Spotlight On...Felicity Seidel

Name: Felicity Seidel

Hometown: Brooklyn

Education: B.A. in physics, Magna Cum Laude

Select Credits: Lucky Chick (solo show), Dinner with Friends (play), "Welcome to WillieWorld" (film)

Why theater?: Why not? When it’s good, it’s alive and awake and on the edge. It’s a shared experience. And then it’s gone. That’s a thrill.

Who do you play in Lucky Chick?: Yours truly… Felicity.

Tell us about Lucky Chick: It’s a new solo play written and performed by me about guns, guys, Lear jets, pythons, Hells Angels, and the Grateful Dead. That’s the really really short version anyway. It’s a story about the Journey of Girl, not unlike Alice in Wonder-land… but it’s real.

What is it like being a part of Lucky Chick?: Solo shows are tough. Honestly, it’s a lot more fun working with a cast than on your own. And you sure as sh*t better love your director (which I do) or you’ll be miserable. I’m having fun. I love working with Padraic Lillis. And… it’s very hard work.

What kind of theater speaks to you? What or who inspires you as an artist?: I’m a big fan of Richard Foreman’s work. Pina Bausch. Plays like Death of Salesman and Schiller’s Mary Stuart. Edward Hopper’s work inspires me too. I like stuff that knocks you around a little, tips you off center and stuns you with its strangeness and beauty. And I love a good laugh.

Any roles you’re dying to play?: Bad-ass women in action/adventure movies. Oh… you mean in the theater? Mary in Schiller’s Mary Stuart.

What’s your favorite show tune?: I’m not really a show-tune kinda gal but… I like "All That Jazz" from Chicago.

If you could work with anyone you’ve yet to work with, who would it be?: Guy Ritchie.

Who would play you in a movie about yourself and what would it be called?: Scarlett Jo-hansen and it might be called… Lucky Chick? Couldn’t resist.

If you could go back in time and see any play or musical you missed, what would it be?: The original Broadway production of Death of a Salesmen.

What show have you recommended to your friends?: I loved the production of Grounded that just went up at the Public. I thought Anne Hathaway and Julie Taymor killed it. So I told my friends to go see it… even though it was already sold out.

What’s your biggest guilty pleasure?: Baguette and butter. Yum.

What’s up next?: "The First Strange Adventure of The Bird", a screenplay I wrote with my friend Maggie Dubris, which is currently in development.

For more on Lucky Chick, visit http://www.luckychick.nyc/ 

Spotlight On...Sean Murphy

Name: Sean Murphy

Hometown: Dallas, TX

Education: BFA in acting from Otterbein University

Favorite Credits: Actor (Otterbein) - Lloyd in Noises Off, Jerry in At Home at the Zoo, Writer -- Sublets (a new series premiering in September)

Why theater?: I think some people’s brains fire incorrectly. The neurons signal the wrong response, causing someone to make strange or unusual connections. I’m one of those people I think, and it makes me terrible at sports but very artistically inclined. So, my broken brain, mixed with joining theater classes in elementary school to impress a girl I had a crush on sort of led to this lifestyle.

Tell us about The Starter: The Starter is a two act comedy based on Chekhov’s unpublished play Platanov. In a nutshell, it’s about how us young adults are not nearly as important as we think we are. It follows this young woman, Anna, returning back to her old home after her new life falls apart. She tries to pick up her life where she left off, even if it means dragging her friends back into the past with her.

What inspired you to write The Starter?: In Platanov, Chekhov talks about how self-hatred, believing oneself to be inherently bad, is just another form of narcissism. That struck me as an extremely modern idea, and it got me thinking about all these characters in a more modern setting. It felt like a play about youth to me -- a play about that awkward phase between adult and child. The more I thought about it, the more I enjoyed spending time with these characters. A year and half later, here we are.

What kind of theater speaks to you? What or who inspires you as an artist?: I love when theater plays with my expectations. Theater as a game with the audience is really one of my favorite ways to view a performance. I am constantly inspired by the work of Martin Mcdonagh, most notably for his rapid shifts between drama and comedy, leaving you never quite sure what the next moment will bring. I’m inspired by the theater when the set breaks, or the prop doesn’t work, or that actor missed his entrance. I think we forget sometimes that “Anything Can Happen In Live Theater” is a blessing, not a curse.

If you could work with anyone you’ve yet to work with, who would it be?: ANYONE? Ah, man. Paul Thomas Anderson. Is that an alright answer? He’s not a theater guy, but I would love to work with him. Doing anything. I’d work at Starbucks with him. I’d work at the Greyhound station in Port Authority if he was my co-worker.

What show have you recommended to your friends?: Most recently I was ranting to all my friends about how good Guards at the Taj was. Rajiv Joseph’s just sticks onto you, and refuses to leave. Such a beautiful, funny, surprising show.

Who would play you in a movie about yourself and what would it be called?: If it’s a biopic about me as an adult -- Stephen Merchant. Otherwise, there is this recurring extra in the writer’s room of "30 Rock" that looks identical to me, so I guess I would give it to him. It could be his big break. What would it be called? "Sean!" Not particularly inventive, I’m aware, but look how exciting that exclamation point makes it. You’d go see a movie called "Sean!" You’d literally have to be insane not to.

If you could go back in time and see any play or musical you missed, what would it be?: At first I was thinking I would like to go back to ancient Greece to watching some Oedipus or some such play, but your question doesn’t necessarily mention that I can travel forward in time once I’m done -- and I have no desire to be stuck in Greece. I look terrible in white. So, not knowing the precise nature of this time travel of mine, I’d probably go with Hamilton while it was still at The Public.

What’s your biggest guilty pleasure?: Ke$ha. I can listen to Ke$ha all damn day.

If you weren’t working in theater, you would be _____?: Getting a better paycheck.

What’s up next?: The series I’m currently writing, "Sublets", is coming out in September. It’s very funny and I highly recommend it.

For more on The Starter, visit thestarter.org

Review: When the Past Comes Back

The past, no matter how much we try to bury it, always comes back when we least expect it. In Susan Jennifer Polese's short drama Under the One Time Sky, a man from the past returns to the place he once called home to check on a woman more than a decade after a traumatic event.
Under the One Time Sky is a language driven two-hander that reconnects two friends turned strangers in a coincidental meeting to discuss a difficult day of the past. While it unfolds in a slow manner, the event in question is known almost instantly. What begins as two people reminiscing about good times turns into a battle of will and whys. Polese's script is filled with poetic language, planting metaphors in every speech. But when Christine and Dwight finally give title to the rape, the poetic nature of the dialogue lacks sincerity. Rather than watching two people rehash the past, you listen to the direction the metaphor is about to take, though some are seen a mile away. Despite the language, what Polese does quite well is she allows the story to stray away from being preachy. We learn why Dwight did what he did and remained silent. We understand the struggle Christina has been living with. Though the answer is contrived, discovering a genuine "why this moment" answer to Polese's timing will give the story a stronger arc.

Building an instant relationship despite virtually being strangers to one another was one of the most important connections Christine and Dwight needed to overcome. Thankfully, the chemistry between Adam La Faci and Michelle Concha worked. La Faci and Concha were truly like those friends who can pick up after years of removal. What La Faci and Concha did struggle with was making the language genuine. In a realistic play, it’s hard to make the poetic nature of the script feel colloquial. Because the difficulty was evident, some of the stakes felt forced.
Putting this play on its feet can go one of two ways. The easy way where the characters stand their ground or the hard way where there is action and movement, but strategic ones at that. Director Leta Tremblay picked the hard way and it paid off. Tremblay painted a visceral image through her staging. Tremblay brought the past to the present, even if it was hard to watch.
Under The One Time Sky is an important story that is presented well. Currently only an act, you almost wonder what another scene or two would look like. And maybe another character from the story. Polese has the foundation to plant something that can grow into something big and beautiful.

Spotlight On...Anisa George

Name: Anisa George

Hometown: Bethlehem, PA

Education: You’re talkin’ college? I went to three different universities. Edinburgh, Scotland; Columbia, NYC; and the University of Isfahan, Iran. Then I got my MFA at the London International School of Performing Arts in London - which is soon to move to Berlin, and to be called something completely different.

Favorite Credits: My company was nominated for Best Ensemble at the Edinburgh Fringe Festival out of 3,000+ companies. We didn’t win, but I think my ensemble drank the majority of the champagne at the reception - and then performed without killing anybody… which is a kind of victory.

Why theater?: The short answer is - I was born into it. There’s no way I can really escape the theater. My father is actually in HOLDEN.

Tell us about HOLDEN: HOLDEN is an ensemble-created, tragicomic, modern-day No Exit, plumbing a darker dimension of "The Catcher in the Rye". Three obsessive super-fans, with definitively shady pasts, have taken up residence in J.D. Salinger's private writing bunker. Unbeknownst to the reclusive author, their mission to get Salinger to publish once more spirals into a fevered bonfire of longing and delusion.

What inspired you to create HOLDEN?: I’m a big fan of Salinger’s work myself - but it shocked me when I discovered that the book had been carried to the scene of several iconic assassinations of the 1980s. It seemed implausible and almost comical that a single novel could wield so much power. The play grew out of an exploration of the emotional and psychological obsessions that could lead to such disastrous conclusions.

What kind of theater speaks to you? What or who inspires you as an artist?: Gob Squad.

If you could work with anyone you’ve yet to work with, who would it be?: Gob Squad.

What show have you recommended to your friends?: In the Ice Factory? God, I wish I could see all of them, but I’m entrenched in Philadelphia rehearsing HOLDEN.

Who would play you in a movie about yourself and what would it be called?: People tell me that Claire Danes is playing me in "Homeland" - because I’m a white woman who spent a long time learning Arabic and Persian and working and traveling in the Middle East. But - I hate that show. It is in no way a representation of my past life in the Middle East - or any real representation of life at all.

If you could go back in time and see any play or musical you missed, what would it be?: At the moment I wish I could go back in time and see the work of Charles Ludlam and his Ridiculous Theater in the 70s.

What’s your biggest guilty pleasure?: Guilt’s not very pleasurable. I try not to mix the two.

If you weren’t working in theater, you would be _____?: In Iran.

What’s up next?: Giving birth to a human.

For more on Anisa George, visit http://georgeandco.org/

Review: Waiting for Great Leader

The world is a diverse place with an abundance of philosophies on life. One of which is how a country should be ruled. There have been wars due to it. From democracy to dictatorship to communism, the will of the people is decided upon the authoritative powers. In A Presentation By the People of Lake Victory for Our Leader, written by Ethan Fishbane and directed by Fishbane and Phoebe Rose Sandford, the audience is giving a glimpse into the fictional land of Lake Victory, the last remaining Communist society.
In the eerie and intensely creepy experimental satire, the grin-induced denizens of Lake Victory present a preview of their proposed performance for the Great Leader, the revered ruler of the land. Led by a dominant minister of the bell, the eight citizens, near exact replicas of one another, offer a sample of the idealist life in Lake Victory. A Presentation By the People of Lake Victory for Our Leader plays like a propaganda film live. What we are watching is supposed to make you feel wholly uncomfortable. This society is not perfect and deep inside, these robotic souls are miserable. This is not a plot driven piece but there is a narrative. And that narrative comes from within the audience. Fishbane sets out to evoke a reaction. And he does just that. As the presentation comes to a close and the fate of Lake Victory is revealed, something inside sparks. And that is the emotional arc that this experimental piece offers.
To make this show tick, Lake Victory formed an imperative physical vocabulary. To hammer in the automatronic nature of this world, Fishbane and choreographer Phoebe Rose Sandford put physicality to the word terrifying. From the placement of the arms to the specific and intricate linear movement to that smile that will haunt your dreams, everything was perfectly creepy. Without this integral vision, A Presentation By the People of Lake Victory for Our Leader would go down in flames. It’s a rare example of the cohesiveness of a singular writer-director. Though having a choreography did aid in the vision.

To make this piece work, a unified ensemble is mandatory. Alenka Kraigher as the Timekeeper was the sole deviant of this world as the outside observer. Kraigher had such strength in her presence, you couldn’t help but feel uneasy as she moved through the ensemble. With the ding of her bell, Kraigher had sole control of these people. You can't pinpoint a great single great performance as this company, as required, moved as one. T. Adamson, Leah Barker, Matthew Brown, Stuart Green, Peregrine Heard, Clara Kundin, Nicolas Norena, and Allison Taaffe looked like the robots from Duloc with their rosey cheeks and not a hair out of place. Though you know they are extremely different individuals out of costume, together, they were perfect replicas.
The costume design by Barbara Begley and Lizzy Denning assisted in bringing unified terror to life. The uniforms each member was forced to wear were color coordinated to everything related to the production. Though at a glance they were reminiscent of boy scout uniforms, the green-blue and orange colorscape brought both hope and despair. The visual aspect of Lake Victory played such an important part of this production that graphic designer Denny Khurniawan should be recognized for his incredible work. Never has a program and ticket been so integrated into a production. The program and posters were beautiful takes on propaganda material. The graphic design even translated seamlessly into Frank Oliva’s scenic design. The orange back wall with an illustrated view of paradise was clean and striking. Perhaps the only issue the overall design of the production suffered was the light that sadly could not cast the entire stage. Lindsay Hope Simon was swift and in tune to the bell but Fishbane and Sandford utilized more stage than Simon had lights for.
This may not be everyone's cup of tea but you have to respect the artistry of the team involved. A Presentation By the People of Lake Victory For Our Leader will evoke something from inside whether you like it or not. Be proud of freedom. Don’t take it for granted.

Spotlight On...Bill Sterritt

Name: Bill Sterritt

Hometown: Cape May, N.J.

Education: MFA Carnegie Mellon University

Favorite Credits: 2nd Prize Winner, South Coast Rep; Finalist, Eugene O’Neill National Playwrights Conference

Why theater?: Love live drama

Tell us about The Wreck of the Spanish Armada: Wreck examines a rekindled romance in Paris (after 30 years) between a female physician (poised to address an international conference) and a swashbuckling, high value target who leads African pirates who hijack oil tankers.

What inspired you to write The Wreck of the Spanish Armada?: A old ghost who won’t die.

What kind of theater speaks to you?  What or who inspires you as an artist?: Language driven. The hard truth

If you could work with anyone you’ve yet to work with, who would it be?: Tom Stoppard

What show have you recommended to your friends?: The Real Inspector Hound

Who would play you in a movie about yourself and what would it be called?: Gert Frobe – The Return of Goldfinger

If you could go back in time and see any play or musical you missed, what would it be?: Damn Yankees

What’s your biggest guilty pleasure?: Beer

If you weren’t working in theater, you would be _____?: Going postal.

What’s up next?: Tango – Don’t know it yet, but it takes place in Buenos Aires

For more on The Wreck of the Spanish Aramada, visit www.studio-stage.com

Review: A Very Youthful Rendition

Once upon a time there were two star crossed lovers who fell in love, defying the battle lines of their families, who ultimately did the only thing that could save their frowned upon love: suicide. Romeo and Juliet is quite possibly one of the most accessible and well-known of all of William Shakespeare’s plays. And everyone does it. In The Cradle Theatre Company's production of teen angst drama, the action is brought to the sixties.
Directed by Rebecca Etzine, this production of Romeo and Juliet unintentionally highlights all the wrong things. First up is the immaturity of the titular characters. Young boy sees young girl and bang, instant love. Etzine didn't display the love at first sight but rather making it appear as "I'm a horny boy in the age of free love and you're a hot girl, so I'm gonna meet you." As this story develops, Romeo and Juliet don't care about the stakes of family lines, they just want each other. By setting this version in the 60s, Etzine had the stunning possibility of playing into the high stakes of Vietnam and the draft and what that could mean for Romeo to defy his responsibility. She touched upon the war with Tybalt. But that was it, forcing the puppy love to be incidental and bland. The pieces of a brilliant concept had been planted, Etzine’s executions did not allow the conceit to into fruition. Costumes don't solely sell it. The second discovery was just how dumb and careless Friar Lawrence is. Boy did that guy mess everything up! Etzine and actor David G.R. Brummer played with the idea that he was the man of brilliant plans. And after a series of unfortunate events, he just brushed it under the rug. Oops, two kids are dead, y'all should just be friends cuz you have something to bond over now!

Not all actors can do Shakespeare. It takes a certain actor who can not only grasp the text but perform it. There is a difference between acting Shakespeare and just reciting it. This company was filled with many reciters, but the ones who truly understood the text and created a character, they were the ones to watch. The strongest actor on the entire stage was Alexandra Gellner as the Nurse. Gellner gave a potential one-off character life. The depth and heart Gellner discovered in the Nurse was incredible. She was more of a mother to Juliet than Lady Capulet. Darby Davis as Mercutio put an oomph in his step. With the largest personality on stage, Davis transformed Mercutio into the coolest dude ever with some sweet moves. Though believability of age made no difference to this production, Patrick Simas as Lord Capulet proved his Shakespearean worth. He made strong choices that irked the wills of the audience in a captivating manner.  All he did was raise his hand and he evoked a reaction. Hunter Scott MacNair as Tybalt played the intensity card from start to death. Though it was merely touched upon, playing the military aspect was a strong choice. As Romeo and Juliet, Dylan Ungaretta and Juliette Kessler were perfectly youthful. Ungaretta was energetic and carefree. Kessler looks the part. But that's about all that worked. Ungaretta and Kessler lacked chemistry and the ability to make you care about their love. The not everyone can do Shakespeare theory was in full effect with Sam Kessler doubling as Paris and Lord Montage. Sam Kessler proves just how boring and bland Paris is, yet Kessler still gave him the personality of a cardboard cutout. The remainder of the cast were certainly capable performers but by no means do you ever adlib the Bard. There was one frequent culprit who really stopped the momentum of the show.
The staging Etzine presented was quite awkward. Performed in a rehearsal studio, just because you have the space doesn't mean you can use it all and run around in each scene. With such large movement, the journey of each scene was lost. The balcony scene was the sole moment that had personality. There's a line from The Producers: "you've heard of theater in the round? You're looking at the man who invited theater in the square! Nobody had a good seat!" Boy was this true! The site lines with the seats among the walls forced certain audience members to miss entire scenes. While the seating may have been the reason for the full stage usage, it truly hurt the show. Attention to detail is key. Especially when it's big. Whether it was Juliette Kessler's mistake or Etzine’s lack of warning, Juliet kept her wedding ring on after she was wed to Romeo. Meaning mommy, daddy, Nurse, et all had to pretend to not notice the bling shining off her ring finger when they were telling her she was marrying Paris. It's moments like this that can hurt a show real good. The costumes by Danielle Santos surely offered the 60s vibe. Romeo began Act I looking and acting like Jim Morrison. By Act II his maturity must have changed as he looked like Andy Warhol. It was so jarring, the audience laughed.
Why now and why this are important criteria when creating art. The Cradle Theatre Company’s production of Romeo and Juliet proved there were no real reason besides "why not?"

Spotlight On...Harrie Dobby

Name: Harrie Dobby

Hometown: London, UK

Education: University of Exeter – BA (Hons) Drama: First Class; Drama Studio London  - Post-Graduate Diploma in Professional Acting

Favorite Credits: I played Mary Jane Kelly in Jack the Ripper’s London, an immersive theatre experience set in disused tunnels under London Bridge station, that was pretty amazing! I was also part of English National Opera’s multi-media 3D production Sunken’ Garden, which premiered at the Barbican in London & went on to a worldwide tour.

Why theater?: I have been involved in theatre since I was four years old. I grew up performing at the local theatre club, then studied drama at University before training professionally at a London drama school. I am absolutely addicted to theatre and cannot imagine my life without it. In the last two years I have begun writing, which has allowed me to get involved even more creatively. For me, what is incredible about theatre is how relevant it can be. A play can be written, produced and performed far more quickly than a film, which allows us to make quick comments on events happening in the world.

Tell us about The Gap: The Gap is my first full-length play. It started out as a ten-minute short, and was performed at a theatre festival at the Lyric Theatre Hammersmith in London last year. It follows Lisa, a small-town American, who is desperate to escape her life. She applies for her passport, gets on a plane, and flies to Asia. One week into the trip of a lifetime, Lisa meets Dave. He is black, he is beautiful, and he is British. In Dave, Lisa finds what she has been looking for; someone to share the open road with. They dream of traveling together forever, but when Lisa becomes pregnant, this dream begins to unravel. Is it really possible to just strap a baby to your back and keep going? Joined by drug-dealing Irish hippies, sex-mad Londoners and Lisa’s bible-bashing mom, The Gap is a one-act comedy, looking at what you have to sacrifice in order to be happy.

What inspired you to write The Gap?: The Gap was inspired largely by a trip I took to South East Asia in 2013. I am a big traveller, and one of my aims is to see as much of the world as I possibly can. You meet all types of people when you are backpacking, from all walks of life, but what they all have in common is a desire to keep exploring. I thought this would be a great basis for a play; what would happen if two like-minded travellers met, and wanted to do this for their entire lives? What would happen if they had a baby? Would it be possible to keep up a nomadic lifestyle when you’ve got a baby to look after and bring up, or at some point do you have to sacrifice what you want for the good of your child? The characters in the play are all inspired by people I met on the road, including the Irish hippies who deal Viagra to pay for their travels!

What kind of theater speaks to you? What or who inspires you as an artist?: For me, the most important thing in theatre is that it is inclusive. I want anyone to be able to walk into a theatre where my play is being performed and find something in it that speaks to them. I like theatre that is real, and engaging, and makes everyone feel welcome. I enjoy realism most, with characters that I feel I can relate to. If a play says something about the world we are living in today, then happy days. For me, theatre should always be relevant, and have something to say about our world, as it is, now. I also love theatre that takes me on an emotional rollercoaster. If it has made me cry and laugh out loud in one show, it is doing a great job! I am most inspired by what is happening in the world right now. My generation is set to be the first that will be poorer than their parents. The political situation in the UK is hugely worrying, particularly for working people, and the creative industry, and people are feeling very disillusioned. This is probably what inspires me most to write. I think it is important to make your voice heard. I am also hugely inspired by the wave of female writers & comedians who are becoming so prevalent. Women like Caitlin Moran, and Lena Dunham, Amy Schumer and Sarah Millican. These women are brave, and honest, and funny, and they inspire me more than anyone else.

If you could work with anyone you’ve yet to work with, who would it be?: Any of the women I’ve mentioned above! I’d also love to work with Lyndsey Turner, a British director. She has directed some of my favourite plays, including Posh and Chimerica. Her work is always fun and full of life, and I would love to work with her at some point.

What show have you recommended to your friends?: Land of Broken Toys by Yasmine Lever. It’s playing at the same venue as us (Venue #2 – The Flamboyan at the Clemente) and it looks incredible. Love, sex, betrayal, new beginnings, misfits? That sounds like my kind of show!

Who would play you in a movie about yourself and what would it be called?: Hehe, right now? I would probably be played by a woman who looks like they are on the edge of a nervous breakdown, and the film would be entitled "The Stress of Getting Your First Play Over to FringeNYC from London!"

If you could go back in time and see any play or musical you missed, what would it be?: I would have loved to have seen Helen Mirren play in The Audience in 2013. I was on tour at the time and missed it. She is an absolute powerhouse of a performer, and such an inspiration.

What’s your biggest guilty pleasure?: Netflix. I am the world’s biggest procrastinator. It took me nearly a year to write The Gap, and I blame that almost entirely on "Orange is the New Black"!

If you weren’t working in theater, you would be _____?: Good question. Honestly, I don’t know! Working in this industry is all I’ve ever known. When I’m not acting or writing, I also work as a theatrical agent, which I love, so maybe I’d do that. However, I also work as a tour guide doing Jack the Ripper walking tours, so maybe I’d be tour guiding full time!

What’s up next?: It’s all go go go! It is my best friend’s wedding when I come back from NY, and I have a hen do (bachelorette party) to plan! After that, I have a few collaborative creative theatre projects that I’m working on, but at the moment they are all top secret! I do want to start writing my next play, and I’ve got a few ideas, so I’ll be writing again soon!

For more on The Gap, visit www.facebook.com/the.gap.play or www.the-gap-play.com

Spotlight On...John Enright

Name: John Enright

Hometown: Chicago

Education: Playwriting classes at Chicago Dramatists. English degree from U. of Illinois at Chicago.

Favorite Credits: I have a special fondness for StageQ's Queer Shorts Festival production, in 2013, in Madison, Wisconsin, of my short play, Playing With Matches.

Why theater?: Instant gratification. An audience's response is immediate, and immediately felt in the theater. There's no waiting around for friends to read your book. Also, I must admit to finding a peculiar narcissistic pleasure in listening to actors speak my words.

Tell us about O'Brien & O'Brian: It's a romantic comedy about homophobia, Irish-phobia, and finding your heart's desire. A guy walks into a law office, looking for a lawyer named O'Brien, but there are two of them there, a woman and a man, and the guy doesn't know which one he wants. He's being sued about an overflowing pond, by a woman lawyer who, as it turns out, is an old flame of Darlene O'Brien's. And from there the complications start to overflow as well.

What inspired you to write O'Brien & O'Brian?: The musical inspiration was a Katy Perry song, “The One That Got Away”. It's a play about people who scheme and struggle to reconnect with someone who got away. As for the setting, an office full of squabbling lawyers, I have to credit my family, which is also full of lawyers. Sometimes neighbors mistakenly think that I'm a lawyer too, but I reassure them that I'm not – that I'm the white sheep of the family.

What kind of theater speaks to you? What or who inspires you as an artist?: I like theater that combines suspense and emotional intimacy. On a personal level, I have been particularly inspired by Jeremy Menekseoglu, the playwright who founded Dream Theatre in Chicago. He really pours his soul into his work, and has a great sense of the theatrical.

If you could work with anyone you’ve yet to work with, who would it be?: Laura Linney. I just like watching her face, it's so delicately expressive.

What show have you recommended to your friends?: In the festival? I've been recommending Hard Day's Night to all the Beatles fans I know. In New York? I want to see Hamilton, because I know him from the ten dollar bill, and the idea of a sympathetic portrayal in hip-hop style sounds incredibly creative.

Who would play you in a movie about yourself and what would it be called?: I want to play my great-grandfather, who came over from Ireland. I loved the man, and I would love a chance to do his accent, which had a lovely lilt to it. The name of the movie will be "Rocky Jam", about life throwing you rocks and then handing you sweet jam on bread, while you try to improvise your way through.

If you could go back in time and see any play or musical you missed, what would it be?: The original opening night of The Importance of Being Earnest.

What’s your biggest guilty pleasure?: Fritos, and lots of them. I particularly crave them when writing.

If you weren’t working in theater, you would be ___?: Spending even more time on Facebook, I imagine, where I like to post humorous rhyming couplets to accompany nenws stories.

What’s up next?: I'm working on a play called All Mixed Up, about a couple of women who are having a baby together, and who are in danger of breaking up with each other just as the baby is due to arrive.

For more on O'Brien & O'Brian, visit OBrienAndOBrian.com and BarelyConcealed.com

Spotlight On...Bautista Duarte

Name: Bautista Duarte

Hometown: La Plata, Argentina

Education: Atlantic Acting School Conservatory Program. Stella Adler Studio, Lecoq Technique at the Movement Theater Studio. Law Degree from the National University of La Plata and a Masters in International Development from Duke University.

Select Credits: Most recently appeared in the original production of Re:Late/Able by the Coyote Collective. Recent film credits include "Five" (RiccaFilm) and "Tu.Yo…" (Imperator Pictures).

Why theater?: I have always been drawn by the enormous courage involved in acting, which basically implies exposing your vulnerable self to a lots of people you have never seen in your life. The immediacy of the theater forces that courage – and with it your inner fears – to grow bigger. But the amazing thing about theater is that you, as an actor, are never alone. It is communion between the actors and the audience that allows a story not just to be told, but also to be lived. As (Jerzy) Grotowski used to say, you can have a theater with no set, no special lights arrangements, no costumes, no props, but what a theater can never miss is the actors and the audience. And that short magical marriage between the actors and the audience is the answer to your question.    

Who do you play in ReLateAble?: Jon, a single gay guy in his mid-thirties who is tired of not being able to find love so he designs a “method” to find his future husband to be.  

Tell us about ReLateAble: ReLateAble takes place over the course of one night, with four characters realizing that the information age may have just come to an abrupt, unexplained end. Jon is looking for his future husband-to-be, Fran is reaching out to her long lost friend (Ann) with cocktails of dubious quality, Paul has a very mysterious but important conference he must attend and Ann is wallowing over a lost past. As they struggle to reach each other, they all find themselves asking: what is the cost of connection?

What is it like being a part of ReLateAble?: This has been one of the most enriching experiences of my life. I was part of the creative team that conceived ReLateAble, so I have been involved, not only as an actor, from the very beginning of this process including its conception, first production (February 2015) and now at the Fringe. ReLateAble is my (and many others) baby and to be able to bring it to the New York International Fringe Festival is a dream came true.

What kind of theater speaks to you? What or who inspires you as an artist?: That’s a tough one. I think different aspects of different kind of theaters speak to me one way or another. From the works of Sophocles and Euripides to Ionesco’s theater of the absurd to Becket’s view of human nature and up until contemporary young playwrights including Samuel D. Hunter and Anie Baker. One of my favorite contemporary playwrights is Rafael Spregelburd from Argentina. As an artist I am inspired by the way others have conceived and taken forward their own visions of what theater is about. This includes a wide and diverse range of people such as Augusto Boal and his theater of the oppressed, Grotowski’s poor theater and Anne Bogart and Tadashi Suzuki’s attempts to redefine contemporary theater in the US with a focus on international cultural exchange.

Any roles you’re dying to play?: Orin Scrivello, the sadistic dentist in Little Shop of Horrors and, later in my career, Roy Cohn in Angels in America and George in Who’s Afraid of Virginia Wolf?

What’s your favorite showtune?: Anything by Cole Porter…if I had to choose I’d choose “Anything Goes” (along with its tap routine) and “It’s De-Lovely”.

If you could work with anyone you’ve yet to work with, who would it be?: Al Pacino, Nathan Lane, Tracy Letts and Helen Mirren.

Who would play you in a movie about yourself and what would it be called?: Paul Rudd and it the title of the movie would be “How to be happy and not die in the attempt”.

If you could go back in time and see any play or musical you missed, what would it be?: Spring Awakening!

What show have you recommended to your friends?: Disgraced and Hand to God.

What’s your biggest guilty pleasure?: Anything with dulce de leche.

What’s up next?: We are already working on our next original show, which we expect will premiere this winter in NYC.

For more on ReLateAble, visit https://coyotetheatercollective.squarespace.com/relateable or https://www.facebook.com/coyotetheatercollective

Review: A Futuristic Nightmare

Clarity. It's imperative. If an idea makes sense to the author, translating that idea to their audience is the goal. When the plot is too dense and the language and lingo do not resonate, a show can implode faster than a star. Such is the case in Cygnus ISA Summer Con5t3ll4tion. The story must have made complete sense to playwright Steven Mark Tenney but it did not translate on stage. Instead, a presentation of confusion was offered.
Cygnus began as a piece of "Sci-fi noir" as Teich Lumen, a renegade of sorts, was introduced as the mouthpiece of the story and our eyes into the world. Regardless of terminology, the conviction was present and we were blasted off into this futuristic story of candles and telepathy and music box (sets) and Iceland. The correlation of all these things was clear to the characters but without a glossary or understanding of the world Cygnus created, what we were left with was an abundance of overlapping stories and rules of a world that could not be comprehended on first pass. The sci-fi noir element was genius. It was captivating and clever but when new narratives were introduced, new styles appeared. The lack of cohesion was disappointing. Through the noir device, Tenney offered elements of camp. The character of Silvie Moon and related plotline allowed the camp aura. But for the campiness to come through, the entirety of the company needed to sell it. This was far from the truth. Director Susan Tenney, who shared duties with her brother, seemed unsure of what direction to travel. And how to let us know exactly where in space and time we were. To give Tenney credit, he established rules and very rarely strayed from them, something some sci-fi writers tend not to do. With the plot going on so many tangents, the script exceeds a healthy sans intermission theatrical run time. Finding ways to chop parts down could be greatly beneficial as there are some momentum killing spots that run on and on.
Cygnus was stylistically inconsistent from content to acting. And having an erratic ensemble is detrimental. There were some wonderful performers in the bunch though. As slightly bad boy Teich Luman, Andrew Bryce brought a Chris Pratt charm to the stage. His character choices were clear and concise, managing the noir monologues and dialogue with ease. Utility man Jake Ottosen was tremendous in his various parts and characterization. He knew the material and seemed the grasp the genre the best. It may be why he was on stage the longest as an assortment of characters. In this futuristic world, physicality played a key role for certain players. Rob Brinkman did an absolutely tremendous job in his static body movement. If you didn’t know any better, you would have believed he wasn’t human. Francesca Craft was equally strong in her physicality and vocal abilities as the Poetic Stewardess but lost her strength in her other roles. Like many others, Ivette Dumeng was a utility player. Dumeng found ways to discover intricacies in her multi-role track. From slightly nerdy to robotic, Dumeng sold it.
Director Susan Tenney’s mission was to bring Cygnus to life in a cohesive and coherent manner. With material that struggled, Tenney had to rely to the visual appeal. By far the strongest aspect of this piece were the costumes. They were out of this world. Designer Janet Mervin did a sublime job mixing modern style with futuristic elements. The color pallet was consistent and her pieces worked for the actor. The use of textures and details were something extraordinary. You may take for granted the impact of texture but the way some of the material glistened and reflected under Joe Novak’s lights were stunning, evoking the feel of this piece. To create the multi-location though rarely specified set, plastic cubes were utilized. Visually, they were beneficial to Novak’s lighting looks, adding color when necessary. But the one aspect of the stage that harmed the show severely was the projection “screen”. The “screen” projected a loop of words, images, and themes that correlated to the show. It was dreadfully placed far downstage right, viewed cleanly by half the audience. It cut off a third of Tenney’s stage and caused issues when actors would walk in the line of projection, casting a sloppy shadow. The intent was to understand the piece. But it drew focus from the acting as you wanted to not only see what was on screen but if it had anything to do with what was playing on stage in that moment. Sadly, it didn’t. The loop would have been very beneficial during pre-show. The soundtrack by Topu Iyo and Mike Thies seemed intended for the noir style. At first it worked. Until it repeated and did not alter the mood of the scene as noir underscoring should. It was arbitrary rather than purposeful. Additionally, it would cut out at times which draws instant attention to the ear.
Theatrical science fiction fantasy is hard. There's a reason why it's beloved on film when you have the magic of the movies. It's clear Cygnus is a project of passion. It's filled with creativity. It's meant for a certain audience. With some refining and trimming, the target demographic will eat it up. But this is not a piece for the general public. At least not right now.

Review: Not So Super, or Super Bad

We all want to be super. The feeling of being revered as a hero, that's a super feeling. But what makes a hero super? It's something that gets touched upon in Aaron Michael Krueger's new musical Super.
Lovingly and knowingly ripped off from that DC comic about a man who happens to be super, Super follows young Mark as he deals with the death of his super dad, the struggles of having super powers, and the feeling of being super in love. There is great potential for a rich story for characters with clear objectives but Super is derivative. Just knowing the basics of Superman, Lois Lane, and Lex Luther, you can see the direct parallels in Super, which sadly makes this musical unoriginal. Why not come up with original heroes and villains rather than bad versions of well-known characters? But regardless of who these people are, Krueger's characters are thin. The character development relies so much on the inspiration that this show doesn't give us the whys and hows. Why is Mark super? How did he find out? And what is this character's kryptonite! Even at two acts, there are a lot of things that get glossed over. With plot holes all over, the music by Krueger is not memorable. This easily could be blamed on the canned music. Canned music for a primarily untrained cast is deadly. Krueger, who also served as musical director, needed to assist his cast desperately. From the music that did make a dent, the lyrics were a bit weak. And when it comes to musical theater, never write a song called “The Confrontation” and if you do, especially don’t end it with anyone falling to their death. That musical about the French people has rightfully staked their claim on that one.

Super needed super performers who could handle the giant kryptonite that was no live music. With a sound system less than ideal, the canned music was played softly forcing the company to sing in an unnatural manner. Some were timid. Some were soft. But all were afraid of being off key. And yet that still happened often. As Mark, Adam Keller certainly had the appearance of a hero. He stood tall. He had confidence. But he lacked strength. His voice was weak and struggled being the lead. Whether the confines of the production forced this, Keller needed more time to shine. As Alex, Mark’s best friend turned nemesis, Derek Speedy brought potential. He has a youthful sound that will grow with time but until you saw him in evil costume, he lacked believability. And the bald cap from hell could easily be blamed. Jessica Dorcey as Laura Lewis had the naivety of a quintessential damsel but her voice was severely lacking. Dorcey and Keller had zero chemistry and had quite the time trying to harmonize. As Mark’s mom, Stephanie Estep was a pro. She has a stunning voice and a motherly aura. But she had little to work with due to the thin character. Keith Milkie is the physical manifestation of super hero. He could be superhuman. Despite the booming baritone, he struggled as an actor.
Director Lexie Fennell Frare had to battle the evil that was the material to find promise. There’s only so much blame you can give a festival setting before you have to question the little things. She attempted to use scenic designer Sam Krueger’s scaffolding to her advantage but things looked silly with the living room curtain used as masking. Not knowing the lighting plot in a festival can be a massive disadvantage. Lighting designer Catherine Clark did not utilize the lights or color to help make this show pop. When there wasn’t a basic wash on stage, things finally came to life. The costumes by Julia and Deborah Krueger evoked a superhero but it was unfortunate to see Mark not have a pair of black shorts like Major Justice did as spandex are always all revealing.
There is so much creative liberty when you create a new hero. You have the potential to find a rich backstory and reason to be a hero. But Super showed no originality in it’s creation. Super needs a super makeover before it flies away.

The 2nd Annual Mikey Awards- NYMF 2015 Edition

For the first time, I was able to catch all the full productions at NYMF! It was a truly exciting experience watching the growth of some potential future hits. While NYMF has their own set of awards, I want to honor some of my picks of the 2015 festival with The Mikey Award! In each category, I have selected one "winner" and four honorable mentions. Some of the choices were obvious and easy. Pairing down some categories was much harder. While The Mikey may not mean much of anything, it's my way of saying congratulations. First, here are the 22 shows that were in the running:

• 210 Amlent Avenue
• Acappella
• Claudio Quest
• Deep Love
• Foolerie
• HeadVoice
• Held Momentarily
• Manuel Versus the Statue of Liberty
• Moses Man
• Napoleon
• Passing By
• Pope! An Epic Musical
• Real Men, a musical for guys and the women who put up with them
• Single Wide
• Songs for the Fallen
• Spot On the Wall
• Summer Valley Fair
• The Calico Buffalo
• The Cobalteans
• Tonya and Nancy: The Rock Opera
• Wearing Black
• What Do Critics Know?

THE AWARDS

Outstanding Musical- Single Wide

Honorable Mentions- Claudio Quest, Songs for the Fallen, Spot on the Wall, Summer Valley Fair

When it comes to musical theater, characters tend to be larger than life. But those rare occurrences where there's a musical about real, truthful people, that's when it gets magical. Single Wide is the full package. An incredible country score. A brilliant book with honest characters. And a company of actors who offered shining performances. There is such promise and hope in this musical that I am excited to see where it goes next.

Outstanding Actor- Ethan Slater (Claudio Quest)

Honorable Mentions- Doug Clemons (Passing By), Oliver Thornton (Moses Man), Robert Hager (Spot On the Wall), Sam Bolen (Pope! An Epic Musical)

When Claudio Quest begins, you're introduced to Luis, aka player number 2, and you think you're watching a great supporting character. Until a twist of fate is thrown in and Luis becomes the hero. Ethan Slater rose to the occasion offering a spectacular performance seamlessly transforming from sidekick to superstar. Slater has a pure vocal talent that will lead him to musical theater glory. Watch out for him.

Outstanding Actress- Sheridan Harbridge (Songs for the Fallen)

Honorable Mentions- Emma Stratton (Single Wide), Madison Stratton (Spot On the Wall), Shakina Nayfack (Manuel Versus the Statue of Liberty), Tracy McDowell (Tonya and Nancy: The Rock Opera)

Sheridan Harbridge is destined to be a megastar. Harbridge offers a tour de force performance in Songs for the Fallen. The Aussie gives Marie Duplessis a brilliant personality and manages to fascinate from curtain to curtain. Not only has she found her Hedwig, it's vehicle that could make her a legend.

Outstanding Supporting Actor- Jason Edward Cook (Pope! An Epic Musical)

Honorable Mentions- Andre Ward (Claudio Quest), Matthew Miner (Single Wide), Max Wilcox (The Calico Buffalo), Ryan Knowles (What Do Critics Know?)

Being a supporting character in a story rarely gives you the opportunity to be a star but it was Jason Edward Cook who stole the show in Pope! An Epic Musical. As Duncan the geek chic goofy henchman, Cook showed off his incredible comedic chops as well as creating a hilarious character. Put a spotlight on stage and Cook will be sure to find it.

Outstanding Supporting Actress- Jacqueline Petroccia (Single Wide)

Honorable Mentions- Katie Emerson (HeadVoice), Lindsey Brett Carothers (Claudio Quest), Liz McCartney (Tonya and Nancy: The Rock Opera), Olivia Polci (Foolerie)

As Flossy the floosy bad girl, Jacqueline Petroccia won the day even when she was being a jealous bitch. And it's all thanks to the brilliant performance and radio ready vocals of Peteoccua. Her rich tone is tender when it needs to be and sassy brassy when Flossy puts on a show. It's hard to imagine Single Wide without her. Expect big things in her future.

Outstanding Ensemble- Claudio Quest 

Honorable Mentions- Pope! An Epic Musical, Summer Valley Fair, The Cobalteans, What Do Critics Know?

From top to bottom, the ensemble of Claudio Quest was strong. From the bros to the princess to the ensemble players with the brilliant bits, this was a top notch bunch. Filled with triple threats, these kids turned on the fun. When you have a strong company of actors, it can make any material shine bright.




Outstanding Director- Jeff Whiting (Single Wide)

Honorable Mentions- Charlie Johnson (HeadVoice), Craig J. George (The Calico Buffalo), John Tartaglia (Claudio Quest), Taylor Norton (Summer Valley Fair)

With such prime material, Jeff Whiting made bringing Single Wide to life look easy. Whiting guided his company in capturing these stunning true characters. Whiting allowed the actors to discover that trailer trash isn't a negative connotation, it's just an unfortunate circumstance to live in.


Outstanding Score- Jordan Kamalu (Single Wide)

Honorable Mentions- Drew Fornarola and Marshall Pailet (Claudio Quest), Ethan Andersen (HeadVoice), Kevin Jaeger and Alex Mitchell (Spot On the Wall), Patrick Thompson (Passing By)

NYMF was filled with such extraordinary scores this year that picking just one was hard. But basically what it came down to is being able to remember the music after leaving the theater and the desire to want to listen to the score from top to bottom. Jordan Kamalu's contemporary country score did both.  If Single Wide doesn't receive the life it deserves, Kamalu should send his demos, with Petroccia as lead vocals, to Nashville to write for some country superstars.


Outstanding Book- George D. Nelson (Single Wide)

Honorable Mentions- Dylan Frederick (Summer Valley Fair), Justin Moran (Pope! An Epic Musical), Kevin Jaeger (Spot On the Wall), Sheridan Harbridge (Songs for the Fallen)

This season proved the struggles of writing a strong libretto but it was George D. Nelson's characters that captured the attention. From mothers who want nothing but the best from their children to a man struggling with coping with life post war, these people were rich and filled with promise.

Outstanding Overall Design- Claudio Quest

Honorable Mentions- Foolerie, Pope! An Epic Musical, Songs for the Fallen, The Calico Buffalo

To make this show work, the audience needed to be transported straight into the video game. And this design team did just that! The costumes by Leon Dobkowski were bright and playful. The set and props by Timothy R. Mackabee were loving rip-offs of Mario Bros. But what defined this show was the puppet design by Michael Schupbach and The Puppet Kitchen. The personality they had added extra lives to the show. But one was was most definitely taken away for the waste of Y.


Outstanding Orchestrations- Alan Schmuckler (Single Wide)

Honorable Mentions- Alex Mitchell and Mike Rosengarten (Spot On the Wall), Basil Hogios (Songs for the Fallen), Ben Matthews (Deep Love), Jordan Ross Weinhold (The Cobalteans)

I will make a confession. The first time I heard a song from Single Wide was at New World Plaza where Stacia Fernandez sang Amanda's big number. It was performed using just a keyboard. It was mediocre. But listening to the score in production, the wonders that Alan Schmuckler brought to Jordan Kamalu's is incredible. It's true, you can't do country music without a guitar. And the intricacies Schmuckler brought are astounding. He added flavor to Kamalu's music and made it even stronger.


Outstanding Choreography- Ray Mercer (Deep Love)

Honorable Mentions- Allicia Lawson (Spot On the Wall), Billy Sprague Jr. (The Calico Buffalo), Jeff Whiting (Single Wide), Marc Kimelman (Tonya and Nancy: The Rock Opera)

Deep Love had its issues in plot but the strongest aspect of the entire production was Ray Mercer's beautiful choreography. Mercy's ghostly company brought a new life to this piece. And he was also gifted with some amazing dancers. What happens next with Deep Love is a mystery but a concert style performance with Mercer's choreographer would be stunning.

Outstanding Artwork- Songs for the Fallen 

Honorable Mentions- Claudio Quest, Napoleon, Passing By, Pope! An Epic Musical

Selling a show is essential for getting butts in the seats. An eye-catching logo is how to physically sell your show. It not only needs to represent it well, it needs to look great. From colors to font to image to complexity, the logo has potential to represent the show forever. Instant recognition. The strongest logo that represented the show best goes to Songs for the Fallen. The pink is flashy. The font marries the periods. And the image is filled with as much intrigue as Marie Duplessis.

Unsung Hero Award- Alex Goley (Claudio Quest)

Honorable Mentions- Anthony Chan (Manuel Versus the Statue of Liberty), Jack Mosbacher (Napoleon), Joanne Borts (Moses Man), Ryan Speakman (Napolean AND Moses Man)

This is an award to honor the best member of the ensemble or chorus. The person who goes all out and stands out in the crowd in all the right ways. To get exit applause as a member of the ensemble takes talent. And Alex Goley expertly did so. Though he played an assortment of roles in Claudio Quest, it was his bits as the ignored instruction-giving Eggplant turned psycho that generated some of the shows largest laughs.





Band Geek Award- Songs for the Fallen

Honorable Mentions- Acappella, Deep Love, Spot On the Wall, Summer Valley Fair

So Basil Hogios wrote some amazing music for Songs for the Fallen but watching him as the one man band harmoniously in sync with Sheridan Harbridge was incredible. From dropping beats on the computer to playing drums and keyboard and accordion, Hogios did it all.


Most Likely Future Audition Song Award: Girls- “Overdue” (Single Wide)

Honorable Mentions- “So Smile” (Spot On the Wall), “Super Fish” (Claudio Quest), “Tickle My Iv’ries” (HeadVoice), “Watch Your Back” (Tonya and Nancy: The Rock Opera)

Though this wasn't Katy's big number in Single Wide (that number has some lyrical woes currently), Katy's "I Want" song has a universal message and the ability to show off some big notes. Emma Stratton made the number hit home.


Most Likely Future Audition Song: Boys- “Contender” (Manuel Versus the Statue of Liberty)

Honorable Mentions- “Don’t Wait” (Spot On the Wall), “I Won’t Disappear” (Moses Man), “Player Number 2” (Claudio Quest), “Wait a Minute” (Held Momentarily)

"Contender" is certainly a contender for audition and cabaret material. The song is such a wonderful pop number that blends a little hip hop into the fold. And the lyrics are quite powerful. Though not all the notes fit his voice, this song was Gil Perez-Abraham's big moment.


Song of the Festival Award- "Broadway" (What Do Critics Know)

Honorable Mentions- “Get Out of Your Head” (HeadVoice), “The Dream Within” (Napoleon), “The World Revolves Around Me” (Single Wide), “When I Scream” (The Cobalteans)

I approached this award in two ways. First, what songs wouldn't leave my head? And second, if NYMF were to make a promotional video for the festival and could use any song as the backing, what would it be? How could it not be "Broadway" from What Do Critics Know?! The song captures the hearts of every artist. And it happens to be a catchy little number.

Next Stop Broadway Award- Claudio Quest

Honorable Mentions- Pope! An Epic Musical, Single Wide, Songs for the Fallen, What Do Critics Know?

This award is a little different from Outstanding Musical. This is to honor the production that is most marketable for a commercial run. And without a doubt, Claudio Quest tops that list. It is a seat filler show with great numbers, a fun story, and the gamer draw. Expect to see it again soon.





So there it is! Congratulations to everyone involved in this year's NYMF! It's such an exciting time for new work and I'm so glad we get to celebrate it.

Review: An Ode to the Critic and the Classics

What Do Critics Know? A lot actually. Now that we've established that, the musical of the same question by Matthew Gurren and James Campodonico is an homage to the classics. A musical for insiders, What Do Critics Know? is a comedy about three prominent critics trying to put on a Broadway musical.
What Do Critics Know? is a low-fat musical. It has the appearance of a glitzy classic, it’s just missing everything that makes it full. The story follows Nathan, a constantly critically panned writer, who catches a big break when three prominent theater critics, inspired by some real life ones, are forced to put on a Broadway smash of their own. Set during Broadway’s Golden Age, What Do Critics Know? is like the offspring of The Producers and Curtains. The plot is cute. The script is filled with loving nods to theater and the famous people who make it. The musical comedy would have fit right at home in the time that inspired it. But as far as something fresh and new? What Do Critics Know? is anything but. The characters created by Matthew Gurren are cookie-cutter, and it works for this piece. They aren’t complex. They follow the basic musical comedy recipe. You have a simple leading man who just wants to win the girl, and save his career. You have the former flame who turned into the leading man’s opposition. You have the understudy who latches on to the leading man making the former flame jealous. And yet this love triangle still seemed contrived. It’s partially due to the timing of the love introductions. The first part of the first act is focused so much on the demise of Nathan and the plotline of the critics’ musical that it’s quite late that we learn that dancer turned critic Irma was Nathan’s ex. But hey, every musical comedy needs a love story. Some of the strongest characters Gurren fashioned happened to be the comic reliefs. Chester and Brad, the critics from the Times and Post respectively, are complete parodies of notable writers at both papers. And for that, they’re brilliant. Chester loves his long-winded rants while Brad just loves to gossip, and chorus boys. Because they’re so recognizable, it elevates the comedy. But that theory doesn’t quite work with the other pair of familiar names. Without spoiling too much, Chester, Brad, and Irma desperately seek out writers to write their show. What they get are Shakespeare and Bach. But not exactly them. They happen to be Ren Faire actors hired to take on the personas. Which leads to many comedic mishaps. Don’t get me wrong, they were audience favorites, but there was something so unfunny about this device that never ended. Overall, most of the plot mishaps occur during the messy second act. To match the fun, colorful classic style, the score by Gurren and James Campodonico rivals those of the Golden Age. Gurren and Campodonico give us tender ballads, show stopping production numbers, and tunes that will get stuck in your head. But unless you’re longing for this style of musical, the score is simply dated.

photo by Nick Tighe

To bring What Do Critics Know? to the stage, a company of well-rounded performers took command. As Nathan, Chris Gleim is the essence of classic Broadway. The musical style is clearly in Gleim’s wheelhouse. Gleim makes you nostalgic from the roles of yore. Mary Mossberg as Irma has such charm as the woman who gave up her dream. Mossberg's pure vocal, like Gleim, fits this score beautifully. Musical comedy requires actors who can sing and know how to be funny. Thankfully, Ryan Knowles and Prescott Seymour went above and beyond. As Chester and Brad respectively, Knowles and Seymour were the perfect comedic duo. They played off one another so well, you would think they had been doing it for years. You almost wish they weren’t upstaged by those buffoons Shakespeare und Bach. A musical like this needs a great chorus. And they got just that. Though they played many bit parts, Lindsay Bayer, Sean Bell, Kaitlyn Frank, and Danny Harris Kornfeld made the chorus equally as important. And deserve to be recoginized.
What Do Critics Know? isn’t making history. It’s meant to entertain. When it comes to getting the audience to smile and have a great time, director Michael Bello did just that. Bello allowed his actors to create characters that were fun and larger-than-life, though the ladies were a bit reserved as a whole. Bello let the physical comedy to take shape naturally. But you can’t have a musical like this without thrilling choreography. Choreographer Justin Boccito made his small ensemble perform as it were tripled. Boccito made the small stage look like a mammoth Broadway house. Scenic designer Anne Sherer tapped into her creative side when it came to the road boxes. The boxes doubled as many scenic pieces but the execution of the stickers on the side were just a disappointment. It was so nice seeing classic show logos but whether it was glue or paint, the halo around each made it look schlocky. The period costumes by Christopher Vergara fit the time but it was a bit of a bummer to have them be so bland in color. A little more pop of color would have matched the style of the show.
What Do Critics Know? brings the nostalgia factor. It reminds us all why we love musical theater. But in an age of desiring something fresh, What Do Critics Know? will soon be forgotten. This show is for the nostalgia seekers, and that’s about it.

Review: Thin Love

We will do anything for love and the ones we love. Even if it resorts to following a love to the grave. And then meeting a new love who's already loved but love knows no bounds. That's essentially the plot of the rock opera Deep Love. With music and lyrics by Garrett Sherwood and Ryan Hayes and a book by Sherwood, Hayes, and Jon Peter Lewis, Deep Love is a confused rock opera that doesn’t seem to go anywhere.
Deep Love is a sung through musical that follows a box of love. A box is love is a term used when all four characters in a show are involved in the sole love plot line. And it doesn't get much deeper than that. The story is super thin. In fact, you may have to ask your neighbor what exactly is going on. With the sing through style of the show, clarity of plot is essential in the lyrics. While some of the lyrics were absolutely beautiful, there were some moments it didn't alter the plot, stopping any momentum the story had going. The characters are simple and lack originality through arc. You could essentially compare Deep Love to The Phantom of the Opera. Scary skeleton dude stalks young ingénue. Ingénue meets hunky guy. Hunky guy falls for ingénue. The only addition to this story is hunky guy is already attached to axe-wielding hot girl with pipes of epic proportions. What's interesting about Deep Love is it began as a concert and it may actually be better suited as one. Or a concept album. Or even a dance piece. The storytelling is too weak to carry the show as is. The music by Sherwood and Hayes has a unique sound. Blending rock, jazz, folk, and pop, the score of Deep Love has some radio worthy numbers. And a capable quartet to belt them.

photo by Jeremy Daniel

Jon Peter Lewis is best known for his appearances on “American Idol” and “The Voice”, but Deep Love showed off the place where his vocals sit the best. As Old Bones, Lewis has a natural theatrical tone that showcased his mature sound effortlessly. Lewis had a presence on stage that allowed him shine bright. Screlting songtress Amy Whitcomb as Florence tour the roof off of the theater. Whitcomb’s vocal acrobatics were something you have to hear to believe. She is a powerhouse vocalist, doing things very few can imagine achieving. Garrett Sherwood as Friedrich is not much of an actor. In fact there was very little acting going on. Sherwood is a musician. He has the vocal grit of Chad Kroeger. It’s a unique tone for the stage. He also happens to look like a mash-up of Kroeger and Kenny G with those curly locks. While it’s clear that this piece was written for his voice, moving forward, bringing in an actor who can sing to play Friedrich may be the stronger option. As Constance, Melanie Stone was lost. Stone doesn’t have the vocal prowess as the others and had the blandest role in the show.
With very little clarity, Deep Love needed a keen eye to guide what story was present. With Michael Rader and Jon Peter Lewis taking a stab at directing, things were just not clean. What did save the show though was the exquisite choreography by Ray Mercer. Mercer made the simplest of lyrical dance look striking. Decked out in a ghostly ensemble by Bree Perry, the five-piece dance troupe added palpable energy to the production. As a whole, the costume design by Perry looked stunning. Though time was lost in this world, the old meets new was a good look. The scenic design by David Goldstein did something that no other NYMF show did and that was utilize the scrim. Adding the cutout brought a new dynamic to the piece. With lights on the miniature light posts and gel on the windows of the miniature homes, Goldstein and lighting designer Braden Howard’s design was unified and vibrant. A special recognition should be given to Ariel LaFontaine for her brilliant make up design. Her work on Jon Peter Lewis gave Old Bones a necessary personality.
No matter where this show goes from here, Deep Love is destined to be a cult classic. It all will depend on deciding the proper way to share the music. And a dance narrative may be it.

Spotlight On...Knud Adams

Name: Knud Adams (That’s pronounced like Canoe with a T and spelled like Dunk backwards.)

Hometown: We moved around a bunch: It was Denver, Berkley, France, Berkley, England, France, Scotland, and Cincinnati, in that order.

Education: After graduating Kenyon College, I spent four years assisting my favorite directors in New York. Before all that, growing up abroad, my mother dragged my five siblings and me to almost every art museum in Western Europe. Some days we would even get to skip school to go museum hopping. Discovering that she was an Impressionist and I was an Abstract Expressionist was my first act of independence, and I still love to reference paintings in my design process. That was an education.

Favorite Credits: That’s impossible! I don’t even like the word. But I’m most proud of the brilliant writers I’ve been working with lately, young geniuses such as Sam Alper, Will Arbery, Eliza Bent, Nick Jones, Jason Kim, Max Posner, Amelia Roper, Jenny Schwartz, Torrey Townsend, and now Carl Holder.

Why theater?: I love an underdog.

Tell us about An Intimate Evening With Typhoid Mary: This marvelously strange play is about a young man in a hospital dying from a horrific unnamed disease. In his fevered delirium, he imagines himself performing a cabaret act, channeling the historical figure Typhoid Mary. The play is about an artist’s impulse to rage against death with creation and about how to make the most of a sticky situation. We have an eclectic cast of bad-asses: Carl Holder, Peter Mills Weiss, Justin Kuritzkes, Celine Song, and Claire Siebers.

What inspired you to direct An Intimate Evening With Typhoid Mary?: Reed Birney introduced me to Carl and this play, so he is our official matchmaker and patron saint. I was immediately taken by the complexity and fearlessness of Carl’s writing, especially the way he combines tremendous flights of fantasy with the raw sincerity of personal experience.

What kind of theater speaks to you? What or who inspires you as an artist?: I love plays that capture authentic human experiences pushing against radical theatrical forms. In my own work, I take inspiration from the film directors Kubrick, Malle, and Haneke, as well as the world-class theater directors I’ve been lucky to assist, including André Gregory, Elizabeth LeCompte, Richard Foreman, Sam Gold, and Sarah Benson.

If you could work with anyone you’ve yet to work with, who would it be?: Literally Tilda Swinton.

What show have you recommended to your friends?: Recently, 10 out of 12 and The Flick.

Who would play you in a movie about yourself and what would it be called?: Six people would play different interpretations of me, as in "I’m Not There": Andrew Scott, Ben Whishaw, Dane Dehaan, Richard Ayoade, Ian Mckellen, and Greta Gerwig. It would be stuck in development and currently untitled.

If you could go back in time and see any play or musical you missed, what would it be?: Judy Garland at Carnegie Hall or The Rite of Spring or the Moscow Art Theatre’s Uncle Vanya.

What’s your biggest guilty pleasure?: The high fantasy novels of Brandon Sanderson, Patrick Rothfuss, and Ursula K. Le Guin.

If you weren’t working in theater, you would be _____?: A photographer, a young adult novelist, or the Chief of Staff.

What’s up next?: After Mary, I’ll be directing Snore by Max Posner at Julliard. It’s the opposite of this and also wonderful.

For more on Knud, visit www.knudadams.com. For more of An Intimate Evening With Typhoid Mary, visit www.MARYMARYMARY.net

Review: Sheridan's "Hedwig"

Have you ever walked into a show with no knowledge of what you’re about to see, been blown away after mere moments, and then realized you’re witnessing theater history? That is Songs for the Fallen. Written by Basil Hogios and Sheridan Harbridge and performed in a star-making performance by Harbridge, Songs for the Fallen is a bawdy, baroque cabaret-biography musical about Marie Duplessis, the French courtesan who inspired literary characters for ages.
Presented as a larger than life cabaret wonderfully blending 19th century style with modern beats, Songs for the Fallen is an in-your-face journey through the loves of Marie Duplessis and her battles within. Duplessis, the inspiration for the character in The Lady of the Camellias and La Traviata and "Moulin Rogue", was a lady of high expense and lots and lots of lovers. And Harbridge isn’t bashful about telling you of her exploits. The way Harbridge goes about telling this story is by shamelessly breaking the fourth wall, blending self with character, and keeping you engaged with both eccentric comedy and moments of despair. It’s evident Harbridge has done her homework. She’s seen every possible piece on the woman and the characters she inspired. She even gives loving nods to Nicole Kidman. And with such an attention to detail, the character Harbridge has created is nothing short of brilliant. It’s part truth, part character, and it works. Harbridge is a superstar. Like John Cameron Mitchell, Sheridan Harbridge has given the world her Hedwig and the Angry Inch. She has written a star vehicle she deserves to shine in. Harbridge has the vocal talents of a pop star and the presence of a diva. The only thing Harbridge doesn’t have, yet, is the name. But give it time; Harbridge has the power to be a household name. What also makes this piece special is the score by Basil Hogios and Harbridge. The music unites pop and glamor with a tinge reminiscent of Duplessis’ time. And the lyrics are biting. The songs live harmoniously as one but easily could be given to a pop artist like Lady Gaga. In fact, this musical is a perfect show for the pop diva, after Harbridge is ready to pass on the baton of course. Like Hedwig, Songs for the Fallen is a solo show with an ensemble. Songs for the Fallen thrives with the outstanding duo of Simon Corfield and Garth Holcombe who serve as various lovers and Alexandre Dumas, respectively.

photo by Al Foote III

There’s something glorious about seeing a well-polished show in a setting like this. There is a clear marketable objective in Songs for the Fallen. And it is all thanks to director Shane Anthony and his dynamic artistic team. The entire design is carefully detailed and executed. The scenic design by Michael Hankin is flawless. The bed that serves as Harbridge’s home base is luxurious and fit for a diva like Marie. The lighting by Alex Berlage is rock concert chic. While it’s certainly possible that Berlage played a game of light board roulette to master the looks, they certainly paid off. And the image of dying Marie with the entire theater engulfed in red was spellbinding. Each song and moment had its own special look. Even the way Berlage captured the feathers floating around the stage was stunning. The costumes by Lisa Mimmocchi fit the world of the musical, it blended the eras wonderfully and even included some stereotypical jokes. As the one man band, Basil Hogios holds down the fort as he drops beats and masters the squeezebox. Hogios is just as important a player as Harbridge, as this show is all in the timing.
Songs for the Fallen is an experience that needs to be had. Sheridan Harbridge needs to showcase her talents on a global level and bring this show to the masses. What she and her team have going for them is her affinity for the character. Songs for the Fallen gives us the truth in such a sharp and provocative manner that it's revitalizing. The men get Hedwig. The women get Songs for the Fallen.