Stage Buzz Review by Byrne Harrison
With a title that references Dr. Stranglove, I think I can be forgiven for expecting a play that would take the story of The Frog Prince, best known by way of the Brothers Grimm, and turn it completely inside out. Instead, Princess Mimi Or: How I Learned to Stop Worrying and Love the Frog (a play for someone else’s children) is a remarkably conventional retelling of the story.
Princess Mimi (Sarah Todes) is spoiled. Her father (Miriam Mintz) and grandmother (Steven Olender) aren’t willing to do much about her behavior, so Mimi’s only friend is her golden iPod, Poddy. When Mimi drops Poddy down a well, she is so distraught that she makes a deal with a Frog (John Kurzynowski) –she’ll let him live in the palace if he gets her iPod back. He does. She reneges. Her father lets the frog move in anyway, but only until a new iPod arrives (poor Poddy got all wet and no longer worked). After some initial awkwardness, they become friends. The iPod arrives, the frog leaves, Mimi realizes that a slimy green friend who actually listens is better than an iPod any day. A kiss. A prince. Happily ever after.
Playwright Patrick Flynn has created an amusing piece of children’s theatre. There’s enough pop culture, slapstick, and silliness to keep a gaggle of kids entertained. And thanks to the antics of the Narrators (played in this production by Marty Glyer and Michael Lister) there’s some funny stuff for parents as well. But I’m not convinced that The Hamburger Theatre Company trusts the material. Director Zachary Stewart seems more interested in using tricks - gender-bending casting of the King and Queen Mum, stylized movement, self-referential theatrical jokes – to make the production seem geared more toward adults. While it is an interesting choice, I’m not sure it was the best one in this case. In addition the play feels rushed. As it is, it runs considerably shorter than the promised hour and fifteen minutes. Stewart could easily afford to take things at a slightly less frantic pace.
The actors in Princess Mimi seem to be having a good time and there are some rather good performances. Chief among these are Marty Glyer and Michael Lister as the Narrators and John Kurzynowski as the Frog. Kurzynowski was without a doubt the most expressive amphibian I’ve seen since Kermit the Frog. Sarah Todes did an excellent job as the spoiled Princess. Both Mintz and Olender did well with their roles, though the Queen Mum and King are really there to serve as a foil for Mimi, so they didn’t often get a chance to shine.
The production values are very good for a Fringe show. Andrew Scoville’s scenic design and Caitlyn Larson’s lighting manage to rein in the cavernous stage at the Connelly Theater. Laura Helmer’s costume design is fun and inspired.
Ultimately, this production of Princess Mimi is a lot like the dry macaroni and glitter art you made in elementary school. You and your friends loved making it. Your parents thought it was the best thing ever. But for those who weren’t involved, it’s just hard to get too worked up about it.
Written by Patrick Flynn
Directed by Zachary Stewart
Scenic Design: Andrew Scoville
Costume Design: Laura Helmer
Lighting Design: Caitlyn Larson
Sound Design: Robert Ribar
Co-Scenic Design: Harry John Shepard
Props Design: Adele Rylands
Production Stage Manager: Paul Bedard
Featuring Marty Glyer (Narrator 1), Michael Lister (Narrator 2), Miriam Mintz (King Timothy the Tolerable), Steven Olender (The Queen Mum), Sarah Todes (Princess Mimi), John Kurzynowski (The Frog)
The Connelly Theater
220 East 4th Street
Closed: Sunday August 26th
Tuesday, August 28, 2007
Review - . . . Double Vision (Don’t Say Miami and Joshua P. Weiss/New York International Fringe Festival)
Stage Buzz Review by Byrne Harrison
There’s something a little unfocused about . . . Double Vision, Barbara Blumenthal-Ehrlich’s new play being produced at the 2007 NY Fringe Festival. While quite a bit of the play rings true, especially when dealing with the subtle and not so subtle ways people sabotage the relationships that could bring them happiness, there are enough unrealistic situations to suggest that the playwright really wanted to write an absurdist piece, but felt the need to make it more palatable for a mainstream audience.
. . . Double Vision centers around three roommates: Dave (Shane Jacobsen) and Mark (Quinn Mattfeld), two 30-somethings, falling apart because of their dysfunctional relationships, and Ben (Christopher McCann), a man in his 50s blissfully happy to have found the 21-year-old of his dreams, Michelle (Sarah Silk). Mark only dates married women, for fear of allowing himself to get in too deep, and is avoiding calls from Amy, a woman who could turn out to be something meaningful. Dave is dating Mary (Rebecca Henderson), a high-powered business woman, though their relationship is on the rocks because neither one wants to address the issue of Mary’s upcoming transfer to LA. The final character in mix is Celia (Linda Jones), the boys’ next-door neighbor, who is having relationship issues of her own. She works a night shift so she can limit the time spent her reliable, but boring, boyfriend Michael.
The most interesting characters are those who are least tethered to reality, in this case Dave and Mary. Dave’s stress over the impending end of their relationship has led him to hallucinate a blonde-haired woman who keeps magically appearing in front of his car, forcing him into wreck after wreck. He also refuses to use the subway because he always sees a naked man, one no one else notices and one who is beginning to look more and more like him. Mary has a knack for business and has found that no one is her equal in the office, but her possible transfer and Dave’s refusal to address it is keeping her from being able to make a decision about anything, even what shoes to wear. When she finally does make a decision, one to make her more Californian in preparation for her move, it has dire consequences.
Given that they play the most complex characters in . . . Double Vision, it’s no surprise that Shane Jacobsen and Rebecca Henderson stand out. Jacobsen, who was most recently seen playing a smarmy Lothario in I’m in Love With Your Wife at the Midtown International Theater Festival, proves himself a versatile and interesting actor. His unselfconsciousness, both in regards to his nudity in the play and his character’s slow descent into madness, make him fascinating to watch. Henderson’s Mary could have easily been a two-dimensional character, an indecisive girl waiting for Dave to come through for her. Instead, Henderson shows the pain and disappointment hiding under her ball-busting exterior. Most importantly, she does an excellent job portraying Mary’s confusion and disgust of what she is becoming as her relationship crumbles.
While some of the roles, Mark in particular, seem underwritten, the cast is uniformly strong. This combined with Ari Laura Kreith’s extremely competent directing, smooth over several of the script’s bumpier moments.
. . . Double Vision is not as strong of a play as it could have been, but the strength of the acting and directing make the production enjoyable nonetheless.
Written by Barbara Blumenthal-Ehrlich
Directed by Ari Laura Kreith
Production Stage Manager: Andrea Ghersetich
Lighting Design: Anjeanette Stokes
Set, Costume and Prop Design: Michael Wilson Morgan
Sound Design: Ben Morss
Featuring Rebecca Henderson (Mary), Shane Jacobsen (Dave), Linda Jones (Celia), Quinn Mattfeld (Mark), Christopher McCann (Ben), Sarah Silk (Michelle)
The Linhart Theater
440 Lafayette Street
Closed: Friday August 24th
UPDATE: . . . Double Vision continues to run as part of the FringeNYC Encore Series through Sept. 16 at the Bleecker St. Theatre (45 Bleecker Street). For further information visit the . . . Double Vision website.
There’s something a little unfocused about . . . Double Vision, Barbara Blumenthal-Ehrlich’s new play being produced at the 2007 NY Fringe Festival. While quite a bit of the play rings true, especially when dealing with the subtle and not so subtle ways people sabotage the relationships that could bring them happiness, there are enough unrealistic situations to suggest that the playwright really wanted to write an absurdist piece, but felt the need to make it more palatable for a mainstream audience.
. . . Double Vision centers around three roommates: Dave (Shane Jacobsen) and Mark (Quinn Mattfeld), two 30-somethings, falling apart because of their dysfunctional relationships, and Ben (Christopher McCann), a man in his 50s blissfully happy to have found the 21-year-old of his dreams, Michelle (Sarah Silk). Mark only dates married women, for fear of allowing himself to get in too deep, and is avoiding calls from Amy, a woman who could turn out to be something meaningful. Dave is dating Mary (Rebecca Henderson), a high-powered business woman, though their relationship is on the rocks because neither one wants to address the issue of Mary’s upcoming transfer to LA. The final character in mix is Celia (Linda Jones), the boys’ next-door neighbor, who is having relationship issues of her own. She works a night shift so she can limit the time spent her reliable, but boring, boyfriend Michael.
The most interesting characters are those who are least tethered to reality, in this case Dave and Mary. Dave’s stress over the impending end of their relationship has led him to hallucinate a blonde-haired woman who keeps magically appearing in front of his car, forcing him into wreck after wreck. He also refuses to use the subway because he always sees a naked man, one no one else notices and one who is beginning to look more and more like him. Mary has a knack for business and has found that no one is her equal in the office, but her possible transfer and Dave’s refusal to address it is keeping her from being able to make a decision about anything, even what shoes to wear. When she finally does make a decision, one to make her more Californian in preparation for her move, it has dire consequences.
Given that they play the most complex characters in . . . Double Vision, it’s no surprise that Shane Jacobsen and Rebecca Henderson stand out. Jacobsen, who was most recently seen playing a smarmy Lothario in I’m in Love With Your Wife at the Midtown International Theater Festival, proves himself a versatile and interesting actor. His unselfconsciousness, both in regards to his nudity in the play and his character’s slow descent into madness, make him fascinating to watch. Henderson’s Mary could have easily been a two-dimensional character, an indecisive girl waiting for Dave to come through for her. Instead, Henderson shows the pain and disappointment hiding under her ball-busting exterior. Most importantly, she does an excellent job portraying Mary’s confusion and disgust of what she is becoming as her relationship crumbles.
While some of the roles, Mark in particular, seem underwritten, the cast is uniformly strong. This combined with Ari Laura Kreith’s extremely competent directing, smooth over several of the script’s bumpier moments.
. . . Double Vision is not as strong of a play as it could have been, but the strength of the acting and directing make the production enjoyable nonetheless.
Written by Barbara Blumenthal-Ehrlich
Directed by Ari Laura Kreith
Production Stage Manager: Andrea Ghersetich
Lighting Design: Anjeanette Stokes
Set, Costume and Prop Design: Michael Wilson Morgan
Sound Design: Ben Morss
Featuring Rebecca Henderson (Mary), Shane Jacobsen (Dave), Linda Jones (Celia), Quinn Mattfeld (Mark), Christopher McCann (Ben), Sarah Silk (Michelle)
The Linhart Theater
440 Lafayette Street
Closed: Friday August 24th
UPDATE: . . . Double Vision continues to run as part of the FringeNYC Encore Series through Sept. 16 at the Bleecker St. Theatre (45 Bleecker Street). For further information visit the . . . Double Vision website.
Saturday, August 25, 2007
Review – Sodomy & Pedicures (Jeanne d’Ork Productions and the New York International Fringe Festival)
Stage Buzz Review by Byrne Harrison
I’ll be the first to admit that I am not a huge fan of one-person, autobiographical theatre. I find that a great deal of it is self-indulgent and better suited for a psychologist’s office than for the stage. That being said, I was surprised to find myself amused and delighted by Jessica Hedrick’s Sodomy & Pedicures, playing as part of the New York International Fringe Festival.
Raised to be a feminist by an Irish-Catholic women’s studies professor and a blue collar Communist, but stuck in a Cosmo-loving world, it is no wonder that Hedrick has issues with sex. When she meets an Italian Lothario who wants to dominate her, not to mention explore a little anal loving, all her ideals about equality and feminism fly out the door as she finds herself irresistibly drawn to him. As she tries to understand these feelings, she explores her views on life, love, and sexual politics, all the while turning to her friends and family for their advice and input. While Hedrick’s tale is amusing, it is her performance that really seals the deal. She is a funny and engaging storyteller, a marvelous mimic, and remarkably unselfconscious given the material.
Director Julia M. Smith proves herself particularly skilled in allowing the comic scenes to build slowly - never forcing the humor, but never letting it get too slow. Hedrick’s scene in which she discusses an intimate use for a peacock feather is an excellent example of this. In addition, Smith makes very good use of the small stage. Where many one-person shows tend to take a static ’stand and speak’ approach, Smith avoids this while keeping all the movement natural.
In Sodomy & Pedicures, Hedrick does a marvelous job in telling her story and in making the audience care about her. By the end of the show, it’s easy to imagine that you were just spending the evening with a very good, very funny friend, instead of watching a piece of theatre.
Written and Performed by Jessica Hedrick
Directed by Julia M. Smith
Production Stage Manager: Rebecca Nell Robertson
The Players Loft
115 MacDougal Street
Closed: Saturday August 25th
I’ll be the first to admit that I am not a huge fan of one-person, autobiographical theatre. I find that a great deal of it is self-indulgent and better suited for a psychologist’s office than for the stage. That being said, I was surprised to find myself amused and delighted by Jessica Hedrick’s Sodomy & Pedicures, playing as part of the New York International Fringe Festival.
Raised to be a feminist by an Irish-Catholic women’s studies professor and a blue collar Communist, but stuck in a Cosmo-loving world, it is no wonder that Hedrick has issues with sex. When she meets an Italian Lothario who wants to dominate her, not to mention explore a little anal loving, all her ideals about equality and feminism fly out the door as she finds herself irresistibly drawn to him. As she tries to understand these feelings, she explores her views on life, love, and sexual politics, all the while turning to her friends and family for their advice and input. While Hedrick’s tale is amusing, it is her performance that really seals the deal. She is a funny and engaging storyteller, a marvelous mimic, and remarkably unselfconscious given the material.
Director Julia M. Smith proves herself particularly skilled in allowing the comic scenes to build slowly - never forcing the humor, but never letting it get too slow. Hedrick’s scene in which she discusses an intimate use for a peacock feather is an excellent example of this. In addition, Smith makes very good use of the small stage. Where many one-person shows tend to take a static ’stand and speak’ approach, Smith avoids this while keeping all the movement natural.
In Sodomy & Pedicures, Hedrick does a marvelous job in telling her story and in making the audience care about her. By the end of the show, it’s easy to imagine that you were just spending the evening with a very good, very funny friend, instead of watching a piece of theatre.
Written and Performed by Jessica Hedrick
Directed by Julia M. Smith
Production Stage Manager: Rebecca Nell Robertson
The Players Loft
115 MacDougal Street
Closed: Saturday August 25th
Monday, June 11, 2007
Review - Fritz and Froyim (Turtle Shell Productions)
Stage Buzz Review by Byrne Harrison
I will admit, I’m a sucker for a clever concept. And Fritz and Froyim, the new musical by Norman Beim with music by Mark Barkan and Rolf Barnes, certainly has one. What would happen if a former SS officer were haunted by the ghost of a holocaust victim - not just any victim, but a comedian and nightclub performer? In this case, the answer is cabaret. But unlike other musicals featuring Nazis and cabarets, this one takes a very broad and comic approach. While I would argue that it doesn’t always work, it certainly is a bold experiment.
The play starts on a strong note with the entrance of Tracy Stark, the music director and sardonic narrator of the play. Martini in hand, she lets the audience know that it’s in for an unusual night of theatre. As if to prove the point, Fritz (T.J. Mannix) is introduced wearing a Nazi uniform and holding a ventriloquist’s dummy, Froyim, who looks like a Jewish concentration camp prisoner. They run through a series of groan-worthy Hitler jokes (okay, some of them are pretty funny). This, of course, is Fritz in 1968. How he went from a dashing German officer with a lovely wife to a lonely middle-aged ventriloquist is the meat of the show. Told primarily in flashback, the audience gets to see the first visitation of Froyim (Matthew Hardy) and how his arrival led to the loss of everything that Fritz held dear. Will Fritz come to terms with the past and settle his inner and outer demons? Well, I found the play to be a little unclear on that aspect, but it makes for an interesting journey.
Since the show is presented as a cabaret performance, I expected the acting to be over-the-top. Well, not Fritz, since he is mostly participating in a cabaret that isn’t of his own choosing, but certainly the other characters. Several of the actors play broad to great effect. Most noteworthy in this respect are Joan Barber and Richard B. Watson. Both excel at broad comedy, but are also capable of giving subtle, nuanced performances when their roles call for it. Both Mannix and Hardy give good performances, though Mannix could do more to differentiate between the young and in-control Fritz and the broken man he becomes. His Fritz seems never to age, and more importantly, never really seems to change very much, despite it being important to the show that he does. Hardy seems a little subdued as Froyim; the role would benefit from a touch of Harpo Marx. Rounding out the cast are the lovely Erin Cronican and expressive Dennis Holland, both of whom do a good job with their various roles.
As is expected from Norman Beim, the dialogue is strong and several of his lyrics, those for “People are Anxious to Hear What’s New” and “I Keep a Kosher Home” in particular, are excellent. However, for each hit, there is a miss, with some of the songs seeming forced, especially when the topic turns to love. Despite this, Barkan and Barnes’ music is wonderful, and while I don’t think that every song needs to stay in the show, it’s hard not to enjoy listening to them.
While this is neither the strongest of Beim’s shows I’ve seen, nor the strongest show produced by Turtle Shell Productions, if you find the concept intriguing I would suggest seeing Fritz and Froyim before it ends its limited run.
Books and Lyrics by Norman Beim
Music by Mark Barkan and Rolf Barnes
Directed by John W. Cooper
Musical Direction by Tracy Stark
Choreography by Cheryl Cutlip
General Manager: Jeremy Handelman
Dramaturge: Scott McCrea
Stage Manager: Sarah-Dakotah Farney
Costume Designer: A. Christina Giannini
Set Designer: Ryan Scott
Lighting Designer: Eric Larson
Sound Designer: Scott Sexton
Technical Director: Jason Shrier
Assistant Choreographer: AC Jermyn
Featuring Joan Barber (Chorus/Anna/Trudi Miller), Erin Cronican (Chorus/Elsa/Secretary), Matthew Hardy (Froyim), Dennis Holland (Chorus/Mayor/Mr. Berger/Father Dominicus/Dr. Schmidt), T.J. Mannix (Fritz), Tracy Stark (Narrator), and Richard B. Watson (Chorus/Eric/Gunther Sachs/Dr. Sigmund).
The Turtle’s Shell Theater
300 W. 43rd Street, 4th Floor
Through June 16th
I will admit, I’m a sucker for a clever concept. And Fritz and Froyim, the new musical by Norman Beim with music by Mark Barkan and Rolf Barnes, certainly has one. What would happen if a former SS officer were haunted by the ghost of a holocaust victim - not just any victim, but a comedian and nightclub performer? In this case, the answer is cabaret. But unlike other musicals featuring Nazis and cabarets, this one takes a very broad and comic approach. While I would argue that it doesn’t always work, it certainly is a bold experiment.
The play starts on a strong note with the entrance of Tracy Stark, the music director and sardonic narrator of the play. Martini in hand, she lets the audience know that it’s in for an unusual night of theatre. As if to prove the point, Fritz (T.J. Mannix) is introduced wearing a Nazi uniform and holding a ventriloquist’s dummy, Froyim, who looks like a Jewish concentration camp prisoner. They run through a series of groan-worthy Hitler jokes (okay, some of them are pretty funny). This, of course, is Fritz in 1968. How he went from a dashing German officer with a lovely wife to a lonely middle-aged ventriloquist is the meat of the show. Told primarily in flashback, the audience gets to see the first visitation of Froyim (Matthew Hardy) and how his arrival led to the loss of everything that Fritz held dear. Will Fritz come to terms with the past and settle his inner and outer demons? Well, I found the play to be a little unclear on that aspect, but it makes for an interesting journey.
Since the show is presented as a cabaret performance, I expected the acting to be over-the-top. Well, not Fritz, since he is mostly participating in a cabaret that isn’t of his own choosing, but certainly the other characters. Several of the actors play broad to great effect. Most noteworthy in this respect are Joan Barber and Richard B. Watson. Both excel at broad comedy, but are also capable of giving subtle, nuanced performances when their roles call for it. Both Mannix and Hardy give good performances, though Mannix could do more to differentiate between the young and in-control Fritz and the broken man he becomes. His Fritz seems never to age, and more importantly, never really seems to change very much, despite it being important to the show that he does. Hardy seems a little subdued as Froyim; the role would benefit from a touch of Harpo Marx. Rounding out the cast are the lovely Erin Cronican and expressive Dennis Holland, both of whom do a good job with their various roles.
As is expected from Norman Beim, the dialogue is strong and several of his lyrics, those for “People are Anxious to Hear What’s New” and “I Keep a Kosher Home” in particular, are excellent. However, for each hit, there is a miss, with some of the songs seeming forced, especially when the topic turns to love. Despite this, Barkan and Barnes’ music is wonderful, and while I don’t think that every song needs to stay in the show, it’s hard not to enjoy listening to them.
While this is neither the strongest of Beim’s shows I’ve seen, nor the strongest show produced by Turtle Shell Productions, if you find the concept intriguing I would suggest seeing Fritz and Froyim before it ends its limited run.
Books and Lyrics by Norman Beim
Music by Mark Barkan and Rolf Barnes
Directed by John W. Cooper
Musical Direction by Tracy Stark
Choreography by Cheryl Cutlip
General Manager: Jeremy Handelman
Dramaturge: Scott McCrea
Stage Manager: Sarah-Dakotah Farney
Costume Designer: A. Christina Giannini
Set Designer: Ryan Scott
Lighting Designer: Eric Larson
Sound Designer: Scott Sexton
Technical Director: Jason Shrier
Assistant Choreographer: AC Jermyn
Featuring Joan Barber (Chorus/Anna/Trudi Miller), Erin Cronican (Chorus/Elsa/Secretary), Matthew Hardy (Froyim), Dennis Holland (Chorus/Mayor/Mr. Berger/Father Dominicus/Dr. Schmidt), T.J. Mannix (Fritz), Tracy Stark (Narrator), and Richard B. Watson (Chorus/Eric/Gunther Sachs/Dr. Sigmund).
The Turtle’s Shell Theater
300 W. 43rd Street, 4th Floor
Through June 16th
Sunday, May 20, 2007
Review - My Inner Mark Berman (Theater for the New City)
Stage Buzz Review by Byrne Harrison
In his program notes, Evan Laurence, creator and star of My Inner Mark Berman, dedicates the production to Charles Ludlum and Everett Quinton of Ridiculous Theater fame. It’s no wonder. My Inner Mark Berman has a very Ridiculous Theater vibe; in many ways, it’s a throwback to the wonderful, over-the-top, mind-bending downtown theatre scene of the ‘70s and ‘80s.
The play follows Mark Berman (Evan Laurence), a mild gay man so disheartened by life that he gives up and becomes Cricket Santiago, a flamboyant and glamorous drag queen. This is enough to get him institutionalized. Enter the wise and stoic Rabbi (the marvelous David Slone, Esq.), a psychiatrist brought in by the scheming Head of Hospital (Danny Smith). With the help of transsexual Nurse Sass-Poo (Christopher Noffke) and a well-endowed superhero called Sgt. Misconception (Richard C. Lurie), the Rabbi realizes that Cricket is more than what she seems. Where he expects to find merely a figment of Mark Berman’s imagination, he discovers dimensional shifts, alternate realities, ancestral ghosts, and other things that he longs to explore, despite his strict religious upbringing.
Will the Rabbi face his ghosts and learn to open himself to the universe’s myriad truths? Will Nurse Sass-Poo find love and contentment as she becomes her own woman? Will the evil Head of Hospital get it in the end? Will Mark Berman ever return? And seriously, what is up with Sgt. Misconception’s codpiece? These questions and many more get answered by the end of the show. Well, maybe not the codpiece one, but what is life without mysteries?
The play is marvelously absurd and features songs both amusing and touching. The acting is strong with outstanding performances given by David Slone, Esq., Danny Smith, and Christopher Noffke. Noffke, in particular, has both a wonderful voice and expressive face; his Nurse Sass-Poo is the highlight of the show. Laurence, though amusing as drag queen Cricket and appropriately pathetic as Mark Berman, seems dwarfed at times by the giant personalities of Slone and Noffke. There are moments when Cricket is larger than life and fabulous, but to hold her own against the Rabbi and Nurse Sass-Poo, she needs to be that and more for the entire show. Smith, reminiscent of a younger Chris Kattan, is a remarkably physical actor, with almost a dancers’ control over his body. His Head of Hospital is a work of evil genius, though it is his Kishka Meldstein who receives the best reaction. Lurie’s Sgt. Misconception is one of the more absurd inventions in a play full of them. He plays his part with the eagerness of a puppy, though like Laurence, he tends to be overwhelmed by the other actors. Lurie has a good singing voice, although at times his parts were out of his range.
If there is one overall problem with the show, it is the pacing. The play runs approximately 80 minutes. Despite that, it seems much longer due to a couple of scenes that seem extraneous, overly long blackouts, some awkward blocking, and problems with timing. Director Richard Mazda could have tightened the show considerably, and should have considered removing the intermission entirely. It interrupts the momentum of the show, and from an audience member’s standpoint, isn’t really necessary.
Despite these few flaws, My Inner Mark Berman is a fun and surprisingly introspective show. For those hankering for a taste of some downtown New York theatre of old, My Inner Mark Berman is a good choice.
Written by Evan Laurence
Directed by Richard Mazda
Music and Lyrics by Evan Laurence
Music Produced and Arranged by Richard Mazda
Stage Manager: Ryan Schmitz
Choreography: Tana Leigh Pierce
Assistant Director: Katie Braden
Sound/Lights: Mi Sun Choi
Featuring David Slone, Esq (Rabbi), Richard C. Lurie (Clown/Sgt. Misconception/John Smith), Christopher Noffke (Nurse Terry Sass-Poo), Evan Laurence (Mark Berman/Cricket Santiago/Young Rabbi), and Danny Smith (Head of Hospital/Hipster/Kishka Meldstein).
Theater for the New City
155 First Avenue
In his program notes, Evan Laurence, creator and star of My Inner Mark Berman, dedicates the production to Charles Ludlum and Everett Quinton of Ridiculous Theater fame. It’s no wonder. My Inner Mark Berman has a very Ridiculous Theater vibe; in many ways, it’s a throwback to the wonderful, over-the-top, mind-bending downtown theatre scene of the ‘70s and ‘80s.
The play follows Mark Berman (Evan Laurence), a mild gay man so disheartened by life that he gives up and becomes Cricket Santiago, a flamboyant and glamorous drag queen. This is enough to get him institutionalized. Enter the wise and stoic Rabbi (the marvelous David Slone, Esq.), a psychiatrist brought in by the scheming Head of Hospital (Danny Smith). With the help of transsexual Nurse Sass-Poo (Christopher Noffke) and a well-endowed superhero called Sgt. Misconception (Richard C. Lurie), the Rabbi realizes that Cricket is more than what she seems. Where he expects to find merely a figment of Mark Berman’s imagination, he discovers dimensional shifts, alternate realities, ancestral ghosts, and other things that he longs to explore, despite his strict religious upbringing.
Will the Rabbi face his ghosts and learn to open himself to the universe’s myriad truths? Will Nurse Sass-Poo find love and contentment as she becomes her own woman? Will the evil Head of Hospital get it in the end? Will Mark Berman ever return? And seriously, what is up with Sgt. Misconception’s codpiece? These questions and many more get answered by the end of the show. Well, maybe not the codpiece one, but what is life without mysteries?
The play is marvelously absurd and features songs both amusing and touching. The acting is strong with outstanding performances given by David Slone, Esq., Danny Smith, and Christopher Noffke. Noffke, in particular, has both a wonderful voice and expressive face; his Nurse Sass-Poo is the highlight of the show. Laurence, though amusing as drag queen Cricket and appropriately pathetic as Mark Berman, seems dwarfed at times by the giant personalities of Slone and Noffke. There are moments when Cricket is larger than life and fabulous, but to hold her own against the Rabbi and Nurse Sass-Poo, she needs to be that and more for the entire show. Smith, reminiscent of a younger Chris Kattan, is a remarkably physical actor, with almost a dancers’ control over his body. His Head of Hospital is a work of evil genius, though it is his Kishka Meldstein who receives the best reaction. Lurie’s Sgt. Misconception is one of the more absurd inventions in a play full of them. He plays his part with the eagerness of a puppy, though like Laurence, he tends to be overwhelmed by the other actors. Lurie has a good singing voice, although at times his parts were out of his range.
If there is one overall problem with the show, it is the pacing. The play runs approximately 80 minutes. Despite that, it seems much longer due to a couple of scenes that seem extraneous, overly long blackouts, some awkward blocking, and problems with timing. Director Richard Mazda could have tightened the show considerably, and should have considered removing the intermission entirely. It interrupts the momentum of the show, and from an audience member’s standpoint, isn’t really necessary.
Despite these few flaws, My Inner Mark Berman is a fun and surprisingly introspective show. For those hankering for a taste of some downtown New York theatre of old, My Inner Mark Berman is a good choice.
Written by Evan Laurence
Directed by Richard Mazda
Music and Lyrics by Evan Laurence
Music Produced and Arranged by Richard Mazda
Stage Manager: Ryan Schmitz
Choreography: Tana Leigh Pierce
Assistant Director: Katie Braden
Sound/Lights: Mi Sun Choi
Featuring David Slone, Esq (Rabbi), Richard C. Lurie (Clown/Sgt. Misconception/John Smith), Christopher Noffke (Nurse Terry Sass-Poo), Evan Laurence (Mark Berman/Cricket Santiago/Young Rabbi), and Danny Smith (Head of Hospital/Hipster/Kishka Meldstein).
Theater for the New City
155 First Avenue
Friday, May 18, 2007
Review - Couples (WorkShop Theater Company)
Stage Buzz review by David Orchard
Gay, straight, frustrated, bestial – just some of the complex relationships on show in Rich Orloff’s intriguing Couples at The WorkShop Theater Company. Eight short, two-person scenes each drawing the audience in with an intimate portrayal of relationships at a tipping point. From the awkward fumblings of a drunken hook-up to the tediosity of a middle-aged marriage, what could easily be boring, “slice of life” vignettes is actually a fascinating peep into the lives of those around us. While each couple is experiencing some kind of crisis – major and minor – the scenes vary from domestic realism to fantasy and inner-monologue. Each scene is well-directed by Paula D’Alessandris, Phillip Emeott and David Gautschy (each directing several of the scenes) and hits the right tone for the tiny space of the Jewel Box Theater – relying on a minimal set and carefully pooled lighting and atmospheric effects by lighting designer Richard Kent Green. The intimacy of the relationships and the size of the theater could easily lead to under- or over-acting, something that is pretty much avoided throughout the evening.
A smartly conceived opening scene has all 16 actors waiting in line for a Disneyland rollercoaster while the first vignette, Matterhorn, takes place in their midst. An irritable forty-something husband and wife bicker incessantly while their offstage kids cause mayhem. Wende O’Reilly as Arleen deftly avoids caricature while conveying the frustrations of the unsatisfied wife who ultimately finds a kind of peace with her husband Jerry (Richard Mover). Of the seven other scenes, four others deserve special mention.
Class Dismissed deals with the painful parting of a professor and student relationship after their gay affair has been uncovered. Ken Glickfield as the ageing Gene and Jess Cassidy White as his young protégé bring a tender touch that hits home but isn’t overly sentimental.
Lion Tamer is the most bizarre of all the scenes – balancing Noel Coward-style witticism with the sex-charged writing of Jackie Collins. Justin R.G. Holcomb as “A Man” is viewing the apartment of “A Woman” (Christine Verleny) with a view to rent or purchase. As they flirt urbanely their dialogue becomes more charged until Man begins to tell how he “mounted” a lioness while on safari. Holcomb’s wave of dark blond hair and sensuous delivery create a performance that is both leonine and seductive, despite the disturbing imagery.
In Oh Happy Day, a black, gay couple celebrates their tenth anniversary in the happy cocoon they’ve created for themselves while dealing with the aggravations and discrimination that surrounds them. C.K. Allen as Larry and L.B. Williams as Elliot show a genuine warmth and affection and play off each other’s charms in a way that can only be described as endearing.
In the evening’s final scene Right Sensation, Stewart (Michael Anderson) and Paula (Jaqueline M. Raposo) stumble back to her place after a night out drinking. The emotionally, and physically, scarred Paula soon pulls back to reveal an uncomfortable secret. Raposo shows both a fragility and strength while Anderson deals with her revelation in a “foot in mouth”, yet tender way – something that the directors of Lifetime TV movies would be advised to study.
All in all, Couples goes to prove that there’s drama in everyone’s lives, but if only it could be resolved in less than ten minutes like these are.
Gay, straight, frustrated, bestial – just some of the complex relationships on show in Rich Orloff’s intriguing Couples at The WorkShop Theater Company. Eight short, two-person scenes each drawing the audience in with an intimate portrayal of relationships at a tipping point. From the awkward fumblings of a drunken hook-up to the tediosity of a middle-aged marriage, what could easily be boring, “slice of life” vignettes is actually a fascinating peep into the lives of those around us. While each couple is experiencing some kind of crisis – major and minor – the scenes vary from domestic realism to fantasy and inner-monologue. Each scene is well-directed by Paula D’Alessandris, Phillip Emeott and David Gautschy (each directing several of the scenes) and hits the right tone for the tiny space of the Jewel Box Theater – relying on a minimal set and carefully pooled lighting and atmospheric effects by lighting designer Richard Kent Green. The intimacy of the relationships and the size of the theater could easily lead to under- or over-acting, something that is pretty much avoided throughout the evening.
A smartly conceived opening scene has all 16 actors waiting in line for a Disneyland rollercoaster while the first vignette, Matterhorn, takes place in their midst. An irritable forty-something husband and wife bicker incessantly while their offstage kids cause mayhem. Wende O’Reilly as Arleen deftly avoids caricature while conveying the frustrations of the unsatisfied wife who ultimately finds a kind of peace with her husband Jerry (Richard Mover). Of the seven other scenes, four others deserve special mention.
Class Dismissed deals with the painful parting of a professor and student relationship after their gay affair has been uncovered. Ken Glickfield as the ageing Gene and Jess Cassidy White as his young protégé bring a tender touch that hits home but isn’t overly sentimental.
Lion Tamer is the most bizarre of all the scenes – balancing Noel Coward-style witticism with the sex-charged writing of Jackie Collins. Justin R.G. Holcomb as “A Man” is viewing the apartment of “A Woman” (Christine Verleny) with a view to rent or purchase. As they flirt urbanely their dialogue becomes more charged until Man begins to tell how he “mounted” a lioness while on safari. Holcomb’s wave of dark blond hair and sensuous delivery create a performance that is both leonine and seductive, despite the disturbing imagery.
In Oh Happy Day, a black, gay couple celebrates their tenth anniversary in the happy cocoon they’ve created for themselves while dealing with the aggravations and discrimination that surrounds them. C.K. Allen as Larry and L.B. Williams as Elliot show a genuine warmth and affection and play off each other’s charms in a way that can only be described as endearing.
In the evening’s final scene Right Sensation, Stewart (Michael Anderson) and Paula (Jaqueline M. Raposo) stumble back to her place after a night out drinking. The emotionally, and physically, scarred Paula soon pulls back to reveal an uncomfortable secret. Raposo shows both a fragility and strength while Anderson deals with her revelation in a “foot in mouth”, yet tender way – something that the directors of Lifetime TV movies would be advised to study.
All in all, Couples goes to prove that there’s drama in everyone’s lives, but if only it could be resolved in less than ten minutes like these are.
Friday, April 20, 2007
Review - Some Men (Second Stage Theatre)
Stage Buzz Review by David Pasteelnick
Terrence McNally could be considered by some as the still-living patron saint of gay theater. While I imagine he would chafe at such a limiting honorific, the fact remains that his body of work contains many seminal works of modern gay theater – The Lisbon Traviata, Lips Together, Teeth Apart, Love! Valour! Compassion!, Corpus Christi, the book for the musical A Man of No Importance – and now he adds to that list with Some Men, performing at Second Stage Theatre through April 22.
A collection of interlinked vignettes, Some Men attempts to chart the different shapes that intimate male-male relationships have taken over various decades of the 20th Century and into the 21st. While by no means a perfect work, Some Men does serve as a theatrical weigh-station, noting where the gay community has been, where it is now and even to some extent where it may be heading.
The play is book-ended by a gay wedding taking place at the Waldorf-Astoria. Various generations of gay men, both coupled and single, arrive and offer observations on the proceedings. From this jumping off point, the action see-saws through time, providing snapshots of life in the ‘20s, ‘60s, ‘70s, etc. The problem with snapshots is that sometimes you don’t get a full idea of what is happening in the photo, or the emotion or message that the artist attempts to convey is not fully realized. This is the case in a few scenes such as one at a military funeral. More fully realized moments take place on a beach in the Hamptons, a restaurant dining room at the Waldorf, and my personal favorite – a bench in Central Park.
I had the good fortune to attend an earlier version of this work when it was performed at the Philadelphia Theatre Company last summer. The play has evolved considerably since then, and while I felt a few scenes lacked the punch they packed in the prior incarnation, the play holds together much better as a whole now. The cast is uniformly strong, with some standout moments by David Greenspan as a drag queen during the Stonewall riots, Michael McElroy as a Harlem Renaissance nightclub host, and Don Amendolia in a variety of scene stealing roles. Consideration must also be given to Kelly AuCoin and Romain Frugé whose moving portrayal of a couple at various stages of their relationship provides audiences with a crucial through-line that grounds the piece.
Director Trip Cullman, who has helmed several of my favorite Off-Broadway works, provides a sure hand to the proceedings, making a clear narrative out of what could have been a chaotic evening and keeping the pace brisk and engaging. He steers clear of mawkish sentimentality and never lets a joke hijack a scene. The simple (ornate chandeliers notwithstanding) and extremely flexible and functional set was designed by Mark Wendland. Linda Cho’s attractive and effective costumes play a vital part in keeping the proceedings coherent. Kevin Adam’s evocative and at times humorous lighting and John Gromada’s nostalgia-inducing sound design also do their part to make the overall evening extremely enjoyable.
Some Men may not be all men and it may not have reinvented gay theater, but it provides a brisk, effective, and at times moving tour of what it means and has meant for a man to love another man.
Written by Terrence McNally
Directed by Trip Cullman
Set Designer: Mark Wendland
Costume Designer: Linda Cho
Lighting Designer: Kevin Adams
Sound Designer: John Gromada
Assistant Set Designer: Rachel Nemec
Assistant Costume Designer: Terese Wadden
Assistant Sound Designer: Bridget O’Connor
Production Stage Manager: Lori Ann Zepp
Stage Manager: Stephanie Gratton
Featuring Don Amendolia, Kelly AuCoin, Romain Frugé, David Greenspan, Jesse Hooker, Michael McElroy, Pedro Pascal, Randy Redd, and Frederick Weller.
Second Stage Theatre
307 W. 43rd Street
Through April 22nd
Terrence McNally could be considered by some as the still-living patron saint of gay theater. While I imagine he would chafe at such a limiting honorific, the fact remains that his body of work contains many seminal works of modern gay theater – The Lisbon Traviata, Lips Together, Teeth Apart, Love! Valour! Compassion!, Corpus Christi, the book for the musical A Man of No Importance – and now he adds to that list with Some Men, performing at Second Stage Theatre through April 22.
A collection of interlinked vignettes, Some Men attempts to chart the different shapes that intimate male-male relationships have taken over various decades of the 20th Century and into the 21st. While by no means a perfect work, Some Men does serve as a theatrical weigh-station, noting where the gay community has been, where it is now and even to some extent where it may be heading.
The play is book-ended by a gay wedding taking place at the Waldorf-Astoria. Various generations of gay men, both coupled and single, arrive and offer observations on the proceedings. From this jumping off point, the action see-saws through time, providing snapshots of life in the ‘20s, ‘60s, ‘70s, etc. The problem with snapshots is that sometimes you don’t get a full idea of what is happening in the photo, or the emotion or message that the artist attempts to convey is not fully realized. This is the case in a few scenes such as one at a military funeral. More fully realized moments take place on a beach in the Hamptons, a restaurant dining room at the Waldorf, and my personal favorite – a bench in Central Park.
I had the good fortune to attend an earlier version of this work when it was performed at the Philadelphia Theatre Company last summer. The play has evolved considerably since then, and while I felt a few scenes lacked the punch they packed in the prior incarnation, the play holds together much better as a whole now. The cast is uniformly strong, with some standout moments by David Greenspan as a drag queen during the Stonewall riots, Michael McElroy as a Harlem Renaissance nightclub host, and Don Amendolia in a variety of scene stealing roles. Consideration must also be given to Kelly AuCoin and Romain Frugé whose moving portrayal of a couple at various stages of their relationship provides audiences with a crucial through-line that grounds the piece.
Director Trip Cullman, who has helmed several of my favorite Off-Broadway works, provides a sure hand to the proceedings, making a clear narrative out of what could have been a chaotic evening and keeping the pace brisk and engaging. He steers clear of mawkish sentimentality and never lets a joke hijack a scene. The simple (ornate chandeliers notwithstanding) and extremely flexible and functional set was designed by Mark Wendland. Linda Cho’s attractive and effective costumes play a vital part in keeping the proceedings coherent. Kevin Adam’s evocative and at times humorous lighting and John Gromada’s nostalgia-inducing sound design also do their part to make the overall evening extremely enjoyable.
Some Men may not be all men and it may not have reinvented gay theater, but it provides a brisk, effective, and at times moving tour of what it means and has meant for a man to love another man.
Written by Terrence McNally
Directed by Trip Cullman
Set Designer: Mark Wendland
Costume Designer: Linda Cho
Lighting Designer: Kevin Adams
Sound Designer: John Gromada
Assistant Set Designer: Rachel Nemec
Assistant Costume Designer: Terese Wadden
Assistant Sound Designer: Bridget O’Connor
Production Stage Manager: Lori Ann Zepp
Stage Manager: Stephanie Gratton
Featuring Don Amendolia, Kelly AuCoin, Romain Frugé, David Greenspan, Jesse Hooker, Michael McElroy, Pedro Pascal, Randy Redd, and Frederick Weller.
Second Stage Theatre
307 W. 43rd Street
Through April 22nd
Sunday, April 15, 2007
Review - Picasso at the Lapin Agile (T. Schreiber Studio)
Stage Buzz Review by Byrne Harrison
I’ve long been a fan of Steve Martin’s cute and quirky Picasso at the Lapin Agile, though until Friday, I had never seen it performed. What a delight to have my first staged version of the show not only live up to, but exceed, my expectations.
The bright and witty comedy, produced by the T. Schreiber Studio, imagines a chance encounter between Albert Einstein (Josh Marcantel) and Pablo Picasso (Richard Zekaria) in a small bar in Paris, the Lapin Agile. Both are on the cusp of revealing their own particular brand of genius; Einstein with his theory of relativity, and Picasso with Cubism. They are also on the cusp of a radical new century, one that they will come to symbolize.
The play deals with the nature of art, revelation, physics, wine, men, women, love, history . . . a myriad of concepts. Most interesting is its take on genius and fame, both as it relates to Picasso, Einstein and a time-traveling visitor (Edward Campbell, Jr.), who is never named, but is wearing blue suede shoes, and to Charles Dabernow Schmendiman (Michael Black), a nobody who is determined not to let history pass him by unnoticed.
The production is superb, especially in its technical values. George Allison’s highly detailed and realistic set transports the audience to turn of the century Paris. In fact, some of the audience sits onstage during the production, as patrons of the Lapin Agile. Lighting designer Andrea Boccanfuso recreates the intimate feel of a small Parisian bar, and has a couple of stunning visual effects at the end of the play. Karen Ann Ledger’s period costumes are marvelous and give added depth to the characters.
The eleven person ensemble is excellent, with special praise to Zekaria as the manic and sexy Spaniard; Marcantel, whose charmingly goofy Einstein was pleasure to watch; and Frank Mihelich and Maeve Yore as Freddy and Germaine, the down-to-earth owners of the Lapin Agile. Michael Black as Schmendiman provides some of the funniest moments of the show; he has excellent timing and a willingness to throw himself into the sublime ridiculousness of his role.
Director Cat Parker proves adept both at the over-the-top humor and the moments of quiet wonder that Martin has created in his play.
Congratulations to the cast, crew, and T. Schreiber Studio for an excellent production.
Written by Steve Martin
Directed by Cat Parker
Scenic Designer: George Allison
Costume Designer: Karen Ann Ledger
Lighting Designer: Andrea Boccanfuso
Sound Designer: Christopher Rummel
Rehearsal Stage Manager: Shane Van Vliet
Production Stage Manager: Melanie Bell
Assistant Director: Brittney Venable
Set Decorator: Carolyn Mraz
Assistant Costume Designer: Summer Lee Jack
Stitcher: Francesca Neville
Technical Director: Brian Smallwood
Assistant Technical Director: Joe Powell
Lighting Assistant: Rand Sherman
Lightin Assistant: Anna C. Jones
Production Photographer: Rod Goodman
Publicist: Katie Rosin
Industry Liaison: Jessica Faller
Featuring Frank Mihelich (Freddy), Jaim Aylward (Gaston), Maeve Yore (Germaine), Josh Marcantel (Albert Einstein), Arela Rivas (Suzanne), Todd Cowdery (Sagot), Richard Zekaria (Pablo Picasso), Michael Black (Charles Dabernow Schmendiman), Andrea Marie Smith (The Countess), Ivette Dumeng (Mimi the Admirer), and Edward Campbell, Jr. (A Visitor).
T. Schreiber Studio
151 W. 26th Street, 7th Floor
Through May 6th
I’ve long been a fan of Steve Martin’s cute and quirky Picasso at the Lapin Agile, though until Friday, I had never seen it performed. What a delight to have my first staged version of the show not only live up to, but exceed, my expectations.
The bright and witty comedy, produced by the T. Schreiber Studio, imagines a chance encounter between Albert Einstein (Josh Marcantel) and Pablo Picasso (Richard Zekaria) in a small bar in Paris, the Lapin Agile. Both are on the cusp of revealing their own particular brand of genius; Einstein with his theory of relativity, and Picasso with Cubism. They are also on the cusp of a radical new century, one that they will come to symbolize.
The play deals with the nature of art, revelation, physics, wine, men, women, love, history . . . a myriad of concepts. Most interesting is its take on genius and fame, both as it relates to Picasso, Einstein and a time-traveling visitor (Edward Campbell, Jr.), who is never named, but is wearing blue suede shoes, and to Charles Dabernow Schmendiman (Michael Black), a nobody who is determined not to let history pass him by unnoticed.
The production is superb, especially in its technical values. George Allison’s highly detailed and realistic set transports the audience to turn of the century Paris. In fact, some of the audience sits onstage during the production, as patrons of the Lapin Agile. Lighting designer Andrea Boccanfuso recreates the intimate feel of a small Parisian bar, and has a couple of stunning visual effects at the end of the play. Karen Ann Ledger’s period costumes are marvelous and give added depth to the characters.
The eleven person ensemble is excellent, with special praise to Zekaria as the manic and sexy Spaniard; Marcantel, whose charmingly goofy Einstein was pleasure to watch; and Frank Mihelich and Maeve Yore as Freddy and Germaine, the down-to-earth owners of the Lapin Agile. Michael Black as Schmendiman provides some of the funniest moments of the show; he has excellent timing and a willingness to throw himself into the sublime ridiculousness of his role.
Director Cat Parker proves adept both at the over-the-top humor and the moments of quiet wonder that Martin has created in his play.
Congratulations to the cast, crew, and T. Schreiber Studio for an excellent production.
Written by Steve Martin
Directed by Cat Parker
Scenic Designer: George Allison
Costume Designer: Karen Ann Ledger
Lighting Designer: Andrea Boccanfuso
Sound Designer: Christopher Rummel
Rehearsal Stage Manager: Shane Van Vliet
Production Stage Manager: Melanie Bell
Assistant Director: Brittney Venable
Set Decorator: Carolyn Mraz
Assistant Costume Designer: Summer Lee Jack
Stitcher: Francesca Neville
Technical Director: Brian Smallwood
Assistant Technical Director: Joe Powell
Lighting Assistant: Rand Sherman
Lightin Assistant: Anna C. Jones
Production Photographer: Rod Goodman
Publicist: Katie Rosin
Industry Liaison: Jessica Faller
Featuring Frank Mihelich (Freddy), Jaim Aylward (Gaston), Maeve Yore (Germaine), Josh Marcantel (Albert Einstein), Arela Rivas (Suzanne), Todd Cowdery (Sagot), Richard Zekaria (Pablo Picasso), Michael Black (Charles Dabernow Schmendiman), Andrea Marie Smith (The Countess), Ivette Dumeng (Mimi the Admirer), and Edward Campbell, Jr. (A Visitor).
T. Schreiber Studio
151 W. 26th Street, 7th Floor
Through May 6th
Thursday, April 5, 2007
Review - The Facts of Life: The Lost Episode
Stage Buzz Review by Byrne Harrison
You take the good. You take the bad. You take them both and there you have . . . Jamie Morris’s wildly absurd The Facts of Life: The Lost Episode. In this episode, entitled “The Best Little Whorehouse in Peekskill,” Mrs. Garrett and the girls are faced with the prospect of losing their dorm to development, the elimination of Mrs. Garrett’s job, and the Starbucks-driven closing of Edna’s Edibles unless they can come up with enough money to save the day. They do what any good boarding school girls would do . . . open a brothel.
Morris’s send up of this bewilderingly popular show (it ran nine seasons according to IMDB) hits all the expected marks – Tootie’s skates, Natalie’s constant grinning through her lines, Mrs. Garrett’s cries of “Girls! Girls!” It also stakes out some new territory – taking Jo and Blair’s love/hate relationship and accentuating the love portion. Woven in are some amusingly rewritten songs from The Best Little Whorehouse in Texas, some lines and images that would shock a sailor and will promptly get lodged in your brain forever, and a visit from Blair’s cousin Geri that led one audience member to loudly exclaim, “Oh no, they are NOT going there!”
Yes, they are. And it’s damn funny.
The five actors in the show all do a remarkable job of creatively parodying their TV characters. It is Brooks Braselman, who plays Natalie and several other minor characters, however, who steals the show. Not only is his Natalie spot on, but he is such a dynamo that he seems to vibrate with energy every time he’s on stage. Jamie Morris, playing a sex-crazed Mrs. Garrett, keeps up with him and always looks like he’s having the time of his life. In fact, that seems to be case with all the actors – they look like they’re having a blast.
The show is not without its slow moments, and there are a fair number of jokes that fall flatter than Mrs. Garrett’s flapjacks, but the laughs easily outnumber the groans. My suggestion is to get there a little early, grab a drink upstairs at the KGB Bar, and reminisce about some of your favorite episodes. Then grab a seat and try to keep up with the actors. Be prepared for a wild, raunchy, crazy time.
Written by Jamie Morris
Parody lyrics by Brooks Braselman and Jamie Morris
Directed by Christopher Kenney
Set Design by Michael Lee Scott
Musical Arrangements by Hank Bones
Featuring Brooks Braselman (Natalie), Christopher Kenney (Blair), Charlie Logan (Jo), Jamie Morris (Mrs. Garrett), and Jaquay Thomas (Tootie)
Kraine Theater
85 E. 4th Street
Closed
Tickets: www.theatermania.com or 212-352-3101
You take the good. You take the bad. You take them both and there you have . . . Jamie Morris’s wildly absurd The Facts of Life: The Lost Episode. In this episode, entitled “The Best Little Whorehouse in Peekskill,” Mrs. Garrett and the girls are faced with the prospect of losing their dorm to development, the elimination of Mrs. Garrett’s job, and the Starbucks-driven closing of Edna’s Edibles unless they can come up with enough money to save the day. They do what any good boarding school girls would do . . . open a brothel.
Morris’s send up of this bewilderingly popular show (it ran nine seasons according to IMDB) hits all the expected marks – Tootie’s skates, Natalie’s constant grinning through her lines, Mrs. Garrett’s cries of “Girls! Girls!” It also stakes out some new territory – taking Jo and Blair’s love/hate relationship and accentuating the love portion. Woven in are some amusingly rewritten songs from The Best Little Whorehouse in Texas, some lines and images that would shock a sailor and will promptly get lodged in your brain forever, and a visit from Blair’s cousin Geri that led one audience member to loudly exclaim, “Oh no, they are NOT going there!”
Yes, they are. And it’s damn funny.
The five actors in the show all do a remarkable job of creatively parodying their TV characters. It is Brooks Braselman, who plays Natalie and several other minor characters, however, who steals the show. Not only is his Natalie spot on, but he is such a dynamo that he seems to vibrate with energy every time he’s on stage. Jamie Morris, playing a sex-crazed Mrs. Garrett, keeps up with him and always looks like he’s having the time of his life. In fact, that seems to be case with all the actors – they look like they’re having a blast.
The show is not without its slow moments, and there are a fair number of jokes that fall flatter than Mrs. Garrett’s flapjacks, but the laughs easily outnumber the groans. My suggestion is to get there a little early, grab a drink upstairs at the KGB Bar, and reminisce about some of your favorite episodes. Then grab a seat and try to keep up with the actors. Be prepared for a wild, raunchy, crazy time.
Written by Jamie Morris
Parody lyrics by Brooks Braselman and Jamie Morris
Directed by Christopher Kenney
Set Design by Michael Lee Scott
Musical Arrangements by Hank Bones
Featuring Brooks Braselman (Natalie), Christopher Kenney (Blair), Charlie Logan (Jo), Jamie Morris (Mrs. Garrett), and Jaquay Thomas (Tootie)
Kraine Theater
85 E. 4th Street
Closed
Tickets: www.theatermania.com or 212-352-3101
Review - Tales of the Lost Formicans (Nicu’s Spoon)
Stage Buzz Review by Byrne Harrison
An alien, describing the culture of the Formicans (its name for late 20th century Americans), in Constance Congdon’s Tales of the Lost Formicans, refers to it as “complex, but strangely intangible.” This is also a perfect description of Congdon’s play. Dealing with aliens, Alzheimer’s, the disintegration of the family, middle-class apathy, and any number of other subjects, the play is hard to classify, and even harder to describe.
Luckily, Congdon’s play seems to be about taking away whatever message resonates most with each individual audience member. Don’t be surprised if you take away a completely different message than everyone else.
The main story concerns Cathy (Rebecca Challis), a woman whose husband has left her for a much younger woman. She leaves her life in New York and, son Eric (Nico Phillips) in tow, returns to Colorado to live with her parents, Evelyn (Celia Bressack) and Jim (Brian J. Coffey). Jim is in the early stages of Alzheimer’s and gets progressively worse over the course of the play. Dealing with her father, her perpetually angry teenage son, and the attentions of Jerry (Michael Hartney), the local conspiracy nut, proves to be almost more than she can handle.
And then there are the aliens.
Rather than writing a basic family drama, Congdon presents the audience with an anthropology lesson, as a group of aliens observe and attempt to understand the lives of this group of humans. They get most of it wrong, but of course, that’s the point. The results force us to view ourselves and our lives in a different light.
Nicu’s Spoon is an extraordinary company in that they celebrate the diversity of acting talent in the city by casting “multi-racial, multi-abled, multi-aged, and multi-gendered talent.” The cast of Formican’s certainly is true to that mission, and generally speaking, they are a diverse and talented group. Two actors in particular, Michael Hartney and Brian J. Coffey, are outstanding. Hartney, as the socially awkward Jerry, creates a character that is so sympathetic, it almost physically hurts every time he says or does the wrong thing. And watching Coffey’s Jim devolve from a robust foreman to a confused, shuffling old man is heartbreaking.
My main problem with the play, and sadly one which I couldn’t overcome, is that the world that Congdon was writing about in the late ‘80s doesn’t seem as relevant now. Congdon’s Formicans were on the verge of winning the Cold War. Though there was a Bush in the White House, they had yet to experience the first Gulf War. 9/11 wasn’t even something they could have conceived of. Their America, pre-cell phones and the Internet, seems almost quaint.
In an effort to overcome this, director Brett Maughan shifts the play to present day America and adds in references to Bush and Iraq. Unfortunately, this just makes it seem more out of place, or rather, out of time. Of course certain aspects of the show still resonate – dealing with Alzheimer’s, divorce, intergenerational family issues, etc. But it just doesn’t seem to be enough to make the show work as a whole.
While Nicu’s Spoon is certainly a company to watch, their upcoming production of Shakespeare’s Richard III might prove a better showcase for their talents and their unique mission.
Written by Constance Congdon
Directed by Brett Maughan
Stage Manager: Kathleen Conway
Lighting Designer: Steven Wolf
Lighting Design Intern: Stephen Halouvas
Prop & Scenic Designer: Brett Maughan & S. Barton-Farcas
AD/Production Assistant: Alvaro Sena
ASM/Production Intern: Chrissy Capobianco
Costume Designer: Thomas Cassetta
Build Crew Head: John Trevellini
Lights/Sound Running Crew: Kathleen Conway & Tom Cassetta
ASL Interpreters: Pamela O. Mitchell, Pat Dash, Gerald Small & Sharon Williams
Featuring Rebecca Challis (Cathy), Brian J. Coffey (Jim), Celia Bressack (Evelyn), Nico Phillips (Eric), Lindsay Goranson (Judy), Michael Hartney (Jerry), Jovinna Chan (Head Alien), Russell Waldman (Alien 2), Dirk Smile (Alien 3)
Theatre 54
244 W. 54th Street
Through April 15th
Wed.-Sun.: 8 pm
Tickets: www.smarttix.com
An alien, describing the culture of the Formicans (its name for late 20th century Americans), in Constance Congdon’s Tales of the Lost Formicans, refers to it as “complex, but strangely intangible.” This is also a perfect description of Congdon’s play. Dealing with aliens, Alzheimer’s, the disintegration of the family, middle-class apathy, and any number of other subjects, the play is hard to classify, and even harder to describe.
Luckily, Congdon’s play seems to be about taking away whatever message resonates most with each individual audience member. Don’t be surprised if you take away a completely different message than everyone else.
The main story concerns Cathy (Rebecca Challis), a woman whose husband has left her for a much younger woman. She leaves her life in New York and, son Eric (Nico Phillips) in tow, returns to Colorado to live with her parents, Evelyn (Celia Bressack) and Jim (Brian J. Coffey). Jim is in the early stages of Alzheimer’s and gets progressively worse over the course of the play. Dealing with her father, her perpetually angry teenage son, and the attentions of Jerry (Michael Hartney), the local conspiracy nut, proves to be almost more than she can handle.
And then there are the aliens.
Rather than writing a basic family drama, Congdon presents the audience with an anthropology lesson, as a group of aliens observe and attempt to understand the lives of this group of humans. They get most of it wrong, but of course, that’s the point. The results force us to view ourselves and our lives in a different light.
Nicu’s Spoon is an extraordinary company in that they celebrate the diversity of acting talent in the city by casting “multi-racial, multi-abled, multi-aged, and multi-gendered talent.” The cast of Formican’s certainly is true to that mission, and generally speaking, they are a diverse and talented group. Two actors in particular, Michael Hartney and Brian J. Coffey, are outstanding. Hartney, as the socially awkward Jerry, creates a character that is so sympathetic, it almost physically hurts every time he says or does the wrong thing. And watching Coffey’s Jim devolve from a robust foreman to a confused, shuffling old man is heartbreaking.
My main problem with the play, and sadly one which I couldn’t overcome, is that the world that Congdon was writing about in the late ‘80s doesn’t seem as relevant now. Congdon’s Formicans were on the verge of winning the Cold War. Though there was a Bush in the White House, they had yet to experience the first Gulf War. 9/11 wasn’t even something they could have conceived of. Their America, pre-cell phones and the Internet, seems almost quaint.
In an effort to overcome this, director Brett Maughan shifts the play to present day America and adds in references to Bush and Iraq. Unfortunately, this just makes it seem more out of place, or rather, out of time. Of course certain aspects of the show still resonate – dealing with Alzheimer’s, divorce, intergenerational family issues, etc. But it just doesn’t seem to be enough to make the show work as a whole.
While Nicu’s Spoon is certainly a company to watch, their upcoming production of Shakespeare’s Richard III might prove a better showcase for their talents and their unique mission.
Written by Constance Congdon
Directed by Brett Maughan
Stage Manager: Kathleen Conway
Lighting Designer: Steven Wolf
Lighting Design Intern: Stephen Halouvas
Prop & Scenic Designer: Brett Maughan & S. Barton-Farcas
AD/Production Assistant: Alvaro Sena
ASM/Production Intern: Chrissy Capobianco
Costume Designer: Thomas Cassetta
Build Crew Head: John Trevellini
Lights/Sound Running Crew: Kathleen Conway & Tom Cassetta
ASL Interpreters: Pamela O. Mitchell, Pat Dash, Gerald Small & Sharon Williams
Featuring Rebecca Challis (Cathy), Brian J. Coffey (Jim), Celia Bressack (Evelyn), Nico Phillips (Eric), Lindsay Goranson (Judy), Michael Hartney (Jerry), Jovinna Chan (Head Alien), Russell Waldman (Alien 2), Dirk Smile (Alien 3)
Theatre 54
244 W. 54th Street
Through April 15th
Wed.-Sun.: 8 pm
Tickets: www.smarttix.com
Monday, March 26, 2007
Review - Dream of a Common Language (3Graces Theater Company)
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
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
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.
Subscribe to:
Posts (Atom)
