Stage Buzz

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

Stage Buzz Review by Byrne Harrison

When dealing with a theatre festival featuring 27 short plays performed in 3 groups by over 40 actors, it’s difficult to decide what to talk about. But that’s part of the fun of Turtle Shell Production’s 8 Minute Madness Playwright Festival. Now in its fifth year, this festival promises a little something for everyone.

Since the festival was divided into three groups, I was not able to attend all three shows. This review will focus on Groups A and C.

Given that there are 18 plays in Groups A and C, to talk about each would be a little cumbersome. Instead, I’ll hit some highs and lows. Group A featured some strong plays, though its comedies seem to be most effective. Director Gaye-Taylor Upchurch has a good sense of comic timing which makes the well-written comedies that much stronger and tends to mask the inadequacies of the weaker ones. First among the comedies is Mark Harvey Levine’s charming Surprise, a cute tale about Peter (Christian O’Brien), an unlucky-in-love psychic who can only see two minutes into the future, Whitney, the girlfriend (Monika Schneider) who is dumping him, and Esther (Constance Parng), the waitress who eventually shows Peter that love isn’t always written in the stars. Featuring some wonderfully timed sight gags, snappy dialogue, and a cast that works seamlessly together, Surprise is delightful.

Two other comedies stand out. First is Walter Thinnes’s Meeting Without End. Attendees at this meeting talk in consultant speak, clichés, and aphorisms. As the meeting goes on, the phrases freely mix and mingle (or perhaps mangle) leading each attendee to spew nonsense in an ever more absurd and amusing jumble. Ably overseen by Christine Booker as the Meeting Organizer, the play features attendees Robin Madel, Kaolin Bass, and Justin Tensen. To their credit, all four manage the increasingly odd language extremely well. The other strong comedy is Shaun Raviv’s Rats. This clever tale of a gullible rat (Bill Toscano) who finds some cheese and the fast-talking rat (Christian O’Brien) who convinces him not to eat it manages to work in animal rights, outsourcing, veganism, and blood diamonds. Toscano does a good job as the hungry, but simple rat. O’Brien nails the part of the slick con man (con rat, I suppose) and his come-uppance at the end of the play is wonderful.

To her credit, Upchurch proves equally adept at more dramatic works. The somewhat difficultly named The Ta Ta Song of the Aftermore: Movement One, Constance Parng’s meditation on memory and loss, is directed with an almost liquid motion that suits the material. In Parng’s play, three sisters (Santana Dempsey, Monika Schneider, and Christine Booker) remember the night their mother left, each in her own way. Parthy and Me by Ben Lewis seems at first to be an awkward morning after between Parthy (Emily Coffin) and Paul (Rob Welsh). As the play turns to confessions about broken hearts, desire, and need, Upchurch slows the pace, allowing the actors time to show some of their characters’ depth and motivations. Not an easy thing to do in an 8-minute play.

The acting in Group A is generally strong. Noteworthy examples are Christian O’Brien in Surprise and Rats, Christine Booker as a woman dealing with a friend who’d had a stroke in Struck, Eric Edward Glawe as an earnest love-struck elephant in Elephants and Coffee, and Emily Coffin in Parthy and Me.

Group C features more dramatic work, though most of them do have their comedic moments as well. Two plays in particular stand out. First is Nina Mansfield’s powerful play about harassment, Smile. Set in a police station, a Man (Bristol Pomeroy) and Woman (Pia Ambardar) each give statements concerning an assault. The beauty of this play, and much of the credit goes to Pomeroy and Ambardar, is that each character garners the audience’s sympathy at some point and at the end of the play, two different members of the audience could very easily disagree as to whether the Man or Woman were at fault. Director David Letwin does an outstanding job using an economy of movement. The second noteworthy play is Jeremy Handelman’s Tic-Tac-Toe in which the game is used as a metaphor for the various patterns that we can’t escape in our lives. As the manipulative Kenny (Byron Loyd) recovers from surgery, his sister Stacey (Lauren Robert), a woman who is “flypaper for emotionally needy men,” plans her escape into the arms of the man she believes is her last shot at love. An interesting piece, it shows Handelman’s skill with family drama.

Other interesting plays in Group C include Scripted by Mark Harvey Levine, in which a couple, Elaine (Danielle Faitelson) and Simon (Collin Smith) awake to find that someone has left them a script of their day, each action and word they’ll speak already set down on paper, and Low & Away by Demetra Kareman, in which Frank (Bristol Pomeroy) and Carol (Elise Rovinsky) try to raise an “alpha” daughter, but worry that neither is up to the task.

Group C also features one of the more risky works, Spence Porter’s Men/Women, where a battle of the sexes is played out using only two words of dialogue: Men and Women. Gamely and kinetically directed by David Ledoux, this show has some good moments, but Porter’s conceit quickly grows tired. One must admire his daring, however, and Turtle Shell is to be commended for trying it out.

The performances in Group C are at times hit or miss, especially among some of the younger actors. However, Group C does feature some excellent work by Bristol Pomeroy. As the father in Low & Away, the assault victim in Smile, and a man running a stoop sale in The Dali Lama Drinks His Own Pee (certainly the most intriguingly named play in the festival), Pomeroy excels.

Each Group’s audience voted for the top four plays from that night. The winners of Group A (The Ta Ta Song of the Aftermore: Movement One, Parthy and Me, Meeting Without End, and Rats), Group B (Abuse from Another Life, What’s on Your Mind, A Lovely Moon, and Our Lady of the Sea) and Group C (Low & Away, Smile, Tic-Tac-Toe, and I Understand Your Frustration) will duke it out this week in the final competition. Only one playwright will be chosen as the winner of the 8 Minute Madness Playwright Festival. That winner, along with the winners of the outstanding actor awards, will be announced at the Awards & Gala event at The Irish Rogue this Sunday, March 16th at 6 PM.

Since this week’s fare includes the best of each series, if you want to see the best of Turtle Shell and the Terrapin Troupe (their acting company), now is the time to visit the Times Square Arts Center.

Playwrights: Group A - Mark Harvey Levine (Surprise), J. Stephen Brantley (Struck), Rich Rubin (A Most Unsuitable Conversation), Aoise Stratford (Elephants and Coffee), Constance Parng (The Ta Ta Song of the Aftermore: Movement One), Ben Lewis (Parthy and Me), Walter Thinnes (Meeting Without End), Shaun Raviv (Rats), Henry W. Kimmel (The Dilemma of a Standing Ovation); Group B – Fran Handman (Abuse from Another Life), Jane Prendergast (The Diers), Ann-Marie Oliva (Momology), Edward Musto (Poor Hearts), Rich Espey (Peelers), David Fox (What’s on Your Mind), Evan Guilford-Blake (A Lovely Moon), John Buczko (The Final Chuckle), Aoise Stratford (Our Lady of the Sea); Group C - Spence Porter (Men/Women), Mark Harvey Levine (Scripted), Demetra Kareman (Low & Away), Lynn Snyder (Don’t Look! ), Nina Mansfield (Smile), Eric Alan Bower (The Dali Lama Drinks His Own Pee), Jeremy Handelman (Tic-Tac-Toe), Steven Korbar (I Understand Your Frustration), William Munt (Big Red Button)
Directed by Gaye-Taylor Upchurch, John W. Cooper, Arthur French, David Ledoux, David Letwin
Stage Managers: Nate Brauner and Amanda-Mae Goodridge Producer/Artistic Director: John W. Cooper Assistant Production Manager: Amanda-Mae Goodridge Scenic Designer: Ryan Scott Lighting Designer: Eric Larson Costume and Props: Christina Gianinni Sound Design: Susan Smale

Featuring in Group A - Surprise: Monika Schneider (Whitney), Christian O’Brien (Peter), Constance Parng (Esther); Struck: Christine Booker (Veronica), Bobby Tuttle (Adrian), Rob Welsh (Brit); A Most Unsuitable Conversation: Justin Tensen (A), Bill Toscano (B); Elephants and Coffee: Robin Madel (Woman), Eric Edward Glawe (Elephant); The Ta Ta Song of the Aftermore: Movement One: Santana Dempsey (August), Monika Schneider (Ava), Christine Booker (Elizabeth); Parthy and Me: Rob Welsh (Boy/Paul), Emily Coffin (Girl/Parthy); Meeting Without End: Christine Booker (Meeting Organizer), Robin Madel (Confirmed Attendee), Kaolin Bass (Requested Attendee), Justin Tensen (Tentative Attendee); Rats: Bill Toscano (Rat), Christian O’Brien (Tar); The Dilemma of a Standing Ovation: Kaolin Bass (Adam), Audra George (Eli), Natalie Anderson (Mavis), Santana Dempsey (Tara), Justin Tensen (Jerry)
Featuring in Group B - Abuse from Another Life: Traci Hovel (Ernest), Justin Morck (Prudence), Jonathan M. Castro (Armand); The Diers: Deidre Lynn (Betty), Kendall Zwillman (Hele), Susan Wallack (Sally), Anna Savant (Nurse); Momology: Coleen Sciacca (Mom #1), Ingrid Kullberg-Bendz (Mom #2), Barbra Ann Smilko (Mom #3); Poor Hearts: Alison Crane (Young Lady), Justin Morck (Young Man), Tony Mirchandani (Driver); Peelers: Cynthia Fellowes (Bookmaker), Jonathan M. Castro (Marengo), Carol Lambert (Miss Anna); What’s on Your Mind: Tony Mirchandani (Dave), Cynthia Fellowes (Karen), Jonathan M. Castro (Jeff); A Lovely Moon: Traci Hovel (Julia), Barbra Ann Smilko (Lynn), Tony Mirchandani (Warren); The Final Chuckle: Benato Biridin (Jackie Jordan), Edward Sheldon (Father L.D. Riley); Our Lady of the Sea: Justin Morck (Brother), Bill Toscano (Father), Jonathan M. Castro (Boyfriend)
Featuring in Group C - Men/Women: Bernardo Cubria (He 1), Mark Becker (He 2), Annie Mistak (She 1), Emily Elizabeth Simoness (She 2); Scripted: Danielle Faitelson (Elaine), Collin Smith (Simon); Low & Away: Bristol Pomeroy (Frank), Elise Rovinsky (Carol); Don’t Look!: Kaolin Bass (Paul), Annie Mistak (Cheryl); Smile: Bristol Pomeroy (Man), Pia Ambardar (Woman); The Dali Lama Drinks His Own Pee: Bristol Pomeroy (Sherwin), Emily Elizabeth Simoness (Lisa), Patrick Cann (Tim), Tara Gadomski (Angela), Bernardo Cubria (Nathan), Shiloh Klein (Babs); Tic-Tac-Toe: Lauren Robert (Stacey), Byron Loyd (Kenny); I Understand Your Frustration: Patrick Cann (Ted), Pia Ambardar (Brad); Big Red Button: Bernardo Cubria (1), Mark Becker (2)

The Turtle’s Shell Theater (in the Times Square Arts Center)
300 W. 43rd Street

Through March 15
Wed.-Fri.: 8 PM; Sat.: 3 and 8 PM
Awards & Gala Event: Sunday, March 16 (see http://www.turtleshellproductions.com for details)

Tickets: Theater Mania 212-352-3101

Click the thumbnail above to find out about a cabaret fundraiser for the St. Bart’s Players on February 29th and March 1st, featuring Stage Buzz contributor David Pasteelnick.

Stage Buzz Review by Byrne Harrison

Ars Gratia Artis. Art for art’s sake. Can there be a more noble goal, a loftier ambition? But can that sentiment support a theatre company today? In the case of the Integrity Players, the fictional company at the heart of David Bell’s The Play About the Naked Guy, produced by Emerging Artists Theatre and currently playing at Baruch Performing Arts Center, the answer is a resounding no.

Known more for staging obscure (in every sense of the word) dramas than for the size of their audiences, the Integrity Players are in dire straits. Most of their company has quit, leaving only artistic director Dan (Jason Schuchman), his pregnant wife Amanda (Stacy Mayer), and their token Equity actor Harold (Wayne Henry). They’re out of money. They’re about to lose their theatre space. Their only financial backer, Mrs. Anderson (Ellen Reilly), Amanda’s mother, is pulling the plug. While she was willing to humor her daughter, now she’s ready for the company to shut down, for Dan to disappear, and for her daughter to return to a life of privilege in Connecticut where she belongs.

All seems lost until a chance encounter between the closeted Harold and Eddie Russini (Christopher Borg), a slick and sleazy producer of extremely popular and extremely base shows catering to an audience less interested in live theatre than live nudes on stage. To give a sense, his most recent masterpieces are Naked Boys Running Around Naked and Drunk Frat Boys Making Porn. Eddie’s idea? To borrow the Integrity Players’ cavernous space at Baruch Performing Arts Center and stage his next big hit – a gay musical based on the life of Christ. Rather than reveal the title, I’ll let it be a surprise. Needless to say, the American Family Association would not approve.

Unsurprisingly, Dan is horrified by the idea. But egged on by her mother and the fact that she’s expecting a child, Amanda votes to give it a shot in hopes of a big payday. Harold, blinded by lust for Kit Swagger (Dan Amboyer) the porn star who is to play Jesus, votes in favor of Eddie’s scheme as well.

What follows is Dan’s nightmare and the audience’s delight.

Bell’s script is a hoot, full of peppy one-liners. There are plenty of hilarious jokes about the New York theatre scene; one about Marian Seldes in particular is awesome. The play, however, at nearly two hours is a little long for what should be a breezy farce, and despite Tom Wojtunik’s deft directing, drags from time to time.

Fortunately, the cast is excellent. In particular, Christopher Borg and Ellen Reilly own the stage when they are on it. Borg, even at his most sedate, plays Russini as a cross between Svengali and Norma Desmond. Reilly is Cruella De Vil wrapped in Martha Stewart. The two are wonderful to watch and their scenes together are terrific. Stacy Mayer, whose Amanda is a good girl just waiting to be corrupted, plays the wide-eyed innocent with great skill. Christopher Sloan and Chad Austin play Russini’s angertwink sidekicks, T. Scott and Edonis. T. Scott has built his gay persona around Jack McFarland, Sean Hayes’ character on Will & Grace (and it must be said that Sloan does one hell of Jack McFarland imitation) and Edonis is pretty, but shallow as a saucer and dumb as a bag of hair. Needless to say, both are pretty darn funny and do a wicked job skewering gay youth-obsessed culture.

After Borg and Reilly’s performances, my personal favorite is Wayne Henry’s uptight Harold, which Henry plays with a certain Tony Randall-like aplomb. His character is amusing, but heartbreakingly earnest about his love of acting. In one of the best scenes from the play, Harold passes that enthusiasm along to a suddenly serious Kit. Dan Amboyer has the snarly, strutting Kit Swagger (what a great name) down pat, but it’s at the end of the play when Kit, having been coached in the actor’s art by Harold, takes on Harold’s plummy speaking voice and cries out, “I have a new master! And his name is Uta Hagen!” that Amboyer really shines.

Jason Schuchman has the unfortunate job of playing straight man to a stage full of funny men. That’s not to say that he doesn’t do a good job at it, but in a farce the earnest characters are never the ones that stick in the mind. Despite that, Schuchman’s Dan does have some good zingers – he has one particularly funny joke about Actors’ Equity – but overall, he is the voice of reason and in a zany show like this, that leaves him the odd man out.

While Bell’s final judgment of artistic versus commercial success seems a little cynical at first, it’s worth noting that Naked Boys Singing continues to pack in the crowds, while stellar Off and Off-Off Broadway productions languish. If the Eddie Russinis of the world really are the future of theatre, at least Bell can make us laugh about it.

Directed by Tom Wojtunik
Stage Manager: Jennifer Marie Russo
Choreographer: Ryan Kasprzak
Costume Designer: David Withrow
Set Designer: Michael P. Kramer
Lighting Designer: Travis Walker
Composition Sound Designer: Ryan Homsey
Press Agent/Marketing Director: Katie Rosin
Properties Intern: Ellys R. Abrams
Stage Crew: Jamie Phelps, Terra Vetter, Julie Feltman
Sound Board Operator: Kevin Wilder

Featuring Christopher Borg (Eddie Russini), Christopher Sloan (T. Scott), Dan Amboyer (Kit), Ellen Reilly (Mrs. Anderson), Jason Schuchman (Dan), Stacy Mayer (Amanda), Wayne Henry (Harold), Chad Austin (Edonis).

Baruch Performing Arts Center
55 Lexington Avenue

February 9 – March 2
Mon. 7 PM; Friday 9:30 PM; Sat. 8 PM; Sun. 5 PM

Visit www.theatermania.com for tickets.

Stage Buzz Review by Byrne Harrison

The year is 1969. Vietnam is getting ugly. Students are rioting. Even in Claymont, a small town outside of Wilmington, change is in the air. For Dallas Hitchens, change means being kicked out of college, kicked out of his house, and moving in with his neighbors, the Greenglasses. For Neil Greenglass, it’s art, the possibility of attending Berkeley on a scholarship, and experiencing his first real crush . . . on the older, rebellious Dallas. Dallas encourages Neil’s artistic ability, he plays the big brother to him, and when his draft notice arrives, forces Neil to devise a drastic plan to keep Dallas close.

Written by Kevin Brofsky, Claymont could easily be dismissed as just another gay coming-of-age play. That would be a mistake, not only because it sells the play short, but also because Neil’s budding homosexuality is not the main point of the play. For Neil, that’s just one of many complications in his life – he’s unpopular, his father is an invalid, his family is poor, he’s artistic and misunderstood. His lesson is that life can be crushingly painful and unfair, but there is beauty, love and sacrifice – which might not sound like a good thing, but has rewards of its own.

The acting is generally good, though Wynne Anders as Dolores Hitchens, Dallas’ mom, and Rebecca Hoodwin as Neil’s Grandma, come dangerously close to caricature. Luckily, Hitchens and Hoodwin both know where to draw the line, and their characters- a Robert Harling-esque Southern chatterbox and an Old World bubbie, respectively- never quite go over-the-top. Jason Hare proves once again that he has a particular talent for playing teenagers. His Neil is almost so many things - gay, an artist, in love, free from high school – and Hare plays that sense of possibility so well. Stephen Sherman’s Dallas is an enigma. A young man who doesn’t want to go to war, he nonetheless sabotages every chance he has of staying out of it. Sherman does a fine job playing Dallas’ confusion at this self-destructive impulse and in keeping him from becoming just a charismatic rebel. Glory Gallo brings so much to the table as Shayna, Neil’s long-suffering mom. Her wonderfully nuanced performance is excellent and her scenes with Neil at the end of the play are at turns heartbreaking and amusing.

It is worth noting that this is Emerging Artists’ first production in Baruch Performing Arts Center. Now that the designers have a large, some might say cavernous, space in which to work, they are really getting an opportunity to show what they can do. Tim McMath’s set for Claymont doesn’t disappoint. It makes full use of the large space and captures the aesthetic of the late ‘60s suburbia without going overboard. It’s also a clever bit of staging having Dallas’ basement bedroom higher than the rest of the set. The actors make it work nicely by “descending” a flight of stairs then stepping up into the room. All in all, a nice effect.

While this production of Claymont seems to drag at times and generally feels overly long, it features good acting and a couple of really nice, touching moments.

Directed by Derek Jamison
Stage Manager: Jennifer Granrud
Set Designer: Tim McMath
Property Master: Stephanie Wiesner
Lighting Designer: Joyce Liao
Sound Designer: Ned Thorne
Costume Designer: Meredith Neal
Technical Director: Patrick T. Cecala II
Press Agent/Marketing Director: Katie Rosin
Properties Intern: Ellys R. Abrams
Stage Crew: Tera Vetter, Alison Carroll
Sound Board Operator: Jin Hamano

Featuring Aimee Howard (Sharon Letts), Glory Gallo (Shayna), Jason Hare (Neil), Rebecca Hoodwin (Grandma), Ron Bopst (Mr. Ramsey), Stephen Sherman (Dallas Hitchens), Wynne Anders (Dolores).

Baruch Performing Arts Center
55 Lexington Avenue

February 9 – March 2
Tues. and Fri. 7 PM; Sat. 2 PM; Sun. 8 PM

Visit http://www.theatermania.com for tickets.