Review: Just Lance!

All Lance wants to do is make you smile. And he'll stop at nothing to do so. In Peter Michael Marino's wickedly comical solo spectacular Late With Lance, Marino takes on the titular role of youthful chat show host Lance, as he takes the audience on a comedy cruise.

photo by Alicia Levey

Late With Lance is a smartly crafted solo show about a musical theater obsessed young man determined to fulfill his dream of hosting a talk show with huge celebrity guests. But when Liza, Hugh, and Miami Sound Machine play the role of Godot, lithe singularly named Lance must improvise in order of providing the best show over. And making his two gay dads proud. Late With Lance is original and knows exactly how to walk the line of parody without insulting.  Marino pokes fun at solo shows with the solo show song, something that rings beyond true. But  biggest success is his characterization. Lance is like a mix of Jack McFarland and Stuart Smalley with a dash of glitter and pizzazz. Marino brings so much heart into the character. And it all ties into the thematic through line of having dreams and the determination of fulfilling them. From a writing standpoint, Marino litters his script with entertainment inside jokes, mockery of the cruise ship life, and gleeful play on words that bring out a lot more than a chuckle. The energy is high yet slightly simmers when necessary. This balances is what makes Marino's writing so smart. It's clear Lance has been tested.
Peter Michael Marino has so much potential of bringing the character into a plethora of mediums. Late With Lance is a solo extravaganza that not only invites the audience to be a part of the show but reminds us all of what we'll do to make our dream come true.

Spotlight On...Kathryn McConnell

Name: Kathryn McConnell

Hometown: Fairview, Montana

Education: I have a a BFA in Drama from the University of Oklahoma

Favorite Credits: There are so many! I had the incredible pleasure to work as dramaturg on Dylan Lamb’s Alligator Summer a couple years ago, and with Squeaky Bicycle’s other Resident Playwright, W.M. Akers, on three hilarious plays -  Tales of Love & Lasers, Pop Dies in Vegas, and Cary’s Chainstore Massacre (the latter with Sanguine Theatre Company). Squeaky Bike has given me the opportunity to work with brilliant playwrights like Christina Gorman, J. Boyett, Michael Burgan, Jane Miller, and of course our Resident Playwrights. Outside of Squeaky Bike, I’ve had a great time working on festivals like Manhattan Theater Source’s EstroGenius Festival, West Village Musical Theater Festival, & Bad Theater Fest, and as Assistant Director of Dana Leslie Goldstein’s Daughters of the Sexual Revolution a couple years ago at Workshop Theater. Honestly, a better question is whether I’ve done any work that I don’t love!

Why theater?: I have no choice! I remember the first time I did any real directing in college, it was like I was finally speaking my native language for the first time. Don’t get me wrong, I know now just how far I had to go back then (oh, so very far), and even now I’m fully aware that it’s something you really can’t completely master…but really, that’s part of what I love about it. In theatre, it’s not only okay to explore, collaborate, and even fail, it’s essential.

Tell us about Squeaky Bicycle Productions: If were to break down what Squeaky Bike is really about, it comes down to two main values: The first is that we feel theatre is best when it’s created through real collaboration - we work with incredible artists, and each of them brings something to a production that no one else has. We would be crazy not to take full advantage of those resources. So, we do our best to create an environment where they feel comfortable speaking up and taking risks. The second is that we want to do work that challenges us and the artists we work with to push ourselves artistically, and challenges our audiences to think or see things in a new way. I think the shows we produce have been evidence of our dedication to that. When Squeaky Bike started in 2010, my co-founder Brandi Varnell and I were just planning to do one show. By the time we opened it, we knew we’d only just started. Now, more than five years later, each project we take on is bigger and riskier than the one before - I have to say I’m pretty proud of how far we’ve come.

Tell us about Ten Ways On a Gun: Ten Ways is a meta-theatrical dark comedy in the absolute truest sense of the words. Tommy Freely buys a gun because it feels like a way to get control over his life. Then, when his girlfriend makes him get rid of it, he gives it to a coworker who makes the extremely capitalistic decision to timeshare it. Suddenly it becomes a talisman of sorts to everyone that comes into contact with it, and the issue of control becomes realer than Tommy imagined. Jessica Person, an actor and director (and dancer, and dramatug, and…) hears…well, most of Tommy’s story, and develops a terrible play about it. What you’ll see when you come to Ten Ways on a Gun is Jessica’s second attempt, after she learns the rest of Tommy’s tale, and how it and her initial failure in telling it changes them both. The play takes on topics like gun ownership, the need for control, mental illness, and even existential crisis with reverence, and also with a ton of humor. It’s hysterical, it’s insightful, and it’s gutsy. I can confidently promise that it’ll make you laugh, and you may find yourself coming down with a case of Feelings before it’s all over, too.

What inspired you to direct Ten Ways on a Gun?: One of the greatest powers theatre has is to teach and promote empathy - and as we all know, with great power comes great responsibility. In the case of Ten Ways, I see an opportunity to tell a story about guns in a different way than the ones we hear and see far too often these days. Where the news outlets give us facts about these tragic events, we’re doing something more: we’re showing all sides of this story, and in doing so we’re putting real human faces to each one. If what people say about our media desensitizing us to the realities of gun violence is true (and I’m inclined to believe it is, to an extent), then this show is an example of how we can help re-sensitize. I love this show because it’s hilarious and it’s so smart, and I especially love it because I think it’s our responsibility in the theatre to remind our audiences that there are people behind the events they read about, and Dylan’s done an incredible job of presenting examples of those people, in all of their glory and darkness.

What kind of theater speaks to you? What or who inspires you as an artist?: All of my very favorite shows share at least one quality: they’re all smart. I’m a great big nerd, and I love work that challenges my brain while it’s touching my heart. Of course, that looks different depending on the show - I love the musical and tonal complexity of Sondheim, the intricate balance of comedy and sincerity of McDonagh, and the straight-up academic style of Stoppard. Mix those things with a moving story, and I’m hooked. Now, that said, as nerdy as I can be, the the way to really know if I love a show is if it makes me cry. And that doesn’t mean it has to be sad - as long as the play takes me on a real emotional journey with three-dimensional characters, I’m guaranteed to go on that journey, too. And when it pays off, you can bet I’ll be crying like a little baby.

If you could work with anyone you’ve yet to work with, who would it be?: I’m on a big Martin McDonagh kick right now. I would die to work with him. Well…I mean, I would prefer not to literally die, which I guess is an important distinction to make when referencing a McDonagh play. But, you know, if that’s what it takes, I might consider it…

What show have you been recommending to your friends?: The Curious Incident of the Dog in the Night-Time and Hamilton. They are both, quite literally, revolutionary (forgive the pun). One friend I saw Curious Incident with asked what I thought the tech budget was for it, and I responded “I don’t know, I’m not sure what the going rate on magic is these days.” As for Hamilton, well…I’ll get back to you with all the reasons it’s wonderful after I’ve listened to the soundtrack about 15 more times.

Who would play you in a movie about yourself and what would it be called?: I’m not sure who would play me, but I’m pretty sure Cameron Crowe would direct it, because the only thing that speaks to me as much as theatre is music - I think he would just get me. As for a title…a friend recommended “The Snark Whisperer”.

If you could go back in time and see any play or musical you missed, what would it be?: It feels like a copout, because I’ve seen the recording of it so many times, but I’m gonna say the 2006 revival of Company. Every time I watch it or listen to the cast recording (which happens a lot) it destroys me in the most wonderful way. I can only imagine what it would have been like to experience it in person.

What’s your biggest guilty pleasure?: Oh man….as a feminist it’s really hard for me to admit this, but every time I hear a song by 3OH!3, I get too distracted jamming out to turn it off.

If you weren’t working in theater, you would be _____?: A much more anxious and less empathetic person. I realize you probably want to know what industry I’d be working in instead, but I’ve really never had a plan B…

What’s up next?: Squeaky Bicycle’s annual Reading Lab is coming in December! In preparation for that, I’ve had the pleasure of working with a West Coast playwright, Joan Bigwood, on a great new play about the peculiarities of life in the 21st Century. We’re also reading submissions for a second play to include in the Lab, which is one of my very favorite parts of the process. I guess you’ll have to stay tuned to find out what we choose!

Review: Oh the Horror!

It takes bravery to take a risk. Especially in theater. Sometimes that one risk you take can alter an entire production. Such is the case in Pipeline Theatre Company's The Gray Man by Andrew Farmer. But more on that later.
The Gray Man is a haunting ghost story about a man named Simon as he navigates reality and perception. Following the death of his mother and a string of child disappearances, Simon sets out to regain control all while remembering the story of a boogeyman type character who tempts and lures children from their home. What The Gray Man does flawlessly is great storytelling. Farmer is sharp by allowing the story to unravel through bits and pieces. What Farmer and director Andrew Neisler do well is play upon our greatest fears. Haunting and scaring an audience takes expert precision and their collaboration did just that. But in a live theatrical piece, sensory trucks are just as important. Darkness is a great fear. And depriving the audience of seeing was brilliant. The live music soundscape was vivid and necessary to get inside the audiences head. Playing with echoes and vibrations allowed the harsh reality of darkness settle in. But when darkness was abandoned for light once again, the audience needed to see the fear that they projected. And that's where that huge risk comes in.

photo by Suzi Sadler

There's a line from The Producers where Max Bialystock boasts about being the man who invented theater in the square where nobody had a good seat. And it's even more so true with a rectangle. But the biggest risk The Gray Man made was made was placing a giant scenic piece smack dab in the middle of the stage. The giant structure by Andy Yanni was stunningly crafted but it caused some massive issue. To say The Gray Man had horrid site line problems is a severe understatement. Depending on your seat, it's quite possible you missed key parts of the show. Whether it was character interactions, sudden appearances, or a scenic transformation, complete visibility was nonexistent. It was a giant risk that Neisler and Yanni took and sadly it hurt the overall production. While it felt immersive, it was just an intimate experience. Finding a way to share this vision in a three quarter thrust with the centerpiece toward the back, the payoff could have been grander. You may have been able to see everything you were intended to see. Regardless, the intent was bold and you have to commend the team for taking a giant risk.
Capable storytellers were brought together to bring this tale to life. As the perpetually fearful Simon, Daniel Johnsen captured the essence of mystery. By playing scared and weary, he allowed the audience to tag along on his journey. As the curious best friend John, Shane Zeigler found a way into Simon's psyche. Katharine Lorraine and Claire Rothrock took on the dual roles of maternal storyteller and neighborly comic relief. Both Lorraine and Rothrock happened to be wonderful reciters of fear. As Simon's neighbor and confidant Grace, Tahlia Ellie was youth on display.
When it comes to engaging the audience, Neisler succeeded. The goal was to spook the audience and he did just that. As previously stated, Neisler focused deeply on senses and it was a fascinating psychological experiment. Lighting designer Christopher Bowser capitalized on the use of light and lack there of. During the darkness montage, Bowser and Neisler allowed the company to navigate the stage safely, bringing the story all around the space. As a transformation occurred, the space filled with fog and when Bowser brought the lights up, the throw of the light cast seemed to play tricks on your mind. These snapshots were short and forced the audience to quickly find the voice and the light.
The Gray Man is a winning production when it comes to distinctive storytelling. There is nothing more exciting that knowing you’re about to be scared and attempting to prepare yourself for it. But that set! It’s unfortunate that an experience could be altered by one giant element.

Spotlight On...Tim Motley

Name: Tim Motley

Hometown: Melbourne, Australia

Education: B.A. in Philosophy

Favorite Credits: Best Comedy: London Fringe Festival, Best of Fest: Edmonton Fringe Festival, Patron’s Pick: Winnipeg Fringe Festival

Why theater?: It makes me feel truly alive.  Also, it’s hard to walk away from something when you know you’re good at it.

Tell us about 2 Ruby Knockers, 1 Jaded Dick: A Dirk Darrow Investigation: It’s the world’s first one man, film-noir, comedy, magical, mind-reading murder mystery.  It’s also the only comedy play I’ve ever heard of in 17 times touring around the planet with magic in it that’s about anything other than magic.  This show’s about a bank heist.  It’s been hugely successful thus far, selling out virtually everywhere it’s been, and racking up good reviews and heaps of prizes.

What inspired you to create 2 Ruby Knockers, 1 Jaded Dick: A Dirk Darrow Investigation?: A short story by the grandmaster of all thing’s noir, Dashiell Hammett.  Hammett, famous for The Maltese Falcon, was an amazing writer who kept the reader riveted with terse, action filled prose.  Hence “The Big Knockover” became 2 Ruby Knockers.

What kind of theater speaks to you? What or who inspires you as an artist?: I love cross-genre experimental comedies.  Penn & Teller are a fine example.  Sammy J & Randy are another.  And of course, comedy with a message, such as Jon Stewart or George Carlin.

If you could work with anyone you’ve yet to work with, who would it be?: Penn & Teller

What show have you recommended to your friends?: Burnt at the Steak

Who would play you in a movie about yourself and what would it be called?: Robert Downey Jr.,  "A Road Far Less Travelled"

If you could go back in time and see any play or musical you missed, what would it be?: Steve Martin at Madison Square Gardens circa 1980.

What’s your biggest guilty pleasure?: Crack cocaine brioche.  Just kidding!  Single malt scotch.

If you weren’t working in theater, you would be _____?: On TV, on the streets, or teaching your young.

What’s up next?: A few cruise ship shows and other gigs, and then writing and co-producing a 6 person film noir themed cabaret called "Prohibition", set to premiere in February, in Australia.

Review: A Rejuvenated Awakening to Believe In

Usually the rule is if it ain't broke don't fix it but Deaf West Theatre's Spring Awakening is a rule breaker. And thankfully so. Deaf West, Michael Arden, and their extraordinary team reinvented this ravishing musical by Duncan Sheik and Steven Sater and created something truly mesmerizing.
Keying into the importance of the text with a focus on storytelling, this revival of Spring Awakening is completely transformative. Adapted from the play by Frank Wedekind, the musical chronicles the youth of 1890s Germany and their journey to sexual awakening. Melchior, a wise-beyond-his-years boy, tempts friend and classmate Moritz with the truth that the adult authority figures seem to shield them from. On a seemingly innocent afternoon, Melchior and Wendla, a curious girl, engage in sexual intercourse, something only one party truly understood. Melchior’s influence shatters both his friends' lives, leaving him to be punished by the very adults who indirectly caused it all. When Spring Awakening first came onto the theater scene, it seemed to revolutionize musical theater. This revival has not only continued the revolution, it has revitalized it. Deaf West is well known for their invigorating productions blending the deaf and hearing worlds to tell stories. This production is no different. This production is not only important, it deserves to be seen by an even wider audience.
Rather than playing safe and recreating the musical beat by beat, director Michael Arden molded it into something stunning. Elements of the script and score that seemed small in the original now become even more important. For example, "Mirror Blue Night" in the original production was merely a transition song that allowed the company to prepare the stage for the climatic Act I finale, now had a meaning and purpose. What was once a cover for the platform hoist became a finger light show that allowed the lyrics to be actually heard. And this was just one of the many moments of brilliance. By incorporating a mix of voice, American Sign Language, and projection, Arden smartly put emphasis on Sater's words. How they were presented called attention to word choice. By allowing the audience the focus on the text, a strong and captivating narrative evolved. This permitted a newfound sense of vulnerability in the characters to be exposed. By having some of the characters played by deaf actors, showcased the universality in the story. These children can truly be anyone.

photo by Kevin Parry

Many people add their two cents when it comes to the Tony Awards and what accolades should be added. While it’s no secret that the award for Best Sound design is a mandatory reinstatement, perhaps a new award should be presented after. And that’s for Best Ensemble. I think it’s safe to say the ensemble of Spring Awakening would easily walk away with it. Unity, trust, and faith all come to mind when watching this spirited cast perform. There is not a single weak link in the bunch. Much of the success of the original production was due to the bright-eyed ensemble, many of whom turned into stars. Watching this cast was like watching Jonathan Groff, Lea Michele, and John Gallagher Jr. The show that catapulted young talent to stardom is about to do it again. It’s safe to say there’s a new Melchior in town. Austin P. McKenzie exploded in his gave a star-making performance. The audience believed every single word that McKenzie said. His take on Melchior was rich with fervor and grit. McKenzie has a long career ahead of him. While Melchior remained a single role, Wendla and Moritz were broken into two, one taking on the character and one providing the spoken voice. Sandra Mae Frank's honestly and purity as Wendla was greatly matched by the vocals from Katie Boeck. They had beautiful chemistry as the naïve girl. Boeck’s folk-rooted vocal was a fresh and inviting sound. Taking on Moritz, Daniel N. Durant as the character and Alex Boniello as the voice were simply breathtaking. Durant took Moritz on a slightly reserved journey. He kept the character internal allowing for a brilliant juxtaposition with Boniello’s rock star vocals. The company happened to feature two Spring Awakening alum in the ensemble with Andy Mientus taking on Hanschen and Krysta Rodriguez playing Ilse. While they may be veterans, they still found fresh nuances to the characters. Mientus’ Hanschen maintained his self-confidence, but it came naturally. Rodriguez brought extraordinary vulnerability to Ilse, especially in Act II. As the first performer in a wheelchair on Broadway, Ali Stroker seemed to be having the time of her life. While Anna may be one of the smaller girl parts, Stroker’s little cameo as the girl of Otto’s dreams in “The Bitch of Living” stole the show. Taking on Georg, the score fit Alex Wyse’s voice stunningly. The pureness of his vocals was music to the ears. While they may not have been the focus on stage at times, many of the voice ensemble captured hearts including Sean Grandillo and Daniel David Steward. Not only did they excel, they also showcased their musicianship. Rather than relegating a single man and woman to play the adult characters, the revival brought in a hearing and deaf counterpart for each. Taking on the various male roles, Russell Harvard and Patrick Page brought fright to the stage. Page is wonderfully terrifying with his deep bass tone. The way it reverberated struck fear. The women were divided between Camryn Manheim and Marlee Matlin, two brilliant actresses. Their maternal instincts were on par, but when Manheim served as Matlin’s voice, it was something special. But nothing is more rewarding than watching Marlee Matlin rocking out on electric guitar during “Totally Fucked”.
Arden’s direction included variety when it came to how the deaf actors and their match interacted. When it came to Wendla, Arden kept Boeck close to Frank. And it was a strong choice. And this was the case with many of the others but when it came to Moritz, Boniello was often left in the dark. Literally. Boniello’s voice was ever-present but it was a shame you didn’t see him as much. With the nature of the Deaf West production, Arden capitalized on the intimacy of silence. There were moments that scenes were performed strictly with ASL and they happened to be some of the most touching scenes. You may not have known what each sign was but you understood the dialogue. Arden and choreographer Spencer Liff allowed the sign language to become a driving force into the movement of the musical. And it was courageous and rewarding. Dane Laffrey’s scenic design was barebones yet quite intricate. And chairs happened to be a central focus. The set moved fluidly from scene to scene, utilizing an assortment of elements on wheels. With more items than in the previous production, there was a little less left to the imagination. And somehow, it paid off. Particularly when it came to the bed. The use of the bed in “Dark I Know Well” added a new fire to the song. And then there’s that final image when the children go off into the forest. It’s powerful to see. Lighting designer Ben Stanton, sound designer Gareth Owen, and projection designer Lucy MacKinnon played such integral roles in this production. One of the most striking moments of the entire production was the end of Act I. With a spectacular white-out paired with a ferocious thunderclap, new meaning was given to the moment. While it’s bound to divide opinions, it was bold. While projections are occasionally a happy extra touch, MacKinnon's projections were a masterful part of the show. Some people pay little attention to font, but MacKinnon's choices added a great layer to the atmosphere.
It’s only September and it seems that two Tony Awards are pretty much locked up in the musical category. Between Hamilton and Spring Awakening, it seems silly to open another musical this season. Deaf West Theatre’s Spring Awakening is one that will go down in the history books. It’s quite extraordinary when you can improve upon perfection. Dare I say, it's better than the original.

Review: The Evolution of 'Merica

Politics in America will forever feature two sides debating right and wrong. Even if one fight is over, there will always be another battle brewing. Such is the case in Paul Buzinski's political satire Selection Day.
Buzinski creates a not too distant future America where evolution and religion continue to engage in war, only in this future the evolution believers out number the religious fanatics. Under the leadership of Tara Whiteman, a lesbian President, America has drastically changed, eliminating Christmas as a holiday and instead acknowledging Selection Day, a celebration of Charles Darwin's birthday. President Whiteman's political advisor Marty Remlin must play peacemaker for pro science Robyn Downs, fighting for equal rights for sea anemone, and Lester Fuks, fighting to restore the religious stronghold of the country. Through a series of missteps and scheming, the opinion of the people changes on this whacky and wild Selection Day. Buzinski's play is oddly fascinating. There's so much depth yet at the same time it is a bit messy. As a short piece of political satire, this piece would be great, but it gets drawn out too long, hurting it in the long run. There is a lot of unnecessary material and repetition that could resolve the story in a single act. The characters Buzinski creates are obvious. You knew their game a mile away. Yet this proves the horrid nature that is American politics. The back room scheming is certainly on display, even if Buzinski's America seemed to have evolved. The character traits that Buzinski provides are interesting. A female and gay President that happens to be a religious closet case is mesmerizing. Placing her against the interesting case of a preacher of faith that happens to be the king of blackmail, completely disregarding sins. He's then juxtaposed to a science lover who is unaware and happens to mirror the wrongs of organized religion through her action. And that's why this play is a strong satire. But the execution could greatly use some polishing. The plot in Act II gets entirely rushed in order to make way for the Darwin pageant, something that so greatly wants to be streamlined. There are times in art that ambiguity is the right answer. A clean ending may not be the best option. Finding a way to restructure the final scene and allowing the final monologue by President Whiteman would have been a solid and mesmerizing end. The image of terror next to a speech of truth would hammer in the moral of the play. Going back to a happy and comedic ending was an unfortunate let down. Even with a modern idea and optimism for a new America, the jokes and humor feel dated and passé.

Bringing the outrageous characters to life, the ensemble expanded upon the extreme traits of their onstage personas. As pitbull Robyn Downs, Wende O’Reilly was victorious. She had a nice girl exterior hiding the evil villain inside. She put up a great fight against her taller counterpart, Jed Dickson as Lester Fuks. Dickson’s Fuks had the same objective as O’Reilly’s Downs, yet there was something about that accent that you knew was bad news right from the start. O’Reilly and Dickson played quite well off of one another. To play mediator and the straight man in the whacky world is hard. Christopher Romero Wilson did all he could to stand out. His character is sadly just not memorable compared to the rest of the ensemble. Buzinski employs a trio of ladies that serve as the Selection Day entertainment known as the Astral Girls. Name aside, the actresses who comprised the trio did a grand ol’ job finding individuality. From Rita McCann taking on the center spot filling the Beyonce quota to Melissa Patterson perfectly capturing the ditzy dumb blonde, to Atalanta Siegel being the voice of hesitance, they each gave their character something unique. What stood out as odd was the proud American aura for Selection Day, a celebration of the birth of a British man. Sure, Darwin is the king of evolution but portraying his birth as something as American as apple pie was a bit jarring. But hey, there's a lot of things that happen in America that are a bit quizzical.
Director Schnele Wilson took the material and made it flow. He captured Buzinski’s vision well. But Wilson also seemed to play it safe. Buzinski’s satire was certainly safe in its own respect but Wilson needed to add something stimulating and provocative. Even when it came to staging, Wilson primarily and safely utilized only two entrance and exit points, with a third finally coming into play late in the show. While the intent was present, not using that third point caused some staging issues and missed comedic opportunities. Composer Jeff Paul took some well known Christmas songs and put a Darwinian spin on them. And they certainly added some big laughs. The Americana set boasted red, white, and blue. There was a strategic spattering of items strewn around the space to give each location their own place. But the big table of food that was always present in the audience’s eye was a bit distracting. Only used minimally, finding a new solution for the small plot point would have aided the overall stage picture. During preshow, Wilson and Co seemed to play the “Best of America” soundtrack. It was on point and smartly utilized.
Selection Day is an engaging premise but the spark was sadly missing. With some fine tuning and some bold choices, Selection Day could have a promising future. But it needs to catch up to the comedic times.

Spotlight On...Carly Forde

Name: Carly Forde

Hometown: Burlington, ON Canada

Education: BA in Radio & Television Arts. 2-Year Acting Conservatory Diploma from the William Esper Studio.

Select Credits: A Christmas Ham (The People’s Improv Theatre), First Date (Comedy Short) and Thrive Entertainment Inc. Presents (The Winter Garden Theatre). Girlstuff Boystuff (YTV/Corus Entertainment) and General Mills Cereal (YTV/Corus Entertainment) are voiceover credits.

Why theatre?: To be able to give in to and get lost in the creative process night after night - not knowing exactly where it will take you - is both exhilarating and frightening at the same time, and to do that in front of a live audience is unreal. You can't replicate the amazing energy you experience when performing in front of a live audience - it's a high – an adrenaline rush.

Who do you play in Becky Shaw?: Becky Shaw

Tell us about Becky Shaw: Becky Shaw is a dark comedy about relationships and money that revolves around a blind date gone wrong.

What is it like being a part of Becky Shaw?: It's absolutely amazing - I love it! It’s a new type of comedy for me - I haven’t really dabbled in ‘film noir’ before. So it’s a fantastic challenge – one that I love! It’s one of those opportunities where both growth and the learning curve are quite apparent to me. There’s an art to finding a really truthful way to play the truth of a sad circumstance, while maintaining the comedic aspect. It’s not an easy feat to find and keep that balance throughout. I discover something new every time I am on stage, which is exciting, and it also reassures me that I am understanding the character on a deeper level each time.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theater that tells stories with compelling characters with whom the audience can relate to on some level, or be inspired by and moved as human beings - all while sitting in their seats. So by the time the show is finished, they walk out with a new mission or goal - something about the show has triggered a change. In terms of what inspires me as an artist - there's nothing greater than sitting and watching another artist completely lose him/herself in their performance/role. So much so that you want to jump up on stage with them immediately and get to work yourself.

Any roles you’re dying to play?: I have a strong love for character acting! I really can't wait for that next meaty character role that involves an impediment or dialect of some sort - something completely new and different to me.

What’s your favorite show tune?: Well, I definitely have more than just one favorite show tune, but I will say that I love Abba's "Mamma Mia" and "Money Money Money" songs, as well as Chicago's "Cell Block Tango".

If you could work with anyone you’ve yet to work with, who would it be?: As I am at the beginning of my acting career, I have quite a list of names of those I'd love to work with on stage - Mark Rylance, Maggie Smith, Judi Dench.

Who would play you in a movie about yourself and what would it be called?: I've never actually thought about it before, but possibly Anna Kendrick - and the film would be called "Finding You".

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

What show have you recommended to your friends?: Twelfth Night with Mark Rylance.

What’s your biggest guilty pleasure?: Dark chocolate and a reeeeallly good movie.

What’s up next?: Having recently graduated from the William Esper Studio, I am currently auditioning and working on a short film script collaboration with a fellow artist.

Spotlight On...Jac Grady

Name: Jac Grady

Hometown: Abilene, TX

Education: 2 year full time actor training program William Esper Studio, BFA in Musical Theatre from Sam Houston State University.

Select Credits: Film: "Fourth of July Movie", "I See Waldo" (short). Theatre: Act out Shakespeare: As You Like It, Classical Theatre Company: The Tempest, Main Street Theater: The Coast of Utopia, MTOH: Jesus Christ Superstar with tony award winner Ben Vereen. London,UK Hyde Park: A Midsummer Night's Dream.

Why theater?: I think it keeps your process strong, it's live, there are so many variables to contend with, there are no chances for another take or for problems to be fixed in the edit. It is a very athletic process for actors in honing their skills.

Who do you play in Becky Shaw?: Suzanna Slater.

Tell us about Becky Shaw: It's a dark comedy about love, money and how and when we choose to lie to ourselves in order to preserve our comfort and stability. It's a beautiful piece that keeps you laughing right till it hits you straight through the heart.

What is it like being a part of Becky Shaw?: Absolutely Fantastic. The Director, the Creative team, the other actors, everyone is inspiring me to go above and beyond what I thought I was capable of. The show has been open for an entire weekend now but the work is still going.

What kind of theater speaks to you? What or who inspires you as an artist?: Anything that makes me empathize with the characters and their story or even better, helps me to see the world or the people and situations in it a little bit differently than I did before. As an artist, Great stories inspire me. Also, advances in science and technology. I'm very interested in how they will change and shape the human condition.

Any roles you’re dying to play?: Of course. I want to be recurring role on anything that Shona Rhimes is writing or producing. I am always trolling for Shakespeare, Stoppard and Chekov roles and any role by Sarah Ruhl is a dream role.

What’s your favorite showtune?: Oh Wow. I'm not a favorites kind of gal but I love "Begin the Beguine" and "In the Still of the Night" by Cole Porter. Also, "Finishing the Hat" from Sunday in the Park with George sometimes feels like my life story.

If you could work with anyone you’ve yet to work with, who would it be?: Wes Anderson, David Fincher, Tim Burton, Shonda Rhimes,  Meryl Streep, Kate Winslet, Judi Dench and Maggie Smith.

Who would play you in a movie about yourself and what would it be called?: It would be fun to be old and play my Grandmother, she's a truly lovely and important person in my life. I think I'd like a classic biopic title using my name, Jac.

If you could go back in time and see any play or musical you missed, what would it be?: Definitely one of the performance where the great Eleonora Duse performed in America. Even though she acted entirely in Italian, they say that audience members wept and fainted from the magnitude of her performance.

What show have you recommended to your friends?: Becky Shaw OF COURSE.

What’s your biggest guilty pleasure?: Bookstores and used book purchases. I'm a book reading fiend.

What’s up next?: A week of rest, then I'm shooting a web series and working on a short film. I'm also collaborating on a few scripts with some friends and colleagues and freelancing on film crews as often as my schedule permits.

Review: A Gender Bending Bar Party

Money makes the world go round. Money can tear down people, governments, even countries. In Rise and Fall, a group of convicts, lead by Jimmy Gallagher, set up an ideal community in a bar, but when the money runs dry, the law of the land comes down. Adapted by Ian Storey and the Bread player, Bertolt Brecht’s Rise and Fall of the City of Mahagonny gets a wild party-like spin in an immersive drinking spectacular at People lounge.
Rise and Fall is a high-energy political satire inspired by Brecht that takes the audience on the run with Jimmy Gallagher and his band of Alaskan outlaws who stumble upon a bar that becomes his new, rule-less perfect society. But when things begin to get out of hand and the money runs out, Gallagher and the rest of the inhabitants must suffer the consequences. Blending the modern age and a whole lot of gender bending, the story is given a new perspective. And it’s weirdly fascinating. The high-speed comedy adds some folk music written by the brilliant songwriter Andrew Lynch that calls upon the themes of the play. With the structure of the play including the company calling out scene numbers and titles and Wild West comic book infused character introductions, Rise and Fall has so much going on it can become overwhelming at first. But when the exposition subsides, the story unravels to reveal something truly powerful. By masking the piece through humor and physical comedy, Rise and Fall allows the importance of the play to settle in. When you’re escorted upstairs for the trial of Jimmy, things slow down and morality takes over. And it’s certainly earned. The juxtaposition of big bawdy humor with humanity offers a strong message.

photo by Rowen Douglas

The fun the company has on stage is contagious. The ensemble is a unit that strives on teamwork. If there happens to be a little snafu, there’s always someone able to lend a hand. Individually, the company offered some strong performances. As Jenny, the high-pitched, fun-loving lady in demand, Kate Gunther sparkles. Gunther is bubbly yet seductive. Gunther’s Jenny is like a mixture of Charlize Theron and Marilyn Monroe, only missing a whole lotta screws. Aside from John Egan and Benjamin Lewis as some screwball sidekicks, the rest of the company explores the world of gender bending. Katie Melby as Jimmy Gallagher finds a way to make the dastardly and vile cowboy alluring, even with penciled on stubble. Melby dives head first into the character and is never apologetic. Andrew Lynch dons a sleek number and black bob wig to create Begbick and manages to offer the same amount of sensuality as Gunther’s Jenny. You almost wished there was a battle of the broads.
With Melby and Eric Powell Holm taking the directing reigns, the duo ensured that excitement was consistent. Even when moments took a turn for the truth, there was still something fun about it. They captured the immersive feeling, bringing the audience into the world as often as they could. But, like many immersive site specific works, the layout could cause some woes. They worked the space as best they can, utilizing the bar and seating area as the playing space. The use of the live music was a brilliant touch and the overall design was smartly executed. By merely using the lights of the space and the occasional clip light, there was possibility for moods and certain looks. The costumes had this country hip aura, marrying Alaskan cowboy with East Coast badass.
The writing is witty and Rise and Fall is a strong adaptation, but finding a way to come out with a bang without plowing down the audience is key. Until you finally catch up with the merry band of misfits, it’s hard to tell what’s happening. I can only imagine what happens to those who started off with a few too many, pre shot. But the premise is promising and you will certainly leave having had a great time.

Spotlight On...Mia Raye Smith

Name: Mia Raye Smith

Hometown: Detroit, Mi Education: William Esper Studio

Favorite Credits: Black Actress Web Series

Why theater: Theatre is a universal cultural phenomenon that exists in every society around the world.

What inspired you to write I Am Hope?: I have been imitating my family members since I was a child. Before I was diagnosed with Agoraphobia, I took Matt Hoverman Go solo workshop level one. I developed some awesome characters. I didn't get back to he's class until the following year. I never planned on talking about my mental health diagnosis. On the first day of level two class I stood up and said ‘ I'm glad to be back outside I haven't left my house in six months’. At times it was hard to me to commute to class but that was all a part of my journey In finding hope.

What kind of theatre speaks to you? What or who inspires you as an artist?: Solo shows always speak to me because the artist takes the audience on a journey. I'm inspired by Dominique Morisseau, she is playwright from Detroit, MICHIGAN. Her work is phenomenal. I'm also inspired by people that never give up and continue on this journey.

If you could work with anyone you've yet to work with, who would it be?: I would work with John Leguizamo! He's brilliant!

Who would play you in a movie about yourself and what would it be called?: I think Quvenzhane Wallis would play me. The movie would be called “Black Girl Magic”.

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

What's your biggest guilty pleasure?: Salt and vinegar chips.

If you weren't working in theatre, you would be ______?: I would probably be developing apps for lifestyle needs.

What’s up next?: I'm hoping to go on tour next year!

Spotlight On...Verna Gillis

Name: Verna Gillis    

Hometown: My hometown meaning where I was born is NYC. My hometown meaning where I live now is Kerhonson, NY – in the middle of somewhere.

Education: Ph.D. in Ethnomusicology.

Favorite Credits: Won my first slam at age 68. The topic was Coming of Age. I changed it to Coming of Aging. A life shifting moment/orientation. I was the first US/NY presenter of African pop in 1983 which the New York Times called The Pop Event of the Decade.

Why theater?: I have always loved theater. I did summer stock when I was 15 and 16 years old. I used to second act plays on Broadway all the time during my teen years. As an actor I was always best as a character actor. Now I’m just a character - my own character.

Tell us about Tales From Geriassic Park  - On the Verge of Extinction?: It is what my one older woman show. I put on and take off my “retrospectacles” as I reflect, remember, synthesize, reshape the story of what it was and what it is becoming.

What inspired you to write Tales From Geriassic Park?: I’ve been writing for years. I have also been in a 12 Step Program recovering from everything and life on life’s terms. In those “rooms” writing has been an essential component as well as speaking one’s truth out loud. And people laugh!

What kind of theater speaks to you? What or who inspires you as an artist?: The work of Will Eno, Tennessee Williams, Eugene O’Neil, Sam Shepard, Sharr White – they all acknowledge and shed light on the dark side where I dwell. I have so many different sources of inspiration that I interact with on a daily basis. The physical  beauty of where I live – the person I live with  and our continuing collaborations and explorations of how to fucking live with another person! – music music music, anything well done, the courage of people to find out who they are and to live.

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

What show have you recommended to your friends?: Will Eno.  Elevator Repair Service.  The Other Place by Sharr White. America’s Next Top by Julie Novak.

Who would play you in a movie about yourself and what would it be called?: It would be called TALES FROM GERIASSIC PARK – On the Verge of Extinction. I could play me – at least right now.

If you could go back in time and see any play or musical you missed, what would it be?: Paul Robeson in Othello.

What’s your biggest guilty pleasure?: I have no guilty pleasures. Pleasures are fewer and far between so I grab them gladly and relish them totally. At my age, or any age really, why waste time and energy feeling guilty?

What’s up next?: I don’t know. My daily goals are to remain vertical and continue to breath in and out.  I enjoy Stand-UP and Theatre and since my life is my main resource as long as that continues I have my material close at hand. The next thing will reveal itself as it always does. So much of my life has always been unexpected and a surprise. Part of the great mystery.

Review: Fully Fulfilled

Striving to live a fulfilling life is unique to each individual. How you reach that point of fulfillment may be by your own doing or guided and maybe by a little bit of luck or karma. But what exactly is this karma? In Thomas Bradshaw's richly captivating and fearless Fulfillment, a man battles personal morality in a high stress environment on a journey to self-completion.
Michael is on the verge of forty working as an associate at a high tier law firm. He has a cute girlfriend, a new apartment, but it's not enough. After being provoked to question why, after nine years, he hasn't been named a partner, Michael learns some truths that leads to his life spiraling out of control. Was it his own doing or the surroundings that caused his downfall? Fulfillment is a powerful new dark comedy that keeps you engaged from start to finish. Bradshaw is unafraid in his writing, provoking you whether you're prepared or not. With provocative language and themes, Bradshaw boldly goes for the jugular. Bradshaw structures his piece quite well. The action is quick and precise. He rarely offers any fluff. For the most part, the key elements to the story are presented cleanly. The only blindside was the alcoholism reveal. Until his boss states Michael's alcohol problem is part of the promotion issues, we had only seen him drink sake. Incorporating another moment or two would allow the reveal to happen naturally. The characters Bradshaw has molded are quite strong and multidimensional. They each battle their own morality that, when contrasting, cause great conflict. Bradshaw layers his script with themes of karma, ethics, sex, addiction, and well, fulfillment but one of the most dynamic is his approach on class. The characters in Fulfillment live in a high-class world. Their cutthroat nature stems not from determination but from entitlement. The majority of the characters disregard consequences believing their actions are their privilege. They say things that many couldn't get away with. From rumors to lies, their words had little barring to consequences.

photo by Hunter Canning

While Michael may have been the centerpiece of the story, this surely was an ensemble effort. As Michael, Gbenga Akinnagbe gave a sensational performance. Akinnagbe had a contained 21st century Patrick Bateman vibe to him. While he may have lost himself in his downward spiral, it was believable. With a fight in his eyes, you wanted him to be victorious knowing the surrounding situations. As the nerdy but fiery girlfriend Sarah, Susannah Flood served a bit of good and evil. Blending a good girl exterior with a secretive bad girl, persuasive persona allowed for a dynamic performance from Flood. Jeff Biehl stole the show as the neighbor from hell. He had a natural comedic aura to his performance but when you picked up on the uniquely clever love folly work by Biehl highlighted on a perch, you couldn't help but watch him in action.
What sets this production apart is the brilliant vision of director Ethan McSweeny and his wildly creative design team. Cohesive is an understatement. McSweeny exceeded the limits of speed in his sharply choreographed and well managed world. The ensemble worked as one keeping the transitions tight and resourceful. The soundscape by Mikhail Fiksel and Miles Polaski was fascinating. With a jazz infused drum constantly playing a key role in the underscoring, it rarely felt like a distraction. McSweeny was greatly aided by the astonishing lighting and scenic design by Brian Sidney Bembridge. Using a layout that replicated the downstairs space of The Flea, Bembridge, used the long layout to his advantage, capturing sharp angles and crisp lighting. Bembrdige smartly incorporated the props onto the set, allowing them to be swiftly appear in the scenes, yet cleanly stow away on the shelves. To hammer in the importance of social class, the set was very chic marrying grey, white, and wood, in every element of the set. When color was incorporated, it was integral to the story. Like the orange carpet and the red silk sheets. And speaking of the sheets, the only large question that Fulfillment begs is the importance and necessity of sex and nudity on stage. Often audiences are required to use their imaginations. McSweeny and Bradshaw eliminate imagination, presenting it all. You have to give incredible credit to sex choreographer Yehuda Duenyas for making it real. But it begs the question, can the story still exist without the vivid images? Or is shock value more important? Did we need to see full frontal Michael stand on the bed for a strong moment before answering the pounding door?
Being fearless and taking risks in theater nowadays sadly seems rare. But Thomas Bradshaw and Ethan McSweeny were unafraid. And thankfully, it paid off for them. Fulfillment is a fulfilling production that that highlights the power of a strong vision.

11th Annual Innovative Theatre Award Winners Announced

The 11th Annual Innovative Theatre Awards celebrated the outstanding year of Off Off Broadway. The 2015 NYIT Award Nominees represent 145 individual nominees, 57 productions, and 55 theatre companies.

The Winners

Outstanding Premiere Production of a Play: In Vestments (Theatre 4the People)

Outstanding Revival of a Play: Much Ado About Nothing (Smith Street Stage, Inc)

Outstanding Production of a Musical: Merrily We Roll Along (Astoria Performance Arts Center)

Outstanding Performance Art Production: Night (The New Stage Theatre Company)

Outstanding Original Full Length Script: Micheline Auger, Donkey Punch (Ivy Theatre Company)

Outstanding Original Short Script: Lisa Bruna, Invasion from Estrogenius: Andi’s Night (manhattan theatre source)

Outstanding Actor in a Lead Role: Matthew Trumbull, The Temple, or Lebensraum (Tin Drum Productions in Association with MozzleStead)

Outstanding Actress in a Lead Role: Emily Koch, In the Bones (Astoria Performing Arts Center)

Outstanding Actor in a Featured Role: Dan McVey, Pretty Babies (Elsinore County)

Outstanding Actress in a Featured Role: Mel House, In the Bones (Astoria Performing Arts Center)

Outstanding Ensemble: Much Ado About Nothing (Smith Street Stage, Inc)

Outstanding Solo Performance: Sylvia Milo, The Other Mozart (Little Matchstick Factory)

Outstanding Director: Isaac Byrne, In Vestments (Theatre 4the People)

Outstanding Choreography/Movement: Isaac Bush, The Mountain (The Circle Theater of New York)

Outstanding Lighting Design: Nicole Pearce, The Law of Return (Newsom Zipoy Productions)

Outstanding Costume Design: Debbi Hobson, Unmentionables (Nylon Fusion Collective)

Outstanding Set Design: Carolyn Mraz, The Twelfth Labor (Loading Dock Theatre Company)

Outstanding Sound Design: Jeanne Travis, The Temple, or Lebensraum (Tin Drum Productions in Association with MozzleStead)

Outstanding Innovative Design: Stephanie Cox-Williams, R&J&Z (Hard Sparks)

Outstanding Original Music: Phyllis Chen and Nathan Davis, The Other Mozart (Little Matchstick Factory)

Artistic Achievement Award Recipient: Marshall W. Mason

Ellen Stewart Award: HERE Arts Center

Caffe Cino Fellowship Award: Theatre 167

Doric Wilson independent Playwright Award: Andrea Alton

Outstanding Stage Manager: Juni Li

Review: A New Kind of Country Wife

The Restoration Comedy was not only meant to entertainment but bring light to certain social issues. William Wycherley's The Country Wife was known for, at the time, its controversial sexual exploits. In Spicy Witches Productions of the Wycherley classic, the action is transported to the turn of the twentieth century with a tinge of an androgynous lens.
Directed and adapted by Phoebe Brooks, this take on The Country Wife features an ensemble of fast-talking, hijinks loving characters enthralled in proving the people around them wrong. Set in 1905 England sans accents, Brooks takes the audience on a journey through the time. Layering subtly clues of women's rights into the world, Brooks puts a slightly new spin on the play. The piece is transformed into something, at times, almost unrecognizable. With the gender-bending androgyny lens, there’s a new feeling to the piece. Horner, who once was a man on a mission to trick and seduce, is now just tired of the player lifestyle and finds his inner, lady. Brooks still guides him on a journey of getting into doors he shouldn’t, but Horner is no longer the typical womanizer. There’s a genuine heart within. With a new vision that seemed to depart from the original, Brooks only touches upon the sexual humor of Wycherley’s text. The first time it was truly noticeable was during the Act II scene between Horner, Fidget, and Squeamish. The bawdy sex jokes were a plenty and the audience loved it. Finding those moments earlier on would have greatly benefitted the overall view and buffoonery of the plot .

photo by Jessica Briggs

The acting ensemble seemed to find great amusement taping into Wycherley’s world of entrapment. With a new perspective on Horner, Zach Bryant illuminates the stage. Bryant is spry and just a joy to watch. He found great identity within the character, allowing freedom to shine. As Margery Pinchwife, Katie Fanning was more than just the simple country housewife. Fanning lights up, bringing a gleeful smile to every scene. On the spectrum of naivety, Tim Haber’s Jack Pinchwife played up the confident foolishness. Haber was strong and assertive, finding humor in his foolery. Hannah Hammel and Samantha Nugent as Lady Dainty Fidget and Old Lady Squeamish had nothing but fun playing off of Bryant’s Horner. They both discovered ways of temptation to try to win him over.
Utilizing the space seemed to benefit Brooks and her team. The scenic elements by Robert Bursztyn featured some dominating red doors. The bold color threw the piece off kilter a bit. Despite that, having the doors present at all times aided in the farcical elements of the play. The blend of period furniture placed in the downstage corners allowed Brooks to use angles and site lines in a strong manner. The costumes by Alex Rozansky gave great personality to each character, though Horner’s robe was a bit too dominating in this laid back world of color. The soundscape by Andrew Tarr mixed a bit of ragtime with sounds that evoked the restoration period. Yet somehow, they did not pair well.
This new take on The Country Wife surely called into question a new series of themes and ideas. But as a whole, it just didn’t wow.

Spotlight On...Paul Buzinski

Name: Paul Buzinski

Hometown: Wilkes-Barre, PA

Education: BA Arts & Science

Why theater?: Good question, as I’m not really a theatre creature and came to it late. I found I love the immediacy of it. Hearing an audience laugh and seeing them enjoy themselves is one of the more beautiful things in life for me.

Tell us about Selection Day: It’s a flip on reality, as far as the role of religion in our political system is concerned.

What inspired you to write Selection Day?: Darwin and evolution has always been an interest of mine, and I’m sort of mystified when I see polling that shows that 53% (or whatever) of Americans still believe in creationism. Now, I didn’t set out to mock people’s beliefs per se, but thought Selection Day would be a fun way to push- in my own small way- what I think is an important topic back into our popular culture.

What kind of theater speaks to you? What or who inspires you as an artist?: Good satirical and irreverent comedies tend to be my favorite.  When I was young, I loved Woody Allen’s books (Without Feathers, Getting Even, Side Effects), Monty Python, and probably most of all Bob Dylan’s lyrics.

If you could work with anyone you’ve yet to work with, who would it be?: Jefferson Mays, but I know that ain’t happening!

What show have you recommended to your friends?: Gentleman’s Guide, Possum Creek.

Who would play you in a movie about yourself and what would it be called?: The most boring actor in the world in “Snoresville”.

If you could go back in time and see any play or musical you missed, what would it be?:  Just about everything, as like I said I’ve come late to theatre. To pick one, I’d start with Death of a Salesman.

What’s your biggest guilty pleasure?: Steeler Football.

If you weren’t working in theater, you would be _____?: Since I’m not, I’d say theatre!

What’s up next?: Hopefully a successful run of Selection Day for starters. Then hopefully I have another play in me.

Review: Lust in the City

Sexual awakenings come when we least expect them. Unless they are completely provoked. Regardless how they happen, it’s what occurs next that is the real story. In Spicy Witch Production and Elle Anhorn’s The Cunt, a modern day retelling of William Wycherley's The Country Wife, young and naïve Maggie travels to Brooklyn to visit her boyfriend only to be wooed by the lustful Henna. Paired in rep with the source material itself, The Cunt explores gender and sexual identity in a common manner.
With a modern spin, The Cunt brings the classic characters to the greatest city in the world in a time where sex, love, and lust seem to be at an all time high. Maggie and Allie leave the country to visit their boyfriends Bud and Stark in New York. On their journey to this new world, they meet neighbor Henna who introduces Maggie to explore a side of her that may or may not be repressed deep inside. When Henna and her new friends take a trip to a burlesque show, the evening leads to new discoveries and a domino effect of drama and realizations. Incorporating a rhyming burlesque narrator, Anhorn takes the audience on a journey that parallels to Wycherley’s. Unfortunately, Anhorn’s transportation of Wycherley’s world was flawed. There was certainly ingenuity on Anhorn’s part but she played highly into the arcs and types of Wycherley’s characters. Almost too a fault. Sometimes the parallel adaptation idea worked wonders, but the modern equivalents of some of Wycherley’s plot points diminished the story. The Cunt certainly could stand alone as its own play, but that would require some strong logic adjustments. In a time of cell phones, mystery and intrigue is sort of lost. Anhorn did her best to address the problematic moments involving the cell phone but it also caused the actors to actively fight against logic. As far as the characters Anhorn pulled from Wycherley’s source material, they were a bit one-dimensional. Anhorn swapped genders for Horner, making the character a female named Henna. This choice brought up an incredibly captivating choice. Like Horner, Henna is a seducer. Yet a female seducing young, and possibly confused, girls makes her appear as “bad.” Yet Horner’s antics in the original are comical. While this thesis is mesmerizing, the character of Henna is hard to care about. You almost don’t care that she gets her heart hurt due to her antics. To modernize the heartbreak, Anhorn has jealous and trustless Bud pose as Maggie and text Henna. It’s truly the first mammoth moment of plot. Yet it doesn’t get discussed when the trio is together, making Henna appear weak, something to this point, she is anything but. Wycherley’s play is a neatly constructed Restoration play with three plots that are interlinked. Anhorn smartly plays upon this but allows them to freely interact. That being said, she spends a little too much time with Stark and Allie alone. In this version of the play, they serve as supporting characters, halting the momentum of the core story of Henna and Maggie. Anhorn also employs a narration device with the character of Darla. Darla speaks in rhyme, which in itself, feels odd. Regardless, Darla has magical powers that allow for a flashback. It comes out of nowhere yet it’s dynamic. Anhorn would benefit from exploring these devices in her storytelling further, allowing her piece stand out a little more. Where she could pull back is through the burlesque. Burlesque is very specific and may not serve as the best sexual awakening for the universality of the themes.

photo by Jessica Briggs

The ensemble driven dramedy offered some mixed performances. Amanda Sophia Ebert captured the deliberate temptress that is Henna. Ebert was strong yet was able to find moments of vulnerability. Opposite her as Maggie, Katie Fanning plays stereotypically naïve, lacking honesty. While it may be derived from the character Anhorn wrote, there was something missing in the character that drives her exploration. As over-dominating Bud, Tim Haber seemed to tap into the controlling nature of his character’s source. Why it took so long for Maggie to stick up for herself with the treatment she gets from Bud is shocking. Bud is not a good guy, yet Haber found a way to make you believe his intent was genuine. The star of this show was Zach Libresco as Stark. Libresco captured the brotastic nature of the straight guy, gym obsessed actor. Libresco finds subtleties in his performance that garner some giggles and laughs. Allie’s arc is very confusing. One minute she’s happy go-lucky and excited. The next moment, she is reprimanding anyone in her path. Kristin Guerin seemed to struggle finding a cohesive journey for Allie. Though, it’s clear that Allie and Bud are certainly siblings. As pinup princess of burlesque Darla, Kat Murphy captivates. She plays into the rhyming rhythm of the text and has nothing but fun. Frankie, as it currently stands, serves as nothing more but a scene partner for Henna. He has little reason to be in this story. Combining Kat and Frankie could certainly happen. Isaac Allen Miller certainly does all he can to make his presence seem necessary.
The Cunt has some textual issues yet it also seemed to have many directorial questions as well. Director Francesca Di Cesare seemed to have trouble making the Flamboyan work to her advantage. Her staging caused many important places of focus to become lost. With a thrust stage to work off of, the placement of the cabaret tables hurt the storytelling. At the burlesque variety show, Frankie gets a moment to show off his skills. Firstly, Frankie’s song fell into the “Smash” trap of mediocre material that is instantly praised. But the important bit of storytelling in this moment was supposed to be the interaction and reaction between Bud and Maggie. With Di Cesare having them almost of out audience focus, this bit of jealousy was lost. She also had consistency issues with the quick scene shifts. Some moments of the scene called for multiple locations to be present, she would have her actors remain on stage. Other times, they would disappear. In both instances, where to focus was called into question. With the predominant set piece by Robert Bursztyn being the stoop, Di Cesare seemed to forget the practicality of space, allowing her actors to roam on what would be presumed to be the streets of Brooklyn. Bursztyn’s set also included a window that served as a projection screen. It was seldom used by projection designer Caleb Sharp, except when involving the cell phone. It worked when Bud was rummaging around on Maggie’s phone, but displaying the selfie taken by Maggie and Henna in act one felt wrong and disconnected. Did we really need to see what we already saw?
The Cunt is certainly a work in progress. Adapting Wycherley’s text is no easy task and Spicy Witch Productions and Elle Anhorn should be commended. But when it’s no longer presented alongside the source material, it may not resonate the way it should.

Spotlight On...Laura Zlatos

Name: Laura Zlatos


Hometown: Pittsburgh


Education: M.A. candidate in Performance Studies, New York University; M.F.A. in Playwriting, Columbia University; B.F.A. in Dramatic Writing, New York University

Favorite Credits: Happily After Ever (Edinburgh Fringe Festival, 59E59 Theaters, Signature Theater), Things I Never Learned in Physics (Rattlestick Playwrights Theater), Three Hours (HERE Arts), Odd.A.See (Arts@Renaissance)


Why theater?: Unlike any other art form, theater’s unique immediacy and ephemerality create a sense of awareness that affect both performers and audience members alike. Theater defies formula and with it, expectation. It can be anything you want it to be.


Tell us about Exposure: Exposure is a collaboratively devised play that deconstructs the mythos of the artist through the lens of photographer Francesca Woodman. The play examines her life and work through a series of snapshots that blur the distinction between woman, artist, and myth.


What inspired you to write Exposure?: Francesca’s work is unlike anyone else’s. Try as you might, you can’t look away. And when you do, it’s still there. It’s simultaneously mysterious and morbid, playful and grotesque, as if she knew something no one else did. When I learned about her suicide, I knew I could never look at her photography the same. I felt connected and disconnected to her at the same time. I started to wonder about the relationship between an artist’s work and life: when does one become the other and both the same thing? I thought, why do we try so hard to understand these things? Why do we feel the need to ask...why?


What kind of theater speaks to you? What or who inspires you as an artist?: I am interested in theater that challenges and surprises, inspires and provokes. I am drawn to the complicated, messy, and nontraditional. But really, I am interested in something truthful. The playwrights who most inspire me are Sarah Kane, Eugene Ionesco, Adrienne Kennedy, Suzan-Lori Parks, and Jean Genet.


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

What show have you recommended to your friends?: Theater Hayal Perdesi’s The Empire Builders by Boris Vian


Who would play you in a movie about yourself and what would it be called?: Rooney Mara would play me in a movie called "Laura". Yes, it’s been done, but it’s a classic.


If you could go back in time and see any play or musical you missed, what would it be?: Blasted by Sarah Kane, directed by Sarah Benson at Soho Rep in 2008.


What’s your biggest guilty pleasure?: Macarons


If you weren’t working in theater, you would be _____?: An academic/activist working for women’s rights.


What’s up next?: I am collaborating on a show with the Exquisite Corpse Company called Secession 2015. I am writing a companion piece to Happily After Ever and planning to remount the original show.

For more on Laura, visit www.laurazlatos.com

Review: Love and Poetry and Voyeurism

We all love love. And the things we do for love. But sometimes we get a little too deep into making love happen. Some call it perversion. The voyeuristic lens is brought to light in the William Blake inspired There Is a Happiness That Morning Is by Mickle Maher and Theater Oobleck.
The play begins seemingly innocently with dual Blake-centric classes taught by radically different professors. Bernard is a free love hippy man child while Ellen is a reserved and less than content mature woman. Both individuals have radically different interpretations of Blake's text. When it's revealed that on the eve of the final class, the duo engaged in public sex, they are forced to publicly acknowledge their wrongdoing. Only Ellen does not wish to. When the play intersects the two plots with Ellen and Bernard sharing the podium, truths are revealed but it’s when the ominous Dean James, the source of the forced public apology, things get funky. James emerges from the audience to reveal that not only has he been present in their love story for twenty years, he takes a sick pleasure in their romance. And that's when Maher seems to lose the audience. And the play. Prior to this moment, There Is A Happiness That Morning Is highlights Maher’s poetic language and love for Blake. It showcases the beauty and intrigue of love. But the absurd turn breaks the play wide open and into a whole new world. Until this point, the professors primarily taught in rhyme. It's an interesting character and writing choice. When James enters the picture, the poetry is gone. It proves the power of love and words to these people. Regardless of the effect, the bizarre new plot throws the journey so off-kilter it is quite hard to recover.

With some verse naturally written into the script, how the dialogue was approached was drastically different and sorely noticeable. Diana Slickman used the rhymes as Ellen. You heard her almost reach for the rhyme. On the other hand, Colm O’Reilly as Bernard allowed the dialogue to come naturally. It made Maher's language almost feel like Shakespeare. With a play almost entirely filled with monologues, the only character to play off of was the audience. Again, the approaches were different. O’Reilly had a natural bond to the audience playing the role of "class". Slickman was very stiff and looked for acceptance from the students. As James, Kirk Anderson brought perversion to a new level. You believed Slickman's reason for wanting this love to strive, no matter how messed up it was.
Part of the journey of Theater Oobleck is working without a director. It provided a very interesting presentation. The voyeuristic nature of the piece was present but key cohesiveness was not. There just seemed something missing to bring the piece together. The production and lighting design by Martha Bayne was simple. The play was set in the dilapidated classroom of the university. The stage was covered in a gross green carpet with an overly used blackboard flanked by old school podiums. Aside from the very opening look during preshow with a gobo making the appearance of the shadow from the tree, the lighting primarily stayed the same. Less is more allowed for the words to take over.
There Is a Happiness That Morning Is truly is two different stories brought together. The first was about language and the second was about love. Thematically they are tied but once the plot gets weird, it felt the begging was all for naught.

Spotlight On...Wende O'Reilly

Name: Wende O’Reilly

Hometown: Chelmsford, MA

Education: B.A. in Theater from Loyola Marymount University, Los Angeles and a Graduate of the Neighborhood Playhouse, NYC.

Select Credits: Reading Between the Lies (Broadway Baby Betty Blue); Savage in Limbo (Denise Savage); Merry Wives of Windsor (Mistress Quickly); Lady Windermere’s Fan (Duchess of Berwick).

Why theater?: Nothing matches that adrenaline of feeling the audience going on that ride with you every performance.

Who do you play in Selection Day?: Robyn Downs, political pit-bull pushing her own agenda.

Tell us about Selection Day: Selection Day is a smart, political farce that I think is extremely timely, offset with some toe-tapping tunes!

What is it like being a part of Selection Day?: I’ve been lucky enough to have been part of this process since its early stages so seeing it come to fruition is so special to me.  I’m very proud and excited for Mr. Buzinski.

What kind of theater speaks to you? What or who inspires you as an artist?: Most every kind of theater but I gravitate towards comedies and musicals. Anyone with a balance of fun and professionalism, peppered with great timing.  I love some of the classic comediennes like Gilda Radner and Madeline Kahn (both gone too soon).

Any roles you’re dying to play?: Little Red in Into the Woods, but alas, that ship has sailed!

What’s your favorite showtune?: Well, after “Selection Day” I would  have to choose….hmmm, too many.  Let’s stick with “Selection Day”!

If you could work with anyone you’ve yet to work with, who would it be?: I will personally volunteer to help Derek Jeter transition into his new acting career and coach him 24/7. Yup, I’m just that unselfish.

Who would play you in a movie about yourself and what would it be called?: "Face Down and Fabulous!" (I tend to be a bit of a klutz) and I’d cast Melissa Rauch (power to the little people!)

If you could go back in time and see any play or musical you missed, what would it be?:  Oh, another toughie.  Jennifer Holliday in Dreamgirls or maybe Ethel Merman in Gypsy.

What show have you recommended to your friends?:  Wicked is always a sure bet.

What’s your biggest guilty pleasure?: Chardonnay while watching reruns of Dexter

What’s up next?: I continue to help develop a two-woman multi-character musical called Let Me Say This About That which I hope will find a home sometime in the very near future.

Review: Embracing the Next Frontier

There will always be somewhere new to explore. It's our human condition to seek the next frontier. With virtually our entire planet now accounted for, the next frontier just so happens to be the next planet over. In MJ Kaufman's How to Live on Earth, the not too distant future is explored where a group of humans will be sent to Mars to colonize without any prospect of coming home.

photo by Hunter Canning

How to Live on Earth is a fascinating character study that examines hope, fear, and everything in between with a backdrop of the space unknown. Through a series of intertwining stories, How to Live on Earth tells the story of Aggie, Bill, Eleanor, and Omar, and their hope of leaving behind earth for a new heroic adventure. We watch as they each battle the consequences of leaving and how it not only alters them but those around them. With some wonderful themes to explore on both a personal and universal level including escape, adventure, and the unknown, Kaufman truly highlights the importance of character. But the gravity of importance of singular characters was lost through the double casting. With many company members playing multiple characters, the significance of the primary four diminished. By keeping each actor an individual character, it would truly capture the importance of each relationship. There were a few moments that until you heard their name referenced or their scene partner appeared, it was difficult to figure out who was who. How to Live on Earth is truly an ensemble driven play. The way Kaufman structured the script was quite interesting. The narrative at the start focused equally on the quartet but once they result if their inclusion on the mission is revealed, their arcs seemed to be given different weights, especially Omar and Robert. Kaufman gives great importance to their story by giving them the final moment and line. But it had been scenes since we last saw them and the audience didn't know that that blackout was the finality of the play. Another glance at the overall structure could work to Kaufman's advantage. Additionally, the timeline of slave travel was a bit rushed and forced into the storytelling.
The ensemble tapped into their characters to make great discoveries. Charles Socarides was great in his dual roles as Bill and Russ. Socarides found a way to make his characters vastly interesting. While one was a slacker poet and the other was an over-confident doctor, Socarides eased into each role, making you wonder at first if it was a different actor. Amelia Workman as Eleanor was grounded and poised. The bond between Workman’s Eleanor and Socardies’ Russ was possibly the most dynamic bond on stage. Playing Robert and Rick, Adam Harrington didn’t quite find a difference in the roles. It wasn’t until late in the show before you could truly tell that he wasn’t both Aggie’s father and Omar’s boyfriend. As Aggie, Molly Carden was living on her own planet. Though her character was one who longs for escape from the life and people around her, as an actor, she didn’t quite seem to connect with her scene partners.

photo by Hunter Canning

Director Adrienne Campbell-Holt brought a very cohesive vision to the stage. Campbell-Holt lifted Kaufman’s concept with ease through a dynamic and invigorating manner. Campbell-Holt highlighted the relationships of characters by keeping things simple. In the grand scheme of design, Amy Rubin’s set was impressive and great but Campbell-Holt kept the scenes tight utilizing the personal lens against the global picture. Rubin’s design transformed the HERE Arts Center Mainstage. Rubin capitalized on the interesting diagonal of the horizontal room. The scenic elements had a retro inspired feel that called back upon a time the heyday of the first space exploration. One of the most dynamic elements of Rubin’s set was the scenic shift that occurred when the mission to Mars officially took off. The walls began to disappear to showcase a scrim with a space projection by Lianne Arnold and occasional lighting tricks by Grant Yeager. With this stunning visual, you have to wonder was it worth not having it prior? Regardless, Yeager offered a variety of lighting looks that were captivating and motivating. Paired with the lovely soundscape by M.L. Dogg, the overall design of How to Live on Earth was top notch.
How to Live on Earth is a wonderful concept on paper. The thesis that MJ Kaufman offers is enough to draw you in. But there were some bold choices that were mystifying, altering the big picture of the show. The relationships are present. It’s the storytelling that could be adjusted.

Spotlight On...Jesse Thurston

Name: Jesse Thurston

Hometown: Boulder, CO

Education: Northwestern University

Favorite Credits: Last summer I got to perform in new short plays by Halley Feiffer, Todd Almond and Wendy Macleod as part of the World’s Fair Play Festival and that was a blast. I’m also a Company Member of Story Pirates and it’s consistently my favorite thing to do.

Why theater?: Because sometimes you need a break from snapchat.

Tell us about Tom Brady Explains Himself To You: Love him or hate him, Tom Brady is an emotional guy and I’m sure that Deflategate has taken a toll. The show imagines that in an effort to clear his name once and for all, Tom Brady comes to New York to do a one-man show and tell his side of the story.

What inspired you to write Tom Brady Explains Himself To You?: The ridiculous media circus that rose up around Deflategate has been completely out of control and the more Tom Brady said about the scandal, the worse everything seemed to get. I wanted to create a show that was appropriately over-the-top, and what’s more over-the-top than a one-man show?

What kind of theater speaks to you? What or who inspires you as an artist?: I’m inspired by theater that makes my heart race in spite of myself. I’m a sucker for acid insults, gospel choirs, pieces of the set falling down, things like that. Working with Story Pirates, I’m inspired every day by the bold simplicity of children.

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

What show have you recommended to your friends?: If you want to see a disgusting kind of brilliance, check out the Holy Fuck Comedy Hour at the Annoyance in Williamsburg.

Who would play you in a movie about yourself and what would it be called?: Alan Alda would play me in a movie called "I Finally Figured It Out".

If you could go back in time and see any play or musical you missed, what would it be?: I moved to New York right after Mr. Burns closed and I heard it blew minds.

What’s your biggest guilty pleasure?: Besides football? Dips.

If you weren’t working in theater, you would be _____?: A rock god.

What’s up next?: Running Tom Brady for the next month and then we’ll see!

For more on Tom Brady Explains Himself to You, visit www.tombradyexplains.com