joy is a slight play (Chekhov's short story is very short indeed), but it makes it's point - some people are happy to be famous no matter how it happens. Crawford does a good job as the teen, and director Elena Araoz excels.
The second act brings the strongest play of the evening. In Country, written and directed by Timothy Scott Harris, is well-written and extremely moving. This play about an awkward dinner date between Laurie (Dee Dee Friedman) and Steve (Jed Dickson) set up by Laurie's father (Noah Keen), at first seems like it will just be a light play about two mismatched people. Instead, Harris slowly spins a tale about shattered beliefs, the pain of self-discovery, and the fear faced by older people as they begin to realize the world that they knew is gone. Tightly written and directed and featuring an exceptional cast, In Country is reason enough to attend From Russia With Angst.
The final play of the evening, a parody of Chekhov's plays entitled Misery, Apathy and Despair: A Chekhovian Comedy in Four Mercifully Short Acts, by John McKinney, will provide laughs to anyone who is familiar with Chekhov's cannon. The play tends to take potshots at the easiest of Chekhovian targets - the bored upper class, the characters that talk constantly but do nothing, the vacuous lovelies - and leaves subtlety at the door, but it is humorous and a pleasant way to end the evening.
From Russia With Angst
Supervising Director: Timothy Scott Harris
Set Designer: John Scheffler
Lighting Designer: Duane Pagano
Costume Designer: Lexie Devin
Sound and Projection Designer: David Schulder
Production Stage Manager: Jason Healy
Assistant Stage Manager: Eric Luers
Coordinating Producers: Carrie Edel Isaacman, Christina Romanello
Press Representative: Scotti Rhodes Publicity
Promotional Art/Logo: Todd Alan Johnson
Death of a Government Worker
Written by Jonathan Pereira
Based on "Death of a Government Clerk"
Directed by Katrin Hilbe
Featuring: James Davies (Ivan), Stephen Girasuolo (Mr. Breeze), Tracy Shar (Mary)
We'll Take a Cup of Kindness Yet
Written by Scott Sickles
Based on "Misery"
Directed by David Gautschy
Assistant Director: Cecily Benjamin
Featuring: Michael Gnat (Driver), Sean Singer (New Husband/Smooth Talker/Stablehand), Amanda Sayle (New Wife/Debutante/Female Driver), Mike Mihm (Provocateur/Beat Cop/Other Male Driver)
Joy
Written by Robert Strozier
Based on "Joy"
Directed by Elena Araoz
Featuring: Carrie Edel Isaacman (Marci), Joseph Franchini (Ted), Sutton Crawford (Ginger)
In Country
Written and Directed by Timothy Scott Harris
Based on "At a Country House"
Featuring: Dee Dee Friedman (Laurie), Noah Keen (Dad), Jed Dickson (Steve)
Misery, Apathy and Despair: A Chekhovian Comedy in Four Mercifully Short Acts
Written by John McKinney
Based on "An Artist's Story"
Directed by Richard Kent Green
Featuring: Liz Frost (Elena), David M. Pincus (Peter), Sutton Crawford (Masha), Caroline Messihi (Lydia)
WorkShop Theater
Main Stage
312 W. 36th Street, 4th Floor East
June 11-27
Wednesday - Saturday at 8 PM
Monday, June 15th at 7 PM
For reservations contact 212-695-4173 x5#
From Russia With Angst sounds like a familiar concept - an evening of Chekhov's one-act plays. The twist? These aren't Chekhov's plays; they are adaptations of five of his short stories. So if you're expecting The Bear, A Marriage Proposal, or The Wedding, you won't get it. Instead you'll peer into the mind of one of the world's greatest writers, through the filter of some of the WorkShop Theatre Company's talented writers. The results are mixed, but for fans of Chekhov's writing, are worth exploring.
The first act contains the least successful adaptations, in part due to Chekhov's stories themselves. A perfect example is the second adaptation of the evening, We'll Take a Cup of Kindness Yet, which was adapted by Scott C. Sickles from "Misery." The play deals with a hansom cab driver (Michael Gnat) in Central Park on New Year's Eve. Having just lost his child, he sees other's joy in the evening only through the prism of his loss and sadness. The main problem of the story is that not much happens, and the play has to fight to keep the audience's attention and involvement. Despite some lovely dialogue and good acting on the part of the cast, there is little dramatic tension, just one man's grief laid bare.
Death of a Government Worker by Jonathan Pereira has the look and feel of an absurdist play. A hen-pecked clerk (James Davies) with a shrewish wife and enormous newborn, tries to ask his boss for a raise, but only ends up sneezing on him each time he works up the nerve to ask. The boss (the wonderfully shady Stephen Girasuolo) may be having an affair with the wife. While the nonsensical and absurd aspects of the play work well, a reference to government sponsored torture seems shoe-horned in. Death is an odd little piece, but if you like absurdist comedy, it might be just your thing.
The final play in the first act, Joy by Robert Strozier, succeeds in that it touches on a timely subject, the pursuit of fame at all cost, and that it takes on a more modern feel. A young girl (Sutton Crawford) is having her moment. A YouTube video that she posted is climbing in popularity. Her parents are dismayed to discover that this is due in no small part to her singing a racy song while half-nude and drunk. Like the previous pieces, Joy is a slight play (Chekhov's short story is very short indeed), but it makes it's point - some people are happy to be famous no matter how it happens. Crawford does a good job as the teen, and director Elena Araoz excels.
The second act brings the strongest play of the evening. In Country, written and directed by Timothy Scott Harris, is well-written and extremely moving. This play about an awkward dinner date between Laurie (Dee Dee Friedman) and Steve (Jed Dickson) set up by Laurie's father (Noah Keen), at first seems like it will just be a light play about two mismatched people. Instead, Harris slowly spins a tale about shattered beliefs, the pain of self-discovery, and the fear faced by older people as they begin to realize the world that they knew is gone. Tightly written and directed and featuring an exceptional cast, In Country is reason enough to attend From Russia With Angst.
The final play of the evening, a parody of Chekhov's plays entitled Misery, Apathy and Despair: A Chekhovian Comedy in Four Mercifully Short Acts, by John McKinney, will provide laughs to anyone who is familiar with Chekhov's cannon. The play tends to take potshots at the easiest of Chekhovian targets - the bored upper class, the characters that talk constantly but do nothing, the vacuous lovelies - and leaves subtlety at the door, but it is humorous and a pleasant way to end the evening.
From Russia With Angst
Supervising Director: Timothy Scott Harris
Set Designer: John Scheffler
Lighting Designer: Duane Pagano
Costume Designer: Lexie Devin
Sound and Projection Designer: David Schulder
Production Stage Manager: Jason Healy
Assistant Stage Manager: Eric Luers
Coordinating Producers: Carrie Edel Isaacman, Christina Romanello
Press Representative: Scotti Rhodes Publicity
Promotional Art/Logo: Todd Alan Johnson
Death of a Government Worker
Written by Jonathan Pereira
Based on "Death of a Government Clerk"
Directed by Katrin Hilbe
Featuring: James Davies (Ivan), Stephen Girasuolo (Mr. Breeze), Tracy Shar (Mary)
We'll Take a Cup of Kindness Yet
Written by Scott Sickles
Based on "Misery"
Directed by David Gautschy
Assistant Director: Cecily Benjamin
Featuring: Michael Gnat (Driver), Sean Singer (New Husband/Smooth Talker/Stablehand), Amanda Sayle (New Wife/Debutante/Female Driver), Mike Mihm (Provocateur/Beat Cop/Other Male Driver)
Joy
Written by Robert Strozier
Based on "Joy"
Directed by Elena Araoz
Featuring: Carrie Edel Isaacman (Marci), Joseph Franchini (Ted), Sutton Crawford (Ginger)
In Country
Written and Directed by Timothy Scott Harris
Based on "At a Country House"
Featuring: Dee Dee Friedman (Laurie), Noah Keen (Dad), Jed Dickson (Steve)
Misery, Apathy and Despair: A Chekhovian Comedy in Four Mercifully Short Acts
Written by John McKinney
Based on "An Artist's Story"
Directed by Richard Kent Green
Featuring: Liz Frost (Elena), David M. Pincus (Peter), Sutton Crawford (Masha), Caroline Messihi (Lydia)
WorkShop Theater
Main Stage
312 W. 36th Street, 4th Floor East
June 11-27
Wednesday - Saturday at 8 PM
Monday, June 15th at 7 PM
For reservations contact 212-695-4173 x5#
Wednesday, June 24, 2009
Review - Meredith's Ring and Anonymous (White Rabbit Theatre and Cuchipinoy Productions, and the Planet Connections Theatre Festivity)
Review by Byrne Harrison
Presented together as part of the Planet Connections Theatre Festivity, Meredith's Ring and Anonymous both have one common plot point, a baby given up for adoption. Other than this, they tell completely different stories in very different ways.
Meredith's Ring by Andrew Rothkin is a coming-of-age tale in which an awkward teen, A.J. (Alexander Scally), experiences the first blush of love and sexual awakening with the new girl at his school. Meredith (Shelly Work) seems to be everything that A.J. isn't - brash, an outsider, angry, and more than anything else, mysterious. It's the mystery that surrounds her that makes her irresistible to him. As he draws closer to her, she at turns pulls him in and pushes him away, all the while nursing a hidden past, and trying to cover her vulnerabilities with bluster.
A.J., not used to women, and certainly not someone as complex as Meredith, constantly says and does the wrong thing. When the two find out that Meredith is pregnant, they make desperate plans to run away together. And while the resolution of the play really comes as no surprise to the audience, it is saved from cliche by A.J.'s touching monologue about his hope for the future, and two very earnest performances by Scally and Work.
As a director, Rothkin has a tendency to overcomplicate things. The production features a number of set changes and lighting and sound cues which due to technical problems, most noticeably with the sound, didn't work well at the performance I attended. Given that this is a festival, he could easily have pared down the technical aspects to the bare minimum and still have had an interesting production. Hopefully these issues merely opening day glitches and were ironed out in later performances.
Meredith's Ring features terrific set decoration by designer Yveyi Yi - two large hanging pieces that look like the type of collage created by teenagers in their school notebook. Featuring picture of places that are to play a part in the show, not to mention holding props that are Velcroed to its surface, the pieces are a very nice and effective addition to the play.
Rodney E. Reyes' Anonymous has a completely different tone. Where Meredith's Ring covers its message with a wide-eyed earnestness, Anonymous tends to mask its in vulgar humor and sullen anger. The results are decidedly mixed.
Anonymous is set in a police station, late shift. While it's just another night for Sarge (Tom Blewitt) to try to keep his rookie partner (Jian Huang) out of trouble, for the Rook, it's the end of a nice Father's Day weekend. By drawing out his taciturn partner, Rook finds out that Sarge once had a family, but that they have been estranged for years. He hasn't even seen his daughter in since she was a child. This revelation leads Rook to locate Sarge's teenage daughter (Vanessa Ramalho). The resulting meeting does not go at all well, and leads to the revelation of a number of hidden truths about Sarge's past, and an interesting look at what it means to take responsibility for a life that you've brought into the world.
The main story in Anonymous hinges on a series of hard to swallow coincidences, but theatre is often build on such stuff. In this case, the important thing is the examination of the relationship between Sarge and his daughter, and between both Sarge and his daughter and her newborn baby. Unfortunately, the deeper message is often lost in poor production values. Director Taylor Keith has too light of a touch for this production, allowing the pace to drag, even in what should be some incredibly intense moments . Blewitt exacerbates this slow-down by letting long pauses infiltrate his dialogue. Instead of indicating Sarge's reticence to display emotion in front of Rook and his daughter, it often has the feel of not being sure what the next line is because of a lack of intensity underneath his silences. Huang makes up for this by making Rook a manic character, but he comes dangerously close to clowning. Ramalho hits a middle ground between the two. Her character's silences carry hidden weight, and her explosions of activity seem grounded in actual frustration for the situation she finds herself in.
Mario Corrales has designed an interesting set, especially given other plays' tendency to strip down to next to nothing in this festival, and Keith has made good use of it, including an interesting set flip toward the end of the play that changes the audience's point-of-view. It's a nice touch in an otherwise very uneven production.
Meredith's Ring
Written and Directed by Andrew Rothkin
Assistant Director and Stage Manager: Tina Rogalski
Assistant Stage Manager: Chaz Muth
Lighting Designer and Sound Designer: Jeremy Pape
Set Designer: Yveyi Yi
Produced by White Rabbit Theatre
Featuring: Alexander Scally (A.J.) and Shelly Work (Meredith)
Anonymous
Written by Rodney E. Reyes
Director: Taylor Keith
Managing Director: Anna Payumo
Stage Manager: Eileen Gaughan
Set Designer and Technical Director: Mario Corrales
Produced by Cuchipinoy Productions
Featuring: Tom Blewitt (Sarge), Jian Huang (Rook), Vanessa Ramalho (Alanis)
Planet Connections Theatre Festivity
440 Studios
440 Lafayette Street, 3rd Floor
June 13 1:00 PM
June 13 7:00 PM
June 14 3:00 PM
June 20 11:00 AM
June 20 5:00 PM
June 21 5:00 PM
Presented together as part of the Planet Connections Theatre Festivity, Meredith's Ring and Anonymous both have one common plot point, a baby given up for adoption. Other than this, they tell completely different stories in very different ways.
Meredith's Ring by Andrew Rothkin is a coming-of-age tale in which an awkward teen, A.J. (Alexander Scally), experiences the first blush of love and sexual awakening with the new girl at his school. Meredith (Shelly Work) seems to be everything that A.J. isn't - brash, an outsider, angry, and more than anything else, mysterious. It's the mystery that surrounds her that makes her irresistible to him. As he draws closer to her, she at turns pulls him in and pushes him away, all the while nursing a hidden past, and trying to cover her vulnerabilities with bluster.
A.J., not used to women, and certainly not someone as complex as Meredith, constantly says and does the wrong thing. When the two find out that Meredith is pregnant, they make desperate plans to run away together. And while the resolution of the play really comes as no surprise to the audience, it is saved from cliche by A.J.'s touching monologue about his hope for the future, and two very earnest performances by Scally and Work.
As a director, Rothkin has a tendency to overcomplicate things. The production features a number of set changes and lighting and sound cues which due to technical problems, most noticeably with the sound, didn't work well at the performance I attended. Given that this is a festival, he could easily have pared down the technical aspects to the bare minimum and still have had an interesting production. Hopefully these issues merely opening day glitches and were ironed out in later performances.
Meredith's Ring features terrific set decoration by designer Yveyi Yi - two large hanging pieces that look like the type of collage created by teenagers in their school notebook. Featuring picture of places that are to play a part in the show, not to mention holding props that are Velcroed to its surface, the pieces are a very nice and effective addition to the play.
Rodney E. Reyes' Anonymous has a completely different tone. Where Meredith's Ring covers its message with a wide-eyed earnestness, Anonymous tends to mask its in vulgar humor and sullen anger. The results are decidedly mixed.
Anonymous is set in a police station, late shift. While it's just another night for Sarge (Tom Blewitt) to try to keep his rookie partner (Jian Huang) out of trouble, for the Rook, it's the end of a nice Father's Day weekend. By drawing out his taciturn partner, Rook finds out that Sarge once had a family, but that they have been estranged for years. He hasn't even seen his daughter in since she was a child. This revelation leads Rook to locate Sarge's teenage daughter (Vanessa Ramalho). The resulting meeting does not go at all well, and leads to the revelation of a number of hidden truths about Sarge's past, and an interesting look at what it means to take responsibility for a life that you've brought into the world.
The main story in Anonymous hinges on a series of hard to swallow coincidences, but theatre is often build on such stuff. In this case, the important thing is the examination of the relationship between Sarge and his daughter, and between both Sarge and his daughter and her newborn baby. Unfortunately, the deeper message is often lost in poor production values. Director Taylor Keith has too light of a touch for this production, allowing the pace to drag, even in what should be some incredibly intense moments . Blewitt exacerbates this slow-down by letting long pauses infiltrate his dialogue. Instead of indicating Sarge's reticence to display emotion in front of Rook and his daughter, it often has the feel of not being sure what the next line is because of a lack of intensity underneath his silences. Huang makes up for this by making Rook a manic character, but he comes dangerously close to clowning. Ramalho hits a middle ground between the two. Her character's silences carry hidden weight, and her explosions of activity seem grounded in actual frustration for the situation she finds herself in.
Mario Corrales has designed an interesting set, especially given other plays' tendency to strip down to next to nothing in this festival, and Keith has made good use of it, including an interesting set flip toward the end of the play that changes the audience's point-of-view. It's a nice touch in an otherwise very uneven production.
Meredith's Ring
Written and Directed by Andrew Rothkin
Assistant Director and Stage Manager: Tina Rogalski
Assistant Stage Manager: Chaz Muth
Lighting Designer and Sound Designer: Jeremy Pape
Set Designer: Yveyi Yi
Produced by White Rabbit Theatre
Featuring: Alexander Scally (A.J.) and Shelly Work (Meredith)
Anonymous
Written by Rodney E. Reyes
Director: Taylor Keith
Managing Director: Anna Payumo
Stage Manager: Eileen Gaughan
Set Designer and Technical Director: Mario Corrales
Produced by Cuchipinoy Productions
Featuring: Tom Blewitt (Sarge), Jian Huang (Rook), Vanessa Ramalho (Alanis)
Planet Connections Theatre Festivity
440 Studios
440 Lafayette Street, 3rd Floor
June 13 1:00 PM
June 13 7:00 PM
June 14 3:00 PM
June 20 11:00 AM
June 20 5:00 PM
June 21 5:00 PM
Review - Monetizing Emma (Thackeray Walsh, LLC and the Planet Connections Theatre Festivity)
Review by Bryan Stryker
Investing in the future.
It’s a phrase that we are all very familiar with, having heard it from everyone from parents to politicians. There’s an entire sector of the financial industry devoted to investing in the future of various commodities. But what if you could invest your money in the future of America’s youth. Felipe Ossa’s thoroughly enchanting, mesmerizing, and engrossing new work, Monetizing Emma, takes on this premise and fully delivers.
Meet Emma Dorfman (Nitya Vidyasagar), a shy, sweet, unassuming though highly gifted 15-year-old girl enthralled by the works of Jane Austen. As the play opens, she’s being interviewed as a prospective “commodity” that will be included as part of a new offering – “The Genius Trust.” Her background, interests, studies, and indeed her whole life are being scrutinized by Colleen (Janice Mann) and Tony (James Arden), commodity brokers overseeing the Trust, to see whether or not she would be a valuable addition. Colleen swears by her due diligence, while Tony hedges on whether or not Emma is the right candidate. Ultimately, Colleen wins out and encourages Emma’s mother Caroline (Dawn Jamieson) to do what it takes to get her daughter to join in.
While pondering whether or not to join the trust, Emma slips into her Jane Austen inspired make-believe world, penning a letter to her online friend, whom she calls Miss Elizabeth Woodbury, while signing her letters as “Kitty Gordon.” While Emma is shy and a bit timid in person, it is in this Austen world where she truly comes alive. The words here come effortlessly for Emma but in the presence of her mother she is silent. With her mother pushing all the right buttons, Emma finally relents and agrees to be the newest commodity of the Genius Trust.
No decision comes without a price. When word leaks that Emma was selected for one of the coveted positions, her school’s resident mean girls, Vanessa (Daniella Rabbani) and Annie (Tovah Rose) begin to terrorize her in the bathroom. Annie was wait-listed for the trust but if Emma gives up her position, she may be able to take part. Faced with threats of their spreading horrible rumors about her, Emma’s decision to continue her involvement with the venture wavers again. Over lunch with Colleen, Emma expresses her decision to drop out and is only spared when Tony mentions the essay she submitted with her application. Outing himself as a closet Jane Austen fan, Tony uses Emma’s words against her and convinces her to remain a part of the project. A friendship forms between the two, and Tony begins to bring Emma out of her shell. The only problem – Tony’s love of Jane Austen is a lie, a lie that has sparked romantic feelings in the adolescent Emma.
When the Genius Trust needs a face to promote the product to investors, Tony is more than willing to use Emma again. When sweet, innocent Emma is splashed across advertisements, the bond’s growth rate reaches exponential proportions, and Emma is now thrust into celebrity spotlight. Tony’s star is on the rise at his firm with a bonus and sizable promotion in his future. The Mean Girls court Emma for companionship while the Mean Girl at the firm plans to bring Tony down. The letters that Emma’s Kitty Gordon penned to Elizabeth Woodbury were being received by Colleen, proving her due diligence skills to be spot on. Hurt by the deception on both Colleen and Tony’s parts, Emma retreats back into her shell dismissing the pleas of her mother and friends. Only in reviewing the demands made upon her by the trust does Emma find the path to escape and truly stand on her own feet.
Felipe Ossa has written a powerful piece commenting on society’s desire to make money at almost any expense while simultaneously demonstrating our own personal desires to stay true to our own selves. Nitya Vidyasagar is the master of the dry sarcastic wit as she drolly delivers line after line, immediately demonstrating that Emma’s wisdom goes far beyond her years. Her body language is a careful study of teenage angst and awkwardness. When not on stage, her performance leaves the audience anticipating her return.
James Arden and Janice Mann are perfect foils for each other as the warring bankers determined not to get one-upped by the other. “Slimy” is the word that immediately comes to mind for Arden’s Tony, while “barracuda” seems appropriate for Mann’s Colleen. Their onstage chemistry is delightful to watch as they fight for control of Emma. The only note that doesn't ring true is costume designer Mira Veikley's choice of shoes for Colleen. Her gogo boots are an odd choice on a character who probably would feel much more at home in a pair of stilettos.
Ensemble members Dawn Jamieson, Tovah Rose, and Daniella Rabbani all shine in their moments on stage. Jamieson as the worrisome, if not manipulating mother, Caroline, arouses both sympathy and ire as she leads the audience to wonder if she loves her daughter or is more interested in the money she can generate. Rose and Rabbani delight as the Mean Girls who torment Emma, bringing a high school cruelty to life.
Leah Bonvissuto stages an extraordinary production that seamlessly transitions from scene to scene and still keeps the audience engaged. Her creative vision, Jane Austin meets "The Matrix," is fully realized and works sublimely. As the actors reset scenic designer Jasmine Vogue Pai’s set, they stay in character keeping the audience fully immersed in the story and never letting the tension that slowly builds throughout the show lapse. Never before has so much been done with just three chairs, a table, and a lamp. Pai’s set coupled with Laura Parrish’s excellent lighting takes Monetizing Emma from a simple festival play to fully staged production. This is a show that is not to be missed.
Monetizing Emma
Written by Felipe Ossa
Directed by Leah Bonvissuto
Scenic Designer: Jasmine Vogue Pai
Lighting Designer: Lauren Parrish
Costume Design: Mira Veikley
Featuring: James Arden (Tony), Dawn Jamieson (Caroline), Janice Mann (Colleen), Daniella Rabbani (Vanessa), Tovah Rose (Annie), Nitya Vidyasagar (Emma)
Planet Connections Theatre Festivity
440 Studios
440 Lafayette Street, 3rd Floor
Wednesday, June 17th at 8 PM
Friday, June 19th at 6 PM
Monday, June 22nd at 4 PM
Tuesday, June 23rd at 6 PM
Thursday, June 25th at 8 PM
Friday, June 26th at 8 PM
Investing in the future.
It’s a phrase that we are all very familiar with, having heard it from everyone from parents to politicians. There’s an entire sector of the financial industry devoted to investing in the future of various commodities. But what if you could invest your money in the future of America’s youth. Felipe Ossa’s thoroughly enchanting, mesmerizing, and engrossing new work, Monetizing Emma, takes on this premise and fully delivers.
Meet Emma Dorfman (Nitya Vidyasagar), a shy, sweet, unassuming though highly gifted 15-year-old girl enthralled by the works of Jane Austen. As the play opens, she’s being interviewed as a prospective “commodity” that will be included as part of a new offering – “The Genius Trust.” Her background, interests, studies, and indeed her whole life are being scrutinized by Colleen (Janice Mann) and Tony (James Arden), commodity brokers overseeing the Trust, to see whether or not she would be a valuable addition. Colleen swears by her due diligence, while Tony hedges on whether or not Emma is the right candidate. Ultimately, Colleen wins out and encourages Emma’s mother Caroline (Dawn Jamieson) to do what it takes to get her daughter to join in.
While pondering whether or not to join the trust, Emma slips into her Jane Austen inspired make-believe world, penning a letter to her online friend, whom she calls Miss Elizabeth Woodbury, while signing her letters as “Kitty Gordon.” While Emma is shy and a bit timid in person, it is in this Austen world where she truly comes alive. The words here come effortlessly for Emma but in the presence of her mother she is silent. With her mother pushing all the right buttons, Emma finally relents and agrees to be the newest commodity of the Genius Trust.
No decision comes without a price. When word leaks that Emma was selected for one of the coveted positions, her school’s resident mean girls, Vanessa (Daniella Rabbani) and Annie (Tovah Rose) begin to terrorize her in the bathroom. Annie was wait-listed for the trust but if Emma gives up her position, she may be able to take part. Faced with threats of their spreading horrible rumors about her, Emma’s decision to continue her involvement with the venture wavers again. Over lunch with Colleen, Emma expresses her decision to drop out and is only spared when Tony mentions the essay she submitted with her application. Outing himself as a closet Jane Austen fan, Tony uses Emma’s words against her and convinces her to remain a part of the project. A friendship forms between the two, and Tony begins to bring Emma out of her shell. The only problem – Tony’s love of Jane Austen is a lie, a lie that has sparked romantic feelings in the adolescent Emma.
When the Genius Trust needs a face to promote the product to investors, Tony is more than willing to use Emma again. When sweet, innocent Emma is splashed across advertisements, the bond’s growth rate reaches exponential proportions, and Emma is now thrust into celebrity spotlight. Tony’s star is on the rise at his firm with a bonus and sizable promotion in his future. The Mean Girls court Emma for companionship while the Mean Girl at the firm plans to bring Tony down. The letters that Emma’s Kitty Gordon penned to Elizabeth Woodbury were being received by Colleen, proving her due diligence skills to be spot on. Hurt by the deception on both Colleen and Tony’s parts, Emma retreats back into her shell dismissing the pleas of her mother and friends. Only in reviewing the demands made upon her by the trust does Emma find the path to escape and truly stand on her own feet.
Felipe Ossa has written a powerful piece commenting on society’s desire to make money at almost any expense while simultaneously demonstrating our own personal desires to stay true to our own selves. Nitya Vidyasagar is the master of the dry sarcastic wit as she drolly delivers line after line, immediately demonstrating that Emma’s wisdom goes far beyond her years. Her body language is a careful study of teenage angst and awkwardness. When not on stage, her performance leaves the audience anticipating her return.
James Arden and Janice Mann are perfect foils for each other as the warring bankers determined not to get one-upped by the other. “Slimy” is the word that immediately comes to mind for Arden’s Tony, while “barracuda” seems appropriate for Mann’s Colleen. Their onstage chemistry is delightful to watch as they fight for control of Emma. The only note that doesn't ring true is costume designer Mira Veikley's choice of shoes for Colleen. Her gogo boots are an odd choice on a character who probably would feel much more at home in a pair of stilettos.
Ensemble members Dawn Jamieson, Tovah Rose, and Daniella Rabbani all shine in their moments on stage. Jamieson as the worrisome, if not manipulating mother, Caroline, arouses both sympathy and ire as she leads the audience to wonder if she loves her daughter or is more interested in the money she can generate. Rose and Rabbani delight as the Mean Girls who torment Emma, bringing a high school cruelty to life.
Leah Bonvissuto stages an extraordinary production that seamlessly transitions from scene to scene and still keeps the audience engaged. Her creative vision, Jane Austin meets "The Matrix," is fully realized and works sublimely. As the actors reset scenic designer Jasmine Vogue Pai’s set, they stay in character keeping the audience fully immersed in the story and never letting the tension that slowly builds throughout the show lapse. Never before has so much been done with just three chairs, a table, and a lamp. Pai’s set coupled with Laura Parrish’s excellent lighting takes Monetizing Emma from a simple festival play to fully staged production. This is a show that is not to be missed.
Monetizing Emma
Written by Felipe Ossa
Directed by Leah Bonvissuto
Scenic Designer: Jasmine Vogue Pai
Lighting Designer: Lauren Parrish
Costume Design: Mira Veikley
Featuring: James Arden (Tony), Dawn Jamieson (Caroline), Janice Mann (Colleen), Daniella Rabbani (Vanessa), Tovah Rose (Annie), Nitya Vidyasagar (Emma)
Planet Connections Theatre Festivity
440 Studios
440 Lafayette Street, 3rd Floor
Wednesday, June 17th at 8 PM
Friday, June 19th at 6 PM
Monday, June 22nd at 4 PM
Tuesday, June 23rd at 6 PM
Thursday, June 25th at 8 PM
Friday, June 26th at 8 PM
Review - Everybody Dies (EdibleBrains Productions and the Planet Connections Theatre Festivity)
Review by Bryan Stryker
Everybody Dies tells the story of a love triangle set during a world-wide suicide pact. Charlton Heston (yes, the actor) has gained control of the world, and has convinced everyone that the only way to achieve happiness is to prepare to transition to the afterlife. The moment of transition is preordained, and he will soon announce its coming. His power is so prevalent that DJ Don (Levi Morger) and DJ Peggy (Carly Robbins) of station WCHR play nothing but Charlton Heston's favorite hits.
Eva (Jenna Doolittle) leads one of the local chapters that assists those in planning their transition - something they are reminded is not the end, it's just the beginning. Led by her gal pals Britanny (Miranda Child) and Carrie (the excellent Candice Palladino), they revel in their moment as they plan what they consider to be the most excellent day of their lives - the end of their lives. Her boyfriend Tom (Stephen Dexter) isn't sold on the idea of transitioning and seems more sold on trying to get into Eva's pants. In a subplot, Carrie reveals to Eva that she is pregnant - a severe no-no as she cannot be pregnant when the transitioning begins or it will be considered an abortion and she cannot enter the afterlife.
Meanwhile in New York City, Jane (Laura Perloe) and her band of renegades Bree (Leah Dash) and Taylor (Alley Scott) are trying to find a way to survive the upcoming transitioning and lead the resistance. Jane returns to her hometown intent of bringing her ex-boyfriend Tom into their fold and spirit him away to New York. When the "transitioning time" is announced we follow the cast as they make plans to either join in the mass suicide or challenge the notion that one person could control their lives and future.
On paper that doesn't sound like such a bad conceit: an alternate reality where a Jim Jones/Marshall Applewhite figure controlling the fate of the entire world announces that it's time to go. Get dressed up, head to your transitioning center, and off to the afterlife. In reality, the play is a jumbled mess with more questions than answers. How did Charlton Heston come to rule the world? Why was the decision made to "transition"? How did Jane get involved in the counter-revolution and why does it only have two other members? Why is Tom resisting transitioning? Following Maggie Rydzel's script simply takes too much work and provides too few answers.
Director Russell Dobular succeeds in highlighting the humorous moments of the piece and effectively transitioning from one scene to the next. The spare set consisting of a few modular boxes and chairs works effectively to keep the show moving. However, the lack of lighting design and low production values give the show a community theatre feel.
Jenna Doolittle's Eva comes off as a post-apocalyptic Heidi Montag - and no, that's not a compliment. While one could say that the over-the-top dramatics are required for such an outrageous play, they could be toned down significantly and still get the necessary response.
Laura Perloe's Jane is a modern day Patty Hearst type, complete with beret. While still extremely theatrical, her portrayal is far more believable as the rogue counter-revolutionary. Her intent and desires are real - she does want to reshape the world when the transitioning is done. Perloe is one of the best parts of Everybody Dies. Each moment she is on the stage is a pleasure.
Stephen Dexter's Tom, the love interest of the two female leads, does yeoman's work in this piece, but sometimes seems to be used more like set dressing - merely a pair of tight jeans and a wife beater. But he amuses playing the horny teenager who sees nothing wrong with grabbing his girlfriend's breasts and making contorted faces as he wavers from joining the transitioning to joining Jane in the resistance.
Notable standouts in the ensemble include Miranda Child as the creepy Brittany, who takes delight in announcing the transitioning with the wide-eyed, happy grin of a fully dedicated cult member. Candice Palladino as pregnant Carrie leaves one of the greatest impressions in a key scene as she decides to deal with her pregnancy. With the audience noticeably fidgeting in their seats and giving an ear-piercing scream, Palladino cements her spot as the person the audience is most likely to talk about when the lights come up.
Finally, Carly Robbins and Levi Morger, as the two DJ's counting down the time to transitioning provide a touching scene. DJ Don clearly longs for his radio partner and as they share a final kiss right before they are to transition, they both admit that it was something that they had wanted to do for some time. When DJ Don leans in to kiss again, he is stopped by Peggy and told that "it wasn't that great."
Sadly, neither was Everybody Dies.
Everybody Dies
Written by Molly Rydzel
Directed by Russell Dobular
Sound Design: Jeremy Pape
Featuring: Anthony Mead (Tom's Mom/Man 2/CHer), Alley Scott (Taylor), Candice Palladino (Carrie), Carly Robbins (DJ Peggy), Jenna Doolittle (Eva), Laura Perloe (Jane), Leah Dashe (Bree), Levi Morger (DJ Don), Marek Sapieyevski (Jane's Mom/Man 1/CHer), Miranda Child (Brittany), Stephen Dexter (Tom)
Planet Connections Theatre Festivity
440 Studios
440 Lafayette Street, 3rd Floor
Closed June 21st
Everybody Dies tells the story of a love triangle set during a world-wide suicide pact. Charlton Heston (yes, the actor) has gained control of the world, and has convinced everyone that the only way to achieve happiness is to prepare to transition to the afterlife. The moment of transition is preordained, and he will soon announce its coming. His power is so prevalent that DJ Don (Levi Morger) and DJ Peggy (Carly Robbins) of station WCHR play nothing but Charlton Heston's favorite hits.
Eva (Jenna Doolittle) leads one of the local chapters that assists those in planning their transition - something they are reminded is not the end, it's just the beginning. Led by her gal pals Britanny (Miranda Child) and Carrie (the excellent Candice Palladino), they revel in their moment as they plan what they consider to be the most excellent day of their lives - the end of their lives. Her boyfriend Tom (Stephen Dexter) isn't sold on the idea of transitioning and seems more sold on trying to get into Eva's pants. In a subplot, Carrie reveals to Eva that she is pregnant - a severe no-no as she cannot be pregnant when the transitioning begins or it will be considered an abortion and she cannot enter the afterlife.
Meanwhile in New York City, Jane (Laura Perloe) and her band of renegades Bree (Leah Dash) and Taylor (Alley Scott) are trying to find a way to survive the upcoming transitioning and lead the resistance. Jane returns to her hometown intent of bringing her ex-boyfriend Tom into their fold and spirit him away to New York. When the "transitioning time" is announced we follow the cast as they make plans to either join in the mass suicide or challenge the notion that one person could control their lives and future.
On paper that doesn't sound like such a bad conceit: an alternate reality where a Jim Jones/Marshall Applewhite figure controlling the fate of the entire world announces that it's time to go. Get dressed up, head to your transitioning center, and off to the afterlife. In reality, the play is a jumbled mess with more questions than answers. How did Charlton Heston come to rule the world? Why was the decision made to "transition"? How did Jane get involved in the counter-revolution and why does it only have two other members? Why is Tom resisting transitioning? Following Maggie Rydzel's script simply takes too much work and provides too few answers.
Director Russell Dobular succeeds in highlighting the humorous moments of the piece and effectively transitioning from one scene to the next. The spare set consisting of a few modular boxes and chairs works effectively to keep the show moving. However, the lack of lighting design and low production values give the show a community theatre feel.
Jenna Doolittle's Eva comes off as a post-apocalyptic Heidi Montag - and no, that's not a compliment. While one could say that the over-the-top dramatics are required for such an outrageous play, they could be toned down significantly and still get the necessary response.
Laura Perloe's Jane is a modern day Patty Hearst type, complete with beret. While still extremely theatrical, her portrayal is far more believable as the rogue counter-revolutionary. Her intent and desires are real - she does want to reshape the world when the transitioning is done. Perloe is one of the best parts of Everybody Dies. Each moment she is on the stage is a pleasure.
Stephen Dexter's Tom, the love interest of the two female leads, does yeoman's work in this piece, but sometimes seems to be used more like set dressing - merely a pair of tight jeans and a wife beater. But he amuses playing the horny teenager who sees nothing wrong with grabbing his girlfriend's breasts and making contorted faces as he wavers from joining the transitioning to joining Jane in the resistance.
Notable standouts in the ensemble include Miranda Child as the creepy Brittany, who takes delight in announcing the transitioning with the wide-eyed, happy grin of a fully dedicated cult member. Candice Palladino as pregnant Carrie leaves one of the greatest impressions in a key scene as she decides to deal with her pregnancy. With the audience noticeably fidgeting in their seats and giving an ear-piercing scream, Palladino cements her spot as the person the audience is most likely to talk about when the lights come up.
Finally, Carly Robbins and Levi Morger, as the two DJ's counting down the time to transitioning provide a touching scene. DJ Don clearly longs for his radio partner and as they share a final kiss right before they are to transition, they both admit that it was something that they had wanted to do for some time. When DJ Don leans in to kiss again, he is stopped by Peggy and told that "it wasn't that great."
Sadly, neither was Everybody Dies.
Everybody Dies
Written by Molly Rydzel
Directed by Russell Dobular
Sound Design: Jeremy Pape
Featuring: Anthony Mead (Tom's Mom/Man 2/CHer), Alley Scott (Taylor), Candice Palladino (Carrie), Carly Robbins (DJ Peggy), Jenna Doolittle (Eva), Laura Perloe (Jane), Leah Dashe (Bree), Levi Morger (DJ Don), Marek Sapieyevski (Jane's Mom/Man 1/CHer), Miranda Child (Brittany), Stephen Dexter (Tom)
Planet Connections Theatre Festivity
440 Studios
440 Lafayette Street, 3rd Floor
Closed June 21st
Sunday, June 21, 2009
Review - Dickinson (American International Theater, Inc. and the Planet Connections Theatre Festivity)
Review by Byrne Harrison
The Emily Dickinson presented in William Roetzheim's Dickinson is nothing like the woman they teach about in school, and thank goodness for that. While that Emily is interesting, in a literary way, this one fascinates in front of our eyes. Dickinson bills itself as a "well-researched" story about the poet. What it uncovers is mostly conjecture - how does one prove that which is merely hinted at in poems and letters? - but what Roetzheim imagines brings an interesting new angle to Dickinson's story and a great jumping off point for further discussion.
Part of the beauty of Roetzheim's play is that it spins out Emily's secrets bit by bit, and always with pieces of her work backing up the hypotheses. He does so in a very theatrical style that keeps the audience interested in the way that a lecture never would. Dickinson imagines a playwright (Greg Wittman) who is finishing a five-play cycle on the poets that most influenced 20th Century poetry. Having had no problems with the other four plays, he is confounded by Emily Dickinson - unable to get a sense of who this mysterious person was. After another drunken, fruitless evening, he finds himself in the same room with Emily Dickinson. She may be a ghost, a vision, or a delusion, but whatever she is he yearns to hear her story from her point of view. Emily (Rhianna Basore) has other plans. She is coy and cagey, and does not want to be understood. More importantly, there are things in her life she wants to hide even from herself. Painful memories that she will hint at, but doesn't want to examine.
Thus begins a cat-and-mouse game between Emily and the playwright that ultimately leads to more questions than answers.
While the play has an interesting premise, it would be stronger were the two characters more evenly matched. The playwright never really has a chance against Emily. Any points he scores during their interactions, almost always seem to be given to him by Emily out of grace or perhaps pity.
Much of this is due to the playwright being a somewhat underwritten role, but it also comes from the actors themselves. Basore throws herself into her role with an almost scary intensity. Her Emily is mercurial, leaping powerfully from emotion to emotion, scene to scene, moment to moment. Wittman's playwright is not that strong. He provides exposition, a sounding board for Emily, but he never comes across as her equal, or as a man who wants to master her so he can truly bring her to life in his play.
Director Al Germani shows his strength as a director and his background in dance and music. The direction in Dickinson often has the feel of choreography, and I mean that in a good way. The action is fluid, the stage pictures interesting, and Germani creates a flow in the production that complements the rhythm of both Dickinson's poetry and Roetzheim's dialogue.
While Dickinson is not without flaws, it offers a fascinating look at the 'warts and all' life of the poet. It is definitely a standout production in the Planet Connections festival.
Dickinson
Written by William Roetzheim
Directed by Al Germani
Vocals: Diana Sparta
Sound Design: Al Germani, Bill Kehayias
Costumes by the cast
Featuring: Rhianna Basore (Emily), Greg Wittman (The Playwright), Diana Sparta (All Other Female Roles), Charlie Riendeau (All Other Male Roles)
Planet Connections Theatre Festivity
440 Studios
440 Lafayette Street, 3rd Floor
June 13, 11 AM
June 14, 7 PM
June 15, 8:30 PM
June 17, 4 PM
June 19, 8:30 PM
June 20, 1 PM
The Emily Dickinson presented in William Roetzheim's Dickinson is nothing like the woman they teach about in school, and thank goodness for that. While that Emily is interesting, in a literary way, this one fascinates in front of our eyes. Dickinson bills itself as a "well-researched" story about the poet. What it uncovers is mostly conjecture - how does one prove that which is merely hinted at in poems and letters? - but what Roetzheim imagines brings an interesting new angle to Dickinson's story and a great jumping off point for further discussion.
Part of the beauty of Roetzheim's play is that it spins out Emily's secrets bit by bit, and always with pieces of her work backing up the hypotheses. He does so in a very theatrical style that keeps the audience interested in the way that a lecture never would. Dickinson imagines a playwright (Greg Wittman) who is finishing a five-play cycle on the poets that most influenced 20th Century poetry. Having had no problems with the other four plays, he is confounded by Emily Dickinson - unable to get a sense of who this mysterious person was. After another drunken, fruitless evening, he finds himself in the same room with Emily Dickinson. She may be a ghost, a vision, or a delusion, but whatever she is he yearns to hear her story from her point of view. Emily (Rhianna Basore) has other plans. She is coy and cagey, and does not want to be understood. More importantly, there are things in her life she wants to hide even from herself. Painful memories that she will hint at, but doesn't want to examine.
Thus begins a cat-and-mouse game between Emily and the playwright that ultimately leads to more questions than answers.
While the play has an interesting premise, it would be stronger were the two characters more evenly matched. The playwright never really has a chance against Emily. Any points he scores during their interactions, almost always seem to be given to him by Emily out of grace or perhaps pity.
Much of this is due to the playwright being a somewhat underwritten role, but it also comes from the actors themselves. Basore throws herself into her role with an almost scary intensity. Her Emily is mercurial, leaping powerfully from emotion to emotion, scene to scene, moment to moment. Wittman's playwright is not that strong. He provides exposition, a sounding board for Emily, but he never comes across as her equal, or as a man who wants to master her so he can truly bring her to life in his play.
Director Al Germani shows his strength as a director and his background in dance and music. The direction in Dickinson often has the feel of choreography, and I mean that in a good way. The action is fluid, the stage pictures interesting, and Germani creates a flow in the production that complements the rhythm of both Dickinson's poetry and Roetzheim's dialogue.
While Dickinson is not without flaws, it offers a fascinating look at the 'warts and all' life of the poet. It is definitely a standout production in the Planet Connections festival.
Dickinson
Written by William Roetzheim
Directed by Al Germani
Vocals: Diana Sparta
Sound Design: Al Germani, Bill Kehayias
Costumes by the cast
Featuring: Rhianna Basore (Emily), Greg Wittman (The Playwright), Diana Sparta (All Other Female Roles), Charlie Riendeau (All Other Male Roles)
Planet Connections Theatre Festivity
440 Studios
440 Lafayette Street, 3rd Floor
June 13, 11 AM
June 14, 7 PM
June 15, 8:30 PM
June 17, 4 PM
June 19, 8:30 PM
June 20, 1 PM
Monday, June 15, 2009
Review - The Secretaries (Project: Theater & The 78th Street Theatre Lab)
Review by Byrne Harrison
"We don't kill them because they're bad. We kill them because we're bad."
What do you think of when you hear the word secretary? I'm willing to bet that the image that pops into your mind has nothing to do with the chainsaw-wielding, SlimFast-guzzling, sexually ambiguous ladies that populate The Five Lesbian Brothers' The Secretaries. It might be a little scary if it did. But once you experience these secretaries, you may never look at yours the same way again.
Patty (Jessi Blue Gormezano) is the new girl at Cooney Lumber Mills. Head of her class in secretarial school, she landed this plum assignment working with Peaches (Laura Dillman), Dawn (Karis Danish), Ashley (Jenny Schutzman), and their powerful and enigmatic boss, Susan (Tara Franklin). From the beginning, Patty senses something is a little off. Perhaps it's that the secretaries never eat solid food, only strawberry SlimFasts. Or the chastity pledge they all must sign. Or maybe it's the strange giggle and click language they speak to one another. Or it could be the strange way that a lumberjack dies a gruesome death every twenty-eight days or so. Patty's desire to get to the bottom of the mysteries she sees around her is blunted somewhat by her relationship with Buzz (Brian Frank), a shy lumberjack who catches Patty's eye. But eventually, the band's murderous designs are exposed, and Buzz winds up in the cross-hairs.
The ending of the play is pretty much a foregone conclusion, but the twists and turns along the way - lesbian Dawn's predatory stalking of Patty, Peaches' over-the-top binging, Ashley's dethronement from her long held "Secretary of the Month" position, and ice queen Susan's tampon inspection (don't ask, it simply has to be seen to be believed) - make for a wild, campy, and howlingly funny trip.
The acting in The Secretaries is outstanding, with each actor milking out as much humor as possible from the role, and leaving each character grounded in reality, even as the situations get wilder and wilder. Production values are strong as well, particularly J.J. Bernard and Francois Portier's flexible set and Gracie Law's lighting. Joe Jung's strong directing help make this an excellent production.
For a fun, campy, and laugh-out-loud good time, I heartily recommend The Secretaries.
The Secretaries
By The Five Lesbian Brothers (Maureen Angelos, Babs Davy, Dominique Dibbell, Peg Healey, and Lisa Kron)
Directed by Joe Jung
Stage Manager: Jacob Seelbach
Scenic Artistry: J.J. Bernard and Francois Portier
Costume Design: Janaske von Sunrike
Sound Design: Joe Jung
Lighting Design: Gracie Law
Publicity: Seth Grugle
Featuring: Karis Danish (Dawn Midnight), Laura Dillman (Peaches Martin), Brian Frank (Buzz Benikee), Tara Franklin (Susan Curtis), Jessi Blue Gormezano (Patty Johnson), Andrew McLeod (Sandy/Mr. Kembunkscher), Jenny Schutzman (Ashley Elizabeth Fratangello)
78th Street Theatre Lab
236 W. 78th Street
Visit Project: Theater for information.
Closed June 6th
Subscribe to:
Posts (Atom)
