Review - The Aspern Papers (Turtle Shell Productions)

Stage Buzz Review by Byrne Harrison


Photo by Jeremy Handelman


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

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 Scampo believes that she holds Aspern’s heretofore unpublished early works and letters.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

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

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

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

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

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

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

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

Visit Theatermania for tickets.

News - 64th Annual Theatre World Award Winners Announced

64th ANNUAL THEATRE WORLD AWARD WINNERS ANNOUNCED
FOR OUTSTANDING BROADWAY AND OFF-BROADWAY DEBUTS
DURING THE 2007-2008 SEASON

New York City (May 15, 2008)
The 64th Annual Theatre World Award winners for Outstanding Broadway or Off-Broadway Debut performances during the 2007-2008 theatrical season are:

de’Adre Aziza, Passing Strange
Cassie Beck, Drunken City
Daniel Breaker, Passing Strange
Ben Daniels, Les Liaisons Dangereuses
Deanna Dunagan, August: Osage County
Hoon Lee, Yellow Face
Alli Mauzey, Cry-Baby
Jenna Russell, Sunday in the Park with George
Mark Rylance, Boeing-Boeing
Loretta Ables Sayre, South Pacific
Jimmi Simpson, The Farnsworth Invention
Paulo Szot, South Pacific

The Theatre World Awards presentation will be held at the Helen Hayes Theatre, 240 West 44th Street, in an invitation-only ceremony, Tuesday, June 10, 2008 from 2:00 to 4:00 p.m. Peter Filichia will host, Barry Keating will direct, and Scott Denny, Kati Meister and Erin Oestreich are the event’s producers. John Willis, founder of the Theatre World Awards, will be in attendance.

First presented in 1945, the prestigious Theatre World Awards are the oldest awards given for Broadway and Off-Broadway debut performances, and are among the oldest honors given to stage performers. The Theatre World Award winners have been chosen by the Theatre World Awards committee, currently comprised of Peter Filichia (TheaterMania), Harry Haun (Playbill), Matthew Murray (Talkin’ Broadway), Frank Scheck (New York Post), Michael Sommers (Newhouse Newspapers), Doug Watt (Critic Emeritus, New York Daily News), and Linda Winer (New York Newsday).

Theatre World is the authoritative annual pictorial and statistical record of the American theatre, including Broadway, Off-Broadway, Off-Off Broadway, and regional theatre. Theatre World is published by Applause Books.

The Theatre World Award Board of Directors is: Leigh Giroux (President), Kati Meister (Vice President), Erin Oestreich (Secretary), Scott Denny (Treasurer), Tom Lynch (Founding Board member), and Barry Keating. For more information about the Theatre World Awards (including a list of past recipients) please visit: theatreworldawards.org.

Something Fun

One of our favorite theatre companies, the New York Neo-Futurists, are participating in the International Pillow Fight this Saturday in Union Square.

If you would care to join them, the information is below:

Join us as we participate in the International Pillow Fight and then see yourself on our website in a video created by our house manager king, Adam. Yes, we are videotaping the sheer carnage and raw energy that is a Baby(head) in a pillow fight.Meet under the Astor Place cube by 2:30PM so that we can march in Baby(head) solidarity to the biggest mass of flying feathers in NYC. And wear a Neo tee if you have one! BYOP.

Sadly, no one from Stage Buzz is available to attend the event, so if anyone does make it down there and can get a photo or two of a Neo in the melee, feel free to pass it along.

Review - Julius Caesar (Coyote Laboratory, Inc.)

Stage Buzz Review by Byrne Harrison

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

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

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

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

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

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

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


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

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

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

Closed March 15th

Review - Count to Ten (Justin Boccitto and The Group Theatre Too)

Stage Buzz Review by Patrick Doyle

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

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

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

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

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

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

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

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

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

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


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

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

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

Closed March 16

Update - 8 Minute Madness Playwright Festival

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

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

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

Best Actors - Pia Ambardar & Justin Morck

Review - Seesaw (Justin Boccitto and The Group Theatre Too)

Stage Buzz Review by Patrick Doyle

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

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

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

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

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

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

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


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

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

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

Closed March 15

Review - The 8 Minute Madness Playwright Festival (Turtle Shell Productions)

Stage Buzz Review by Byrne Harrison

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

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

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

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

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

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

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

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

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

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

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

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

Playwrights: Group A - Mark Harvey Levine (Surprise), J. Stephen Brantley (Struck), Rich Rubin (A Most Unsuitable Conversation), Aoise Stratford (Elephants and Coffee), Constance Parng (The Ta Ta Song of the Aftermore: Movement One), Ben Lewis (Parthy and Me), Walter Thinnes (Meeting Without End), Shaun Raviv (Rats), Henry W. Kimmel (The Dilemma of a Standing Ovation); Group B – Fran Handman (Abuse from Another Life), Jane Prendergast (The Diers), Ann-Marie Oliva (Momology), Edward Musto (Poor Hearts), Rich Espey (Peelers), David Fox (What's on Your Mind), Evan Guilford-Blake (A Lovely Moon), John Buczko (The Final Chuckle), Aoise Stratford (Our Lady of the Sea); Group C - Spence Porter (Men/Women), Mark Harvey Levine (Scripted), Demetra Kareman (Low & Away), Lynn Snyder (Don't Look! ), Nina Mansfield (Smile), Eric Alan Bower (The Dali Lama Drinks His Own Pee), Jeremy Handelman (Tic-Tac-Toe), Steven Korbar (I Understand Your Frustration), William Munt (Big Red Button)

Directed by Gaye-Taylor Upchurch, John W. Cooper, Arthur French, David Ledoux, David Letwin

Stage Managers: Nate Brauner and Amanda-Mae Goodridge Producer/Artistic Director: John W. Cooper Assistant Production Manager: Amanda-Mae Goodridge Scenic Designer: Ryan Scott Lighting Designer: Eric Larson Costume and Props: Christina Gianinni Sound Design: Susan Smale

Featuring in Group A - Surprise: Monika Schneider (Whitney), Christian O'Brien (Peter), Constance Parng (Esther); Struck: Christine Booker (Veronica), Bobby Tuttle (Adrian), Rob Welsh (Brit); A Most Unsuitable Conversation: Justin Tensen (A), Bill Toscano (B); Elephants and Coffee: Robin Madel (Woman), Eric Edward Glawe (Elephant); The Ta Ta Song of the Aftermore: Movement One: Santana Dempsey (August), Monika Schneider (Ava), Christine Booker (Elizabeth); Parthy and Me: Rob Welsh (Boy/Paul), Emily Coffin (Girl/Parthy); Meeting Without End: Christine Booker (Meeting Organizer), Robin Madel (Confirmed Attendee), Kaolin Bass (Requested Attendee), Justin Tensen (Tentative Attendee); Rats: Bill Toscano (Rat), Christian O'Brien (Tar); The Dilemma of a Standing Ovation: Kaolin Bass (Adam), Audra George (Eli), Natalie Anderson (Mavis), Santana Dempsey (Tara), Justin Tensen (Jerry)

Featuring in Group B - Abuse from Another Life: Traci Hovel (Ernest), Justin Morck (Prudence), Jonathan M. Castro (Armand); The Diers: Deidre Lynn (Betty), Kendall Zwillman (Hele), Susan Wallack (Sally), Anna Savant (Nurse); Momology: Coleen Sciacca (Mom #1), Ingrid Kullberg-Bendz (Mom #2), Barbra Ann Smilko (Mom #3); Poor Hearts: Alison Crane (Young Lady), Justin Morck (Young Man), Tony Mirchandani (Driver); Peelers: Cynthia Fellowes (Bookmaker), Jonathan M. Castro (Marengo), Carol Lambert (Miss Anna); What's on Your Mind: Tony Mirchandani (Dave), Cynthia Fellowes (Karen), Jonathan M. Castro (Jeff); A Lovely Moon: Traci Hovel (Julia), Barbra Ann Smilko (Lynn), Tony Mirchandani (Warren); The Final Chuckle: Benato Biridin (Jackie Jordan), Edward Sheldon (Father L.D. Riley); Our Lady of the Sea: Justin Morck (Brother), Bill Toscano (Father), Jonathan M. Castro (Boyfriend)

Featuring in Group C - Men/Women: Bernardo Cubria (He 1), Mark Becker (He 2), Annie Mistak (She 1), Emily Elizabeth Simoness (She 2); Scripted: Danielle Faitelson (Elaine), Collin Smith (Simon); Low & Away: Bristol Pomeroy (Frank), Elise Rovinsky (Carol); Don't Look!: Kaolin Bass (Paul), Annie Mistak (Cheryl); Smile: Bristol Pomeroy (Man), Pia Ambardar (Woman); The Dali Lama Drinks His Own Pee: Bristol Pomeroy (Sherwin), Emily Elizabeth Simoness (Lisa), Patrick Cann (Tim), Tara Gadomski (Angela), Bernardo Cubria (Nathan), Shiloh Klein (Babs); Tic-Tac-Toe: Lauren Robert (Stacey), Byron Loyd (Kenny); I Understand Your Frustration: Patrick Cann (Ted), Pia Ambardar (Brad); Big Red Button: Bernardo Cubria (1), Mark Becker (2)

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

Through March 15
Wed.-Fri.: 8 PM; Sat.: 3 and 8 PM

Awards & Gala Event: Sunday, March 16 (see http://www.turtleshellproductions.com for details)

Tickets: Theater Mania 212-352-3101

Fundraiser - St. Bart’s Players

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

Review - The Play About the Naked Guy (Emerging Artists Theatre)

Stage Buzz Review by Byrne Harrison

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

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

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

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

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

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

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

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

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

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

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

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

Baruch Performing Arts Center
55 Lexington Avenue

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

Visit www.theatermania.com for tickets.

Review - Claymont (Emerging Artists Theatre)

Stage Buzz Review by Byrne Harrison

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

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

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

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

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

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

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

Baruch Performing Arts Center
55 Lexington Avenue

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

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

Review - Providence (Maieutic Theatre Works)

Stage Buzz Review by Byrne Harrison

Despite the prodigious amounts of Off-Off Broadway theatre produced in New York each year, it’s rare to find a genuinely strong production that features a compelling story and is both well-acted and well-directed. Fortunately for all of us, the Maieutic Theatre Works production of Cody Daigle’s Providence, currently playing a limited run at the View Theatre of the Roy Arias Theatre Center, is such a show. This taut, emotional play about love, guilt, and resilience is not to be missed.

Providence tells the story of two men brought together by a shared tragedy – a deadly plane crash. Mark (Douglas Scott Sorenson), a young gay schoolteacher, lost his best friend, Sara (Kathryn Ekblad). Neil (Anthony Crep) lost his wife, Jo (Ally Wirth). Drawn together by a pain they can’t share with even the most sympathetic friends, the two meet, trying to find some solace. Both have their moments of strength and of crippling guilt, but their unlikely friendship helps them move forward and heal.

This is not to imply that this play is only about the men. Both Sara and Jo have stories to tell. Most of their scenes are told in flashback, which thanks to some crisp directing on the part of Ian Crawford, moves seamlessly from present to past and back again.

Crisp could well be the unifying principle of this play. Daigle’s dialogue is tight and realistic. Crawford’s directing is strong and clear. Craig M. Napoliello’s spare, simple set is clean and bright. The sound, lighting, and costume design (Duncan Cutler, Rebecca Makus, and Angela Curcuru, respectively) reinforce the crisp feel of the production. The only thing that isn’t crisp, that is messy and oh so real, is the raw emotion and power provided by Sorenson, Crep, Ekblad, and Wirth. The Zen-like canvas on which these emotions are displayed, only serves to make them that much stronger.

The acting is excellent. Sorenson shows good range with his character and terrific chemistry with the talented Ekblad. Crep and Wirth are outstanding as the married couple. Their opening scene, clearly set after a particularly bad fight, is squirmingly realistic. Wirth in particular excels in showing Jo’s flinty strength, which makes the final scene, the only scene between Jo and Sara, so much more poignant. All four actors are to be commended for their splendid work. Every moment of this play feels immediate and real.

It’s sad to say, but plays like Providence don’t come around often. Even less common are productions of this caliber. Maieutic Theatre Works has created a beautiful and touching work of art. It is not to be missed.

Directed by Ian Crawford
Producers: M. Antonio Miniño and Julie Griffith
Associate Producers: Cristina Alicea and David Stallings
Set Designer: Craig M. Napoliello
Costume Designer: Angela Curcuru
Lighting Designer: Rebecca Makus
Sound Designer: Duncan Cutler
Stage Manager: Ashley Kosier
Sound Board Operator: Kevin Swanlund
Production Assistant: Carolina Almont
Press Agent: Katie Rosin/Kampfire Films PR
Poster/Postcard Designer: Felipe Leon

Featuring Douglas Scott Sorenson (Mark Langer), Anthony Crep (Neil Gray), Kathryn Ekblad (Sara Kass), and Aly Worth (Jo Gray).

The View Theatre, Roy Arias Theatre Center
300 W. 43rd Street, 5th Floor

February 7-24Thurs.-Sat. 8 PM; Sunday 3 and 7 PM.

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

Fundraiser - Ten Grand Productions

Ten Grand Productions hosts

a “Grand Night Out”

at The Grand Saloon

Ten Grand Productions invites the theatrical community to wet its whistle while meeting directors, actors, designers, producers, writers and a whole other mess of folk down at The Grand Saloon on February 15th from 7pm – 10pm.

All y’all are welcome, outlaws included. But don’t tell the sheriff.

The Grand Night Out will feature an open bar from 7pm -8pm so come early and drink often!

Admission is a $15 donation. An “artist’s discount” of a $10 donation will be offered if you bring a headshot/resume, performance flyer/postcard, original script, or business card.

The Grand Saloon is located at 158 East 23rd Street between Lexington and Third Avenues.

All proceeds from the Grand Night Out will benefit Ten Grand’s upcoming theatrical projects.

Ten Grand is a company of theatre professionals driven by the creation and development of new work and innovative interpretations of classic texts. We share an investment in the community’s social consciousness by promoting charitable work that stands side by side with our artistic endeavors.

For more information, please visit www.tengrand.org.

Review - Too Much Light Makes the Baby Go Blind Best of 2007 (The New York Neo-Futurists)

Stage Buzz Review by Byrne Harrison

Each performance of a play is, by its very nature, a unique experience. Perhaps an actor will be moved by an audience’s reaction and discover something new about his character. A prop may be missing. A line may be flubbed. Perhaps a techie has a hangover. Every little thing affects the show. However, most productions strive to make these differences to be as minor as possible.

The same cannot be said of Too Much Light Makes the Baby Go Blind, the long-running brainchild of Greg Allen, who created the show in Chicago and helped created the New York version. True to his ideal, the New York Neo-Futurists strive to live up to the motto, “If you’ve seen one Neo-Futurist show, you’ve seen one Neo-Futurist show.” While this is great from an audience’s standpoint, it makes for a difficult review.

TMLMTBGB is frantic. And funny. And thoughtful. It’s voice, and rhythm, and dance. It’s yoda dolls, Bichon Frisés, and water balloons. It is 30 plays in 60 minutes. And for two weekends in December, it is the best of 2007.

To choose the best of 2007 must be a daunting task. The New York Neo-Futurists are prolific. In the approximately three years that they’ve been performing in New York, they’ve premiered 1122 plays. Granted, a long Neo-Futurist play is probably still under 5 minutes. But that is impressive regardless. The Neos have narrowed the year’s offerings down to 45 plays. 15 plays are the same in the two weekends of the Best of 2007. There are 15 other plays for the first weekend and a new batch of 15 for the second. 30 plays any given night. If you come to the show both weekends, you’ll still see new things.

What I find most intriguing about TMLMTBGB is that the plays aren’t simply sketch comedy. Sure, there are plenty of funny ones. But the ones that are most interesting and resonate the most with me are the introspective pieces. While there is no guarantee that these will be performed in the last two performances of the Best of 2007, keep an eye out for The Truth About Mormons, a play by Christopher Borg about growing up Mormon and gay, Before it floats away I try to remember it all, a haunting, non-verbal piece by Joe Basile, and my favorite of the evening, Erica Livingston’s This Is Not A Panic Attack, in which the other actors help the audience visualize what a panic attack feels like to her.

The audience favorites tend to be the humorous plays, especially those that incorporate music, dance, and audience participation. Among the best of these are Joey Rizzolo’s brilliant Spoiler Alert, a catchy little song that gives away the secrets of everything from ‘Citizen Kane’ to the final Harry Potter novel, Jeffrey Cranor’s … on arguing Kantian metaphysics over espresso with a Bichon Frise, that is more or less, just what it claims to be, and Salaam-E-Ishq for SRK, by Eevin Hartsough, a marvelous dance and audience participation play that gets better each time I see it.

Though there are only two more shows left in the Best of 2007, the New York Neo-Futurists will be back on January 4th with new shows. If you miss tonight’s or tomorrow’s performances, do yourself a favor and go see a show as soon as you can. Too Much Light Makes the Baby Go Blind is one of the most exciting and interesting nights of theatre in New York.

[Ed. – The Neo-Futurists rarely attribute their plays to individual performers in their programs. The attributions above are based in part on the New York Neo-Futurists Too Much Light Makes the Baby Go Blind Best of 2007 chapbook, assumptions made based on the casting, their website (http://www.nynf.org), and discussions with individual members of the company.]

Created by Greg Allen
Written, Directed and Performed by The New York Neo-Futurists
Technical Director: Lauren Parrish

Featuring The New York Neo-Futurists: Jenny Williams, Justin Tolley, Joey Rizzolo, Rob Neill, Erica Livingston, Sarah Levy, Jacquelyn Landgraf, Eevin Hartsough, Ryan Good, Kevin R. Free, Jeffrey Cranor, Christopher Borg, Joe Basile.

The Kraine Theater
85 East 4th Street

Friday and Saturday at 10:30 PM through December 15th

Review - Scapin (Turtle Shell Productions)

Stage Buzz Review by Byrne Harrison

From the moment the audience steps into the Turtle’s Shell Theater, director Shawn Rozsa plunges them into the neon-bright world of Itty Bitty Italy, the village that serves as the setting for Scott McCrea’s new translation of Molière’s Scapin. There are vibrant colors everywhere; it is, after all, the feast of San Piccolo, the patron saint of Itty Bitty Italy. There is the set that doesn’t quite define what space belongs to the actors and what belongs to the audience. And then there is the wise-cracking Musician who welcomes you in and entertains you until the play. It’s a pre-show that practically jumps up and yells “Benvenuto!”

It is also exactly what McCrea’s translation calls for. Rozsa knows that an audience needs to be warmed up for a show like this. It’s hard to come in off the chilly streets and be ready for in-your-face slapstick. This pre-show entertainment allows the audience to steal away from the New York winter outside and bask in Itty Bitty Italy’s warm and welcoming glow.

Scapin follows a pretty standard classical storyline. Two young men, scions of the richest families in town, have fallen in love with women their rapacious fathers would never approve of. Young, rich, and handsome, they are unfortunately not the brightest bulbs, so it’s up to Scapin, the wily servant, to save the day. There will, of course, be sight gags and naughty humor. Secret identities and shocking revelations. Heck, they’ll even throw in some puppets for good measure.

The cast of Scapin does a marvelous job. Most notable is Spencer Aste as the vulpine Scapin. Silver-tongued and not at all trustworthy, Scapin is a wonderful character and Aste seems to have a great deal of fun playing him. As the miserly fathers, John Freimann and Roger Grunwald create grotesque and amusing caricatures, each with wonderful idiosyncrasies – Freimann with a stoop and a weirdly bum leg, the fan-wielding Grunwald with a voice that is equal parts Leslie Jordan and Truman Capote. Though the roles of the young lovers are underwritten, the four actors playing them, Nico Evers-Swindell, Matt Luceno, Maya Rosewood, and Catherine Wronowski, each have several moments to shine . . . and sigh and swoon and pine as all comedic young lovers must. Also praise-worthy is the juggling, guitar-playing, balloon-animal making Jay Painter, who greets the audience and keeps them entertained before the show and during intermission (he also plays a Porter and provides incidental music and sound effects during the play). His wide, toothy grin and willingness to do anything for a laugh are remarkable.

Production values are strong. Keven Lock’s bright and electrically vibrant sets perfectly frame A. Christina Giannini’s ‘70s-inspired (and one suspects vintage, in some cases) costumes. Eric Larson’s lighting shows everything off to great advantage.

Scapin does have its share of slow moments, and like many other slapstick comedies, relies heavily on the audience being really into the show. In addition, there are the usual line flubs, costume malfunctions, and prop problems that are part of live theatre. To their credit, the cast does a good job of covering when needed.

One final note - for the more adventurous audience members, there are a dozen or so seats onstage. While I am generally happiest safely tucked behind the fourth wall, I nevertheless enjoyed being in one of those seats for Scapin. Granted, I didn’t have to deal with an actor’s crotch in my face like one of the other hapless audience members, but there was a certain buzz at being up there during an exciting and energetic show like this.

Producer/Artistic Director: John W. Cooper
Directed by Shawn Rozsa
Translation by Scott McCrea, from the play by Molière
Scenic Designer: Keven Lock
Lighting Designer: Eric Larson
Costume Designer: A. Christina Giannini
Sound Designer: David Roy
Stage Manager: Neal Kowalsky
Assistant Stage Manager: Monet C. Fleming
Marketing and Publicity Director: Jeremy Handelman
Production Assistant; Chrissy Capobianco
Associate Sound Designer: Adam “Zee” Zorn