Stage Buzz Review by Byrne Harrison
3Graces Theater Company is committed to “exposing and exploring the power of women’s experiences through theater.” Not only have they chosen an excellent vehicle, Heather McDonald’s powerful Dream of a Common Language, but they have created an outstanding production.
Dream of a Common Language tells the story of husband and wife painters, Clovis (Annie McGovern) and Victor (Kerry Watterson). Both are Academy trained. Both are dedicated to their art. But only one is male, and in late-19th century Paris, that is all that matters. Clovis’s art is viewed as trivial, and indeed, so is she. Even Victor, who obviously loves and cherishes her, is blinded by his view of what constitutes ‘serious’ art. Things come to a head during a dinner party attended by several other artists, including the free-spirited Pola (Suzanne Barbetta) and the serious Marc (Ian Christiansen). When the women are banished to the garden so the men can plan their next show, Clovis is pushed to the edge. She stands up for her art and for herself, finally making Victor realize the frustration she is forced to live with every day at the hands of men like Marc and him.
The production is outstanding, from Mandy Hart’s wonderful sets to the music performed by musicians Chip Barrow and Zsaz Rutkowski, who remain onstage throughout the play. Director Karen Sommers lets the play build slowly, drawing the audience in, until they become engrossed in the story. She makes good use of Hart’s deep, multi-leveled set, and designer Anjeanette Stokes’ lighting to create beautiful stage pictures. And she is blessed with a wonderful cast.
McGovern’s Clovis is a remarkable woman, full of self-doubt and longing, but obviously talented, even if the world doesn’t recognize it. Watterson’s Victor is protective of his wife, yet dismissive, at times forgetting that she is flesh and blood and not an inanimate object to be painted. The two are marvelous together; their interaction in the moving final scene of the play is heartbreaking.
This was my first experience with 3Graces. Given the outstanding choice of material, the meticulous attention to the production values, and the superb acting, it will not be my last.
Written by Heather McDonald
Directed by Karen Sommers
Live Music by Chip Barrow and Zsaz Rutkowski
Original Music Composed by Chip Barrow and John D. Ivy
Set Design: Mandy Hart
Lighting Design: Anjeanette Stokes
Costume Design: Veneda Truesdale
Sound Design: John D. Ivy
Choreography: Dorothy Abrahams
Technical Director: Patrick T. Cecala II
Production Manager: Pamela D. Roberts
Assistant Stage Manager: Uys DeBoisson
Dramaturgs: Kathleen Bishop, Patrick T. Cecala II, Annie McGovern
Featuring Suzanne Barbetta (Pola), Ian Christiansen (Marc), Kelli Lynn Harrison (Dolores), David Kahn (Mylo), Annie McGovern (Clovis), Kerry Watterson (Victor)
Hudson Guild Theater
85 E. 4th Street
March 16-April 6
Mon., Thurs., Fri., Sat.: 8 pm
Sun.: 3 pm
Tickets: www.ticketcentral.com or 212-279-4200
Monday, March 26, 2007
Fundraiser - EAT Sings Sondheim
Eat Sings Sondheim - a benefit cabaret for Emerging Artists on Monday, March 26th, at 8 pm!
Directed by Tom Wojtunik
Come hear some of your favorite EAT members croon Sondheim like you’ve never heard it before.
Performers include:
Paul Adams
David Bishop
Amy Bizjak
Christopher Borg
Marc Castle
Laura Fois
Erin Hadley
Steve Hauck
Ryan Hilliard
Brian Louis Hoffman
Rebecca Hoodwin
Shannon Marie Kerr
Sebastian La Cause
Jenny Lee Mitchell
Maya Rosewood
Kristen Wilkins
Tickets are $20 at the door. Reservations can be e-mailed to EATTheatre@aol.com . It will be performed at Emerging Artists Theatre, 311 W. 43rd St., 5th Floor, between 8th and 9th Avenues, Monday March 26th at 8pm.
Directed by Tom Wojtunik
Come hear some of your favorite EAT members croon Sondheim like you’ve never heard it before.
Performers include:
Paul Adams
David Bishop
Amy Bizjak
Christopher Borg
Marc Castle
Laura Fois
Erin Hadley
Steve Hauck
Ryan Hilliard
Brian Louis Hoffman
Rebecca Hoodwin
Shannon Marie Kerr
Sebastian La Cause
Jenny Lee Mitchell
Maya Rosewood
Kristen Wilkins
Tickets are $20 at the door. Reservations can be e-mailed to EATTheatre@aol.com . It will be performed at Emerging Artists Theatre, 311 W. 43rd St., 5th Floor, between 8th and 9th Avenues, Monday March 26th at 8pm.
Saturday, March 17, 2007
Review - Five By Tenn (Turtle Shell Productions & the Terrapin Troupe in association with Off the Leash Productions)
Stage Buzz Review by Byrne Harrison
Given that Tennessee Williams is one of the best-known American playwrights, it’s unusual to see the words “New York premiere” attached to a production of any of his plays. But that’s exactly what Turtle Shell Productions has given us - an evening of Williams’ one-acts, featuring the New York premieres of Why Do You Smoke So Much, Lily? and Thank You, Kind Spirit. Although the plays, written by Williams from the ages of 23 to 33, are somewhat uneven, they hint at the greatness to come.
Director John W. Cooper uses one of the plays, Thank You, Kind Spirit, as a framing device for the other four pieces. In Kind Spirit a faith healer, Mother DuClos (Natalie E. Carter), leads a group of believers toward peace and healing, as long as they’re willing to pay. Throughout the play, Mother DuClos becomes aware of the other stories, as though psychically picking them up from the ether. When she does, the action in her play pauses, and the new play begins.
The first of these is the hallucinatory Talk to Me Like the Rain and Let Me Listen . . ., a play that drips with desire and frustration, like sweat on humid bayou night. The second and fourth plays, Hello From Bertha and The Lady of Larkspur Lotion deal with a familiar Williams’ theme – people at the end of their rope, brought low by alcohol and crushed dreams. The Lady of Larkspur Lotion is unusual in that it allows the two characters, Mrs. Hardwicke-Moore (Rebecca Street), an early version of Blanche DuBois, and her next-door neighbor, an alcoholic, unaccomplished Writer (Leon Fallon), to live happily in their delusions, if only for an evening. The third short play in the group is Why Do You Smoke So Much, Lily?. Featuring a passive-aggressive mother (Susan Capra) and a daughter (Christie Booker) who is reaching the edge of her sanity, it has hints of The Glass Menagerie and Suddenly Last Summer.
Each of the plays is well-acted, with standout performances given by Natalie E. Carter as Mother DuClos, Rebecca Street as Mrs. Hardwicke-Moore, and Leon Fallon as The Writer.
Production elements in Five by Tenn are especially strong. Set designer Ryan Scott has created a run-down, claustrophobic playing area, which nonetheless is versatile and roomy enough for each for the various plays, despite having the cast of Thank You, Kind Spirit stay onstage the entire time. Eric Larson’s lighting and Roman Battaglia’s sound design complement the set, creating the illusion of a run down apartment on a rainy night somewhere in the Vieux Carre.
While these five plays merely hint at the brilliance that was to come, any Tennessee Williams aficionado would do well to see Five by Tenn. Turtle Shell and Off the Leash are to be commended for bringing these diamonds in the rough to light.
Written by Tennessee Williams
Directed by John W. Cooper
Co-Produced by Jeremy Handelman
Stage Managed by TaShawn “Pope” Jackson
Dramaturge - Scott McCrea
Assistant Director - Patrick Mills
Scenic Designer - Ryan Scott
Lighting Designer - Eric Larson
Costume Designer - A. Christina Giannini
Sound Designer - Roman Battaglia
Dialect Coach - Karla Nielson
Featuring Emily Arrington (Little Girl), Kay Bailey (Bertha), Christie Booker (Lily), Susan Capra (Mrs. Yorke), Natalie E. Carter (Mother DuClos), Christina Christman (Lily/Girl), Jovanka Ciares (Lena), Elizabeth Clark (Woman/Girl), Nina Covalesky (Woman), T. Michael Culhane (Youth), Barbara Ann Davison (Mrs. Wire), Leon Fallon (The Writer), Chris Ford (Man), Joyce Feurring (Woman in Rear), Daniel Kipler (Man), Grace Manzo (Little Girl), Sylvia Mincewicz (Second Young Woman), Trish Montoya (Middle-Aged Woman), Margaret O’Connor (Goldie), Vincent Oppecker (The Writer), Candice Palladino (First Young Woman), Lennard Sillevis (Young Man), Rebecca Street (Mrs. Hardwicke-Moore)
The Turtle’s Shell Theater (in the Times Square Arts Center)
300 W. 43rd Street
Through March 25th
Mon., Wed.-Sat.: 8 pm
Sun: 3 pm
Given that Tennessee Williams is one of the best-known American playwrights, it’s unusual to see the words “New York premiere” attached to a production of any of his plays. But that’s exactly what Turtle Shell Productions has given us - an evening of Williams’ one-acts, featuring the New York premieres of Why Do You Smoke So Much, Lily? and Thank You, Kind Spirit. Although the plays, written by Williams from the ages of 23 to 33, are somewhat uneven, they hint at the greatness to come.
Director John W. Cooper uses one of the plays, Thank You, Kind Spirit, as a framing device for the other four pieces. In Kind Spirit a faith healer, Mother DuClos (Natalie E. Carter), leads a group of believers toward peace and healing, as long as they’re willing to pay. Throughout the play, Mother DuClos becomes aware of the other stories, as though psychically picking them up from the ether. When she does, the action in her play pauses, and the new play begins.
The first of these is the hallucinatory Talk to Me Like the Rain and Let Me Listen . . ., a play that drips with desire and frustration, like sweat on humid bayou night. The second and fourth plays, Hello From Bertha and The Lady of Larkspur Lotion deal with a familiar Williams’ theme – people at the end of their rope, brought low by alcohol and crushed dreams. The Lady of Larkspur Lotion is unusual in that it allows the two characters, Mrs. Hardwicke-Moore (Rebecca Street), an early version of Blanche DuBois, and her next-door neighbor, an alcoholic, unaccomplished Writer (Leon Fallon), to live happily in their delusions, if only for an evening. The third short play in the group is Why Do You Smoke So Much, Lily?. Featuring a passive-aggressive mother (Susan Capra) and a daughter (Christie Booker) who is reaching the edge of her sanity, it has hints of The Glass Menagerie and Suddenly Last Summer.
Each of the plays is well-acted, with standout performances given by Natalie E. Carter as Mother DuClos, Rebecca Street as Mrs. Hardwicke-Moore, and Leon Fallon as The Writer.
Production elements in Five by Tenn are especially strong. Set designer Ryan Scott has created a run-down, claustrophobic playing area, which nonetheless is versatile and roomy enough for each for the various plays, despite having the cast of Thank You, Kind Spirit stay onstage the entire time. Eric Larson’s lighting and Roman Battaglia’s sound design complement the set, creating the illusion of a run down apartment on a rainy night somewhere in the Vieux Carre.
While these five plays merely hint at the brilliance that was to come, any Tennessee Williams aficionado would do well to see Five by Tenn. Turtle Shell and Off the Leash are to be commended for bringing these diamonds in the rough to light.
Written by Tennessee Williams
Directed by John W. Cooper
Co-Produced by Jeremy Handelman
Stage Managed by TaShawn “Pope” Jackson
Dramaturge - Scott McCrea
Assistant Director - Patrick Mills
Scenic Designer - Ryan Scott
Lighting Designer - Eric Larson
Costume Designer - A. Christina Giannini
Sound Designer - Roman Battaglia
Dialect Coach - Karla Nielson
Featuring Emily Arrington (Little Girl), Kay Bailey (Bertha), Christie Booker (Lily), Susan Capra (Mrs. Yorke), Natalie E. Carter (Mother DuClos), Christina Christman (Lily/Girl), Jovanka Ciares (Lena), Elizabeth Clark (Woman/Girl), Nina Covalesky (Woman), T. Michael Culhane (Youth), Barbara Ann Davison (Mrs. Wire), Leon Fallon (The Writer), Chris Ford (Man), Joyce Feurring (Woman in Rear), Daniel Kipler (Man), Grace Manzo (Little Girl), Sylvia Mincewicz (Second Young Woman), Trish Montoya (Middle-Aged Woman), Margaret O’Connor (Goldie), Vincent Oppecker (The Writer), Candice Palladino (First Young Woman), Lennard Sillevis (Young Man), Rebecca Street (Mrs. Hardwicke-Moore)
The Turtle’s Shell Theater (in the Times Square Arts Center)
300 W. 43rd Street
Through March 25th
Mon., Wed.-Sat.: 8 pm
Sun: 3 pm
Monday, March 5, 2007
Review - The Girl Detective (The Ateh Theater Group)
Stage Buzz Review by Byrne Harrison
It’s risky adapting a surreal and lyrical short story for the stage. But then, it’s risky to write a story like that to begin with. In the case of the theatrical version of Kelly Link’s The Girl Detective, people will very likely praise or damn it based on their feelings about Link’s short story, because Bridgette Dunlap’s adaptation is extremely faithful to the text and style of the source. But love the story or hate it, you have to respect this production, ably presented by The Ateh Theater Group.
People looking for a traditional play probably won’t leave satisfied. The Girl Detective is non-linear. Certain scenes exist to set a mood or create an image; they don’t always move the story forward. And the plot, part hard-boiled detective novel, family drama, love story, fantasy, fairy tale, ballet, comedy . . . well, it’s often a little hard to follow. The main things to know: the Girl Detective is looking for her missing mother; she is being observed by a Guy in a tree, who is also the narrator of the tale; and there exists somewhere below us an Underworld where everything that’s lost ends up and where dancing is the primary language.
If you can set aside the need to be told a story or to have everything wrap up in a nice, understandable way and simply enjoy the experience, this is an amazing production.
To begin with, the Connelly Theater, unlike many Off-Off-Broadway spaces, features a huge, deep proscenium stage. Set designer Emily French makes great use of it by creating numerous levels and playing areas. The space also gives choreographer Whitney Stock plenty of room to display her rousing and athletic dance numbers.
The acting is superb. Kathryn Ekblad, a tall, striking actor, powerfully creates the extraordinary Girl Detective. Ben Wood as Guy, the young man who is basically stalking her, creates a character that is sweet and naïve, rather than creepy. While Ekblad and Wood can be considered the leads of this show, everyone receives at least a few moments to shine. Particularly notable are Danielle Thorpe, as the Girl Detective’s mother, John Long, as the Tall Man, and Elizabeth Neptune, as a television Reporter. In addition to being excellent actors, the cast knows how to move. Stock’s choreography is a pleasure to watch, which is in no small part due to their skill and the sheer exuberance with which they approach it.
Director Bridgette Dunlap keeps the play moving quickly, much like the music that runs through it. In addition she’s added interesting little flourishes – a dumbshow at the beginning that previews some of the play’s important moments, mimed gondolas to take people across the river to the Underworld, instead of the more prosaic canoes from Link’s story. Small things, but they add a great deal to the show.
You may leave The Girl Detective not quite sure of what you just saw or what you were meant to take away from it. But if you can let go enough to savor the experience of the show, you’ll enjoy it.
Adapted and Directed by Bridgette Dunlap
From the story by Kelly Link
Choreography by Whitney Stock
Featuring Ben Wood as Guy, Kathryn Ekblad as The Girl Detective/Ensemble, Charley Layton as Father/Ensemble, Madeleine Maby as Housekeeper/Ensemble, Elizabeth Neptune as Reporter/Ensemble, Danielle Thorpe as Mother/Ensemble, Sara Montgomery as Expert/Ensemble, John Long as Ned/Ensemble, Marie Weller as Waitress/Ensemble, Time Eliot as Husband/Ensemble, Alexis Grausz as Birthday/Ensemble.
Connelly Theater
220 East 4th Street
Through March 17
Thurs.-Sun.: 8 pm
Tickets: 212-352-3101
It’s risky adapting a surreal and lyrical short story for the stage. But then, it’s risky to write a story like that to begin with. In the case of the theatrical version of Kelly Link’s The Girl Detective, people will very likely praise or damn it based on their feelings about Link’s short story, because Bridgette Dunlap’s adaptation is extremely faithful to the text and style of the source. But love the story or hate it, you have to respect this production, ably presented by The Ateh Theater Group.
People looking for a traditional play probably won’t leave satisfied. The Girl Detective is non-linear. Certain scenes exist to set a mood or create an image; they don’t always move the story forward. And the plot, part hard-boiled detective novel, family drama, love story, fantasy, fairy tale, ballet, comedy . . . well, it’s often a little hard to follow. The main things to know: the Girl Detective is looking for her missing mother; she is being observed by a Guy in a tree, who is also the narrator of the tale; and there exists somewhere below us an Underworld where everything that’s lost ends up and where dancing is the primary language.
If you can set aside the need to be told a story or to have everything wrap up in a nice, understandable way and simply enjoy the experience, this is an amazing production.
To begin with, the Connelly Theater, unlike many Off-Off-Broadway spaces, features a huge, deep proscenium stage. Set designer Emily French makes great use of it by creating numerous levels and playing areas. The space also gives choreographer Whitney Stock plenty of room to display her rousing and athletic dance numbers.
The acting is superb. Kathryn Ekblad, a tall, striking actor, powerfully creates the extraordinary Girl Detective. Ben Wood as Guy, the young man who is basically stalking her, creates a character that is sweet and naïve, rather than creepy. While Ekblad and Wood can be considered the leads of this show, everyone receives at least a few moments to shine. Particularly notable are Danielle Thorpe, as the Girl Detective’s mother, John Long, as the Tall Man, and Elizabeth Neptune, as a television Reporter. In addition to being excellent actors, the cast knows how to move. Stock’s choreography is a pleasure to watch, which is in no small part due to their skill and the sheer exuberance with which they approach it.
Director Bridgette Dunlap keeps the play moving quickly, much like the music that runs through it. In addition she’s added interesting little flourishes – a dumbshow at the beginning that previews some of the play’s important moments, mimed gondolas to take people across the river to the Underworld, instead of the more prosaic canoes from Link’s story. Small things, but they add a great deal to the show.
You may leave The Girl Detective not quite sure of what you just saw or what you were meant to take away from it. But if you can let go enough to savor the experience of the show, you’ll enjoy it.
Adapted and Directed by Bridgette Dunlap
From the story by Kelly Link
Choreography by Whitney Stock
Featuring Ben Wood as Guy, Kathryn Ekblad as The Girl Detective/Ensemble, Charley Layton as Father/Ensemble, Madeleine Maby as Housekeeper/Ensemble, Elizabeth Neptune as Reporter/Ensemble, Danielle Thorpe as Mother/Ensemble, Sara Montgomery as Expert/Ensemble, John Long as Ned/Ensemble, Marie Weller as Waitress/Ensemble, Time Eliot as Husband/Ensemble, Alexis Grausz as Birthday/Ensemble.
Connelly Theater
220 East 4th Street
Through March 17
Thurs.-Sun.: 8 pm
Tickets: 212-352-3101
Friday, February 16, 2007
Fundraiser - Just Say Nosedive
Nosedive Productions presents:
“Just Say Nosedive!”
Their Annual Peer Outreach Debauchery Fundraiser Show
Featuring Comedy, Music, Drinking and Can-Do Attitude
Saturday, February 24 at the EAT Studio Space on 311 West 43rd Street, 5th Floor (between 8th and 9th avenues)
Doors open at 10 p.m., show starts around 11 or so.
$20 at the door, all you can drink
Money for this fundraiser goes to their spring show, Suburban Peepshow.
“Just Say Nosedive!”
Their Annual Peer Outreach Debauchery Fundraiser Show
Featuring Comedy, Music, Drinking and Can-Do Attitude
Saturday, February 24 at the EAT Studio Space on 311 West 43rd Street, 5th Floor (between 8th and 9th avenues)
Doors open at 10 p.m., show starts around 11 or so.
$20 at the door, all you can drink
Money for this fundraiser goes to their spring show, Suburban Peepshow.
Thursday, February 15, 2007
Fundraiser - “My First Time” Benefit
CW 11 NEWS AND CENTER STAGE JOIN MY FIRST TIME BENEFIT
SUSAN BLACKWELL HEATH CALVERT RICK CROM JEFFRY DENMAN
ED DIXON HUNTER FOSTER STEPHANIE KURTZUBA
MEGAN REINKING AND ASA SOMERS
JOIN
HUNTER BELL MATTHEW CAVENAUGH ANITA GILLETTE
TERRI KLAUSNER GARRETT LONG MARY TESTA AND JOHN TARTAGLIA
“MY FIRST TIME” An All-Star Concert To Benefit Quality Services for the Autistic Community (QSAC)
Directed by
IGOR GOLDIN
Musical Direction by
DAVID ANDREWS ROGERS
ONE NIGHT ONLY!
MONDAY, FEBRUARY 26 AT NEW WORLD STAGES
TICKETS ON SALE NOW
On Monday, February 26, producers Derek Collard and Gary Maffei are pleased to present “MY FIRST TIME,” an all-star Broadway concert to benefit Quality Services for the Autistic Community (QSAC). Directed by Igor Goldin (”A Ritual of Faith”) with musical direction by David Andrews Rogers, “MY FIRST TIME” will take place at New World Stages (340 West 50th St.) at 7 p.m.
Featuring performances by
Hunter Bell [title of show]
Susan Blackwell - [title of show]
Heath Calvert (Good Vibrations, The Children)
Matt Cavenaugh (Urban Cowboy, Grey Gardens)
Rick Crom (Urinetown, Footloose, The Goodbye Girl)
Jeffry Denman (The Producers, White Christmas)
Ed Dixon (Les Miserables, Under the Bridge)
Hunter Foster (Urinetown, Little Shop Of Horrors, The Producers)
Anita Gillette (Moonstruck, Carnival, Cabaret)
Terri Klausner (Evita, Sophisticated Ladies)
Stephanie Kurtzuba (The Boy From Oz, Mary Poppins)
Garrett Long (The Spitfire Grill, Seussical)
Megan Reinking - (Lestat, Dracula)
Asa Somers (Grey Gardens, Taboo)
John Tartaglia (Avenue Q, Beauty and the Beast)
Mary Testa (On The Town, 42nd Street, Regrets Only)
The Concert will be opened by CW 11 News at 10 Anchor Jim Watkins and closed by students from Center Stage Players from the Center Stage Theatre Company in Westport, CT singing Seasons of Change from RENT joined by a possible surprise guest.
The concert features a variety of first-hand stories and songs from the performers’ own “first” experiences, such as the first show they were in, their first professional stage success or the first show or star that inspired them to follow their hearts to Broadway. Additional performers will be announced soon.
Director Igor Goldin received the 2006 Award for Excellence in Direction for his work on Common Grounds in the 2006 New York Musical Theatre Festival. Previously with NYMF he directed Joseph and David Zellnik’s World War II musical Yank! His Off-Broadway credits include the critically acclaimed New York premieres of A Ritual of Faith”(The Lion Theatre) and the musical The Snow Queen (The Triad).
Tickets for this one-night-only event can be reserved by calling QSAC directly at 212-244-5560 ext. 2035. Tickets are priced at $25, $45 and $65.
For further information on “MY FIRST TIME” and QSAC, please contact Derek Collard at derektravis@mac.com or visit http://benefit.qsac.com/.
Saturday, February 10, 2007
Fundraiser - Love ‘n Courage Benefit
ELAINE STRITCH AND CHARLES BUSCH HEADLINE
“LOVE ‘N COURAGE”
4TH ANNUAL BENEFIT FOR THEATER FOR THE NEW CITY’S
EMERGING PLAYWRIGHTS PROGRAM
ONE NIGHT ONLY - FEBRUARY 12
ONE NIGHT ONLY - FEBRUARY 12
AT THE NATIONAL ARTS CLUB (15 GRAMERCY PARK SOUTH)
ALSO SCHEDULED TO APPEAR:
TAMMY GRIMES, ELI WALLACH, ANNE JACKSON AND BEN HARBURG
PLUS SELECTED SCENES FROM NEW WORKS INCLUDING “NUTCRACKER: RATED R,” AND THE NEW MUSICAL
“THE FURTHER ADVENTURES OF UNCLE WIGGILY: THE WINDBLOWN VISITORS”
AND MUCH MORE!
“‘Love and courage’ are what a playwright needs to thrive in this field, and ‘love and encourage’ is what Theater for the New City does!” - Crystal Field, Theatre for the New City Executive Artistic Director
Theater for the New City presents LOVE ‘N COURAGE, the 4th annual benefit for Theater for the New City’s Emerging Playwrights Program, it has been announced by Crystal Field, Executive Artistic Director of Theater for the New City. Hosted by playwright and actor Charles Busch, and featuring Elaine Stritch, this year’s benefit takes place at the beautiful National Arts Club (15 Gramercy Park South), on Monday, February 12, with cocktails beginning at 6:30pm, followed by dinner and performances.
Emcee Charles Busch, writer and star of such plays as THE LADY IN QUESTION, RED SCARE ON SUNSET and VAMPIRE LESBIANS OF SODOM and author of the Tony Award-nominated play THE TALE OF THE ALLERGIST’S WIFE, will host and sing.
Legendary Tony Award-winner Elaine Stritch will read a selection from a new play. Ms. Stritch is best-known for originating roles on Broadway in COMPANY, SAIL AWAY, GOLDILOCKS, and her Tony Award-winning solo play with music, ELAINE STRITCH AT LIBERTY.
Celebrated actors Tammy Grimes, Eli Wallach and Anne Jackson are also scheduled to appear. Ben Harburg will perform the songs of his grandfather, legendary composer Yip Harburg (FINIAN’S RAINBOW, BLOOMER GIRL, and “The Wizard of Oz”).
Selected scenes from Theater for the New City’s current season will showcase the works of recently discovered artists, including the sexy ballet company The Love Show, who will perform an excerpt from their show NUTCRACKER: RATED R. The evening will also feature scenes from Laurel Hessing’s new musical THE FURTHER ADVENTURES OF UNCLE WIGGILY: THE WINDBLOWN VISITORS with music by Arthur Abrams. LOVE ‘N COURAGE concludes with an open-mic piano bar and sing-a-long accompanied by Mr. Abrams.
Celebrating its 35th year, Theatre for the New City is a long-running bastion for new theatrical works. Often, talented emerging playwrights find themselves competing for funding with more established writers; Theater for the New City’s mission is to offer “love and encouragement” to these struggling artists with its Emerging Playwrights Program, established in 1971. O. Aldon James Jr., head of The National Arts Club, has taken an interest in Theater for the New City’s mission, and the organizations are working together to present this year’s incarnation of LOVE ‘N COURAGE.
“Emerging playwrights are writers of great promise who have yet to fulfill their artistic goals, but whose visions are high,” explains Ms. Field, whose Emerging Playwrights Program takes in fledgling and untried writers, offering a nurturing environment where new authors can flourish, and often realize their first fully produced work at Theater for the New City.
The Emerging Playwrights Program represents 60 percent of the nearly 40 new plays produced annually by Theater for the New City, giving playwrights a professional forum in which to experiment and develop as theater artists, and introducing fresh ideas and energy into the mainstream of American playwriting.
Through the Emerging Playwrights Program, up-and-coming writers meet and have access to experienced designers, directors and performers. The emerging playwright is surrounded by dedicated professionals in an atmosphere of high standards and supportive collaboration. Theater for the New City has an open-door policy towards new work — considering plays of any style, genre and political thrust — and reading every script submitted. The company also produces and commissions plays by some of the better-known American playwrights such as Maria Irene Fornes, Rosalyn Drexler, Sam Shepard, Ronald Tavel, Amlin Gray and Harry Kondoleon.
LOVE ‘N COURAGE is chaired by Betsy von Furstenberg, and the benefit committee includes F. Murray Abraham, Frank Biancamano, Jean Buchalter Vinie Burrows, Charles Busch, Martha Coigney, Myrna Duarte, Rina Elisha, Crystal Field, Assembly Member Deborah Glick, Tammy Grimes, Phillip Hackett, Dina & Ernie Harburg, Kitty Carlisle Hart, Judd Hirsch, Anne Jackson, Uke Jackson, O. Aldon James, Joyce & Seward Johnson, Robert & Celia Kornfeld, Romulus Linney, Eduardo Machado, Councilmember Rosie Mendez, Alberto Minero, Grace Paley, John Roberts, Tim Robbins, Gerald Rupp, Marian Seldes, Elaine Stritch, Jerry Tallmer, Mary Tierney, Jean-Claude Van Itallie, Glyn Vincent, Eli Wallach, and Jonathan Weber.
LOVE ‘N COURAGE, the 4th annual benefit for Theater for the New City’s Emerging Playwrights Program will be held at The National Arts Club (15 Gramercy Park South) on Monday, February 12; Cocktails begin at 6:30pm; dinner at 7:00pm, followed by performances at 8:00pm.
Tickets are $125. For reservations and additional information, please call 212-254-1109.
Monday, February 5, 2007
Interview with Chris Hampton of the WYSIWYG Talent Show
Stage Buzz Interview by Byrne Harrison
Chris Hampton is a blogger and co-creator of the WYSIWYG Talent Show, “a monthly showcase for the oft-overlooked genius of bloggers in or visiting New York City,” which kicks off its fourth season on Valentine’s Day, February 14th, at the Bowery Poetry Club.
BH: Since there are probably quite a few people out there who have no idea what the WYSIWYG Talent Show is, can you tell them how it all came to be?
CH: We’re an all-blogger reading/performance series and we do monthly shows at Bowery Poetry Club. We did our first show in February of ‘04. Andy Horwitz and I were at a party, swapping Valentine’s Day stories, which led to a couple of bad-sex-on-Valentine’s-Day stories, and we got to talking about how everyone has at least one bad sex story, and we started thinking it would make for a really funny show. So we decided to try it, and being bloggers ourselves we thought having all the performers be bloggers would be an interesting angle. The first show was such a big success that we decided to make it a monthly thing. It’s not about bad sex every time — it’s about all kinds of stuff — but we still do that every year as an anti-Valentine’s Day event because it’s just too much fun not to.
BH: So this month’s performance is your anti-Valentine’s Day show, ‘Worst. Sex. Ever. IV.’ Along with the annual gay pride show, this one always sells out. What can a first-time WYSIWYG audience member expect?
CH: Cocktails, lots of laughter and schadenfreude! Your own sex life will suddenly seem SO great by comparison.
BH: You’ve performed in several of the ‘Worst. Sex. Ever.’ shows. What dirty laundry have you aired in the past?
CH: At our very first show I told the story of how a past girlfriend once tried to surprise me with a sexy evening. Except she worked at this group home for developmentally disabled men, so she ended up sneaking me in there for the whole thing. Not very easy to get your groove on when there’s a guy pounding on the door yelling about how he pooped his pants.
BH: Unless that’s your thing, I guess, but let’s not go there. Can you give us a hint about what you’ll be doing for this year’s show?
CH: This year I’m going to be doing a roundup of all the bad sex I managed to have in 2006. I think I might do a PowerPoint presentation.
BH: Going back to the themes for a moment, WYSIWYG has covered everything from bad roommates to lousy jobs to high school trauma. Any topics that are especially near and dear to you?
CH: The bad roommates one was awesome, in part because of what I think may be my favorite line ever at a WYSIWYG show. One of the perfomers told us all about how his hellish roommate was once in the next room with a guest and he heard, through the wall: “Make a mess for daddy!”
Maybe you had to be there.
BH: Actually, I was. That image was seared into my brain.
CH: I have to say, though, that my favorites are the annual “Worst. Sex. Ever.” and “Extremely Gay Gayness” show. They’re just always hilarious.
BH: Now that WYSIWYG is entering its fourth year, I imagine you’ve seen a lot of talented people perform. Do you have any particular favorites?
CH: Hmm. Maybe Susie Felber’s story from a show about summer camp experiences. Her mother was one of those touchy-feely moms who think ALL children are special — so she innocently and cluelessly signed Susie up for a camp for “special” children. But it’s REALLY hard to pick just one!
BH: Fair enough. What do you think it takes to be a good WYSIWYG performer?
CH: I think you just have to have an interesting story to tell and an ability to put it out there in your own voice.
BH: Not always an easy task, I imagine. If someone wants to take the plunge and perform at WYSIWYG, what do they need to do?
CH: They have to have a blog, since that’s our whole schtick, and they can just visit our website and they’ll find all sorts of info about the show, including upcoming dates and contact information.
BH: What’s planned for the rest of the year?
CH: We’re experimenting with not doing themes each month. I’ve had a lot of people who would be great for the show but didn’t have stories or material that matched any of the upcoming themes, so we’re opening it up and making it something of a free-for-all. So far it’s been really fun!
WYSIWYG Talent Show: “Worst. Sex. Ever. IV.”
Wednesday, February 14th
8 p.m. (Doors open at 7:30)
Bowery Poetry Club
308 Bowery at Bleecker
For advance tickets, click here.
Chris Hampton is a blogger and co-creator of the WYSIWYG Talent Show, “a monthly showcase for the oft-overlooked genius of bloggers in or visiting New York City,” which kicks off its fourth season on Valentine’s Day, February 14th, at the Bowery Poetry Club.
BH: Since there are probably quite a few people out there who have no idea what the WYSIWYG Talent Show is, can you tell them how it all came to be?
CH: We’re an all-blogger reading/performance series and we do monthly shows at Bowery Poetry Club. We did our first show in February of ‘04. Andy Horwitz and I were at a party, swapping Valentine’s Day stories, which led to a couple of bad-sex-on-Valentine’s-Day stories, and we got to talking about how everyone has at least one bad sex story, and we started thinking it would make for a really funny show. So we decided to try it, and being bloggers ourselves we thought having all the performers be bloggers would be an interesting angle. The first show was such a big success that we decided to make it a monthly thing. It’s not about bad sex every time — it’s about all kinds of stuff — but we still do that every year as an anti-Valentine’s Day event because it’s just too much fun not to.
BH: So this month’s performance is your anti-Valentine’s Day show, ‘Worst. Sex. Ever. IV.’ Along with the annual gay pride show, this one always sells out. What can a first-time WYSIWYG audience member expect?
CH: Cocktails, lots of laughter and schadenfreude! Your own sex life will suddenly seem SO great by comparison.
BH: You’ve performed in several of the ‘Worst. Sex. Ever.’ shows. What dirty laundry have you aired in the past?
CH: At our very first show I told the story of how a past girlfriend once tried to surprise me with a sexy evening. Except she worked at this group home for developmentally disabled men, so she ended up sneaking me in there for the whole thing. Not very easy to get your groove on when there’s a guy pounding on the door yelling about how he pooped his pants.
BH: Unless that’s your thing, I guess, but let’s not go there. Can you give us a hint about what you’ll be doing for this year’s show?
CH: This year I’m going to be doing a roundup of all the bad sex I managed to have in 2006. I think I might do a PowerPoint presentation.
BH: Going back to the themes for a moment, WYSIWYG has covered everything from bad roommates to lousy jobs to high school trauma. Any topics that are especially near and dear to you?
CH: The bad roommates one was awesome, in part because of what I think may be my favorite line ever at a WYSIWYG show. One of the perfomers told us all about how his hellish roommate was once in the next room with a guest and he heard, through the wall: “Make a mess for daddy!”
Maybe you had to be there.
BH: Actually, I was. That image was seared into my brain.
CH: I have to say, though, that my favorites are the annual “Worst. Sex. Ever.” and “Extremely Gay Gayness” show. They’re just always hilarious.
BH: Now that WYSIWYG is entering its fourth year, I imagine you’ve seen a lot of talented people perform. Do you have any particular favorites?
CH: Hmm. Maybe Susie Felber’s story from a show about summer camp experiences. Her mother was one of those touchy-feely moms who think ALL children are special — so she innocently and cluelessly signed Susie up for a camp for “special” children. But it’s REALLY hard to pick just one!
BH: Fair enough. What do you think it takes to be a good WYSIWYG performer?
CH: I think you just have to have an interesting story to tell and an ability to put it out there in your own voice.
BH: Not always an easy task, I imagine. If someone wants to take the plunge and perform at WYSIWYG, what do they need to do?
CH: They have to have a blog, since that’s our whole schtick, and they can just visit our website and they’ll find all sorts of info about the show, including upcoming dates and contact information.
BH: What’s planned for the rest of the year?
CH: We’re experimenting with not doing themes each month. I’ve had a lot of people who would be great for the show but didn’t have stories or material that matched any of the upcoming themes, so we’re opening it up and making it something of a free-for-all. So far it’s been really fun!
WYSIWYG Talent Show: “Worst. Sex. Ever. IV.”
Wednesday, February 14th
8 p.m. (Doors open at 7:30)
Bowery Poetry Club
308 Bowery at Bleecker
For advance tickets, click here.
Sunday, February 4, 2007
Review - Apocalypse Neo (NY Neo Futurists and Horse Trade Theatre)
Stage Buzz Review by Byrne Harrison
Those people who’ve only experienced the NY Neo-Futurists through Too Much Light Makes the Baby Go Blind (TMLMTBGB), their late night show featuring thirty plays in sixty minutes, may legitimately wonder if the they can pull off a mainstage production featuring three longer plays and still maintain the same wild energy, innovative spirit, and anarchistic vibe. Good news . . . they can, and remarkably well, at that.
Apocalypse Neo, presented by the NY Neo-Futurists and Horse Trade Theatre and currently playing at the Kraine Theater, is a three-play Neo-Futurist look at the end of the world. It has everything that a TMLMTBGB audience has come to expect: actors playing themselves; confessions; revelations; music; rhythm; audience participation; props; humor; sympathy; pizza; time limits; and the occasional naughty bit. All this in a longer format that allows the audience to completely immerse itself in the plays, something that is harder to do in TMLMTBGB.
The first play, Crystal Skillman’s Revelations of a City of Us, imagines Clay Adams as the last man on Earth. Or rather, it imagines Clay imagining he’s the last man on Earth. The apocalypse hasn’t happened, but Clay is going to give it a dry run to make sure he’s prepared. Joined by the last women on Earth, Tara Perry, Lauren Kincheloe, Sharon Freedman, and Jenny Williams, Clay muses on the nature of the end of the world, survival, Neo-Futurism, pizza and zombies. Along the way the survivors discover that the end of the world may not be too different from the way it is now.
Justin Tolley’s play, In which the end of the world . . . , is the second of the evening, and the one most recognizable as the offspring of TMLMTBGB. It is set up as a debate between two teams: one arguing that the apocalypse will happen during our lifetime; the other arguing that it won’t. Each team gets to make an opening argument, rebuttal, cross-examination, and final concluding rebuttal. Each argument and rebuttal is, in and of itself, a separate play, chosen by the team from several possible plays prepared by the actors in the show. Like TMLMTBGB, no two audiences will see the exactly the same lineup. The evening I saw the show, it featured two particularly good pieces: Popcorn, a video montage showing the horrible things, real and imagined, that are ushering in the apocalypse; and There’s So Much To Do, a piece that is one of the most life-affirming things I’ve seen in a long time. At the end of all the arguments, moderator Rob Neill makes the audience choose which team wins, and in effect, whether we win or not.
The final play, Rob Neill’s Monkeyland II (anatk 21.10), is my favorite one in Apocalypse Neo, and unfortunately, the hardest to describe. It won’t be everyone’s cup of tea; the play has a mythic, avant garde quality that people who prefer representational theatre may not appreciate. However, if you can approach the play with an open and accepting mind, and believe that a windup toy monkey can be a post-apocalyptic wandering hero, it is pretty amazing.
Apocalypse Neo has an extremely limited run - six performances ending Saturday, February 10th. Do yourself a favor; go to one of them before the show closes. And if you attend Friday or Saturday’s show, do yourself another favor; stick around and see Too Much Light Makes the Baby Go Blind. You’ll be glad you did.
Revelations of a City of Us
Written by Crystal Skillman
Directed by Chris Dippel
Performed by Tara Perry, Lauren Kincheloe, Sharon Freedman, Jenny Williams, Clay Adams
In which the end of the world . . .
Created by Justin Tolley
Written and performed by Erica Livingston, Lindsay Brandon Hunter, Emma Gordon, Michael Davis, Jarrod Zayas, Justin Tolley, Rob Neill
Directed by Mark Armstrong
Monkeyland II (anatk 21.10)
Written by Rob Neill
Directed by Jacquelyn Landgraf
Performed by Eevin Hartsough, Ryan Good, Jorge Cordova, Leslie Korein
The Kraine Theater
85 East 4th Street
http://www.nynf.org/
Thursdays, Fridays and Saturdays at 8pm through February 10th
Those people who’ve only experienced the NY Neo-Futurists through Too Much Light Makes the Baby Go Blind (TMLMTBGB), their late night show featuring thirty plays in sixty minutes, may legitimately wonder if the they can pull off a mainstage production featuring three longer plays and still maintain the same wild energy, innovative spirit, and anarchistic vibe. Good news . . . they can, and remarkably well, at that.
Apocalypse Neo, presented by the NY Neo-Futurists and Horse Trade Theatre and currently playing at the Kraine Theater, is a three-play Neo-Futurist look at the end of the world. It has everything that a TMLMTBGB audience has come to expect: actors playing themselves; confessions; revelations; music; rhythm; audience participation; props; humor; sympathy; pizza; time limits; and the occasional naughty bit. All this in a longer format that allows the audience to completely immerse itself in the plays, something that is harder to do in TMLMTBGB.
The first play, Crystal Skillman’s Revelations of a City of Us, imagines Clay Adams as the last man on Earth. Or rather, it imagines Clay imagining he’s the last man on Earth. The apocalypse hasn’t happened, but Clay is going to give it a dry run to make sure he’s prepared. Joined by the last women on Earth, Tara Perry, Lauren Kincheloe, Sharon Freedman, and Jenny Williams, Clay muses on the nature of the end of the world, survival, Neo-Futurism, pizza and zombies. Along the way the survivors discover that the end of the world may not be too different from the way it is now.
Justin Tolley’s play, In which the end of the world . . . , is the second of the evening, and the one most recognizable as the offspring of TMLMTBGB. It is set up as a debate between two teams: one arguing that the apocalypse will happen during our lifetime; the other arguing that it won’t. Each team gets to make an opening argument, rebuttal, cross-examination, and final concluding rebuttal. Each argument and rebuttal is, in and of itself, a separate play, chosen by the team from several possible plays prepared by the actors in the show. Like TMLMTBGB, no two audiences will see the exactly the same lineup. The evening I saw the show, it featured two particularly good pieces: Popcorn, a video montage showing the horrible things, real and imagined, that are ushering in the apocalypse; and There’s So Much To Do, a piece that is one of the most life-affirming things I’ve seen in a long time. At the end of all the arguments, moderator Rob Neill makes the audience choose which team wins, and in effect, whether we win or not.
The final play, Rob Neill’s Monkeyland II (anatk 21.10), is my favorite one in Apocalypse Neo, and unfortunately, the hardest to describe. It won’t be everyone’s cup of tea; the play has a mythic, avant garde quality that people who prefer representational theatre may not appreciate. However, if you can approach the play with an open and accepting mind, and believe that a windup toy monkey can be a post-apocalyptic wandering hero, it is pretty amazing.
Apocalypse Neo has an extremely limited run - six performances ending Saturday, February 10th. Do yourself a favor; go to one of them before the show closes. And if you attend Friday or Saturday’s show, do yourself another favor; stick around and see Too Much Light Makes the Baby Go Blind. You’ll be glad you did.
Revelations of a City of Us
Written by Crystal Skillman
Directed by Chris Dippel
Performed by Tara Perry, Lauren Kincheloe, Sharon Freedman, Jenny Williams, Clay Adams
In which the end of the world . . .
Created by Justin Tolley
Written and performed by Erica Livingston, Lindsay Brandon Hunter, Emma Gordon, Michael Davis, Jarrod Zayas, Justin Tolley, Rob Neill
Directed by Mark Armstrong
Monkeyland II (anatk 21.10)
Written by Rob Neill
Directed by Jacquelyn Landgraf
Performed by Eevin Hartsough, Ryan Good, Jorge Cordova, Leslie Korein
The Kraine Theater
85 East 4th Street
http://www.nynf.org/
Thursdays, Fridays and Saturdays at 8pm through February 10th
Thursday, January 18, 2007
Review - The Servant of Two Masters (The New Globe Theatre, Inc.)
Stage Buzz Review by Byrne Harrison
When adapting a piece of classic theatre, many writers tend to modernize the play, either by cutting it mercilessly to better suit those with short attention spans, or by filling it with contemporary language and references for fear the audience might be too dim to follow slightly archaic language. It is a great pleasure to discover that Anne and Stuart Vaughan, in adapting Carlo Goldoni’s masterpiece, The Servant of Two Masters, decided that Goldoni knew what he was doing and left the play virtually intact.
Admittedly, there are times when the overwrought language makes the audience groan, but the characters are groaning right along, because this Servant is performed with a wink and a nod to an audience that is meant to be in on all the jokes.
The linchpin of the play is the wily, and perpetually hungry, servant Truffaldino (Steve Campbell), who signs on as the servant to two gentlemen, hoping to double his wages without either of them figuring out what’s going on. One these gentlemen is, in fact, a woman named Beatrice (Jana Mestecky) disguising herself as her dead brother. “His” arrival in Venice disrupts the engagement of Clarice (Alessandra Ziviani) and Silvio (Grant Kretchik), and kicks off a series of events that lead to wild misunderstandings, secret meetings, curses, a dual, a handful of attempted suicides, and, of course, the inevitable happy ending.
Campbell, as Truffaldino, handles the farce, wordplay, and physical humor well - imagine Matthew Broderick channeling Groucho Marx and you’ll get the idea. Also noteworthy are Gray Stevenson as Clarice’s flirty maid, Smeraldina, Rich Hollman, who gleefully mugs and preens as Beatrice’s lover, Florindo, and Ziviani and Kretchik as the interrupted lovers. Ziviani, in particular, has some wonderful scene-stealing moments.
The production did have a few flaws. Some of the slapstick bits went on too long and started to become stale. At several points, the play seemed to sputter and stall; scenes that should have been fast and frantic were instead filled with pauses and stage business that slowed them down. Mestecky’s Beatrice made no attempt to appear or sound masculine, other than by wearing men’s clothing and pulling her hair into a ponytail. This removed any possibility of exploring the frustration Beatrice must have experienced trying to pass, as well as the liberation the masquerade could provide. But generally speaking, these problems didn’t take too much away from the production.
On the technical side, the show featured a bright and versatile set designed by Bart Healy and some wonderful costumes from designer Martin A. Thaler. Fight director Craig Rising did a marvelous job as well, especially with a humorous swordfight between Beatrice and Silvio.
Despite its minor flaws, this is a generally strong production of a remarkably funny play. If you like classic farce, The Servant of Two Masters is well worth seeing.
Written by Carlo Goldoni
Adapted by Anne and Stuart Vaughan
Directed by Stuart Vaughan
Theatre 33
11 West 43rd Street, 3rd Floor
Through January 21st
Tues.-Sat.: 8 pm
Sat.: 2 pm
Sun: 3 pm
When adapting a piece of classic theatre, many writers tend to modernize the play, either by cutting it mercilessly to better suit those with short attention spans, or by filling it with contemporary language and references for fear the audience might be too dim to follow slightly archaic language. It is a great pleasure to discover that Anne and Stuart Vaughan, in adapting Carlo Goldoni’s masterpiece, The Servant of Two Masters, decided that Goldoni knew what he was doing and left the play virtually intact.
Admittedly, there are times when the overwrought language makes the audience groan, but the characters are groaning right along, because this Servant is performed with a wink and a nod to an audience that is meant to be in on all the jokes.
The linchpin of the play is the wily, and perpetually hungry, servant Truffaldino (Steve Campbell), who signs on as the servant to two gentlemen, hoping to double his wages without either of them figuring out what’s going on. One these gentlemen is, in fact, a woman named Beatrice (Jana Mestecky) disguising herself as her dead brother. “His” arrival in Venice disrupts the engagement of Clarice (Alessandra Ziviani) and Silvio (Grant Kretchik), and kicks off a series of events that lead to wild misunderstandings, secret meetings, curses, a dual, a handful of attempted suicides, and, of course, the inevitable happy ending.
Campbell, as Truffaldino, handles the farce, wordplay, and physical humor well - imagine Matthew Broderick channeling Groucho Marx and you’ll get the idea. Also noteworthy are Gray Stevenson as Clarice’s flirty maid, Smeraldina, Rich Hollman, who gleefully mugs and preens as Beatrice’s lover, Florindo, and Ziviani and Kretchik as the interrupted lovers. Ziviani, in particular, has some wonderful scene-stealing moments.
The production did have a few flaws. Some of the slapstick bits went on too long and started to become stale. At several points, the play seemed to sputter and stall; scenes that should have been fast and frantic were instead filled with pauses and stage business that slowed them down. Mestecky’s Beatrice made no attempt to appear or sound masculine, other than by wearing men’s clothing and pulling her hair into a ponytail. This removed any possibility of exploring the frustration Beatrice must have experienced trying to pass, as well as the liberation the masquerade could provide. But generally speaking, these problems didn’t take too much away from the production.
On the technical side, the show featured a bright and versatile set designed by Bart Healy and some wonderful costumes from designer Martin A. Thaler. Fight director Craig Rising did a marvelous job as well, especially with a humorous swordfight between Beatrice and Silvio.
Despite its minor flaws, this is a generally strong production of a remarkably funny play. If you like classic farce, The Servant of Two Masters is well worth seeing.
Written by Carlo Goldoni
Adapted by Anne and Stuart Vaughan
Directed by Stuart Vaughan
Theatre 33
11 West 43rd Street, 3rd Floor
Through January 21st
Tues.-Sat.: 8 pm
Sat.: 2 pm
Sun: 3 pm
Saturday, January 6, 2007
Review - Nutcracker: Rated R (Angela Harriell and Theater for the New City)
Stage Buzz Review by Byrne Harrison
There are those who will avoid Nutcracker: Rated R based on the title, assuming that this is a snarky parody of the beloved Christmas ballet. The truth of the matter, however, is that Angela Harriell has created a unique and intriguing work that is at once an elegant homage to Tchaikovsky’s original, a sly send up of New York in the 1980s and today, and a showcase for her considerable talents as a choreographer and dramatist and her cast as dancers and actors.
In this version of the Nutcracker, Clara (Juliana Smith) is a rebellious teen attending a Christmas party with her family. Her strange uncle Drosselmeyer (David F. Slone, Esq.) gives her, not a nutcracker, but an album by an androgynous singer from the ‘80s called Firecrotch. Left behind by the drunken partygoers, Clara falls asleep in the restaurant and sees the battle between the Rats (in this version, very sexy rats) and the suited and cellphoned Corporate Soldiers.
Where Tchaikovsky has Clara dance with her nutcracker, Harriell has her dance with the Firecrotch Record, using some very amusing choreography. Imagine how a record would move and you’ll get a sense of it. Drosselmeyer’s record is, of course, magic, and it sends her back in time to New York in the ‘80s. It’s there that Harriell shines as a choreographer, weaving a Spanish block party, Chinese delivery people, strippers, coke addicts, and even street people into amazing dance numbers. Two pieces in particular were spectacular: The Blow Fairies, which showed the highs and lows of cocaine addiction; and Derelicts, a sublime dance featuring two homeless people in Central Park. Eventually, Drosselmeyer shows Clara her parents in their youth and takes her to The Stall Club where she finally gets to meet her idol, Firecrotch.
This remarkable show features a talented ensemble of dancers and actors, all of whom, with the exception of Slone, play multiple roles. Of particular note are Amber Shirley, a beautiful and athletic dancer who plays the Rat Queen, Jesus Chapa-Malacara, who is outstanding in both Derelicts and The Blow Fairies, Clare Tobin, as the Blow Queen, and Joseph Schles, who is amusing as hell as a Chinese delivery boy in Race of the Dragons. The cast also includes Gregory Dubin, Christopher L. Dunston, Christina Johnson, Kimberly Lantz, Kate Lawrence, Adam Pellegrine, Renee Scalise, and Emma Stein.
Hopefully, this is not the last we’ll see of Nutcracker: Rated R.
Choreographed by Angela Harriell
http://www.nutcrackerratedr.com
Theater for the New City
155 First Avenue
There are those who will avoid Nutcracker: Rated R based on the title, assuming that this is a snarky parody of the beloved Christmas ballet. The truth of the matter, however, is that Angela Harriell has created a unique and intriguing work that is at once an elegant homage to Tchaikovsky’s original, a sly send up of New York in the 1980s and today, and a showcase for her considerable talents as a choreographer and dramatist and her cast as dancers and actors.
In this version of the Nutcracker, Clara (Juliana Smith) is a rebellious teen attending a Christmas party with her family. Her strange uncle Drosselmeyer (David F. Slone, Esq.) gives her, not a nutcracker, but an album by an androgynous singer from the ‘80s called Firecrotch. Left behind by the drunken partygoers, Clara falls asleep in the restaurant and sees the battle between the Rats (in this version, very sexy rats) and the suited and cellphoned Corporate Soldiers.
Where Tchaikovsky has Clara dance with her nutcracker, Harriell has her dance with the Firecrotch Record, using some very amusing choreography. Imagine how a record would move and you’ll get a sense of it. Drosselmeyer’s record is, of course, magic, and it sends her back in time to New York in the ‘80s. It’s there that Harriell shines as a choreographer, weaving a Spanish block party, Chinese delivery people, strippers, coke addicts, and even street people into amazing dance numbers. Two pieces in particular were spectacular: The Blow Fairies, which showed the highs and lows of cocaine addiction; and Derelicts, a sublime dance featuring two homeless people in Central Park. Eventually, Drosselmeyer shows Clara her parents in their youth and takes her to The Stall Club where she finally gets to meet her idol, Firecrotch.
This remarkable show features a talented ensemble of dancers and actors, all of whom, with the exception of Slone, play multiple roles. Of particular note are Amber Shirley, a beautiful and athletic dancer who plays the Rat Queen, Jesus Chapa-Malacara, who is outstanding in both Derelicts and The Blow Fairies, Clare Tobin, as the Blow Queen, and Joseph Schles, who is amusing as hell as a Chinese delivery boy in Race of the Dragons. The cast also includes Gregory Dubin, Christopher L. Dunston, Christina Johnson, Kimberly Lantz, Kate Lawrence, Adam Pellegrine, Renee Scalise, and Emma Stein.
Hopefully, this is not the last we’ll see of Nutcracker: Rated R.
Choreographed by Angela Harriell
http://www.nutcrackerratedr.com
Theater for the New City
155 First Avenue
Sunday, December 3, 2006
Review - Outing Wittgenstein (Castillo Theatre)
Stage Buzz Review by Byrne Harrison
Douglas Adams’ The Hitchiker’s Guide to the Galaxy introduces a drink called the Pan Galactic Gargle Blaster — the best alcoholic drink in existence — the effect of which is “like having your brains smashed out by a slice of lemon wrapped round a large gold brick.” The same can be said of the Castillo Theatre’s production of Fred Newman’s play Outing Wittgenstein; the show is rich, dense, and tart, but after nearly two hours of getting hit over the head with it, you’re ready for rehab.
Most of this is due to the play itself, not the work of the Castillo Theatre, which does a good job with the unconventional show. In the play, Austrian philosopher Ludwig Wittgenstein is brought back to life in order to appear on Sally McNally’s talk show, ‘This Is Your Death.’ And since any good ‘This Is Your Life’ knock-off has to feature friends of the guest, Sally’s team brings back an assortment of people from Ludwig’s life, including Bertrand Russell, Adolf Hitler, and Carmen Miranda. Wittgenstein is also joined by Wiggy, his flamboyantly gay alter-ego, who is intent on letting the world know that Wittgenstein was gay.
With me so far? Okay. Now throw in a condensed version of Wittgenstein’s philosophy from Tractatus to his theories on language, a story about his last words, a dance number featuring Carmen Miranda with Bertrand Russell as one of her backup dancers, an appearance by Gretl, Wittgenstein’s sister who is, oddly enough, Sally McNally’s alter ego, and there you have Outing Wittgenstein. At least the first act.
The second act moves from the television studio to Central Park where a group of friends are discussing Wittgenstein, his philosophy, his sexuality, and his appearance on Sally McNally’s show. Sexual secrets come to light and reality is turned on its head as the true nature of Wittgenstein, Wiggy, Sally, and any number of the other characters, is revealed in an incredible twist. That’s ‘incredible’ as in implausible to the point of eliciting disbelief.
This brings up the major problem of the play: it’s a farce that’s trying a little too hard to be educational — or perhaps vice versa. Newman wants his audience to come away from this play with an understanding of the basics of Wittgenstein’s philosophy, life, and influences, while addressing the nature of sexuality and identity. But he wants to do it in a rollicking and outrageous farce, full of wild characters and absurd situations. Unfortunately, the two do not combine well. This is especially obvious in the first act, where the absurdity of bringing a dead man (not to mention his gay alter ego) back to life for a talk show, then having a guest appearance by Hitler and a dance number with Carmen Miranda, is undercut by dialogue that sounds like a lecture in Philosophy 101.
The second act is better integrated, primarily because all of the philosophy and background has already been presented. As a result, the action moves faster, allowing the absurdity to shine.
The large cast is generally good, and features several outstanding performances. Chief among these are Kenneth Hughes as Herman, the randy announcer on ‘This Is Your Death,’ James Arden as Wittgenstein’s flamboyantly gay alter ego, and Gary Patent as Eddie Thomas, one of the friends in Central Park. If the actors in the show can be said to have any one problem, and this is more in the first act, it is that several of them seem unsure what they are supposed to do when not speaking. Some shut down, quietly marking time until their next line. One or two resorted to mugging for the audience. A firmer grip by director Dan Friedman could have helped manage this.
Castillo Theatre deserves high marks for the production values in Outing Wittgenstein. The decision to use two different theatre spaces, one for the talk show, another for Central Park, forces set designer Joseph Spirito to do double duty and he responds admirably, creating two very well-done sets. Alexander Casagrande’s lighting design complements both of them nicely. Also worth noting is Barry Z. Levine and Joseph Spirito’s video design used in ‘This Is Your Death’, which helped cement the illusion of being on a real talk show soundstage.
One final note about the production. It features several actors from Youth Onstage!, the youth theatre of the All Star Project, which brings performance-based educational programs to inner city youth in Newark and New York City. Castillo Theatre is to be commended for giving these talented youth an opportunity to be part of the Off-Off Broadway scene and part of an unusual and challenging play like Outing Wittgenstein. Considering how many young actors don’t get to do anything more challenging than Arsenic and Old Lace or Pippin in high school, this is a great thing. Here’s hoping that these young actors continue to pursue theatre in the future.
Written by Fred Newman
Directed by Dan Friedman
Castillo Theatre
543 West 42nd Street
Through December 3rd
Douglas Adams’ The Hitchiker’s Guide to the Galaxy introduces a drink called the Pan Galactic Gargle Blaster — the best alcoholic drink in existence — the effect of which is “like having your brains smashed out by a slice of lemon wrapped round a large gold brick.” The same can be said of the Castillo Theatre’s production of Fred Newman’s play Outing Wittgenstein; the show is rich, dense, and tart, but after nearly two hours of getting hit over the head with it, you’re ready for rehab.
Most of this is due to the play itself, not the work of the Castillo Theatre, which does a good job with the unconventional show. In the play, Austrian philosopher Ludwig Wittgenstein is brought back to life in order to appear on Sally McNally’s talk show, ‘This Is Your Death.’ And since any good ‘This Is Your Life’ knock-off has to feature friends of the guest, Sally’s team brings back an assortment of people from Ludwig’s life, including Bertrand Russell, Adolf Hitler, and Carmen Miranda. Wittgenstein is also joined by Wiggy, his flamboyantly gay alter-ego, who is intent on letting the world know that Wittgenstein was gay.
With me so far? Okay. Now throw in a condensed version of Wittgenstein’s philosophy from Tractatus to his theories on language, a story about his last words, a dance number featuring Carmen Miranda with Bertrand Russell as one of her backup dancers, an appearance by Gretl, Wittgenstein’s sister who is, oddly enough, Sally McNally’s alter ego, and there you have Outing Wittgenstein. At least the first act.
The second act moves from the television studio to Central Park where a group of friends are discussing Wittgenstein, his philosophy, his sexuality, and his appearance on Sally McNally’s show. Sexual secrets come to light and reality is turned on its head as the true nature of Wittgenstein, Wiggy, Sally, and any number of the other characters, is revealed in an incredible twist. That’s ‘incredible’ as in implausible to the point of eliciting disbelief.
This brings up the major problem of the play: it’s a farce that’s trying a little too hard to be educational — or perhaps vice versa. Newman wants his audience to come away from this play with an understanding of the basics of Wittgenstein’s philosophy, life, and influences, while addressing the nature of sexuality and identity. But he wants to do it in a rollicking and outrageous farce, full of wild characters and absurd situations. Unfortunately, the two do not combine well. This is especially obvious in the first act, where the absurdity of bringing a dead man (not to mention his gay alter ego) back to life for a talk show, then having a guest appearance by Hitler and a dance number with Carmen Miranda, is undercut by dialogue that sounds like a lecture in Philosophy 101.
The second act is better integrated, primarily because all of the philosophy and background has already been presented. As a result, the action moves faster, allowing the absurdity to shine.
The large cast is generally good, and features several outstanding performances. Chief among these are Kenneth Hughes as Herman, the randy announcer on ‘This Is Your Death,’ James Arden as Wittgenstein’s flamboyantly gay alter ego, and Gary Patent as Eddie Thomas, one of the friends in Central Park. If the actors in the show can be said to have any one problem, and this is more in the first act, it is that several of them seem unsure what they are supposed to do when not speaking. Some shut down, quietly marking time until their next line. One or two resorted to mugging for the audience. A firmer grip by director Dan Friedman could have helped manage this.
Castillo Theatre deserves high marks for the production values in Outing Wittgenstein. The decision to use two different theatre spaces, one for the talk show, another for Central Park, forces set designer Joseph Spirito to do double duty and he responds admirably, creating two very well-done sets. Alexander Casagrande’s lighting design complements both of them nicely. Also worth noting is Barry Z. Levine and Joseph Spirito’s video design used in ‘This Is Your Death’, which helped cement the illusion of being on a real talk show soundstage.
One final note about the production. It features several actors from Youth Onstage!, the youth theatre of the All Star Project, which brings performance-based educational programs to inner city youth in Newark and New York City. Castillo Theatre is to be commended for giving these talented youth an opportunity to be part of the Off-Off Broadway scene and part of an unusual and challenging play like Outing Wittgenstein. Considering how many young actors don’t get to do anything more challenging than Arsenic and Old Lace or Pippin in high school, this is a great thing. Here’s hoping that these young actors continue to pursue theatre in the future.
Written by Fred Newman
Directed by Dan Friedman
Castillo Theatre
543 West 42nd Street
Through December 3rd
Thursday, November 9, 2006
Review - The Bronx Balmers (Off The Leash Productions)
Stage Buzz Review by Byrne Harrison
Picture it: The Bronx, 1969. An idyllic Jewish neighborhood that hasn’t changed in decades suddenly finds itself on the fast track to the future, whatever that may be. The right people are moving up, the wrong people are moving in, and the people who are in the middle are just trying to figure out what to do next.
The Balmers and the Minkoffs are in that middle group. Rose Balmer (Dorcey Winant) desperately wants to move up: the Masada on Grand Concourse. Irving and Sylvia Minkoff (Michael DeNola and Goldie Zwiebel) want to move out: Long Island. Harry Balmer (Larry Greenbush) wants to see the world: Africa. Rose and Harry’s daughter, Debra (Amanda Nichols), just wants to come home. Well, maybe wants is too strong a word. But come home she does, with a little surprise for the family.
The Bronx Balmers is a fairly conventional family comedy/drama. But considering this is playwright Jeremy Handelman’s first play, that’s not a bad thing. It could easily have been a nostalgic memory play about the good old times in the Bronx. Instead, Handelman chooses to show this family as it is, warts and all. Rose is a schemer who isn’t above using blackmail and betrayal to get what she wants. Irving’s a racist, not that he would ever consider himself to be, who has a secret that could ruin his life. Harry is tired of his life and wants something more, but when push comes to shove, he’s not willing to fight for it. Debra’s a spitfire who wants to shake things up. They are crazy, angry, happy, sad, and above all, they are believable.
As expected, there were the usual glitches that face newly opened shows in small theatres: flubbed lines, awkward blocking, a chuppa that seemed determined to fall over (okay, that’s not exactly a ‘usual’ glitch). But the main problem with the play is that it wants to tackle every issue that the family is facing. It deals with racism, anti-Semitism, adultery, betrayal, the Mets vs. the Yankees, urban flight, the disintegration of social groups, the disintegration of families, and the inevitable change that the 1960s heralded throughout the country. Unfortunately, trying to deal with so many topics makes the play seem a little heavy, especially in the second half where the characters attend what is probably the most awkward party ever thrown in Bronxville. While most of the play works, it would likely run smoother if it had a tighter focus.
The Bronx Balmers features a talented cast. Dorcey Winant’s Rose is a strong, opinionated woman, and Winant seems to delight in playing her highs and lows without making her two-dimensional. As Irving, Michael DeNola manages to be sleazy but fairly likeable. Goldie Zwiebel is charming as the patient and sweet Sylvia. Harry Balmer, ably played by Larry Greenbush, is frustratingly passive, until he reaches his breaking point. The same can be said of George Santana’s Pop, who comes across as a sweet teddy bear, until faced with being used by his daughter. Rounding out the cast is the lovely Amanda Nichols as Harry and Rose’s exasperated daughter, Debra. She was at her best when working to choke back her anger at her family’s hypocrisy.
While The Bronx Balmers has some flaws, it shows the potential that Handelman has, especially if he continues to work with a talented cast and crew. And if he keeps exploring his Bronx roots, New York audiences can expect bigger and better things from him in the future.
Written by Jeremy Handelman
Directed by Linda Burson
Turtle Shell Theatre
300 W. 43rd St., 4th Floor
Through November 19
http://www.bronxbalmers.com/
Picture it: The Bronx, 1969. An idyllic Jewish neighborhood that hasn’t changed in decades suddenly finds itself on the fast track to the future, whatever that may be. The right people are moving up, the wrong people are moving in, and the people who are in the middle are just trying to figure out what to do next.
The Balmers and the Minkoffs are in that middle group. Rose Balmer (Dorcey Winant) desperately wants to move up: the Masada on Grand Concourse. Irving and Sylvia Minkoff (Michael DeNola and Goldie Zwiebel) want to move out: Long Island. Harry Balmer (Larry Greenbush) wants to see the world: Africa. Rose and Harry’s daughter, Debra (Amanda Nichols), just wants to come home. Well, maybe wants is too strong a word. But come home she does, with a little surprise for the family.
The Bronx Balmers is a fairly conventional family comedy/drama. But considering this is playwright Jeremy Handelman’s first play, that’s not a bad thing. It could easily have been a nostalgic memory play about the good old times in the Bronx. Instead, Handelman chooses to show this family as it is, warts and all. Rose is a schemer who isn’t above using blackmail and betrayal to get what she wants. Irving’s a racist, not that he would ever consider himself to be, who has a secret that could ruin his life. Harry is tired of his life and wants something more, but when push comes to shove, he’s not willing to fight for it. Debra’s a spitfire who wants to shake things up. They are crazy, angry, happy, sad, and above all, they are believable.
As expected, there were the usual glitches that face newly opened shows in small theatres: flubbed lines, awkward blocking, a chuppa that seemed determined to fall over (okay, that’s not exactly a ‘usual’ glitch). But the main problem with the play is that it wants to tackle every issue that the family is facing. It deals with racism, anti-Semitism, adultery, betrayal, the Mets vs. the Yankees, urban flight, the disintegration of social groups, the disintegration of families, and the inevitable change that the 1960s heralded throughout the country. Unfortunately, trying to deal with so many topics makes the play seem a little heavy, especially in the second half where the characters attend what is probably the most awkward party ever thrown in Bronxville. While most of the play works, it would likely run smoother if it had a tighter focus.
The Bronx Balmers features a talented cast. Dorcey Winant’s Rose is a strong, opinionated woman, and Winant seems to delight in playing her highs and lows without making her two-dimensional. As Irving, Michael DeNola manages to be sleazy but fairly likeable. Goldie Zwiebel is charming as the patient and sweet Sylvia. Harry Balmer, ably played by Larry Greenbush, is frustratingly passive, until he reaches his breaking point. The same can be said of George Santana’s Pop, who comes across as a sweet teddy bear, until faced with being used by his daughter. Rounding out the cast is the lovely Amanda Nichols as Harry and Rose’s exasperated daughter, Debra. She was at her best when working to choke back her anger at her family’s hypocrisy.
While The Bronx Balmers has some flaws, it shows the potential that Handelman has, especially if he continues to work with a talented cast and crew. And if he keeps exploring his Bronx roots, New York audiences can expect bigger and better things from him in the future.
Written by Jeremy Handelman
Directed by Linda Burson
Turtle Shell Theatre
300 W. 43rd St., 4th Floor
Through November 19
http://www.bronxbalmers.com/
Tuesday, October 17, 2006
Review - Stranger Than Fiction: Three Plays Based on Fact (Turtle Shell Productions)
Stage Buzz Review by Byrne Harrison
Stranger Than Fiction offers an evening of short plays by playwright Norman Beim, all based (more or less) in fact. While the evening doesn’t always show Beim’s well-written plays in their best light, the good outweighs the bad.
The first short play is the endearing A Love Story, an epistolary tale of a platonic love shared by Frieda (Rachel Eve Moses), a young Polish girl, and Mr. Fischel (Christopher Henney), the man who cared for her and her family during World War I. Considering that the action of the play consists of nothing more than two people sitting at writing desks writing letters, the play is remarkably engaging. This is due in large part to the charming Moses, whose expressive face and voice create a totally believable and lovable character. Henney, as the proper storekeeper who loves the young Frieda like a daughter, has a shy awkwardness that is endearing.
The second play of the evening, A Queen’s Revenge, is the weakest of the three. This over-the-top story of John (Henney), an aging gay man whose younger lover, Jack (Matthew Schmidt), leaves him for Jill (Moses) feels incomplete. The climax, a cruel and vindictive punishment straight out of urban legend that John visits upon the young lovers, occurs in the play’s final moment. This abrupt ending leaves all the interesting stuff (how Jack and Jill react to a terrible violation, what they do to John, etc.) unexplored.
Another problem in this play was Henney’s portrayal of John. As the title of the play suggests, John should be a queen: flamboyant, witty, and cruel. Instead, Henney plays him as a mild, gay gentleman, somewhat arch, but ultimately harmless. As a result, the revenge seems out of character, and worse, his moderate interpretation doesn’t give his fellow actors much to react to in the moments that are supposed to be intense and dramatic.
The final play, The Deserter, offers a fascinating look into the last moments of Private Eddie Slovik, the only American soldier executed for desertion in World War II. Beim imagines a priest (Henney) taking confession from the soon-to-die Private (Ian Campbell Dunn). Along the way, the Private voices his opposition to war and how it conflicts with his Christian faith, while the Father shrugs off his concerns and arguments with justifications that are decidedly more Army than Vatican. While this play would be stronger if Henney were more expressive as the priest, Dunn’s portrayal of the unsure Private Slovik makes this a moving piece of theatre.
As would be expected from an evening with three plays, the sets are spare and easily changed. That being said, the technical team (John W. Cooper, Maya Animayka, Lisa Weinshrott, Michael L. Kimmel and Sarah Mariece) do much with little. The sets, lighting and sound enhance each of the plays nicely.
If you are a fan of the prolific Norman Beim, Stranger Than Fiction is not to be missed. And despite the problems with the second play, The Love Story and The Deserter make this a production worth attending.
Written by Norman Beim
Directed by Norman Beim
Turtle Shell Productions
300 W. 43rd St., 4th Floor
Stranger Than Fiction offers an evening of short plays by playwright Norman Beim, all based (more or less) in fact. While the evening doesn’t always show Beim’s well-written plays in their best light, the good outweighs the bad.
The first short play is the endearing A Love Story, an epistolary tale of a platonic love shared by Frieda (Rachel Eve Moses), a young Polish girl, and Mr. Fischel (Christopher Henney), the man who cared for her and her family during World War I. Considering that the action of the play consists of nothing more than two people sitting at writing desks writing letters, the play is remarkably engaging. This is due in large part to the charming Moses, whose expressive face and voice create a totally believable and lovable character. Henney, as the proper storekeeper who loves the young Frieda like a daughter, has a shy awkwardness that is endearing.
The second play of the evening, A Queen’s Revenge, is the weakest of the three. This over-the-top story of John (Henney), an aging gay man whose younger lover, Jack (Matthew Schmidt), leaves him for Jill (Moses) feels incomplete. The climax, a cruel and vindictive punishment straight out of urban legend that John visits upon the young lovers, occurs in the play’s final moment. This abrupt ending leaves all the interesting stuff (how Jack and Jill react to a terrible violation, what they do to John, etc.) unexplored.
Another problem in this play was Henney’s portrayal of John. As the title of the play suggests, John should be a queen: flamboyant, witty, and cruel. Instead, Henney plays him as a mild, gay gentleman, somewhat arch, but ultimately harmless. As a result, the revenge seems out of character, and worse, his moderate interpretation doesn’t give his fellow actors much to react to in the moments that are supposed to be intense and dramatic.
The final play, The Deserter, offers a fascinating look into the last moments of Private Eddie Slovik, the only American soldier executed for desertion in World War II. Beim imagines a priest (Henney) taking confession from the soon-to-die Private (Ian Campbell Dunn). Along the way, the Private voices his opposition to war and how it conflicts with his Christian faith, while the Father shrugs off his concerns and arguments with justifications that are decidedly more Army than Vatican. While this play would be stronger if Henney were more expressive as the priest, Dunn’s portrayal of the unsure Private Slovik makes this a moving piece of theatre.
As would be expected from an evening with three plays, the sets are spare and easily changed. That being said, the technical team (John W. Cooper, Maya Animayka, Lisa Weinshrott, Michael L. Kimmel and Sarah Mariece) do much with little. The sets, lighting and sound enhance each of the plays nicely.
If you are a fan of the prolific Norman Beim, Stranger Than Fiction is not to be missed. And despite the problems with the second play, The Love Story and The Deserter make this a production worth attending.
Written by Norman Beim
Directed by Norman Beim
Turtle Shell Productions
300 W. 43rd St., 4th Floor
Saturday, August 26, 2006
Review - Autumn Moon (Wings Theatre Company)
Stage Buzz Review by Byrne Harrison
Judging by the audience at this evening’s performance of Autumn Moon, which is being billed as a ‘rock thriller musical,’ there seemed to be two general reactions. First, and sadly the one shared by much of the audience, was head-scratching befuddlement. But those of us of a certain age, say mid-to-late thirties, knew exactly what this show was: a sly and dead-on homage to the horror films of the 1980s (Fright Night, The Howling, American Werewolf in London, etc.).
Lycan Weir (and let’s face it, short of calling him Wolfy McWerewolf, this is the perfect name to bring the audience up to speed) is a troubled young man (normally played by David Weitzer, Lycan was played by understudy Jeremy Jonet tonight). Approaching his 25th birthday, he’s having troubling nightmares. Unable to exorcise his demons by writing down his dreams, and only temporarily calmed by his loving wife, Esmay (Mishaela Faucher), he does the only thing that anyone in his situation would do: he turns to a gypsy fortune-teller, Beta (Dana Barathy), for help.
Beta tells him of a curse placed on his family generations ago, when one of his ancestors made a pact with Minion (Jesse Easley), a lord of the underworld. On his 25th birthday, he, like his forefathers, will turn into a savage, blood-thirsty beast and will continue to do so with each full moon. But Beta offers him a way out. Using magic and his cursed blood, she can send him back in time, back to the time of the curse, where he can take the place of one of his ancestors and save his family from destruction. All he has to do is find Isis (also played by Mishaela Faucher), a young gypsy girl, save her from death at the hands of Lawrence (Scott Richard Foster), and the curse will be lifted.
Maybe.
But even if it is, will Lycan ever return to his own time? And are any of these people who they seem to be?
Even though Lycan’s own time is present day, and the time he travels back to is the mid-1800s, everything about the production screamed The Eighties. David Velarde’s score featured power ballads that Meatloaf would dig (Isis and Lycan’s ‘All of My Life’) and rock/new wave songs (Minion’s ‘Shout It Out’) that were just begging for Billy Idol’s sneer. Lauren Cozza’s choreography was perfectly in sync with the style of each song and the general ’80s vibe.
Costume designer Stephen Smith followed the theme by creating classic punk rock outfits for Minion and Lawrence, and some truly inspired outfits for The Pack, the supporting ensemble. The makeup and hair (the big, teased, moussed hair) was well-suited for the period, and brought to mind several fashion disasters from my own youth.
Taking it up a notch was the marvelous lighting design by Julie Seitel. Her work was delightfully over the top in the more music video-type numbers like ‘Lycan’s Dream’ and ‘Shout It Out’.
The acting and singing were generally strong, though understudy Jeremy Jonet sounded tentative in several of his numbers, especially those with Mishaela Faucher, whose strong voice occasionally overpowered his. Faucher had the most poignant song of the evening, the sweet lullabye ‘Dream Catcher’, which she delivered wonderfully. As Beta, Dana Barathy easily stole every scene she was in, not just because of her smokin’ hot costume, but because of her distinctive voice and the Eartha Kitt lilt in her delivery. Her scenes with Jesse Easley’s rough and cocky Minion featured a dangerous, yet playful, give and take between the two actors. Scott Richard Foster is to be commended for his strong falsetto which he was called upon to demonstrate again and again; he was up to the challenge each time. The Pack (William Broyles, Sara Fetgatter, Marissa Lupp, Rebecca Riker and Amber Shirley) were uniformly good as actors, singers and dancers. The women of The Pack shone in the ‘Gypsy Theme’ instrumental number, which featured some nice, athletic choreography. Broyles is worth mentioning as well for his outstanding physical work (especially as a grotesque homunculus serving Beta) which was backed up by a strong speaking and singing voice.
Director Jonathan Stuart Cerullo kept the pacing quick, the blocking interesting and generally did a very good job with the production.
The primary weakness in this show was in the book and the lyrics, also by David Velarde. The dialogue was stilted and forced, featuring some groaners that sounded like they were taken from bodice-ripper romance novels. The lyrics (which were often drowned out by the overly loud music) seemed to set a mood more than advance the story. The story itself was overly complicated and several key scenes were under explained. The twist at the end (and all good ’80s horror films had a twist at the end) was great, but the explanation was abrupt, leaving more than a few audience members lost.
If you go into this musical with an open mind and an appreciation for the genre that Velarde is paying tribute to, you will probably have a pretty good time. If this all sounds like a little too much for you, or you are looking for a ‘traditional’ musical, then this one is probably not for you.
Want to find out more? Autumn Moon has a website with photos of the cast, other info about the production, and clips of many of the songs. You can even order the cast album. The show runs through September 2nd.
Book, Music and Lyrics by David Velarde
Directed and Staged by Jonathan Stuart Cerullo
Wings Theatre Company as part of its New Musicals Series
Judging by the audience at this evening’s performance of Autumn Moon, which is being billed as a ‘rock thriller musical,’ there seemed to be two general reactions. First, and sadly the one shared by much of the audience, was head-scratching befuddlement. But those of us of a certain age, say mid-to-late thirties, knew exactly what this show was: a sly and dead-on homage to the horror films of the 1980s (Fright Night, The Howling, American Werewolf in London, etc.).
Lycan Weir (and let’s face it, short of calling him Wolfy McWerewolf, this is the perfect name to bring the audience up to speed) is a troubled young man (normally played by David Weitzer, Lycan was played by understudy Jeremy Jonet tonight). Approaching his 25th birthday, he’s having troubling nightmares. Unable to exorcise his demons by writing down his dreams, and only temporarily calmed by his loving wife, Esmay (Mishaela Faucher), he does the only thing that anyone in his situation would do: he turns to a gypsy fortune-teller, Beta (Dana Barathy), for help.
Beta tells him of a curse placed on his family generations ago, when one of his ancestors made a pact with Minion (Jesse Easley), a lord of the underworld. On his 25th birthday, he, like his forefathers, will turn into a savage, blood-thirsty beast and will continue to do so with each full moon. But Beta offers him a way out. Using magic and his cursed blood, she can send him back in time, back to the time of the curse, where he can take the place of one of his ancestors and save his family from destruction. All he has to do is find Isis (also played by Mishaela Faucher), a young gypsy girl, save her from death at the hands of Lawrence (Scott Richard Foster), and the curse will be lifted.
Maybe.
But even if it is, will Lycan ever return to his own time? And are any of these people who they seem to be?
Even though Lycan’s own time is present day, and the time he travels back to is the mid-1800s, everything about the production screamed The Eighties. David Velarde’s score featured power ballads that Meatloaf would dig (Isis and Lycan’s ‘All of My Life’) and rock/new wave songs (Minion’s ‘Shout It Out’) that were just begging for Billy Idol’s sneer. Lauren Cozza’s choreography was perfectly in sync with the style of each song and the general ’80s vibe.
Costume designer Stephen Smith followed the theme by creating classic punk rock outfits for Minion and Lawrence, and some truly inspired outfits for The Pack, the supporting ensemble. The makeup and hair (the big, teased, moussed hair) was well-suited for the period, and brought to mind several fashion disasters from my own youth.
Taking it up a notch was the marvelous lighting design by Julie Seitel. Her work was delightfully over the top in the more music video-type numbers like ‘Lycan’s Dream’ and ‘Shout It Out’.
The acting and singing were generally strong, though understudy Jeremy Jonet sounded tentative in several of his numbers, especially those with Mishaela Faucher, whose strong voice occasionally overpowered his. Faucher had the most poignant song of the evening, the sweet lullabye ‘Dream Catcher’, which she delivered wonderfully. As Beta, Dana Barathy easily stole every scene she was in, not just because of her smokin’ hot costume, but because of her distinctive voice and the Eartha Kitt lilt in her delivery. Her scenes with Jesse Easley’s rough and cocky Minion featured a dangerous, yet playful, give and take between the two actors. Scott Richard Foster is to be commended for his strong falsetto which he was called upon to demonstrate again and again; he was up to the challenge each time. The Pack (William Broyles, Sara Fetgatter, Marissa Lupp, Rebecca Riker and Amber Shirley) were uniformly good as actors, singers and dancers. The women of The Pack shone in the ‘Gypsy Theme’ instrumental number, which featured some nice, athletic choreography. Broyles is worth mentioning as well for his outstanding physical work (especially as a grotesque homunculus serving Beta) which was backed up by a strong speaking and singing voice.
Director Jonathan Stuart Cerullo kept the pacing quick, the blocking interesting and generally did a very good job with the production.
The primary weakness in this show was in the book and the lyrics, also by David Velarde. The dialogue was stilted and forced, featuring some groaners that sounded like they were taken from bodice-ripper romance novels. The lyrics (which were often drowned out by the overly loud music) seemed to set a mood more than advance the story. The story itself was overly complicated and several key scenes were under explained. The twist at the end (and all good ’80s horror films had a twist at the end) was great, but the explanation was abrupt, leaving more than a few audience members lost.
If you go into this musical with an open mind and an appreciation for the genre that Velarde is paying tribute to, you will probably have a pretty good time. If this all sounds like a little too much for you, or you are looking for a ‘traditional’ musical, then this one is probably not for you.
Want to find out more? Autumn Moon has a website with photos of the cast, other info about the production, and clips of many of the songs. You can even order the cast album. The show runs through September 2nd.
Book, Music and Lyrics by David Velarde
Directed and Staged by Jonathan Stuart Cerullo
Wings Theatre Company as part of its New Musicals Series
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