Stage Buzz

Stage Buzz Review by Byrne Harrison

I will admit that my knowledge of Henry James is limited to Washington Square, and only then by way of its stage adaptation, The Heiress. The Aspern Papers, adapted by Martin Zuckerman from Henry James’s novella, is a pleasant surprise. Although very similar in tone and story to The Heiress, it is an interesting play about an unscrupulous man who will do almost anything to get what he wants.

Walter Scampo (Kelly King) is an academic, a writer with a particular interest in a classical poet named Jeffrey Aspern (think of someone like Lord Byron). He has traveled to Venice to find Juliana Bordereau (Carol Lambert), now an ancient woman living in the care of her spinster niece, Tita (Elisabeth Grace Rothan), but once the muse and lover of Aspern. Scampo believes that she holds Aspern’s heretofore unpublished early works and letters. Quickly realizing that he will never be able to fool Juliana into giving him the papers, he works on bringing Tita under his influence, thrilling her with opportunities to escape her drab, confined life. What follows is a play about exploitation, but just who is exploiting whom is hard to tell.

The cast is strong, in fact, one of the strongest of the recent Turtle Shell productions. Lambert is excellent as the old lady. At times playing frail and faltering for the unctuous Scampo, she’ll explode in passion the moment he leaves the scene. A difficult change to pull off, but Lambert does it well. Rothan is exceptional in her role, going from timid and unsure to jaded and vindictive by the end of the play. King does a good job playing the oh-so-slick Scampo, but his Scampo comes across as mildly sleazy and untrustworthy from the beginning. Unlike the character of Townsend in The Heiress, the audience is never given the chance to wonder if this character might actually be on the up and up. This takes some of the dramatic tension and complexity out of the play.

The production values of the Turtle Shell presentations get better with each new play. Kyle Dixon’s set is excellent, showing the former luxury and decay in the Venetian villa and in the family that inhabits it. His use of a folding screen to create Juliana’s bedroom is a particularly clever use of the small stage. While at times it makes the scene changes a little awkward, it is nevertheless unique and interesting. Lighting designer Shaun Suchan helps create a lush Mediterranean feel onstage.

Director Shawn Rozsa shows that he is as deft with drama as he is with the wild comedy of the recent production of Scapin. Turtle Shell’s production on Martin M. Zuckerman’s adaptation of The Aspern Papers is well worth a look.

Adapted from Henry James’s novella by Martin M. Zuckerman
Producer/Artistic Director: John W. Cooper
Directed by Shawn Rozsa
Scenic Designer: Kyle Dixon
Costume Designer: A. Christina Giannini
Sound Designer: Patrick Grant
Lighting Designer: Shaun Suchan
Production Manager and Marketing: Jeremy Handelman
Stage Manager: Marina Steinberg
House Manager/ASM: Ava Eisenson
Carpenter: Peter Estella
Group Sales: Mona Weisberg
Graphic Designer: Karen Shambley

Featuring Kelly King (Walter Scampo), Elisabeth Grace Rothan (Tita Bordereau), Carol Lambert (Juliana Bordereau), Nico Evers-Swindell (Voice of Young Aspern).

Turtle’s Shell Theater
300 W. 43rd Street, 4th Floor

May 2-24
Mon. at 7 PM, Thurs.-Sat. at 8 PM (except May 22nd). Special matinee May 24th at 3 PM.

Visit Theatermania for tickets.

Stage Buzz Review by Byrne Harrison

I will admit to a certain amount of trepidation when I see a theatre company full of young people that refers to itself as being experimental, especially when they’re producing one of my favorite Shakespeare plays. I tend to worry that I’ll be asked to sit on the floor while bunraku puppets are used instead of actors and the Bard’s language is jettisoned in order to find words that better “speak” to a young audience. I worry that in their youthful exuberance, they will shoot for style without bothering to look for substance.

While Coyote Laboratory is comprised of young performers, seems to be reaching out to a young audience (which based on the audience the night I attended, it appears to be doing rather well), and refers to itself as “an experimental arts laboratory,” they are most decidedly attempting to present both style and substance. Not every innovation they attempted worked, but in terms of an inaugural production, it bodes well for the company.

By presenting Julius Caesar, Coyote Laboratory is using both the popularity of one of the best-known plays in the English language and the current political situation to their advantage. They do quite a bit to put their own mark on it. Most notable is the use of Turner Smith’s set. Despite being in a rather cavernous theatre space, Smith has carved out a small playing area, built of unadorned plywood platforms, surrounded it on three sides by the audience, and enclosed the entire thing in chain link fencing. The end result looks rather like a ring for a cage fight. By placing actors behind that fence during the mob scenes, the audience is effectively incorporated into the mob, which is a very nice touch. This incorporation of the audience gave the play a more immediate sense of urgency.

There are two other innovations that while interesting, are not equally effective. First, Smith (or perhaps the company, as Coyote is meant to be a collaborative effort) changes the sexes of the two sets of married couples so that Caesar and Brutus are played by women (Kyle Kate Dudley and Kimberly Wong, respectively) and Calpurnia and Portia by men (Doug Harvey and Harry John Shephard). This cross-gender casting is disorienting in the case of Wong and Shephard, who never quite seem comfortable playing the opposite sex, especially in each other’s presence. Dudley and Harvey however make their interactions work to the point that gender never seems to intrude.

The second deals with the troubling issue of what an actor is supposed to do while his or her character lies dead on stage. Normally, they simply lie very still and wait for the scene to end, so they can make a discreet exit. In this production, death isn’t the end for the character. In fact, once dead both Dudley and Wong continue to react to the action on stage. They are no longer Caesar and Brutus, per se, but seem to be some sort of feral spirits, still feeling the residue of their emotions at death, but without the ability to comprehend what is going on around them. Regardless of the intent, it is a very moving and clever twist.

The performances in Julius Caesar are strong overall, and though the company prefers to be thought of as strictly as an ensemble, I’d like to commend four actors who did particularly well: Seth Andrew Bridges as Casca, Marian Brock as Ligarius, Whit Lyenberger as Anthony, and Doug Harvey as Calpurnia.

Coyote Laboratory’s Julius Caesar is a very solid first production; this is a company to watch out for.

Written by William Shakespeare
Directed by Turner Smith
Kept by Karina Martins
Lights designed by John Robichau and Kyle Kate Dudley
Cloakes designed by Kimberly Wong
Masks designed by Elizabeth Spano and Turner Smith
Fights choreographed by Seth Andrew Bridges
Sets designed by Turner Smith
Dramaturgy: Karmenlara Seidman and John Robichau
Weapons provided by Dan O’Driscoll

Created and Performed by Steve Boyle, Seth Andrew Bridges, Marian Brock, Alex Coppola, Kyle Kate Dudley, Doug Harvey, Whit Leyenberger, Shannon Pritchard, Harry John Shephard, Elizabeth Spano, Kimberly Wong.

Teatro LA TEA
Clemente Soto Velez Center
107 Suffolk St., 2nd Floor

Closed March 15th

Stage Buzz Review by Patrick Doyle

What do dance and love have in common? Both require confidence and commitment, which Victor and Madoc, the two leads in The Group Theatre Too’s Count to Ten, are sorely lacking.

Victor (Justin Boccitto) is a composer, writer and choreographer, who has been involved in several flops on Broadway. He flees New York and heads to the Starwood Performing Arts Camp to spend time finishing his musical and potentially recharging his career. Madoc (Brian Merker), a camper, is his protégé and the leading player in Victor’s newest musical. What do they have in common? Besides inexperience with women, lack of self confidence, being raised in broken households and their reluctance to show vulnerability…well it’s almost easier to try and find the differences between the two (about 10 years in age). But both the adolescent and camp counselor need to learn a few things about life, love, and growing up. What better place to learn those lessons than in performing arts camp? And as the drama unfolds, the audience is carried along for the ride.

And as every would-be camper knows, you can’t have a summer-themed show without having a love story. This show is no exception. From the innocent crushes between campers to the paternal surrogacy of campers and counselor, this show provides something for everyone. Although at times the story can be predictable, the audience gets exactly what it expects – a happy ending. And who doesn’t love a happy ending?

Brian Merker playing Madoc, is an excellent choice for the 15 year old protégé. He portrays the irrationality that most 15 year old boys exhibit, yet shows enough tenderness that the audience is enamored with him. It’s hard not to identify with him and his struggles.

As Traci, Madoc’s love interest, Lexie Speirs shows a realistic naivety that charms both Madoc and the audience. When Traci later is emotionally hurt, the audience can commiserate with her embarrassment.

Claire Vaughn (Jennifer Avila) provides a wonderful maternal substitute for this hodgepodge of campers, and yet unlike most mothers, still finds the time to fall in love herself. Her relationship with Victor becomes the exact mirror of the camper’s romance…often literally on the stage where one couple stands stage left, and the other stage right.

Steve Varnell (Jacob Burlas) is the bully, intent on terrorizing Madoc until he drops out of the camp show. That being said Burlas plays the role of bully more comically than menacing.

The cast is dynamic in their performances, especially in their tap dance numbers. Counselor and campers meet student and teacher (most of this cast has studied tap dance with the choreographer), and Mr. Blevins should be proud. Not only has he taught them some very difficult numbers, but they have performed them flawlessly. And the specific talents of one particular young lady in the chorus can’t be ignored. Several times, Katelyn Morgan’s voice would carry forth distinctly from the rest of the chorus. At 16 years of age, this young lady has a very good chance of going far with her singing career.

As this play is sharing a performance space with another production, the set is nearly nonexistent except for a few small boxes. This production rather chooses to focus more on the story, the music, and more importantly, the dance performances. And while the music is solid, there aren’t any particular standout hits. The closest is a fun song called ‘Dear Mom and Dad’ sung by the campers. What elevates the musical numbers is the outstanding work on the dancing done by the cast of Count to Ten and Mr. Blevins and the absolute enthusiasm with which the cast approaches their roles.

If you are a fan of tap dance, you should see this show. The tap dance numbers truly remarkable and the rhythmic nature of the show will stick with you for several days. Both young and old will find something to enjoy in Count to Ten.

Book: Michael Blevins
Lyrics: Michael Blevins, Beth Clary
Music: Michael Blevins, Scott Knipe, Bruce Sacks, David Wollenberger
Director: Michael Blevins
Musical Director: Christine Riley
Choreography: Michael Blevins
Wardrobe: Bob Flanagan
Production Manager: Cristina Marie
Lighting Design: Joyce Liao
Stage Manager: Greg Loproto
Art Direction: Alex Maxwell
Percussion: Jeff Brelvi
Technical Director: Paul Gregorio
Associate Producers: Denise Brysett, Doug Francisco, Mary Ann Penzero, Kenny Weiner, Lisa Weiner

Featuring: Justin Boccitto (Victor Chase), Jennifer Avila (Clair Vaughn), Brian Merker (Madoc Dean), Lexie Speirs (Traci Elizabeth Meyers), Jacob Burlas (Steve Varnell), Heather Lightcap (Rosie Busche), Hunter Gross (Nick Russo), Dylan Bush (Inez Glazier), Chris Kinsey (Biz Andrews), Doug Francisco (The Producer), Nick Ardito, Jenna Black, Michael Breslin, Mckenzie Custin, Steven Etienne, Brittany Hoehlein, Roman Micevic, Katelyn Morgan, Brandon Wiener.

The Connelly Theatre
220 East 4th Street
Between Avenue A & B

Closed March 16

Congratulations to the winners of Turtle Shell Productions‘ 8 Minute Madness Playwright Festival.

Best Playwright - Aoise Stratford for “Our Lady of the Sea”

Best Production - David Ledoux (director) for “I Understand Your Frustration”

Best Actors - Pia Ambardar & Justin Morck

Stage Buzz Review by Patrick Doyle

Sir Isaac Newton said for every action, there is an equal and opposite reaction, and although he was defining physics, this same law can be applied to the everyday emotional struggles that happen in our lives. A new relationship can often throw our lives out of balance, but eventually the balance will return, whether we want it or not. Michael Bennett, Cy Coleman, and Dorothy Field’s Seesaw, presented by Justin Boccito and The Group Theater Too at The Connelly Theatre, explores just how far off balance Gittel Mosca’s (Cristina Marie) life can go before the inevitable reaction takes place.

Gittel is a street smart urban dwelling, dancer with a poor track record in relationships. She’s poor, uneducated, involved in the arts, yet fiercely independent, proud, and able to adapt to her situation. Jerry Ryan (Tim Falter) is a Midwestern lawyer, recently separated from his wife, who meets Gittle at a party. He’s educated (although naïve about city life), financially secure, and yet dependent on his former father in-law. He’s the exact opposite of Gittel in nearly every way, yet calls her to ask her out on a date. Can opposites really attract? Can they stay together? The audience certainly hopes so.

Bennett’s book (which was nominated for a Tony Award) is a well written look at a brief love affair. His story, set in New York City in the early 1970’s is ironically not much different than present day New York…although less expensive. His main story proves to be most interesting, yet he introduces additional characters to hold our interest, exploring sexuality, multiculturism, and gender identity issues.

The character of David (Brian Duryea), a choreographer and dancer, who happens to be a master of interior decorating, is not surprisingly the gay sidekick. However, his homosexuality is only a matter of fact, and not a source of comedy. In fact, quite the opposite, his sexuality is defended by the heroine of the show. Duryea’s comedic stereotypical portrayal however provides just the right amount of lightheartedness needed to keep the story moving towards its inevitable conclusion.

Michael Blevins choreography and direction are set to show audience members exactly how talented his cast is. From the intricate tap dancing numbers, to the grace of his leading players, the audience is given a complete tour of the talents that each of these actors hold. Of particular interest is Tim Falter’s dancing, which he makes seem effortless, often reminiscent of Gene Kelly or Fred Astaire. His technique is smooth and nearly fluid in movement.

The set, although sparse is ingenious in design, and utilized well. Painting opposite sides of the furniture different colors (pink and blue emphasizing balance in both storyline and production) provides multiple uses, while allowing less time between scene changes. These changes are completed quickly, with chorus members providing short dance pieces to keep the audience members entertained while set pieces are moved onto the stage.

Vangeli’s costume design provides excellent glimpses into the 1970’s with all it’s garish couture. Shimmering fabric with pant suits are back and fully help transport the audience back into the “Studio 54″ nightclub scene. Additionally Vangeli puts the chorus in “Fosse styled” black outfits, which both reveal the dancers abilities and refrain from upstaging the storyline. Balance is what is most important in this show, and the company of Seesaw provides just that. A balanced performance that leaves the audience wanting to see just a bit more.

Book by Michael Bennett
Music by Cy Coleman
Lyrics by Dorothy Fields
Directed by Michael Blevins
Stage Manager: Kelly Varley
Choreographer: Michael Blevins
Costume Designer: Vangeli
Musical Director: Christine Riley
Assistant Stage Manager: Mary Ann Penzero
Accompanist: Christine Riley
Second Keyboards: Sol Bloch
Bass: Scott Thorton
Percussion: Satch Vivenzio

Featuring: Jerry Ryan (Tim Falter), Gittel Mosca (Cristina Marie), David (Brian Duryea), Sophie (Janelle Neal), Julio Gonzales (Ryan Gregorio), Sparkle (Paul Aguirre), Ethel (Crystal Chapman), Sara Andreas, Ann Ehnes, Kevin B. Johnson, Stephanie Long, Geoffrey Mergele, Emily Knox Peterson, Jennifer Sanchez, Stacey Sipowicz, Sidney Erik Wright.

The Connelly Theatre
220 East 4th Street
New York, NY 10009
Between Avenue A & B

Closed March 15