Midtown International Theatre Festival Launch Party Tonight

The Midtown International Theatre Festival (MITF) presents their Fourteenth Anniversary Season LAUNCH PARTY on Sunday, July 7, 2013 at 8pm at Gonzalez y Gonzalez, 192 Mercer Street, NYC (between Houston and Bleecker).  Doors open at 8pm and the performance begins at 9pm. The event is FREE. MITF's LAUNCH PARTY will feature scenes and songs of upcoming shows in the MITF.  There will be food and a full bar, with drinks for sale.  The evening will include excerpts from the following shows: The Actual Dance, by Samuel A. Simon One man's journey with the woman he loves. Bending All The Rules, by James Salem and Joseph Salem (composer, lyricist, book) Hetero, Homo, or in-between ­- we all play "the game," and sometimes, we all have to bend the rules. Black Ice, by Lezlie Revelle Friendships hit the ice when a coming-out sends Harmony skidding out of control. Brattleboro, by Lindsay B. Davis Lori, a Thirty-Something would-be writer with a unique case of arrested development, faces the nature of her relationship with James, a Blackberry-obsessed banker she has resolved many times to leave. Color of Life, by Sachiko Ishimaru (lyricist, book), composed by Yasuhiro Ito A Japanese painter meets a colorful actress on a plane ride to NY and moves into her apartment...Will 90 days be enough? Crazytown: My First Psychopath, by Jude Treder-Wolff (composer, lyricist, book) Working in psychiatry can be kind of wack. The Dark I Know, by Alex Eisen and John Watts (composer, lyricist, book) The story of two families, one Jewish, during the rise of Nazism in Germany during the early 1930s. Enter Singing - The Musical, by Linda Evans (composer, lyricist, book) Four finalists compete for Best Playwright in the USA and Probably the World. Jealousy, love, an explosion, labor pains - and winning! Envoy, by Belinda Bremner Twelve student hostages struggle to make one big decision as they fight to keep hope alive moments from death. The HAT Chronicles, by Jonathan Johnson Conversations with people in hats.  What's your story? Help Yourself, written and by Lauren Hunter Discover lengths one woman will go to try and cross the divide between who she thinks she is and who she thinks she was born to be. The Linguists, by EJ Sepp Mispronunciation will not be tolerated. Love Stinks, by Kate Plumb Rader When love can drive you mad, literally: The sanest of couples can be driven to completely irrational behavior when it comes to love. Motel Rasdell: A New Musical, by Danielle DeMatteo and Christina Bracco The other side of the white picket fence. The Past Is Still Ahead, by Sophia Romma One of Russia's most ill-fated and controversial cult poets of the twentieth century, Marina Tsvetaeva, revisits the tumultuously tragic and sexy events of her life - just before succumbing to "suicide" at the hands of the Soviet Secret Police, in 1941, while exiled in Siberia. Sleep at Your Own Risk, by Matthew Ethan Davis Guy struggles with the phenomenon of sleepwalking while trying to hold on to the love of his life - and not walk out of his apartment naked. Stetson'd, by Mark Stetson and Devin Delliquanti In Mark's search for meaning in his life, his battle with the universe has been one of attrition. This is a story of survival. Suckerfish, by W.T. Underwood On a city street corner, between madness and sanity, all that stands in the way of Hank and freedom is a certifiable homeless man and a pay phone that can't hear out. The Tellin' Man, by Rudy Gray A black slave reveals to his plantation master that a slave revolt is imminent. Why does he do it, and what does he do about it? Yesterday Iran / Today Iraq, written by L. S. Goldberg On the eve of his first deployment to Iraq, Pvt. Steven "Stippy" Goodman discovers a mysterious box of World War II letters from his grandfather, Lt. Chester A. "Grumpa" Goodman. John Chatterton, executive producer for the Festival, said "This is the finest lineup for the MITF in 14 years, and the entertainment selections for the preview event show it. I'm truly proud of this year's Festival!" The 2013 Festival will take place at the June Havoc Theatre, 312 W. 36th Street, 1st floor; the Dorothy Strelsin Theatre, 312 W. 36th Street, 1st floor; the Main Stage Theater, 312 W. 36th Street, 4th floor; and the Jewel Box Theater, 312 W. 36th Street, 4th floor.  Tickets are $15 for short plays and $18 for longer plays. Tickets are available at www.midtownfestival.org or by phone at (866) 811-4111. The Festival also offers various group discounts and package passes, good for full-length and short plays. Further information about the MITF can be found on the Festival Web site, at www.MidtownFestival.org.

Interview - Jeanette Bonner of "Love. Guts. High School."

By Byrne Harrison

Jeanette Bonner's recent New York credits include original one-acts with Magic Futurebox Productions, Ars Nova and Primary Stages, and A Christmas Carol (Ghost of Christmas Past) at the DeBaun Performing Arts Center. She has toured nationally in Sesame Street Live,The Bully (Vital Theatre Company), and Spell in the Well and Other Tales (Shoestring Players). She is a company member of National Comedy Theater and performs in their weekly improv comedy show. Jeanette received a BA in Theater and Dance from Trinity College in Hartford, CT, and is currently writing a full-length farce about all the things that could go wrong on stage, and do.  www.jeanettebonner.com

Her play Love. Guts. High School. is currently in production at the Midtown International Theatre Festival.

Tell me a little about Love. Guts. High School.

Love. Guts. High School. is a 60-minute semi-autobiographical show about falling big for your high school crush.......who doesn't like you in "that way."


How did you come up with the concept?

I knew I wanted to write a solo show before I knew what it would be about, so I enrolled in a class taught by playwright Matt Hoverman.  When discussing the potential topics of our shows, he asked us to consider if we had any unanswered Life Questions: "if this particular thing hadn't happened in my life, would I still be who I am today?"  I think we all know immediately what that one Thing is, and for me is was the story of this crazy high school relationship.

How did Peter Michael Marino become involved in the development of the show?

Last fall, my classmates and I decided to showcase the 30 minutes of material that we had from class in a performance at Stage Left Studio.  We got together a few times to talk about how to approach this strange new art form.  I literally had no idea that I needed to hire a director; I was thinking, "Can't I just direct myself?"  Thankfully, my classmates set me straight.  I asked a few friends but they were too busy to take on a new project, so I turned to a Facebook page called Solo Show Artists Unite and asked around.  Peter was recommended to me, and we worked so well together instantly that I never even interviewed anyone else!

Is this your first solo show?

YES!

What has it been like working in this genre?

I really love creating my own work.  It has been extremely empowering, especially after many years in the audition circuit.  What's nice about being the playwright and the actor is, I can stop myself in the middle of rehearsal and go:  "I would never say that!" and delete or change whatever I had written.  You definitely dont' have to justify any weird language or thoughts, which can come up alot when acting out another playwright's language.  I also dearly love being able to rehearse any time of day in any location.  I have rehearsed with my kitchen table in my bathing suit (it was like 90 degrees in my apartment, in my defense), and at midnight in my bedroom!  I even ran lines on Ellis Island once, no joke.  But mostly I am in love with telling MY story. 

Producing it myself is a whole nother story.........it has given me a lot of anxiety!  But it has taught me SO MUCH as well.  You really don't "get it" till you try to do it yourself.

Any advice for someone who wants to do their own solo show?

DO IT.  Take Matt's class and do it.  It's ultimately so rewarding, in a thousand ways. 

What else is coming up for you this year?

Well, I'll admit that my show has eaten up my life a bit so I've fallen off the wagon in terms of auditioning for projects after the show ends!  But I do have another play I've been developing, it's a full length farce, and I'm contemplating producing it myself (a glutton for punishment, aren't it??).  In addition, I shot a short film in May called "Fetus Envy" and we are hoping it will gain momentum.

And one that's just for fun... if you could go back to high school again, what would you do differently?

Ha, this question is REALLY relevant to my show.  If I could go back to high school and tell my younger self not to get involved with that one boy... would I?  I don't know.  I believe that experience made me stronger, and makes me who I am today.  I think he helped show me how I deserve to be treated in a relationship, and helped me to discover that I deserve to be loved.  It seems every young woman needs that one heartbreaking relationship so that when her true love comes along, she can recognize it and appreciate it for what it is.  So would I go back and do it all over again differently?  No doubt I'd want to.  But knowing what I know now, I'd have to say, I can't.

Love. Guts. High School.

Written & performed by Jeanette Bonner

Developed with Peter Michael Marino

Dorothy Strelsin Theatre in the Abingdon Arts Complex
312 West 36th Street, 1st Floor. (Btw 8^th & 9^th Avenues)

Tickets are $15 to $18 and can be purchased at www.web.ovationtix.com/trs/cal/27845 https://web.ovationtix.com/trs/cal/27845 or by calling 866-811-4111.

Show Dates                                                                  

Tuesday, July 17^th @ 7:30pm                                                      
Wednesday, July 25th @ 7:30pm
Friday, July 27^th @ 7:30pm
Thursday, August 2^nd @ 9:15pm

More information can be found at www.lovegutshighschool.com orwww.midtownfestival.org.

Midtown International Theatre Festival Announces Nominees for MITF Awards

The Midtown International Theatre Festival (MITF) has announced the nominees for the MITF Eleventh Annual Season Awards. The ceremony will be held on Thursday, September 9, 2010 at 8pm at New World Stages, 340 W. 50th Street. Tickets are $20 ($15 if booked before 8/30) and are available now at www.midtownfestival.org or by phone at 866-811-4111.

The 2010 MITF Award Nominees are:

Outstanding Production of a Play
Can I Really Date a Guy Who Wears a Yarmulke?
Closure
In Our Own Image
Screenplay
The Starship Astrov
The Tragedie of Cardenio

Outstanding Production of a Musical
10 Reasons I Won't Go Home with You
Civil War Voices
Conspiracy
Lovers
Most Likely To: The Senior Superlative Musical

Outstanding Production of a Special Event
Alice & Elizabeth's One Woman Show
Asian Belle
Love, Humiliation & Karaoke
ResurGENTS
Tallish Tales

Outstanding Playwriting for a New Script
Alice & Elizabeth's One Woman Show by Alice Barden
Can I Really Date a Guy Who Wears a Yarmulke? By Amy Holson-Schwartz
Gray Matters by Jacques Lamarre
Screenplay by Scott Brooks
The Starship Astrov by Duncan Pflaster

Outstanding Music & Lyrics
Bobby Cronin, Jason Purdy, Andrew Byrne, Blake Hackler, Steven Silverstein,
Alan Bukowiecki & Phillip Chernyak for 10 Reasons I Won't Go Home with You
Mark Hayes for Civil War Voices
Victor Lesniewski for Conspiracy: A Love Story
Christopher Massimine for Lovers
Michael Tester for Most Likely To: The Senior Superlative Musical

Outstanding Direction
Dennis Courtney for Civil War Voices
Abbe Gail Cross for Most Likely To: The Senior Superlative Musical
Jenny Greeman for Screenplay
Mike Hayhurst for The King of Bohemia
Eric Parness for The Starship Astrov
Paula Riley for Literary Disruption

Outstanding Costume Design
Janell Berte for Civil War Voices
broadwayclubhouse.com for Most Likely To
Can I Really Date a Guy Who Wears a Yarmulke?
Marc Caswell for Colored People's Time
Mark Richard Caswell for The Starship Astrov
Amy Kitzhaber for Tallish Tales

Outstanding Sound Design
Todd Ackerman for Love Me Tinder
Benjamin Furiga & Nathan Manley for Tallish Tales
Love, Humiliation & Karaoke
Nick Moore for The Starship Astrov
Nicholas Pacifico for The King of Bohemia
Michelangelo Sosnowitz for Peking Roulette

Outstanding Scenic Design
Darby Cire for The Starship Astrov
Steven Octavius Hill for Literary Disruption
Dan Koch for Never Norman Rockwell
Randall Parsons for Colored People's Time
Christine Peters for Tallish Tales
Screenplay

Outstanding Lighting Design
Isabella F. Byrd for The Starship Astrov
Jon Capozzoli for Gray Matters
Jake DeGroot for The Gospel According to Josh
Patricia R. Floyd for ResurGENTS
Yuriy Nayer for Colored People's Time
Ian Wehrle for Screenplay

Outstanding Lead Actor in a Play
Frankie Alvarez in The Tragedie of Cardenio
Walter Brandes in The Starship Astrov
Jason Liebman in Can I Really Date a Guy Who Wears a Yarmulke?
Jonathan Sale in Screenplay
Josh Sauerman in Prevailing Wins

Outstanding Lead Actress in a Play
Cindy Blevins in Love Me Tinder
Elizabeth Davis in The Starship Astrov
Olivia Horton in Literary Disruption
Catherine LeFrere in Can I Really Date a Guy Who Wears a Yarmulke?
Gabby Sherba in Merrily, Merrily, Merrily
April Woodall in Gray Matters

Outstanding Lead Actor in a Musical
Mark Cajigao in Conspiracy: A Love Story
Stephen Hope in Civil War Voices
Eddie Schnecker in Conspiracy: A Love Story
Ryan Stadler in 10 Reasons I Won't Go Home with You
Will Taylor in Lovers

Outstanding Lead Actress in a Musical
Amanda Castanos in Most Likely To: The Senior Superlative Musical
Danielle Lee Greaves in Civil War Voices
Courtney Hammond in Lovers
Elaine Moran in Conspiracy: A Love Story
Kelly Nichols in 10 Reasons I Won't Go Home with You
Jesse Zeidman in Most Likely To: The Senior Superlative Musical

Outstanding Performance by an Actor or Actress in a Special Event
Alice Barden in Alice & Elizabeth's One Woman Show
Daniel Damiano in The Hyenas Got It Down
Michelle Glick in Asian Belle
Enzo Lombard in Love, Humiliation & Karaoke
Joshua Rivedal in The Gospel According to Josh

Outstanding Supporting Actor in a Play or Musical
Scott Brooks in Screenplay
Craig Divino in The Tragedie of Cardenio
Arthur Marks in Civil War Voices
Stephen Trafton in Civil War Voices
Matt Welsh in In Our Own Image

Outstanding Supporting Actress in a Play or Musical
Heather Dilly in Screenplay
Jennifer Gawlik in The Starship Astrov
Kathryn Kates in Gray Matters
Sarah Sixt in Most Likely To: The Senior Superlative Musical
Emily Soffe in Literary Disruption

Outstanding Ensemble Performance
All Folked Up
Civil War Voices
Closure
Most Likely To: The Senior Superlative Musical
ResurGENTS
The Starship Astrov

Outstanding Choreography
Dennis Courtney for Civil War Voices
Abbe Gail Gross & Janice Aguilera for Most Likely To: The Senior Superlative Musical
Jusin Williams for ResurGENTS

Outstanding Production of a Short Subject
All Folked Up
An Ode to the Washerman
Love Stinks
Searching for Soula
The Hyenas Got It Down
The Reunion Plays

Outstanding Reading
Becoming Kinky
Hadleyburg
Miss Pell is Missing
Soleda Red and Yellow

Outstanding Show Marketing & Advertising
Asian Belle
Civil War Voices
Gray Matters
Lovers
Most Likely To: The Senior Superlative Musical


MITF's awards will feature entertainment by 2010 Season shows, including scenes from Can I Really Date A Guy Who Wears A Yarmulke? and Screenplay; and musical numbers from Civil War Voices, Most Likely To: The Senior Superlative Musical, and Ten Reasons I Won't Go Home With You, among others. There will be a cash bar. Audiences voted online for the Best of Fest and winners will be announced at the ceremony. One of the Best of the Fest voters will win tickets to The 39 Steps in a drawing held at the ceremony.

Review - Tallish Tales (Midtown International Theatre Festival)

By Rebecca N. Robertson

Tallish Tales: A Cautionary Fable for Children and Adults brings to the stage Victorian tales about rowdy little girls, examined in a 1950's context. Originally published in 1845, "Der Struwwelpeter" (Shaggy Peter) is a book of satirical tales by German psychologist Heinrich Hoffman that exaggerates the advice of the other children's books of the time wherein children who are badly behaved invariably suffer dire consequences. Tallish Tales is an adaptation for the stage of one of the translations of this book, "Slovenly Betsy".

This show may not be for everyone. Ample gore is suggested with brightly colored strips of cloth and puppet-like prosthetics, but long bouts of sobbing and no understanding the original satirical context could make this somber show frightening for small or very sensitive children. Adults expecting something intellectually stimulating, such as an examination of child rearing morays over the past two centuries, or feminist points of nurture vs. nature, will find only simplified dramatic action contrasted with clever rhymes of classical verbosity. But naughty children of all ages who are well-accustomed to the violence of the average cartoon may mischievously giggle at over-the-top antics and appreciate the feat of animating these dark humored stories on stage.

Tallish Tales: A Cautionary Fable for Children and Adults
Book Adaptation / Costume Design by Amy Kitzhaber
Directed by Brian Maschka
Set Design: Christine Peters
Composer: Benjamin Furiga
Audio Engineer / Sound Designer: Nathan Manley
Lighting Designer: Matthew Gross
Props / Puppet Building: Rachel Baron, Anne M. Thorson
Public Relations: Julia Browning

Featuring: Stacia Newcomb, Nicole Stefonek, and the voice of Joseph Bergquist

The Dorothy Streslin Theatre
312 W. 36th St.

July 13th @ 8:00pm
July 14 @ 6:00pm
July 24th @ 7:00pm
July 25th @ 5:30pm
July 29th @ 8:00pm
July 31st @ 3:00pm

Review - Asian Belle (Midtown International Theatre Festival)

By Rebecca N. Robertson

Asian Belle was workshopped in Mark Hoverman's "Create Your Own Solo Show" workshop and appears to be a work in progress, a cathartic showing that is still seeking concise expression. Ms. Glick's breathy performance is physically overly enthusiastic. However, she has good comedic timing and the sort of genuine wide-eyed vitality that easily captures empathy and makes us want to forgive the desperate tension that impedes natural presentation.

In the first of two acts, Glick tells us what it was like for her to grow up in Alabama. The U.S. born daughter of a Vietnamese woman and an American man, she finds herself amid blonde and blue-eyed classmates that seem to have everything they want. She struggles to be accepted, embracing materialism as a means to inclusion, and sometimes denying her uniqueness for the sake of "chumming it up" with those that have little sympathy for outsiders. Years later, Ms. Glick discovers an appreciation for the heritage she once denied, and she mourns for what she has lost for the sake of assimilation.

Thematically, the second act appears to have little to do with the first. Glick portrays her mother and we learn the circumstances under which the war bride fell for her American soldier husband and came to Alabama. Mother Glick's monologue highlights a universal parental struggle to reconcile the decisions she has made for herself and, indirectly, for her children. Too much of the remaining dialogue and action appears to have little purpose than to celebrate the character's more stereotypical traits. An overused bit with a pop song quickly wears out what humor can be found there. The more genuinely entertaining moments are the most human ones, such as when she describes an encounter with her ex-husband's ridiculous new wife, her feelings of rejection plain to see.

In Asian Belle, Ms. Glick explores some interesting themes about belonging, materialism, and heritage. She gives us a tiny glimpse of her heritage through her eyes, a first generation American. She tickles us with some humorous stories of adolescent longing and adult jealousy. But she stops short of letting us claim her story as an American tale, preferring to continue to straddle two worlds rather than accept where they are one.

Asian Belle
Written and Performed by Michelle Glick
Directed by Christine Renee Miller
Lighting/Sound & Stage Manager: Guinevere Pressley
Production Coordinator: Vickie Lazos
Publicity: Judd Hollander, Bunch of People Press & PR

Featuring: Michelle Glick

Dorothy Streslin Theatre
312 W. 36th St.

July 15 @ 6:00pm
July 17 @ 3:00pm
July 23 @ 8:00pm
July 24 @ 5:00pm
August 1 @ 4:00pm

Review - Alice and Elizabeth's One Woman Show (Midtown International Theatre Festival)

By Rebecca N. Robertson

One day, as she stands before the mirror, a voice in Alice's head tells her she's too old to wear her favorite pleated mini. Startled and confused, she does what any single, modern woman would do -- she calls her best friend to confirm that, yes, indeed, she has heard that voice, too! In Alice and Elizabeth's One Woman Show, two BFF's embark upon a project to explore and, hopefully, to reconcile with that moment in womanhood when one begins wondering just what it is she should and should not be doing, wearing, and feeling at her age.

Lights fade up on Alice, dressed in a gauzy batik dress, dancing to a life-celebrating song of the modern Indigo Girl variety. She quips that "it's not everyday that you see a middle-aged woman dancing on stage." I begin to worry: Have I dragged my unsuspecting boyfriend to one of those angry feminist one-woman shows peppered with self-conscious comedy and woman vs. society baiting? Being nearly of a certain age, I can probably relate to the sentiment, but must I really endure 70 minutes of that particular genre with a squirming companion at my side?

What unfolds, instead, is a brave and moving act of universally digestible storytelling born of an extraordinary friendship. Still searching the dwindling dating pool for your other half at 45? What if she's been there all along in the guise of your once roommate turned best friend of twenty-something years? And what if it takes the possible loss of said best friend to an agonizing fight with cancer to realize it?

In the telling of the story, Alice Barden skillfully portrays multiple characters, including her present and former selves. Without sparing her own pride, she describes in hindsight her naive first impressions of Elizabeth from first meeting to their inseparable party girls phase. We see awe and wonderment envelop her as she recalls their shared mourning of a beloved cat. We empathize with the simultaneous annoyance and unconditional love that can only coexist between two people so close.

Though ultimately effective as a device to create suspense, the story of Alice and Elizabeth is not told in a linear fashion and leaps to and fro through time, sometimes to its detriment. Changes in stage position and lighting are used to help suggest each setting, but it can be a struggle to keep up with where in the timeline each intermittent monologue takes place. However, these few rough spots in timing are smoothed over by the actress's ability to ever so gently disarm the audience with candid vulnerability.

This festival production of Alice and Elizabeth's One Woman Show could be an excellent start to a bigger dramatic project and, perhaps, a springboard for a feminist dialogue such as: with friends like these, who needs a marriage? As it is, it's a well told story that succeeded in making, at least, this woman of nearly a certain age, imagine aging gracefully a little differently.

Alice and Elizabeth's One Woman Show
Written by Alice Barden and Elizabeth Walker
Directed by Patsy DeDongo
Lighting Designer: Gilbert Pearto

Featuring: Alice Barden

Dorothy Strelsin Theatre
312 W. 36th St.

Friday, July 16th @ 8:00pm
Sunday, July 18th @ 5:30pm
Thursday, July 22nd @ 8:00pm
Saturday, July 24th @ 1:00pm
Sunday, July 25th @ 7:30pm

Review - The Starship Astrov (Oberon Theatre Ensemble and the Midtown International Theatre Festival)

By Byrne Harrison
Photo by Brad Fryman

The Starship Astrov: A Chekhovian Space Comedy. I'll admit, it sounds a little... unlikely. Chekhov meets Chekov. What's next? The Triffid Orchard? Three Klingon Sisters? Uncle Adama?

Well, you get the picture.

The remarkable thing is that it actually works, and works well, due in large part to playwright Duncan Pflaster's ability to walk the fine line between humor and pathos, just like Chekhov before him. Astrov is a very funny play, especially in the first half, but it still presents sad, lonely people longing for purpose, meaning and love. The twist is that it presents them not in a country estate, but in possibly the loneliest place of all - the endless void of deep space.

In the year 3047, Professor Cole (Ariel Estrada), his beautiful alien wife Celaria (Elizabeth A. Davis) and faithful doctor, Michael Rosy (Philip Emeott), board the Starship Astrov, traveling to a conference with news that will shatter the lives of everyone in the galaxy. Seemingly just another boring diplomatic mission, the crew of the Astrov - Captain January (Walter Brandes), his daughter Ally (Jennifer Gawlik), Marcus Washington (Rafael Jordan) and "Sparky" Camilo (Christine Verleny) - have no idea the twists and turns this trip will take, as they navigate a minefield of hidden love, misunderstandings, bigotry, and longing.

Since The Starship Astrov is part of a festival, the production elements are on the understated side. Despite consisting of very little other than boxes, chairs and tables, Darby Cire's set is a little unwieldy, leading to longer set changes than should be necessary. Isabelle F. Byrd's lighting design is good, especially for a festival, though director Eric Parness allows the actors to wander into shadow from time to time. Sound designer Nick Moore borrows liberally from old sci-fi shows (the swoosh of the automatic doors in particular is a lot of fun) and creates white noise in the background to simulate being on a ship. A very nice touch. Mark Richard Caswell's costumes are a joyful throwback to the cheesy uniforms and gauzy dresses of the original Star Trek. He is especially clever in creating a costume for Celaria, a green alien, whose green comes from Caswell's costume, not makeup.

The acting is anything but cheesy. There is not a single Shatner in the cast. In particular, Philip Emeott does an outstanding job as the conflicted Dr. Rosy. Torn between his rather humiliating obsession with Celaria and his duty to his employer and completely oblivious to the stary-eyed longing from young Ally, he often gets the funniest and most moving scenes in the play. Other performances of note are given by Elizabeth A. Davis as the alien trying to understand and be understood by the humans around her, and Christine Verleny as Sparky, the member of the crew that has the most to lose with Professor Cole's announcement. Verleny is particularly effective in her scenes with Walter Brandes' Captain January.

If you are a fan of Chekhov or a fan of sci-fi, The Starship Astrov is worth a look. I'd suggest getting to the theatre early - the house music is a fun mix of theme songs from sci-fi shows. I was amused, but not surprised that I knew every single one of them.


The Starship Astrov
Written by Duncan Pflaster
Directed by Eric Parness
Associate Director: Jaime Robert Carrillo
Stage Manager: Jenna Lazar
Set Designer: Darby Cire
Costume Designer: Mark Richard Caswell
Lighting Designer: Isabelle F. Byrd
Sound Designer: Nick Moore
PR Consultant: Antonio Miniño, Kampfire PR

Featuring: Walter Brandes (Captain Jonas January), Elizabeth A. Davis (Celaria), Philip Emeott (Dr. Michael Rosy), Ariel Estrada (Professor Jason Cole), Jennifer Gawlik (Ally January), Rafael Jordon (Marcus Washington), Christine Verleny (Jenny "Sparky" Camilo)

Beckett Theatre at Theatre Row
410 W. 42nd St.

Saturday, July 17th at 9:00pm
Tuesday, July 20th at 8:00pm
Friday, July 23rd at 8:00pm
Thursday, July 29th at 7:00pm
Saturday, July 31st at 2:00pm